This searchable database contains all of Michael Close’s MAGIC magazine review columns from May 1995 through December 2001. Almost 900 pages of text, over 1100 books, videotapes, and tricks reviewed. Before you make a purchase, check with one of the most trusted reviewers in magic.
Copyright 2002 Michael Close Please do not make illegal copies of this disc.
Introduction It is December 23, 2001 as I write this. I am three columns away from completing my 7th year as product reviewer for MAGIC magazine. The first year Mac King and I served as duo reviewers. Mac immensely disliked having to give negative reviews and dropped out after that first year. I continued on. At the MAGIC Live! convention I gave a brief history of the product review section of the magazine. That summary can be found in the September 2001 Marketplace column. Each of the gentlemen who wrote for the magazine brought their own unique viewpoint to the job of product review, and I enjoyed reading their comments. My driving goal was to provide honest information for the magician who had no easy access to a magic shop, and thus had to make his buying decision based on the ads that appear in the various trade journals. My simple purpose was to let the readers of the magazine know whether the product was (in one person’s opinion) worth the asking price. In addition, I have tried to make the column entertaining to read. I do not consider myself a great essayist or a writer of formal criticism. The columns have been conversational in style, and I hope that they are easy to read and bring a smile every now and then. On this disc you will find all the product review columns from May 1995 through December 2001. The columns are in the form that I submitted them to the magazine. I tried as much as possible to catch errors in spelling, punctuation, and grammar, but things sometimes fall through the cracks, and I am grateful that the editorial staff of MAGIC managed to catch many of the glitches that I missed. The copy you are reading, however, is my original text. This means that there may be some mistakes. I apologize for them in advance. Another factor is this: sometimes items had to be cut for space. Usually, we tried to include the item in the next month’s column. When this happened I just pasted the review from the previous month into the column I was working on. I didn’t delete the time from the first column. This explains why you may find an item appearing more than once in the columns. I see no reason why anyone (including my mother) would want to read through all these columns from beginning to end. This is not why we are releasing this collection. The beauty of Acrobat Reader is that it has a powerful “Find” function that will allow you to search through the entire collection of reviews. If there is a product you are considering buying, it is a simple matter to type the name of the book, video, or trick into the search engine and track down the review. You can also type in the name of people if you’re looking for products by a certain creator. It is rather staggering to see the number of pages that I have typed in the last seven years. It is also gratifying to hear from readers of the magazine that my reviews have been of value. Please remember, however, that a review is not fact, it is opinion. I back up my opinions with 43 years of experience as both a hobbyist and a professional. But under no circumstances should you take my opinion as being the final word on the subject. The Internet has allowed even magicians who live in isolated areas to seek out information from other magicians around the world. I urge you to use these resources intelligently (which for the most part is a rare occurrence) and ask questions of the other knowledgeable magicians on the Net.
Some thanks are in order. My thanks to Mac King, John Moehring, Stephen Hobbs, Gordon Bean, Jon Racherbaumer, David Charvet, and Brian McCullagh for allowing me to include their guest reviews in this collection. Thanks also to Stan Allen, the publisher of MAGIC magazine, and John Moehring, the editor of MAGIC. Writing does not come particularly easy to me, and, while I never missed a deadline, I’m sure there were times when John and Stan wondered if I was actually going to get the column in on time. If this collection is your first introduction to my writings in MAGIC, you might want to think about subscribing. I have continued on as product reviewer, and the magazine contains great articles and some terrific tricks compiled by our new trick editor Joshua Jay. Visit www.MagicMagazine.com to find out more information. I was rather overwhelmed to find that at 12-point type this document ran to almost 900 pages. More than 1100 books, videotapes, and tricks have been reviewed. Now I know why I have no life. It was with some envy that I looked back at the columns Mac and I wrote together. Some of them only ran 2000 words. The last column I wrote was 6600 words long. Thank you for purchasing this CD-Rom. I would appreciate it if you would not make copies for your friends. The electronic medium is an easy one to copy illegally. If you have a friend that you think would benefit from the information included here, please direct them to my website at www.MichaelClose.com and urge them to purchase a copy for themselves. Thanks again, and enjoy the reviews. Michael Close December 23, 2001 Las Vegas, Nevada
May 1995 The Mike and Mac Show Mike: You may have heard this story before. There is a reason for retelling it. My mother says that she would sit me at the piano when I was four years old or so, and I would try to plunk out little tunes. When I was six, I received a magic trick for a birthday present, and the bug bit and held. So for 6/7 of my time on planet earth, music and magic have been an important part of my life. I started to make money from music when I was in high school. I played cocktail piano in restaurants and bars, and I worked with a wedding reception band. My degrees are in music, and I have plied my trade in just about every commercial venue possible. It became apparent to me early on that when you make your living from the commercial possibilities of an art form your attitude about that art form changes. You may still love it, but you think about it differently. And a lot of times, you stop loving it, because of what you have to do to make a living from it. Because of this, I never wanted to make a living from doing magic. So, during my first 20 years in magic, my goal was to amuse myself, my magic buddies, and my friends and family. I spent hours in front of the mirror practicing moves and tossing things into my lap. I worked through hundreds of variations of tricks, so I would have some new thing to fool my buddies at the magic meeting. And I “oohed and aahed” when someone brought in the latest prop, which we would play with for hours. It was a happy time and I loved every minute of it. Then, in 1978, I started to do magic in restaurants and everything changed. I discovered that a lot of what I knew was useless in a real-life performing environment. I became less interested in learning a new variation than in learning how to “sell” the original handling. I became more interested in “why” then in “how.” It is still a happy time and I love what I’m doing, but my perspective is different. I mention all this because I am going to be reviewing products. For you to decide whether my opinion has any validity, you need to understand where I’m coming from. I am most interested in books, videos and props which offer new, useful information, and which are practical and performable in the real world. For it is this type of product which moves magic forward. But at the same time, I promise not to forget the magician that I was for 20 years, when the worth of a product was in its self-amusement value. So for me, the game plan is to try to make you aware of those products that educate, enlighten or enrich, while remembering that, for many readers, the only person who needs to be entertained is the one whose reflection is in the mirror.
Mac: And here’s a little bit about me, Mac King. I have been a professional magician for over 13 years. I got talked into this review deal by my friend, Stan, because I told him I was out of ideas for my “On The Road” column. I think what Mike Close and I are trying is an interesting concept. Here’s how it works. Mike and I both take a look at a product. We decide who will write the main review for that item, we link our computers up across the country, and then we have a little discussion about the pros and cons of that particular item. Kind of a Siskel and Ebert on the information superhighway thing. Oh, and I’m a Sagittarius. Roberto Giobbi’s Card College Volume 1 By Roberto Giobbi Mike: Every now and then, I will be asked what book I would suggest for someone who is new to magic and who has an interest in sleight of hand. I would usually suggest Royal Road to Card Magic. I am delighted to now have another option. Hermetic Press has released the first volume in Roberto Giobbi’s monumental work, Card College. While this has been available in Europe for several years, this is the first version in English. Richard Hatch has produced a wonderfully readable translation and the original text has been augmented with additional details and information. Beginners who have found the “Royal Road” to be a bit bumpy should find the Giobbi course to be more user friendly. The instructions for the sleights and tricks are accompanied by hundreds of illustrations, and most explanations are followed by a series of “Check Points,” which serve to reemphasize important details or to offer variant handlings. The material is effectively organized from a pedagogical standpoint; each new item builds on skills acquired in earlier chapters. If I were to slap a label on the material in the first volume, it would be Basic Card Technique. With the exception of the Top Change and a Ken Krenzel’s One-Card Middle Pass, the sleights explained rely more on neat card handling than great finger dexterity. In other words, the cards (and the actions of the cards) are responsible for the concealing of the sleights. Since Mr. Giobbi, like Erdnase, is a proponent of “uniformity of action” he spends much time teaching the proper finger positions and grips for legitimate actions. The first chapter, “Fundamental Techniques,” discusses such things as Dealing Position, Squaring the Deck, Spreading Cards in the Hands, Dribbling Cards, Dealing Cards, and the Little Finger Break. He continues with chapters on the Overhand Shuffle, False Cut Techniques, Card Controls, Force Techniques, Transfer Cuts, Riffle Shuffle Techniques, and the Glide. Within each of these chapters, Mr. Giobbi explains simple but effective stratagems (for example, how to hold the top and bottom stocks during a riffle shuffle), while emphasizing the importance of correctly mastering the basic handlings so that the difficulties in learning more advanced techniques will be reduced. In comparing Card College Volume One and Royal Road to Card Magic, it is interesting to note that Mr. Giobbi does not discuss the palm or the pass, and that the double lift which is explained is used basically to establish the concept; the student will certainly
discard this handling when others are taught later in the course and more adroitness has been acquired. Delaying the explanations of these sleights until later in the course is an extremely sound decision. Tricks accompany each of the sleights explained, and they are good tricks. Each explanation contains not only the method of the trick, but comments on audience management and a possible patter approach. Some parting shots. Don’t assume that just because you are not a beginner there will be nothing of interest for you in this book. One of Mr. Giobbi’s goals was to gather and collate the most up to date information possible. I discovered techniques and stratagems in this book that were new to me and which I have immediately added to my arsenal. Study this book as you would study your homework. Get a yellow highlighter and mark it up. Make notes in the margins. Pay very close attention to the “Check Point” section. Often the information in there is vital. Acquiring skill with a deck of cards is not simple. It requires an investment of time and the active participation of both the hands and the brain. This book is the finest example I’ve seen of attempting to organize a vast amount of material into a structured program that will make the learning process as efficient as possible. I wish it were available when I was a kid. The Roberto Giobbi Card College will become a standard text. Buy your copy now and get started. Mac: I, too, thought the book was good and that you should buy it, but there are some questions. You pay all this money to learn card magic basics and yet there are no descriptions of the pass or the palm, two of the most useful sleights. What about that? Would you still recommend this over Royal Road? Mike: One problem we have as reviewers is that we can’t see the big picture of the entire card course. In Europe, I believe that the first two volumes were released at the same time, and that these moves are in Volume Two. I do think that delaying the teaching of the pass, palm and double lift until the student has acquired some finger dexterity is a good idea, since these are difficult moves. Mac: Agreed. But he doesn’t delay the teaching of the double lift. He teaches a relatively bad one. Mike: That’s true. The chapter on the double lift should probably have been removed, since anyone who learns that method will drop it as soon as they learn a more natural and convincing method. Mac: So back to my original question. Since this course is four volumes and thus at least $120, would you say that this is for the serious student or the beginner? Mike: The serious student will probably want to “stay the course” and invest in all four volumes. Royal Road is a great book, but there has been much improvement in card
technique over the 46 years since it was published. The Giobbi books try to incorporate the latest techniques available. As for the beginner, there is enough information to keep them interested. If they choose not to continue, then at least moves such as the palm and the pass haven’t been tipped to them. Mac: Maybe in your role as Mr. Card Magic you should mention some of the incorrect credits. Mike: One thing I forgot to mention in my review is that there are several credits that are incorrect. For example, the “Whoops” control should be credited to U.F. Grant. Publisher Minch has been made aware of this, and asks that readers contact Hermetic Press if they find other errors, so that the Card College books can be made as accurate as possible. Mac: Actually, I think that the second trick taught is also incorrectly credited. It is a spectator cutting the aces effect. Mike: Yes, and I have been using this method for a long time. By the way, here’s a tip: When I used to do this at the restaurant, I would have a child do the cutting, and they would cut to their age. What I mean is, if they were eight years old, they would cut to four eights. With the techniques given in the Giobbi book, this is easy to do. Mac: That is a good tip. Actually that’s another of the things that I liked about this book, even some of the tricks I was familiar with had interesting twists. And Giobbi does a good job (better even than Royal Road) of instilling in the student that all of this stuff comes from living breathing human beings, and doesn’t just appear from nowhere. Mike: Exactly. Any final thoughts? Mac: Enthusiastic thumbs up. Mike: Make it two. Magic and Meaning By Eugene Burger and Robert Neale Mac: Robert Neale and Eugene Burger are, in the words of that esteemed philosopher, Dan Fogelberg, “twin sons of different mothers.” Eugene Burger has written a lot of truly fine magic books about the theory and practice of magic. If you are a student of magic, you’ve no doubt seen some of them and probably even read at least one. Robert Neale is perhaps not as well known to you. He was a professor of psychiatry and religion for many years. In the magic world, some of his published items are the really cool “Bunny Bill” manuscript, and the fascinating book Tricks of the Imagination. He currently writes a column for The Linking Ring Magazine and is something of an origami genius. Their book, Magic and Meaning, is a discussion of, among other things, the quest for self-discovery (who am I?), the history of magic and its origins, the definition of magic (and what the different kinds of magic are), “Sawing a Woman in Half” and, of course,
card tricks. In addition to these discussions, there are also some actual tricks you can do. As Max Maven says in his Foreword to the book, “the discussions range from the sublime to the goofy.” First, the “sublime.” I didn’t agree with all the stuff put forth in this book. But, please don’t take that to mean that I didn’t enjoy it. Just the opposite. I received great pleasure from reading it. Every one of the 11 essays got me thinking; sometimes about my place in magic, sometimes about my place in society as a magician, and even about a new moneymaking scheme to actually use in my show. As a matter of fact, I found that what interested me most were not the points where I agreed with the authors, but the places where I disagreed with them. I mean, you may not agree with Robert Neale when he says, “A real magic show is a place for us to experience the sacred,” but you’ve gotta admit that it gets you thinking. My favorite of the essays was Neale’s “Matinee Magic,” a discussion of the “Sawing a Woman in Half” trick and the reasons for its popularity. Also, in the category of sublime would be some of the six Robert Neale tricks that are used as examples of applying his theories of magic to tricks. Two of them seemed especially good. “Real Jokers,” his blending of Jeff Busby’s “Into the Fourth Dimension” and Paul Harris’ “Ultimate Rip-off” is my favorite. But, if you are familiar with those two tricks and you respond, “Yes that is a really good combination,” you’d be missing Neale and Burger’s whole point. They contend that because the presentation you are given touches something that is deeply shared by all humans, this mere card trick takes on a metaphorical meaning that it might not otherwise possess. My other favorite trick is “Sole Survivor,” a pretty ghoulish story, and not the kind of thing I would normally perform. I must say, however, that the times I’ve performed this item for my friends, the dialogue given by Mr. Neale has never failed to elicit a satisfyingly uncomfortable reaction. And now my picks for what constituted the “goofy” parts of this book. There are probably people who would find any book that concerned itself with the themes presented here goofy. I happen to be a fan Eugene’s previous books that deal with some of these same subjects. So, for me, there were only two sort of goofy parts. The first was the fact that Eugene’s overly long discussion of the origins of magic includes a (blessedly short) section on “Deception in the Animal World.” The second was that I found Robert’s three gospel magic tricks to be a bit weak. My only other real complaint was that there is no actual dialogue or discussion between Eugene and Robert. While this does not technically fall under the heading of “goofy,” it is a bit disappointing. Three of the essays have seen print before, however, they were in small publications and have been considerably revised for this publication. One unexpected pleasure was how funny I found parts of the book to be. I heartily recommend this book. At least once during every chapter I found myself stopping to write down something I’d never thought of before. We reviewed this book in prepublished galley form. I liked it so much that I may even buy an actual copy when it becomes available on June 1.
Mike: I, too, enjoyed this book very much. One of the things which helps revitalize and stimulate magical thought is to bring in elements from outside of the magical field. There are a lot of books mentioned in footnotes that I’m going to track down and read. Mac: I’d also like to track down that movie short, “Matinee,” featuring the “Sawing a Woman in Half,” that Robert writes about. Mike: You mentioned in your review that you thought the part about “Deception in the Animal World” was a little goofy. I think I see where Eugene is coming from. In this chapter, Eugene asks whether there might not be reasons for human beings becoming interested in magic other than the standard economic-political theory put forth by Mulholland, Christopher, and Randi, which states that the early magician “performed not to entertain but to impress or frighten those who watched into giving the magician extra privileges in the tribe.” Mac: Sort of a Neanderthal Bob Farmer? Mike: Exactly. Eugene’s essay attempts to seek out alternatives to the “magician as power hungry con man” theory. It is in this regard that the animal world is discussed. Mac: So early man sees that animals can use deception and sees that he can use it to protect himself, too? Okay. But to me that’s still kind of a goofy thing to write more than a paragraph about. I mean I understand that he’s trying to offer alternative beginnings for magic but... Mike: Anyway, I agree with you that there are a couple of terrific routines in the book, especially the one called “Sole Survivor.” I was a little surprised that you felt that this routine was “pretty ghoulish” and not the sort of thing you’d perform. Aren’t you the guy who gave the magic world the “Fork in the Eye” trick? Mac: I say ghoulish because that is the reaction that it gets when I performed it. But I have performed it in the same situations where I do the fork trick - sitting around with my friends, not in my act. I could, however, see someone else doing this in a more formal atmosphere. Mike: There were parts of the book that I disagreed with - the essay on card tricks, for instance - but the importance of a book like this is not that you agree with everything, but that it stimulates you to think. Mac: Exactly. As a matter of fact the essay on shamanism... Mike: Which I had a hard time relating to. Mac: It got me thinking about the shamans of today. I believe that comedians have become our shamans. The audience comes in as a group. They sit in the dark. They all
do the same drugs. The comedian speaks of universal events, and the audience responds, “Yes, that’s just how the world is! You are so right.” Mike: I can see it now... “Howdy, I’m Shaman King. Mac: I’m Shaman King and the gods inform me that you should buy this book. Mike: The only fear I have about Magic and Meaning is expressed in the first sentence of the introduction “This is a book for those who enjoy thinking about the art of magic.” My fear is that these are the only people who will buy this book. That would be a mistake. This is a wonderful book, and anyone who claims to be interested in magic at all should read it, study it and, yes, think about it. Great Tricks Revisited By Robert Parrish Mike: I’m not a prop guy. Every time I see a magician bring out some oddly decorated piece of equipment which could only exist in a magic shop I can not help but think of Pat Hazel’s wonderful patter line for the “Television Card Frame” (“I have here an ordinary deck of cards, some ordinary rubber bands, two ordinary sheets of glass, and…an ordinary one of these.”). But I will admit that there are extremely ingenious pieces of apparatus, and magicians who would love to use them in performance, but don’t, because they lack a good routine. For such magicians, Robert Parrish’s new book Great Tricks Revisited will be like manna from heaven. This book is the second in the “Magic in My Lifetime” series, published posthumously by David Meyer Magic Books. (The first was the delightful book of recollections Words About Wizards.) Robert Parrish was a charming man who gave considerable thought to any trick he tackled. As anyone who studies the routines in this book will discover, his cognitive powers were impressive. The book contains routines for many standard props including “Die Box,” “Spirit Dial,” “Nest of Boxes,” “Mirror Glass,” “Coin Jar,” “Japanese Box,” “Ellis Ring,” Owen Brothers’ “Watch Box,” and “Sand Frame.” In all cases, the goal was to develop routines that would be performable in real life conditions. Two are worthy of special notice: the routine for the “Rapping Hand” is the best of its kind I’ve ever read, and the “Card in the Orange” routine is sensational. There are also several card routines included (a courtesy, I suppose, for those of us who don’t own any props). My two favorites are a handling of the “Milton Sympathetic Clubs,” and a humorous demonstration of “expert” card handling using only two cards. The last chapter contains several routines created by the late Joe Scott of St. Louis. In the introduction to the book, Mr. Parrish writes, “Magic is a minor art because both its emotional and its intellectual content are necessarily limited.” This is not a fact, it is Mr. Parrish’s opinion, and it is on this opinion that the presentations of the routines are based. These presentations are “sketches” in which the props are introduced, explanations are given to justify their odd existence, they do their “thing,” and then they are put away. I
have the feeling that this presentational approach will be very comfortable for most magicians, who will be able to adapt the patter to their own personalities without much problem. This is a terrific book and reading it reminds me how much poorer the world is for Mr. Parrish’s passing. There are two groups of people, though, who are going to be ecstatic over the book - those magicians who already own the props, and the dealers in used magic who are going to wonder why “Die Boxes” are suddenly such a hot commodity. Mac: I, too, loved the book, especially the “Rapping Hand” routine. I must admit that I had never read a Robert Parrish book before, but this made me want to go out and get the other 16 of ‘em. Mike: I only had the chance to spend time with Mr. Parrish on a couple of occasions, but he certainly had the ability to routine a trick to maximize effect and minimize hassle. And he must have certainly loved cases. Mac: Yes, you mentioned that in every trick the props are taken out, use and then put away. But you didn’t mention that every apparatus trick is taken out of it’s very own carrying case (in full view of the audience) and then put back into that same case. I found that a bit silly, but I must admit that in many of the routines this carrying case fixation turned out to greatly simplify the handling. Mike: So, I say: Prop guys are going to be happy, used magic dealers are going to be happy, and leather workers are going to happy. How bout you, Mac, are you happy? Mac: Yes, I’m happy to have gotten a chance to meet Robert Parrish through his work. I think there is great value here. I can see people performing these tricks exactly as written. Much Ado About Something By Karrell Fox Mac: When I was a kid I was an Abbott’s man. Most of my friends were Tannen’s men. They said the Tannen’s catalogue had more tricks and it was hardbound. There was an actual picture of a magician on the front of the Tannen’s catalog, whereas Abbott’s pretty much just had the word “Abbott’s.” But the main reason I was an Abbott’s guy was the Abbott’s Get-Together. A seven- or eight-hour bus ride away, this was my Mecca. Because I was concerned with everything Abbott’s, I was a Tops subscriber. Every month I awaited more news regarding all the real magicians out there in the real world. Judging from the articles in Tops, chief of all the real magicians was Karrell Fox. Karrell had a column called the “Fox’s Den,” which was also the name of his house. There was a photo of the house every month, and you could tell by looking that miracles were born inside that house. I loved that column and I loved Karrell Fox.
When I finally got to an Abbott’s Get-To-gether and saw Karrell Fox, I was not disappointed. He was funny. He was charming. He knew a lot about magic. And when I actually met him face to face, he was really nice to me. I would say that we are friends. Well, my friend, Karrell Fox, has released a new book of magic tricks. I knew when I agreed to take on this review job that I would have to comment on some books that were written by my friends. I also assumed that one day I’d probably have to say something negative about something a friend had written. I just didn’t know that it would be so soon. I think there are a few decent items in Much Ado About Something, but in order to find anything useful in this, the latest of Karrell’s ten books, you are going to have to do some digging. The things I like best are “The Static Tie,” which is a great addition to the old pop-up tie gag, and all the photos of Karrell and his friends, which are inserted haphazardly throughout the book. The later is a feature of many of the earlier Fox books published by Supreme. If you’re looking for great Karrell Fox material, I’d start with those earlier Supreme books. Help me out here, Mike. Mike: I’m afraid I have to agree with you, Mac. And I’ll try to explain why. If you are familiar with Karrell’s previous books you know that he doesn’t go into great detail with his descriptions. He gives you ideas, tips, quick tricks and presentational ploys, and then leaves the rest up to you. Unfortunately, in this book, there are many items which have seen print in other people’s books. In addition, the drawings by Ed Harris and the various personal photos and memorabilia take up about 84 pages, or 51% of the book. The remaining 80 pages contain the trick descriptions and technical photos. Concerning the Harris drawings: While they may give you the sense of what a particular trick is about, they are often totally incorrect in terms of the techniques of a routine. So read the text carefully. Meanwhile, let’s be realistic. After all, even Mozart wrote some stuff that wasn’t so hot. I do want to mention one trick that I think should have carried some type of warning. There is a routine that involves igniting a sheet of flash paper 12 inches square. The paper is on a piece of poster board that lies flat on your hand. This strikes me as a dangerous thing to do. Mac: I know. That’s why I’m typing so slowly. I can only use one hand at the moment. Mike: Our recommendation: Try some vintage Fox. There is some very fine wine in those old bottles.
June 1995 Double Dealings Mac: I have always been leery of videotaped instruction as a way to learn magic tricks. In general, I don’t think that it provides the ease of use or the freedom of interpretation that a text-based format does. The only area in which I think that video teaching surpasses book learnin’ is in seeing a routine in action before a live audience. This might be looked at as a disadvantage as well. For people looking for a quick fix, just a trick or two to show their friends, video provides everything laid out for them - method, presentation, patter, etc. I don’t think this is necessarily a good thing. The temptation is too great for some people to stop thinking. It is conceivable that even an unadorned secret move (the top change for example) is better learned from a book. By that I mean that maybe even sleights are better if adapted to your hands and mannerisms. Also, there are limitations which video cannot overcome. I watched a video teaching tape once that contained a trick with a stacked deck. The stack was shown on the tape! The guy just called out one card after another until he had named all 52 cards and their position in the stack. There was no way that you could set this up as you watched the tape. You had to write the information down as he said it, and then rig up the deck. For me, the danger in voicing my belief that videos are a bad way to learn magic is that it might lead you to believe that I’m just a technophobe, or that I’m like the stereotypical grandfather… “I learned magic from books, so that’s how you’ll learn magic. You don’t need any of this newfangled gadgetry to be a magician.” That’s not true. I think videotape can play a great part in helping you develop your act. I just think that, with only a couple of exceptions, video is a bad way to teach magic tricks. And what are those exceptions? Maybe it’s a good idea in the case of instructional tapes for kids (or true beginners) as a vehicle to get them interested and to show them what good magic really looks like. The other instance when I think video is extremely valuable is as a chance to see someone you might otherwise have missed. The Dai Vernon tapes (those which actually feature Vernon) and the recently released Ross Bertram videos fall into this category. Mike: I agree with you, Mac. Like it or not, magic is an intellectual activity, and success requires a creative imagination and the ability to visualize. By its very nature, reading challenges the intellect, forcing the brain into action. Watching a video is a passive activity; rarely is the watcher’s imagination called into play. I don’t totally dismiss the use of video in the learning process, but I do think that videos should be a supplement to the written word, and not a substitute for it. There are some things that video does better than print. One example is timing. It is very difficult to convey in words the pacing and flow of a routine. Another use is to evaluate the
effectiveness and practically of a sleight. There are times when I have read and studied a sleight and thought, “I don’t understand how this could be deceptive.” A demonstration by the originator (or some other competent performer) can answer that question. If you are isolated and do not get a chance to attend conventions, then video is often your only recourse. I would offer one other thought to consider. If the only way you can learn a trick is to have someone teach it to you on a video, then you will always be an imitator. The literature contains thousands of tricks that will never be on a video. They wait for someone to use a creative imagination to turn them into performance pieces. So turn off the TV and open a book. The first person who’s amazed at what happens might just be you. David Roth’s Expert Coin Magic Made Easy Volumes 1-3 Easy to Master Money Miracles Volumes 1-3 Mike: The budding coin man who seeks out video instruction is about to be blown away by offerings from two of the major magic companies. Six videos, more than seven and a half hours of information, and a ton of top-notch material make these an important contribution to the library of teaching videos. To help you make an informed buying decision, I’ll give you an overview of each of the tapes, and then I’ll give you my opinion of each series and how the two series relate to each other. The Expert Coin Magic Made Easy series comes from A-1 MultiMedia, and is designed to take the student from basic to advanced coin magic. David Roth is the instructor, and he is certainly eminently qualified to lead such a course. Volume I is titled “Basic Coin Magic.” Roth discusses the three basic concealment positions (Classic, Finger, and Thumb palms), and vanishes associated with each. Methods for transferring a coin from one palm position to another are taught. The discussion of vanishes leads to the subject of coin switches, and several are taught, including the Bobo Switch and the Roth Shuttle Pass. The Vernon Load and the L’Masque Load are demonstrated, as are the Ramsay Subtlety and the Kaps Subtlety. Tricks taught include “Winged Silver,” a “Copper & Silver” routine, and the famous Roth “Chinese Coin Assembly.” Volume 2 (“Basic to Intermediate Coin Magic”) includes the Roth Retention Pass, the Curl Palm, the Downs Palm, Harvey Rosenthal’s Click Pass, and the Bertram/Marlo/ Skinner Spider Vanish. Some of the routines are: “Coins through the Table,” the Buckley “Coins to Cup,” “Spellbound,” and the Roth “Hanging Coins” routine. Volume 3 is titled “Intermediate to Advanced Coin Magic,” and contains performances and explanations of the Palm to Palm Switch, the Cardini Steal, John Cornelius’ “Metamorphosis Change,” “Milliken’s Transposition,” Slydini’s “Han Ping Chien” routine, an “Expansion of Texture” routine, an advanced “Copper & Silver” routine, and two classic Roth routines - “The One Coin Routine” and “The Purse & Glass.”
The production value of all these tapes is outstanding. A variety of camera angles are used, and this combined with the use of slow motion replay makes all the sleights crystal clear. Mr. Roth’s years of experience in discussing this material is obvious in the clarity and concision of his explanations. Very often a sleight or a routine is followed by a tensecond tip that gives further helpful learning hints. My negative comments are few. The “Spellbound” routine taught in Volume 2 probably should have been delayed until Volume 3. It is one of the most difficult routines in the series. The One-Handed Spellbound Change should also have been delayed, and for some reason this move is not performed for the lay spectator, it is only explained. This could leave the viewer with the impression that no one could get away with the move in real life. Also, there is an error on the cover of Volume 3. Mention is made of an (“Advanced Chink-a-Chink” routine. This routine is only on the special Collector’s Edition. Easy to Master Money Miracles comes from L & L Publishing, and is a follow up to their very successful Easy to Master Card Miracles series. Once again, Michael Ammar serves as the host/performer/instructor and, with the help of consultants David Roth, Gary Plants, and Brad Henderson, he has assembled an outstanding collection of money magic. (Note that these are not just coin tricks. Also included are tricks with paper money and a couple of routines in which the money plays a peripheral role.) As far as I can tell, there is no pedagogical order to the tapes, so they can be enjoyed in whatever order you choose to purchase them. Each tape contains at least nine items, so for the sake of space I will touch on the highlights. Volume I includes Ammar’s “41 Cent Miracle,” Jack Chanin’s “Continuous Production,” the Stark and Malbrough “Hornswoggled” routine, two different “Matrix” routines, and the Roth “Hanging Coins.” Volume 2 features the world famous Roth and Ammar “Shadow Coins” routine, a standup “Coins Through the Table” routine with a kicker by Mike Gallo, Daryl’s “Cross of India,” the Jacques-Keeny “$2 Bill Tear,” the “Expansion of Texture,” and the Stephan Schutzer “Self-Folding Bill.” Volume 3 includes Ammar’s “Coins Thru Silk,” Fechter’s “Flying Eagles,” Tom Ogden’s amazing penetration effect “$5 and $1,” the Page-Kaps “E-Z Money” routine, and “Bill to Nut,” which is a clever routine based on an idea of U. F. Grant. The production values of these tapes are also excellent. Michael’s slow, clear explanations combined with superb camera work are the next best thing to personal instruction. At the end of each technical explanation there is a segment called “The Real Secret to . . .” It is here that Michael offers suggestions on psychology, presentation, audience management, and discusses ways to maximize the magical impact. Also included are “Super Practice” sessions, in which the effects are performed in slow motion. Each tape comes with a small booklet that gives a time code index to the items on the tape and also provides some further technical information.
“So which series should I buy?” I hear you cry. I’ll get to that in a minute. Before I do, I want to offer two caveats. Both series use the word “Easy” in their titles. This is misleading. Unlike playing cards, there is no such thing as a “self-working” ungaffed coin trick. Even the most basic trick requires the use of a concealment, and this means that some degree of dexterity will be involved. So do not think that you will be able to perform any of these routines without the investment of conscientious, intelligent practice time. Instead of the word “Easy,” the publishers should have said: “Taught with clarity and precision so that your practice time will be as effective as possible.” However, if they had done this, they wouldn’t sell any tapes. “Easy” sells. Just be aware that the purpose of these tapes is not instant gratification. If you have a desire to learn, however, these tapes will put you on the right track. Secondly, I want to touch on the performances of Mr. Ammar and Mr. Roth. With such a large amount of material to present and discuss, it is obvious that routines will be included which are not a part of either gentlemen’s working repertoire. With these routines you will find that the presentations are pretty basic, generally just a verbal description of what you can see. With their signature routines, the performances are stronger. One of the great problems with presenting coin magic is how to make the routines meaningful. Far too often they simply become (in Eugene Burger’s words) “the adventures of the props and the hands.” I would suggest that you pay attention to the presentation for the “41 Cent Miracle” as an example of adding an emotional hook to what would otherwise be a simple vanish and reappearance of three coins. In both series, the challenge of adding meaningfulness has (for the most part) been left up to you. So here’s the bottom line. I feel that the two series have no conflicting intents. The Roth tapes focus on the techniques of coin magic, presented in a logical progression, with routines designed to incorporate whatever sleight is being discussed. If you have no knowledge of coin magic, then this is the series you should go to first. The Ammar tapes focus on repertoire. If you are already comfortable with most of the basic coin sleights, you will probably want to go to this series first. My guess is, though, that if video is your learning medium of choice, then you will want them all. And you won’t be disappointed. Mac: I thought that there was real value here, but man, in-between every segment on the Roth tapes there is an amazingly annoying clinking noise. I think it is a sound effect of a bunch of coins dropping into a glass. Not only is it grating, but it’s also a time waster. I also thought the slow motion stuff was a waste. What VCR doesn’t have slo-mo? My other gripe about the Roth series is much more serious. Why does he start each tape by taking off his jacket? Mike: I don’t know. Some form of Cloutier envy? Mac: Also annoying was the music in the Roth tape. It sounded a bit like porno background music to me. Not that I’d know, of course. But all those silly comments aside, I thought that these were well produced and really would teach you how to be a junior David Roth. I also agree with you that there is really no real way to compare the Ammar and Roth tapes. They are different animals. If I were purchasing a set for my own
use, I’d buy the Ammar tapes. They seem to have a wider selection of plots and effects. Michael has obviously watched a lot of infomercials and corporate videos. Because these have that same feel, I found them a bit creepy to watch. But the tricks are great, and very well taught. And I did like that the performances took place in a sort of real life situation. Mike: My thought was that beginners might find the Roth videos more useful, while those with some coin “chops” would like the variety on the Ammar tapes. Mac: I agree completely. Although, while I don’t actually perform much coin magic, I would consider myself pretty knowledgeable about it, and I still found some stuff on the Roth tapes that I thought was informative and not referred to by others teaching coin magic. There’s a wealth of fine stuff in both sets. Mike: Right. If you’re unfamiliar with the techniques and the repertoire of coin and money magic these tapes are great introductions. With the background you acquire here, it will be easier to tackle the classic coin texts by Roth, Downs, Bobo and Slydini. The Magic of the Hands Trilogy By Edward Victor The Magic of Edward Victor’s Hands By Rae Hammond Mac: The Magic of the Hands Trilogy collects the three Edward Victor books, The Magic of the Hands, More Magic of the Hands, and Further Magic of the Hands for the first time into one hardbound volume. The first of these was originally published in 1937, and the last in 1946. Together they total about 250 pages of material on cards, coins, billiard balls, matchboxes, handkerchiefs, thimbles, ropes and lots of other stuff. These books are classics. In my mind there are two kinds of “classics.” There’s the classic that you keep in your garage and look at from time to time because it brings you pleasure simply to possess such an item. And there’s the classic that you like to gas up, take the top down, and cruise down the highway into show off. The kind that still runs just as good today as the day it was built. This reprint is an excellent combination of those two classic types. There are, of course, some things in them that are outdated or have been genuinely improved on since the original publication. But also there are some cool items here. I have always been kind of a closet Edward Victor fan, having skimmed through his books at my friend’s houses, but never actually owning a copy of any of them myself. I knew he had contributed a great deal to magic, but I was surprised by the extent of his influence. Many card moves, billiard ball moves, coin sleights, thimble routines, and rope handlings have their basis in the writing of Edward Victor. The books are in the same format as the originals with the same photos, clear illustrations, and page numbers. The highlights for me are (in order of appearance) “My Rope Routine” (the original and still great), “Visiting” (a four-objects-assemble-under-
two-covers type trick), “The Cigarette Paper Effect” (a clean torn-and-restored and burntand-reproduced cigarette paper), “The Magnetized Cards” (a purely sleight-of-hand method for causing 24 widely spread cards to cling to your hand), a vanishing glove effect (both gloves disappear visibly - one of them while you’re wearing it), “A Salt and Knife Problem” (a paddle type trick), “An Invisible Palm” (this great production of a fan of cards is much in vogue today), and “The Haunted Pack” (with a borrowed deck). Those are all great tricks. But, for me, the really superior stuff is in the new volume, The Magic of Edward Victor’s Hands, by Mr. Victor’s friend Rae Hammond. It has biographical material interspersed with some really remarkable magic tricks. If I saw this on a shelf in a magic store, I’d almost buy it just because of the cover photograph of Edward Victor. It is really cool. There are some more great photos inside. But the best parts of the book are some of the tricks. To me, the finest thing by far is “The Edward Victor Diminishing Pack.” This is a specially prepared pack that enables you to cause a fan of cards to diminish first to half size, then to quarter size, and then immediately back to full-sized cards. All this without adding or taking away even a single card. My other personal favorite is Edward’s handling of the “Nudist Deck.” A deck of cards is fanned and shown to be completely blank. A few cards are printed, and then the remainder of the pack is printed all at once. The deck is then handed out for shuffling (and examination). Also among the highlights are a paddle trick (which Frances Marshall claims fooled Dai Vernon), and the famous “Edward Victor Eleven Card Trick,” which is the basis for modern classics by Gene Gordon (“Dizzy Dollar”), Fred Kaps (“Eleven Bill Trick”), Derek Dingle (“Derek Dingle’s Fabulous Jumping Card Trick”), and David Williamson (“The Famous Three Card Trick”). The one slight disappointment I had was that the pre-publication advertisement says, “There’s even a chapter on his shadowgraphy.” While there is a chapter on shadowgraphy - and it is fascinating - you won’t learn how to do any hand shadows from it. These books are remarkable. If you can just buy one, buy the Rae Hammond volume, but I’d recommend getting them both. Mike: I liked both books a lot. They’re the kind I know I will come back to often. I have found that when I’m trying to come up with something new for my work, the best place to go is one of the older texts. There are often great plots, and with a little work you can make the trick play for a contemporary audience. Mac: But I think it’s wrong to imply that everything in these books will need to be reworked and updated to be usable today.
Mike: Absolutely. In fact, there are a couple of routines that I could incorporate immediately. The four-card assembly done with borrowed business cards is terrific. As is the “Victor Bat” routine and the “Diminishing Cards.” It’s no wonder that Edward Victor impressed people like Dai Vernon. This guy was one clever Mofo. There is a wealth of material in these books, as well as providing insight into the life of a performer who is little remembered today. I highly recommend these books. Mac: Actually, speaking of the life of a performer, did the bio book make you a bit sad? I found myself feeling sorry for Mr. Victor. He so wanted to be a magician, and it seems as if most of his work was actually as a shadowgrapher. Mike: Yeah, I felt that way, too. Once again, it’s the age-old story of having to make a living in a commercial environment that is only looking for a certain kind of entertainment. But looking at the photos of Victor doing shadowgraphy, he was awesome at it, and definitely had nothing to be ashamed of. He had amazing hands. Mac: And I think he’d be proud of these books, and pleased that he’s being reintroduced to the magic world in 1995. Mike: And in books that were obviously prepared with great care and affection for the subject…I can’t type anymore, Mac…I’m getting too misty eyed. Mac: Let’s change the subject. Bound to Please: The Collected Early Works of Simon Aronson By Simon Aronson. Mike: When I first began attending conventions, I had two magical bombs I would unload at about 3:00 a.m., just as a round of sessioning would start to break up. One of these was of my creation; the other was Simon Aronson’s. Simon’s trick always elicited that stunned silence which indicates that magicians have been profoundly fooled. When pressed for the method, I would never tip, however, if hounded enough, I would explain that the trick was Simon’s and was in a book that could be obtained from him. When Simon and I finally met some years later, he told me that my demonstrations were responsible for selling quite a few books. I am delighted to have the opportunity to (hopefully) do that again for a much wider audience, and without the need to have to stay up so late. Bound to Please contains reprints of three of Simon’s early publications - The Card Ideas of Simon Aronson, A Stack to Remember, and Shuffle-Bored, plus items which had appeared in Kabbala and The Last Hierophant. As Simon states in the Foreword to the book, he has not “sought to rewrite, revise, or update these works,” but there are some editorial notes which contain very useful bits of information. Since the original books were less than energetically marketed, much of the material in this reprint is little known and is deserving of greater recognition.
I would imagine that at one time or another I have performed every effect in The Card Ideas book. The first section of the book contains versions of the “Twisting 1-2-3-4” plot, a handling of “The Cards Through Newspaper,” some remarkable card locations, and an absolutely diabolical version of “The Spectator Cuts the Aces.” Section two is entitled “Ideas for Two Deck Effects” and contains the “bomb” which I referred to earlier. (I see no reason to give you any more help than that.) Section three contains ideas and routines for the memorized deck, including a variation of Louis Histed’s “Miracle Divination,” and some card locations that defy reconstruction. A Stack to Remember details the Aronson stack, which is one of the most ingenious card arrangements around. The majority of memorized deck effects can be done with any stack, but Simon’s stack has much to recommend it. Built into the stack are: three sequential poker deals, the Michael Zens “Any Poker Hand Called For” stack, a perfect 7 No Trump bridge deal, a Spelling effect, and some other stuff that even Simon didn’t know was there. The mnemonic system, which is used to learn the stack, is completely detailed with all the necessary word associations spelled out. This greatly simplifies the learning of the stack. (Before leaving this subject, I should mention that quite a bit of material on the memorized deck will be published in the near future. Take this opportunity to learn a stack and you’ll be ready when the flood hits.) Shuffle-Bored concerns itself with one effect, but it’s a stumper: Two spectators shuffle a deck of cards into a face-up/face-down condition. Without touching the deck and without any ambiguities, questions, outs or moves, the magician reveals how many face-up cards are in the deck and the red/black distribution of those cards. Simon’s discussion of this effect is extremely thorough, with full explanations of the method and alternate handlings. The material reprinted from Kabbala and the Hierophant includes three memorized deck routines and a card-stabbing effect using a gaff which was first mentioned in the Card Ideas book. These routines are uniformly excellent. So what else can I tell you? This is terrific material, described with intelligence and clarity, created by one of magic’s most ingenious thinkers. If you already have the original manuscripts, you will probably appreciate the convenience of the hardbound reprint. If you are unfamiliar with this material, then get ready for a treat. Mac: The first thing I noticed when I received this book was the quote on the back dust jacket from Mike Close hyping this book. I must admit that I was ready to pounce on you after your review of this book. I looked extra hard for flaws in the book hoping that I could catch you being soft in your review. I’m glad I read so carefully. You’re right, this is a cool book. All of the tricks are foolers, and most of them are suitable for devastating both laymen and magicians. I do feel it should be mentioned that a few of the tricks seem to be designed more for other magicians than the general public, and a couple of the items are what you might call “intellectual novelties.” By that I mean tricks in which something unexplained does occur, but the response is more “how curious” instead of: “Damn! How the heck did that happen?”
Mike: You’re correct in your assessment. I would classify some of the material as magician foolers, others are more appropriate in a casual setting with friends, and there are some that can be incorporated into your normal professional repertoire. By the way, the quote from me on the back of the book came from Workers #2, in which I explained a move which I developed to use with one of Simon’s tricks. I endorsed the book there. Mac: Nice Workers plug. Mike: Thanks. This reviewing gig doesn’t pay much, so you’ve got to do what you can. I say that if you’re a card guy, and you’re looking for some fine material to play with (and perhaps actually perform), this is a great book to check out. Mac: Yes, I didn’t mean to imply that I didn’t care for the book. I think it’s really great. Illusionworks 1 – Music for Modern Magical Performances By Steve Wiliford and Rand Woodbury Mike: As I sat thinking about how to review this product, I was reminded of an endorsement Roger Klause once gave, “For people who like this kind of trick, this is the kind of trick those people will like.” Illusionworks has released a compact disc of music specifically composed with the needs of “the illusionist, the manipulator, the dancer, and the choreographer in mind.” Illusionworks retains the copyright for the music, but the purchaser is free to use the music in public performances without any ASCAP or BMI infringements (something many magicians do not even consider when they appropriate recorded music for their acts). To describe music in words is difficult, and to give you any sense of what this disc is about I will need to use musical terms. If you don’t understand the lingo, be sure to talk to someone who does before you invest in any music. Ten pieces are provided, with each piece presented in a longer and a shorter version. The short versions range from 2:03 to 2:40, and the longer versions from 2:41 to 3:30. The purpose of this is to provide more music without the user needing to loop or splice. All the music is upbeat. Tempos range from a quarter note pulse of 108 (this is a metronome marking) to a very brisk 180. All the compositions are in a minor key or imply a minor tonality. The compositional format is to establish some type of rhythmic ostinato figure (either in eighth notes or sixteenths) that generally continues throughout the piece. Over this is layered a strong drum/percussion groove and melodic tiffs which are often of a funky/bluesish nature (several of these using a synth-brass sound). There is a technogroove piece, one which features a latin montuno piano riff, an interesting one with low marimba/fluty combination, and one with low pan pipes with a koto/bell type of lead line. The production on these pieces is excellent. The sound is clean, the drums “snap,” the grooves are solid, and the energy is high. (This is beginning to sound like American Bandstand.) Because of the use of the ostinato figures, I think it would be possible to edit out a shorter version of each piece, if necessary. Also, each piece ends cold (that is, it does not fade out), which should help punch the climax of any routine they accompany.
So, if you are looking for music to use with a stage routine you are putting together, should you buy this disc? I don’t know. You may buy it and discover that none of the pieces suit you. Or, you may find that several of the pieces are usable. As currently advertised, you are buying a pig in a poke. The $29 price rag is about what you would pay for two discs in a record store. And possibly you might find nothing of use on them, and there would still be the question of BMI/ASCAP licensing. I have a possible solution, but before I discuss it I want to mention two other sources for music for your act. In every city of average size there are recording studios. Most of these studios will have libraries of prerecorded music specifically designed to be used as background music. These are on disc, the production values are very high, and the variety is enormous. In addition, most of these pieces are offered in a variety of timings (2:00, 1:00, 0:30, 0:10). If your routine is “set” and is unlikely to change in the near future, you could bring a video tape of the routine to the studio and audition a wide variety of music, and in all probability find a piece which works exactly. The downside is that each piece of music will probably cost you around $100 (a ball park figure). The price will include the BMI/ASCAP licensing to allow you to use the music in your show. The second alternative is if your act is “set” and your intentions are to be as professional as possible. In that case, it may be worth your while to seek out someone to score original music for your show. While this is more expensive, the fact that amazing things can be done with computers and synthesizers does not put this option outside the realm of possibility. And no store-bought music can ever capture the “hit points” and nuances of an act the way original music can. I do have a suggestion for the Illusionworks company. According to the liner notes of the disc, it is their intention to release a second disc with “slower, dramatic music and compositions designed for the presentation of particular illusions and dance routines.” Perhaps when this becomes available they could offer a cassette with 25 or 30 second snippets of each of the pieces of the two discs. This could be offered at a minimal cost, and if the purchaser found that the music was useful he could return the cassette and order the appropriate disc. If a program like this could be worked out, I would have no problem in recommending this music without reservation. Mac: You know a lot more than I do about music. Tell me about this ASCAP and BMI licensing stuff. You mean I’m really going to go to jail if I use a song off my George Clinton album in my act? Mike: Well, here’s the deal. If you use any copyrighted material in your act and have not obtained permission (buy obtaining a license to do so), then you may be breaking the law. What happens is that many venues (bars, nightclubs, casino lounges, hotel lounges, etc.) pay a fee to ASCAP and BMI, which allows performers to use copyrighted material in their venues. That is why I never had to concern myself with this when I played with my trio, or did solo piano gigs in hotels. The hotel paid the fee. To make sure that you are covered, regardless of where you perform, it would be safest to get an annual license for whatever music you use. (There is a terrific article written by James Romeo on this in the July 1992 issue of MAGIC.)
Mac: You know there are some advantages to buying music without hearing it first. When I was a kid, I bought a record album called Music For Magicians, which turned out to be overly dramatic organ music. I had planned to use it for a serious manipulative act. It was so hokey that it turned my whole act into a spoof, thus changing the course of my career forever. Mike: Thank God for hokey organ music. If that album had been good, you might have just been offered $100 million by some Las Vegas casino. One last secret note: H & R Books has just purchased the entire Micky Hades Seattle book inventory. This is probably about 10,000 volumes. Keep your eyes peeled for some great deals from them.
July 1995 The Joke’s on Who? (Joke Book) Mac: Here’s a tough one. Suppose someone wrote a book that you think they have no right to write? A book filled with jokes and gags, most of which the author had no hand in creating. Maybe the “author” even says in his introduction that he “makes no claim that all of the humor in this book is my own.” But perhaps he doesn’t bother to list the sources of many of those jokes. He certainly doesn’t have permission from all the performers whose material he’s stealing. Let’s get this straight; this fellow has broken no actual laws. Still, I think this is a crime. Here’s why. If I’m a beginner I learn how to be a magician by imitation. That’s generally the way it works, and there’s nothing wrong with it. But if I’m a conscientious beginner, I only perform stuff that I’ve bought, been taught by the creator, learned at a lecture, or read in a book. Let’s say I buy the book in question and use a line or two from it. I should be able to assume that I have an ethical right to do so. If my ethical position is that I should only do stuff that the creator of the material grants me permission to perform, then I will be inadvertently violating my own ethical position. This of course doesn’t apply only to the beginner. The majority of magic shows are performed by amateur magicians. They don’t all have the time necessary to track down sources for all the material they perform. They assume that if an author puts an item into a book, then that item is fair game for them to perform. In this case, they’d be wrong. Let’s look at this from a different point of view. Put yourself in the place of the person who created this material. You know that good jokes don’t grow on trees; they are the result of a real effort put forth by a real person. You know this because you’ve sweated and slaved over a pad of paper or a keyboard every day of your life for the last ten years to come up with the lines that enable you to put food on your table and pay your rent. Some guy you don’t know hears your joke, writes it down, and sells it as if it were his own. Wouldn’t you have the right to be a bit steamed? Of course you would. Not only have you not been compensated for your effort, but your material now has less value to you because there’s a chance that people will have heard your material without having had to pay to see you. Here’s my dilemma as a reviewer. There is a new book that is filled with other people’s jokes and gags. I think this book is an ethical nightmare and that the guy who wrote it has committed a terrible act. My opinion is that no one should buy the book. This guy does not deserve your money or your support. I fear that even if I slam the book in my review, I might inadvertently help sell books to those who’d buy it just to see what all the stink was about. I’ve already bought one copy of this book to review. I don’t wish to be responsible for putting another dime in this guy’s pocket.
I don’t know if this is a good solution or not, but you’ve just read my review of this guy’s book, but I’m not going to mention his name, the name of the book, or the publisher. Mike: I’m with you on this, Mac, but I’m going to play Devil’s Advocate for a moment. Considering the space that you have taken to discuss this book, is it fair to the readers not to give them the information so that they can (if they choose to) find the book at a convention or at their local magic dealer peruse it, and then make up their own minds? I’m thinking that we should probably list the necessary info in the “Details” area at the end of the column. Since we’re split on this, let’s let Stan make the call; that’s why he makes the big money. Concerning the book itself, I have a couple of thoughts that I would like to direct to our readers. First: Just as the mere fact that you own a magic trick does not make you a magician, owning a book of one-liners does not make you a funny person. The funny people that I know are funny all the time (they may not be “on” all the time, but they are always “thinking” funny). To quote a recent movie, they are funny in their bones. If you think that the only way you can be funny is to fill your act with other people’s jokes, then I would seriously suggest that you reevaluate your approach to performing. It is the overreliance on this type of material that has so established the public’s opinion of the magician as “wise-guy.” Second: There are lines in this book that, if used without care and discretion, could easily lead the audience to believe that you are an arrogant smartass. There are lines that, if used with care and discretion, could still lead people to think you’re an arrogant smartass. And there are several lines that, if directed to the wrong spectator, could get you killed. Third: If you are so desperate to be funny that the only way you can do this is to use other people’s material, then sit at home and watch the 100 hours or so of stand-up comedy offered on cable each week and write down the lines you like. In a few weeks, you’ll have enough for your act. Then, if you ever work in front an audience of other magicians, you can experience the joy of watching the pens fly to the notebooks when you use a joke they haven’t heard before. And if you do this for a few years, you’ll collect enough material to put out a book. Just don’t expect to get much mercy here. Mac: I agree with everything you said. I think before we move on we should make it clear that your last paragraph was facetious. You’re not actually suggesting that people write down anybody’s lines. Practical Parlor Prestidigitation – A Lecture Demonstration By Marko The Great Eyeless Vision Act By Marko
Mac: As a child, my mother had only a few rules for the family and me. One of the main rules drilled into me by my mom was, “Practice what you preach.” This set of lecture notes by Marko of Spain begins with a four-page essay called “Some Preaching.” This sermon blasts comedy magicians and their supposedly modern tendency to draw out the length of their tricks by adding gags, bits and one-liners designed to get laughs. He suggests that a lot of magic is naturally funny - the situation provides the laughter. Being a comedy magician myself, I actually agree with Marko that much of what passes for comedy magic isn’t magic at all, and generally isn’t that funny. He also criticizes comedy magicians for relying too heavily on tricks involving audience participation. Since I wish that I had more parlor magic type routines which don’t rely on volunteers from the audience, I was excited that the bulk of this 18-page booklet would reveal five routines that Marko himself actually uses. You can imagine my disappointment when I found that of these five items, four of them involved getting up a volunteer from the audience. Also, there’s really very little that’s new in any of those five tricks. They are: the “Color Changing Hanky” (the sole trick without audience participation); a variation on an old U.F. Grant pick-a-card trick; a decent mind reading trick with cards; a very small addition to a brilliant idea from an early Karrell Fox book; and a routine combining the “Cut and Restored Rope” with the “Professor’s Nightmare.” The one thing here I hadn’t seen was a force of one object out of four. Marko says that credit for this belongs to either Carl Buchelli (a Spanish magic dealer) or Horace Goldin (of “Sawing a Lady in Half” fame). Should you buy this? I say save your money, Marko has obviously never met my mother. Mac: If you’ve ever seen someone do a good job with the “Eyeless Vision,” or “The Blindfold Act” as it is sometimes called, then you know how effective it can be. Many of the great mentalists use it to close their performances. Marko, a Panamanian magician now living in Barcelona, Spain, makes a good case in this manuscript for also using this trick in a “regular” magic show. That’s what he’s done for the past six years. Following traditional magician’s tricks like the “Egg Bag” and the “Cut and Restored Rope,” he closes his act with the “Eyeless Vision” trick. There is nothing here that’s new in the way of technique. Your eyes are covered with coins and adhesive tape, and then a cloth blindfold. Still, you are able to identify objects held up to you by audience members. The most useful parts of this 12-page manuscript are in the routine that is given here (there are two or three touches which I think are great), and the simple encouragement to go out and try this type of trick, even if you are not a mentalist. The manuscript explains everything you need to do the trick. I would recommend this wholeheartedly if it wasn’t written by the same guy who wrote Practical Parlor Prestidigitation.
Mike: I concur with your assessment of these two booklets. In the Blindfold manuscript, Marko assumes that you are knowledgeable and comfortable with the techniques involved. What is really of value here is the routine, and it is obvious that Marko has performed this a lot. He offers the kinds of tips and hints that only can be learned in performance. As far as the Practical Parlor Prestidigitation booklet, I was very surprised that Marko would set forth a thesis in his introduction and then turn right around and contradict it in the tricks he explains. A telling example of this contradiction is in the “Invisible Deck” routine, which is based on Karrell Fox’s idea of making the spectator into an impromptu stooge. In this routine (which has a bunch of the same jokes that are criticized in his introduction), Marko places the spectator in a situation in which she can look foolish. He then turns around and cues a playing card to her, turning her into a stooge. I don’t think this is a sound approach. If my trick hinges on a spectator “playing along” with me, I had better be as nice to her as I possibly can. Otherwise, I think she would be well within her rights to try to screw up the trick in any way she possibly could. Mac: I think that this is a huge stumbling block to all magicians, but especially comedy magicians. There is a tendency to belittle the audience volunteer, and through implication, all other audience members. There are a lot of lines in the earlier review of the book who’s name I cannot utter that put down people. I think Penn and Teller put it best in a recent interview when they mentioned that a magician once asked them, “Whose side are you on?” They responded (and I agree wholeheartedly) that unless you say you’re on the side of the audience then something is horribly wrong with the way that you look at entertaining people with magic. You are always on the side of the audience. Mike: Absolutely. I have a question for you. I don’t think I’m giving anything away if I mention that you do a lot of cueing of your onstage helpers. At the same time, (and I’m thinking of the bill routine here) the spectator is going through some dues. And yet, he cooperates fully with you. Any hints? Mac: No. Mike: Thanks, that helped a lot. Mac: Actually, I think that’s a really good question, and one I’ve thought about a lot. I do cue the guy on stage to do some things. He does get his money burnt up. But, I never ask him to do anything that he would look at as making himself look silly, and I never ask him to do anything of a secret nature while he thinks he’s lost some money. In other words, all the cueing takes place either before he thinks he’s lost money, or after he gets it back. Also, I really do try to be his friend while he’s helping me. He didn’t pay good money to be a part of my show. That’s not what he was expecting. I owe him big time. Also, in my act there are two places where I use audience participation; the success of my show really does depend a great deal on what happens between those people and me. I
want those two people to like me. They are the audience members closest to the action, and the way they react to me really does influence the rest of the crowd. Mike: I don’t want to make your head swell up, but that is terrific advice, and I thank you for sharing it. Before we leave the subject of magic and humor, I’d like to ask you one more question. We both agree that simply buying a book of gags and sticking them indiscriminately into your act is not a good idea. But what if one of our readers is genuinely interested in how to write comedy? I read Steve Allen’s book, How to be Funny, and found that it had some great suggestions as far as the craft of comedy writing was concerned. Do you have any other suggestions? Mac: There is a book by Judy Carter (who used to do comedy magic) called Stand Up Comedy - The Book. It’s really pretty good, although the names and addresses in the appendix, which point you to comedy club owners and bookers, are way out of date. Also, there’s a guy named Gene Perret who has written a number of well-received books on writing and performing comedy. Steve Forte’s Gambling Protection Series Volumes 1-4 Mike: Steve Forte is the president of International Gaming Specialists, a consulting firm which specializes in the area of “Game Protection,” and in this capacity has plied his trade to casinos worldwide. Mr. Forte also has a sensational set of “chops,” which he has put to excellent use on these four videos. These are not magician-oriented tapes. They have been designed to help gamblers who play in private games protect themselves from cheats, scoundrels, and scalawags (i.e., Bob Farmer). These tapes have been available for a while, but have been promoted only in the gaming market. The price has recently been lowered, and magic dealers are advertising them. Let me first discuss the material demonstrated on each tape, and then I’ll offer some thoughts on their usefulness for magicians. Volume 1 contains false shuffles (both overhand and riffle), false cuts, card stacking, shifts and crimp work. I was particularly impressed with the false shuffle work, and there is a demonstration of an interlace shuffle (not a tabled faro) which has to be seen to be believed. Volume 2 continues the discussion of card artifice with demonstrations of second, bottom and center dealing, peek work, marked cards, shiners and stripper work. Again, the material and the execution are of the highest caliber. Volume 3 finishes up the card section with demonstrations of holding out, mucking, deck switches and moves designed to cheat at specific games. The hand mucking demos absolutely blew me away. Diabolical moves, expertly performed Volume 4 was especially interesting to me because I know very little about dice work. There are extensive discussions on various forms of crooked dice, dice switches,
controlled dice shots, moves with dice cups (including a little beauty called a “Butterfly Cup”), and specialized moves for specific dice games. Again, there are moves on this tape that have to be seen to be believed (for example, the controlled dice shots). So, the big question is: Can a magician benefit from watching these tapes? Absolutely. But bear in mind, these are not teaching tapes. The moves are demonstrated (in some cases, many times and from various camera angles) and a slow motion replay accompanies the explanation, but you are not specifically taught how to perform these sleights. But if you have any knowledge at all about the subject you can certainly figure out what must be going on. And if you are currently working on any gambling techniques, these tapes give you an expert example to work toward. I was very impressed in three ways: the quality of the production, the quality of the material, and the remarkable skill of execution. If you invest in these tapes, I would guess that you would find yourself returning to watch them again and again. Mac: This is amazing stuff! Before I saw these tapes, Steve Forte was a legend to me, and now I know why he has the reputation he does. I, like you, found the dice stuff to be the most fascinating and devastating. I think you’re right that this is because I don’t know anything at all about cheating with dice. I’d imagine that the card stuff on these tapes would have the same killer effect on me if I were completely unfamiliar with that kind of cheating. As it is, I was completely blown away by each of these tapes. In my mind their chief value lies in the fact that after watching these four tapes you’ll have visual proof that constant and studied practice will eventually make you a god among men or get you killed in a back room blackjack game. Mike: I couldn’t have said it better myself. Two enthusiastic thumbs up! Self-Working Close-up Card Magic By Karl Fulves Mac: This is the latest in the Dover series of Self Working books written by Karl Fulves. This one has 56 “Foolproof Tricks” presented matter of factly with no hype or chit-chat. He tells you what to do, how to do it, what it looks like and, in many instances, what to say while you’re doing it. Because there is no nonsense here, everything is clear and easy to follow. Each trick is pretty brief;most are under two pages. As with all of the prior books in this series, there is some good stuff here. There are gambling tricks, tricks with gimmicked cards, rising card tricks, color changing decks, and various other kinds of card magic covered here. About the only thing you won’t find included are tricks using sleight of hand. Mr. Fulves has included some tricks that, in their original versions, required some sleights. He has reworked those tricks to eliminate any sleight of hand. While in just about every case I think this weakens the trick, I don’t think it ruins them. There are some tricks here which you may have heard of: “Out of This World,” “McDonald’s Aces,” “Excelsior Card Rise,” “Simplex Card Rise,” and some others.
Yikes! Those are good tricks. The question is, should these tricks be in a book written for the public and sold in regular bookstores? I think yes, it’s fine. You don’t go seeking out magic books in the Game section of your bookstore unless you have some sort of an interest in magic. These Self Working books have much in common with the Bruce Elliott and Bill Severn (and even Prof. Hoffmann before them) books that I hunted after when I was a kid. I would have bought this book, sat in my room, and gone cover-to-cover, learning every one of the tricks presented here. My mom and dad would have been card trick weary in a week. The other question that I know my buddy Mike is going to ask is, “If Fulves has compiled a book of magic tricks he didn’t create, how come you seem to be cutting him so much more slack than the guy who wrote that stinky joke book?” First, some of the tricks are Mr. Fulves’ creation. Second, most of those that are not his have been altered in some way by him (usually to eliminate sleight of hand). Most magic tricks are built on the back of tricks that came before them. And to me the most important distinction is that, as opposed to the aforementioned joke book, sources and inspirations are doled our here when and where appropriate. The elimination of all sleight of hand does detract from the impact of some of the tricks, and in certain cases the sleights are replaced by doing something secret under the lame excuse of placing the cards out of sight (either under a table or behind your back) in order to “hypnotize the deck” or some other nonsense. In general, though, the negative aspects of the material are few. I would say that this is a good value. Mike: When I first received this book and noticed the caliber of material in it, I immediately screamed, “Exposure!” But then, like you, I realized that someone would have to seek out this material if they wanted to learn it; it was not being thrust in front people who had no interest in the subject. Then I thought, “This stuff is just too good to be given to laymen.” Then I realized, “Magicians don’t read and appreciate material, why should laymen?” I finally figured out what bugs me about this book, and that is simply that the material presented is so good that there should be a higher price to pay to learn it. There really is some great material in here. Mac: I think that you’re definitely right about the higher price. And that doesn’t just mean dollar-wise. I think people really miss something when compilations like this hand out such good material and don’t ask the consumer to contribute any effort toward its acquisition. As a magician, you lose the experience of stumbling upon some hidden treasure in the process of looking for material to perform. Mike: Part of the development process in any field is the ability to go through the literature and find information of worth. If you don’t go through that process in your formative years you can be hindered. The only way you know about good material is if someone else who has done the homework tells you about it. Mac: That’s also one of the negative aspects of the Money Magic videotapes we reviewed last month. It’s easy to fall into the trap of thinking that those guys did all the research
and dug up all the tricks worth doing. But, to get back to Fulves’ book, when I was in high school I worked behind the magic counter at Caufield’s Novelties, the only place to buy magic in my home town. At that time the first book in this series had just come our, and I found that if I demonstrated just one trick from that book I could practically guarantee a sale. This book continues in that tradition. There are about ten tricks out of the 56 presented here that I’m sure would get that sale. I’m just glad I don’t have to go back to being that longhaired high school magic geek and prove it. I’m very happy being the shorthaired magic geek I am now. The Silver Fox Strikes Again! The Scotty York Video Volume 3 By Scotty York Mac: This is one of those times when I was glad there was videotape. I’d never seen ScottyYork before. He doesn’t work many magic conventions, and I don’t get to Washington, D.C. very often. I was looking forward to catching “The Silver Fox” (as he calls himself) in action. Based on this tape I didn’t care for Scotty York as a performer at all. His style really turned me off. There is a warning on the front of this tape that states that it contains material and language suitable for mature audiences only. That has nothing to do with my assessment of this performance. Some of my favorite performers are filthy dirty, and maybe even vulgar, but Mr. York’s manner of performing, especially the way he dealt with women, just gave me the willies. The first half of the tape is Scotty York performing in a bar. He does a couple of gags and then gets into the performance of the tricks. In this section he performs “The Card on Ceiling,” “The Panty Tear” (like the Hat Tear but a little lower), “The Ring in the World” (a borrowed ring in a nested containers trick), “Lucille” (a variation of Sidewalk Shuffle which I found confusing), “Mr. Lucky” (an oil and water variation), “Come to Casey’s” (a prediction trick), and a “copper - silver” coin trick. Having voiced my opinion about Mr. York’s performing style let me say that generally the tricks are good. And, surprisingly enough, I found him much more pleasant to watch in the explanation half of the tape. And that’s what you’ll watch this tape for. The explanations are clear. The methods are clever, and it’s obvious he cares a great deal about giving the proper credit to his inspirational sources. In addition to explanations for the above mention items, he teaches his handlings for various sleights. These are the side steal, the Elmsley Count, the diagonal shift, the Mercury Card Fold, a card force, and an overhand shuffle control. Also taught, but not explained, is a great method for the “Bill in Cigarette trick.” The tape is about two hours in length and the video and sound quality is good. The tricks are good, and if you’re not put off by Scotry York’s performance, there is really something of value here. Mike: Here’s an example where video can have a negative impact. If the performance style turns you off, it would be easy to dismiss the material as well. This would be a
mistake, for three of the routines on this tape (“The Ring in the World,” “The Bill in the Cigarette,” and “The Card on the Ceiling”) were really big secrets for a long time. Those who got the “work” from Scotty kept these tricks very tight. Each of these three are worth studying in order to discover the thought and attention to detail that goes into the construction of a professional caliber routine. So my advice would be that if Scotty’s style is a problem, watch the performance segment with the sound off - you’ll understand what’s going on - and then jump ahead to the explanations and find out why Scotty is considered to be one of the premier thinkers in magic. Odds and Ends Mike: During the changing of the guard here at Product Review, a number of items came into the MAGIC office. In these first three columns, Mac and I have tried to focus on items of timely interest, but there were things in the “Big Box o’ Stuff” that Stan sent me which are deserving of review. Do not let my brief comments deter you. Each of these items is worthy of your attention. If you’re hitting any of the summer conventions, try to track them down and see for yourself. Book Department From Ellison Poland comes Wonderful Routines of Magic, The Second Addendum. The original WROM was (and still is) one of my favorite books. This Second Addendum is a worthy continuation. There are 57 items, mostly focusing on cards and coins, from creators such as Aaron Black, Peter Duffie, Gene Maze, Harry Milliken (whose coin transition in WROM is a classic) and Dan Tong. Well worth checking out. Aldo Columbini’s React is chock full of magic with cards, coins, ropes, balloons, thimbles and other stuff. All feature the Columbini trademark of maximum effect for minimum effort. And a helpful appendix gives you the description of 16 standard sleights used in the routines. My favorite book of the bunch is An Encyclopedia of Lies, Frauds, and Hoaxes of the Occult and Supernatural by James Randi. The subtitle of this book is “James Randi’s Decidedly Skeptical Definitions of Alternate Realities.” The subtitle says it all. This is an encyclopedia with attitude. If your belief system is the same as Mr. Randi’s, you will find this book to be informative and hilarious. If your belief system is different, it will be far less amusing. I thought the book was great, and it is a gold mine of patter possibilities. St. Martin’s Press is the publisher, and you should be able to find it at your local bookstore. Video Department Greg Wilson’s video Double Take is an encyclopedia of information on the double lift. Greg’s performances, demonstrations and explanations are excellent. The tape is a terrific value for the money and, when combined with the study of classic card texts, should help you add this move to your arsenal in a hurry.
An enormous amount of information is contained on Mark Trimble’s Video Encyclopedia of Silk Magic Volume 1. Mark is the author of Volume 4 of the Encyclopedia of Silk Magic, an excellent book which continues the series started by Harold Rice. This videotape draws material from all four of these classic texts. The focus is on the basics, covering such information as silk weights and cuts, silk care, silk folds (single and multiple), accessories, fasteners and single productions. This is an excellent tape and I highly recommend it. If you have an interest in the McBrideBurger-Neale Mystery School you might wish to invest in the Magic Mystery School Video. This 25-minute video was prepared by the Canadian Broadcast Company for their “Man Alive” series. It is the most intelligent and thoughtful documentary on magic that I have ever seen. All your pals are here: Jeff McBride, Eugene Burger, Robert Neale, Max Maven and (was that?) Bob Fitch. They speak eloquently and with passion about the Mystery School project. All the profits from this video project go to the Mystery School Scholarship Fund. This is another video I highly recommend. Old Gags Never Die, They Just Get Better Produced Department Lee Jacobs Productions, which for many years has manufactured the ever popular “Pride and Joy” photos, has come out with the “Have I shown you a picture of my kids?” photo. The photo, of course, is of two baby goats. These are well made, the photo is cute as hell, and (if it suits your style) it’s a funny gag. Last, But Definitely Not Least Department Jon Racherbaumer mentioned Chuck Smith’s What If lecture notes in his column a couple of months ago. I cannot say enough good things about this material, so I will simply say buy it, buy it, buy it. Perhaps if Chuck sells enough of these, it will light a fire under him and he’ll write that book that all of us have been waiting for. Mac: I also have a copy of the Chuck Smith notes, and as someone who had already been fooled by some of this stuff, I was happy to come into possession of this booklet. I think it’s the best thing we’re reviewing this month.
August 1995 How We Spent Our Summer Vacation…By Mike and Mac Mike and Mac: We’ve both been on the road a great deal during the last four weeks, and this has made it difficult for us to do our normal back-and-forth discussion of most of the reviewed items. We did, however, hit several conventions, and want to pass along to you some of the cooler things we saw. We’ll return to our normal format next month. Mike: This summer I attended both the World Magic Summit and the IBM Convention in Oakland. Here are some of the things I saw that are worth your consideration. “In A Gilded Cage,” from the Collector’s Workshop, is a great effect - and a beautiful prop. A borrowed watch vanishes and appears inside a small brass birdcage, which had been locked inside a walnut chest. I have a great patter line for this routine, the only thing I don’t have is 650 bucks. In the November 1992 issue of MAGIC, Max Maven wrote “In the modern world the art of magic is largely the province of Caucasian males.” We know little about those ethnic minorities who participated in the American magic scene because little has been written about them. Jim Magus begins to correct this problem in his book Magical Heroes - The Lives and Legends of Great African American Magicians. This is a fascinating and important book, one that will be of great interest to those who wish to get a more complete picture of the history of American magic. My only criticism is that I wish that the production values of the book were higher. I would imagine that those who collect this type of material would be disappointed in the quality of paper used and the physical layout of the text. Chuck Fayne is back with another small booklet full of interesting information. His latest tome is entitled The Rat Trap & Other Snappy Effects You Can Do With Your Little Deck. The main topic of interest is a very odd effect in which a card signed by a spectator shrinks. Not only does the card shrink, but apparently the spectator’s signature shrinks as well. There is very odd optical illusion at play here, and though I have not had a chance to perform this, I have seen Chuck do it and the impact is very strong. As with all of Chuck’s material, the method relies more on audience management and a bold, assured performance style than on difficult sleight of hand. This is reasonably priced and is well worth checking out. I enjoy combining origami with magic, and so was very intrigued with a new trick by Ken Martin called “Fusion Loops.” Knowledge of this trick came to me via the underground some years ago, but I was unaware of the method. Here is the effect: The magician shows two small loops of paper, one black, one white. They are stuck together
by a small dot of adhesive. The loops are separated and then are stuck together again. A cigarette lighter is waved under the loops and they are shown to have fused together - that is, the loops are unfolded and shown to be one piece of paper. I like the effect a lot, although you will probably want to give some thought to reworking the switch involved. The trick comes with everything pre-folded so you can try it out immediately, and the folding instructions are included so you can make replacements when the originals wear out. Meir Yedid has released “Star Gazer,” a mental effect by Anthony Lindan. The spectator is given a postcard full of photographs of famous celebrities. The spectator thinks of one of the pictured celebrities, and the magician/mentalist reads his mind. This is a nicely produced prop (that is, the postcard) and the method combines two principles to achieve a very clean-looking effect. My only fear is that the spectators may wish to take another look at the postcard, which they cannot do. Meir says that in his experience this doesn’t happen. Two suggestions: 1. This type of trick plays strongest if it appears to be of an impromptu nature, so perhaps it is best used in an informal situation. To this end it is great if you have a friend in Southern California who can mail you the card from Hollywood. 2. A friend who does mentalism professionally suggested using the postcard as one test in a routine of tests. In this way, less attention is drawn to the postcard. In any event, this is a clever trick, very reasonably priced, and well worth checking out. A-1 Multimedia has released Don England’s “Ultra Collectors.” The effect is that four tens, which had been previously placed aside, “collect” three chosen cards. This method is great, and it whizzed right by me. Very little sleight of hand is required, because an ingenious (and very nicely printed) gaffed card does all the work. Again, this is another very reasonably priced trick, and one that can be used for laymen or to “smoke” your pals at the magic club. Finally, from Martin Breese come two Sherlock Holmes pastiches written by Val Andrews: Sherlock Holmes and the Egyptian Hall Adventure and Sherlock Holmes and the Houdini Birthright. These are not magic books per se, but they have the venerable Holmes involved in cases with a magical theme. They are fun reads, and I enjoyed them. Mac: I too ran across my share of cool stuff at the summer conventions. The most fascinating prop in search of an effect I saw comes from Dr. Sawa, the wildly ingenious Japanese inventor. He has created “Stretcher.” The routine that comes with this trick is kind of goofy, but the props are great, and will fill your mind with possible uses. There are two card cases, one red and one blue. One of them has been stretched width-wise so that while it is the same height as a normal card case, it is about twice as wide as it should be. The other case is the correct width, but it has been stretched so that it’s way too tall. These cases, beautifully produced and manufactured by Ton Onosaka’s Magic Land, are accompanied by two playing cards that correspond dimensionally with the two card cases. Somebody is going to come up with something really cool with these. The other cool thing from Japan is a Tenyo item called “Zone Infinity.” While this is the typical Tenyo plastic magic trick, this is one you might actually carry with you and
perform. You use it as your key chain. The key chain holds a quarter, and you use the plastic key chain, the quarter, and a key to accomplish a very baffling key-throughquarter penetration. Keeping with the theme of penetration, Wellington Enterprises’ “See-Thru Guillotine” is the most puzzling slicing-off-somebody’s-head kind of trick I’ve seen. The stocks are completely transparent, and yet the blade passes cleanly though someone’s neck, leaving them unharmed, but neatly severs carrots placed above, beside and - get this! - below the spectator’s noggin. It costs some dough, but it fooled me over and over. Plus, it is thoughtfully and solidly constructed with a couple of great safety features. Another costly but great item is “Jump!,” John Kennedy’s gizmo that makes stuff jump out of a glass. I had seen the ads for this and thought, “Eighty-seven dollars and fifty cents to get a pencil to jump out of a glass?,” but it’s well made, and very reliable. Once the pencil (or straw, or whatever) jumps from the glass, the spectator can pick it up themselves. At that point, it’s too late, there’s nothing attached to the jumping item or the glass. I loved it. Another John Kennedy note: It hasn’t been perfected yet, but keep your eyes peeled for the release of John’s trick “The Tiny Human Being.” Another electronic item I liked was John Cornelius’ “Wizard’s Cellular Phone.” This is a really good-looking fake cellular phone that has a computer chip inside onto which you can record about 12 seconds of your voice. This can be used to reveal a card, or whatever you so desire. Actually, my favorite part of the instructions is John’s suggestion on how to use the phone to meet an attractive stranger. One item which looks vaguely electronic but isn’t is Vanni Bossi’s “The Best Rising Card Gimmick in the World.” You have a card selected and returned, and then the deck is dropped into a clear plastic bag. A crank is attached by suction cup to the front of the bag. As you turn the crank, a card rises from the pack. It is the wrong card. You turn the crank the other way and the card descends back into the pack. Again you reverse your cranking direction and this time the correct card rises from the deck. All this while the deck is enclosed in the plastic bag. This is a funny prop and very low-tech - the kind of thing I really like. But for me, the best low-tech, funny, marvelous item I saw this summer was Chad Long’s “Now Look Here.” This is also a card trick, but a very different kind of card trick. A spectator selects a card and returns it to the center of the deck. You announce that the card is now on top of the deck. Turning over the top card reveals instead a message that directs you to look in your pocket to find the chosen card. A card is withdrawn from the pocket. It is turned over to reveal another message instructing you to look again at the first card (which you’ve dropped face down onto the table). When this tabled card is turned over, its message has changed to read, “Look in My Hand.” The card in your hand (which used to say, “Look on the Table”) has changed into the spectator’s selected card. My description of this may be confusing, but the effect is easy to follow (and very simple to execute) during the actual performance. This is a really good trick - and Chad Long is
a really good magician. As a matter of fact, seeing him perform late at night in the hotel lobby at the World Magic Summit was one of the big convention highlights for me. Steve Bedwell Taped! The Steve Bedwell Video Volume 1 Mike: Steve Bedwell is a medical doctor in England. He is also an extremely clever creative and entertaining magician. He is also a genuinely nice guy, which makes him one of my favorite people to be around. He also came to the 1994 IBM Convention in Orlando and walked away with the Gold Cups in the close-up competition. On this tape you can see the award-winning “Walkman” act, and you can learn some diabolical standup and close-up routines. The material taught on this tape comes from two sets of lecture notes, Parked Card and Other Maneuvers and Siamese Signatures and Other Oddities. Because these notes had limited distribution in the states, the material will be unfamiliar to most of you, and all of the routines are worth learning and performing. The video emphasizes Steve’s card material, but there is one rope routine, “At a Loose End,” which is a killer. This is a four-phase routine that begins by stretching a six-inch piece of rope into a six-foot length. The rope is cut, restored, the ends are removed (leaving an endless loop of rope), and two different ends placed onto the rope, restoring it to its normal condition. I lusted after this routine when I first saw Steve perform it, and you’re lucky he’s tipping it on the tape. The card magic is uniformly excellent, with one routine, “Parked Card,” being especially notable. A signed card travels from the deck to the top of the card case twice, while the spectator burns every move. The third time the card ends up folded inside the card case. I guarantee that this will nail you the first time you watch it, and that the method is great. Other card items include a version of Ed MarIo’s “Estimation Aces,” a version of Vernon’s “Travelers,” which includes a discussion of a useful drama technique called “Point of Suspension,” and several useful sleights, one of which, “The Dribble Toss Control,” is easily worth the price of the tape. I have fooled some very knowledgeable cardmen with this control. Steve’s award-winning “Walkman” act is shown in performance only. It is a wellconstructed act, with some very clever moments. I have only one negative comment that can be listed under the heading: “What’s wrong with this picture?” In the course of his performance, Steve uses a line that was originated by a professional mentalist who still uses it in his act. Dr. Bedwell should surgically remove this line at the earliest possible opportunity. All in all, this is a very worthwhile tape, and I highly recommend it. Expert Sleeving Made Easy Expert Topiting Made Easy
By Carl Cloutier Mac: Carl Cloutier has won an awful lot of magic contests in a short amount of time. In his award-winning act, he makes unrestrained use of both sleeves and not one, but two topits. He has just released two tapes in the A-1 Multimedia Magic Made Easy series. In the topit tape, Carl teaches us how to switch some items and how to vanish some other items. For the switching of items, topiting is combined with a bit of sleeving. The tape begins with a short attempt to explain Carl’s general theory on the basic use of the topit. Actually, that’s not entirely true. The tape begins with Mike Maxwell making a goofy attempt at using the topit. This comes off as simply a lame attempt at humor. Then, following Carl’s introduction, he gets right into a jumbo coin routine. While there are a couple of good things in this quick paced vanish and reproduction sequence, to me, it lacks any real impact. The explanation of the moves involved is next, and this is one of my three chief grievances with this tape. After the talk through of the explanation, we are treated to a slow-motion run-through of the entire sequence. Nine separate times we are treated to a slow-motion run-through of the entire sequence! If we want to see a certain sequence again, we all have rewind buttons on our machines. To repeat it over and over on the tape is very annoying, and very wasteful of both time and tape. Here’s my second big gripe: The next items performed and taught are a switch of a real egg for a fake egg, a switch of one ball for another ball, a switch of one deck of cards for another deck of cards, and a switch of one pack of cigarettes for another pack of cigarettes. If these four things sound as if they are similar, they’re not. In fact, they are absolutely identical. The moves and the timing are precisely the same for each. Instead of showing us, for example, the ball switch, and just telling us that you can also use this same switch to switch an egg, or a deck of cards, or a pack of cigarettes, we have to watch the performance and explanation of each of these four essentially equivalent items. Not only that, but following each of the four items, we are presented with each of those items again in slow motion. Nine times! That’s 40 times we are presented with basically the same information! I found myself actually shouting at the television I found it so frustrating. The other thing that really bothered me about this tape was that even when the tricks were shot from what should be the ideal viewpoint, straight on, there were still glaring flashes of items as they were being tossed into Carl’s coat. This shouldn’t be. There were some good things about this tape. While English is not Carl’s first language, it doesn’t seem to hamper his style to speak it. In fact, I found him to be rather charming. Also the trick “Snap It Aces” uses a really deceptive switch of one packet of cards for another. In fact, this was the only item on the tape where it didn’t look like Carl was simply tossing stuff into his coat.
The sleeving tape begins with Carl giving valuable advice on the type of material and construction to look for in buying and using a jacket for sleeving. There is a bill in cigarette, a vanishing and reappearing finger ring, a few card tricks, some basic coin effects, a sequence with small balls, and a transformation sequence featuring a sugar cube and a single die. There are a few weird glitches in this tape. Carl explains a coin vanish that he doesn’t perform, and in the explanation of the ball sequence, he seems to have lost a couple of the props between the time he performs the trick and the time he executes the explanation. This leads to the awkward situation of Carl asking us, during the explanation of a ball switch, to “suppose” that a ball is resting on his palm and that a red hanky is yellow. The whole thing becomes very clumsy. The effects presented are at least more varied than those on the Topit rape and, although that same slow motion overkill and flashing of the moves are also present here, I think this tape is overall better. This isn’t meant to imply that I liked this tape. I cannot recommend either of them. Mike: Let me preface my remarks by saying that I have a certain prejudice against the use of the sleeves or the topit. I feel the same way about them as I do about lapping - the techniques are powerful and can be deceptive, but magicians fall in love with them and overuse them. If I were going to utilize these techniques, I think I would only use them to “clean up.” In other words, the spectators believe that the effect is over, and then I use my sleeves or a topit to get rid of something. Done in this way, the gestures, which must be used to toss the item in the sleeve or the topit, are not associated with the actual effect. When the effect and the necessary gestures coincide, I think that these actions become “tells,” and an astute spectator will begin to notice that every time the magician’s hand disappears inside his coat something “magical” happens. You are correct in your comments on the switches utilizing the sleeve and the topit. This portion of the tape is padded mercilessly. I did like the card switch, and I was very impressed with the routine where four coins vanish and appear in four different pockets. The readers should also know that the actual construction of the topit Carl uses is not discussed on the tape. Anyone who purchases these tapes should ask this question as they watch, “Am I being deceived by the techniques demonstrated, or am I being impressed by the adroitness of the execution?” This is not a trivial question. Perhaps the answer to it explains the response that a performer gets from an audience of magicians. Mac: That’s right. I think these tapes - and if the truth were told, Carl Cloutier’s act itself - are like pornography to most magicians. They want to do what they’re seeing, but they know they’re never going to. They just enjoy sitting at home in front of their television sets watching someone else do it.
A Warning and a Query Mac: Another thing I saw at the World Magic Summit was the little “Car Buggy” that is being advertised and sold by Tannen’s. In the ad it states that this is the same prop that was used by Juan Tamariz on “The World’s Greatest Magic” television special last November. Beware! This is not the same prop used by Juan. ] Mike: After writing all these short convention item reviews, it occurs to me that it is very easy to write a short positive review of an item. If I write, “This is great! Buy one today!,” then you, as a reader, don’t need to know much more. The creator of the product is happy, the dealers are happy, and you’re happy. I wish I could do the same for products that aren’t very good. I’d like us to do a semi-regular segment called “Total Crap,” which would include items I believe are not worth your money. I would like to do this without having to go to great lengths to explain why. If you’ll accept my opinion when I say, “This is great,” will you accept it if I say, “This is lousy?” I’d like to know your thoughts.
September 1995 My Cup Runneth Over Mike: I bought my first synthesizer, a Yamaha DX7, way back in 1984. Three factors made it a “hot” machine: the sounds it produced were new and totally cool; the synth could store 32 sounds (“patches” in the lingo) in its internal memory, and a ROM cartridge held another 64 patches, giving the player instant access to 96 different sounds; and it was one of the first synthesizers that could be interfaced with a personal computer. This meant that you could store patches on floppy disk and load them into the synth when you needed them. So I began to collect patches. I swapped them with friends, downloaded them from BBSs, and bought them from commercial vendors. I accumulated thousands of patches. And then I made a horrible discovery. Since I had so many sounds, I felt that for any given project I had the “perfect” patch somewhere on disk. If a piece of music needed an electric bass sound I would go through the hundreds I had, looking for the one which would exactly fit my needs. The upshot being that the auditioning process took so much time and drained so much energy that it was unlikely that much music would be created. This same overload of possibilities is happening in the world of desktop publishing. I just read that the new version of Coreldraw will come with 1,000 fonts and 25,000 pieces of clip art. I fear that by the time a person tracks down the font that has just the perfect “e” in it, the newsletter is going to be late. I bring up this subject because I am becoming acutely aware of this information overload in the magic world. When I began studying magic books in the mid 1960s, there was a reasonable amount of information available. The standard texts had to be purchased (Tarbell, Vernon, Hugard and Braue, Bobo, Ganson) but beyond that there were only a few choices. The announcement of a new hardbound book was an event, because there was only one or two a year. And these were fairly small books, rarely running to more than 250 pages. This situation continued through the 1970s. Interesting magazines appeared during this time, and since they were on a monthly schedule and were small in scope, it was possible to read, absorb and digest the information before the next one arrived. This all changed in the early 1980s, due mostly to the publications from Kaufman and Greenberg. These were big books, important books, books that, like the Dingle and Roth books, contained the sum of a performer’s creative output. These books demanded to be studied. But there was no time, because they just kept coming. Other publishers joined in, to the point where it is now rare for there not to be a major new book released each month.
Video has now joined the party. We are in the age of “encyclopedic” videos - multivolume videos that bombard you with a ton of useful information. And in your free time, you can hop on the Internet and download thousands of kilobytes of chatter from magis around the world. I can’t help but think that magicians are now in the same boat I was in when I was trying to make some music. With so many choices available, is anybody out there actually learning any new tricks? I don’t see how this informational deluge can continue at its current pace. The market will flood and consumers will get burned out, or the publishers will begin to run out of old magazines (to reprint) or old magicians (to anthologize). Until then, I suggest you save your pennies, because you’re not going to believe how much new stuff is going to hit before the end of the year. I remember someone asking (in reference to all the amazing new synthesis gear), “I wonder what Mozart would have said if he had had all this equipment?” I think he would have said, “Thank God nobody’s discovered electricity! Now I can get some work done.” Mac and I have been traveling around the country, and it has been tough to hook up to do our normal back and forth “chit chat.” For this reason, the conversation will be cut to a minimum this time, and we’ll try to get back to our original format next month. Duffie’s Card Compulsions By Peter Duffie Mike: Peter Duffie’s name should be familiar to all readers of MAGIC, since he has contributed often to the tutorial columns. In fact, you should go back and work through Mr. Duffie’s creations which can be found in the following months: February, July and December of 1992; September and December of 1993; and March and December of 1994. If you try these tricks, you won’t have to wade through the rest of this review; you’ll simply rush out and buy this book. Card Compulsions is the first hardbound collection of Mr. Duffie’s material. He has published many smaller manuscripts but, unfortunately, these are not well known in the United States. Informed cardmen are, of course, aware of Duffie’s talent and creativity, but this new book should go a long way toward generally establishing his place among the upper echelon of magical creators. Peter Duffie is a member of a group of highly talented Scottish magicians, whose head guru is the legendary Roy Walton. The Walton influence is very apparent in the elegant methodology of each of the 59 routines in Card Compulsions. You will learn much by carefully studying the construction of these tricks. Mr. Duffie has an easy and enjoyable writing style, and he has the ability to hide really important information in a casually tossed-off sentence. I’ll say it again: study this book carefully. So what do you get? The routines here run the gamut, both in terms of effect and technical demands. Included are reworkings of popular plots (“Triumph,” “Point of
Departure,” “Royal Marriages,” The Hofzinser Ace Trick,” “The Lie Detector,” “Collectors” and many more), interesting four Ace tricks, poker deals, new plots of Mr. Duffie’s creation, and a couple of diabolical card locations. I will mention only two of my favorites (why should I do all the work for you?): “Divisory Capacity” is an effect in which two selected cards are found when the deck suddenly separates into red and black cards, and the selections are the only odd cards in each section. I did this for some musician buddies a few days ago and the reaction was incredible. “Thoughts on the Bottom” is a sensational card location. The method is very sneaky and you’ll kick yourself for not having thought of it. In addition to the 59 routines, there are also 16 sleights that are explained. These include various palms, passes, lifts, cuts and lapping moves. Joseph K. Schmidt did the drawings, and they are excellent. As far as the technical requirements are concerned, the routines range from those that involve little digital dexterity to some which demand serious sleight of hand. Mr. Duffie assumes that the reader has some familiarity with a few Roy Walton moves (“Trigger” and the “Spread Half-Pass”) but, for the most part, everything you need to know is explained in the book. This is a terrific book and it is a “must buy” for all you card guys out there. The book has a charming and unique layout, the routines are great, and at the beginning of each trick there is a “bonus” illustration for those days when you just don’t feel like studying a card trick. Mac: I too thought the Duffie book was good. What is it about those guys from Scotland? I guess it really is the Roy Walton influence. When we were in England last month I met another Scot who gave me a book to take a look at. It’s called Chaos Theories by R. Paul Wilson, who also thanks Roy Walton. It’s very clever coins and cards with a bit of mentalism tossed in. I’d recommend it, as well. Also, we should mention that the Duffie book is being recalled. One whole page is printed completely wrong. If you already have the book, Richard Kaufman suggests that you return it to the dealer where you purchased it. They can return it to the publisher and get a replacement for you. The new correctly printed books should be ready by the time this sees print. New Card Control Systems By Joseph K. Schmidt Mike: The word “new” in the title of this book is not absolutely accurate in the sense that much of this material was published and sold by Mr. Schmidt in the mid and late 1980s. However, the distribution of these manuscripts was very limited and I’m sure that most of our readers will be unfamiliar with the information contained in this book. What is new is Mr. Schmidt’s attempt to streamline and update several of the established systems for stacking cards using either riffle or overhand shuffles.
The focus of this book is very narrow, and if you don’t include any gambling demonstrations in your close-up work you will probably have no use for it. However, if when a spectator says to you, “I’d hate to play cards with you!” you would like to quickly and deceptively run up a few poker hands, this is the book for you. Chapter One contains the “Last-Word Poker Run-up System,” which is a method for stacking hands using an overhand shuffle. The method is fast and can be made to appear very natural. In addition, the same system that allows you to stack four Aces also sets you up to deal a royal flush on the subsequent round. “Easy Poker” is based on a routine from Farelli’s Lend Me Your Pack and is a great simplification and improvement of the original “Harrison Deal.” The effect is a demonstration of how a cheater can use the discards to arrange a good poker hand. This is 90% bluff and 10% technique, and the effect on laymen is terrific. “C.U.S.S.” is a system for stacking using a riffle shuffle. This is a clever system and is well worth studying. The chapter concludes with three routines based on the riffle shuffle run-up. In Chapter Two, Karl Fulves provides additional information on the material presented in Chapter One. Chapter Three contains poker routines based on the Michael Zens’ “Quadruple Poker Trick.” Schmidt’s reasons for altering the Zens’ set-up are valid and interesting, and the tricks explained provide maximum impact for minimum work. Included in this chapter is the “JKSubway Deal” that, as Schmidt states, “might appeal to those who do not have enough time to perfect a regular bottom deal.” Chapter Four is an update on running up two hands during one overhand shuffle sequence. As I said up front, this is not a book for everybody. If you have more than a passing interest in gambling demos, you will find valuable information in this book. It has been published in a limited edition, so don’t hesitate too long before you decide. M.I.N.T. Volume 2 By Edward Marlo Mike: L & L Publishing has released the second volume in the MarIo in New Tops series. This is a compilation of all the material that Ed released through the pages of the New Tops. Like the first volume of the series, Volume 2 is a massive tome, packed full of card guy stuff. There is far too much information here to attempt any kind of summary, but I will tell you that 20 years ago I took the time to assemble my own compilation, and I was happy that I did. One trick in particular “Colorful Surprise,” (I may be wrong about this title, since I don’t have the book in front of me as I’m writing this) was a favorite of mine and fooled everyone who saw it. It’s as simple as this: If you do card tricks, you will want this book for your library.
Encounters of the Close-up Kind By Dan Fleshman Mike: Dan Fleshman is a very busy professional in the St. Louis area. By my count, this is his 13th publication and it includes 15 routines from Dan’s professional repertoire. Of the 15 items in this book, three are non-card items, and it is two of these three items that I found to be the most interesting. The title of “One Ahead, Coins to Purse” says it all, although incorrectly. This is a “Coins Across” routine in which the purse has been faked to allow you to get “one behind.” “Crayon thru Quarter” substitutes a crayon for the cigarette normally used in this routine. Unfortunately, other than this prop substitution there is very little else which has been added to the standard routine. In my opinion, David Williamson has the definitive “Object-other-than-a-cigarette thru Quarter” routine. However, many restaurants provide crayons to occupy younger patrons, which makes the use of the crayon in the routine very casual and spontaneous. However Dan uses a shuttle pass to switch out the gaff at the end of the routine. If you carefully read the last part of his routine, you can probably discover an action that would cover the switch of the coins in a very natural and motivated way. “Ring Flight (idea)” is just that, and it is an idea with which those who do the trick may find exception. The card routines did very little for me. I consider these to be personalizations rather than variations. Anyone who acquires any facility with a deck of cards will begin to favor certain techniques. When they adapt/adopt another performer’s routine, they will substitute the moves that they feel most comfortable with. The routine has been personalized, but has not been substantially strengthened in any other way. This is how I feel about the card routines in this book. These may play very well in Dan’s hands, but are no stronger than the original versions. There are 15 items in this book, and it sells for 15 bucks. That’s a buck a trick, not a bad deal in these inflated times. But I cannot recommend this book to you for three reasons: 1. The routines are difficult enough to put them beyond the reach of the average close-up worker. I’m talking about moves like the Half-pass, the Muscle Pass with a half dollar, and the T.G. Murphy “Mid-Air Triple Cut.” Anyone who has these techniques under their belt will have already come up with their own personalizations for these effects. Those of lesser ability won’t be able to do them at all. So who is this book for? 2. The English language takes some pretty serious blows to the body during the course of this book. Since I have been guilty of less than elegant use of the language, I try to ignore grammatical mistakes, but they come so often in this book that they begin to annoy. Dan also gets my award for the unintentionally funniest line of the year for the following sentence, “Your left hand will now lower quickly about four to six inches causing inertia to take place.” 3. All the illustrations for each routine are placed at the end of the text. This means that you have to flip through several pages to find the drawing that goes with a passage of text. When your fingers are full of cards, this is not an easy task.
If you are a fan of Dan’s earlier works, you may wish to get up and seek out this book. My advice is just to sit there and let inertia happen. The Art of Card Manipulation By Jeff McBride Mac: It used to be that if you wanted to learn card manipulations you were embarking on a long quest. You learned a couple of things from a book, then you hunted down somebody who knew a bit more than you, and tried to convince them you were worthy of their imparting some bit of knowledge to you. It took a long time to acquire a lot of methods. That’s why card manipulators can be seen sitting around at magic conventions trading moves. That’s not to say that there aren’t card manipulations in books, there are. Walter Gibson and Henry Hay have a couple of things in their books, Greater Magic has a couple of items too (including what is probably the best method for producing single cards from the back palm). Lewis Ganson, Jean Hugard and Cliff Green wrote some great stuff, and Ed Marlo put out a really excellent (but small) pamphlet. A lot of moves and techniques have appeared in publications that are out of print or are hard to track down. Jeff McBride has combed all those resources and assembled just about every useful move or flourish you’d want to learn (both stage and close up). This is a three-volume set of videotapes, and if you watch and learn everything on here, you’ll be one of the world’s great card manipulators. These are great tapes. Really great! Volume One has the easiest stuff, number two has harder stuff, and the third one has the stuff that will make your hands bleed. Volume One teaches you how to fan a pack of cards, do some flourishes, execute a number of visual color changes, and produce cards in various ways. Each of the moves are first performed by Jeff and then taught with clarity and care. The tape ends with Jeff performing a lengthy routine suitable for close up or parlor type shows, and then explaining the pieces that go into that routine. Volume Two really gets more into what I would call stage manipulation. Jeff teaches you how to prepare cards for stage manipulation, how to produce single cards and split fans, how to produce cards while wearing gloves, how to use body loads, and how to do exhibition card fans (colorful fans with special cards). While none of this stuff is easy, Volume Three, as I’ve mentioned, contains some extra difficult items. Fancy cuts and shuffles, card spinning, more card productions, and the diminishing cards are taught here. The tape finishes with Jeff expounding on the history of playing cards and performing (and explaining) a routine based on that history. All of the tapes begin with fast-paced excerpts from Jeff’s act, and all contain many more items that you might gather from my brief rundown above.
Jeff McBride can do everything on these tapes. And he’s a very fine teacher. If you watch these tapes and practice your butt off, you will be able to learn this stuff. Everything is very well explained. All the cool stuff from those hard-to-find sources has been assembled here and presented in a clear, straightforward manner. These are the first magic teaching tapes that I’ve actually enjoyed watching. This is partly because the material is so good, and partly because Jeff is so good. Also, even though it’s video, it reminds me of one of my favorite magic books, Keith Clark’s Encyclopedia of Cigarette Magic. Like Clark’s book, these tapes cover one single subject in an almost encyclopedic manner, but also they are chock full of interesting tidbits and general advice on how to be a better magician. Even if you don’t perform card manipulations in your act, you could still learn a lot from these tapes. The tapes are edited well, the music used actually adds something to the tapes, and the video and sound quality is good. I can’t recommend these enough. They are completely terrific. Paul Gertner’s Steel and Silver Video Series Volume 1 By Paul Gertner. Mac: This is the first volume in a proposed three-volume set of videos teaching the tricks already taught in Steel and Silver, the book published last year by Kaufman and Greenberg. This tape teaches seven of the routines from that book. With the exception of one trick, “Ring Thing” (a rather useless variation of the old taking off your thumb bit), all the material is very solid, commercial stuff that Paul obviously uses in his work as one of the world’s most successful corporate magicians. Paul performs these tricks in a studio recreation of a hospitality suite situation. That is, he’s seated at a table with people sitting and standing all around him. You get to see how people respond to this material. And they do respond. The magic is very strong. The explanations are shot well. They are easy to follow, with no padding or silly repetitions. Paul is good teacher. He lets you know what he thinks are the important points and why he considers them important. Besides “Ring Thing,” the other six items taught are: “Triple Die-lemma,” a routine with a felt hat and dice which climaxes with the production of a huge die; “A Familiar Ring,” a coins across routine; “The Vanishing Card Stab,” a cross between the card stab and vanishing deck tricks; “The Bill in Cigarette,” a really deceptive version of this effect; “Photo Copy,” a hard to describe effect with a photocopy of your hand (the required photocopy comes with the tape), which is very offbeat and one of my favorite items on the tape; And last, but certainly not least, is “Salt Shaker Surprise.” To me this last item is worth the price of the tape. It breathes new life into the old vanishing-salt-shaker-innapkin trick. The question that begs to be asked is, “Why buy this instead of the book?” The answer is simple, “I wouldn’t.” I would use this as a supplement. You can use this as a guide to see how Paul does these tricks. Although, in my mind, that’s not necessarily a good thing. It
might be better to really study the book, and be forced to put your own spin on these items. Besides, you get many more tricks in the book that you don’t get on the videotape. On the other hand, the nice thing about this tape is you do get a good sense of just how great these tricks are. As I say, I recommend using this as a supplement to Paul’s book, or if you prefer to learn by video, or you simply can’t read. Daryl’s Expert Rope Magic Made Easy By Daryl. Mac: These three tapes are Volumes 6, 7 and 8 in A-1 MultiMedia’s Expert Magic Made Easy series. I find these three tapes to be tough to review. As anyone who has seen my show or my lecture might guess, I am a big fan of rope magic. I am also a big fan of Daryl. However, my opinion is that most rope magic is not really very commercial. In the realm of rope tricks, a lot of the material just is not very magical. It falls more into the category of puzzles or bar bets. “Can you tie a knot in this rope without letting go of the ends?” is not really a great premise for entertaining a group of people. On the other hand, I learned how to do most of these tricks and “betchas” when I was first starting out in magic. And I had a lot of fun with them. So who am I to condemn the teaching of them now? Plus, being a fan of Daryl’s, it’s fun to watch him do a trick that you know he just read two minutes before and would never really perform for people. If puzzles and bets were all that were offered, these tapes would be crap. But there is also some really great stuff on here. Stuff of Daryl’s, Stewart James’, George Sands’, John Cornelius’ and much more good commercial rope magic. This is really like a video encyclopedia of rope stuff. So, let me try to bring some order to this increasingly rambling review. The first volume (subtitled “Learning The Ropes”) is really for people who have no experience whatsoever with rope magic. It tells you what kinds of rope are best for what kinds of tricks, how to tie some different knots, about a zillion different versions of “Grandmother’s Necklace,” tricks (or puzzles) you can do while your hands are tied together and a couple of very basic (almost sleightless) cut and restored rope effects. This has the feeling (as do all the volumes) of a lot of repetition, but there are subtle differences in all the variations presented. Plus, Daryl is a good teacher and uncommonly fun to watch. The second volume (subtitled “Stringing You Along”) gets into tricks that are a bit more complicated, and a lot more magical. Daryl explains some ring and rope moves, the “Linking Ropes,” some more rope penetrations, a couple of rope ties, the different kinds of rope gimmicks, and many variations of the basic “Cut and Restored Rope.” The third volume (“The Great White Rope”) has more knot stuff. To me, knots disappearing and reappearing gets to be very boring, and I suspect that spectators feel the same. Also on this volume is more “Grandmother's Necklace” variations, more penetration effects, more ring and rope tricks, and more variations of “Cut and Restored
Rope.” But the reason most people will buy this tape is that the last two things taught are “Daryl's Rope Routine” and his “Jumping Knot of Pakistan (his presentation of Pavel’s jumping knot trick). These are both great tricks and expertly taught. Actually, all of the material on these three tapes is well shot (A-1 even goes the extra mile and breaks out the patented “A-1 Kitty Cam” for one shot) and very well taught. If you’re just learning to do rope tricks and you like to learn from videotape, then these tapes are a good place to start. On the other hand, if you like to learn from the written word, you might get more out of Daryl’s Rope Trick manuscript or the two George Sands’ booklets, Ropesational and Sandsational Ropes. Mike: There’s not much I can add to what you’ve already said, Mac. I enjoyed all these videos as much (if not more) than any I’ve seen, and for all the reasons that you’ve discussed. There are two things I might mention, though. On each of the tapes the performer/teacher drops in little pearls of wisdom (in the form of hints, touches, suggestions) that are great value. These “tips” are only acquired through years of experience. As a viewer/student you are getting information at a fraction of its actual cost in terms of time, energy and commitment, so pay attention as you watch. Also, you can learn a lot about the art of performance by watching McBride, Daryl and Gertner teach. They bring to their teaching the same qualities (enthusiasm, energy, intensity, timing, humor, projection) that make them great performers. If just a little of this rubs off on you, you will have received more than your money’s worth. Quintuplicate Coincidence Revolutionary Routines with Aces By Scotty York. Mike: Scotty York has passed along two new routines that will be of interest to those of you who perform magic in the real world. Scotty is a pro, and everything he releases is designed to be performed in the less than ideal conditions found in restaurants, bars and hospitality suites. Both of these routines include all the patter (which you will want to adapt to fit your personality), all the psychology, and all the thinking that went into their construction. In addition, their technical demands place them well within the reach of the average close-up worker. I highly recommend both of these. “Quintuplicate Coincidence” is Scotty's handling and presentation of David Van Vranken's version of “Gemini Twins,” a trick originally published in Karl Fulves’ More Self-Working Card Tricks. The routine uses a deck consisting of cards from various casinos. The performer chooses two cards as predictions. Two spectators chose two cards in a very fair manner. The backs of the predictions and the selections match (climaxes one and two). The spectators have also managed to choose the “mates” of the two predictions (climaxes three and four). And for a final climax, the deck is spread face-up showing that the two pairs are the only red cards in deck of all Spades and Clubs. Most amazing of all (from the magician’s point of view) is that this effect is entirely self-working. Jamy Ian Swiss
wrote the lucid 18-page instruction manual that contains every bit of information you’ll need to successfully perform this effect. Also included is the necessary deck of casino cards. This is one you’ll want to add to your repertoire. I know I did. Revolutionary Routines with Aces is a manuscript which details three routines using three gaffed cards from the Brother John Hammon “Final Aces” routine. The three routines are the product of a mind-meld of Scotty, Tim Conover, Simon Lovell and Bill Wells, and the results are three streamlined, hard-hitting and practical pieces of commercial magic. My favorite (and Scotty’s as well) is the “Ghost Aces” routine which cloaks the Four Ace routine in a gambling presentation. You get a 32-page manuscript which details the history of the effect, all the thought processes which went into the creation of each routine, optional versions you may wish to explore, full patter and presentation, and some sundry sleights which are used. You also get the necessary gaffed cards, which are improvements over those originally used in the Hammon routine. None of the three routines are difficult, and all are designed to let you begin and end “clean.” If you have avoided Four Ace routines because they are tough to sell to real people, you will want to check out these routines. You won’t be disappointed. Magazine News Mike: Several new (and perhaps not so new) magazines have been sent my way and I wanted to bring them to your attention. Dr. Faustus Journal is a Swedish magazine published and edited by Tom Stone. Tom is a talented and enthusiastic young man, and he writes that magazines such as Pabular, Apocalypse and Richard’s Almanac inspired his journal. The magazine is in Swedish, so I can’t give you much of a run down other than to say that I was familiar with some of the routines in the first two issues and they are topnotch. Contributors in the first two issues include Lennart Green, Lennart Nilsson and Tom Stone. If you read Swedish I’m sure you’ll want to check this out. Bob Read sent along several issues of a British magazine called Abacus. Al Smith is the editor/publisher and his articles and commentaries on the magic scene are refreshingly candid. One issue had a review of a well-known American magician’s lecture tour and the comments are eye opening. There are tricks (mostly cards, but with good people like Peter Duffie, Stephen Tucker and Paul Wilson) and Walt Lees has a semi-regular column. An interesting magazine and well worth your attention. Drop Mr. Smith a line for ordering details. Our own Jon Racherbaumer has been quietly publishing a magazine called MO. It is “an independent, innovative quarterly periodical dedicated to teaching the inside work of the
latest close-up magic.” Contributors include Jean-Pierre Vallarino, Ed Marlo, Simon Lovell, Jean-Jacques Sanvert, Bernard Bilis, Dai Vernon, Chris Kenner, Peter Duffie, Chad Long and other guys you’ve probably heard of. Here’s where to go if you need more than your monthly MAGIC fix of Racherbaumer. Last, but not least, is a magazine/booklet/freebie that Richard Kaufman offers to his customers. It’s called Facsimile. I have issue number three in hand, and it contains reprints of Marlophile 1 &2. These were extremely limited edition publications and contain some fascinating information. There is no subscription price, you only receive Facsimile if you buy books directly from Kaufman.
October 1995 The Dog Days of Summer Mike: The summer conventions are over, and the deluge of new books, videos and tricks has dwindled to a trickle. I have been on the road for almost all of August, and Mac is on his way out for a two-week stretch. This is the sixth column we have done together, and we’ve discovered that we don’t really like each other very much. We’re going to stay together for the sake of the children, but this month I think we’re just going to keep it brief. Then again, I may just be suffering from the heat. Mac: You know, last month Mike mentioned “Information Overload.” As it turns out, he was completely wrong when he said we were in an age of information overload. This month, we ain’t got squat to review. Since taking on this reviewing job, we’ve had at least one really cool thing to talk about every month, like Magic and Meaning, The Edward Victor Books, McBride’s Card Manipulation Videos, etc. This month is pretty slim pickings. Hopefully, everybody’s just waiting for Christmas to release his or her big new products. Or maybe they don’t know how to contact us. If you’d like to have your product reviewed, please send a copy to both Mike and me. Our addresses are in the product info box at the end of this column. If you need the item back, please send us the necessary self-addressed stamped envelope. What’s Up Deck? By Aldo Colombini Mike: Aldo Colombini is an Italian who has recently made the United States his home. Italy’s loss is definitely our gain. In the early years of his career, Aldo performed under the name Fabian, and you may have encountered some tricks published under that byline. (Curiously, during the same period of time, Frankie Avalon toured Italy using the name Vanni Bossi. Coincidence? You be the judge.) Aldo and Andie Colombini are the head honchos of Mama Mia Magic, and they are now a vibrant part of the dealer room scene at many conventions. There are three excellent reasons to stop by the Mama Mia booth: 1. Good magic; 2. Good conversation; 3. Free M&M’s. What’s Up Deck? is Mama Mia’s first hard-cover publication. In this book, Aldo has collected many of his favorite previously published card routines, and has supplemented these with routines which have not previously seen print. In his introductory comments, Aldo states that this compilation “is a book of simple and direct magic ... I am publishing this book to try and give something to magicians that they can use.” If you are a card enthusiast of average ability, I think you will find that Aldo delivers on his promise. There are far too many routines included for me to go into great detail on each one. The chapter headings should give you the general idea. The chapters include “Torn &
Restored,” “Cardbox Tricks,” “Packet Tricks,” “Red and Black,” “Four Aces” and “Feature Routines.” All bear the Colombini trademark of maximum effect for minimum effort. Tony Dunn did the excellent line drawings, and there is a very useful “Glossary of Moves” so you can track down any unfamiliar sleights. If you’re at a convention with Aldo, be sure to stop by the Mama Mia booth (or better yet, hang out at the bar and swap snail jokes). But if you can’t do that, this book is the next best thing. Mac: I, too, enjoyed this book. One of the things I liked about it was the feel. By that I mean the sense you get that the author is a really nice guy. Not only does that come across when Aldo performs but, even more difficult, he manages to get that agreeableness across in his writing. Not a bad trick. The Ultimate Bill Switch By Kevin King Mike: Kevin King is a full-time professional magician and is the editor of MagiFax (a newsletter which has been mentioned before in this magazine). Besides being a very funny performer, he is also an accomplished technician, and he thinks a great deal about the sleights he uses in his professional work. Kevin has developed some new work on the venerable “Hundred Dollar Bill Switch,” a move which is now a standard part of the close-up worker’s arsenal. Without giving anything away, Kevin has come up with a way to make the switch more fluid. There are no pauses, and the overall effect is that one bill “morphs” into the other during the course of folding and unfolding it. The instructions are concise and are accompanied with nine serviceable line drawings. If you are already familiar with the original bill switch, you should be able to incorporate Kevin’s changes very quickly. If you are not familiar with the switch, you should be able to learn everything you need from Kevin’s instructions. I’m using Kevin’s handling. You’re going to want to, too. Anti-Drug Routines for Magicians By Roger Linden Mike: Roger Linden’s reason for incorporating anti-drug routines into his school shows is a very personal one: he lost a son and a daughter-in-law to a drunk driver. He includes one anti-drug routine in every children’s show he does, using the concept that it is possible to have fun during the show and still get across an important message. The routines in this manuscript use standard props. If you do kid’s shows, you probably own them already. Included are routines using the “20th Century Silks,” “The Miser’s Dream,” “Paper Tear,” “Forgetful Freddy,” “The Funnel Trick” and others. Even if you chose not to use Linden’s exact routines, his approach could easily be adapted to other routines in your repertoire.
If you’re a school-show performer and have an interest in adding an anti-drug routine to your show, this book will give you an excellent starting point. Mac: This is your brain on drugs. This is your brain on magic. Any questions? The Fun Approach to Children’s Parties By John “Mr. Fun” Cooper Mac: This 30-page, comb-bound, 8-1/2” x 11” booklet gives you practical tips on designing a kid show, basic advice on how to sell that show (complete with four pages of sample promo material), four actual routines, suggestions for further reading, and a list of other magic tricks suitable for a kid-show audience. As a person who is actually interested in and likes performing for children, I found this little booklet to be a good value. It doesn’t really go into detail about any of the subjects touched on, but it does address a number of topics of concern to the beginning children’s party entertainer. If you are new to that field, I recommend that you take a look at this. If you are waiting for the definitive book on this subject, however, you’ll have to hold out until Danny Orleans releases his long promised text. Illusionworks 3: An Illusionist’s Notebook By Rand Woodbury Mac: Pay particularly close attention to the sub-title of this book and you’ll be fine. “An Illusionist’s Notebook” means that these are pages from Rand Woodbury’s idea book. These are illusion ideas, not illusion plans. There are no building dimensions or blueprints here. In most cases, just the basic concept of a routine, along with a couple of approximate sketches, is all there is to each of the 35 trick ideas presented. Don’t get me wrong. I don’t think that’s necessarily a bad thing. On the contrary, I think that this is pretty useful idea. I just think it’s important to know what you’re getting. To me, the only negative is that Mr. Woodbury is a pretty bad writer. Now I’m fully aware of the fact that I’m not a genius when it comes to shaping sentences, but that doesn’t mean that I don’t notice when someone else flubs it up. But, again, I liked this book. I found a couple of ideas I thought were really worthwhile and stimulating. Probably everyone who reads the book will find something they think is interesting. And something they think is really stupid. My personal votes are: In the category of Stupid - a set of illusion stairs that would be physically impossible for a person with knees to get into or out of; and in the category of Interesting I nominate “The Human Dart Board,” a trick that involves a woman from the audience throwing giant darts at her husband. Mike: You’re right, Mac. The key word is “notebook.” These are ideas, and as such can be a springboard for someone who has the resources to actually build these illusions. Curiously, you and I both hit on the same trick as our favorite one, although you didn’t
give the readers the full effect. The actual effect is that a woman throws giant darts into her husband’s crotch. Since reading Rand’s book, I have come up with a totally nongaffed method. The only drawback is that after each show the performer must change his name and move to another state. Also… Last month, Mac mentioned that he enjoyed R. Paul Wilson’s book Chaos Theories, but we forgot to include all the necessary information. Here it is now: A4 size spiral-bound, $20 ought to cover everything. From R. Paul Wilson, 21 Laverock Drive, Penicuik, Mid Lothian, Scotland, EH26 OJL
November 1995 Not For Sale to Minors Mac: A few of months ago, Mike mentioned a number of new magazines that he’d received and enjoyed. I thought I’d begin this month by mentioning my favorite. Within the first year’s publication of MAGIC, an advertisement appeared here with a couple of crudely drawn guys yammering at each other about a new magazine called The Crimp. The ads were different each month and all of them were hilarious. They were written and illustrated by Jerry Sadowitz, a person I knew by reputation only. Mr. Sadowitz had written some very good books on card magic. Also, my roommate at the time, comedian John Riggi, had told me a wild story about some crazed Scotsman who was on the show with him at the Montreal Comedy Festival. It was this same Jerry Sadowitz. Anyway, The Crimp ads were so intriguing to me that I was quite ecstatic when I spied an actual copy of the first issue on the coffee table during a visit to the Max Maven compound. Once again I found myself laughing out loud at both the cartoons and the writings in this one-man endeavor. But I was lazy. I didn’t subscribe. Years passed. I was going to England to do a pilot for a TV series - with Jerry Sadowitz. He was the nicest guy. He and Douglas Cameron (a guy who works with Jerry on the behind-the-scenes part of the magazine and who, I understand, actually has a routine for the Jack Hughes “Attaboy” prop) were so friendly to me. The TV show was not so good, but not only did I get a chance to meet Jerry and Douglas, I got a chance to acquire a complete file of back issues of The Crimp. What’s in The Crimp? It’s really more of “a ‘zine” ‘ than “a magazine.” It is hand drawn and lettered by Jerry Sadowitz. In every issue there is at least one thing that makes me laugh out loud. Not just snicker, but also really, really laugh. There is also always something most people will find offensive. And it seems an afterthought, but in addition to the filthy cartoons and rants, there is what I consider the best selection of actual magic tricks of any current magic magazine. A couple of notes. When I say that there is something to offend most everyone, I mean it. The language is filthy (but artful), and some of the comments are mean. Each issue says plainly on the cover Not For Sale to Minors. You have been warned. Mike: You’re right on all counts. The magic is excellent, the humor is childish and unbelievably vulgar, and I also laugh out loud when I read it. Dai Vernon’s Ultimate Secrets of Card Magic
By Lewis Ganson Mike: The original edition of this book came out in the late 1960s. By this time Vernon had taken up residency at the Magic Castle, and Lewis Ganson contacted Bruce Cervon for help in compiling material for the book. Cervon writes, “I sent this material to Lewis Ganson envisioning the fantastic book this choice of effects would make, not as good as the Dai Vernon Book of Magic but certainly as good as the Inner Secret Series.” The material was indeed top-notch but, unfortunately, the physical production of the book was extremely poor. The book appeared to have been typeset on a typewriter, the reproduction of the photographs was not good, and (perhaps in an effort to make the book appear to be physically imposing) the book was padded with a great number of blank pages. As Cervon writes, “Perhaps the worst hardbound book I had ever seen!” Fortunately for all of us, L & L Publishing has republished this book in the high quality format that it deserves. The text has been revised and corrected, the excellent Steve Young photographs have been re-screened (including the missing photo from Ross Bertram’s “Bottom Steal and Recovery”), the excess blank pages have been eliminated, and the book has been laid out in the same format as the Vernon Chronicles books. Besides material from the Professor, there are sleights and routines from a veritable who’s-who of card men: Larry Jennings, Bruce Cervon, Fred Kaps, Ross Bertram, Alex Elmsley, Persi Diaconis, Jack Avis, Roger Klause, Charlie Miller, Roy Walton, Francis Carlyle and more. This is material of the highest caliber. I poured through this book when I was in my late teens and, at one time or another, I have done every trick in here and most of the sleights. (There are a couple of moves that I could never get the hang of, so if you do “The Perfect Circle of Cards,” “Slow Motion Card Vanish,” or “Benzon’s Shuffle,” please let me know. I’d love to see someone do them.) In fact, there are two moves in here that I use in almost every show I do. What else can I say? If you’ve never owned a copy of this book, get one. No card man’s library is complete without it. If you have the earlier edition you will be delighted with this reprint. I wish the Professor could have seen it. He would have been delighted, too. P.S. There is a very limited deluxe edition available. Mac: Yes, this is fine. I mean really fine. The paper is great. The cover (which matches the other Vernon books by L & L) is lovely, the whole deal is just great. Also, anytime anyone wants to see “The Perfect Circle of Cards,” all they need do is ask me. When demonstrating this item I prefer to leave the second finger showing because it is, in the words of Lewis Ganson, “certainly a peculiar sight and rather humorous. Paul Harris’ Cardian Angel By Paul Harris and Mike Maxwell Mac: This is Paul Harris and Mike Maxwell’s take on the deck-of-cards-as-flip-book animation effect made so popular by Dan Harlan’s “CardToon” trick. The effect is as
follows: A spectator tells you their name, and picks a card; you rifle down the edge of a portion of the pack of Bicycle cards and one of the little printed angels riding a bike jumps off the bike, drags a card into view, turns it over, revealing not just the selected card, but the spectator’s name as well. Being a huge Paul Harris fan to begin with, I was very intrigued by the ads that have recently appeared for this item. I was excited to see how this trick looked and to get a chance to try it out. The try-out took place on my wife, Jennifer. Her response was, and I quote, “Oh... My... God!” Pretty astonishing coming from a woman who has seen a boatload of card tricks. She has seen Dan Harlen’s “CardToon” and actually preferred “Cardian Angel.” The trick is easy to accomplish and really is quite astonishing. There are a few minor points that need to be addressed, which neither the advertisements I’ve seen nor my description above make clear. First, unlike “CardToon,” the entire deck is not used as a flipbook. Second, you must find out the spectator’s name and preset that name in the deck prior to approaching the spectator to perform the trick. Third, the spectator cannot touch any of the cards, including their “name card” (although I have yet to have anyone ask to examine the deck, I’m sure it will happen). And finally, the deck will display 150 different names, but they are all male. If you do this trick for a woman, then you must ascertain a male name that is meaningful to her. Here’s a question for you, Mike. My recollection is that when “CardToon” hit the streets, you were less than taken with it. What didn’t you like about it and do those same arguments apply here? Mike: The main problem I had with “Cardtoon” was that the trick could really only be done for one person at a time. I didn’t think that this was particularly practical in a reallife performing situation. “Cardian Angel” also suffers from this problem, but perhaps this is not so important, since you are emphasizing the interaction with one spectator. There is also the problem of having this hugely gaffed deck that you must dispose of in some way. Since you must prearrange things anyway, perhaps a solution would be to add the necessary animation cards to 34 real cards. This would enable you to do several tricks and then finish your set by doing “Cardian Angel.” Anyway, I’m sure that this will the next trick that everyone will be playing with (especially after the batteries on their “D’Lites” burn out). And the people I’ve shown “Cardian Angel” (in a casual rather than a formal setting) have also been vocal in their reactions. The Magic Menu: The First Five Years By Jim Sisti Mike: If you derive a portion of your income working in restaurants or bars, then you are probably already aware of Jim Sisti’s magazine, The Magic Menu. Jim started the
magazine in the fall of 1990, and it has appeared bi-monthly ever since. The purpose of the magazine is to address issues and offer information that will be of value to those who ply their magical trade in the rough-and-tumble real world of restaurants and bars. And in it’s five-year history it has achieved these goals. L & L Publishing has released a hardbound volume containing the first five years of The Magic Menu. This volume contains all 30 issues of the magazine, plus a bonus section of tricks from people like Simon Lovell, Paul Green, Scott Wells, David Acer and 1995 IBM Close-up winner Jon Allen. In addition, there are very useful indices of contributors, articles and tricks. If you are unfamiliar with Jim’s magazine, the format is as follows: There is usually a cover article focusing on a well-known performer in the restaurant/bar field. Included in the past five years are articles by or about Bill Malone, Scotty York, Jamy Ian Swiss, Harry Lorayne, Doc Eason, Eugene Burger, Bert Allerton, Barry Govan, Ray Mertz, Dan Garrett, Dan Fleshman, Kirk Charles, David Acer, Jerry Camarro and others. There are regular columnists including Paul Green, Al the Only, Simon Lovell, Ray Mertz and Chris Hurlbert. Each issue also contains a section of tricks and a product review section. There is ton of information contained within the 380 pages of this collection. Because of the wide variety of personalities and viewpoints included, you will find tips, hints and suggestions that apply to your own performing situation. The tricks are practical and performable, but I think that it is the advice that can only come from years of real-life performance that you will find most useful. And because L & L has reprinted these magazines exactly as they originally appeared, you will be treated to a brief history of desktop publishing. If you are currently doing restaurant or bar magic or if you have a desire to enter this area of performing, this collection will be of value to you and I recommend it. Mac: While I certainly knew of this magazine’s existence, and enjoyed Jim Sisti’s column in Genii, I had never read an issue of The Magic Menu prior to receiving this book. I very much enjoyed it. One thing that Mike barely mentions that I found very interesting is the reviews of tricks and books from the perspectives of people who work in a real restaurant environment. If you don’t already own all these issues, this book is a really good investment. The Lost Cheesy Notebooks Volumes 1 and 2 By Chad Long A couple of issues back I mentioned that one of the summer convention highlights for me was the opportunity to meet Chad Long and watch him work. These two lecture-note type booklets offer really good examples of why I found his work so appealing. Each booklet contains nine tricks, and they are all good. Effects range from a marvelous version of the “Card Under the Glass” to a PlayDoh trick, to a trick with a toy dart gun. A couple of these tricks have appeared in the trick section of this magazine in the last few months.
Check out those free samples and then, if Chad’s stuff seems like your cup o’ tea, order these booklets. Mike: This is very nifty material, reasonably priced. Give Chad a vote of confidence and pick up these booklets from him. Also... The Siegfried & Roy 1996 Calendar is a beautiful 12-month calendar that measures 12” by 24” when opened. In addition to lots of full-color photos of the two Masters of the Impossible and their wildlife pals, it’s also marked with the dates their show is playing at the Mirage and with the birthdays of both Siegfried and Roy. Balloon Magic is a 52-page spiral-bound booklet by Marvin L. Hardy. It gives step-bystep explanations, complete with accompanying photos, for 12 figures that are made using the 321 (or “bee”) balloon.
December 1995 Stocking Stuffers Mike: After talking to most of the publishers during the summer conventions, I thought there would be deluge of books and videos out in time for holiday season. But for one reason or another, many projects seemed to be delayed and will not appear until spring or summer of next year. Two major new releases, one book and one video, have appeared in time for your holiday shopping. So if you have a “card guy” in the family or a big fan of Paul Harris, you may find that your magical shopping needs have been met. Cardshark By Darwin Ortiz Mike: The Federal Express deliveryman’s timing was impeccable. He arrived with a galley copy of Darwin Ortiz’s new book, Cardshark, just as I was leaving for the airport to fly to Italy. Thanks to him (and Darwin), an eight-hour flight passed by very pleasantly. Darwin made reference to Cardshark several times in his book Strong Magic, and several of the effects he described seemed too good to be true. So here’s the bottom line: This is a sensational book which more than lives up to its advance billing. The material in Cardshark is divided into three sections titled “Impromptu Miracles,” “Presentational Showpieces” and “Gambling Routines.” The technical requirements range from routines that are fairly easy (in fact, there is one self-working routine) to routines that demand virtuoso-level “chops.” Ton Onosaka did the remarkable illustrations, and the combination of these drawings and Darwin’s clear and concise text make learning these routines a pleasure. In the Foreword to the book, Darwin brings up an important point, one that I wish more would-be authors would consider. He writes: “To justify its existence, I feel a new trick should be different from what has come before. And, to the extent that it resembles any previous tricks, it should be superior to them either in plot, method, or presentation (or in more than one of those categories).” At the end of each routine Darwin has a section called “Comments,” in which he discusses those aspects of the routine that he has attempted to strengthen. You may or may not agree with him, but at least you will understand why he felt that each routine should be included in the book. In addition, each routine is accompanied with a section of “Performance Tips” (which many times includes the full patter script) and a section of “Credits.” Cardshark contains 30 routines, so for the sake of space I will mention only a few of my favorites. “The Psychotronic Card” is the first routine in the book and it is outstanding. An unknown card is reversed in a red-backed deck. The spectator selects a different card
from the red deck and signs it. This card is placed between four blue-backed Kings. It immediately vanishes. The originally reversed red-backed card is turned over. It is the signed card. “Beyond Sleight of Hand” is a sandwich effect in which minimum work gives you maximum effect. “The New Hitchcock Aces” is just that - a reworking of one of Darwin’s best-known routines. “Kartenkunste” is an excellent version of the Hofzinser Ace trick. My favorite routines in the “Presentational Showpieces” section include: “Pickup on South Street,” in which a signed card travels from one wallet to another wallet while the wallets are in the spectators’ coats; “Time and Again,” a time-travel routine with a bizarre kicker; “Blind Aces,” an absolutely killer Ace-cutting routine that’s easy to do; “Harry in Your Pocket,” a pickpocket routine that could easily be used in a platform situation; “Time Piece,” an exquisite presentation for the “Clock Trick”; and “The Showdown,” which takes the “Magician vs. Gambler” plot and raises it to a whole new realm of impossibility. Part three of the book contains the gambling routines and every one of them is exceptional. “Darwin’s Poker Deal” is my favorite of the bunch, but if you want to convince people that you are the greatest card handler they have ever seen (and you’ve got the chops to back up that claim), then check out “The Sting.” Is it tough? You betcha. Is it worth it? I can’t imagine a stronger demonstration of riffle stacking. A couple more points before I wrap this up. Ignoring the routines for a moment, Cardshark is a textbook of sophisticated, intelligent card handling. If you only study it for this information you will have gotten far more than your money’s worth. If you ignore the routines and the techniques, and study only the theoretical analyses that Darwin offers, then you will have gotten far more than your money’s worth. There is information in this book that has solved some problems for me (including the best suggestion I have ever read on how to take the “heat” off when holding out cards at the table), and if you read and study it carefully you will learn things that will make you a better magician. My congratulations to Darwin, and my thanks for sharing this material. Cardshark is a mustbuy and I give it my highest recommendation. Mac: Coincidentally I also read this manuscript on a plane. Probably not so coincidentally, I was also very impressed. I have always enjoyed the tricks in Darwin’s books, but I found the selection in Cardshark extraordinarily dazzling. With literally every trick I read, I found myself thinking, “I can’t wait to show this to someone. This is a great card trick.” The Art of Astonishment By Paul Harris Mac: I have mentioned my fondness for Paul Harris in a past column. When I was in college, I eagerly awaited the arrival of the latest Paul Harris book. The ideas they contained seemed so wild to me. In direct contrast to the other magic books I read, the writing was fun and funny. A big part of my close-up repertoire came from those books.
“Flash Fold,” “Dehydrated Deck,” “Solid Deception” and “Vacuum Cleaner Cards” kept me employed for a while. Then it seemed like Paul vanished from the magic scene for a number of years. When he reappeared a few years ago, it felt to me like the tricks had less sparkle than in the old days. That could be because now there are a lot of imitators of those earlier P.H. books. Regardless, after viewing this new tape, I once again feel the same wave of admiration for Paul’s creative skills. That’s not to say that this videotape doesn’t have its inauspicious moments. There is a spectator named Sandra that, to put it quite simply, should be executed. She is that annoying. But any flaws are completely and utterly overshadowed by the appearance of two of the finest impromptu magic effects I have ever witnessed. “The Shape of Astonishment” requires only a borrowed coin and a piece of aluminum foil. This trick has yet to be figured out by anyone I’ve shown it to. That includes Max Maven, Billy McComb and the guy at my mailbox place. The other trick, “Fizz Master,” involves two cans of soda or beer (or any fizzy drink), and is so clever that Paul’s brain should be turned into a shrine just for thinking of it. There are nine items in all. Besides the two incredible impromptu mysteries I’ve already mentioned, there are: “Unshuffling Rebecca,” Paul’s take on a self-working “Triumph” type trick; “Backlash,” a spectator’s card jumps from place to place, then her signature changes to your signature; “Flesh,” a tiny bit of a toothpick jumps from one of your hands to the other; “Angel Case,” a clever switching box made from a card case; “Zen and the Art of the Boomerang Toss,” a very good card trick which owes a great deal to Stephen Minch’s “Robin Hood Card Trick;” “Impromptu Nightshades,” a method for doing Paul’s marketed (and highly gaffed) “Nightshades” with a borrowed dollar bill; and “Buck Naked,” an inferior method for transforming a $5 bill into a $20. Of these “Backlash” and “Zen and the Art of the Boomerang Toss” are my favorites. Only “Flesh” and “Buck Naked” are outright losers. The format for the tape is different from any other magic videotape that I’ve seen. It has kind of an “encounter group” feel to it that is so off beat that I can’t decide if I even like it. What did you think, my brother? Mike: This is a very unusual tape, unlike any other teaching video that I have seen. Everything is very laid back, and Paul’s performance style is ultra-low-key – almost conversational. This style seems to fit him very well. I like the idea of having the spectators discuss the effects among themselves. It gives the viewer a sense of what laymen take away with them. I also agree with your assessment of the tricks. I was not as taken with the card magic as I was with the foil trick and the pop can trick. These are gems, and I expect that they will become a part of every magician’s repertoire. This is a great tape. I recommend it.
Mac: So, overall I found this tape to be of superior value. The two impromptu tricks are each worth more than the cost of the tape. Paul Harris is back - and he is astonishing. VIP: Very Impossible Penetration By Mike Powers Mac: Turns out Michael Weber was really onto something when he did his bottle-cap-inthe-bottle trick years ago. Since then, both Daryl and Mike Powers have released their methods for that effect. Here’s a brief description of the Mike Powers’ version. Turning an empty beer bottle upside down, our hero shakes the last drops of liquid out of the bottle. He has the bottle cap examined, and then rests it on the label portion of the now horizontal bottle. A spectator holds the bottle. The magician slaps the bottle cap and it visibly penetrates the side of the bottle. The spectator keeps the bottle (and the cap that it now contains) as a souvenir. This is a really good trick. There is what I would call a substantial amount of advance preparation that must be carried out in private. Mike Powers says in the instructions that he can do this get ready in two to three minutes. Even if it took you two to three days, the impact of this trick is such that I feel, under certain circumstances, it would be worth the effort. It is surely worth the ten minutes it will most likely take you to actually set this thing up. Also, you should probably know that even though the effect of “VIP” is that you simply pick up any empty bottle from the table or bar where you are working, in actuality you must put your prepared bottle there earlier and then apparently pick it up at random. But trust me, you can do that. The trick itself is pretty easy to do, although certainly not self-working. One negative is that the instructions have really grainy photos that are just barely good enough to see the moves required to effect the penetration. The text, however, is so easy to follow and well written that you really don’t need the photos to be any better. Can you tell I really like this? Mike: I think that Mike Powers has added a visual element to the original Weber/Rey cap-in-bottle trick. One advantage of the version released by Daryl is that the bottle can be sitting on the bar and you just pick it up and, “wham,” put a cap in it. With the Powers’ version there is a small amount of set-up before you do the trick, but this is minimal. The only thing I can think to add is a warning. The Powers’ trick does involve the use of a magnet. If you weren’t careful, I imagine that some idiot could accidentally erase all the data from his credit cards. Mac: As you know, I am that idiot. Scary Hotels By Tom Frame
Mike: Card guys will want to check out this set of lecture notes from Tom Frame. (I can only assume that the cryptic title refers to the places we stay while on lecture tours.) There are eight routines explained in the notes, and while there are no illustrations, the text is very clear and includes Tom’s patter. The effects include “Parallax,” a combination card tunnel/sandwich effect; “The Drunken Dealer’s Triumphant Return,” a reworking of Simon Aronson’s “Super Stoned Poker Deal”; “A Case of Polygraphy,” a really clever lie-detector effect, in which the selected card ends up in the card case; and “Leadership Potential,” a “Follow the Leader” effect which blew away all the heavies at the recent Convention at the Capitol. This last effect is really sneaky, uses a diabolical swindle, and gives you an incredible effect for almost no effort whatsoever. I liked these routines a lot. The tricks require only average technical ability, and they pack a good punch. I suggest you check them out. Mac: I had never read anything by Tom Frame before, and had no idea if I’d like his stuff. As a matter of fact, because we have recently gotten a bunch of packet tricks and small manuscripts that were crap, I was less than enthusiastic when I saw these notes in the mail. But when I saw the title, Scary Hotels, I perked up a bit. Well, at least the guy had the guts to use an interesting title. Then I read the first trick. Hmmm. Interesting. By the time I got to “Leadership Potential,” I was wishing I could see these fine tricks in action. I enjoyed this. Cabaret Connivery By Dan Garrett Mike: This is the third video in Dan’s Connivery series (the others being Closeup and Kid Show). Dan is well known around the world as a talented creator, performer, lecturer and magic dealer, whose offerings are always practical and entertaining. In this installment, Dan presents 12 routines suitable for stand-up and close-up performances. The tape begins with Dan performing all the routines in a casual clubhouse-type setting. The explanations follow afterwards. I like this format because it allows me to show the video to my non-magician friends without having to stop and fast-forward through the explanations. You also get a feel for the performer’s style. The routines include: “Sphere It!” a sponge ball routine; “Roots,” the surprise production of a sponge tooth from a top hat; “Rings of Saturn,” Dan’s very clever four-ring routine, which includes a disarming move for displaying the key ring; “Ultimate Card Revelation,” a method for doing the “think of a card” trick (this is one of the best things on the tape); “Pickle Trick,” a multiplying/vanishing sponge-pickle routine; “The Professor’s Daydream,” Dan’s additions to the classic Bob Carver “Equal & Unequal Ropes”; and “Four Card Reiteration,” a terrific version of the “Six Card Repeat,” and a trick of Dan’s which has been in my repertoire for many years. In addition, Dan performs
(but does not explain) the “Cardtoon Card Rise,” which is one of his signature pieces and which (if you’ve never seen it before) will really fool you. There is much of value on this video, and I learned several ideas that I am going to incorporate into my own routines. If you’re looking for practical stand-up material, and video is your learning medium of choice, I think you’ll find that Cabaret Connivery delivers the goods. But I will mention one small caveat and a tiny complaint. You should be aware of the fact that several of the routines require props (sponge teeth, sponge pickles, a Sanada gimmick, the “Plastic Cash” trick) that you would need to purchase. Dan includes an order blank in the tape should you wish to order the props from him. While this does give the tape the feel of a “dealer show,” I think that there is enough other strong material explained to offset this. My small complaint is that there are several times when the camera work is less than effective, for example, during the explanations of the Sanada gimmick and the mental card force. I wish that there had been some closeup shots that could have clarified the actions. But, these are small criticisms. Dan is a fine performer and teacher and there is much to learn from this tape. I recommend it. Miller’s Dice By Paul Green Mac: Paul Green is a Southern California resident who makes his living doing magic. This is a dice routine taught to Paul by the late-great Charlie Miller (hence the title). The trick involves a story about a couple of dice gamblers. During the course of the story, you roll a zero with one die and a seven with another single die. The trick is neat, the story relatively entertaining, but this is not self-working. Sleight-of-hand is involved. To me the best thing about this trick is the dice you receive. You get five red dice: two of them are normal, one is completely blank, one is mis-spotted (opposite sides don’t add up to seven), and the final die has seven spots on each side. Mike: It is important for the readers to know that the key move in the Miller routine is the Palm-to-Palm switch. You have to be able to do this move with both hands. I’m sure that you could work out a version with an easier sleight, but I want to make sure that everyone out there knows what they’re getting into. Standing Ovation and Mental Masterpieces: The Larry Becker Videos Volumes 1 and 2 Mike: Larry Becker is well known as a creator and performer of high-caliber (no pun intended) mental magic. On these two videos, Larry performs and explains several of his favorite routines. On each tape he is first shown performing all the material as a complete set in front of a (more or less) lay audience. He then explains the routines in the second half of the tapes.
Volume One includes six routines, five are mental effects, and one (“Here, There, & Everywhere”) is a clever, almost sleight-less card-to-wallet routine. My favorite is a routine called “Some Total.” I have already started to think about adapting this to my own work. Also on this tape is Larry’s famous “Russian Roulette” routine, which is demonstrated but not explained. To be honest, this trick gives me the willies, and I have a hard time watching Larry do it. (In fact, when I see him do it live, I have to leave the room.) If you have impressionable children in your home, be sure to use common sense when viewing this tape. Volume Two contains seven mental routines, including a demonstration (but no explanation) of Larry’s very ingenious “Ultimate Flashback.” Of the seven, my favorite is “Clearly Predictable,” a routine that Larry fooled me with years ago at an Ibidem convention. As with all of Larry’s material, the routines taught on these tapes have been thought out to the nth degree. The material is strong, the explanations are lucid, the performances are fun to watch, and the production values are first rate. If mentalism is your thing, you’ll want to add these tapes to your collection. Mugged By Rich Marotta Mike: It is rare when a working pro offers the magic community a routine from his current repertoire. Rich Marotta has done just that, and I would imagine that a lot of you will take advantage of his generosity. The effect of “Mugged” probably goes back to an English magician of the 1 920s named Oswald Rae. Rich provides a contemporary handling, snappy patter (which may or may not be suitable for your performing style), and all the necessary props. The performer explains that he was mugged recently. The mugger took his money, his watch and his ring. These three items are placed into a ski mask (which has been introduced with a hilarious, patter line). But the mugger didn’t realize that the performer was a magician. The mask is turned inside out, and the items have vanished. The money has returned to the wallet, the ring is back on the performer’s finger, and the watch is back on his wrist. Rich provides everything you need to do this routine. I would imagine that you might want to upgrade the props (for example, using your own Himber wallet rather than the plastic tri-fold wallet included). Since this is a platform routine, upgrading may not be that important. This is a sensational opening effect; one that gets laughs and establishes you as a magician. I highly recommend this (and secretly wish that I was the only person who had one). The Burford Table By Jerry Winn
Mike: Jerry Winn recently sent me information on two new magic tables he is producing. They are very well made, using half-inch plywood painted black with a charcoal speaker carpet covering. The tables come in two sizes: The small table is 31” high with a tabletop of 21” x 21”. It weights 21 pounds and when closed stands 36” high. This means it can fit in an airline luggage box. The large table is 37” high with a tabletop of 24” x 21”. It weighs 27 pounds and when closed is 40” high. Both tables have a back drawer that can store props or be used as a servante. The table opens and closes in two seconds, and would be very useful in wide variety of performing situations. If you’re in the market for a table, give Jerry a call, and he’ll give you more info.
January 1996 Winter Wanderland Mac: I am currently on the World’s Greatest Magicians Live tour. We are traveling to a different city every night by bus. For me to have a hotel room is a rare luxury. As you can imagine, under these conditions, it has been a hassle for Mike and I to get our column coordinated this month. Because of the nature of this tour I haven’t seen some of the things he reviews and vice-versa. Therefore, only a few of these items have both of our opinions. At the moment I’m sitting in front of my hotel window typing on my notebook computer with the skyline of lovely Scranton, Pennsylvania over my shoulder. I’m listening to Al Green sing Christmas carols and wishing I were at home with my wife Jennifer. On a happier note, we’ve got some great stuff to talk about this month. Carter the Great By Mike Caveney Mac: It seems somehow fitting that as I crack open Mike Caveney’s brand new Carter the Great biography I’m laying back into my bunk on a World’s Greatest Magicians tour bus about to embark on the longest expedition of my magic life. For, as it turns out, that’s all Charles Carter ever did. He went on one lengthy journey after another. And each one of those long trips is chronicled in extraordinary detail in this huge tome. When I say huge, I mean huge. This book is so gigantic it put my legs to sleep. The research that this project must have involved is mind numbing. This is easily the most detailed biography of a magician I’ve ever read. At the end of the book there is even a timeline that lets you know what city Carter was in on just about every day of his life. Where did all this information come from? Well, in addition to being truly skilled in the nearly lost art of letter writing (some of the Carter correspondence Mike quotes is simply astounding in its hilarity), Carter was apparently a copious record keeper. Sorting through Carter’s personal files, show records, and business registers was no doubt a tedious task, but the rewards for all of us readers are vast. I don’t know about you folks, but all I really knew about Carter was that he had a whole bunch of cool posters. My impression was that he was one of those guys who had great publicity material and no show to back it up. Mike presents a whole mess of evidence that this was not the case. There are indications that Charles Carter may, in fact, have been a pretty good magician. But to dwell on whether Carter was a capable performer is to miss the main point of this book. By following in detail the career of a lesser-known magician as he makes his seven tours of the world, we get a fascinating look at the early decades of this century in general, and at show business in particular. And not just American show business either, but show business the world over.
In addition to being crammed with the whole story of Carter’s life, this giant book (375 pages, 9” x 11-1/2”) is loaded with other outstanding features. There is a 16-page section in the center that contains full color reproductions of all 24 of the surviving Carter color lithographs. The book is beautifully cloth bound and has the title stamped in gold on both the front and the spine. The end papers are printed with a cool photo depicting Carter’s show being transported by oxen through some town. There is a heavy-duty, full-color dust jacket. Jim Steinmeyer wrote the introduction. There is an appendix detailing the serpentine route the Carter stuff traveled after Charles’ death in 1936, until it ended up in the possession of Mike Caveney and Bill Smith in 1990, and then was finally dispersed to various collectors. There are nearly 200 photos, some of which were taken by Carter himself. This is a limited edition of only 1,000 hand-numbered copies. Like I said, this book (the sixth book in the Magical Pro-Files series of biographies) is a mighty stunning achievement. I have only one minor negative comment. An advertisement for this book states that, “all of the incredible magic featured throughout Carter’s long career is thoroughly explained.” This is not quite true. The basic secrets to many of the tricks are told, but if you’re expecting detailed illusion plans, you’ll be disappointed. But again, that’s not what this book is about. Mike Caveney himself tells you what this book is all about in his wonderfully stylized subtitle: “Being a Detailed Account of Charles Joseph Carter and his Extraordinary Life as a Vagabond Illusionist Who for Three Decades Circumnavigated the Globe With Thirty-One Tons of Magical Impedimenta.” Pretty cool. Simply Simon By Simon Aronson Mike: Back in June of 1995, I hinted that a new book from Simon Aronson would appear before the end of the year. Well, that book has arrived, it is titled Simply Simon, and it is simply wonderful. I confess that I have a propensity toward Simon’s material. I find it appealing for several reasons: the ingenuity, elegance, and deviousness of the methods; the thoroughness, clarity, and intelligence of the explanations; the economy and directness of the handlings; and the serious amount of butt that these tricks kick. Before I touch on the highlights of the book (and these will simply be a few personal favorites, since there is not a bad trick in the bunch), let me offer a word of warning. Simon is the Public Broadcasting Service of magic. He does not deal in sound bites. There are about 27 routines explained in 300 pages of text. There are just a handful of photographs. You will not be able to flip through this book and fantasize that you are doing the tricks by looking at the pretty pictures. You have to be able to read. Some of the explanations are fairly involved. I strongly urge you to read the book with a deck of cards in hand.
The book is in six sections. The first is titled “Games Magicians Play,” and each of the three routines has a game-oriented theme. All are very strong. “Point Spread” combines the “Half the Excess” concept from Stewart James’ “Miraskill” with Simon’s “Shufflebored” routine to produce an unbelievable demonstration of precognition. “Moves and Removes” takes the 3-by-3 elimination matrix to a new level. “Child’s Play” is a commercial variation of a Robert Neale routine. All these routines are sensational. “Short Order” is the title of the second section that contains a number of effects requiring nothing more than a deck of cards. There are a couple of excellent poker deals, a baffling three card location, new work on the Solomon/Aronson effect “Doublestop,” and a very powerful tool, the Aronson Strip-out shuffle. The next section, “Something Extra,” offers effects that utilize a prop or a gaff. If you’re a restaurant or bar worker, take a look at “This Side Up,” which may well be one of the most commercial routines Simon has ever come up with. There are two routines based on the Birthday Book theme, and a remarkably clean and effective handling of the “Open Prediction.” Also in this section is a discussion of an item that you can find in any large shopping mall and which is an extremely commercial prop for magic. The fourth chapter is titled “Well Stacked,” and it offers several novel set-ups and prearrangements, the most remarkable of which is “The Trained Deck.” This routine is virtually self-working, the spectator shuffles the deck all through the trick, and yet you get three phases of successively more amazing magic. What’s truly amazing is that the trick works at all. Simon, of course, is well known as an expert in the field of the memorized deck. The fifth section of the book contains over 70 pages of new material with this powerful tool. All the routines in this section are killer, but I should draw your attention to “Everybody’s Lazy” and the essay on “The Open Index.” The final section is called “The Cross-Index Index.” All I will say is that there is some ground breaking material presented here, and the trick titled “Fate” absolutely fried me when. I saw Simon demonstrate it. As I mentioned at the beginning, I am a fan of Simon’s material, but this may well be his best book to date. I admire his ability to explain complex routines in a way that makes them crystal clear. And I love the fact that much of Simon’s material demands that the magician’s brain be as nimble as his fingers. Selfishly, I wish that I were the only one who had these routines. But instead, I will tell you that this is one of the best books of 1995. Buy this book. Learn these routines. The spectators won’t stand a chance. Mac: I must say that this book knocked me out. Magic is my profession, but reading card magic books is my hobby. I love the thinking and problem solving that goes into the creation of a truly eloquent card trick. If you are one of those kinds of people, you will really appreciate this book. I only wish I’d seen Simon do the “Fate” trick before I read
the explanation. If you received money for Christmas, use it to buy this and the Carter book. The Discoverie of Witchcraft By Reginald Scot Mike: Anyone who has been in magic for any length of time is probably aware of the importance of Reginald Scot’s The Discoverie of Witchcraft, which was the earliest book in the English language to detail the methods of the conjurer. But while many would acknowledge that they are aware of the existence and importance of Witchcraft, I would imagine that few contemporary magicians have ever read the conjuring section of this book. I am ashamed to say that I was among that group. Kaufman and Greenberg has republished this historical text in a format that closely reflects the 1930 John Rodker edition. The book has been restored to its original 11-1/2” x 8” size, which makes the printing much easier to read. In addition, the book is bound in a three-piece red and green cloth with gold foil stamping, which also reflects the 1930 edition. This is a handsome volume and it is a delight that such an important book has again been presented in a way that equals its stature. So, what’s in it? The Discoverie of Witchcraft is 283 pages long, and of that, 22 pages are devoted to conjuring tricks. But as Richard Kaufman states in his foreword, “Do not be deceived ... any magician today could earn his living based entirely on this material.” Here’s what I found in those 22 pages: the progenitors of the Elmsley count and “Card Warp”; the technique upon which is based the Dad Stevens shuffle; a version of the Roth/Ammar “Shadow Coins”; the forefather of the “Gallo Pitch”; a crude but totally practical version of “D’lite”; and the exact method now used in the famous “Flying” illusion. (O.K., O.K. I made up all that stuff in the last paragraph, but for a second there you were reaching for your pen and your checkbook, weren’t you?) What I did find, however is pretty amazing. There are descriptions of the “Cups and Balls,” simple coin passes, the copper/silver gaff, the animation of a coin using a hair (ala Al Baker), an amazing bare-handed vanish of a coin, the Buddha papers, the jog shuffle, a crude version of the glide (and a trick to go with it), the discernment of a mentally selected card (ala Derek Dingle), the “Grandmother’s Necklace” trick, various trick boxes (one of which is the precursor of the Boston box), the “Gypsy Thread,” the “Magic Coloring Book,” various trick knives, and a trick in which you shove a ring through your cheek (memorably demonstrated by Stephen Minch some years ago at an Inn Event). What is also remarkable is Scot’s emphasis on patter and audience management. In addition, there are many tricks that rely on the use of stooges, a stratagem that has lately been raised to an art form.
I can only say that if you have not read this book you have missed out on something of great interest. This new edition is both beautiful and affordable. Do yourself a favor and find out where we are by discovering where we have been. (As an added note I should mention that I did a little research into Scot. I discovered that, due to the popularity of his book, he was hired by the English government to appear at witch burnings. He demonstrated and then explained simple tricks to the assembled throng so that no one would leave between executions.) Mac: Very funny, Mister Magic. After Craft By J. K. Hartman Mike: Card enthusiasts will have a field day with this latest offering from the author of 1991’s monumental book Card Craft. While smaller than Card Craft, this sequel comes in at a whopping 300 pages, and contains more than 80 effects and over 700 illustrations by Joseph K. Schmidt. Knowledge of the material in Card Craft is not required, as all necessary sleights and moves have been completely re-described. The 12 sections of the book are divided into two parts: “Wiles and Wherefores,” which contains four chapters discussing various sleights (such as variations on “Secret Subtraction,” card switches, forces, shuffles, palms and card changes); and “Schemes and Themes,” which contains eight chapters of various and sundry card effects. Being cursed with a normal life span, I am only able to touch on a few of the effects that caught my eye. “A Thunderful Ace Trick” is a delightful four-ace production. The handling is well within the abilities of the average card man, and the last ace is produced by misdirection. “Just in Case” revisits the classic effect of apparently removing the spectator’s selection from a closed card case. The Hartman handling is simple, elegant and involves a sneaky psychological ploy. “Which and Switch” is a streamlined version of Sadowitz’ “The Whisperers.” The last three routines in the book, “Hot Thought,” “Prize Brain” and “Dynamic Duo” require some advance preparation, but they are extremely strong and could easily be the highlight of a card act. I have been a fan of Mr. Hartman’s creations for many years. He provides fertile fields in which to play and experiment. His routines are well within the abilities of the average card man, which means that it is possible to derive instant gratification when working through the material. Several performers have taken Hartman creations and routined them into very powerful performance pieces. (I would refer you to Darwin Ortiz’ “Blind Aces” in Card Shark.) During the coming winter days I’m going to sit in front of the fireplace with this book and a deck of cards. I suggest you do the same. Eugene Burger’s Gourmet Close-up Magic By Eugene Burger
Mike: Biggs restaurant is housed in a remodeled Victorian-style mansion in Chicago, Illinois. The restaurant is elegant and refined, with small, intimate dining areas. Eugene Burger performs at this restaurant, and he fits the decor so perfectly that you would think that he was the “lord of the manor” who had stepped downstairs in order to show his guests a few amazing things. This tape features Eugene performing in three areas of Biggs: the lounge (walk-around magic), behind the bar, and seated with a table of guests. You will see many of Eugene’s signature pieces including “The Haunted Matchbox,” “Thought Sender,” “Three Card Monte,” “Voodoo,” “The Haunted Pack” and. Bert Allertons’ “Aspirin Box.” These routines are not explained on the video, but the methods are (mostly) available if you are interested. Three routines are performed and explained: Matt Schulien’s “Signed Card Under the Tablecloth,” Eugene’s handling for the Mullica Wallet, and a sensational item (which I believe is a recent addition to the Burger repertoire) “Shotglass Surprise.” I was so taken by this last item that I’m not even going to tell you what the effect is. In all these performing situations Eugene is unique, charming, entertaining and really amazing. (I guarantee that you are going to get fried more than once.) The editing is done to give you a feel of being involved in the live performance. In this regard, I know that some of you will cry, “Foul!” when you watch the Schulien trick, because the camera cuts away as the dirty work is done. But, as Eugene says in the explanation segment, if you were watching this trick live you would not be looking at Eugene at this critical moment. Here is a prime example of television being unable to capture an effect properly. To simply frame the action by keeping a static wide shot would trivialize the very powerful misdirection that occurs as the card is loaded. So Eugene opts for the cutaway and I think this is valid. In addition to the explanation of the above three tricks (which also includes David Parr’s very clever ploy for use with the Mullica wallet), there are interview segments in which Eugene discusses his philosophy of restaurant magic, including such topics as approaching the customers (Eugene has a system which makes me green with envy), handling repeat customers, dealing with tips, and closing the show. This is a wonderful video; a great performer and teacher, doing his thing in a perfect setting. You’ll learn a lot and you’ll have a great time in the process. Magic with Rubber Bands Volumes 1-3 By Dan Harlan Mike: This review is going to be short and sweet. By now you are aware that video is not my learning medium of choice. I should also tell you that I am not a big fan of tricks with rubber bands. So I will now tell you that these tapes are absolutely great. Why are you still reading? Just go out and buy them. You’re still here? O.K., then I’ll tell you a little bit more.
Dan Harlan is the Guru of rubber bands. He is also an excellent performer and teacher. On these tapes he has assembled a ton of material with rubber bands. He has also organized the material into thematic routines. For example, on the first video there are two long routines involving nine and ten tricks, respectively. The first routine is based on the very popular “Crazy Man’s Handcuffs,” and the second is a wild and crazy routine which begins with a discussion of the Garden of Eden and ends up with a rubber band version of the razor blade trick. Organizing the material in this way is a terrific idea and I applaud Dan for it. With Dan’s routines as a springboard you should easily be able to create one of your own. On these tapes you will find the creations of some of magic’s most ingenious inventors: Martin Gardner, Ray Cosby, Gary Beutler, Joe Rindfleisch, Jeff McBride, Chris Kenner, Greg Wilson and Michael Ammar to mention a few. This is an encyclopedic assemblage of material, and you are sure to find something new to play with. Let me make one other point. This is a case where video far surpasses print as a learning medium. If you have ever tried to learn a rubber band trick from a book, you are aware that most of the time the illustrations end up looking like an abstract drawing of the L.A. freeway system, and nine times out of ten you have to turn the page with both hands wrapped in elastic. No problem here. The production values are excellent, the camera work captures the necessary details, and the Super-practice review locks it all in. If you have any desire to learn rubber band tricks, these videos are the way to go. Buy them. Why are you still here? Go away. Magic, Mastery, and You: The Michael Ammar Lecture ‘95 By Michael Ammar Mike: This video was shot live at a lecture Michael presented for an enthusiastic crowd of 500 people at the I.B.M. Convention in Oakland, California. This lecture contains some of Michael’s strongest and most popular material, including “Shadow Coins,” “The Bottle Production,” “The 41 Cent Miracle,” “Matched Cards” (which is an updated version of a trick I remember as “The Yeast Card”), and the “Bill to Nut” (which is Michael’s handling of a wonderful U. F. Grant trick). Interspersed throughout the lecture are important theoretical points, including the concept of false memories and creating context. Michael is an excellent lecturer, and his explanations are clear and concise. You will find that this lecture is not only informative; it is also funny and entertaining. There are some small camera glitches that mar a couple of the performances. (In particular, “Shadow Coins” suffers from a very bad camera angle. If you are not familiar
with this trick, be aware that in real life it looks sensational.) However, when you shoot a one-take, live performance, these things are going to happen. Three of the routines from the lecture are featured in the Easy to Master Money Miracles series. If you already own those videos, you may want to consult the ads for a complete listing of the lecture effects to see if the others interest you. If you are not familiar with Michael Ammar or the effects he has popularized, then this tape is the perfect introduction, and is an excellent value. The A-1 All-Stars Video Series Volume 2 This is a compendium tape of tricks from performers who have done videos for Mike Maxwell’s A-1 MultiMedia company. None of this material has been released before. Eight performers are featured. (Note: The ad that appeared in the December issue of MAGIC was not correct. Paul Harris’ “Buck Naked #2 & #3” are not included on the tape, and Larry Becker has been added to the line up.) Some very talented and creative performers are represented here. The ads will give you full roster; I’ll just mention a few things I liked. Paul Harris offers two more routines from his Art of Astonishment series. Both are very weird. Daryl does a routine with a ring, a rope and a wand. Although it is not mentioned, I think this kind of routine goes back to Jim Ryan. Gary Kurtz offers a knuckle-busting version of “Everywhere and Nowhere” and a card control that looks marvelous in his hands. There is strong card material from John Cornelius, Larry Jennings, Allan Ackerman and Darwin Orriz. (I think that Darwin’s routine bears a resemblance to the second phase of Ron Ferris’ “Royal Aces” from Expert Card Mysteries. Ackerman’s ace assembly is really great and smoked me completely.) And Larry Becker offers a clever method for discerning the identity of a card sealed in two opaque envelopes. I didn’t mean to, but I guess I just mentioned everybody. I liked this tape. There is usable material explained, and if you are not familiar with these performers, this tape is an excellent introduction. Pocket Power By Jarle Leirpoll Mike: Jarle Leirpoll is one of Norway’s leading stand-up and close-up magicians. He is also a professional television cameraman and video editor. In this book he discusses methods for using the pockets to switch, ditch and steal objects in effective and deceptive ways. There is a bonus section titled “Good Enough for TV” in which Mr. Leirpoll discusses ways to structure your magic so that it will play effectively on television. I’ll give you an overview of both sections.
I am a proponent of using the pockets to ditch, switch and steal, although this does not seem to be a popular subject among magicians. I think there are two reasons for this. First, in order to use the pockets effectively, you must condition the audience to accept certain mannerisms without suspicion. This requires skills in the areas of audience management, situational motivation, structural routining and acting. Secondly, you cannot amuse yourself by standing in front of a mirror and sticking things in your pockets. In the first half of his book, Mr. Leirpoll discusses the various ways in which the pockets can be used deceptively. To this end, this is more a collection of established techniques rather than a lot of new approaches. However, having all this material assembled in one place is very valuable. And there were several techniques for stealing objects from your pockets that were new to me. Mr. Leirpoll includes several routines that use the pockets in one way or another. These are uniformly excellent, but I would especially draw your attention to the “No Gimmick Bill Change” and “The Almost Ultimate Newspaper Trick.” The second half of the book is titled “Good Enough for TV.” In the introduction to this section Mr. Leirpoll writes, “I knew that even though my magic always got a good reaction in live performances, it would not work well on TV. I gave this a little thought and realized that if I designed my routines for TV, they would also be better in my other performances.” To aid the reader in evaluating and adapting his routines to this medium there are sections discussing Drama, Choreographic Misdirection (this is a really excellent section), Confidence, Video Evaluation, and Magic on TV. Mr. Leirpoll’s experience as a cameraman/editor brings fresh and interesting insights to each of these sections. There is information here of value to all performers. I would like to make one point, however, and that is that just because a routine is not suitable for performance on television does not mean that it is not effective for a real-life performing environment. Close-up magic (and to a somewhat lesser degree stand-up magic) suffers on television because medium eliminates the personal interaction (in this case between the performer and the home viewer) that is so crucial for success. For example, Eugene Burger’s performance of Matt Schulien’s “Card Under the Tablecloth” (see the review above) is one of the great routines in magic, but it is not effective on television. And of anyone in magic, Mr. Burger is certainly aware of what is required to produce a dramatically powerful performance piece. So it is very possible that you could follow Mr. Leirpoll’s excellent suggestions and still find that you have a routine that was not suitable for television. Realize that this may well be due to the limitations of the medium. To sum up: This is an excellent book from a thinking magician, whose name should be better known to magicians outside his country. I very much recommend it. Mac: I have not received this book for review yet, but I have, in fact, read it. I had dinner at Gene Anderson’s house a couple of weeks ago on a night off in Michigan, and
he showed it to me. I’m afraid I was rather rude after dinner because I was so absorbed by this book. I really thought there were some great things in here, and I was surprised to see your review come scrolling down my screen. I hope I have a copy waiting for me at home. Mike: If it isn’t there, Mr. Leirpoll does accept VISA and Mastercard, which should make it easier for those of you outside of Norway to order this book.
February 1996 Acclimation Mike: My brother-in-law and I have completely different tastes in movies. Movies that he raves about I usually don’t care for, and ones that I enjoy he doesn’t like. Of course, I didn’t find this out right away. It took some time to discover that our opinions were diametrically opposite, but now that the pattern has been established his opinion is of value to me; if he hates a movie, I know I’ll probably like it. As product reviewers, Mac and I are in the same relationship with you, the readers. We will become more valuable to you over time, as you purchase the products we review and you discover whether our opinions are similar to your own. The more you understand our thought processes (and our personalities, preferences, and prejudices) the more quickly you can decide whether our opinions jive with yours, or whether we serve the same function as my brother-in-law. For this reason I’m going to go into some detail comparing two new tricks. Both use gaffed playing cards, and both involve leaving the gaffs on the table when the trick is done. But only one is performable in the real world. Free Fall By Steve Brooks Stranger’s Gallery By John Bannon “Free Fall” was created by Steve Brooks, and is manufactured and distributed by The Magic Zone. The effect is this: A card is selected (forced) and is returned to the deck. The deck is placed into the card case. The case is shown on both sides and the magician’s hands are completely empty. The left hand holds the card case by the long edges, parallel to the tabletop. The right hand raps the top of the case and the selected card falls face up onto the table, apparently having penetrated through the case. So, what’s wrong with that? Well, a couple of things, the first and foremost being that the card that lands on the table is a gaffed card. I have in my repertoire several routines in which gaffed objects are placed on the table where the spectators could grab them if they chose to. The key to getting away with this stratagem is to make sure that at the time the gaffs are within grasp something else in the routine is of more importance. But look what happens in this trick: the deck is cased, the case is in your hands, and the only thing lying on the table is the gaffed card. Am I to believe that people are not going to try and grab for that card? And if you pick it up before they get to it and start to slide it back into the card case and someone asks to see that card, what do you do?
Let’s suppose that this is not a closing trick, but an opening trick, and you are going to remove the deck from the case and continue with other tricks. How do you keep the audience from reaching for the card as you uncase the deck? Assuming you can do this, we hit problem number two: the manner in which the gaff is constructed. The gaff is thick. Very thick. It does not snap like a real playing card. Assuming you can get the gaff back into the deck without a spectator grabbing it, what do you do now? You can’t palm it off (the gaff won’t curl), and you can’t use the deck with the gaff in it. Here are a couple of other points. The teaser on the back of the instructions says, “Card case may be examined if desired.” This is true only after the card has penetrated the case. Also, if you want to do the total no-brainer handling of this trick, you will need to have on hand a common magician’s substance. This is not mentioned in the teaser. Now let’s take a look at John Bannon’s “Strangers’ Gallery” which was originally published in Smoke and Mirrors. The effect is this: The magician removes three cards from a blue-backed deck and places them aside face down. The spectator selects a card (forced). Each of the previously removed cards is shown to be identical to the selected card. The backs of these cards now change (to radically different colored backs) and then the entire deck is shown to be red backed. (Or if this is your closer, you can use a rainbow deck.) This is a very strong effect that requires only average card handling ability. The gaffs were printed on regulation card stock by the U.S. Playing Card Company, so they feel and snap like real cards. But, most importantly, let’s look how the gaffs are handled and how the audiences’ attention is controlled. As each of the gaffs is shown to have a different colored back it is placed on the table. At the end of this sequence there are four cards face down on the table, three of which are gaffs. The audience could reach for these cards, but they won’t because the trick doesn’t stop there. Almost immediately the deck is spread to show that the backs have changed to red (or rainbow). This revelation is infinitely more interesting than the change of the three gaffs. The audience’s attention is drawn away from them. How do you clean up? If you use this as an opener, then the gaffs and the extra bluebacked card can simply be picked up and pocketed, since they do not match the deck that is now in play. (In doing this, the blue-backed card is slid under the other three so the face of the packet can be flashed.) If you are using a rainbow deck, its appearance is so strong that the audience will dive for the deck. This is fine, since (other than its multicolored backs) it is ungaffed. The packet of four cards can be added to the rainbow deck and the whole thing pocketed. This trick is one that can be performed for real people in real life conditions. And it is one that I would consider adding to my repertoire. So much for a little peek into my brain. Whether or not my comments have any validity for you, I hope that this detailed analysis speeds up our acclimation process.
Mac: When I performed the “Free Fall” trick for my test audiences (my wife and the guy at my mailbox place) they both responded in the exact way you feared that they would. They both wanted to see that card. The mailbox guy, being less polite than my wife, actually made a grab for it. While it’s certainly possible that the problem lies with me, I tend to agree with you that this is a problem inherent in the trick itself, and that considerable revision in both the construction of the effect and the management of the spectators would be necessary to make this into something useful. I also felt, like you, that John Bannon’s “Strangers’ Gallery” trick was a far better use of gaffed cards. But, I feel that there is one thing that you didn’t mention that would keep me from ever adding this trick to my repertoire. You cannot do this trick without a performing surface. You must perform this on a table (or on the floor). Of course, this will not affect those people who usually work on a table. My other tiny beef about the trick has to do with the choice of colors for the three gaffed cards. Yellow and white are great, but black? When the blue-backed card changes to a black-backed card the change is not as eye-popping as it should be. You almost have to point out that the card has changed color. Interestingly enough, even though your suggestion of substituting a rainbow deck for a red-backed deck is not mentioned in the instructions, I had that same exact thought as I was working through the trick. I think that addition would not only make for an even stronger pull of the audience’s attention away from the three gaffed cards, it would also greatly increase the overall power of the effect. Mike: As a matter of fact, John Bannon mentions the rainbow deck idea in the original write-up of this trick in Smoke and Mirrors. Infinity and Beyond By Martin Nash Mac: This two-tape set is pretty much dedicated to a bunch of applications for one move (what Martin calls “The Infinity Principle”). If you read the descriptions before you watch the first tape you will probably be disappointed to find out what this is. I really don’t think this is revolutionary stuff. At this point I find myself in a quandary. I don’t want to tip exactly what this is that Martin is teaching on these tapes, but you should know that everybody I’ve asked, “Have you seen Martin Nash’s Infinity?” replies simply, “It’s just a so-and-so.” They don’t actually say “so-and-so.” They say the name of some relatively common magic deceit - and they are right! Basically, Martin has added some tiny modifications that make this artifice practical with any deck. Not that that wasn’t previously possible, but he does reveal a very efficient method for doing it with a borrowed deck. That said, he has included performances and descriptions of a number of very good tricks that use this ruse.
The second tape is promoted as being “personalized instruction on the elusive tabled faro.” This shuffle is mentioned and even discussed slightly, but if you can learn it from the tape, you’re a better man than I. Instead of an in-depth discussion of the tabled faro, this second tape is basically a gambling routine which makes use of the tabled faro, plus the Infinity stratagem and a couple of false shuffles and cuts which, like the tabled faro, are not that well taught here either. Though the actual routine is a pretty good one, Mr. Nash is just not a very good teacher. Mike: I think these tapes are definitely a situation where the phrase caveat emptor applies. If you have a passion for playing cards and are interested in the fine points of subtle card handling, then these tapes may be of value. The card routines that Mr. Nash demonstrates and explains are top notch, but many of them are very difficult. If you’re a guy who bangs out three hours of magic each night at TGI Friday’s, I’m not sure that you will feel you are getting $60 worth of useful information. As far as the Tabled Faro Shuffle goes, the ads concerning this are totally deceptive. Mr. Nash explains what he is doing, but he does not teach. And while the ads claim that people have learned to do perfect tabled faros in an hour, I would bet that they had the advantage of having Mr. Nash there in person. The faro shuffle is a “knack” move, and is most easily learned via personal instruction. I am in awe of Mr. Nash’s extraordinary facility with the tabled faro, but as far as teaching this most difficult move, the tape was a total letdown. Mac: Did you see the movie Toy Story yet? It’s really terrific. In it there is a character, Buzz Lightyear, who is a toy spaceman. But he thinks he’s a real spaceman. All the other toys know he’s just a replica of a genuine spaceman. Buzz doesn’t realize that he’s just an action figure until he sees the Buzz Lightyear Show on television. Suddenly he comprehends his delusion. I mention all this because Buzz’s catch phrase is “To infinity! And beyond!!!” Renaissance Rope By Dick Barry Mike: This is a quick opening effect that is suitable for the stand-up performer. The magician holds two short pieces of rope, one in each hand. The ropes are placed together for a moment as the magician asks, “Has anyone seen the trick where a rope is cut in two and then magically restored?” When the entire audience answers in the affirmative, the magician drops his hands, dejectedly. When the hands are raised, the ropes are seen to be tied together in a knot. The ends are pulled, the knot pops off, and the rope is now restored. If this effect sounds familiar, it should. As the instructions indicate it owes more than a little to Bill Neff’s rope restoration. What Mr. Barry has found is an interesting material to use as the pull. It can stretch to three times its length without breaking. An extra 26” of this material is included, so if you make use of such devices in your work, you will probably find that this is worth the price charged. The rope restoration itself looks very
good, but considering the necessary set-up, I cannot visualize that it can be used for anything but an opening trick. The trick is not difficult to do, but some mirror practice is required to get the timing right. Mac: I am a big fan of strong, visual rope magic. I have fiddled around with the “Bill Neff Miracle Rope” a bunch. It is a great trick. I think Dick Barry’s addition of the “PopOff Knot” to the basic trick is a really smart idea. In addition to Dick Barry’s “Renaissance Rope” and “Neff’s Miracle Rope” (which I think is still available from Abbott’s), everybody should check out a similar item in the book Al Baker’s Pet Secrets. As a matter of fact, you should check out the Baker book even if you hate rope magic. It’s stupendous. Cardian Angel Video By Mike Maxwell Mac: This is a video with Mike Maxwell teaching alternate handlings and sharing tips for the popular Paul Harris card trick “Cardian Angel.” There are a couple of interesting bits here, but mostly I found this to be a waste of time. I feel like this could all have been included in about four extra pages of instructions with the actual trick. Mike: I thought that there were a couple of clever ideas on this tape, but the basic problem is one we have discussed before: Just who is this tape for? Any advanced card guy, who has any interest in this trick at all, is going to come up with his own handling for it. Those hobbyists with limited technical ability are going to use the methods given in the original instructions (if they actually perform the trick at all). So, who is this tape for? And you are probably correct, Mac. The ideas that I found to be worthwhile could have been incorporated into the original instructions. The Reformation By Guy Hollingworth Mike: I was sitting at a table in the bar of the Congress Hotel in Chicago. With me were two of England’s finest, Steve Bedwell and Guy Hollingworrh, who were in town for the S.A.M. convention. Guy had me select a card. It was a King of Clubs. He had me sign the card along the edge so that the pattern of the court card would not obscure the signature. He tore the card into four pieces, counting them very openly from hand to hand. He placed two of the pieces between his lips and then somehow restored the two pieces in his hands. He was now holding a half card. A piece was removed from his lips and joined to the half card he held. He now had a three-quarters restored card. Finally, the last piece was joined to the three-quarter card, and he handed the restored card to me. My signature was on it. I was completely fooled and, given the circumstances, I did the only thing I could do - I took out a gun and killed him.
If the above description sounds familiar, it is because Guy’s handling exactly duplicates the torn-and-restored baseball card that David Copperfield performed a few years ago. The big difference is that Guy’s method can be done anywhere, anytime, standing or seated, with the spectators a foot or so away. In other words, it is a real-world method. Around the time that Copperfield performed this trick on television, there was advertised something called “Torn Asunder,” which supposedly was the work on the baseball card trick. There is some conjecture as to whether anyone actually received this trick, and to this day there is still discussion concerning it. (Tony Giorgio mentioned it in his column. There was a want ad in the December1995 issue of Genii for someone looking for this trick, and I even got a letter from a man who had apparently purchased the trick for $250 at a swap meet, but lost the instructions, and “could I fill him in on the details of making the gaff.”) Whether or not “Torn Asunder” actually exists is no longer of any consequence, because Guy Hollingworth has the work on this trick, and he is the man to talk to. Guy had demonstrated this routine for several magicians at the convention, and several months later I heard some buzzing through the underground that a few people were beginning to work out handlings of their own. For those of you who don’t indulge in such things, I should tell you that it is much easier to reconstruct someone else’s handling (once you see that a handling is possible) than it is to create a handling out of thin air. I got word to Guy that this was happening and I told him that it would probably be in his best interest to establish his creation before he picked up a magazine and read somebody’s variation of his trick. This he did. Guy demonstrated the effect at the OPUS convention last June, and offered the instructions on a PAL format videotape that he sold. Other than this, the trick has had a very limited and quiet distribution. Well, the good news is that Guy has made the tape available in NTSC format (the format used in the U.S. and Japan). The bad news is that there are a limited number of copies available, and there is no intention of duplicating these again when the original stock is gone. So, if you want one, do it now. But before you do, read the next paragraph for some more bad news. This is a tough trick. How tough? Well, not as tough as learning to do 120 shifts per minute, but a lot harder than “Card-toon,” and infinitely harder than “D’Lite.” If you are not accustomed to intelligent, disciplined practice, then save your money. This is not for you, you will end up butchering this trick in performance, and you will only be disappointed. If, however, you are willing to “pay the price,” I can only tell you that this is the best torn-and-restored card I have ever seen, and I am now putting in the hours in front of the mirror trying to get it to look as good as it does in Guy’s hands. Two more things. In the “Details” section of this column we will give the price in pounds Sterling. Do Guy a favor and send him an international money order in pounds. It’s easy to do and will save him big hassles. Second, (and boy, am I being naive about this) if you
purchase this trick, please, please, please, respect the secret involved. Perform it for magicians if you must, but don’t tip the handling. I know I won’t. Mac: He’s not lying folks. He hasn’t even let me see the tape. Bill Goldman’s Magic Bar and Grill Mac: Just yesterday I received a folksy little deal from Bill Goldman, a trade show guy from Chicago. It’s kind of a newsletter, kind of a magazine. It’s got a couple of Bill’s tricks and some of his opinions all wrapped up in six 8-1/2” by 11” pages. I guess you’d say it’s a periodical, because there is no exact publishing schedule. It just comes out periodically -whenever Bill feels like it. The one I got says Number One, October 1995. Each issue is $10, which is kind of steep for six pages, but the two main tricks in the issue I received are both killer. One of them is easily worth the ten bucks just by itself. The Magic Box Edited by Daniel Stashower Mike: Get ready for a long sentence. Shambala Publications has produced a small, 5-1/4” x 7” lidded box filled with “exotic ephemera from the world of magic” that will delight and amuse those who collect this sort of thing, and that will also catch the eye of people shopping for a gift for a friend who has an interest in magic, but who, unbeknownst to his gift-buying friends, has absolutely no interest whatsoever in “exotic ephemera from the world of magic” since he cannot entertain himself in front of a mirror with any of it, but will accept the gift graciously and will play with the contents for approximately seven minutes and then, carefully replacing everything, will toss the box into the bottom of his magic drawer where it will fit very nicely since, as I mentioned earlier this month, the box is only 5-1/4” x 7”. I sense among you a shortening of breath and a quickening of pulse as you expectantly wait for me to detail exactly what “exotic ephemera from the world of magic” are in this little box. “The Magic Box” contains: a 20-page booklet by Heathcote Williams (no relation to Ted, Joe, Andy, Cindy or Tennessee) telling the story of “Charles Dickens, Conjuror”; 24 very attractive 5” x 7” cards, 20 of which are in full color (ten have magic tricks on the back) and four of which are in black and white; a 22-page booklet of magic tricks originally distributed on cigarette cards by the Austria Company of Munich and Berlin; four die-cut reproductions of simple card tricks and puzzles; an eight-page pamphlet from 1896 on how to be a contortionist; a paper Ouija board; two pieces of paper, one of which reads “Soo! Soo! Soo! There is only one Soo!” and the other which reads “Is Chung Ling Soo Mad?” the purpose of which I cannot begin to fathom; a short essay by Will Self (no relation to your, her, him or my); and the instructions for a trick that can be done with the box itself. As Bob Farmer would say, “My Lord, Winnona! That is a mess o’ ephemera!”
So what else can I tell you? The production values of “The Magic Box” are very high. The pictures are suitable for framing. The tricks are (for the most part) the standard ones which get exposed time and again. If this is the sort of thing you like, then you’ll like this. And if you don’t, it does fit neatly in the bottom of your magic drawer.
March 1996 Martin Gardner to Rubber Chickens… Mac: Martin Gardner is a regular columnist in this magazine and has also been featured in a cover-story profile. A few weeks ago, there was a get-together in Atlanta called “The Gathering For Gardner II” honoring him. By coincidence his name has come up in connection with a couple of the things we’re reviewing this month. After I did the teach-a-trick segments on The World’s Greatest Magic II last Thanksgiving eve, I have been both complimented and condemned by my fellow magicians. On the other hand, the response from regular people - kids especially - has been almost completely one-sided. They all have exciting stories to tell me about their experiences trying the various tricks I demonstrated: the messes they’ve made, the people they’ve fooled or didn’t fool, or how the trick went right or wrong. It’s been very fun for me. If you know of a kid that likes that sort of thing, then Klutz Press has a book they’d love. It’s called The Rubber Chicken Book. It is filled with bad jokes, goofy skits, simple magic tricks, and a fabulous practical joke. You can buy this in your regular bookstore. Then, if it turns out the kid has a knack for this kind of thing, you can turn them on to Martin Gardner’s Encyclopedia of Impromptu Magic (in fact, Mr. Gardner is mentioned in the acknowledgments for The Rubber Chicken Book). Or, you can save yourself the trouble and just wait a few years and I will have taught all these things on television. Mike: Really?! Mac: No. Not really. Flicker By Mike Powers Mike: Here’s the effect: The magician displays a white Bic-type cigarette lighter that is blank on both sides. The lighter is pushed through the left hand and when it emerges the word “Fantasy” is printed on the side. The lighter is turned over and it is seen to now have the word “Reality” printed on the other side. The lighter is pushed through the fist again and all the writing disappears. Then the lighter vanishes. There are several amazing things about this new release from Mike Powers Magic, none of which have anything to do with the actual effect he is selling. For instance, it is amazing that the writing on the lighter depicted in the ads for this trick bears no resemblance to the actual writing on the lighter you receive. The writing on the lighter that comes with the trick is an “ambigram.” When viewed one way it reads “Fantasy,” and when turned upside down it reads “Reality” - sort of. The problem is that this is a
poor ambigram, and there are extraneous lines used that make the “Reality” side pretty illegible. Worse than that, this makes the method transparent. Every single person I showed this to told me that I was simply showing him or her the same word upside down. Not a good thing. It’s amazing that the advertising of this trick uses the phrase “new concept in paddle effects.” I don’t believe that merely replacing a paddle with some other object that can be rotated between the fingers qualifies as a “new concept.” It is also amazing that Mr. Powers is so overwhelmed by the idea of making printing appear on Bic pens - an idea he mentions in the booklet which comes with the trick. (While not included in the package sent for review, Mr. Powers will be including a pen with the words “It’s Magic” printed on one side.) If your magical growth process was anything like mine, then about an hour after you learned the paddle move, you did it with anything that you could twist between your fingers. (In 7th grade I got yelled at because I was making the writing on my #2 pencil disappear instead of paying attention.) I know of several professionals who use a pen as a giveaway and make the writing appear using the paddle move. And finally, it’s amazing that Mr. Powers wouldn’t think that he was going to have some pretty unhappy customers on his hands once they saw what they got for their $15. Not recommended. Mac: I too found this to be a cheesy trick. Making printing appear on a lighter using the paddle move is certainly not new, but that’s not the big problem. Everybody I showed this to also immediately caught that one word was just the other one only upside-down, but that’s not the big problem. The illustrations and copy in the advertising are certainly misleading, but that’s not the big problem. What’s the big problem? To me, the big problem is probably nor Mike Powers’ fault. He says he saw the Fantasy/Reality ambigram on a business card from Dr. Donald Desfor, and that Dr. Desfor gave his permission to use “his” creation in the lighter trick. This same exact design was a runnerup in Omni magazine’s “Competition for Designatures” (their word for ambigrams) back in the 1980s. It was drawn by Henry M. Swope of Braden, Tennessee. Scot Morris, the games columnist for Omni (and a magic fan), says that since then he has seen this particular design on a number of magician’s business cards. Oops! Once again, let us turn to Martin Gardner. If you are interested in cool paddle tricks with normal everyday objects, you really should check out the Encyclopedia of Impromptu Magic. Baffle Bat Ice Cream Schtick Tahoe File By Terry LeGerould Mac: Speaking of paddle tricks, here are two from Terry LeGerould. “Baffle Bat” is a six-inch black metal paddle that looks kind of like a miniature kayak paddle (a handle in
the middle of two paddles - kind of an hourglass shape). Little silver magnetic “dots” stick to the paddle. These dots appear, disappear and jump from one end of the paddle to the other. The other one is called “Ice Cream Schtick.” This is a little three-inch replica of a chocolate-covered ice cream bar. A penny appears on the paddle and then the name of a selected card appears in white (vanilla ice cream in the included patter story) on the brown (chocolate) paddle surface. This is very cutesy. My favorite part is the 1943 copper-plated steel (so that it sticks to the magnetic paddle) penny that comes with it. I liked these two paddle move-based tricks much more than the Mike Powers “Flicker” trick, but once again my recommendation is to check out the Martin Gardner book. If you ever see John Carney perform the paddle trick with a table knife and a few bits of paper, you’ll never think of doing one of these store-bought things again. The other thing I got from Terry LeGerould is a 22-page manuscript called Tahoe File. This contains seven card routines. In my reviews, I am in the habit of using the word “trick” to describe different items. I specifically use the term “routine” here because these items are all well thought out magic plots. I have never seen Terry LeGerould work, but I have seen every one of these routines as done by my friend Bill Arnold, a professional magician from Minneapolis. In the many times I witnessed Bill perform them, they never failed to impress his audience. Time Ahead From Victor and Marcelo Contento Mike: Way back when, Paul Curry marketed a card prediction effect called “Touch,” which was later included in Greater Magic under the title “The Infallible Prediction.” Many variations have been published, including versions by Joe Berg, T. A. Waters, and one marketed by Merv Taylor called “Ultissimo,” which was basically the Curry idea with the addition of a clear lucite rack in which to hold the playing cards. “Time Ahead” from Victor and Marcelo Contento keeps the same effect as the Taylor item, but changes the design of the rack, using an anonymous idea from a book by Juan Tamariz. The magician displays two decks of cards, red-backed and blue-backed. There is also a display rack which consists of a six-pointed lucite star which is mounted on a C-shaped metal stand. The stand is attached to a circular lazy-susan type turntable. The magician removes three cards from the face down blue deck and places each card (backs out) into a clip on alternating points of the star. Now, three spectators each name a card (free choices). These are removed from the face up red deck, and they are clipped into place (faces out) on the remaining three points of the star. The star is given a gentle spin. As it spins, the entire stand is turned 180 degrees, revealing the other side of the star. The audience sees the backs of the red cards and the faces of the blue-backed cards. They also see that the magician has correctly predicted the three cards. Before I go any further, I should tell you that the star stand is not gimmicked in any way. The trick is accomplished using gaffed cards (which are included). In the Taylor version,
it is possible that when the stand (which is simply a horizontal stand) is rotated, a particularly observant spectator may notice that the cards are not in the proper spatial relationship. In this version, the spinning of the star causes the spectators to lose track of the actual positions of the cards. This does not minimize the effect; it simply eliminates a possible clue to the solution. The stand that Victor and Marcelo are selling is a beautiful prop. The star is 10 inches in diameter and the entire unit stands 15 inches tall. Unfortunately, it’s not cheap, which is why I wanted to make sure that you understood what you’re buying. The trick is a strong one and requires no sleight-of-hand ability. If you have the dough and the effect appeals to you, it is well worth checking out. Trade Show Torn and Restored Newspaper By Joel Bauer Mike: This video from Brad Burt’s Magic Shop details one effect - Joel Bauer’s handling of the classic “Torn and Restored Newspaper.” As Mr. Bauer explains on the video, this version is a synthesis of many other methods, including those of Alan Shaxon, Slydini, Gene Anderson, and Ron Wilson. The result is an extremely practical, “real-world” piece of magic that boasts several useful features: the gaff can be constructed very quickly and can be reused many, many times; reset time is about three seconds; it can be done with standard newspapers, tabloid-sized papers, or newsletter-sized papers; the trick can be done completely surrounded. If you’re not already locked in to a favorite method of doing the torn and restored newspaper, this version is definitely worth a look. The method of preparing the gaff is made very clear (in this case, video learning is probably preferable to text) and Mr. Bauer walks through the handling several times. It will take a little time to get comfortable with this routine, but I would not classify this as being a difficult. A couple of small negative comments: This tape would have benefited from a script, since it would have tightened up some of Mr. Bauer’s extemporaneous ramblings. I wish the producers of the tape had done some research so that the exact inspirational sources could have been credited. And I wish that the hype had been toned down. After all, anybody watching the tape has (hopefully) purchased it, so I don’t think the hard sell is necessary. Those minor quibbles aside, I think this is a very fine routine and is well worth your consideration. Ropey Rope Diary of a Nobody Solutions By Mark Leveridge
Mac: “Ropey Rope” is a comedy cut-and-restored rope routine for kid-show workers. You receive all the required ropes for this plus a 12-inch silk that appears in the center of the rope (actually, I think the silk appearance is the highlight of this trick). You will need to furnish your own “Change Bag.” If you already use a “Change Bag,” or would like to, then this may be the rope routine for you. “Diary of a Nobody” is a version of the “Diary Trick.” This follows the basic plot for such tricks (a selected card and the name of a card written on a selected date in a small pocket calendar match), with a few important differences. Here is what the audience sees in Mark Leveridge’s version: The spectator is handed a small diary and instructed to look up their birthday and note the playing card printed at that date. They see that dates near theirs are printed with different cards. The magician shows a blue-backed deck and, spreading through it, comes to a red-backed card. Without revealing the face of this redbacked card, it is shuffled into the deck. Now, for the first time, the spectator announces their birthday. The magician deals one card face up off the deck for each month of the spectator’s birthday, and then one card for each day. For example, if the spectator’s birthday was October 5, ten cards would be dealt (October being the tenth month), followed by five more cards. The last card dealt matches the card printed at the spectator’s birthday in the diary. This card is turned over and revealed to be the red backer. This is accomplished with only one deck and one diary. I think this is a pretty strong trick. The main problem to me is the diary that is included. It just doesn’t look like a real diary. It looks like what it is, a booklet that was cheaply printed up to be used specifically for this trick. If you want to perform this trick my suggestion is to purchase the booklet Solutions, which is reviewed next. Solutions is a booklet containing eight tricks. These are mostly close-up, but a couple of them would be suitable for stand-up situations. There are coin tricks, card tricks, tricks with credit cards and paper money, plus the instructions for the above-mentioned “Diary of a Nobody” trick. As I said, if you want the diary thing, I suggest you buy the Solutions booklet and put together the trick yourself. Not only will you save 28 bucks, but you’ll get seven other tricks to play around with. Casino Royale By Larry Becker Mike: This is a top-notch commercial mental effect right our of Larry’s professional repertoire. You may be familiar with this routine if you have a copy of Stunners (although the method here is slightly different) or you’ve watched the Mental Masterpieces Vol. Two video. The performer has previously made a prediction that is placed in plain view of the audience. A spectator is invited to go on a mental gambling spree. The spectator selects a poker chip from a large goblet that contains chips from many different casinos. He pockets this chip. The mentalist displays a tray that holds a large stack of phony $100 bills, and (while the mentalist’s back is turned) the spectator cuts off a bunch and pockets them. This represents the bet. Finally, two cards are chosen
to represent a hand of blackjack. When the prediction is read, it is discovered that the mentalist has correctly predicted the casino, the amount of money bet, and the total of the two cards (for example, 20). If you are familiar with this effect, you may have been impressed with it, but shied away because of the tremendous amount of hassle required to assemble all of the necessary props. Viking Magic provides you with everything you need, including the poker chips, the goblet, the stack of phony $100 bills, the playing cards and a sample prediction. The price tag places this outside the realm of the merely curious, but it is not as expensive as it may seem, since (as Larry explains in Stunners) you would probably spend a lot of money just trying to track down the necessary poker chips. If you’re working and you’re looking for a strong mental piece to put in your show, this is definitely worth the investment. Like all of Larry’s material, this routine features a clear-cut effect, minimal work for the performer, and a devious method. I highly recommend it. Cheating at Blackjack Squared By Dustin D. Marks Mike: This book came in right at deadline, but I wanted to get it into this column because the flood of books has subsided for a moment. This is the sequel to the author’s first book, Cheating (and Advantage Play) at Blackjack, which received excellent reviews when it appeared a couple of years ago. This new book is also terrific, filled with moves, ploys, plays and fascinating (and funny) stories. The book explains how to get cards out of play, how to get them back into play, mucking methods, methods for adding to the bet, and many miscellaneous moves including a method for hopping the cut which has definite magical applications. There is information on distracting the dealer, disguises, the steer game, stacking for blackjack, card counting and tells. There is a chapter on high-tech cheating, and a wonderful chapter on stories from the road. In addition, the book has an extremely useful bibliography full of books that I intend to track down. Because I come from poor genetic material, there are no parts of my body that are made of brass; consequently, I will never use any of this material in a real-life situation. But this book is fascinating reading, and I highly recommend it. John Carney’s Torn and Restored Mike: Also in just under the wire is this set of notes from John Carney detailing eight methods for the classic “Torn and Restored Card.” As John states in the introduction, these are not complete presentation pieces but, rather, are interesting methodological approaches. My favorites are the first method (which has a extremely visual restoration of the card) and the last (which involves restoring an entire bag of card
pieces), but all the methods contain information that will be of interest to the card worker. In the last issue I expressed my appreciation for Guy Hollingworth’s “The Reformation.” I still think it’s the best, but John’s methods are less technically demanding and would be completely effective in the real world. They are also a bargain at the price. Magazine Miscellanea Mike: So, you’re walking around the house thinking to yourself, “I just don’t have enough magic stuff to read.” What do you do? First, back off some on the medication. Second, check out these three magazines that recently crossed the review desk. The Conjuror is a 32-page glossy bi-monthly published in England by Simon Coward and David Jones. The first issue boasts an impressive list of contributors, including Phil Goldstein, Peter Duffie, Trevor Lewis and George Kovari. Among those represented in the second issue are Alan Shaxon, Jerry Sadowitz and Bob Ostin. I was impressed with the material in these first two issues. This is worth a look. The Young Magician is the magazine of the Young Magicians Club sponsored by The Magic Circle. The first issue contains a profile of Dominic Wood (Magic Circle Young Magician of the Year), an interview with David Berglas, a short article on John Henry Anderson, a review of the first volume of the Tarbell Course, and a couple of tricks. For information on joining the Young Magicians Club see our Details section. Finally, for all of you Web surfers, check out Steve Bryant’s Little Egypt Gazette. The December issue of this “webzine” (which is published on the 15th of each month) contained a review of World’s Greatest Magic II, some last-minute shopping ideas (including some little known magazines), a remarkable Christmas poem which incorporated the names of just about every current visible magician, and Steve’s commercial presentation for the classic “Everywhere and Nowhere” trick. Steve’s style is low-key and laid back and I enjoyed reading this issue. Mac: I also received a magazine this past month. The Alter Flame is a 12-page quarterly devoted to bizarre, psychic and just plain old strange magic. If you’re into that kind of stuff, this is definitely worth a look. Unclear on the Concept Department (with apologies to Mister Boffo) From a review of an English convention in Abacus magazine: “Old favourites, Magic Books by Post had their usual display, guaranteed to overwhelm any book person, but the Peter Duffie book apart, there did not seem to be too much that was brand new, hot off the press and so on. I don’t know how many copies of the [Joke Book] of patter lines they sold, but they sold out. I can’t help but wonder if this is partly due to the severe panning the book received from MAGIC’s reviewers.”
April 1996 Hello I Must be Going Mac: This marks my 12th column as a co-reviewer with Mike Close. Mike and I began this endeavor as what you might call very good acquaintances. Over the course of the past year, through working on this column and hanging out at conventions, we’ve gotten to know each other better and better. And that’s why this is my last column as a reviewer. I have discovered that I can’t stand Mike Close. That’s just a joke. Actually I can’t stand Stan Allen. O.K., that’s a joke, too. The truth is, this is my last column as a reviewer. The reasons, however, are numerous. Mainly, this is a boatload of work. Reading the books, trying the tricks, and watching all those tapes is really time consuming. Of course you learn a lot that way, but it has just gotten so I don’t have the time necessary to do this job in the way that it deserves to be done. The other bad thing about this job is the fact that a couple of times I’ve felt compelled to give bad reviews to products put out by people I really like. I absolutely loathe being in that position. I think it’s a very good thing that magazine reviews have taken on a more honest bent, but it is unbelievably difficult for me to comment negatively about something in a public forum like this one. Mike Close deserves my heartfelt appreciation for continuing this column all alone without anyone to share this burden. It is a huge load. In the past, he and I could divide the task up and split the responsibility of saying something less than nice about someone’s product. Next time you see him, be sure and say, “Thanks!” Card College Volume 2 By Roberto Giobbi Mac: This is the second volume of Roberto Giobbi’s four-part series on how to grow up to be a great card magician. Mike and I discussed Volume One in our first column together [May 1995]. Everything that was said then applies to this volume as well. It is nicely produced. The translation from Giobbi’s original German by Richard Hatch seems so good as to be rendered invisible. There are many clear illustrations to eliminate all doubt as to exact finger placement for any described sleight. And there is plenty of stuff described here. In Volume One, a whole mess of “fundamentals” were taught: overhand shuffles, false cuts, forces, controls, riffle shuffle techniques, the glide, a simple double lift, the top change, some simple flourishes, and just plain ol’ basic card handling technique. Volume Two builds on that foundation. There are more advanced overhand shuffle techniques, the top palm, the pass, false counts, a more advanced double lift, the crimp,
the glimpse, the reverse, more advanced false cuts, more advanced flourishes, and a hefty chapter on theory. These chapters follow the same pattern as those of Volume One. The move is described and then a trick or two using the newly acquired knowledge is explained. The course is cumulative, that is, knowledge of previously explained material is assumed, but you don’t need to know the stuff from upcoming chapters. A year ago, Mike and I spent a great deal of our time talking about whether or not you should buy Volume One of this course or go for Hugard and Braue’s venerable The Royal Road to Card Magic. Having only Volume One of Giobbi’s work to look at, I was teetering on the edge of the fence. Now that I have two volumes to pore over, I jump off that fence into the Roberto Giobbi pasture. If you buy Volume One and Volume Two and learn everything in them, you’ll be one of a handful of great card magicians in the world. But I suspect that many of the people who read these books will pass over the last 75 pages of Volume Two and thus miss what I think is a really remarkable achievement - a card magician’s bible that preaches on the necessity of the audience in creating a great performance. This section (comprising about a third of Volume Two) is really terrific. Giobbi states that the goal of magic is not just amusement, but creating a “sensation of boundless astonishment that makes us feel both childlike and reverent.” Damn. I suspect that it is possible to impart that sensation, and that Giobbi’s Card College is now the best way to begin your quest of that goal. Everything is well taught. All of the important (and subtle) points are carefully explained. Even if you don’t agree with all the answers provided in the chapter on theory, you will be thinking about the right questions. The section in the theory chapter on “Directing Attention” is especially good. I think, as with all such discussions, it takes careful reading. Each of the points Giobbi so carefully delineates are in reality so inseparably interwoven that you must read, study, practice, perform and re-read the information many times to gain full understanding of this weighty material. I enjoyed reading this book very much. Like Volume One, there are (in addition to the well-described sleights) some great card tricks taught here as well. The routines for “The Homing Card” and “The Ambitious Card” are both top-notch. My favorite part of the book, however, is a section in the theory chapter on “Outs for Disturbances and Disasters.” There is a method presented for dealing with an obnoxious, challenging spectator, which is simply hilarious. How about you, Mike? You wrote the bulk of the review for Volume One of this. What’d you think of Volume Two? Mike: I concur completely, Mac. This volume is uniformly excellent and the presentation of material in the theory section is outstanding. (On behalf of all English-reading magicians, I give a huge tip of the hat to Richard Hatch for producing such a readable translation. I know from talking with Richard that this was an immense task, but it was worth it.) If someone were to read, assimilate, and intelligently incorporate the material in this theory section and combine it with Wonder Words and Leading With Your Head
(both reviewed this month), they would immediately become one of the best magicians in the world. There’s no doubt about it. The Card College books are the way to go if you want to gain a basic foundation of top-notch card handling. I eagerly look forward to the next two volumes. The Looking Glass Edited by Richard Kaufman, Jon Racherbaumer and Stephen Hobbs Mac: These three guys are no doubt familiar to readers of MAGIC. They have all three, at one time or another, written for this magazine. This new project is a magic quarterly. I gather from the first issue (Winter 1996 scheduled to appear in January, but not actually sent our until the end of February/beginning of March) that they are trying to provide their subscribers with a mix of good magic tricks and timely essays on various magic-related topics. They are the right guys for the task. I enjoyed reading the 40-plus pages very much (future issues are said to be between 32 and 40 pages). This first issue is rather card trick heavy for my taste (Richard assures me that future issues will be less so), with card contributions by Jack Birnman, Phil Goldstein, Brother John Hamman, Geoffrey Larta, Bob Farmer and Justin Hanes. There is a thorough discussion (along with a bibliography) of “The Hotel Mystery” card trick by Jon Racherbaumer, a clever coin move by Michael Rubenstein, and David Ben contributes a couple of really smart sleeving techniques of Ross Bertram and Emil Jarrow. Also thrown in the mix is a review of the new Paul Harris video, accompanied by a very fascinating three-way discussion among the editors of Paul’s overall contributions to magic. Additionally, each of the editors writes a column discussing whatever topics they wish. Richard Kaufman’s explanation for why he is doing yet another magic periodical is particularly cheery. The look of the thing will be dramatically different from other magazines of this ilk. The cover is printed with two colors on heavy stock (like the cover of a paperback book) and features a John Tenniel drawing from Lewis Carol’s Alice’s Adventures Through the Looking Glass. Many of Tenniel’s other Alice illustrations are featured throughout the magazine. All of the tricks are clarified by Richard Kaufman’s distinct illustrations. I found this an enjoyable read, and you will too if you like reading stuff written by people who really like magic, really think about magic (whose opinions are sometimes even colored by events which take place outside the cloistered world of magicdom), and who really know how to write. Mike: I very much enjoyed this magazine, as well. Although Mac and I received a galley copy, the production values of the finished magazine will be very high. And with Kaufman, Racherbaumer and Hobbs as the editorial team, you know that there will be something interesting to read in each issue. For me, the two best items (and they are
actually worth the price of the issue) are Jack Biruman’s hilarious “Dyslexic Psychic” trick and David Ben’s wonderful sleeving article. Calvin and Hobbes is gone. Richard and Jon and Hobbs is here. No imaginary tigers, but fun nonetheless. I look forward to future installments. Wonder Words Volume 1 By Kenton Knepper Mike: Do the terms “Unspecified Referential Index,” “Metaphor Restriction Violations,” “Presupposition Formulas,” ‘‘Embedded Commands,” ‘‘Modal Operators, “Nominalizations,” or “Anti-advice Words” mean anything to you? Well, they didn’t to me until I listened to the four audiotapes in the first volume of Kenton Knepper’s Wonder Words series. The above terms come from the field of Neural Linguistic Programming, and Kenton has applied this information to the field of magic performance. The resultant information can raise the deceptiveness level of your performance to heights you had previously believed unimaginable. This review is going to be short and sweet: I was totally blown away by these tapes. I am a proponent of intelligent and carefully conceived patter, and I discovered that I had instinctively used some of the principles set forth in the tapes, but without understanding what I was doing or why it worked. Using the systematic approach that Kenton lays out, it is now possible to construct patter that achieves maximum deceptiveness without having to go through a long trial and error process. In addition to the analysis of various NLP devices and examples that utilize these devices, Kenton also includes some tricks. These tricks are great, they would fool you if you didn’t know the method, and they all are based on the deceptive use of the language. Three of them are going into my repertoire right now. Let me balance out the enthusiasm of the above paragraphs by mentioning that NLP is a subject that is not free from controversy. There are areas, especially concerning the interpretation of a spectator’s unconscious physical gestures, which may not work. (Kenton mentions some of these on the tapes, and I would place them into the category of “iffy.”) But the use of specific words to influence spectators makes sense to me, since I find a correlation in my own work, and I didn’t know what I was doing - pretty much the story of my life. (By the way, Roberto Giobbi must also be a fan of NLP, since he cites a NLP reference in Card College Volume Two.) Bottom line: If you want to be a better performer, you must own these tapes. To my knowledge there is nothing like this on the market. Kenton says that he plans on Wonder Words being a continuing series. Let’s support his efforts and make sure that this happens.
Mac: I must admit that I haven’t heard these tapes (nobody sends me squat), but I have heard of Neural Linguistic Programming. It sounds like these tapes are probably very useful, but you should know that the guys who started NLP funded some research to test their theories. That research was, I understand, considered very inconclusive. Of course, that doesn’t mean that these tapes aren’t useful. Contrariwise, I trust Mike. If he says they’re good, I believe him (but it’s possible that I’ve been influenced by his words). Astro Diary By Barry Govan and Graham Etherington Mike: “Astro Diary” is a version of the “Birthday Book,” an effect that has appeared in various forms over the years. The effect basically goes like this: The conversation turns to birthdays, and a spectator is asked the month and day of his birth. He is given a small pocket calendar (or date book, or diary) that has a different playing card written next to each day of the year. He then chooses a card from the deck. This card marches the card written next to his birthday in the pocket calendar. The method of this trick relies on two things: forcing a card, and knowing which card is next to which date in the pocket calendar. In “Astro Diary,” there is a bank of ten cards repeated throughout each month (plus an extra card for months which have 31 days). A formula is given so the performer can calculate which card must be forced when the spectator reveals his birthday. You are also provided with the diary (which is non-year specific) and card stickers that must be placed next to the appropriate days (the method for doing this is clearly detailed in the instructions, and this is a one-time preparation). There are also several forces explained, none of which require much technical ability. I have a lot of experience with this type of effect, so let me offer you some thoughts before you fire off your $30. The method I use involves a memorized deck, a diary prepared using suggestions from Simon Aronson and Eric Mason (this information has been published), and a force of my own devising. The routine gets an unbelievable response from laymen for two reasons: the diary can withstand fairly rigorous examination, and I can “sell” the force. One problem with “Astro Diary” is that, because of the repeated bank of ten cards, the diary can only be cursorily examined. If the spectator checks the 1st of each month, he will see the same card. (Using Simon’s preparation, there is no such correlation, and I can use this fact to “sell” the randomness of the diary.) Most magicians are not willing to “pay the price” and master a memorized deck. If you are one of them, “Astro Deck” may be a suitable compromise, although the end result pales against what is possible with this type of effect. Here are a couple of added notes: The ads for this trick are deceptive. In describing the effect, the ad states that the spectator selects a card before revealing his birthday. The only way that this can be accomplished is through pre-show work or gaining the information from someone else. If you buy this trick because of this aspect of the ad, the only one who is going to be fooled is you. I should also mention that the instructions list
a few references for other diary effects. Unfortunately, Alex Elmsley’s name is not on this list, and it is Elmsley who came up with the idea of using the bank of ten cards to simplify the memorization. Elmsley had a different calculation formula and a different force, but otherwise, the tricks are identical. (You can find his routine in The Collected Works of Alex Elmsley Volume Two.) The Houdini Bolt From Viking Manufacturing Mike: The magician displays a large brass bolt with a matching nut. A spectator places his ring on the bolt and then threads the nut down onto the shaft of the bolt. The magician places the bolt under a handkerchief (or under the table or behind his back) and instantly removes the ring. The nut and bolt are handed for examination. This is a nicely made unit consisting of a gimmicked bolt (with nut) and a matching bolt and nut. The instructions mention that Fred Lowe and Richard Resor were inspirational sources. The bolts are made by hand; they are not store bought, retrofitted bolts. The design allows the gimmicked bolt to be separated and rejoined very quickly and quietly. The instructions come with four possible routines. I could see how this prop could easily be incorporated into a routine in which a ring must be secured in some fashion. The only negative comment I have is that when I first removed the bolts from their carrying pouch, I could immediately tell which was the gaffed bolt. This criticism is minor, however, because the spectators will never see both bolts at the same time and the discrepancy is small. I just thought you should know. The Magic of It All! By Rand Woodbury and Steve Wiliford Mike: This is Illusionworks’ second compact disc of original music designed to accompany the presentation of standard illusions. In this case, the illusions are “Sub Trunk”, “Broom Suspension,” “Origami,” “Zig-Zag,” a levitation, “Shadow Box,” and “Crystal Casket.” Two different pieces of music are provided for each illusion. In addition, there are intro and exit music, a comedy music piece, and three pieces designed to accompany the magical appearance of a person (or animal). There are 21 different musical cuts on this disc, and the pieces range from 0:41 to 4:15 in length. As in the first disc, the music is well produced with very punchy drums and percussion, and features synthesized sounds. The musical styles are more varied on this disc than on the first release and, consequently, there is a much greater likelihood that you will find music that suits your needs. As before, by purchasing this disc you are relieved of any BMI or ASCAP licensing fees. You might want to check out my earlier review [June 1995] for other musical options. I suggested in that review that Illusionworks offer a sampler cassette so prospective buyers could audition the music. As far as I know they haven’t done that, so if you purchase this
disc, you are buying blind. However, considering the variety of music offered on this latest release, I think that the odds are good that you will find something that you can use. Good Stuff From Sacramento Mike: I participated in the 1996 edition of the Convention at the Capitol held in February in Sacramento, California [see “Convention Guide” for review]. As happened last year, a mountain of talent was in attendance. In fact, you couldn’t spit without hitting a great magician (and heaven knows, I tried). I skulked around, and here is some of the cooler stuff I encountered. I mentioned in the February review column that I was less than enthusiastic about Steve Brooks’ trick “Free Fall.” Well, Aldo Colombini has come up with a handling for this trick that eliminates just about all of the problems and makes it a performable item. How good is this? Aldo fooled Steve Brooks with it. The trick is now being sold with Aldo’s handling included. If you have already purchased “Free Fall,” drop a note to Steve and get the updated info. (Another piece of news concerning this trick: Stephen Minch published a routine called “Melt!” in the October 1987 issue of Tannen’s Magic Manuscript. This uses the same gaff as “Free Fall” and predates it by at least nine years. The Minch routine also avoids the problems inherent in the original “Free Fall” routine. You might want to try to track it down.)\ Ken Martin has some new work on his origami trick “Fusion Loops” [reviewed August 1995]. This includes a modification of the ungimmicked loops and a revised switch. Drop Ken a line for details. Thread-heads will want to pick up a copy of the Sorcery Shop’s new Ultimate Thread Reel Video Volume Three. There is some intriguing material on this, including some “Cup and Ball” moves (!) and some really deceptive hoop moves. Jerry Camero loaned me his new “Bean Bag Pad” to use when I lectured. This is a pad built into a wooden frame. A black bean bag can be attached to the bottom of the frame with velcro. The bean bag allows you to keep the pad level if you are sitting in a chair and the pad is on your lap (a great thing for you video learners). The bag also allows the pad to tilt to give a better audience viewing angle (which is how I used it), or the bag can be removed when not needed. Jerry calls this the “Zeus Pad” and it is worth your consideration. Gordon Bean showed me what has to be the finest version of the “Princess Card Trick” that I have ever seen. It’s called “The Limited Edition” and is the creation of Bean and Larry Jennings. There is no sleight-of-hand, the patter story is logical and affecting, and it is one of the few packet tricks I’ve seen where my mental response was, “This goes in the repertoire!” Buy this before somebody else fools you with it. Last, but most certainly not least, is Gary Kurtz. Gary blew me away with his stand-up act in Sacramento, an act that incorporated some of the following items (write to Gary for
exact prices and payment preferences, but everything is within the $15- $25 range): 1. Notes from the Summit contains an excellent handling of the Shaxon “Invisible Cards and Envelopes,” “Counterfeit,” a wonderful stand-up handling of the “$100 Bill Switch,” “Folded Card in the Card Case,” and the “Amplified Ace Assembly.” All this material is top notch. Relentless is a coin routine that incorporates just about every trick in the book. It’s only drawback is that it must be performed seated. 2. “U.P” is probably the ultimate version of the progressive ace assembly trick. 3. “Shrinker” is a version of the shrinking card case that is designed for platform work. 4. “The Bill, the Cigarette, the Match, and the Lighter” puts a twist on the classic “Bill in Cigarette” trick. This got a tremendous reaction from the Sacramento crowd. 5. “Thoughts Across” is an almost self-working version of the “Cards Across” theme using two decks. Maximum impact, no effort. I unreservedly recommend all the above Kurtz items to you; you can’t go wrong with any of them. But I saved the best for last. Leading with Your Head is a 42-page treatise on using physical and psychological techniques to control and direct audience attention. I am not suggesting that you buy this. I am insisting that you buy this. This is the best presentation of this material that I have ever read. The price is $20. Put down this magazine and send Gary a check right now, or you’ll never get to play with the big boys. Mac: I wasn’t in Sacramento, but I heard that it was a fun time. And I can certainly say from past experiences that Gary Kurtz has some great stuff. I should clanfy Mike’s comments on the stuff Gary has for sale. We don’t have all the specific ordering information for Gary’s various items. You should just write to Gary and get the current list of what he has for sale. Farewell Mike: In the past 12 months, Mac and I have reviewed 31 books, 40 videotapes, 34 tricks, 9 magazines, 10 sets of lecture notes, and 2 compact discs. The process of doing dual reviews was unwieldy at best and, when both of us were on the road, was at times a logistical nightmare. But regardless of the hassles, it was always fun. I don’t think that we were completely successful in pulling off a “Siskel and Ebert” style of reviewing; trying to achieve a natural sounding dialogue when the two participants were 2,000 miles apart was difficult. And we discovered early on that there just weren’t that many items with enough depth to warrant a great deal of back-and-forth comment. But the past year was a learning experience, and one thing I learned is that some readers may have a misunderstanding concerning our job as reviewers. We review product; we do not review people. In the course of doing this, Mac and I have also tried to be honest, even when that honesty put friendships in jeopardy. The reviewer’s job here at MAGIC is to provide you with an informed opinion so you can spend your money intelligently. Other than the fact that I will be going it alone, none of this will change. It has been a pleasure and a privilege to work with Mac. He is not only one of the best performers on the planet, he’s also a nice guy. Have safe travels, my friend. The road is a long one, and I’m glad we had the chance to walk together for a while.
May 1996 Rom[ul]us or Re(a)mus? A few years ago, Garry Trudeau published a very funny Sunday edition of “Doonsbury.” Michael Doonsbury had just purchased a new computer and he was waxing rhapsodic about its power, speed, and cutting edge technology. His wife, who was examining the back of the computer, uttered a small sound of dismay. She read off of the back of the computer, “Best if used before February 1995.” I can commiserate with Doonsbury because I have spent most of my adult life purchasing either electronic music gear (which quickly became obsolete) or computers (which were all eventually orphaned). I waited three years to upgrade my computer, hoping that the technology would momentarily level off, so that I would be happy with my purchase for at least six months. (Gratefully, there was no expiration date on the back of my machine. But, curiously, on the side of the carton it came in, there was a small photograph of Bob Farmer with the caption, “Have you seen me?” underneath.) I’m glad that I waited. I have a blazing machine with a ton of memory and all the bells and whistles I could afford. In the ten days I’ve had this computer I have logged on to AOL, surfed the net like a wild man, played a few games, and been on the phone with tech support three times. And most importantly for you, I have had a chance to try out four magic oriented CD ROMs which have been released for the general public. And, having waded through them, I’m happy that I don’t have to review CD ROMs for a living. I can sum up the following four reviews by referring to them as The Good, the Bad, the Ugly, and the Okay. Three of the four are “hybrid” CD ROMs which means that they are playable on either an IBM or a Macintosh system. All four suffer from the limitations of video playback on a computer system. (They all use a form of Quicktime video playback. This means that the “motion picture” viewing area on your screen is very small.) In all of them the video is played back in short snippets and you control the playback (rewind, fast forward, slow motion, etc.). You will need a sound card and at least a 2x CD ROM drive in order to make them work. Of course, before you make any purchase, be sure to read the box and check out the system requirements. I had no problem installing any of these products on my system. (By the way, if “The Professor’s Nightmare” or “The Salt Shaker through the Table” are staples of your performing repertoire you may want to put them in retirement for a while. They seemed to be the exposure tricks of choice in these discs.) Let’s start with the bad. Inside Magic (IM) is produced by Houghton Mifflin Interactive and features a young man named Peter Grand as the host and performer. This disc differs from the other three in that it focuses on sleights rather than on simple, beginner-style
magic tricks. When you run the program you are presented with a spread of playing cards and from this spread you must click on the four cards which are listed on a small piece of paper which comes with the disc. This is the password protection scheme and IM is the only disc which has implemented such a feature. You must click on the cards in the exact order in which they appear on the cue card. If you don’t know the password (or you screw up) you can only view the performances of the sleights and the routines. Input the correct password and you move to the main menu. This menu offers four areas. Click on Peter Grand’s picture and he offers you a welcome, some navigational help, and a few suggestions. The other three areas are Coins, Cards, and Miscellaneous. You can also access a help function, an index of all the sleights, and a credits section. As I mentioned above, this disc focuses on sleights. Let’s take a look at what is to be found in each of the three main sections. The Coin section contains 17 items including basic palming, the French drop, the Bobo switch, the Downs palm, the Goshman/Tenkai pinch, and the Steeplechase flourish. You can step through theses moves sequentially, or access a menu which calls up the move directly. The viewing area is in the center of the screen. Under it is a bar with a small button on the left end. Clicking on this button starts the video, and as the video plays the button moves to the right. You can stop the video by clicking on the button again, and you can click and drag the button to advance the video to any point you wish. You can also choose to watch the video at full speed, half speed, or slow motion. There is no associated audio. You choose whether to watch the performance or the explanation by clicking on an area marked “Perform/Reveal.” The reveal button shows an exposed view of the action. (Mostly this simply consists of a reverse angle shot.) I had problems with the Play button of the video scroll bar. It seemed very “touchy” as to where you had to click in order to get the video to play. After watching Grand demonstrate and expose the sleight you can go to several other areas. Clicking on a clipboard gives you a text explanation of the sleight. Unfortunately, this cannot be printed out. Clicking on a light bulb gives more information on the move. Again, no printout. Having explained the format, let me tell you what is in the other two sections. The Card section contains 21 items including the double lift, jog shuffle, one hand top palm, pressure fan, Elmsley count, Charlier cut, turnover pass, and several color changes. The Miscellaneous section includes 14 items focusing on ropes (“The Professor’s Nightmare”), ropes (cut and restored), and a salt vanish with a thumbtip. Every now and then, when you call up a particular sleight, there will be a colored icon in the upper right corner of the screen. Clicking on this brings up a video (with sound) of Grand performing a routine using the sleight involved. There were about five of these, including “Twisting the Aces,” “Daley’s Last Trick,” a couple of coin routines, and “The Professor’s Nightmare.” Unfortunately, these video routines are mostly useless for two reasons: the video image is so small that it is almost impossible to see what Grand is doing; and there is no explanation of the routine presented. So unless you can figure it out from what you are seeing, you’re out of luck.
I found this disc to be of little value for many reasons. First, I was less than impressed with Mr. Grand’s execution of many of the sleights demonstrated. If you mimic what you see, you are imitating less than perfect technique. Second, I see no value to having the sleights demonstrated and explained without sound. If you want an explanation you have to switch to a text page, and then flip back to the video. This is worthless. Third, the routines demonstrated are of no learning value for the reasons cited above. Fourth, this disc has no depth. It’s a bunch of moves put into a quasi-multimedia format. Fifth, the box cover of this disc says that you will “learn over 50 tricks.” There are no tricks taught; only sleights are demonstrated and explained. Sixth, the copy protection card is a bad idea. Lose the card and you’re up the creek without your paddle move. Verdict: IM is best suited for use as a Frisbee or a coaster. Moving to the “Ugly” category we have Learn the Art of Magic with Jay Alexander (LAMJA) from Brøderbund software. This disc is geared to children 8 to 12 years old, and besides the explanation of tricks, also provides some information on famous magicians. Included with the disc are simple props (a Ball and Vase set, Dazzling Dice, a Card Box with flap, a drawer box, and a few gaffed cards). The opening screen offers five options: The Oath, Magic Tricks, Famous Magicians, Magic Slang, and The Box Office. The “Oath” section suggests that the viewer should respect the secrets involved and not reveal or expose them by repeated performances for the same spectator. In the “Famous Magicians” area you can watch as Mr. Alexander tells you about such luminaries as Malini, Robert-Houdin, Herrmann, Thurston, Houdini, Chung Ling Soo, and himself. Clicking on various areas of the screen (you have to find them for yourself; it’s kind of like a game) brings up more information. The “Slang” area gives explanations of some magic jargon. The “Box Office” option lets you print up posters, certificates, and tickets. I found the printing function was very slow. The main area is the “Magic Tricks” section and it is divided into five parts: Card Tricks (slip force, a simple version of “Ladies Looking Glass,” a dealing revelation of the four kings, the cut deeper force, Sid Lorraine’s “Slop Shuffle”); Rope Tricks (“Clifton’s Ring Move,” a string restoration using a straw, cut and restored rope, “The Professor’s Nightmare”); Table Tricks (vanishing salt shaker, a thimble vanish, jumping rubber band, magnetized fork, the sugar cube trick [ala Heba Haba Al], crayon identification); Coin Tricks (the French Drop, coin through table [lapping], quarter production from dollar bill, two coin “Matrix,” coin vanish from trouser fold); and Magic Set (tricks which use the plastic props which come with the disc). This disc does provide some depth of information, and young viewers will certainly be able to understand the trick explanations. The problem I have with LAMJA concerns its host. All the video portions of this disc are shot in a pseudo-hip, in-your-face, MTV style. I find this style to be extremely annoying. In addition, Mr. Alexander’s performance persona ranged from grating (early on) to unbearable (by the time I’d worked my way through the whole disk). I found myself desperately wishing that Brøderbund had programmed in a BFG. (If you don’t know what a BFG is, ask any ten year old who plays Doom.) I realize that my prejudice against this disc’s style and the host’s persona is
completely generational, and so you must take it with a grain of salt. If you have spent most of your life watching MTV then the style of this disc probably won’t bother you, and you should ask the person who’s reading you this review to go out and buy you one. Secrets of Magic with Dikki Ellis (SMDE) is an okay disc. There are two main areas and each shows a table covered with props (cards, rubber bands, string, paper clips, cups and balls, matches). Clicking on one of these objects takes you to the performance and explanation of the associated tricks. Nineteen simple children’s tricks are explained, including: rolling a ball along the edge of a scarf, nest of boxes, saltshaker through table, cups and balls, throwing a knot into a scarf, “The Professor’s Nightmare,” jumping rubber band, untying knot in silk, tying a knot with one hand, and “Clipped.” The video area is larger than in the other three discs and because of this the image is not as sharp as on the other three discs. (Although on none of these discs does the video clarity compare to that of your VCR.) Performance and explanations are accompanied with sound. There is a large letter “E” in the corner of each main room, and clicking on it takes you to the encyclopedia. This is an area of text and line drawings which has instructions for 20 more tricks. As you scroll through the text the associated pictures are displayed, and these tricks can be printed out. Also included is a very brief history of magic, and hints on practice, performance, and preparation. Mr. Ellis has a nice, gentle style. SMDE does not have a great deal of depth, but certainly does an acceptable job of presenting the material. Incidentally, this disc can only be used with the Windows format. I saved the good one for last. Magic An Insider’s View (MAIV) comes from HarperCollins Interactive and is hosted by Harry Anderson. Marc DeSouza is the magician who performs and explains the tricks. That this is a much more elaborate production is evident right off the bat, as you fall into a top hat and travel down a tunnel lined with playing cards. You arrive at the main screen which is dominated by a large playing card flanked by two staircases leading off to the right and left. At the top of each staircase is a door, one marked “Magic Show,” the other marked “Magic Gallery.” The large playing card becomes a view screen and Harry Anderson greets you and gives you some information about what is to follow. When he finishes you can enter either of the two doors, or you can click on some objects which are lying on the floor. Click on the objects (a wand, a heart, a piece of rope) and you hear some magic related quotes or anecdotes. The “Magic Show” area is where you learn the tricks. There is a large crate in the center of the screen (this becomes the viewing area) flanked by two towers of 14 boxes, each of which is titled with the name of a trick. Click on a box and it opens the view screen. The tricks include: jumping rubber band, three card monte, pen suspension, a coin vanish, coin through the handkerchief, crayon divination, salt shaker through table, cups and balls, and cut and restored string.
When the viewing area appears four (or sometimes five) slides appear from the left side of the box. The manual says these are supposed to be swords. Each is labeled: Performance, Tutorial/Tips, Props, Preparation, Building Blocks. Click on Performance and you watch and listen to Marc perform the trick. Click on Tutorial and the explanation begins. There is a nice feature associated with the explanation of the tricks. The viewing area divides into four parts: one large area with three smaller areas underneath. These three small areas show three different views of the explanatory action. Click on one and you see it in the larger area. Not every trick has the “Tips” option, but when it is available a voice over offers hints on misdirection and other skills. The “Props” and “Preparation” options are self-explanatory. The “Building Blocks” option is only offered in five tricks, and it gives further explanation of important techniques (for example, the final load in the cups and balls). At the bottom of the screen are two items: a playing card with Harry’s picture on it, and book labeled “Trick Guide.” Click on Harry and he fills the view area and offers some clever comments about the trick at hand. Click on the book and you are taken to a text area where you can read the entire instructions for the trick. There is also the option to print out the text, but I had trouble with this function, and I was only able to print out the first page of the text of any trick. The “Magic Gallery” area is intended to be a resource to gain more information about the historical and theoretical side of magic. The screen has six large pillars labeled “The History of Magic,” “Resources,” “Your Routine,” “Did You Know?” “The 10 Commandments,” and “12 Effects.” For the most part these are text based areas, but the history area contains a section called “Exhibits” which contains posters or pictures of famous magicians, tricks, books, or magazines. I liked the “Magic Gallery” idea very much, and I wish that it had been implemented to a deeper level. You can learn a lot just browsing around in here. MAIV is a good multimedia instructional video. It isn’t perfect, it is about as interactive as your VCR, and it does not exploit the resources of the CD ROM medium to its fullest. But it’s a good start, and if you are interested in investing in a disc for a young person who has an interest in magic this is the only disc I would recommend.
Past Magicians Screen Saver from RiteWay Magic Co. For those who came in late: It used to be that if you left your computer monitor on for long periods of time the image would begin to get burned into the screen. To avoid this, programmers wrote “Screen Saver” programs which put random images on the screen during idle periods. (The most famous of these is the “Flying Toasters” from Berkley Systems’ After Dark.) It is my understanding that modern monitor technology is such that screen savers are not really necessary any more, but they are fun, and here is a magic related one.
The “Past Magicians Screen Saver” set includes 20 classic full color posters of people like Dante, Houdini, and Carter. They come in two sizes: a full screen poster (which can be used for wallpaper) and smaller versions which can be animated so they bounce around the screen. The images come on two 3 ½” IBM-Windows compatible disks. I had no problem installing these, and they look great.
Heart Transplant Change of Mind by Doc Dixon One of the pleasures of the 1994 IBM convention in Orlando was the opportunity to meet and spend time with Doc Dixon (a.k.a. Zoltar - Master of the Inappropriate Gesture…It’s a long story…Ask me about it when I see you.) Doc sent along two very fine close-up items, both of which would make excellent additions to your repertoire. “Heart Transplant” is a card trick in which the heart pips are (apparently) removed from various cards and transplanted to the two of hearts. The first time this happens the two of hearts becomes the three of hearts, but the transplanted heart is in the wrong place. Another heart is moved and the three becomes the four of hearts, but this newly transplanted heart is broken in half. A female spectator is enlisted to save the day. She touches the card and it turns into a normal four of hearts, proving that “a lovely lady can fix a broken heart, and that the magician’s heart is in the right place.” The above description may make this seem to be “corny,” but I think that in the hands of a sensitive performer this could be a very charming trick. Doc offers three different handlings (including one which requires minimum technical ability), but anyone who plans on adding this to their repertoire will probably work out their own routine. “Change of Mind” is a prediction trick in which two spectators guess the amount of change in a small pay envelope. When the change is dumped out and counted it is discovered that the spectators’ guess is two cents over the actual amount. The magician withdraws a small card from the pay envelope. It says, “IOU two cents.” The envelope is completely empty and may be examined. This is a very clever trick and it fooled me the first time I saw it. It’s perfect for walk around magic and resets quickly. If you’re working professionally you will want to take Doc’s suggestion and upgrade the plastic wallet (which comes with the trick) with a prop that you probably already own. These are two fine, usable tricks and are reasonably priced. I recommend them.
Fortuneteller’s Book of Days
by Paul Green The “Birthday Book” effect seems to be very popular these days. Last month I reviewed “Astral Diary” which was based on Alex Elmsley’s “Fate’s Datebook.” From L&L Publishing comes another version by Paul Green called “The Fortuneteller’s Book of Days.” Mr. Green’s routine is also based on “Fate’s Datebook” and Mr. Elmsley is properly credited. What is offered in this routine is both a method which requires no memorization (or calculation) and an interesting and nicely produced datebook. Besides having the names of playing cards written next to each day of the year, there are also astrological readings. This can provide you with a springboard into a cold reading if this is your style. I suggest you read the review of “Astral Diary” in the April issue of MAGIC. In that review I discussed how using the Elmsley ten card bank idea affects the overall “sell” of “card diary” routine. The limitations discussed in that review apply to this routine as well. However, if these limitations are not a concern to you, then this routine will be worth your consideration, since Mr. Green has reduced the technical work to the point where it is non-existent.
The Butterfly Box by Todd Karr This trick and the one which follows present me with a dilemma: How do I warn you of negative aspects without completely revealing the methods involved? I don’t have a good answer for this. Your feedback would be appreciated. The “Butterfly Case” is a gaffed cigarette case which allows the magician to obtain invisible thread under the guise of a natural action. Built into the case are two plastic spools which contain invisible thread. (The extra spool is to be used in case the first thread breaks during performance.) As some necessary prop is removed from the cigarette case, the waxed (or taped) end of the thread is removed as well. The thread spools out to whatever length is required. Closing the case stops the spool from revolving, so that no more thread is reeled out. The cigarette case then acts as an anchor for whatever floating routine is intended. I am not enthusiastic about this product. Unlike an “I.T.R.,” Mr. Karr’s product does not retract thread, it only unreels it. If the case is placed on the table then care must be taken not to “flash” the contents when you open it to remove the object (and steal the thread). Once the cigarette case is closed the thread is locked. If you have not spooled off the proper amount of thread then you must reopen the cigarette case to get more. As I mentioned above, one of the “selling points” of this prop is that a second spool is provided in case the first thread breaks. But obtaining this second thread involves some serious management and misdirection problems. It’s one thing to “get ready” when there
is a lull between tricks and the spectators have no idea what is about to happen. It’s quite another thing to try and reset after you have begun the trick and all attention is on you. Since the spools do not retract the thread you must break it after each performance. If you have to do that, you might as well just hook a thread to a card case or some other heavy object. Mr. Karr provides a very pretty routine for floating a paper butterfly, and the cigarette case and the thread spools seem to be well constructed. But, considering what is possible with the other thread devices on the market, “The Butterfly Box” seems to be a step backwards. And, when you factor in the price, it’s an expensive step backwards.
Fried Thrice by Jon Racherbaumer In the introduction to the instructions of this trick Jon Racherbaumer explains that his goal was to “capitalize on Max Maven’s (aka Phil Goldstein) ‘B Wave’ by making it the climax of a three phase routine. The first two phases are by Ed Marlo. The routine goes like this: The magician lays out three piles of cards. The first pile contains the four jacks, which are face up. The second pile contains the four queens, which are face down. The third pile contains the four kings, which are face up. The spectator names one of the jacks. The pile is turned face down and that jack is shown to have a different colored back. This is repeated with the king pile. For the final phase, one of the queens is designated. Not only is that queen face up in the face down pile, but her back is of a different color, and the other three cards in the pile are blank. This is a very clever routine, and the repetition factor certainly would make the final “B’Wave” payoff a strong one. Jon originally explained this combination in his 1981 European lecture tour, and then published it in his PSI-Clones lecture notes. (The title there was “Pumping B’Wave.”) California Magic asked for and received permission to sell it. Jon is not involved in the project. So what’s my problem? My problem is that I’m not sure that this is something which should be sold as a separate item. For your $10 you get eight ungaffed playing cards and three single sided sheets of instructions. In order to perform the routine you will need to know how to do the Elmsley count and the Olram subtlety. Neither of these moves is explained in the instructions. You will also need to purchase “B’Wave” (which is a wonderful trick) in order to do the complete routine. Now that you know what you’re getting, if you think that it’s a fair deal then by all means pick this up; it’s a strong routine which requires only average technical ability. I just wanted you to be able to make an informed decision.
Siamese Coins by Mike Gallo
This is a very fine gaff/booklet/video package from Meir Yedid. You get the necessary gaff (which is well made), a 44 page booklet explaining 12 routines and 7 adjunct sleights, and a video which shows Mike Gallo performing all the routines. Included are several variations on the “Matrix” effect, coins across, technically simplified versions of “Hanging Coins” and the Ramsay “Coins and Cylinder,” and two routines which I think would be of great use to the walk-around performer: “Exact Change Only” and “Jackpot Slot.” The plots of the last two routines are from Dr. Sawa, but the use of the Siamese coins gaff reduces the technical requirements considerably. On the video, Mike performs all these routines while seated, but in many cases the instructions provide alternate methods should the performer chose to stand. For what you would normally pay for just a video, Meir has provided a complete instructional package. I’m very impressed. If you’re into coins (or you want to be into coins), “Siamese Coins” should be on your list of “must have” items.
The Minotaur by Marv Leventhal and Dan Harlan I can’t imagine that there is anyone who is seriously into close-up magic who hasn’t heard of The Minotaur, the quarterly magazine published by the lovely and talented Marv Leventhal and his faithful Indian companion Dan Harlan. The dynamic duo should have the first issue of Volume 8 out by the time you read this. Each issue is about 12 pages long and usually contains five routines. The list of contributors is a who’s who of the creative people in magic. One of the things which sets The Minotaur apart is its high percentage of non-card material. If you’re not a subscriber I urge you to get with the program and drop Marv a line (and a check). You won’t be disappointed.
The Warpsmith Returns by Tom Stone Tom Stone is young Swedish magician who is the author of The Warpsmith’s Toolbox (a wonderful little book - well worth tracking down) and editor and publisher of the Swedish language magazine The Doctor Faustus Journal. His new book is The Warpsmith Returns and within its 50 pages is some very clever close-up and stand-up magic. “Across the Void” sets up challenge conditions for the “Cards Across” effect. “Champagne” combines Lance Burton’s “King Burton’s Drink” with a stand-up version of Jay Marshall’s “Shoe Production.” (I used a similar idea in the DMS Impromptu contest.) “Impromptu Assembly” is an exceptional version of the now popular Let’s-geton-the-floor-and-do-Matrix routine. Tom’s method has the advantage that it can be done with four borrowed small objects. I saw him do this when I was in Stockholm, and it looks great. “Gold Wielder” is a handling of the Linking Fingers rings, influenced by
Roger Klause’s work. The final trick in the book, “Occhamman Card,” is a remarkable version of Bro. John Hamman’s “The Signed Card.” The wrinkle on this is that the card placed aside at the beginning has a big “X” on its back. Tom’s youthful search for a writing style is very much evident in this book, but the tricks are really fine. If you send for it, save Tom a hassle and use an international money order.
Darwin Ortiz Cardshark - The Video Series Volumes 1-3 by Darwin Ortiz Darwin Ortiz was a very busy man at the Convention at the Capitol in Sacramento last February. He lectured, he performed on the close-up shows, he shot three videos for A-1 MultiMedia, and he yet still found time to have his face cast in plaster and his big toes painted. (Don’t ask. It’s an even longer story…) These tapes feature the routines from Darwin’s sensational book Cardshark (see the review in the December 1995 MAGIC). As far as I’m concerned, the book tells you everything you need to know about Darwin’s routines, but if video is your learning medium (or if you just want to see if someone really can do a one-handed perfect faro shuffle) then these tapes are for you. The first two tapes were shot in front of a live audience at the Sacramento convention, and the third was done at the A-1 “fireside” studios. The production values are high, the routines are great, and Darwin’s performance is top-notch. What more do you need to know?
My Favorite Martin Department Speaking of Sacramento, I accidentally left out one trick in my write up of good stuff from that convention. Martin Lewis showed me a wonderful little penetration effect called “Bolt from the Blue.” It’s a fooler, it resets immediately, it’s easy to do, and the price is definitely right.
Double Bar It is my desire to make this review column as valuable to you as possible. To do so, your feed back is needed. You can Email me at
[email protected]. I may not have the time to answer all mail, but I am interested in what you have to say. If you have a product you’d like have reviewed, send it to me. My address is Michael Close, 11320 Haverstick Road, Carmel, IN 46033. (Please send necessary postage if you want the item returned.) Details Inside Magic from Houghton Mifflin Interactive. $59.95 Learn the Art of Magic with Jay Alexander from Brøderbund Software.$39.95
Secrets of Magic with Dikki Ellis from Villa Crespo Software. $49.95 Magic An Insider’s View from HarperCollins Interactive. $39.95 (All the previous CD ROMs can be found at the usual software retail outlets.) Past Magicians Screen Saver $19.95. From Bishop’s Magic Shop, 3242 S. Harlem Ave., Riverside, IL 60456 “Heart Transplant” and “Change of Mind” by Doc Dixon. $10 each plus $2 each p&h. From Doc Dixon, P.O. Box 8331, Pittsburgh, PA 15218 “Fortuneteller’s Book of Days” by Paul Green. $20 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 “The Butterfly Box” by Todd Karr. $100 plus $5 p&h. From The Miracle Factory, P.O. Box 7548, Bloomfield Hills, MI 48302 “Fried Thrice” by Jon Racherbaumer. $11 postpaid. From California Magic & Novelty Co., 1930 Oak Park Blvd., Pleasant Hill, CA 94523 “Siamese Coins” by Michael Gallo. $35 (PAL format $42.50) postpaid in US. (Foreign postage add 20%). From Meir Yedid, P.O. Box 2566, Fair Lawn, NJ 07410 The Minotaur by Marv Leventhal and Dan Harlan. One year subscription (4 issues) is $18 in the US and Canada, $26 everywhere else. From The Minotaur, P.O. Box 470025, Broadview Hts., OH 44147-0025 The Warpsmith Returns by Tom Stone. $30 plus $5 p&h. From Tom Stone-Bengtsson, Julias gata 111, 422 51 Hisings Backa, Sweden Darwin Ortiz Cardshark - The Video Series Volumes 1-3 by Darwin Ortiz. $29.95 each video (any format), all three for $84.95. Free postage for US, Canada, and overseas surface; overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 “Bolt from the Blue” by Martin Lewis. $7 plus $1 p&h. From Martin Lewis, 9961 Bond Circle, Huntington Beach, CA 92646
June 1996 The Thrill is Back When I was a little kid my folks would take me to Stoner’s Magic Shop in Fort Wayne, Indiana. An almost electric thrill ran through me when I entered the store; so much stuff, so many mysteries, so little money to spend. Eventually that thrill faded, but in 1976 I time-traveled for a moment and got the same tingle when I walked into the dealers’ room at my first magic convention, the IBM convention in Evansville. A few other occasions have evoked these feelings - visiting the Magic Castle and sitting at the same table as Dai Vernon and Francis Carlyle, getting a chance to get my hands on my first “underground” manuscript - but unfortunately, familiarity does breed complacency, and the longer you have been in magic the less likely you are to get that “expectation buzz.” But it does still happen, and this month I got “buzzed” twice. The first time happened when I went to the mailbox and found a small parcel from England. The name in the return address was “A. Elmsley.” Had it been “L. Beethoven” I don’t think I could have been more thrilled. (Surprised, yes. Thrilled, no.) A little later on I will tell you what Mr. Elmsley sent me, and if you grab your checkbook, you can be thrilled, too. The second thrill came with the arrival of a large package from Hermetic Press. Stephen Minch had sent me the galleys of The Books of Wonder. I was instantly seven years old again. For many MAGIC subscribers the first stop in a new issue is the “Parallax” column. If this is your habit, then you have already read Max’s one sentence review of The Books of Wonder by Tommy Wonder and Stephen Minch. To be honest, there is not much more I can add - but I will, otherwise this column will run several thousand words short. Tommy Wonder has made two appearances in MAGIC, the first in a small booklet called Square One which was a promotional subscription bonus. Tommy contributed an essay called “Thoughts in Mid-Air” which was a brilliant analysis of the Zombie effect. Tommy was on the cover of the May 1994 issue of MAGIC, and he was profiled in an article by Phil Goldstein’s good twin - Max Mavin. Another of Tommy’s essays was a sidebar to this article, and at the bottom of the essay mention was made that Tommy’s book would appear in the fall. This, remember, was back in 1994. Like Topsy, the book grew, becoming two books, encompassing over 600 total pages, and containing some of the most stunning magic and insightful analysis that it has been my pleasure to read. Before continuing, I want to make clear that while in the following discussion I may for convenience refer to Tommy as the singular author of these books, they are entirely the happy collaboration of Tommy and Stephen Minch. Tommy is, of course, the creator of
the material, while Stephen wrote the majority of the trick descriptions and lent his able editorial hand to the essays. Here is the overall layout of the two books: Volume One focuses on close-up magic and contains 28 routines. In Volume Two the emphasis is on platform and stage magic and there are 26 items explained. Intertwined among the routines (and I mean intertwined in all senses of that word) are fabulous essays which explore all facets of the performance of magic. There are 35 essays in Volume One, 23 in Volume Two. These essays are introduced so that the theoretical concepts discussed are then applied to the routines which follow; a fine organizational approach which allows you to see how an experienced performer puts theory into action. Let me now give you the details of what is included in each book. Volume One begins with an prologue titled “The Limitations of Theory” which examines the relationship between theory, intuition, and the refining and polishing of talent. There then follows a chapter containing three essays on Misdirection (or more properly, audience management and direction). These 30 pages contain some of the finest information on this subject that I have ever read. Chapter Two focuses on card routines. The first routine, “Magic Ranch,” uses the aforementioned Misdirection information to achieve the long distance production of a plastic egg, which, when opened, contains a small duplicate of a selected card. There are routines for Card through Handkerchief, Everywhere and Nowhere, the Torn and Restored Card, and the Haunted Pack. Also included in this chapter is routine of card effects which is a highlight of Tommy’s lecture: The deck is removed from the card case, and the case immediately shrinks. The deck is rapped on the table and all the pips fall to one end of the deck (a hilarious sight gag). A card is selected and signed. It appears in a folded condition, inside a small box. Finally, the entire deck is replaced into the small card case. (This last bit is one of the most remarkable visual effects I’ve ever seen. You really can’t believe your eyes.) Chapter Three concerns itself with one effect: Tommy’s handling of Wild Card. If there is a stronger version of this, I am unaware of it. The routine is designed for walk around situations, no table is required, the cards end up in the spectator’s hands, and if a curious spectator decides to follow you around he will discover that the set of cards which you finish with change into a completely new set of cards when you perform for the next group of people. Coin tricks are the subject of Chapter Four, and here you will find a lovely Boston Box routine, a handling for Cigarette through Quarter, and a superb Spellbound routine. Chapter Five concludes this volume and it contains stand-up routines, the highlight of which is Tommy’s handling of Oswald Williams’ “Holdup” routine. The method is extraordinary. In the first chapter of Volume Two, Tommy offers more close-up material, including a table designed to be used for table-hopping, a torn and restored cigarette effect, a ring on wand move, and an extraordinary effect in which several dozen strands of thread are immediately passed through the eye of a needle.
Chapter Two contains a complete description of one of Tommy’s best known routines: The Two-cup Routine. This is a cup and ball routine using two cups, two balls, and a bag with a large tassel on it. This routine is an object lesson in audience management, as during the course of the routine both the tassel and bag appear under the cups. Manipulative magic is the subject of Chapter Three, and included are a card manipulation sequence with an errant card case, Tommy’s version of the Diminishing Cards (another of the highlights of his lecture), and some ball manipulations. The last two chapters of Volume Two were a revelation to me. I had always thought of Tommy as a sleight of hand performer, and I was not aware of his remarkable abilities as a creator of mechanical marvels. Chapter Four contains Tommy’s work on four utility devices: the tails topit, the belly servante, the pendulum holdout, and the Jack Miller holdout. His modifications to these gimmicks are light-years beyond anything else I have read. Finally, in Chapter Five, Tommy gives the complete details of three of his signature pieces: the Vanishing Birdcage, the Zombie, and the Nest of Boxes. For those who are mechanically inclined, every detail of the construction and modification of these props is explained. In fact, the amount of detail given is far beyond that of most of the “illusion plans” books which I have seen. The description of the Nest of Boxes is possibly my favorite section of the books. Tommy explains three different methods, each successively more ingenious and deceptive. In the final version, a spectator’s watch ends up inside two boxes, inside an alarm clock (the back of which the spectator unscrews to open it), and the magician never touches the boxes. Following the description of these three methods there comes one of the greatest punchlines I have ever read in a magic book. I will not spoil it for you. Some of the routines in The Books of Wonder have been in print before. All have been updated and rewritten. In fact, one of the fascinating aspects of the books is that Tommy examines some of his earlier creations through the eyes of a more experienced and mature performer. If they only contained the aforementioned routines, The Books of Wonder would be great, but as I mentioned earlier, woven between the tricks are wonderful essays. They will make you think, they will challenge you, they may even upset you (Tommy does not mince words). But if you study and apply the information in them you will be a better magician. In the introduction to Volume Two, Eugene Burger compares these books to Our Magic, and I think he’s right. The Books of Wonder are the Our Magic of the late twentieth century. Purchase and study them. (Where have I read that before?) These books are going to generate a lot of conversation. They will be discussed as books of tricks and as books of theory. But I know what they really are. Tommy Wonder has written a love song, and, like all great love songs, The Books of Wonder are classics and will be around for a long, long time.
Mouse Magic by Alex Elmsley So, what did Mr. Elmsley send me? The package contained a 52 page manual, a few small cards, and a disk containing some of the best computer tricks I’ve ever seen. If you have an IBM compatible computer running Windows 3.1 (or later) you are going to fool the hell out of your friends and co-workers. Here’s some nuts and bolts stuff first. The program installed without a hitch. Mr. Elmsley also has considerately included an uninstall program if the time comes when you wish to remove “Mouse Magic” from your computer. Password security is provided, and there is a nifty feature which keeps anyone from copying the program from your computer and using it on their machine. “Mouse Magic” contains seven tricks. All are really good, and all of them would completely baffle you if you didn’t know the methods. Here’s some of my favorites: A spectator removes any object that he or she may have on their person. This object is shown to the mouse. A picture of the object appears on the computer screen. Here’s another effect: A card is chosen and returned to the pack. The pack is sprung at the computer screen and a picture of the chosen card appears on the screen. Or how about this: A spectator counts up his loose change. The magician (that’s you) starts a counter on the screen. It runs and stops at the appropriate number. Here are two more effects that I think are absolutely killer. A spectator chooses some items from a list on the screen (the list includes colors, precious stones, etc.). When all the choices have been made the computer gives the subject a horoscope reading and then divines the spectator’s birthday. (And many times can also tell whether the spectator is male or female.) I’ve saved the best one for last. The spectator cuts off a packet of about a dozen cards from somewhere in the pack. He remembers the bottom card of this packet. He then shuffles the packet thoroughly. He now enters the names of the cards into the computer. Immediately the computer dictates a procedure for the spectator to follow. Upon following the instructions the spectator’s card turns up. The magician does not touch the cards, nor does he touch the PC. If I sound enthusiastic about these tricks, I am. The methods are ingenious and are beyond reconstruction. Certain aspects of the tricks can be customized to suit your individual preferences. And most important of all (at least to me), these tricks are not self-working. If you want to perform them you are going to have to practice, and I think that’s terrific. Thank you Mr. Elmsley. You made my day. The Stockholder by Greg Wilson
This is a fine utility item. Greg Wilson (no not that one - the other Greg Wilson) has constructed a business card wallet which allows you to perform tricks which utilize the “Out to Lunch” principle. No longer will you face the sneers and derision of the CEO’s of the Fortune 500 companies when you whip out your rubberbanded stack of business cards. Greg provides you with a very nicely made leather wallet, one side of which is gaffed. I have used one for a while and have encountered no problems whatsoever. Greg also provides a 72 page booklet with routines for the wallet. My favorites are Paul Harris’ strange routine with a driver’s license, Roy Johnson’s instant Magic Square routine, and Dan Harlan’s hilarious trick with a stick figure. (Dan has gone quietly mad over this prop, and has published some excellent routines for it. Check out recent issues of Genii and The Minotaur.) Not much more I can say. This is one of those “Why didn’t I think of that?” kind of props. It’s well made, it works great, and it makes you look like a classier act. I recommend it. (By the way. The video reviewer for one of the other magazines recently took Greg to task for not changing his name to avoid confusion with the other Greg Wilson. What he didn’t know is that Greg had already changed his name. His real name is Dai Vernon.) Devano Style Rising Cards from Douglas-Wayne Illusioneering The Rising Cards effect using a Devano deck is a classic piece of magic, and is a staple in the acts of many professional magicians. (It was one of the highlights of Albert Goshman’s close-up set.) The deck offered by Douglas-Wayne Illusioneering is a very nicely made prop. The block of cards which contains the sliding mechanism is only 15 cards thick, so the deck can be handled very freely. Pins are used to engage the chosen card, and this method is much more reliable than using some type of sticky adhesive. It took a little while to “break in” the sliding mechanism and to get used to the “feel” of making the cards rise, but after that things were a piece of cake. If you are looking for a nicely manufactured effect which has stood the test of time, the D-W I Devano deck is well worth your consideration. Cabaret Calculus Virus Card Cigarette Through Chip by Mark Leveridge British magic dealer Mark Leveridge sent along three new items, two of them suitable for close-up performances, one designed for a stand-up show. Actually, the name “Cabaret Calculus” describes the performance conditions perfectly. This mental routine would play well for an audience up to about 75 people. (For a larger
group you would need to make up larger versions of the props.) This routine is based on the well-known “Matrix” number force. What Mark has come up with is a way to avoid the rather contrived procedure of marking out the numbers which lie on the same row and column as the chosen numbers; and in doing so has added an air of fairness to the procedure. Mark has also added a very commercial bit of business concerning the revelation of the predicted number. The price may seem a bit on the high side, but the props are well made, and Mark provides you with extra number squares so you can force different numbers. This is worth checking out. “Virus Card” is sort of a Wild Card type routine, but using the entire deck. A deck of cards is shown on both sides. There is one blank-faced card in the deck. This is referred to as the virus card. Three cards are removed from the deck and are placed against the virus card. They turn blank-faced. As a climax, the entire deck becomes blank-faced. Only average card handling ability is required, At the end of the routine much of deck is ungaffed so with proper management you could probably leave the spectators with the impression that they had examined the deck. “Cigarette through Chip” is an intriguing item. The effect is the same as the classic Cigarette through Quarter, but with a couple of interesting additions. When the cigarette is halfway through the poker chip the chip turned so the spectators can see both sides. And then, after the cigarette is pushed all the way through the chip, the chip can be immediately handed out for examination. There is no switch. Obviously, there is a trade-off involved here. Instead of performing a penetration effect with an apparently borrowed object, you are using an object which none of the spectators have ever seen before, and which must be explained away by patter. On the other hand, the fact that you begin and end so cleanly is a definite plus. Also, I have a sneaking suspicion that a lot of laymen are familiar with the Cigarette through Quarter gaff. This may just be the perfect trick to spring on the wise ones. I liked this a lot. It will require some practice in order to become comfortable with the necessary handling, but the trick is not particularly difficult. If your budget will only allow one purchase from Mr. Leveridge, this is the one I’d go for. Outrageous Bets You Always Win by John Greene The title pretty much says it all. This video teaches very simple bar bets and “gotchas” that will enable you to con your friends out of a drink or whatever else they might be foolish enough to wager. I assume that the target audience for this tape is laymen, for the material taught should already be familiar to anyone who has been in magic for any length of time. (And apparently Mr. Greene does not have access to the real work, since none of the assisting spectators ever get hit in the head with a rock.) The video is well produced and the performances and explanations are clear. If you have a layman friend who is interested in this type of thing then this tape might be a nice gift,
but if you’re a regular MAGIC reader then the columns by Bob Farmer and Martin Gardner have already given you more than you need to know. The Genii Vase by Dick Williams This is a grown up version of the plastic Chinese Vase that we all had as kids. The Williams’ vase is very pretty thing, standing about a foot tall, made of solid brass, and hand decorated. The routine follows the traditional plot: a rope is placed in the vase. The vase is turned upside down, the rope doesn’t fall out. The props are inverted again and the vase swings from the rope. This is continued ad infinitum. As a kicker, a long stemmed rose is placed into the vase. The rose lifts the vase off the table. Because of the construction of the vase there is no need to load or steal the necessary gaff. The use of the rose is a clever idea, and it uses an entirely different method to cause the vase to become suspended. “The Genii Vase” is a nicely made prop and is worth checking out. Good Stuff from DMS I attended Joe Stevens’ Dessert Magic Seminar in April. Here’s some of the good stuff I saw. John Cornelius had two new items. The first is “The Perfect Pocket Trick.” John has taken the classic slum trick “Nickels to Dimes” and has constructed a very clever routine around it. You are provided with a small squeeze type coin purse. You dump out some nickels and some dimes. The spectator is given a choice of either. Assume he chooses the dimes. The dimes are put into the purse, the nickels are arranged in a stack. You wave the purse over the nickels and they immediately turn into the dimes. The nickels are found inside the purse. At the end everything is examinable. At first you might wonder if $20 isn’t a little high for what is basically the “Nickels to Dimes” trick, but in talking with John I learned that there was an enormous amount of R&D involved in producing props that worked correctly. This is a dandy little trick and is worth your consideration. John’s other new item is a new and improved version of “Pen through Anything.” Since I couldn’t get one to play with, I’ll hold off my review of it till next time. G Sparks has a cute trick called “Spark’s Bullet Catch 22” which was inspired by John Carney’s “The Thirteenth Victim.” The magician displays a 32 caliber bullet which he heats with a match. There is a loud bang and the magician’s head jerks back. He is now holding an empty shell. Grinning, he shows he has caught the slug between his teeth. This is a simple trick to do, and could easily be incorporated into other routines. Obviously, since the premise of the trick involves doing something mind-bogglingly
stupid, you should be sure not to perform it in front of impressionable audiences (such as children, and people who live in tiny shacks in Montana.) If you have an interest in doing magic with jumbo playing cards then you should check out John Novak’s enormous reference book Jumbo Card Magic. John discusses over 445 jumbo card effects and also gives information on how to make your own gaffed jumbo cards. There was some grumbling around DMS that there were secrets of marketed items revealed in this book, but I think that unless you owned the item in question there is not enough information given to allow you to reconstruct the handling. The production values are spartan (even by my standards), but there is a ton of information here. Finally, Dick Stoner gave me a set of his “Las Vegas Glasses.” This is a great comedy prop, first described by Karrell Fox in Comedy ala Card. (This trick is marketed with Karrell’s permission.) The effect is that a card is selected and lost in the pack. The cards are spread on the table. The magician dons a pair of glasses which he says will enable him to find the card. He looks over the spread, but names the wrong card. He does this again. When the magician looks up, the spectators see that two jumbo pips of the card are on the lenses of the glasses. As I said, this is a great gag. The price may seem a bit high, but the glasses are well made and should hold up under the rigors of regular use. If you want to know what the glasses look like, check out the April issue of Genii. On page 436 there is a picture of Alain Choquette, Luis de Matos, and Princess Stephanie of Monaco sitting at a café table. On the table is a pair of these glasses. (Unfortunately, since I haven’t seen the Champions of Magic special, I don’t know which of the three did the trick.) Details The Books of Wonder by Tommy Wonder and Stephen Minch. Two Volumes, over 600 total pages. 7 x 10. Hardbound, gold stamped on front and spine, printed art endsheets and dustwrapper. Price per volume $45 plus $4 p&h (overseas add $16). From Hermetic Press, 1500 S.W. Trenton St., Seattle, WA 98106-2468 Mouse Magic by Alex Elmsley. $40 postpaid (personal checks OK). From Alex Elmsley, 6 Smith Terrace, London SW3 4DL, England The Stockholder by Greg Wilson. $40 postpaid (overseas add $10). From The Secret Source, 64 Seafare, Laguna Niguel, CA 92677 Devano Style Rising Cards. $45 plus $3 p&h. From Douglas-Wayne Illusioneering, P.O. Box 421, Macomb, IL 61455 Cabaret Calculus, $40. Virus Card, $30. Cigarette Through Chip, $30. All by Mark Leveridge. From Mark Leveridge Magic, 29 Wrefords Close, Exeter, Devon EX4 5AY, England
Outrageous Bets You Always Win by John Greene. $19.95 plus $4.50 p&h ($6.50 for Canada/Mexico, $12.50 overseas). VHS only. From Diligent Publishing Company, 5132 S.E. Flavel Drive, Portland, OR 97206 The Genii Vase by Dick Williams. $75 plus $9.50 p&h. From U.S. Toy Magic, 2008 W. 103rd Terrace, Leawood, KS 66206 The Perfect Pocket Trick by John Cornelius. $20 plus $3 p&h. From John Cornelius, 430 Elmwood, San Antonio, TX 78212 Spark’s Bullet Catch 22 by G Sparks. $22 postpaid. From A Lightning Enterprise, 330 Lincoln Ave., San Jose, CA 95126 Jumbo Card Magic by John Novak. Spiral bound, 8 ½ x 11, 314 pages. $39.50 plus $8 p&h. From John Novak, 3051 W. 112th Street, Cleveland, OH 44111 Las Vegas Glasses by Karrell Fox. $20. From Stoner’s Funstores, 712 S. Harrison Street, Fort Wayne, IN 46802
July 1996 Lag Time May was a busy travel month. I was home for a total of 8 days, and I spent the other three weeks doing lectures in Canada, followed by back-to-back conventions in Ohio, the Netherlands, and Washington, D.C. Highlights of the trip were spending time with David Ben (who will have a one-man show this summer at the Shaw Festival in Niagara-on-theLake), the recently reincarnated Bob Farmer, Tommy Wonder, and the members of the Collector’s Workshop Almost All Magician Dixieland Band. By the time you read this column Editor Stan and I will have attended both the IBM and the SAM conventions, and I hope that if you were at either of these affairs we had a chance to chat. I’m fairly easy to recognize at conventions: I’m the one who’s always standing by himself. Because of the non-stop travel I managed to pile jet lag on top of jet lag, so if this column is more disjointed than normal that is the reason. I enjoy flying because it gives me a chance to read whatever new books have arrived. Unfortunately, the flight from Detroit to Amsterdam was unusually turbulent, so reading was difficult. During an extremely bumpy period the lady next to me had whipped out her Rosary Beads and was working them furiously. I mentioned to her that all the flight attendants had brought out theirs as well. Since this comment did not produce the calming effect that I had envisioned, I regretfully slipped the Funken ring back into my pocket, even though I had planned a great joke with it. Some people just don’t have a sense of humor. What I could really use on an airplane is a VCR. Since the airlines don’t equip them (at least in the cattle car section of the plane) I spent four and half hours of my time at home watching the first three volumes of L&L Publishing’s new Encyclopedia of Card Sleights, featuring Daryl as the performer and teacher. This video project was originally planned using a different performer and magic consultant. But it was brought to Louis Falanga’s attention that Daryl had already completed the necessary research and had in fact shot a great deal of video for a similar series of tapes. The other participants graciously bowed out, and Daryl signed on, and it is a fortuitous choice, for there are few performers who have the technical ability and the personal charisma to pull off a teaching series of this scope. The series will eventually encompass six or seven tapes, and the first three are available now. Volume One begins very simply by defining some the terms used with playing cards. This is followed by an explanation of the One Way principle (applied to faces and backs) and an examination of several gimmicked cards. Daryl then defines and demonstrates a large number of technical terms including various cuts, shuffles, and techniques such as the Step, the Jog, the Crimp, the Force, the Multiple Lift, and the Color Change. No attempt is made to teach these techniques, what Daryl is doing is establishing a
vocabulary, so that the student will be exposed to the many concepts which will be taught later on. The remainder of the first volume is devoted to techniques which involve minimal manual dexterity: the Glide, the Break, the Step, and the Jog. Multiple methods are taught for each of these categories, and included are techniques from people like Cardini, Dingle, Steranko, and Andrus. Volume Two continues the discussion of the Jog, adding 8 more methods. This is followed by discussions of the Crimp (8 methods), the Overhand Shuffle (including top and bottom stock control, and the Ireland, Greek, Charlier, Optical, and G.W. Hunter shuffles), the Hindu Shuffle, the Strip Shuffle, and False Cuts (6 methods.) The technical requirements go up a notch on this tape, and with the techniques taught, a student would be able to do some pretty decent card magic. Volume Three finishes off the discussion of False Cuts (seven more methods), followed by information on the Riffle Shuffle (including the Vernon “Triumph” shuffle), the Glimpse, and the Key Card. Daryl’s enthusiasm for his subject really comes out on this tape, especially during his discussion of riffle shuffle work. The man obviously enjoys this stuff, and is having a good time performing and explaining it. Having given you a brief rundown of what’s on the tapes, let me give you some general impressions, and perhaps answer some questions concerning them. “Is the information on the first tape so basic that I probably already know it?” Possibly, but in a course which is structured to build on previously learned information you are probably better off starting at the beginning. And after the introduction of the technical terms things start to move pretty fast. Speaking of moving fast, you are definitely going to need to use your rewind button on these tapes. There is a lot of information discussed, and if you are a beginner you will probably need to watch Daryl’s demonstrations several times. There are the usual slow motion Super Practice sessions, but keep that remote handy. “Are these tapes all that I would ever need to learn about card sleights?” Absolutely not. There is a lot of information here, but not everything is here. The best way to use these tapes would be as an adjunct to Roberto Giobbi’s Card College books. As an example, if you were only to use Daryl’s tapes as your learning source you would not have all the work on the G.W. Hunter shuffle. Read and study the books, and use the videos to help clarify. In conclusion, I can only say that these are really fine tapes, and I wish that I would have had a resource like this available to me when I was a kid. The videos were digitally recorded and edited and they look great. We are at a point in the history of magic where there is absolutely no excuse for a performer not to have good technique. If you want to be a card guy pick up Card College 1 and 2 and these videos and get to work.
Two from K and G
Left unread in my knapsack during the bumpy ride to Amsterdam were the two new books from Kaufman and Greenberg: the collected reprint of the magazine Seance, and Lou Gallo: The Underground Man. However, I did get around to reading them. Here’s the scoop. One criticism which is often leveled at magic performances is that they lack emotion; they are merely puzzles which tickle the intellect. This is definitely not the case in the specialized field of Spirit Theater or “Spook Shows,” where emotion is the name of the game. Very little has been written on this subject, and Eugene Burger’s Spirit Theater (published in 1986) helped to rekindle interest in performances which center on the world of spirits and ghosts. In 1988 Scott Moore-Davis began a quarterly magazine called Seance devoted to spirit magic. The subscriber base was very small (about 250) and the magazine ran for twelve issues before ceasing publication in 1991. Kaufman and Greenberg have published a bound edition of the complete run of Seance, and it is chock-full of useful and fascinating information. Each issue of Seance is about 16 pages long, and the list of contributors contains some of the best thinkers in this field: Jim Magus, Bob Blau, Tony Andruzzi, Lee Earle, Richard Webster, T.A. Waters and Punx to name a few. There are multiple issue interviews with E. Raymond Carlyle and Leo Kostka who describe their work as mediums at the Magic Castle, Eugene Burger has a regular question and answer column, and there is a fascinating column by someone called “Dr. Dees” which contains some very interesting work. If you have any interest in this subject you should get a copy of this book. But you’d better hurry. This is a limited printing, and as of this writing Richard Kaufman has no more copies for sale. Seance sells for $50. Check with your favorite dealer to try to get a copy. Lou Gallo is best known among card and coin guys as the inventor of the “Gallo Pitch,” a very powerful utilitarian coin move. Lou was a close friend of Eddie Fechter, and for many years was a fixture at the Four F’s convention. Lou also creates diabolical coin and card tricks and produces clever and talented sons. A few of Lou’s tricks have appeared in print over the years, but Lou Gallo: The Underground Man is the first collection of his work. The book is divided into three main parts: Masterpieces of Coin Magic, Singular Creations in Card Magic, and Unbridled Astonishment. The card portion is further broken down into four chapters: With Aces, With Aid, With Two Cards, and With Ingenuity. (Curiously, although the Table of Contents lists these sections and subsections, they do not appear within the body of the book. Also curious is that a page containing Lou’s Dedication and Introduction was not bound into the book.)
The coin section begins with a complete description of the Gallo Pitch. If you have had problems learning this move this detailed explanation should put you on the right track. Eleven routines follow, most of which make use of the Pitch. The skill level ranges from some which will require only average technical ability to some real knuckle-busters. Highlights for me were “Incredible Cards and Coins” and “The Coins of the World.” You should be aware that some of the routines require lapping, and thus must be performed seated. The card material presented is uniformly excellent. Lou’s preference is for direct, easyto-follow effects which will entertain laymen, but which have enough smoke to puzzle other magicians. You will find Triumph-style effects, poker deals, ace-cutting effects, and extremely sneaky card locations. All are worth your attention. The last section of the book contains three non-card/coin items. “The Shock” is a brief series of cigarette manipulations which culminates with the barehanded production of a beer bottle. “Fechter’s Sponge Balls” is just that - the exact routine as performed by Eddie at the Fork’s Hotel. And “Rubik’s Revenge” is a handling variation of my original method for “Rubik’s Dollar Bill” from Workers #2. Lou Gallo: The Underground Man is a top-notch collection of material for card and coin guys. I recommend it.
Three From P.S.P. Samuel Patrick Smith sent along three items: a very instructive audio tape, a Burling Hull card trick, and a Jim Swoger item suitable for platform use. The Short Course on Kid’s Shows is an 82-minute audio cassette which is based on material from Mr. Smith’s books Big Laughs for Little People and Kiddie Patter and Little Feats. Side one of the cassette focuses on the general business of doing kid shows including repertoire, handling volunteers, repeat shows, dealing with problem children, repacking the act, and much more. Side two of the tape focuses on performing for preschool age children and is packed with information. This is a really fine tape. If you are new to the kid show field this tape will save you a lot of time and heartache. It is a steal at $10 and I recommend it. “The Ghost Card” is a Burling Hull method for the venerable “Princess Card Trick.” A spectator is shown six cards and merely thinks of one. The cards are squared and are dealt one at a time onto the spectator’s hand. The spectator sees the fronts and backs of all the cards. There are still six cards, but the thought-of card is gone. The card is pulled from the magician’s pocket. The method used for this is really clever, and would probably fool you the first time you saw it. Mr. Smith sells this in both a jumbo card version and a bridge-sized card version. I would recommend the jumbos, because the smaller cards have a strange back pattern
which will not match any deck you normally use. The trick is a no-brainer, requires no sleight-of-hand, and would play well in a stand-up situation. “The Poof Ball” is a James Swoger idea which allows you to do amazing ball manipulations without the need of much manual dexterity. You can do vanishes, reproductions, color-changes, and penetrations (there is a nice idea where the ball penetrates a sealed plastic sandwich bag). The balls provided are dayglow pink and green, and about the size of a Ping-Pong ball. Also included are a short instruction manual and videotape which demonstrates and explains all the moves. To be honest, this type of thing leaves me cold, but it may be exactly what you are looking for. And considering that you get all the props and a video for $15 it’s not a bad deal.
Three from H and R A package from Richard Hatch was waiting for me when I returned from Washington. It contained two sets of notes from Gary Ward and an interesting item from Wittus Witt. Gary Ward works in the computer industry and is part-time trade show performer. If you’re an IBM member you can check out his one-man parade in the May 1994 issue of Linking Ring, and you web surfers can visit him at http://ourworld.compuserve.com/homepages/gwmagic. Delusion Therapy is a 36 page set of lecture notes focusing on close-up magic using cards, coins, rubberbands, paper clips, and other miscellaneous items. There are a dozen items explained, and while the notes are short on illustrations, the text is well written and easy to understand. These are commercial and practical routines. Doing Trade Shows with Confidence is a 15 page set of notes which emphasizes the nuts-and-bolts side of doing trade shows. I rarely see material of this nature offered for sale, and the information here will be invaluable to anyone planning to enter this field. Both sets of notes sell for $10 each, and they are a steal at the price. From Wittus Witt comes the International Magic Yellow Pages 1996-1998. This fabulous little book is a directory of magic dealers, magic clubs, lecturers, museums, translators, and a whole lot more. In here you’ll find email addresses and Internet web sites. There are categories for people who want information about balloons, coins, escapes, playing cards, and ventriloquism. I’m sitting here leafing through this book thinking, “How did I live without this?” You’ll be thinking the same thing.
Two from L.J. Lee Jacobs Productions has released a brand new edition of Bertram on Sleight of Hand by Ross Bertram. This is the companion volume to The Magic and Methods of Ross Bertram and it originally sold for $80. Because of its high price tag and because very few people ever saw Ross perform any of this material, this book did not achieve the popularity it should have. I did get a chance to see many of these items performed, and I
can tell you that this is one of the important books on sleight of hand, and it should be in your library. The first four chapters of the book concern themselves with coin magic, which was, of course, one of Ross’ specialties. The next three chapters contain card magic, one chapter being devoted to Ross’ work on the Tenkai palm. There is a move in here, “The Tebe Color Change,” which I have used for many years, and which always gets gasps from both laymen and magicians. David Ben has taken one of the routines from this chapter and has turned it into a stunning piece of theater. (I mention this only for those who think that this stuff isn’t practical.) There is a chapter on general magic (which contains one of the best torn and restored cigarette papers I have ever seen) and a chapter on one hand cuts. In addition, there is a chapter on Ross’ “Welcome Mat,” a device which allows the seated close-up performer to do some absolutely unbelievable effects. (These routines are demonstrated on the Ross Bertram videos which were released a while back.) It is tragic to me that so few people are familiar with Ross’ work, because he was truly one of the great sleight of hand performers. Now that both his books have been reprinted and are priced more affordably I hope that the younger generations of magicians will be begin to study his material. There is wonderful stuff here. Lee also sent along Mario Manzini’s “Tribute to Houdini” poster, which is the new poster in Lee’s catalogue. It’s 11 x 17 inches on enameled stock. Since I know nothing about posters, that’s about all I can tell you.
Two from SS James George of the Sorcery Shop passed along two new items to me. The first is their newest version of the I.T.R. It’s called the “Thread Boss,” and it’s a cutie. The reel is only 2” long and has a small alligator clip glued to it. This reel works exactly like the others in the I.T.R. line, and its small size makes it easy to hide under a shirt collar, or clipped to your belt. This is a nifty item, and thread-heads should definitely check it out. “Tooned Out” is a version of “Cardtoon” which allows you to show that the deck has normal backs before the cartoon animation begins. After the little cartoon magician finds the selected card the backs of the cards again return to normal. To be honest, this kind of “hop on the bandwagon” creativity doesn’t impress me much. And I’m not convinced that causing the cartoon animation to magically appear enhances the effect. (And actually, it may cause more problems because you are left with a deck that screams to be examined.) Curiously, there is one routine which is enhanced by the use of this deck, and that is my routine “Ruthless Peephole.” However, that routine is not one which can be performed all the time, and consequently I don’t recommend that you buy this just to perform my trick.
Three from the U.K.
Tall, dapper Englishman Guy Hollingworth has been roaming about the U.S. lately, attending conventions, frying people with “The Reformation,” and causing great moaning and gnashing of teeth among those who thought that they had some chops with a deck of cards. Guy has released a new video of his card creations called The London Collection, and the routines displayed will cause great joy and anguish among card workers everywhere. (Great joy because these are terrific routines. Great anguish because several of them are harder than hell.) Once again Guy has opted for an “Art House” look for his video. It’s in black and white, and the lanky figure of our hero wanders through the shadowy streets of London, stopping every now and then to do a card trick. Eventually he makes his way back to his house, and over a cup of tea, he explains all of the miracles he’s performed earlier. I think the style of this video is a hoot, and there are some very funny moments. And the tricks, of course, are excellent. I’ve watched Guy do many of these routines for groups of magicians and the reactions left nothing to be desired. The effects on the video are familiar ones, but Guy’s handlings are really fine. Included are a “Twisting the Aces” style effect in which the cards are held with the faces toward the audience and the reversals are visual, a handling for “Oil and Water,” a “Triumph” routine, and a routine in which the aces are cut into different parts of the deck and continuously return to the top. Two routines are my favorites. “The Ambidextrous Interchange” is the kind of trick Franz Liszt would have invented. The aces are placed in four different pockets. They change places one at a time with the four kings, and then they immediately go back. This trick is work from the word go. “The Easy Way Home” is a handling of “The Homing Card” which will make you react twice: once (in amazement) when you watch, and once (in laughter) when you find out the method. This handling is going to find its way into the repertoire of many magicians. The video is 100 minutes long and the performances and explanations are first rate. There is a warning on the cover which says, “Many of these routines are technically demanding, and will require a considerable amount of practice.” Consider yourself warned. There is definitely a price to be paid, but if you’re willing to pay it you’ll possess some unbelievable routines. Highly recommended for those willing to practice. A gentleman from Scotland named Rodney King sent along a small booklet detailing a routine called “Let’s Do it Again.” This is a card routine which combines the classic effects of the “Six Card Repeat” with the “One in the Pocket” routine. The magician counts four cards. One is placed into the pocket. The cards are counted and there are still four. This is repeated. There are still four cards. One card is added from the pocket, but there are still just four cards. Finally, one is placed into the pocket and only one card remains. Dr. King goes into great detail describing the psychology and the misdirection necessary to pull off a routine of this nature, and what he offers here is not bad. Unfortunately, I
think that there are much stronger routines (most notably by David Williamson and Dan Garrett) which are already in print. If this kind of routine appeals to you (and it does to me, since I use both the Williamson and the Garrett routines) I would suggest that you seek out these other two first. Finally, John Derris sent along an item called “Mirrorcle.” It is designed to be used with the John Cornelius “Pen Through Anything.” The props Mr. Derris sells are ungaffed, and consequently I am reluctant to say much about them (for fear that you will simply run out and try to track down the necessary items), other than to say that this is (obviously) a penetration effect, it is a very clever idea, and it would work great in any type of real world close-up situation. At one point in the routine there is an optical illusion which looks terrific. “Mirrocle” works best with the original “Pen through Anything,” but John’s new pen (see below) could be used if one of the props were altered. But I found that when I used the new pen the optical illusion was not as good. I’m sorry to be so vague about this, but I don’t want to tip the secret. Let me just say that I think this is a really good thing, and if you want more info write to Mr. Derris. I’ll let him spill the beans if he wishes to.
One from J.C. So what do you do when everybody starts knocking off one of your best selling products? If you’re John Cornelius you do what you do best - you come up with a better idea. And that’s exactly what John has done. The “Perfect Pen” is the new version of John’s “Pen through Anything,” and it is a quantum leap beyond the original. Only one pen is used and there is no switch. There is nothing added or taken away and the pen is examinable before and after the penetration effect. You can also incorporate Jim Krenz’ rip gaff and it in no way impedes the operation of the pen. This is terrific. The pen is chrome with gold plating and it writes. The method is absolutely ingenious and will fly by the sharpest observer. Even if you have the old version, I think that you will probably want this version. When Jim Krenz demonstrated it for me at DMS I had no idea how it worked. I doubt that the bottom feeders of magic are going to get a chance to knock this pen off. John has applied for a patent, and besides, I know that the readers of this column are people who do the right thing. This is a great item, and it has my highest recommendation.
The Origami Corner
I know that many magicians are also Origami enthusiasts, so I thought I would quickly mention some new books that you may not have seen. All these should be available at larger bookstores, so I’ll give you the ISBN numbers. Brilliant Origami ($20, ISBN 0-87040-896-8) is the first collection of the work of British folder David Brill. Mr. Brill has a unique and recognizable style. Of special interest to magicians are the action figures of chapter one. There are also interesting essays concerning the creative process. Mythological Creatures and the Chinese Zodiac in Origami by John Montroll ($9.95, ISBN 0-486-28971-0) is of interest because it contains methods for folding the four playing card suits. Montroll’s work is often extremely complex and difficult to fold, but these four folds are not too tough. Finally, there is Origami, Plain and Simple by Robert Neale ($10.95, ISBN 0-312-105169). This book has been out for a while, but if you weren’t aware of it’s existence then I just made your day. Wonderful, simple, elegant folds, including some great action folds (my favorite is the cobra) from the man who gave us the “Bunny Bill” and a large theoretical text which unfortunately didn’t have any folds in it at all.
Details The Video Encyclopedia of Card Sleights Volumes 1-3, by Daryl. Each video $29.95, all three $84.95. (PAL format $39.95 each, all three $110.00) Free postage and handling in US and Canada. Overseas orders add $7.50 for surface postage. From L & L Publishing, P.O. Box 100, Tahoma, CA 96142 Lou Gallo: The Underground Man by Richard Kaufman and Mark Phillips. 8 ½ x 11 hardbound with dust jacket. 126 pages. $35 postpaid (Foreign DHL Air Service add $20 for Europe, $30 elsewhere.) From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Short Course on Kid Shows, 82 minute audio cassette, $10. Ghost Card by Burling Hull. Jumbo version $20, pocket version $10. Poof Ball by Jim Swoger. Props, instructions, and video $15. All the above from Samuel Patrick Smith, P.O. Box 769, Travares, FL 32778. Add $4 p&h per order. Delusion Therapy by Gary Ward. 8 ½ x 11 spiral bound, 36 pages. $10. Doing Trade Shows with Confidence by Gary Ward. 8 ½ x 11, 15 pages, $10. The International Magic Yellow Pages 1996-1998 by Wittus Witt. 6 x 8 softcover, 144 pages. $27.50. All the above from H and R Magic, 3702 Cyril Dr., Humble, TX 77396. (Mention the review and the above items are postpaid.) Bertram on Sleight of Hand by Ross Bertram. 8 ½ x 11 hardbound with dust jacket. 256 pages. $65.
Mario Manzini Tribute to Houdini Poster. $5. Plus $5 p&h. Both items from Lee Jacobs Productions, P.O. Box 362, Pomeroy, OH 45769-0362. Thread Boss. $39.95 plus $3 p&h. Tooned Out $17.95 plus $3 p&h. Both items from The Sorcery Shop, 2529 Mercantile Dr., Unit D, Rancho Cordova, CA 95742 The London Collection by Guy Hollingworth. $40 plus $5 p&h. (US checks OK. In the UK 30 pounds plus 4 pounds p&h). From Guy Hollingworth, 19 Orchard Rue, Richmond, Surrey, TW10 5BX, England Let’s Do it Again by Dr. Rodney King. $8 postpaid. From Dr. Rodney King, 2 Anford Place, High Blantyre G72 0NR, Scotland Mirrorcle by John Derris. $19 postpaid. From John Derris, ‘Hockleys’ Lindenfield, Chislehurst, Kent BR7 5RG, England The Perfect Pen by John Cornelius. $50 plus $3 p&h. From John Cornelius, 430 Elmwood, San Antonio, TX 78212
August 1996 The Reader’s Digest Version You’ll immediately notice that the reviews are much shorter this month. I have been buried under two writing projects of my own (one magic, one music), and there simply was not time to churn out my usual 5000 words. Next month things will be back to normal, and we will be visited by a guest reviewer, who will discuss a new book of mine.
Magie Duvivier by Jon Racherbaumer I met Dominique Duvivier at a convention in Le Puy, France a couple of years ago. With the wisdom that comes from having organized lots of conventions, the powers that be scheduled the gala close-up show to begin at midnight. It actually started later than that. The conditions were horrible, the audience was exhausted, but Dominique opened the show and knocked everyone for a loop with several of the routines from this book. In fact, his performance was so successful, that most of the audience left when he did, feeling that everything else would be anti-climactic. You are probably familiar with a trick of Dominique’s called “Printing,” which Daryl brought to the United States. He has several other marketed effects, including “Chameleon,” and “Nervous Breakdown,” but Magie Duvivier is the first American collection of routines from his professional repertoire. Most of the 37 routines are card effects (including ace assemblies, prediction tricks, card revelations, “Triumph” type effects), but there are also coin routines (including an explanation and routine for the Duvivier Coin Box), a cup and ball routine (which ends with the extremely offbeat production of a fourth cup!), and a very practical linking pins routine. There is also a section describing Dominique’s handling of some standard card moves. The routines are well constructed, and magicians of average technical ability should find them appealing, because none are particularly difficult. Many of Dominique’s marketed items are described, and you will need to purchase these props if you want to do the routines. I should also mention that a few of the routines require that the performer be seated. Jon Racherbaumer did his usual fine job describing the effects, and Ton Onosaka did the excellent illustrations. As a bonus, the book comes with the cards and card case required for the “Printing” routine. If you’re a close-up guy, this book is definitely worth your consideration.
The Looking Glass, Spring 1996 by Kaufman, Hobbs, and Racherbaumer Richard Kaufman also sent along the second issue of The Looking Glass, and it is terrific. Material from Alex Elmsley (an off beat method for discerning three selected cards), Ryu Susato (an ingenious dollar bill penetration), John Bannon (a fine variation of “Henry Christ’s Ace Trick”), Martin Gardner (an odd production of a finger ring), Lennart Green, David Gripenwaldt, and Bill Goodwin. The Goodwin item is probably worth the price of admission. Jon Racherbaumer has a wonderfully nostalgic article about Derek Dingle, Larry Jennings, and Martin Nash; and if you haven’t been privy to all the buzz about the recent discovery of Fred Braue’s daughter, you can read about it here. If you were undecided about subscribing to this magazine, this issue should push you over the edge. Highly recommended.
Miracle Material by Michael Kaminskas I’ve never met Michael Kaminskas, but I’m afraid that his book and I got off on the wrong foot. Several times throughout the book Mr. Kaminskas refers to Erdnase as Erdinase. Now, don’t get me wrong, I have made some major, bonehead spelling mistakes during my writing career, but this is like reading a book on Zen and having the author refer to the founder as “Boodah” - it makes you doubt the credibility of what you are reading. There are a couple of good items here and one really terrific idea, but for the most part I found the routines in this book to be uninteresting. I don’t think this is a bad book, but I have seen so many of these types of variations (or rather personalizations) of standard plots that they all begin to look alike. The variations on “Triumph,” “Strangers Gallery,” Ray Kosby’s “Raise Rise,” and Alex DeCova’s “Flash Restoration” neither improve nor strengthen the originals. And do we really need another routine where a coin grows into a three-inch size coin and then returns to its original size when the big coin gets heaved into your topit? Crediting is very sketchy, and the names of some major people are omitted. (Why no mention of Carney and Williamson in the write up of the bottle routine?) And I wonder if permission was granted to tip the hook up for the Fearson cigarette levitation, since it is a marketed item. Now, let me balance all the negative stuff by saying that I liked the funny “Cards to Pocket” routine (based on a Roger Sherman routine) and the rope routine is an interesting combination of various elements. There is also one really terrific idea in this book, and it uses an M&M package. It’s a fine, seemingly impromptu trick, and the kind of thing that Michael Weber would love. I just wish the rest of the material were of this caliber.
The routines do not require a great deal of skill, and are suitable for real world performance situations. But, considering all the books that are out there right now, I think there are better ways you could spend your money.
The Art of Close-Up Magic Volumes 1 and 2 compiled by Lewis Ganson For example, you could spend your money on these books. L&L Publishing has reprinted these classic texts in very nice, new format. The two volumes of The Art of Close-Up Magic are books from my youth, and I am fond of them. Back in the days when a big book of magic was published once a year, these books were very special, and I probably learned most of the routines from both volumes. What makes these books special is the caliber of the contributors and fact that there are no card tricks included. There are routines from Dai Vernon, Ross Bertram, Fred Kaps, Roger Klause, Ken Brooke, Horace Bennett, and Chuck Smith. There is a wide variety of props used, and the skill level varies enough that you should find usable material, regardless of your ability. Lewis Ganson wrote the explanations in his clear, competent style. I always felt that the Dennis Patten illustrations were the weak link in these books, but they are serviceable and understandable. I’m delighted that these books are back in print, and I highly recommend them.
“Without the Net” by Gary Norsigian The subtitle of these notes is “A Treatise on Close-up Magic in Restaurants When the Performer Is Not on Salary,” and that pretty much says it all. This is a manual on how to work tables for tips. Gary mentions that the material in these notes should only be used in situation where the performer is not being paid by the restaurant. He also states that a need for such a manual exits, and he may be right; I’m not sure that I have ever read any information on this subject anywhere else, and the information and advice Gary gives seems useable. If the idea of taking a gig knowing that you have to hustle the patrons for tips in order to make any money is not as repellent to you as it is to me, you may find that Gary’s suggestions will be of value to you. However, one thing that is not discussed in this manual is why any restaurant in the world would allow someone to perform in their establishment knowing that the performer’s only means of compensation would be from tips from the patrons. There is also no discussion of how to deal with the waiters and waitresses, who (probably quite correctly) are going to feel that you are going to cut into their income. There is no discussion of what gives a performer the right to walk up to people who are minding their own business and put them in a position where they are pressured to give money to
someone for a show that they didn’t ask for. There is also no discussion of the possible negative opinion of both magic and magicians that this approach could generate. You should also be aware that Gary is very opinionated, and one section contains racial comments which are offensive, and should have been eliminated from the notes. I have been doing restaurant magic for almost 20 years, and I can tell you that when you approach a table and introduce yourself, very often there is a look of “Oh my God, what’s this going to cost us?” on the faces of the spectators. Fortunately, I have always been able to say that the magic was compliments of the restaurant. I can’t imagine going through an entire performance without resolving this issue first. If you are so desperate for money that the idea of hustling people for tips seems like a good idea, then what is offered in Without a Net may be of value to you. But I think you’d be better off keeping magic as a hobby and just holding up the restaurant patrons in the parking lot. They’ll probably feel the same about you either way.
MagiFax 1995 by Kevin King On February 5, 1995 Kevin King started an interesting project: a free magic magazine which every other Sunday was faxed to the subscribers around the world. Each issue contained news, gossip, rumors, jokes, and magic. MagiFax ran for 16 issues, ceasing publication on September 17, 1995. For those of you who were not subscribers, Kevin has assembled the 16 issues in an unassuming and inexpensive format. The layout of the magazine can be most kindly described as a nightmare, but remember that the original intent was to pack as much stuff as possible onto one 11 x14 inch piece of paper. (After the first three issues, Kevin published the magazine on two 8 ½ x 11 sheets. These first three issues have been reduced to 8 ½ x 11, which doesn’t help the layout any.) However, the layout is not particularly important. What is important is that you’ll find some very good tricks here, from contributors such as Harry Riser, Phil Goldstein, Randy DeMarco, and Dan Garrett. The DeMarco and Garrett items are especially good, and well worth your attention. MagiFax is fun, it’s cheap, and it’s worth checking out.
Expert Coin Magic Made Easy Volumes 9, 10, 11 by David Roth These three videos continue the series started with Expert Coin Magic Volumes 1, 2, and 3. (The confusion in the numbering is that these videos are lumped under the Expert Magic Made Easy series, and volumes 4 through 8 featured magic from Daryl and Carl Cloutier.) The current videos focus on magic with gimmicked coins and coin boxes.
Volume 9 discusses copper/silver gaffs and shell coins. Volume 10 contains routines for folding coins and other gaffed coins (Scotch and Soda, Cigarette through Quarter, and others), and Volume 11 has Okito coin box routines. As I mentioned in my review of the first three videos, David is a good teacher and is extremely knowledgeable. In addition to discussing the routines, he also offers some very interesting historical information. There is a ton of material on these tapes, and if you are a budding coin guy, you certainly could not go wrong with any of these. I did notice that the sound on the first tape dropped to a very low level. I don’t know if this was a flaw in the production or if I just had a bad tape. If you liked the first set in the series, you’ll like these. Recommended.
Eye Exam by Danny Archer Danny Archer (the Magicians Lecture Network guy) sent along this cute and easy packet trick. The effect is that four cards turn over one and a time. Then their backs turn from red to blue. Finally, the cards are turned over one last time, and on the back of each is a small eye chart. You’ve seen routines like this before, but this one is easy to do, and the eye chart gag is a commercial bit. The routine comes with everything you need, including four specially printed bicycle stock playing cards. If the effect appeals to you, this is worth checking out.
Classics of Magic Direct Hits On the Ropes By Aldo Colombini Here are three items from Aldo Colombini: a reissue of a Supreme video, and two new sets of lecture notes. Classics of Magic was titled Classical Magic the Colombini Way when it was released by the Supreme Magic Company. It contains some really fine and practical handlings for standard props, including a ring on rope routine, a three ring routine, and Aldo’s award winning cups and balls routine. If you are unfamiliar with Aldo’s style of magic this tape would be an excellent introduction. Direct Hits is a 48-page book which contains a wide variety of card magic. This book (and the one which follows) are much more than just lecture notes. The items are well described, and are accompanied with photographs. More than a dozen effects are explained and all are well within the abilities of the average card man.
On the Ropes contains nine items using ropes, silks, and bangles. Again, this is practical, clever stuff. As I have mentioned before, a trademark of Aldo’s style is maximum impact for minimum effort. You can’t go wrong with any of these items.
Finally In my review of Joel Bauer’s Trade Show Torn and Restored Newspaper, I mentioned that I wished that the exact inspirational sources had been credited. Well, I can give you those sources now. There is only one; the routine is Allan Shaxon’s. Brad Burt has contacted Mr. Shaxon, and an agreement has been reached. I thought you’d want to know. Details Magie Duvivier by John Racherbaumer. 8 ½ x 11 hardcover with dustjacket. 179 pages. $40 (domestic and foreign surface postage free. DHL air service $25 for Europe, $35 elsewhere.) From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 The Looking Glass by Kaufman, Hobbs, and Racherbaumer. One year subscription (four issues) is $40 (Foreign subscriptions - $60). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Miracle Material by Michael Kaminskas. 8 ½ x 11 hardcover with dustjacket. 102 pages.$30 postpaid in US and Canada. (Overseas add $7.50) The Art of Close -up Magic Volumes 1 and 2 by Lewis Ganson. Volume 1: 6 x 9 hardcover with dustjacket. 401 pages. $40. Volume 2: 6 x 9 hardcover with dustjacket. 286 pages. $35. Two volume set: $70. All prices postpaid in US and Canada. (Overseas add $7.50) Classics of Magic by Aldo Colombini. VHS $29.95 PAL $39.95. postpaid in US and Canada (overseas add $7.50) All the above from L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Without the Net by Gary Norsigian. 8 ½ x 11. 20 pages in plastic binder. $20 postpaid. From Gary Norsigian, 3673 Mendacino Street, Las Vegas, NV 89115 MagiFax 1995 by Kevin King. 8 ½ x 11. 17 pages, stapled. $10 postpaid. From Kevin King, P.O. Box 30103, Indianapolis, IN 46230-0103 Expert Coin Magic Made Easy Volumes 9, 10, 11 by David Roth. Each volume $29.95. All three volumes $84.95 (Same price for PAL or SECAM) Postpaid for US, Canada, and
overseas surface. Overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Eye Exam by Danny Archer. $12 plus $1 p&h. From Danny Archer, 303 S. Broadway, B-235, Denver, CO 80209 Direct Hits by Aldo Colombini. 8 ½ x 11. Soft cover. 48 pages. Staple bound. $20. On the Ropes by Aldo Colombini. 8 ½ x 11. Soft cover. 28 pages. Staple bound. $18. Both books for $30. (Add 10% for postage.) From Mama Mia Magic, 17298 Falcon Place, Granada Hills, CA 91344
September 1996 “I Never Inhaled…” The Close-Up Magician by Bert Allerton contains a quote which has stayed with me from the time I first read it as a kid. It goes like this: “ Dr. Zola, the possessor of one of the keener minds in magic, once said to Bert: ‘You can take a stacked deck and follow any great artist with cards, and your spectators will think you are the better magician.’” Over the last six years I have discovered that, for the most part, Dr. Zola was completely correct. Had Dr. Zola lived a little longer, though, he would have amended his comment to say: “Unless you have to follow Tom Mullica.” A few years ago, I had to follow Tom Mullica in three close-up rooms at a Wizards Weekend convention in Minneapolis. Tom vowed that he wasn’t going to do his world famous “Nicotine Nincompoop” routine (better known as “The Trick Where the Guy Eats All the Cigarettes and the Paper Napkins, and Where the Hell Do they All Go, Anyway?”), and I figured that if Tom dropped this routine I had a chance of making it through the afternoon alive. But, of course, during the heat of performance, and spurned on by the gales of laughter coming from the audience, Tom incorporated the Nincompoop routine into his outrageous handling of “The Card in the Mouth.” The memory of walking into those rooms and seeing an audience completely drained from laughter and bewilderment stays with me. It’s the stuff that bad dreams are made of. The wonderful book Show-Time at the Tom Foolery by Richard Kaufman contains the methods for most of Tom’s devastating routines. But withheld from that book was the method for “The Nicotine Nincompoop.” A-1 MultiMedia has just released three videos featuring Tom Mullica teaching a wide variety of cigarette magic, including the work on the Nincompoop routine. So now you too can do amazing things with cigarettes, the only drawback being that you’ll risk destroying your health and incurring the wrath of politically correct audiences for whom cigarette smokers are about as popular as bubonic plague carriers. Each of the three videos begins with a disclaimer similar to the one on the back of the Show-Time at the Tom Foolery book. It relieves both Tom Mullica and the publishers from any responsibility should anyone be stupid enough to actually try any of the tricks explained. Tom emphasizes this many times throughout the videos. If you do tricks with lit cigarettes you will harm yourself in one way or another. To this disclaimer I would add another warning: use discretion as to who views these tapes. The cigarette industry seems to be targeting young people as their main market, using the “smoking is cool” approach. (And Hollywood is definitely aiding this endeavor.) Well, these tapes contain just about the coolest things that are possible to do with cigarettes, so you may want to keep them away from susceptible people.
The first video (designated as Volume 12 of the “Expert” series) provides a basic introduction to cigarette magic. There are some vanishes (including Harry Lorayne’s excellent “That Burns Me Up!” from Deck-Sterity), methods for producing cigarettes, some fun “gymnastics” with cigarettes, and several techniques for tonguing cigarettes. “Pantomime Cigarette #1” and “Smoke Ring” are two items which have been a part of Tom’s stand-up act for many years. Also included are many gags using cigarettes, including “Vegas Carpet,” “Cigarette Up Nose,” “Little Butt,” and “Double-Ended Cigarette.” If you have never done magic with cigarettes and are seriously contemplating doing so, this video should be your first stop. The second video contains many more gags and routines, including four excellent ones which do not require that the performer smoke: “Card Is Cigarette” is a very odd effect in which the (unlit) cigarette between the performer’s lips becomes the spectator’s signed playing card. “AEROBIC” stands for “Automatic Entry Roll Over Bill in Cigarette,” and it is a truly ingenious method for doing this standard effect. If you don’t know the work on this you will probably get fooled when you watch it. “Torn N’ Restored” is Karrell Fox’s wonderful method for tearing a cigarette in half and restoring it. “New Year’s Cigarette” is a hilarious gag of Tommy Wonder’s. There are also several non-cigarette routines and gags on this video, including Tom’s handling for “Ashes Through Hand,” “Torn and Restored Cigarette Paper,” and “Orange You Gonna Do a Cigarette Trick?” which is Tom’s killer gag with an orange slice. The tape concludes with a performance of Tom’s F.I.S.M. act, which was a precursor to his famous Crazy Horse stage act. The highlight of the third video (and the item which will be of the most interest to the merely curious) is the performance and explanation of “The Nicotine Nincompoop.” This is a world-class effect, and even though the method is revealed, no one but Tom Mullica should ever perform it. Ever. Period. Also on this video are two more handlings for the torn and restored cigarette, Tom’s handling for “Cigarette Through Quarter,” Karrell Fox’s great routine “Poca Cola,” and the method for doing the “Smoke Cocktail.” The tape concludes with a performance of Tom’s Crazy Horse stage act. The act is not explained, but you will find that it incorporates many of the items from the three videos. The three tapes are well produced, and the performance segments feature Tom working behind a bar in the home of Gary Beutler. This is not quite the same thing as watching Tom behind a real bar in front of an all lay audience, but it’s close enough for jazz. There are a couple of “Mature Audience” gags, and if this bothers you, consider yourself warned. These are excellent videos, and, while I highly recommend them, I would reemphasize that the only routines you should attempt are the ones which use unlit cigarettes.
Mac’s Back Special Guest Review by ex-Reviewer Mac King
When Mike asked me to come back for one last review in these pages, at first I didn’t want to do it. And then, after I thought about it for a second, I still didn’t want to do it. And then when he told me it was to review his latest book Workers #5, I really didn’t want to do it. After a year of co-writing this column I decided that the only really good thing about being a reviewer is that we get to keep the stuff we critique. Because Mike is my buddy I knew I’d be able to talk him out of a free copy of his book regardless of whether I did the review or not. What did I have to gain? And then, what if the book was crap? After all, that’s one of the reasons I quit this job - I hated saying negative stuff about people’s work. Luckily, it’s not crap. (You have no idea how tempting it is to end the review right now with that being the extent of my review, “It’s not crap.” But I’ll proceed...) As I say, luckily, it’s not crap. Lucky for me, because I really didn’t want to have to say I thought Mike’s latest book was crap; and lucky for you, because the last thing magic needs is another crappy book. (I’m trying to see if I can acquire the record for the number of times the word “crap” is used in this magazine.) (Oh, and the record for the most parenthetical comments.) I must say that as I began reading this book I wasn’t so sure I would be able to say that it wasn’t crap. For, while the first couple of tricks described are actually very good, I didn’t think they quite came up to the high standard that Mike has set for himself in the first four volumes of his Workers series. I found myself thinking, “Uh-oh, Mike is out of the top-notch, grade-A, tried-and-true material.” But I was wrong. As the book progresses, the tricks get stronger and stronger, and by the end I realized that if I learned every trick in this manuscript I’d be one of the top close-up magicians in the world. And then I realized that Mike Close does know all these tricks. Hey! Guess what that means! If you are unfamiliar with this series of books you should remedy that situation as soon as you can. Along with the recent Tommy Wonder masterpieces, this five volume series is one of your only chances to read about magic tricks really used under fire by top professional magicians. Mike’s Workers series are books designed to teach you real, performable, used-every-day kind of magic tricks. They are not books filled with tricks which are novel for novelty’s sake. They don’t have (with one small exception) tricks which are sketchily described. You can tell that Mike has performed all of the tricks he writes about. You can tell this because, in addition to the methods and secrets of the tricks, he gives the timing and the reasoning and the audience management which he has carefully thought out and worked on over the course of actually doing these things for real honest to gosh people. That’s why he calls these books “Workers.” It’s obvious from his descriptions that Mike has spent a good portion of his life working on these tricks. All that work done by Mike means that there is less work for you to do. Although, to do these tricks justice you’re going to have to become something of a worker yourself. Almost none of these tricks are technically easy. But almost none of them are anything short of miraculously well worked out, either.
This volume has about twenty tricks and about ten essays on various magic related topics. There are ten pages devoted to teaching Mike’s handling of a few sleights (the bottom deal, culling, the faro shuffle and a couple of others). The tricks are mostly cards, but there is a coin routine, a great routine for the Gaetan Bloom version of “Ring Flight,” and presentations for a few of other dealer items (including Ton Onosaka’s “Lucky Lady,” “The Tamariz Rabbits,” and even the old “Chinese" Prayer Vase.”) The essays range from thought provoking to (I’m not kidding) tear jerking. The last quarter of the book is devoted to Mike’s tricks and thoughts on using a memorized deck. If you are at all interested in this type of work, this may be just the push you need to convince you to get to work on learning some type of system. I’ve seen some of these tricks in action and they are devastating. There you have it. My review of Mike’s book. Of course I’d be remiss if I didn't mention that a couple of the essays seemed to have minor cut and paste problems, and there are a few punctuation mistakes here and there. These don’t particularly detract from the book, but I felt I should reference them because Mike is so fond of pointing those things out in the works of other people. The majority of this material is close-up material and much of it is, as I’ve mentioned, technically demanding. The production value of the physical book itself (166 8 ½ by 11 inches computer typeset pages, plastic comb bound) is adequate. The drawings are good. This book, like the four before it, are highly recommended. The End. And now I really quit. I swear. [Mac King is a former product reviewer for this magazine. He is also one of the best performers on the planet. If he is ever in your area, be sure to catch his act. It’s not crap. M.C.]
More Videos Sankey-tized II, from the Magicians’ Video Network, is the second video featuring the close-up magic of Canada’s funny and creative Jay Sankey. The tape begins with a discussion and explanation of the Tenkai/Goshman Pinch. (There is an error in this discussion. The “over the fingertips” method for doing the Pinch is the method described in The New Modern Coin Magic by Bobo. The “through the fingers” method is Scotty York’s.) Jay demonstrates and explains two routines which use the Pinch: an elaboration of the original “Tenkai Pennies,” and an easy one coin production. “The Mexican Jumping Coins” is an intriguing routine which uses the “one behind” principle. The underlying methodology is worthy of further study. The “Cartesian Coin Production” uses a shell coin in an offbeat way. Three card routines are explained: “Cardboard Contortionist” involves tearing and restoring two signed cards; “#@X!” is an off-beat effect in which a folded and paper
clipped card ends up being the spectator’s signed card; and “Airtight,” which is Jay’s famous deck in balloon effect. The tape ends with a discussion of the Classic Pass. All the material is top-notch and is well performed and explained. The production is fairly spartan, consisting mainly of Jay standing alone in front of a camera doing the tricks. (Insert shots are used to clarify technical details.) The performance aspect of the tape suffers from the lack of any assisting spectators. Since on several occasions Jay begins a trick by discussing the gaffs necessary for performance, we never really get a chance to see the routines in action without knowing the methods. This is too bad, because often a magician’s enthusiasm for a particular effect tends to be directly proportional to how badly he was fooled by it. These minor quibbles aside, this is an excellent tape, and it provides the viewer with a strong selection of Jay Sankey’s material. When I was in seventh grade, I had a Woodshop teacher named Mr. Brown who had a limp. There was a great deal of speculation as to the cause of this limp, and at lunch my classmates and I would argue whether Mr. Brown had used his woodworking skills (which, if they had indeed caused the limp, were obviously not that good) to fashion an artificial limb. I mention this because ever since that class, power tools and I have had absolutely nothing to do with one another. However, if you are a home craftsman and you’ve got a desire to build your own illusions, you’ll probably find the first installment of Rand Woodbury’s Illusionworks Video Workshop to be a useful aid. The title of this first volume is “Steps and Bases,” and in it Rand takes you through the construction of a utilitarian illusion base and a set of illusion steps. The tape begins with an overview of useful books and manuscripts and then lists some of the tools and supplies you’ll need for the various projects. This is followed by the stepby-step construction of the base and the steps. Rand moves pretty quickly through these projects, and I think the underlying assumption is that the viewer has some experience as a craftsman and some knowledge of illusion construction. There are some valuable hints offered, and watching Rand work can definitely help you with your own projects. Recommended for do-it-yourself buffs.
More Books I don’t think I’ve ever seen anyone perform the trick known as “The Electric Chairs.” The effect is that a spectator is invited on stage and is seated on an ordinary chair. Suddenly, and for no apparent reason, the man jumps from the chair as if he has received an electric shock. The chair is thoroughly examined, the man sits down, and he again
jumps from the chair. Another man is brought up from the audience, another chair is brought on stage, and, simultaneously, both men jump from their chairs. There are probably a couple of reasons why this routine is so seldom seen. One factor is that information on this subject is very scarce. The other reason is that because the secret of the trick is so simple (I could tell it to you in one sentence), the demands placed on the performer are increased. It takes a real showman to pull this stunt off. Ricki Dunn has provided solutions to both this problems with his new book Zapped! - A Complete Performance Guide to the Electric Chairs. In addition to explaining the method of the chairs (and several ways of implementing this method), Ricki also discusses management of the assistants, psychology, “outs,” some possible gags, and several routines. This book won’t make you a showman (you’ve got to do that yourself), but if this effect appeals to you I know of no better source of information. Recommended. Bizarrists will want to check out The Book of Aleister Crowley by Larry Baukin. Larry has taken nine standard effects (such as John Bannon’s “Shriek of the Mutilated,” Jack Tillar’s “Blister,” and the classic “Ashes in the Hand) and has wrapped them in presentations based on the life of “the wickedest man in the world.” Most of the routines provide strong effect for minimum effort, and there are some excellent handling touches, most by way of Washington’s Al Cohen. Be aware, however, that some of the routines require that the performer be seated. Anthony Owen of England sent along two items of interest. The Magician’s Yearbook 1996 contains a brief rundown of the highlights of 1995 (including convention and product reviews), followed by an interview with Max Maven, a directory of British booking agents, magic clubs, dealers, and lecturers. There is also a twenty page section of tricks, including contributions from Peter Duffie, Jon Allen, and Aldo Colombini. As I have mentioned a while ago in this column, I find the British slant on conventions and products to be a refreshing change from the often “party line” approach taken many American reviewers. I very much enjoyed The Magician’s Yearbook 1996, and I think you will too. The other item from Mr. Owen is The Sticky Blue Book which contains eight routines which utilize a product called Changin’ Glue, a container of which is included with the book. Changin’ Glue is the space-age equivalent of magician’s wax, and I don’t believe it’s available in the United States. The routines are very clever, and the glue works very well. (One hint: The glue tends to bead up on the glossy surface of the card. Smooth it out with your fingers.) If you’re a card guy, this is definitely worth your consideration. Corporate Punishment is a small booklet detailing four routines from the professional repertoire of Nigel McCullagh (who uses the stage name Pat-Trick). Included are a single cup and ball routine, a “Wild Coin” routine, a version of Sankey’s “#@X!” in which the signed card and the clipped card have different colored backs, and my favorite, “Cardwatch,” a routine in which the spectator’s card ends up in a folded condition underneath his own watch. Overall, I think these routines are well constructed and will
be of interest to the close-up performer. However, the booklet is in desperate need of a proofreader; the myriad mistakes make the text very difficult to read. In addition, the “Cardwatch” routine would have benefited from some illustrations; it’s very difficult to visualize what’s going on from the written word. If the effects appeal to you this little booklet is worth a look. Finally, if there is a young person you’d like to give a magic book to, check out Steve Trash’s The Ecology of Magic (ISBN 0-9652542-0-8). The book is geared for 8-12 year olds, and takes simple, standard public domain tricks and cloaks them with an ecological message. The book sells for $14.95 and you should be able to find it at any large bookstore.
Tricks I didn’t see much that excited me “trick-wise” at either the I.B.M. or S.A.M. conventions. Usually I get wind of people getting “buzzed” by one trick or another, but that didn’t seem to be the case. The best thing I saw was Meir Yedid’s “Giant B’Wave.” Meir has licensed this from Phil Goldstein and Hermetic Press, and the prop is rugged, attractive, and easy to use. Four different versions of the gaffed card are available. Although this trick spawned a host of variations, I prefer Phil’s original routine. I put this in my standup act. You probably will want to, also. Highly recommended. “Where Does the Music Go?” is advertised as the ultimate single handed CD vanish. A compact disc is held between the thumb and forefinger and it vanishes “in the blink of an eye.” Sort of. The method used for the vanish is ancient, and if I challenged you to tell me how the thing worked it’s the first method you would come up with. If you intend to use this trick you would have to open with it, because I see no way to get set up in front of an audience. The minimal instructions provided contain an illustration which violates the laws of physics. The trick comes with a replacement warranty, which is good, because as I tested it while writing this review, it broke. Not recommended. The effect of Peter Louis’ “Strange Magic” is this: A card is selected (forced) and is wrapped in black handkerchief. The handkerchief is shaken out, the card has vanished. The deck is spread face down, and the card is revealed face up in the spread. The deck is squared, the face up card is placed on top, and the deck is cut. The deck is spread and the card has vanished. The deck is spread face up; the card is not found. The handkerchief is raised above the performing surface and the card flutters down from it. I’m on the fence about this trick. The vanish from the handkerchief (a Terry Roses’ idea) is very good and convincing, and the overall effect is strong. It is also a complete nobrainer, which I know is a strong selling point. My concern is that for $25 you don’t get a lot in terms of props. You get the handkerchief, a deck of cards, a (very common) gaffed card, and a page of instructions (which should have had a couple of illustrations). Armed with this knowledge, you may feel that the effect is worth the price. I’m just not sure.
I’m not on the fence about Mike Maxwell’s “The Ultimate Pickpocket.” This is a (mostly) no sleight of hand version of Darwin Ortiz’ “Harry in Your Pocket.” A card is selected, returned to the deck, and the deck is sealed with an adhesive seal. The deck is placed into the spectator’s empty coat pocket. The magician reaches into the pocket and removes the selected card. The card case is removed, the seal broken, and the cards are counted. There are only 51, and the selection is not among them. For your $7 you get a (common) gaffed card and three pages of instructions. The effect is good, and if you are a magician who has absolutely no skill whatsoever this trick may be of use to you. But the price seems high for what you get. I think that this should have been a magazine trick or perhaps A-1 could have offered it as a free bonus to regular customers.
For the Collector Steven’s Magic Emporium has published a facsimile edition of William Frederick Pinchbeck’s The Expositor; or Many Mysteries Unravelled. In the Foreword of this edition, Byron Walker writes that “The Expositor, published in 1805 in Boston, has the distinction of being the first truly American treatise on the subject of legerdemain. It appears to be copied from no earlier work.” Of primary interest to contemporary readers is the discussion of “The Learned Pig.” Pinchbeck goes into great detail concerning how to train a pig to pick out a selected card. So now you have no reason not to get that shiftless porker in your house out making a living in show business. The production of the book is very nice, and the deluxe edition is bound in paper-covered boards and leather spine in an effort to duplicate the original. Collector’s will also want to write to the Houdini Historical Center, 330 East College Avenue, Appleton, Wisconsin 54911 and get their museum shop catalog ($2.95). The catalog contains posters, postcards, videos, collectibles, clothing, and books all with a Houdini theme.
Why? Department There are certain things (such as the Hemorrhoid Transplant and the Open-on-Impact Parachute), which defy any logical explanation for their existence. “911 Bunnies” from A-1 MultiMedia is such an item. For your $5 you get four large pill capsules. Each capsule contains four sponge bunnies (one large, three small). The large bunny is 1¼ inches tall, the small bunnies are an inch tall. They all connected to a strip of sponge at the bottom, so in order to use the bunnies for magical purposes you will have to rip them apart. The idea here (apparently) is that if you carry the capsules in your wallet, you will always be prepared to do the sponge bunny trick for someone. You just drop the capsules in warm water, the capsules dissolve, and out come the bunnies. (The instructions also say that you can simply break open the capsule and remove the bunnies, but when I tried that I ripped them in half.) This is all well and good, but if you do this in front of the
audience then they will see the small bunnies, and you’ve tipped the finish of the trick. And if you’re going to stick two pill capsules in your wallet (and won’t they be fun to sit on) why don’t you just stick a set of sponge bunnies in there and be done with it? This is useless. You’d be better off ordering the Sea Monkeys from the back of Boy’s Life magazine. (Having said all this, there may be an unfortunate few of you who bought this product before this review came out. If you want to get rid of your remaining capsules do this: You’re sitting at bar and you say to your pals, “I just joined the Hair Club for Men. Have you ever seen what’s in the capsules they send you?” Then drop the capsule in water and wait for the hilarity. There won’t be much of it.)
Max Is Mum My friend: Because I’m pretty much out of the loop, I didn’t realize that the August column was your last one. On behalf of everyone who is isn’t intimidated by having to look up an unfamiliar word, or who isn’t afraid of a new or challenging idea, I want to thank you for five years of entertaining, thought-provoking, and stimulating reading. When each new issue arrived, yours was the first column I turned to. I’m going to miss these monthly visits. Your friend, Michael
Details Expert Cigarette Magic Made Easy by Tom Mullica. Three volumes. Each video $29.95 postpaid (US, Canada, and Overseas surface. Overseas air add $7.50 per video.) All three videos $84.95. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Workers #5 by Michael Close. 166 pages. 8 ½ x 11 plastic comb bound. $40 postpaid. (Overseas air add $5.) From Michael Close, 11320 Haverstick Road, Carmel, IN 46033. Sankey-tized Volume Two by Jay Sankey. $19.95 plus $3.50 s&h (US and Canada; Overseas air $10, surface $6). From Sorcery Manufacturing, 2529 Mercantile Drive, Unit D, Rancho Cordova, CA 95742 Rand Woodbury’s Illusionworks Video Workshop #1 - Steps and Bases by Rand Woodbury. [Put price and ordering info in here.]
Zapped! - A Complete Performance Guide to the Electric Chairs by Ricki Dunn. 29 single sided pages, 8 ½ x 11, plastic comb bound. $16 postpaid. From Ricki Dunn, [I do not have Ricki’s address.] The Book of Aleister Crowley by Larry Baukin. 38 pages, 6 x 9, stapled softcover. $13 plus $1 p&h. From Thaumysta Publishing Co., P.O. Box 17174, Minneapolis, MN 55417 The Magician’s Yearbook 1996 edited and compiled by Anthony Owen. 84 pages, 8 ½ x 11, plastic comb bound. $20 plus $2 p&h. The Sticky Blue Book edited by Anthony Owen. 14 pages, 8 ½ x 11, plastic comb bound. $20 plus $2 p&h. (US personal checks accepted.) Both from Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England. Corporate Punishment by Nigel McCullagh. 36 pages, 6 x 5 ½ , stapled softcover. $12.50 postpaid. From Pat-Trick Enterprises, 7 Larkspur Cross, Yangebup, Western Australia, 6164 “Phil Goldstein’s Giant B’Wave.” $25 (Postpaid in US, foreign add 20%). From Meir Yedid, P.O. Box 2566, Fair Lawn, NJ 07410 “Where Does the Music Go?” by Jonathan M. $15 plus $3 s&h. From Jonathan Strain, P.O. Box 11, Seaford, DE 19973 “Strange Magic” by Peter Louis. $25 postpaid. From Peter Louis, 11668 Mt. Jefferson Dr., Alta Loma, CA 91737 “The Ultimate Pickpocket” by Mike Maxwell. $7 plus $1 p&h in US. ($3 p&h for foreign orders.) From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. The Expositor; or Many Mysteries Unravelled by William Frederick Pinchbeck. Foreword to the facsimile edition by Byron Walker. 100 pages, 5 x 7, cloth bound. $45 postpaid. (Deluxe edition $150.) From Stevens Magic Emporium, 2520 East Douglas, Wichita, KS 67214 “911 Bunnies.” $5 plus 1 p&h in US. ($3 p&h for foreign orders.) From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742.
October 1996 Bookbinder’s Pastime Dan Garrett spends a lot of his free time carving bananas, pickles, and teeth out of sponge. I spend much of my free time binding books. While I bind books, I watch videos. This month was particularly conducive to bookbinding, because I received a lot of videos to review. I also received a couple of tricks, and just one book…but it was a big one.
Steel and Silver Video Series - Volumes 2 and 3 by Paul Gertner Paul Gertner has released the second and third videos in the companion series to his best selling book Steel and Silver. Paul begins each tape by suggesting the videos be used as an adjunct to the book, and not a substitute for it, and in this I heartily concur. The videos focus on card and coin magic, and there is a fairly even split between routines which are geared toward real world performance, and those routines more suitable for fooling other magicians. Volume Two begins with a performance and complete explanation of Paul’s competition act, which brought him first place awards at the Las Vegas Desert Seminar and FISM. I was in the audience when Paul performed this at DMS years ago, and I can attest to its effectiveness. The routines which make up the act (“That’s Ridiculous,” the “Cups and Steel Balls,” and “The Ring on the Hourglass”) are so completely associated with Paul that I would not suggest that anyone else ever perform them. However, if you are interested in discovering how a world-class competition close-up act is constructed, there is probably no finer example available. What is immediately apparent is the enormous amount of attention to detail which underlies the act. Nothing has been left to chance; the placement of every prop, its introduction and disposition, has been carefully considered. Also carefully managed is the crescendo of audience excitement, which is controlled to produce the maximum ovation at the end of the act. Following the competition act is a performance and explanation of another classic Gertner routine, “The Reversed Assembly.” This is a “Matrix” type routine in which, as a kicker, the four coins return to their original positions. Paul’s routine inspired a legion of variations, but the original (while less sophisticated than some routines which followed) certainly gets the job done. The next three items are less earth-shaking. “Blackjack” is a card routine in which a “busted” blackjack hand turns into four aces. “Snap/Bounce Assembly” is an extremely rapid “Matrix” routine which owes much to the Al Schneider’s original. “Spellbound Roll/Reverse” is a move which can be incorporated into other routines.
This tape concludes with “The Card in the Candy Box,” a very commercial and practical routine which uses the Fred Kaps “Card in the Ring Box” as the finish for an ambitious card routine. Volume Three begins with “Unshuffled,” one of my favorite tricks, and one which I have used throughout my professional career. The effect is this: The performer shows a deck which has unintelligible writing on its side. The deck is in no particular order. A card is selected and returned. The deck is given a faro shuffle, and now on the edge of the deck is the word “unshuffled,” repeated four times. Another faro shuffle, and the side of the deck says “unshuffled” twice. A final faro shuffle and the deck says “unshuffled” once, in large bold letters. The deck is fanned face up, and it is revealed that it is now in new deck order. As a kicker, the word on the side of the deck changes into the name of the spectator’s card. This is an unbelievable trick, one which will cause the most jaded spectator to gasp in amazement. The best thing about it is that it requires the performer to do perfect, casual faro shuffles, so if you learn it you’ll be in an elite group. Three other card routines are explained on this tape. “Four King Surprise” is a variation of the “Magician Makes Good” trick. “Those Are the Aces…Not” is the challenge vanish of a card with a kicker ending. “$100 Card to Wallet” is Paul’s professional routine for this classic effect. All three of these are real world tricks, but the card to wallet routine is the “money” trick, and it would behoove you to pay attention to its routining. There are six coin routines on this tape, and I feel that they are more suited to a performance in front of other magicians. My reason for saying this is that five of them require that you be seated and performing on a close-up pad. The sixth routine, “Snapping the Halves,” is a remarkable barehanded production of eight coins, but its technical requirements place it outside of the capabilities of most magicians. As with Paul’s first tape, these videos are well produced, and Paul’s performance and explanations are top notch. I recommend them. However, you should be aware of two things. Many of the routines are not suited for real world performance. They are magician foolers. Paul mentions this at the beginning of the tapes. Also, the technical requirements are generally very high. Paul possesses a very fine technique with cards and coins and he makes liberal use of his “chops.” If you want to perform any of these routines, be prepared to practice.
The Rope Magic of Tabary - Volumes 1 and 2 by Francis Tabary I have had the pleasure of watching Mr. Tabary perform at several U.S. conventions. (In fact, my introduction of him at the 1996 Convention at the Capitol is used to open these two tapes.) His rope magic is absolutely extraordinary, and he garners a strong reaction from magicians. On these two videos from A-1 MultiMedia, Mr. Tabary demonstrates and explains his famous “one rope” routine, and several other extremely strong routines which will be less familiar to American magicians. That magicians are fooled by what
Tabary does is a given. The revelation of these videos is that you will discover you were fooled far more than you even realized. Volume One details Tabary’s award winning one rope routine. The magician displays a long length of rope (which may be handed out for examination if desired.) The moment the rope is returned to the performer, the audience begins a trip through the Twilight Zone. Multiple ends appear on the rope. Two ends travel to the center of the rope, producing two ropes. Ends vanish. Knots appear, disappear, and slide along the length of the rope. The rope again reverts to its single, long length. The rope is cut into two pieces. Once length grows as the other shortens. As a finale to the act, the short piece of rope is “absorbed” into the long piece - a visual piece of magic that you simply will not believe when you see it. Following the demonstration of the routine, there is a thorough explanation of all the various phases. Although English is not his first language, Mr. Tabary’s explanations are clear and understandable. This is definitely a case where video has the edge over the written word. This routine is a three dimensional dance of the rope and the hands; words and static pictures would be far less effective than watching the actions performed in real time. Following the explanation of the basic routine, Mr. Tabary offers several handling alternatives for a few of the moves of the routine. The tape concludes with the performance of the routine at the Convention at the Capitol. Volume Two is subtitled “Magic with Knots & More” and the routines on this tape will be less familiar to American magicians. The tape begins with a routine in which knots appear and disappear from the ends of the rope. This is a fooler, and I think that aspects of this routine could easily be incorporated into the original one rope routine. Another “knot routine” follows, and this one is also extremely deceptive. Mr. Tabary then demonstrates a “three rope” routine, and it is wild. The tape concludes with a ring and rope routine, using a length of cord and a small ring. You’re going to get fooled by this, because you will be thinking along the lines of the methodology of the previous rope routines. The tape concludes with another live performance at the Convention at the Capitol. I think this is great stuff. If M.C. Escher had done rope magic, this is what it would have looked like. In all probability, Tabary’s original routine will be too long for most standup performers. But it is certainly possible (and preferable) for you to extract portions of the various routines on these tapes and construct a suitable routine of your own. Highly recommended.
The Video Encyclopedia of Card Sleights - Volumes 4, 5, and 6 by Daryl L&L Publishing has released the next three volumes of this monumental card project. As before, the intent is to expose the viewer to as many different card sleights as possible,
grouped according to their function, and graded in difficulty. The first three volumes of the series contained most of the “easier” card moves. In the present videos the skill requirements (and consequently the practice requirements) increase. Volume Four begins with some advice from Daryl on how to handle a spectator who forgets (or intentionally lies about) his card. This leads into a discussion of Locator Cards, and many different types are discussed. You will find information on short cards, long cards, narrow cards, pencil-dotted cards, Will de Sieve cards, punched cards, slick cards, corner short cards, and broken corner cards. Next comes a demonstration and explanation of various forces including the Doublecount force, the 10 to 20 force, the Handkerchief force, the Hindu shuffle force, the Charlier Cut force (with a very nice addition from Daryl), the Riffle force, and the Backslip force (with some nice touches from Leipzig and Daryl. There is a break for the now standard “Super Practice” session and then the tape continues with a discussion of the Classic Force. Daryl offers excellent advice here, including a great tip from Martin Lewis. Volume Four concludes with various card controls, including the Kelly Bottom Placement, the Depth Illusion (with touches from Schwartzman, Searles, and Daryl), the Spread Pass, the Hofzinser Spread control, the Convincing control, and the Multiple Shift. There information on culling cards. At the end of this section, Daryl explains why he will not be discussing the Classic pass on these tapes. Volume Five finishes up the card control discussion with further methods for the Multiple Shift, and methods for controlling multiple selections. Daryl next offers 14 methods for controlling a card using the Spectator Peek. Included are methods from Vernon, Fechter, Endfield, LePaul, and Draun. This is followed by nine methods for counting cards in a fancy manner. Represented here are flourish counts from Vernon, Buckley, and Steranko, and methods for spinning cards from Audley Walsh and Martin Lewis. The discussion of Fancy Counting leads into five methods for secretly counting cards including the Bevel Count, the Pinky count, and the Thumb count. Having established several methods for secretly obtaining breaks under a specific number of cards, Daryl turns to the subject of Multiple Lifts. This is the biggest section on this tape, and many methods are discussed, including those from Vernon, Leipzig, Jennings, D’Amico, and others. This section concludes with Daryl demonstrating a number of different functions of the Double Lift (as a force, a switch, a glimpse, a reverse, etc.). A number of secret reversals are explained next, including the Braue reversal, and the Larreverse.
Volume Six continues the discussion of reversals, and then Daryl turns his attention to card vanishes. He explains the Rub-a-Dub vanish, the Stanley Collins vanish, the Buckle count, the Ascanio Spread, the Biddle move and others. Next on the agenda is palming, and Daryl discusses twelve methods, including those from Hugard, LePaul, Erdnase, and Jennings. He also talks about the side steal and the gambler’s cop. The tape concludes with a discussion of False Counts and False Displays. Having given you this overview of the material covered on these three tapes, let me give you some opinions concerning all three. As you can tell, there is a ton of material discussed here. I believe that the intent of these videos is to expose the viewer to as many different card techniques as possible, and they certainly accomplish this. However, the sleights explained on these three videos begin to fall into the intermediately difficult (and sometimes very difficult) category. Consequently, while there is much information given, there is also much which is left unsaid. If you use these tapes as your only source of information, I think you would become frustrated as you tried to learn the sleights. Your best approach (and I know that Daryl would agree with me on this) is to combine these tapes with the standard card texts (Giobbi, Hugard, Vernon). In this way you have a more complete technical explanation, plus the benefit of watching the moves performed in an expert manner. The production values are excellent, and Daryl is as charming and enthusiastic as ever. These tapes are a great resource, and I certainly recommend them.
We Remember Lee Grabel by Joel Ray Lee Grabel began his touring illusion show after World War II. Mr. Grabel established himself as an astute businessman and an extremely accomplished performer, and the show toured from coast to coast with extraordinary success. In 1954, Dante chose Grabel as his successor, continuing a “lineage” which went back to Alexander Herrmann. Mr. Grabel retired in 1959, but briefly brought the show out of retirement in 1977. In 1995 he was awarded the Masters Fellowship by the Academy of Magical Arts and Sciences, and has recently made several convention appearances. Joel Ray has brought together several of Mr. Grabel’s friends and colleagues to reminisce about him, his influence, and the illusions he made famous. Guests include Channing Pollock, Lance Burton, Moi-Yo Miller, Andre Kole, Ormond McGill (author of The Magic and Illusions of Lee Grabel), Helene Grabel, and Mr. Grabel himself. There is rare footage of several of Grabel’s most famous illusions, including the Vanishing Horse, the Floating Piano, and one of Lee’s signature pieces, the Thumb Tie. (There is a bit at the end of this routine using a folding metal chair which sent me racing to the McGill book to find out the work. It isn’t in there.) In addition, you will see footage of Lee passing the
“mantle” to Lance Burton, and 1995 awards banquet where he received the Masters Fellowship. I enjoyed this tape very much, and if you have an interest in this area, I think you’ll enjoy it also. Be aware that because of the wide variety of video sources, the quality of the video varies considerably. Some of the video is not very good at all, but you’ll be able to follow what’s going on. At the very end of the tape, Joel Ray mentions that a second video is in the works. I’ll be looking forward to it. Recommended.
Magic by Ellis Stanyon Ellis Stanyon published the first issue of his magazine Magic in October of 1900. The purpose of the magazine was expressed as follows: “It is the desire of the Editor to popularize the Art of Sleight of Hand which at the present day is so little known. He is thoroughly convinced that the more the art becomes known the more it will be appreciated by the public at large, and thus, apart from injuring the interests of any portion of the magical fraternity, all magicians, whether Amateur or Professional performers, will alike derive benefit.” This is a noble sentiment, but since Stanyon was a magic dealer, it is possible that the Art of Magic wasn’t going to be the only beneficiary. However, that is a debate for another time. Stanyon produced his magazine on a monthly basis until June of 1920, suspending publication during World War I. Two different publishers are now offering reprints of the complete run of Stanyon’s Magic. At the time of this writing (in the first part of September) I have only the L&L Publishing version; the Kaufman and Greenberg edition will not be out until October. Rather than wait for the K and G edition (which would push the review into November or December, thus making the whole thing “old news”) I will try to give you as much insight as I can from having looked through the L&L edition and having spoken with Richard Kaufman. Before I get to the nuts and bolts part, let tell you what you’ll find in Stanyon’s Magic. There is a ton of magic here. Each issue contains Stanyon’s “Original Lessons in Magic” which run the gamut of magical effects. There are biographical sketches of contemporary (then) and historical magicians. A column titled “Explanatory Programmes” had to have raised some hackles back then. In this column the programs of a contemporary performers were detailed, and possible methods for the effects performed were postulated. One column I found particularly interesting is “Queries” in which the subscribers described effects for which they desired methods. Other readers (and often Stanyon himself) would offer possible methods for these effects. “A Bibliography of Conjuring” ran during throughout the course of the magazine, and it is a valuable resource. I feel there’s a limited market for a historical document such as Stanyon’s Magic. I enjoy reading old books and magazines, not so much for scholarly research, but to get a feel for
the magic of the time, and to perhaps stumble over an interesting effect or presentational slant. If this description fits you, then the L&L Publishing reprint may be suitable for your purposes. The book is huge - over 1400 pages. This makes it somewhat awkward to read. The other drawback to this edition is the lack of a comprehensive index. Stanyon did publish an index to each of the individual volumes from 1 - 14, and at the back of the L&L edition you can find where to locate each of these indices, but if you intend to do serious research with Stanyon’s Magic you may feel that the master index provided with the Kaufman and Greenberg edition is more useful. The fact that the K and G edition breaks the book into three volumes may also be important to you. The final factor that you may wish to consider is the secondary market value of the two editions. The L&L printed 1500 copies of its edition, Kaufman and Greenberg printed 500. You should also know that the L&L edition does have a cloth binding. So, that’s about all I can tell you. If you are interested in the history of magic you will definitely want a copy of this reprint. The edition you choose will be determined by how you intend to use the book, and the other factors I mentioned above. Your best bet would be to get to a magic shop and take a look at both editions. Then make up your mind.
One Card Link by Sixten Beme I purchased Sixten Beme’s “Complete Card Link” when it came out several years ago. Mr. Beme has revised the effect so that only one card is used. Here’s what happens: The spectator selects a card from the deck (forced). A rectangle is torn from the center of this card, leaving just a frame. The center of this rectangular piece is also removed, turning it into a frame. The two frames are linking together, and, in this impossible position, the two frames are given to the spectator to examine. (Mr. Beme advises against giving the frames to the spectator as a souvenir, although that is what I used to do with the two card version.) El Duco’s Magic has released this effect in very nice format. You receive a 12 page, well illustrated instruction booklet which details all the moves, plus you also get a video tape which shows both the trick in performance and Mr. Beme doing the necessary preparation. And it’s the preparation part which makes this a less than real world trick. It takes a bit of time to prepare the card for this effect. Enough preparation that I don’t think that you would use this in a walk-around or table-hopping situation. However, that doesn’t mean that this trick isn’t useful. Anyone who has done restaurants or hospitality suite work knows that every now and then a “hitter” comes into the room, and you really want to impress them. This is a great trick to do that, and that’s how I used it years ago. You should also know that there is some handling involved in this trick, but I would not classify it as a difficult routine. This is an amazing routine, El Duco is offering it in a way which makes it very easy to learn. I recommend it.
Improved Finger Chopper by Mickey Hades This is a wonderful prop, one that will definitely fool any little kid who owns a slum variety plastic or metal finger chopper. The chopper is a little over five inches tall and is in two parts: the stocks which hold the blade, and the rectangular case in which the stocks are placed. The beauty of this is that the stocks can be removed and the spectator can thoroughly examine them. The blade does not move. He can also examine the case. The stocks are returned to the case, the spectator puts his finger through the big hole in the case, and the blade is apparently driven through his finger. (There is a small hole at the bottom of the case so you can chop a match or toothpick at the same time.) After the penetration, the spectator removes his finger and everything can be examined again. As I said up front, this is a wonderful prop. But, be aware of one important thing: You can hurt yourself or your spectator if you don’t follow the directions carefully. When the blade is locked, it is really locked, and could cause some damage. This trick will not be sold to minors, and I think that’s a good idea. Handled properly, though, this is a real miracle, and I recommend it.
Details Steel and Silver Videos - Volumes II and III by Paul Gertner. $39.95 VHS ($49.95 PAL) per Video, or $75 VHS ($95 PAL) for both. (US and Canada add $3 for 2 day Priority Air. Overseas $7.50 surface, $15 airmail.) From The Paul Gertner Group, 380 Butler Street, Pittsburgh, PA 15223 The Rope Magic of Tabary - Volumes 1 and 2 by Francis Tabary. Each tape $29.95 (VHS or PAL), both tapes $54.95. (Postage & Handling free for US, Canada, and overseas surface; overseas airmail add $7.50 per tape.) From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The Video Encyclopedia of Card Sleights - Volumes 4, 5, and 6 by Daryl. Each tape $29.95 VHS ($39.95 PAL), all three for $84.95 VHS ($110 PAL). Free postage and handling in US and Canada. Overseas add $7.50 for surface. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 We Remember Lee Grabel by Joel Ray. $25 plus $3 p&h in US, international $5. (PAL and SECAM format add $5. From Video Specialties, 3805 Pontchartrain Dr., Suite 19, Slidell, LA 70458 Magic by Ellis Stanyon. $125. Free postage and handling in US and Canada. Overseas add $7.50 for surface. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142
One Card Link by Sixten Beme. $59 postpaid ($65 airmail) Use VISA or Mastercard, no personal checks. From El Duco’s Magic, Box 31052, 200 49 Malmo, Sweden. Improved Finger Chopper by Mickey Hades. $65 plus $5 p&h. From John Kaplan’s Abracadabra, 11831 Voyageur Way, Richmond, BC, Canada, V6X 3J4
November 1996
“With a Little Help…” This month’s Marketplace is a bit unusual, featuring reviews of three books released for the general public. In addition, two guest reviewers have been invited to join the party. During my eighteen month tenure as product reviewer, it has become painfully obvious to me (and perhaps to you, as well) that there are some areas of the magic field about which I have little experience. One of these areas is magic history. Since one of the books under discussion this month is a major new biography of Houdini, I thought it would be most useful for you if the book was reviewed by someone more knowledgeable than I. David Charvet was gracious enough to agree, and his review leads off this month’s column. It’s also nice to have a second voice when a book (and its attendant discussion) will raise a few hackles. Such a book is The Magic Of Micah Lasher, which has already generated some heated posts on the EG. Jon Racherbaumer (a man who, when he sees the tornado coming, likes to set up his lawn chair right in the middle of the storm’s path) offers his opinion of this book, and I have amended a few comments of my own. My thanks to both these gentlemen for their help. Also this month, I begin a segment of the column called “It’s Not Magic, But…” Each month I’ll mention something which, while not particularly magic related, was interesting to me, and perhaps will be interesting to you. I hope to include books, videos, software, magazines, websites, and music. Your suggestions are most welcomed. Write me at the address at the end of the column, or email me at
[email protected]
HOUDINI!!! - The Career of Ehrich Weiss by Kenneth Silverman [Reviewed by David Charvet] Since his death in 1926, probably more biographies have been written about Harry Houdini than any other theatrical figure of the twentieth century. From the first effort in 1928 by Harold Kellock, up to the 1994 sensationalistic attempt by Ruth Brandon, all of these writings have been tainted, to a degree, by the author's prejudices for and against the subject. Remarkably, in this latest book, Kenneth Silverman approached the man with an open mind, and as a result, has produced what is without doubt the definitive biography of the self-styled, “Elusive American.”
Not content to simply repeat and re-hash stories in previous biographies, Silverman spent five years researching thousands of original sources: letters, diary entries, photographs, scrapbooks, newspaper articles, friends, relatives, collectors and museums around the world. Bit by bit he separated the facts (as much as one could) from the fiction surrounding Houdini. Beginning without a Preface, Foreword or an Introduction; much like Houdini making a bridge jump, Silverman plunges right into the story. A Pulitzer Prize winner, Silverman's narrative style follows Houdini’s life chronologically. Chapters are separated into defined blocks of time in Houdini’s life. This, to me is the preferred way of writing a biography. Many writers who juxtapose times and places by constantly jumping forward and back make it difficult for the reader to understand what things motivated an individual to make certain choices and decisions in their life. Silverman simply lets the story unroll and by doing so, the reader better understands Houdini and Ehrich Weiss. Perhaps “simply” is not an accurate appraisal. Writing this book had to be anything but simple. Like a fine magician, Silverman has made the difficult look easy. Houdini constantly hid and twisted aspects of his life, career and himself from his family, friends and the public. How Silverman has managed to tell the “real story” some 70 years after the fact is as remarkable as anything Houdini did in front of an audience. Stepping away from previous biographies, Silverman does not try to wrap Houdini in any of the melodramatic sentimentality of Harold Kellock, the protective idolizing of Milbourne Christopher, or the muckraking and pseudo-psychological claptrap of Ruth Brandon. Instead, he lets Houdini speak for himself. The wealth of first-hand quotations by Houdini; from diaries, letters and newspapers, is impressive. For the first time, readers will be able to understand how Houdini viewed himself - a view that was constantly changing as his career developed. No matter what you have previously read about Houdini, you will find something new here. Oft-repeated legends have been more clearly and accurately defined or debunked through the use of primary sources. Even the story of the Montreal dressing room assault that supposedly led to his death is recounted for the first time in print by a man who was actually in the room when it happened. Evidence is also offered that Houdini was probably ill with appendicitis before the blows occurred. The most sensational “new” revelation in the book is that Houdini carried on a love affair with Charmian London, widow of writer, Jack London. Silverman offers ample documentation of this cautious fling through first-hand entries in London’s diaries. This is but one example of Silverman’s outstanding scholarship and efforts to go beyond obvious magical sources to fully and truthfully research his subject. And he does not gloat over this revelation. He offers the facts only, with no sensational speculation or attempts at post-mortem psychoanalysis. Bravo.
Outside of these “personal secrets,” Silverman has avoided revealing any of Houdini’s professional secrets. Nor has he divulged the workings of any of the tricks or illusions described in the text. It is not “The master magician, unmasked, stands forth in all the hideous nakedness of historical proof....” as Houdini had attempted in his own Unmasking of Robert-Houdin. Instead, Silverman shows again that the real secret was Houdini himself; not his tricks, picks or schtick. The book features 111 photographs, many never-before published. I particularly enjoyed the shots from Houdini’s 1925-26 full-evening show; which were “new” to these trained eyes. Two appendices, one by Houdini’s niece, Marie Blood, the other by Sidney Radner, also offer much personal insight. Historians will cringe when they read that Marie’s father dumped original prints of all of Houdini's feature films in the trash. (Ordered to do so by the fire department because of the explosive cellulose nitrate film stock.) And that Sid Radner turned down brother Hardeen’s offer of his Houdini films for the same fear. The notes and sources used to compile this work are voluminous. So much so that they will be published in a separate, 180 page book, Notes to Houdini!!!, by Kaufman & Greenberg. This “book about a book” is limited to 500 copies. Available November 1, 1996 for $50. (Actually more than the biography that spawned it.) Proceeds from the Notes will benefit the Houdini Hospital Fund of the Society of American Magicians. In conclusion, if you have any desire to know about Houdini, then Houdini!!! is the one book that you must read.
Magic Of Micah Lasher by Micah Lasher [Reviewed by Jon Racherbaumer] “Who’s this kid playing fifty-two-card pick-up?” “I should know?” “You’re a magician, aren’t you?” “Never heard of the guy. Book looks good! Probably for beginners.” “Aren’t they all?” This new trade paperback is remarkable on several counts: (1) It was planned, organized, and written by a fourteen-year-old; (2) Its publisher approached and enjoined its writer, not the other way around; (3) It is aimed at the public and sold in main-stream book stores;(4) Instead of getting consensus praise from the magic community, we heard many rants about “publicity-seeking upstarts” and “flagrant exposure of magic secrets.” So, what gives?
Lasher admits that it took two years to complete this book. Although he had assistance from other quarters, he did the lion’s share of the work. He also selected all the material himself, drawing from the stuff he learned during the last nine years. (Yes, it’s true. Micah started learning at five years of age!.) Does this mean that Micah Lasher a wunderkind of sorts? Perhaps. The Technicolor photograph on the cover of his book shows a well-groomed, young man, sleeves rolled up, looking alert and serious—a partial deck in one hand, the Ace of Hearts in the other. Several cards cascade in midair. Deja vu? Harry Lorayne’s The Magic Book (1977) shows him cascading cards from hand-tohand. (Harry, by the way, was 51 years old at the time.) Book browsers will probably miss the point of this action shot, although Lasher’s eyes look as startled as a deer’s caught in the glare of an onrushing car’s headlights. Magical wunderkinds are few and far between. I know of only two that fit this dubious description: Persi Diaconis and David Copperfield. The former, who eschewed the limelight, won his underground reputation at the tender age of twelve by demonstrating advanced Riffle Shuffle work at an Abbott’s Convention. His innate brilliance later resulted in receiving a MacArthur Fellowship. Copperfield had his own television special while still a teenager. The rest of his career speaks for itself. Lasher may be the only magician to publish a mainstream book before turning fifteen. Cynics will cry nepotism. His aunt and uncle are literary agents. Things get done, at least in part, because of networking. The rest is fortuitous. If Molly O’Neil had not written a large article in the New York Times (which mentioned Lasher and his age), the snowball effect may have never begun. But we should give Lasher his due. He is a smart, strongly desirous, focused, and skillful kid. Compared to others his age and to most magic hobbyists of any age, he is a talented performer. You can also safely wager a gross of Tally-Ho decks that he studies, practices, and thinks about magic more intensely than most magician-hobbyists. Granted: he started his apprenticeship during an unprecedented “information explosion.” He had easy access to the greatest ideas, tricks, and sleights developed during the past 100 years. It also helps to live in New York City—a worldly, teeming metropolis filled with golden opportunities. By accident and design, Lasher’s inherent aptitude was nurtured by willing teachers and boosters and he acknowledges 37 persons, plus members of Assembly 25 (S.A.M.), in his book. We live in a hard-copy age of hype and fleeting celebrity. Television producers recklessly troll for “stories” to feed channel-surfers and hard-core vidiots. If you are a fourteen-year-old magician who is good...hey! you will likely end up performing for David Letterman and Bryan Gumbel. Whiz kids make the six o’clock news. Lasher’s book, in its own words, is “essentially a beginner’s book.” This kind of book has many precursors: John Scarne, Jean Hugard, Shari Lewis, Paul Curry, Bill Severn, Bob Longe, Karl Fulves, Frank Garcia-George Schindler, Mark Wilson, Harry Blackstone Jr., Paul Daniels, Pat Page, Bill Tarr, Bruce Elliott... Many of the tricks in these books are recycled fodder. I would recommend Lasher’s book to beginners and collectors. Otherwise, the rest of magicdom can skip it. Killjoys who detest any kind of
public exposure are crying foul. Pitbulls of our shaky meritocracy descry everything that is wrong, misguided, trivial, and ill-advised in this book. They expect to see perennials like the 21-Card Trick, Glass Through The Table, and the Rope Through Neck to reappear in beginner books, but blanch when they see the Slop Shuffle (Triumph), Retention Vanish, Miller Penetration, and Professor’s Nightmare in a so-called beginner’s book. This 8 ½ x 11 paper-back sells for a modest $15. It features 48 solid tricks and sleights. If you gauge a book’s value by its quantativeness, this has considerable “bang” for the “buck.” Akemi Yoshida’s 210 clarifying, user-friendly illustrations are immediately seductive and freshen Joseph Leeming’s effective approach from yesteryear. Beginners, providing their interest in learning “tricks” is genuine, will be attracted to this book like moths to a flame. On this count, Lasher deserves more praise than he is getting. The “exposure” issue, according to Lasher, does not involve his book. He writes: “I try to differentiate teaching and exposure. In the case of teaching, the student has to expend effort to gain the information. First, they have to go to the bookstore and find the book. Then, they have to buy the book or take it out of the library. Finally, they have to study it to learn how to perform the magic inside. This is compared to a television scenario where all the viewer has to do is turn on the TV and learn the secret of a trick.” Lasher also talks about intent: “Most television teaching/exposure segments do not have the potential to create new magicians. This is for two reasons—the short time normally allotted to these segments allows for no real information to be transmitted to the viewer beyond the bare bones of the trick. Also, it does not give the viewer any more of a view of magic that the single trick they are watching.” It is difficult to square publishing these kind of books when the joint resolution issued by the I.B.M. and S.A.M. state that they “oppose the willful exposure to the public of any principles of the Art of Magic, or the methods employed in any magic effect or illusion.” This resolution seems clear and straightforward. Fundamentalists of this ethical resolve strictly interpret it. Others with various axes to grind, agendas to enact, and businesses to run believe in a more tacit, flexible interpretation. Professional magicians in the good old days agreed that “public exposure” threatened their livelihood. If the audience knew how “tricks” are done, the magician’s ability to “suspend the disbelief” was weakened or compromised. Magic dealers are exposers. After World War II, when the number of amateurs dramatically increased, magic dealers had an expanded market to service. Their goal was to recruit new customers and expand their business. The magic societies do the same thing. They recruit new dues-paying members increase to finance their “business”— publishing a magazine and hosting an annual convention. Members, in turn, support dealers by buying goods. This cozy symbiosis between “magicians” and magic dealers was inevitable. The irony is that “exposing” is a necessary process to create new “magicians.” Taken to a logical extreme, for every new “magician” that is created, there is one less uninformed spectator to watch. If everyone in America learned how to perform the “Invisible Deck,” who would be left
to be entertained by it? This, of course, is not likely to happen (despite the efforts of Marshall Brodien and Magic Masters.) This “gray area” will remain. Secrets will continue to be sold and tipped. Mainstream books, like Lasher’s, will periodically be published. The recycling process will continue. The hue and cry that surrounds each new book eventually dies. The sad fact is that most mainstream magic books end up “remaindered.” Unsold copies are dumped in sale bins. Lasher’s book is a admirable product. He confided that “seeing the finished book was a wonderful moment in my life...on the other hand, I know that when all is said and done with the book and I have moved on in my life, I will feel a certain loss that part of me is finished and left behind. I know that will be sad.” Truman Capote once wrote: “Finishing a book is just like you took a child out in the yard and shot it.” Another writer said: A person who publishes a book willfully appears before the populace with his pants down...If it is a good book nothing can hurt him. If it is a bad book, nothing can help him.” Right now Micah’s pants are down. I applaud him for taking the time and the risks; for marching to his own drummer. He has already done what few magicians will ever do. [Now, a few more comments from M.C.] I have two problems with this book. The first problem concerns its title, The Magic of Micah Lasher. I see very little of Micah Lasher’s magic here. What I do see is the magic of Sid Lorraine, Charlie Miller, David Roth, John Ramsay, Bob Carver, and the anonymous inventors of Do as I Do, the Glass Through the Table, the Twenty-one Card Trick, and the Bill in the Orange. All writers of magic books (myself included) utilize the information created by those who have come before. The question is: Does the author build on what has come before, or is the material simply rehashed and regurgitated? One approach gives back to Magic, the other approach simply takes from it. My other problem concerns the tone of the book. The main “hook” of The Magic of Micah Lasher is that it was written by a fourteen year old. But, I find very little in this book which would even give you the impression that a young person had written it. Certainly, Micah is to be congratulated if he indeed has such a mature writing style, but very little in this book gives the viewpoint of a young person interested in becoming a good magician. There are many mentions of the various television programs that Micah has appeared on, and while this is wonderful self-promotion, these are not experiences which most teenagers will relate to. Having reached the mid-point of my life, I realize that the world is divided into Givers and Takers. Curiously, the Givers continue to give, regardless of how they are treated. Not so curiously, the Takers continue to take. Your opinion of this young author and his book will depend on which category you place him.
How to be (a Fake) Kreskin by The Amazing Kreskin [A review in the style of Dave Barry]
Okay, listen up everybody: I’m mad as hell, and I’m not going to take it anymore. Apparently, some of you (and you know who you are, so don’t try to deny it) have been running around the country telling people that Kreskin is not a genuine, dyed-in-thewool, honest-to-goodness, for real mentalist with near borderline, mystical, psychic powers. You’ve been saying that he’s just a clever and entertaining magician who accomplishes his effects through (“say it ain’t so!”) trickery, rather than through the use of the aforementioned borderline, mystical, psychic powers. This was a dumb thing for you guys to have done, because now Kreskin is mad as hell, and he’s not going to take it anymore, and so he’s done the only thing he could do, which was to write a book called How to be (a Fake) Kreskin, in which he proves that he does have borderline, mystical psychic powers by exposing a lot of methods for tricks that he doesn’t even do. And that was a dumb thing for him to have done, because a whole lot of trees died needlessly, and I had to waste ten bucks and an hour of my life on his book. Kreskin reveals methods for doing pseudo-hypnosis stunts, spirit manifestations, blindfolded divinations, simple mental oriented card tricks, and predictions. Most of this stuff is old news - simple tricks which have been exposed many times before in many other books. Some information, however, I have not seen in a general public book, for example, Bruce Elliott’s “Finger Finger.” Kreskin also mentions that when others attempt to duplicate his well-known effect of linking borrowed finger rings, these magicians use “arthritic rings that can be snapped open to allow them to pass on and off the deformed fingers of the severely arthritic.” Gosh, I’m sure glad Kreskin cleared that up for everyone. (By the way, and I’m not making this up, Kreskin mentions that the first time he tried this effect, at a private party back in 1962, it took him fourteen minutes and he linked together eighteen rings. Now I’m only guessing here, but I’d bet that the party was at Richard Himber’s house.) Throughout the book are sprinkled anecdotes of Kreskin performing on various television shows and for various celebrities. He recounts his exploits playing simultaneous blindfold chess with Soviet defector Korchnoi and the chess columnist for the New York Times. He also details (and I’m not making this up) how he once found his hidden paycheck above the upper plate of a gentleman’s false teeth. (And I thought my bank teller got steamed when I tried to cash a check that had only been folded in half.) Kreskin also encourages you to drop his name liberally whenever you perform any of the stunts in this book: comments like, “Kreskin has developed an advanced form of mental exercise,” “[I am] now going to use a Kreskin technique,” and “[I] ask that the spirits join the gathering to produce the kind of activity that Kreskin demonstrates.” This is a worthwhile ploy, because if the Neanderthal biker that you’re performing for is not amused by the demonstrations of your near borderline, mystical psychic abilities, you can always demurely suggest that he go beat the snot out of Kreskin.
Do you need this book? Probably not, unless you do some mentalism in your act and you want to be prepared for any challenges which may arise from someone who has read this book. How to be (a Fake) Kreskin is blatant self-promotion, and there’s certainly nothing wrong with that; it’s what made America what it is today. I feel that there is another purpose, however. I think that Kreskin is trying to establish his name in the public consciousness in the same way that “Houdini” has entered the vocabulary as a generic term for a magician. And to this end I’m going to help out. From now on, if I’m driving and somebody cuts me off, I’m going to stick my head out the window and yell, “Thanks, pal. You’re a real Kreskin!”
Makin’ Sparks! By Sylvester the Jester This thing is great! Dan Sylvester has come up with a battery operated Funkenring. Press the battery to the connect points and you get a fan of sparks up to about a foot in length. And because it’s battery operated the sparks will last as long as you want. The unit is about 2 ½ inches long and 2 inches wide, and it sends sparks in different directions, depending on how you hold it. Both the battery and the flint are easily replaceable. I’m going to have a ball with this thing. You probably will, too. Highly recommended.
The Web by Jim Pace This is the magical equivalent of the joy buzzer. Jim Pace’s trick (which has already spawned clones) is almost guaranteed to produce a visceral reaction in your spectators. The effect is this: A spectator is asked to hold out his hand. The magician shows four blank faced playing cards, placing them in the spectator’s hand. Pictures of spider webs appear and disappear from the faces of the cards. Finally, the spectator is asked to wave his hand over the cards. When he does so, he discovers a large, realistic spider clinging to the back of his hand. You get everything you need, including an excellent adhesive which makes the loading of the spider foolproof. This trick is a lot of fun, but you have got to be careful who you perform it for. The discovery of the spider is an enormous shock, and could produce a more serious reaction than you want. I would never use it in a restaurant, and, in fact, I’m not sure that I would perform it for people I didn’t know well. Please use common sense. Having said that, I will say that in the right situation this trick is a literal riot.
It’s Not Magic, But…
You’ve probably heard the old saying that a camel is a horse designed by a committee. One of the most famous “camels” in television is Harlan Ellison’s script for “The City on the Edge of Forever,” which is generally considered to be the best episode of the original Star Trek series. For the first time in an unlimited edition trade paperback you can read Ellison’s original teleplay, and you can read his side of the story of how his thoroughbred got turned into a ship of the desert. This book is a fascinating read, and I’m sorry that the original script wasn’t the one which was finally aired. I should warn you though: if you are a diehard Gene Roddenberry fan, or if frank language offends you, give this book a pass. Ellison pulls no punches.
Details HOUDINI!!! - The Career of Ehrich Weiss by Kenneth Silverman. 417pp. + appendices, sources and index. 111 photographs. From HarperCollins, New York. $35.00 Magic Of Micah Lasher by Micah Lasher. 219 pages. From Simon & Schuster, New York. $15.00 How to be (a Fake) Kreskin by Kreskin. 131 pages. From St. Martin’s Paperbacks. $9.99 Makin’ Sparks! by Dan Sylvester. $79.95 plus $3.50 p&h. ($7 for foreign p&h). From Kevin James Imagination Unlimited, 431 Wright St., Jonesville, MI 49250 The Web by Jim Pace. $10. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Harlan Ellison’s “The City on the Edge of Forever” - The Original Teleplay that Became the Classic Star Trek Episode. By Harlan Ellison. 276 pages. $11.99. From White Wolf Publishing.
December 1996 “Yes, Virginia…” I was going to write a rather caustic introduction to this month’s reviews, because I have been feeling rather cynical lately. Several of my friends are embroiled in disputes in which their intellectual property has been appropriated unfairly, and I was thinking of writing about that. But I’m not going to. The way to avoid these disputes, of course, is to only appropriate the ideas of dead people, who have no one to champion their cause. You can then package these ideas and make a quick buck by selling the information to the general public. I was going to write about this. But I’m not going to. The reason I’m not going to dwell on the negative is that a most amazing thing happened to me at a small convention near Kansas City a few weeks ago. I had just arrived at the convention hotel and was at the front desk trying to get my room changed, when a young man came up to me and gave me some money. “What’s this for?” I asked. “It’s for one of your books. A friend gave me a Xeroxed copy, and I wanted to pay you for it.” You could have knocked me over with a feather. Just about the time you’ve written off the entire human race, someone comes up and reminds you that there are still people in the world who do the right thing. And if that one person can influence one other person, then maybe there’s some hope. So, here’s to all of you good people out there. There are more of you than we realize, because you don’t get the press you deserve. Stay well, stay healthy, and have a safe and joyous holiday season. And to the rest of you…watch out.
The Art of Astonishment Volumes 1-3 by Paul Harris Doing product reviews is sometimes an exciting job (and here I am using the word “exciting” in the way that driving down a steep mountain road in a car without brakes is exciting). One thing which adds to the excitement is trying to balance the timeliness of a review with the exigencies of a publishing deadline. Combine this with my genetically encoded penchant for procrastination and you now know why Editor Stan has developed that nasty twitch above his left eye.
I mention this because the galleys of one of the most eagerly awaited series of books of recent times arrived on my doorstep on the day that this column was due to be turned in to the MAGIC office. I’m talking about over 900 pages of galleys. The question then was: do we hold off and wait until January, or do I get the column in a little late and try to plow through the books and at least give you a feel for what’s in them? I felt that since so many of you would be considering these books as a holiday gift that even though I would not have a chance to work through much of the material, I could at least let you know if they are a worthwhile investment. Well, here’s the bottom line: these are wonderful books, and if you have any interest in close-up magic you will want them in your library. There are over 200 tricks encompassing effects from all of Paul’s previously published work, new routines from Paul, and effects from some of Paul’s friends. I’ll give you a very quick run through of each group. The previously published material comes from all of Paul’s books, starting with The Magic of Paul Harris (1976) through Secrets of the Astonishing Executive (1991). The descriptions of these effects have been edited, and in many cases entire routines have been revised and improved. Most importantly, though, is this: over 50 routines have been eliminated. In the past, my one criticism of Paul’s output is that it was in desperate need of an editor. Well, he had one for these books, and the “genetically mediocre” routines didn’t make the cut. Perhaps a few less than great items remain, but it is a very small percentage, and compared to the strength of the other routines this is a small quibble. If the books only contained “the best of Paul Harris” they would be worthwhile. But Paul has added new routines, many of which are designed to be used in impromptu settings. There is a dearth of such material, and Paul’s creations are uniformly good. You’ll find tricks with food, Swiss Army knives, leaves, Tic Tacs, aluminum foil, and pop cans. Several of these ideas are so good that I wish I were the only person who knew them. But, that’s not all. There are also contributions from some of Paul’s friends, including Steve Blencoe, Eric Mead, Bill Malone, Jeff Altman, Harry Eng, Chad Long, Guy Hollingworth, Fred Rohm, Sylvan Mirouf, Patrick Martin, and Greg Wilson. (Not that Greg Wilson, the other Greg Wilson.) All this the material is top notch, but the material from Mead, Mirouf, Martin, and Wilson is exceptional. There are also essays and dialogues on the art of astonishment, but because of time constraints I didn’t have a chance to read them carefully, so I won’t comment on them here. A special nod of appreciation should go to Eric Mead, who collaborated with Paul on these books. Eric wrote the first draft of all the routines, and got out and tried the material in front of real people. His experience as a “real life/down in the trenches” worker greatly influenced what material made the final cut, and the books benefited from his input.
Also, Tony Dunn should get a big tip of the hat for the 2000 drawings he did. They are excellent, and are a magnum order of quality above the illustrations from Paul’s early books. What else can I say? To a younger generation of magicians this material will come as a revelation (especially because, according to a recently published magic book, nothing interesting happened in magic between 1977 and 1994). Those of you who have followed Paul’s career and material will reacquaint yourselves with old (and in many cases improved) friends. And everyone will begin playing with the new material offered. You might as well set aside your money now. Sooner or later you’re going to have to buy these books. Very highly recommended.
Miracles with Cards by James Swain I am a big fan of Jim Swain’s work, and I’m not alone in my admiration; many of the top professionals in the country include some of Jim’s creations in their repertoires. Jim’s routines are characterized by intelligence, ingenuity, and a diabolical combining of sleight-of-hand with subtleties, set-ups, or gaffs. His new book, Miracles with Cards, may contain his best work yet, and if you’re a card man it should be at the top of your Christmas list. The book begins with a thoughtful essay on the state of close-up magic today. Jim makes the very important point that, since laymen don’t get to see a lot of close-up magic, it is vital that we (as performers) choose the strongest possible material to present. Harry Riser drove this point home to me years ago. If there are two performers of equal presentational skills, then the difference in audience evaluation will depend on the level of their material. To this end Jim Swain has provided some remarkable routines, many of which do not require difficult sleight-of-hand. The book contains 45 routines, so I will just touch on some of my favorites. “The Airmail Card” is the first routine in the book, and it is an extremely commercial version of Darwin Ortiz’s “Dream Card.” A card is selected using a very fair procedure. The card is signed, lost in the deck, and the deck is shuffled face up and face down. The cards right themselves, with the exception of the selected card. The deck is placed aside, and the magician removes his wallet. From the zippered compartment he removes a card which has been mailed to him. (The back of the card has the magician’s address, and has a canceled stamp in the corner.) This card is turned over and it is the spectator’s signed card. Although this routine requires some sleight-of-hand, it is not particularly difficult, and it incorporates an ingenious use of a move which was first published in MAGIC. I had the pleasure of seeing Jim perform “The Airmail Card” in Las Vegas, and it leaves nothing to be desired. “Clue” is a wonderful variation of Brother John Hamman’s “Sealed Room Mystery.” It’s an excellent presentation piece which requires no skill whatsoever. “Card in the
Matchbox” showcases Jim’s ability to combine several disparate ideas to produce an almost self-working trick. Using an ancient principle and a standard gaffed card, Jim duplicates an effect of Tony Giorgio’s which previously required a great deal of skill. There are, of course, routines which do require some work, but the effects are worth it. I would particularly draw your attention to “The Impossible Card Trick.” Here is the effect: Four spectators are asked to think of a high-valued card among a particular suit, except a King. When each spectator calls out the card they are thinking of, the magician deals down to that number, and there is found the Ace of the corresponding suit. Then the top card of each pile is turned over and the mentally selected cards are on the top of each pile. Finally, each pile is turned over, and there is a King on the bottom of each pile. Jim Swain is also known as one of the country’s finest exponents of the pass, and he provides several routines which make use of this artifice. However, what will be of most interest to you (especially if you don’t do the pass) is a chapter called “Tips on the Pass.” There is information revealed here which I don’t believe I have seen anywhere else. If you’ve been struggling to learn to do the pass, this information should help to put you on the right track. I would also draw your attention to the various routines which use the Larry Jennings Card Box, a prop which is little known to magicians. Jim has come up with some mind-boggling routines using this prop. Toward the end of the book there is a routine called “Rules of the Game.” Preceding this routine is an essay which should be required reading for anyone who wants to perform magic. The routine itself is a knockout: the magician produces all nine possible poker hands (one pair up to a royal flush) from a shuffled deck. The productions build in a logical way, and the routine ends with the magical transformation of a straight flush into a royal flush. Interspersed between the routines are some very useful sleights, including a marvelous method for palming cards from the top of the deck into the left hand. I can’t say enough good things about this book. The routines are excellent, the explanations are clear and concise, and the photographs by Warren Torzewski are great. I’m adding a few of these routines to my repertoire, and I wish I was the only person who had them. If you are a card guy (or you want to be a card guy) this book is a must buy. Highly recommended.
Card Stories by Ariel Frailich Ariel Frailich is a Canadian card man who has written a charming and useful little book which offers interesting (and sometimes off-beat) stories to use as presentational “hooks” for several standard card effects. You will not find knuckle-busting sleights here, nor will you find radical new methods. The methods have been streamlined, and should be well within the abilities of the average magician. What you will find here are some
presentational approaches which will make your card magic more entertaining, and which will (hopefully) inspire you to develop presentational approaches of your own. The effects here will be familiar to you: the Ambitious Card, the Card in the Mouth, the Collectors, Card through the Table, the Cannibals, Alex Elmsley’s “Point of Departure,” and others. The stories Ariel has concocted are interesting and unique: a reminiscence of a child’s first experience planting seeds, a gunslinger challenge, the lives and loves of the Bloom sisters, a spy story, a presentation based on Barbara Woodhouse’s “No Bad Dogs,” a gang warfare story, and others. Jay Sankey offers a very strong presentational approach for the simple effect of changing one card into another. Don’t pass this routine by thinking that it’s old news. Sankey’s presentational hook makes this a very strong piece. Discovering the proper patter and presentational approach for a routine is very important to me. In fact, it is the one factor which has kept me from performing many of the classics of magic; I just can’t think of what to say while I’m doing the trick. Far too many magicians simply fall into the habit of telling the audience what they are seeing, and this is a very ineffective use of our words. If you have a problem constructing patter, Ariel has done a lot of the hard work for you. He has created a presentational approach, and has reduced the technical work to a minimum. All you will need to do is to change the words to suit your personality. If your goal is to entertain laymen with a deck of cards, you will find much of value in Card Stories. I recommend it.
TULLOCK - The Phantom Founder of Trade Show Magic by Eddie Tullock with Gene Urban and Kenton Knepper If you don’t know who Eddie Tullock is, go back and read Paul Gertner’s excellent article and interview in the October issue of MAGIC. Mr. Tullock has achieved a legendary status in magic for a couple of reasons: he has for the most part avoided magicians, and consequently his routines and methods are not well known; and, he pretty much single handedly started the business of trade show magic. Eddie has recently retired from the grueling trade show schedule, and he has begun to make appearances at magic conventions. In this book he reveals several of his techniques and tricks, and he also discusses the business of trade show magic. First, a couple of general comments. Mr. Tullock has been doing trade show magic for 40 years. This book is 62 pages long. At first glance it would appear that this is a slender volume in which to encapsulate such a vast amount of performing experience. But in the same way that carbon, over time, becomes a diamond, I believe Mr. Tullock has compressed his experience into small nuggets of extremely valuable information. Every sentence is important, and suggestions which seem trivial (“Don’t be in a hurry to deliver your pitch,” “Do not try to break in new shoes at a trade show.”) are actually the real work. If you’re looking for new, “cute” tricks, look elsewhere. If you want to find out what it takes to make a living as a trade show magician, this book has the information.
The first third of the book details some of Eddie’s tricks and techniques with a deck of cards. You’ll find a couple of easy card controls, Eddie’s handling of the Top Change, a really excellent in-the-hands false riffle shuffle, and the item which will be of most interest because of its legendary status: Eddie’s work on the Classic Force. The force is explained in great detail, with information on how to deal with stubborn spectators. Following this are two bits of business which Eddie uses when spectators try to replace their selected cards. Three tricks are then explained: “Stop it Now” shows how Eddie takes the simple effect of changing a “wrong” card into the “right” card and uses it to draw the spectators into his sales pitch. “The Four and One Half Trick” is the routine Eddie uses to close his set and to bring the crowd into the booth. The psychology involved here is excellent. “Busted Transpo” is the transposition of two selected cards and involves a great deal of byplay with two spectators. None of these routines are remarkable for the methods involved; all the moves are standard ones. What is of enormous value is the psychology involved and the methods Eddie uses to slide his sales pitch into the presentation. The last two-thirds of the book explain Eddie’s thoughts on the nuts-and-bolts of trade show magic. There is tremendous amount of real world information here. Included is information on the types of props to use, your performance attitude, necessary equipment, how to get booked, how much to charge, attracting a crowd, pacing yourself, and much more. Much of this material addresses the reader in a such a way that he will have to do some serious soul-searching, and this is good, because anyone planning to go into this field should have a realistic assessment of their magic, sales, and business skills. I have only done a small amount of trade show magic, but I have discovered one thing: trade show magic is to magic as writing jingles is to music. The key to success is in understanding how your craft (either magic or music) relates to what it is you are trying to do (sell a product). This is a message which comes through loud and clear in this book. You may be doing magic, but first and foremost, you are a salesman, and if you want to be successful you have to sell the product and you have to sell yourself. Eddie Tullock is a master at doing both, and at giving his audiences a hell of a good time in the process. This book is an invaluable resource, and I highly recommend it.
You Can Learn Magic from Vivid Interactive Media I just booted up my copy of Microsoft’s Encarta96 Encyclopedia, and I randomly clicked on a subject in the middle of the alphabet. It happened to be Sir Yehudi Menuhin. In the course of reading this article I found the name of the composer Georges Enesco, so I clicked on that. The Enesco article lead me to click on an article about chamber music, and from there I went to Igor Stravinsky, Sergei Diaghilev, Leon Bakst, and ancient Greek Art. The reason I mention this is that this is what CD ROM technology is all about: the ability to travel deeply into a subject, and to branch off in whatever direction
you wish to go. What CD ROM technology should not be is simply a glorified VCR. Any CD ROM which only allows you to play back Quick-time movies is no better than a video tape, and is merely exploiting the “multimedia” frenzy which is so popular right now. I mention all this, because the Vivid Interactive Media company has released three CD ROMs under the general title of You Can Learn Magic. The discs cover card magic, coin and money magic, and general magic (including tricks with ropes, rubber bands, etc.) Each disc demonstrates and explains about 18 tricks. All the information comes from Quick-time videos which play in a small rectangle in the middle of the monitor. The tricks are broken into three parts: the trick, the set-up, and the secret. Clicking on each of these “buttons” plays back the appropriate video. The only difference between this and a VCR is that it is possible to “loop” a section of video so that it will play back over and over. There is no print out of information available, and, while the magicians who teach the tricks are credited, there is no credit given to the people who created the material which is being exposed. Well, let’s cut to the chase, shall we? This is crap, and I’m getting tired of it. Perhaps I’m just being cranky, but I’m tired of CD ROMs which are merely glorified video tapes. This is not what this technology is all about, and by slapping the words “Interactive” and “Multimedia” on them, the uninformed consumer is being ripped off. But mostly, I’m getting real tired of people making a quick buck off of magic by taking ideas which do not belong to them, and to which they have added nothing, and revealing these secrets to the general public under the guise of educating those who want to learn to be magicians. These books, videos, and CDs have nothing at all to with magic; all they are concerned about is tricks. And they reinforce the notion that the only difference between a magician and a layman is that one of them knows “the secret.” This trivializes magic and undermines any attempt to elevate it into an art. By the way, if you use the “E-Z Money Trick” (the one where strips of paper turn into money) or Paul Gertner’s “Flick” move, you may want to drop them from your repertoire for a while. Both are exposed on these discs.
The Puzzle Arcade by Jerry Slocum From the people who brought you The Klutz Book of Magic, The Klutz Book of Juggling, and The Klutz Book of Open Heart Surgery comes a terrific book for your laymen pals who like puzzles. Jerry Slocum has assembled a huge variety of puzzles: there are word puzzles, tangrams, mazes, jigsaw puzzles, stick puzzles, lateral thinking puzzles, pencil and paper puzzles, and wire puzzles. Sam Lloyd is represented with two puzzles: the “Mules and Riders,” and “Get Off the Earth.” The book is very cleverly packaged, and all the necessary props are included in pouches which are bound into the book. There is a section of hints, if you want a clue but not the
whole answer, and the entire layout is lively and fun. I’m not big into puzzles, but I had a great time playing with this book. It would make a terrific Christmas gift. (And if you look very carefully, you might be able to find a picture of Jay Marshall.)
It’s Not Magic, But… Wile E. Coyote has devised another plan to capture the elusive Road Runner. He has strung a guy wire from the top of an impossibly high cliff down to the roadway on the desert floor. His plan is to speed down the wire by balancing on a small wheel attached to the top of a football helmet he is wearing. As the Coyote begins the precarious act of balancing on his head, we begin to realize just what a mind-bogglingly stupid plan this is. But that isn’t what makes the scene so funny. What makes the scene funny is that just as the Coyote achieves the necessary balance, the wire snaps, and he plunges down to the desert floor below. But it isn’t just that the wire snaps which makes the scene funny: the wire snaps at exactly the correct moment - one second earlier or later and the laugh wouldn’t be as big. If 100 people had to decide when to snap that wire, 99 of them would have gotten it wrong. Fortunately for all of us, the man in charge was Chuck Jones, and he knew exactly when to make the Coyote fall. Chuck Jones is the legendary Warner Brothers cartoon director who brought us Wile E. Coyote and other great characters like Marvin Martian and Pepe le Pew. He has written a new book called Chuck Reducks - Drawing From the Fun Side of Life in which he offers some insight into the creation of such classic cartoons as “Duck Dodgers in the 24 ½ Century,” “One Froggy Evening,” and “What’s Opera, Doc?” You will discover the artifice behind the art, and you will learn some of the secrets of creating timeless, classic comedy. If you’re looking for magic, how about this: Chuck Jones has managed to take drawings on a piece of paper and instill them with a life, a vitality, and a believability which has allowed them to remain as funny and fresh as when they were first created, almost fifty years ago. This is wizardry so profound that what you and I do pales in comparison. This is one of the best books I’ve read this year. I think you’ll enjoy it, too. There are some serious secrets revealed here.
Details The Art of Astonishment Volumes 1-3 by Paul Harris. Each volume over 300 pages. 8 ½ x 11 hardbound. Each volume $45, $125 for entire set. Postage free for US, Canada, and overseas surface; overseas air add $25 per volume (add $50 if purchasing complete set). From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Miracles with Cards by James Swain. 190 pages. 8 ½ x 11 hardbound. $40 postpaid. From Kenneco, 1255 W. Atlantic Blvd., Pompano Beach, FL 33069
Card Stories by Ariel Frailich. 84 pages. 6 x 9 hardbound. $30 postpaid to US or Canada. ($35 elsewhere.) Use check or money order. From I Saw That!, 35 Candle Liteway, North York, Ontario M2R 3J5, Canada TULLOCK- The Phantom Founder of Trade Show Magic by Eddie Tullock with Gene Urban & Kenton Knepper. 62 pages. 8 ½ x 11 spiral bound. $35 plus $3 p&h. From Kreations & Trx, 2765 N. Scottsdale Rd., Suite 104B, Scottsdale, AZ 85257 You Can Learn Magic from Vivid Interactive Media. Three CD ROMS, each $29.95. From Vivid Interactive Media, 56 N. Ridgeview Drive, Indianapolis, IN 46219 The Puzzle Arcade by Jerry Slocum. $19.95. From Klutz, Inc. Available at most bookstores. Chuck Reducks by Chuck Jones. $24.25. From Warner Brothers Books. Available at most bookstores.
January 1997 Darwinism This is the 21st review column I have written for this magazine, and I feel like I’m beginning to get the hang of it. I want to thank all of you who have voiced support. This can be a fairly thankless job, and your kind words mean a lot. I also want to thank those of you who have received less than favorable reviews and have handled it with class and panache. I have mentioned before that I review product, not people, but I know that it’s easy to forget this when it’s your baby that’s getting trashed. I have discovered one big problem, however. It’s easy to review something which is very good or very bad, but it’s tough to review something that is just average. I don’t know what to say about it: the product isn’t good, and it isn’t really bad…it’s just there. I think I’ve hit on a solution. In the Foreword to his fine book Cardshark, Darwin Ortiz writes: I think it’s a magical author’s responsibility to publish not only good card tricks, but better card tricks than the ones that already exist…To justify its existence, I feel a new trick should be different from what has come before. And, to the extent that it resembles any previous tricks, it should be superior to them in either plot, method, or presentation (or in more than one of those categories). Obviously, we can replace the phrase “card tricks” with “all tricks” and we now have a yardstick by which to judge the material which is offered for sale. I’m going to refer to this as Darwin’s First Law, and when I hit those products which fall somewhere between good and bad, I will invoke it. Evolution is not kind to those who do not advance the species. From now on I’m going to look at magical products the same way.
Classic Sampler by Michael Skinner One of my favorite jazz piano players is a fellow named Dave McKenna. I admire him for several reasons: he has an extraordinary technique; he has a remarkable “touch” on the instrument, which allows him to bring out individual lines when he plays; he swings as hard as anybody on earth, but can also play ballads with great sensitivity; and he has an enormous repertoire. It is the depth of repertoire that really blows me away, for these are not just tunes that McKenna knows of, these are tunes he knows; he’s worked them out, and he knows all the right chord changes. I mention all this, because if there is a magical equivalent to Dave McKenna, it is Michael Skinner, resident magician at the Golden Nugget Casino in Las Vegas, sleight-of-hand virtuoso, and possessor of the largest working repertoire in magic.
Over the years, a few of Michael’s routines have trickled out in small manuscripts, but this is the first large, hardbound collection of his work. It is not, unfortunately, the big, definitive Skinner collection that many of us have been hoping for, but considering that the book contains 26 exceptional routines from Michael’s professional repertoire, it will do for now. (And when exactly, can we expect that big book, Michael?) The majority of the routines are card effects, reflecting Michael’s passion for magic with the pasteboards, and the skill level ranges from routines which require little technical ability to those which demand advanced card handling ability. The book begins with two very interesting essays. The first, by Michael, offers several useful suggestions for the close-up magician. Of particular interest is Michael’s ploy for performing “magician fooler” effects for lay audiences. Following this is a profile of Michael by William Murray. Mr. Murray has done a fine job in capturing in words a Michael Skinner performance. In addition, biographical information is included, and, if you pay careful attention, you will learn Michael’s presentations for several classic effects. Michael is devoted to the classic effects of magic, and is constantly striving to discover ways in which the classics can be “modernized” without losing the elements which make the routines “classic.” You will discover the results of his work in such routines as “The Conus Aces,” “Oil & Water Rides Again,” “A Deeper Mystery,” “Skinning the Fat Off the Bone…Nate Leipzig’s Slap Aces,” “The Schoolboy Trick,” “Top and Bottom Blackstone,” and “Rouge et Noir.” All of these are worth your serious consideration. A few of my other favorite card effects in the book are: “The Business on the Business Card Prediction,” which is an ultra-slick (and fairly difficult) handling of a Bill Simon effect; “For Lovers Only,” a charming card in wallet effect using business cards; “Knocking out the Aces,” a flourishy way to produce the four aces; and “Aces Out of Another Dimension,” a truly remarkable production of the Aces and Kings. (You may want to check out Jim Swain’s Miracles with Cards for an important tip which places this trick within the realm of the average card handler.) The non-card items include: “Taking Our Lumps,” which utilizes the James Nuzzo “Hung Card” principle in an off beat way; “Did You Wash Behind Your Ears?” a charming trick to do for a child; “The Trash Compactor,” Michael’s wonderful handling of R. C. Bluff’s “Paper Napkin Vanish”; and the “Torn and Restored Soda Straw Wrapper,” a routine which is one the highlights of Michael’s lecture. The above routines are all terrific, and if this was all you were getting, this book would be a bargain, but there’s more. Whenever I read a book by a working pro, I look for the information that’s hidden between the lines - the hints, suggestions, and tips that are casually tossed off in a few words. There’s a bunch of them in this book. Read carefully, and think about what you’re reading. You’ll discover information about routining, setting up, getting ahead, and getting out. And I’m not going to give you any more help than that.
Anne White is responsible for the excellent photographs which accompany the routines, and the production values of the book are top-notch. Classic Sampler is a “must-buy” for all close-up magicians. Someday, the big Skinner book will come along, but until then you can enjoy a small sample of the world-class magic of Michael Skinner, consummate professional, and one of the nicest people in magic. Highly recommended.
Dai Vernon’s Inner Card Trilogy by Lewis Ganson So, what can you say about a classic? The three volumes of the Vernon Inner Secrets of Card Magic series appeared annually, from 1959 to 1961. The series was the first explanation of many of the Professor’s pet routines and techniques, and the information came as a revelation. L&L Publishing has reprinted the series in a handsome volume which matches the format of the other books in their “Vernon” series. The photographs have been re-screened and they look great, and the size of the type has been enlarged (at least it’s bigger than the type in the combined volume I got from Unique Magic Studio when I was a kid). And the material? Well, the material is classic. If this were the only book of card magic that you owned, you would have enough grade A material to last the rest of your life. Routines such as “Four of a Kind,” “Matching the Cards,” “The Pack that Cuts Itself,” “Twisting the Aces,” “Oil and Water,” “McDonald’s $100 Ace Routine,” “The Cards to Pocket,” “The Trick that Cannot Be Explained,” “The Four Blue Backed Aces,” “Larry Grey’s Cards Across,” “Three Card Monte,” and “The Card Puzzle.” These are routines which have found their way into the repertoires of every good close-up magician in the world. But the routines are only a small part of these books. A substantial portion of the text is devoted to Vernon’s handlings for various card sleights. Here you will find nine different methods for the Color Change, five methods for forcing cards, explanations of the Pushoff Count and the Buckle count, and seven different types of crimp work. Vernon’s work on palming, second dealing and top and bottom changes are detailed. And there is a remarkable chapter concerning riffle shuffle work. There’s not much more to say. If you’re a card guy (or you ever hope to be a card guy), this book needs to be a part of your basic library. It’s a classic, and I’m delighted that L&L has reprinted it in such a nice format. Buy it. Period. Aloha.
Blizzard by Dean Dill I know Dean Dill by reputation only, and what I have heard has only been good. If “Blizzard” is representative of his creative abilities, then I can certainly understand why he gets such good “press.” This is a remarkable trick, one that has smoked some very sharp people (including my pal and former collaborator, Mac King), and I wish that I
would have had the chance to experience it before I found out what the method was. I’m sure I would have been completely fooled. Here’s the effect: A deck of cards is removed from its case. A spectator is asked to name any card in the deck. Without showing the faces of the cards, the magician removes the named card (let’s say the Seven of Hearts) and the other three sevens. These cards are handed face down to the spectator, and the spectator is asked to mix them. The four cards are spread out on the table and the spectator is asked to try to pick the Seven of Hearts. He may or may not be successful (it makes no difference to the final effect). Let’s say he hits it. The Seven of Hearts is turned face up. “There is a reason why you were drawn to the Seven of Hearts,” says the magician. The other three cards are turned face up. They are blank. The rest of the deck is turned face up and is spread out on the table. All the cards are blank! The only card with a face is the named Seven of Hearts. And best of all, everything is examinable at this point. This is a real mind blower. It requires only a modicum of skill. However, it does require nerve. The move which makes the trick work is extremely bold, and on first reading the method you will think, “I can’t get away with that.” Rest assured, you can. I have done this trick for everyone I could corral, and none of them had a clue. The routine can be done standing, and you will need a table or some other surface to perform on. Because of the audience management involved, I think that the routine is best suited for 1 to 6 spectators. Those are the only restrictions I can think of. “Blizzard” is a wonderful trick, and I wish that you could see someone perform it. Believe me, the money would be out of your pocket before the deck cooled off. Highly recommended.
The Baby Bag by Algonquin McDuff Generally speaking, I despise the term “cute” when describing magic effects, but in this case “cute” is exactly the correct word. “The Baby Bag” is just what the name says: it’s a miniature grocery bag, measuring about 2.75 inches tall and 1.25 inches wide. The bag was the brainchild of a gentleman named Bobby Rockman of Charlotte, North Carolina, and he used it as a give-away in his magic shop. Algonquin McDuff and pals Rhett Bryson and Dexter Cleveland picked the brains of some very clever and funny people (including Martin Gardner, Al Cohen, Dan Garrett, Ed Eckl, and Steve Beam) and put together a little book explaining all kinds of tricks and gags you can do with the little bag. Also included is a template and instructions so you can make your own bags (and you’ll need to, because once spectators see the little bag, they are going to want one to take home.) I think this is a great little prop, and if you enjoy mixing a little silliness with your magic then I think you’ll like this a lot. Recommended.
Dishonest Abe by Gregory Wilson
Greg Wilson (not that Greg Wilson, the other Greg Wilson) has released a very nice “kit” containing all the props necessary to do the ever-popular “Small Coin Grows Bigger and Finally Changes into Jumbo Coin” routine. Just recently in this column I have asked whether the world needs another routine of this type, but in this case I think Greg is offering a very worthwhile product. You get a real American penny, a half-dollar sized penny, a jumbo penny, and a small magnifying glass. The pennies all match in luster, which enhances the “growing” illusion. (In fact, Greg manufactured his own half-dollar size penny, since he could find none which fit his specifications.) The routine which comes with the kit is very practical, and most importantly, is well within the technical abilities of the average magician. The only moves involved are the Bobo switch and the shuttle pass, and you are clean at the end. In addition, Greg has provided a great (and funny) presentation which justifies the magical transformation of the coin. I like this a lot. If you went out and tried to track down all the props you need to do a routine of this type you would probably spend at least $15. Greg gives you everything you need, the routine is solid, and the instructions are very clear. I’m putting this routine into my walk-around repertoire. You’re probably going to want to, also. Recommended.
New Pen Through Quarter by Al Lamfers A while back, I reviewed Mark Leveridge’s version of the classic “Cigarette through Quarter,” which used a poker chip. An advantage of the Leveridge version was that no switch was involved - the chip which was used for the penetration was the chip which was handed out at the end. The drawback of Mark’s version was that it did not use a common everyday object. I don’t know if the “New Pen through Quarter” offered by Al Lamfers and Sterling Magic was inspired by the Leveridge trick, but there are some similarities. The title tells the effect. You borrow a quarter, and then you push a Bic ballpoint pen through it. (You must use the pen which is provided.) However, because of the design of the gaff, you can show the pen around on all sides, and the spectators can see both sides of the coin. (In fact, you could hand the pen to a spectator if you desired.) The pen is slowly withdrawn from the quarter, there is no hole to be seen, and the quarter is returned to its owner. You should know that you must switch the gaffed coin in and out for this routine, and this will take a small bit of practice to do well. However, the method in which the coin is gaffed allows for a very nice moment: the instant the pen is withdrawn, the gaffed coin can be pivoted to show the “heads” side. There is absolutely nothing to be seen on this side of the coin. Because of this, there is no heat on the “clean-up” switch.
I think this is a very clever item. The gaff is well made, and the handling, while it will require some practice, is not too difficult. If you often find yourself working for know-itall laymen, it may be the perfect thing to carry in your pocket.
The Ultimate Magic Square by Chris Wasshuber This is a puzzle, but it’s a very good puzzle, and it will appeal to the analytical members of your audience. Here’s the effect: A spectator rolls three dice to obtain a random number. (Alternatively, you could use “invisible” dice, and just have the spectator name a number between 3 and 18.) The magician holds in his hands a packet of cards. (Each card bears a number.) Once the number on the dice has been announced, the magician deals the cards into a four by four square. The magician announces that this is a Magic Square, and sure enough, each row, column, diagonal, and corner adds up to the chosen number. As a kicker, the cards are pushed together so the edges are flush. Written across the square are the words, “That’s Magic.” This happens every time, regardless of the number chosen. This is a very clever thing. It does not require sleight-of-hand, but you will have to familiarize yourself with some small “formulas” which control the dealing process. The instructions explain this quite clearly, and if you play with it for an evening and run through several of the possibilities you should have no problem remembering what you have to do. Because you need a fairly large clear area to lay out the cards this is not going to be a table-hoppers trick, but in a casual situation it would play very well, and would be very puzzling to any mathematically inclined spectators. Recommended.
Alien Invasion by Danny Archer “Alien Invasion” is a new small packet trick from Danny Archer. Four poker-sized cards are removed from an envelope which bears the drawing of a spaceship. The each of the cards has the picture of a little green alien on the front and the back. A card is selected (forced) from a blue-backed deck. One of the alien cards is placed aside, and the selected card is added to the other three alien cards. Immediately, all four cards are shown to be the selected card, and the backs of the cards change to regular blue backs. The selected card is returned to the deck and the alien card is added to the other three cards. The cards immediately change to alien cards, front and back. This is another “cute” trick, and it will appeal to those who are just getting into card magic and have very limited technical ability. The only moves involved are the Elmsley count and any type of force. (Neither the Elmsley count or the force are explained in the directions.) The problem I have with this trick is that it feels like there should be more happening - in other words, the routine which Danny provides should be the first phase of a longer routine in which the cards change into several different selections. Unfortunately, that’s impossible with the cards provided. Also, you start the trick “dirty”
and you end “dirty.” This could be a problem, because a trick like this screams, “Trick Cards!” Unfortunately, the instructions provided no help in this area. The cards are well made, but this is not a trick that I would ever do.
The Gim-Crack by John Swomley Now here’s a fine thing: John has elaborated on a John Ferrentino idea and has produced a nifty device which goes around your neck and holds a hand-held microphone. The part which holds the mic is made of metal covered with rubber tubing, and there is an adjustable lanyard which allows you to move the mic so it is the proper distance from your mouth. If you have ever been in the situation where the only microphone available was a hand-held and you really needed a lavaliere, then this thing is a lifesaver. It will take up no space at all in your case, and will probably last you forever. John also makes a version of this called “The Bi-Cracky” which is slightly larger than the “Gim-Crack” and is designed to hold a wireless hand-held mic. Write him for details.
The Complete Dungeon edited by Anthony Owen The Dungeon was a British magazine which lasted for 10 issues and ran from August 1993 to November 1995. The focus was on close-up magic, although stage and parlour magic was discussed as well. There were interviews with people like Penn and Teller, Ali Bongo, Alex Elmsley, Jay Marshall, and Channing Pollock. There was also a great deal of commentary, criticism, and critique of books, tricks, conventions, and the magic world in general. Dynamic Fx Limited is offered a limited edition of one hundred copies of the complete run of the Dungeon, and according to Anthony, no more will be produced and the production rights will not be sold to another publisher for future editions. The book is cloth bound, gold stamped by hand, and numbered, dated, and signed by the editor. The pagination is not consecutive, but I’m guessing that there are over 500 pages here. The price is $200. Obviously, the intent is to make this a collectors item, and certainly the price will keep it out of the hands of all but collectors. I think that this is a pity. There is some excellent magic in these issues, and I find it refreshing to read a point of view outside of the American “party line.” The layout of the individual issues is less than stellar, but I think the goal here is substance rather than style. I very much enjoyed reading The Complete Dungeon. I only wish I could afford to own it.
The Card Magic of Paul Gordon by Paul Gordon I was going to let this manuscript of card tricks fall through the cracks until I received a letter from Mr. Gordon which included what appeared to be an ad for the book. This ad contained some glowing endorsements from some well-known magicians, and, fearing that there would be some of you who would see the ad and be influenced by it, I felt that I must offer a dissenting view. This 31 page manuscript contains ten tricks which are “personalizations” of the standard repertoire: “The Danson Diary Trick,” Jennings’ “Synchronicity,” Jerry Sadowitz’ “The More Things Change,” Ed Marlo’s “Miracle Aces,” Darwin Ortiz’ “Dream Card,” Ortiz’ “Psychotronic Card,” the “Collectors,” John Bannon’s “New Jack City,” and Ricky Jay’s effect of rapidly producing all 13 cards of a suit - a routine which (as Jim Swain points out in Miracles with Cards) should not be open to variation, since the original has never been published. For the most, there is nothing bad about Mr. Gordon’s handlings, I just found them to be uninteresting. To coin a phrase from the introduction of this column, they failed to pass Darwin’s First Law. I do want to take a moment to talk about two routines which are very highly hyped in Mr. Gordon’s ad. The ad refers to “The Gordon Diary Trick” as “the only impromptu version of this now classic effect. There is no memory, sleight-of-hand, stacked deck, or duplicate diaries.” This is true, but…Mr. Gordon uses an arranged deck system devised by Bart Harding. Mr. Harding’s method requires calculation to determine the stack position of any given card. While the deck is not stacked, and can be freely shuffled, it is necessary to spread the deck face-up in order to cull the required card to the top of the deck so it can be forced. In my opinion, this is an inferior procedure. There is no sleight-of-hand (unless you count culling as a sleight) because the card is forced using the cross-cut force. This is an inferior procedure. (Roger Croswaite suggests avoiding these procedures by forcing the card using the Lorayne “Moving Pencil” force.) So, here’s what we’ve got: The stack is Bart Harding’s, the method of preparing the diary is Simon Aronson’s, the effect is Ted Danson’s, and the better handling is Roger Croswaite’s. My question is: why is the title “The Gordon Diary Trick?” The other routine which receives a lot of hype in the ad is the “Millenium Collectors” which “has an amazing ‘no contact’ approach and is easy to do.” It is the phrase “no contact” which bothers me. In this routine three selected card are apparently placed on top of the deck. This is done so that one of them can be switched out via a double lift. The aces are then switched out using ATFUS, a procedure in which the aces are drawn onto the top of the deck. Then, the selected cards are replaced into the deck, and then the ace packet is dropped onto the top of the deck. The aces are then spread, showing they have collected the selections. As Douglas Adams would say, “This is apparently a new meaning of the word ‘contact’ with which I am unfamiliar.”
I’ve spent way too much time on this little manuscript. It sells for about $25. My advice? Save your lunch money for a week and buy the Skinner book.
Magazine Department Several special interest magazines have crossed the review desk in recent months. Now is a good time to bring them to your attention. Fizbin bills itself as a magazine “For and By the Young Magician.” The three issues I have on hand feature profiles of Eric DeCamps, Jeff McBride, and Wendel Gibson as well as tricks, reviews, and other stuff of interest to the teen set. The Illusionist is “The International Journal of Stage Magic and Grand Illusion.” This quarterly publication has been in existence for over four years and contains all kinds of information of interest to you guys who do the big box tricks. There are interviews with luminaries such as Jim Steinmeyer, Mark Wilson, Rand Woodbury, Paul Osborne, Paul Daniels, and Harry Blackstone, Jr. There are illusions plans, news, and reviews. If illusions are your thing, this magazine is well worth a look. Finally, if Bizarre magick is your cup of tea, you might want to check out The Altar Flame, which is published quarterly and is now in its fifth year. The issue I have is nicely produced and is full of tricks.
It’s Not Magic, But… Back in the ancient days, when the Apple IIe was a powerful computer, when 128K was more memory than you would ever use, and when programmers believed that writing compact, efficient code was a thing of honor, I had a T-shirt that said, “I Got the Babel Fish.” What this meant was that I had solved one of the most fiendishly clever puzzles in one of the most entertaining computer games ever created: Infocom’s version of Douglas Adams’ Hitchhiker’s Guide to the Galaxy. Infocom games are text games, and they were among the first that were available for personal computers. You interacted with the game by typing in commands such as, “Go north,” or “Throw the ax at the dwarf.” What set the Infocom games apart were the depth of the descriptions, the remarkable humor which permeated each game, and the absolutely mind-numbing puzzles. These games are probably the finest exercises in creative problem solving which have ever been devised. Activision (which now owns Infocom) has released 30 of the classic text adventures on one CDROM. Included are all the Zork games, the Enchanter/Sorcerer/Spellbreaker trilogy, and the riotous and vaguely vulgar Leather Goddesses of Phobos. This is an incredible bargain, and playing these games on a fast machine is an absolute delight.
Games today may be flashier, but there are none which are finer than these “relics” from the early days of personal computing. Two notes: If you’re interested in Interactive Fiction, check out the web site at http://www.undergrad.math.uwaterloo.ca/~svanegmo/if/if-archive.html. Also, the only downside to the Activision disc is that they made the boneheaded decision not to include The Hitchhiker’s Guide to the Galaxy. But it’s probably just as well; the puzzles are so tough they would only break your heart.
Details Classic Sampler by Michael Skinner. 8 ½ x 11 hardcover with dustjacket. 120 pages. $35 postpaid in US and Canada. (Overseas orders add $7.50 for surface postage.) From L&L Publishing, Box 100, Tahoma, CA 96142 Dai Vernon’s Inner Card Trilogy by Lewis Ganson. 7 x 10 hardcover with dustjacket. 240 pages. $35 postpaid in US and Canada. (Overseas orders add $7.50 for surface postage.) From L&L Publishing, Box 100, Tahoma, CA 96142 Blizzard by Dean Dill. $25 postpaid. From Dean Dill, 2130 Fairpark Avenue, Suite 110, Los Angeles, CA 90041 The Baby Bag by Algonquin McDuff. 6 ½ x 5 ½ plastic comb bound book. 72 pages. $10 plus $2 p&h (foreign postage $4). From Jester’s Press, Box 3442, Spartanburg, SC 29304 Dishonest Abe by Gregory Wilson. $15 postpaid. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 New Pen Through Quarter by Al Lamfers. $25 postpaid. Available from most dealers, or from Sterling Magic Manufacturing, Box 7670, Auburn, CA 95604 The Ultimate Magic Square by Chris Wasshuber. $15 postpaid. From David Malek, Box 15572, Newport Beach, CA 92659 Alien Invasion by Danny Archer. $15 plus $1 p&h. From Danny Archer, 303 S. Broadway, Suite B-235, Denver, CO 80209 The Gim-Crack by John Swomley. $10 postpaid. From John Swomley, 501 Bowers Street, Martinsburg, WV 25401 The Complete Dungeon edited by Anthony Owen. 8 ½ x 11 hardbound. Over 500 pages. $200 postpaid. From Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England
The Card Magic of Paul Gordon by Paul Gordon. 8 ½ x 11 plastic comb bound. 30 pages. Ł12.50 plus Ł2.50 overseas postage. (Ł1.00 in U.K.) From Paul Gordon, 108 King Edward Avenue, Worthing, West Sussex, BN14 8DQ, United Kingdom FizBin. A quarterly publication edited by John Fleischer and T. J. Shimeld. $10 per year. From FizBin, 119 Nashua Road, Groton, MA 01450 The Illusionist. A quarterly publication edited by Edd Schultz. $16 per year in US. ($18 to Canada, $24 Foreign airmail). From Zauber & Co., 8 Huntington St., Suite 313, Huntington, CT 06484 The Altar Flame. A quarterly publication edited by Mary Tomich. $20 per year in North America (elsewhere $25). From Thaumysta Publishing Co., Box 17174, Minneapolis, MN 55417 Classic Text Adventure Masterpieces of Infocom. CDROM for IBM or Macintosh. $25. From Activision. Available at most software stores.
February 1997 Epiphany Forgive me, but I’m going to spend the next few paragraphs reminiscing. I met Harry Riser in the early 1970’s, and the meeting completely changed my magical life. I was in my early twenties, and had spent most of my life apart from other magicians. I was a voracious reader, however, and I thought that I knew a lot about sleight-of-hand magic. The first evening I spent with Harry was a revelation. He bashed my brains in, mostly by doing one effect over and over: I would cut the deck, look at a card, and then bury the cut. Harry would repeatedly find the card. Months later I learned that Harry had used a different method each time; some methods used the faro shuffle, some used sleights, some used subtleties, and, in the parting shot that had sent me reeling out the door, he had rung in a gaffed deck. Harry and I spent a lot of time together over the next dozen years, and what I learned from him had less to do with tricks and more to do with a philosophy of magic, a philosophy which Harry absorbed from his mentors Dai Vernon, Charlie Miller, and Stewart Judah. It is this philosophy which I began to apply to my own work, and which continues to guide me today. Harry is, of course, well known for both his convention appearances and his wonderful column in M-U-M. But when we first began to session he was not as visible in the national magic community, and his methods and routines were a constant source of speculation and interest to “inner circle” magicians. In 1977, Harry and his long time friend Ed Brown traveled to the Washington, DC I.B.M. convention, and during the course of the convention Ed began to convince Harry that his material should be recorded and eventually published in book. Ed, who is a professor at the University of Illinois, began to prepare a manuscript which was turned over to a publisher in the early 1980’s. There the manuscript sat, unpublished, for many years. I feared that Harry would never see the book published in his lifetime. In fact, I wasn’t so sure that the book would be published in my lifetime. (In fact, what I thought might happen is that the book would be serialized in the form of “notebooks,” in which case no one would ever see the completed book in their lifetimes. Fortunately, the manuscript was returned to Harry, and Harry turned the project over to Kaufman and Greenberg for publication. And I am delighted to report that the book is finally out. It is titled The Feints and Temps of Harry Riser, and it is wonderful. The terms “feints” and “temps” come from The Secrets of Conjuring and Magic by Robert-Houdin, and in the Introduction to Harry’s book Ed Brown explains how Harry applies these concepts to his own work. Be sure to take note of the excellent “Gambler’s Top Cop” which is explained here. A wide array of magic follows the Introduction,
including tricks with cards, coins, balls, and miscellaneous props. Those of limited technical ability will be happy to know that many of the routines require very little sleight-of-hand. I will just touch on a few of the highlights. The book proper begins with “The Walnuts Trick,” Harry’s handling of a routine published in The Vernon Chronicles, Volume 2. The effect is this: three walnuts vanish from the hands one at a time. They appear under a glass which is inverted on top of a tin plate. This is a very clever and commercial routine, and is very practical in an intimate stand-up setting. Following this routine are two card routines which are among my favorites: “The Instant Speller” and “The Distraction Factor.” Neither requires great skill, and both are very commercial. Harry is, of course, well known as a card expert, and there are many excellent card routines in the book. Be sure to take a look at “Erdnase Aces,” “Three Card Metamorphosis,” “Wild Homing Card,” “Five Card Monte,” “Dealers School” (which includes Harry’s system for marking cards), “The Poker Lesson,” and “The Practice Deck,” which is a very fine handling for the “All Backs” effect. Harry also creates fine coin magic, and eight coin routines are included in the book. My favorites are “The Jumping Bean Coins,” and Harry’s handling of “The Cap and Quarters.” (Harry’s clean-up for the latter routine is one of the great moments in close-up magic.) Finally, there are ball routines, including a complete description of “Harry’s Cup and Balls.” This is a legendary routine and is beautifully constructed. It does require lapping, however, so it is perhaps best suited for informal performance situations. Other ball routines of note are: “Ball, Cone, and Box,” which combines the classic “Ball and Cone” trick with the Morrison Pill Box (one of the most ingenious props ever made); “The Close-Up Billiard Ball Routine,” a four ball production done close-up; and one of my favorite Riser routines, “The Golf Lesson,” in which five multi-colored golf balls are produced during a tongue-in-cheek explanation of how to play golf. This is a fabulous routine for the stand-up performer, and is one of the highlights of the book. Here’s a couple more thoughts before I wrap this up. Harry is a student of the classics, and throughout the book you will find the influence of Erdnase, Hofzinser, RobertHoudin, and Sachs. He believes in naturalness and uniformity of action. He constructs routines so the most intelligent spectator will be deceived. If you read carefully and think about what you’re reading you will be able to apply these principles to your own work. Harry has never made his living as professional magician, but he has done a great deal of performing, most of time in casual settings for business associates. You may that some of the routines are a bit too long for current close-up venues. But if you understand the “how and why” of a routine’s construction, you should be able to alter it to fit your performing requirements. Concerning the construction of the routines, pay particular attention to Harry’s use of gaffs. Considering that Harry is most often thought of as a sleight-of-hand expert, you
may be surprised to discover that many of the routines in this book use a gaff of one type or another. It is the intelligent use of gaffs which makes Harry’s magic so devastating; the gaff gets rung in and out without raising the slightest bit of suspicion. One other point I want to make concerns Ed Brown’s writing style. Ed’s instructions are clear and concise, but he is not given to hyperbole. There are stratagems and techniques which I think are enormously clever and useful which are tossed off in a sentence or two, without any undue emphasis being placed on them. I’ll give you an example. Harry has a card control which is absolutely diabolical; I use it every time I perform. I raved about it in one of my books. In this book it flies by without comment. My point is this: Read carefully. Make notes. Think! You will be rewarded for your efforts. Well, I guess I’ve gushed enough. I’m so happy that this book is finally out. My congratulations to Harry, Ed, and Earle Oakes (who did the excellent artwork). And thanks to Kaufman and Greenberg for finally bringing a “mythological” book to reality. Highly recommended.
A Magician Among the Spirits by Harry Houdini Collectors and historians will be very interested in Kaufman and Greenberg’s publication of the original manuscript of Harry Houdini’s 1924 book A Magician Among the Spirits. (Actually, as Richard Kaufman points out in the Publisher’s Note, this manuscript is possibly one of several drafts which may have existed. It is not the draft which was sent to the publisher, because it does not bear editor’s markings.) The manuscript was part of the Milbourne Christopher collection and has been seen by only a handful of people. This is a handsome volume, and it contains the original typed manuscript in facsimile, with hand written corrections. On the cover is a sepia-toned photograph of Houdini which accompanied the manuscript. Considering the limitations of the original typewritten manuscript pages, this reproduction has turned out very well, and is very readable. Mr. Kaufman has added several items from the 1924 published edition: the dedication, contents, list of illustrations, introduction, and preface. There is also a forward by Maurine Christopher. Kaufman and Greenberg have published this in a limited edition of 1,000 copies. If you’re interested in Houdini, or you are a collector of interesting magic books you’re not going to want to miss out.
The Illustrated History of Magic by Milbourne and Maurine Christopher While we’re on the subject of history books, I should mention that Milbourne Christopher’s magnum opus The Illustrated History of Magic has been reprinted. The
reprint contains everything from the 1973 edition, plus a new chapter by Maurine Christopher which covers some of the recent stars of magic. The book is generally regarded as a fine overview of the history of magic, with an emphasis on stage magicians. The new chapter, titled “Magic Superstars Poised for the Twenty-first Century,” has articles on David Copperfield, Siegried and Roy, Paul Daniels, Lance Burton, Melinda, Harry Blackstone, Jr,. Ricky Jay, Princess Tenko, Jeff McBride, and Doug Henning. The paper used on this edition is a little on the thin side, allowing text on the backside to show through. There are some lovely color plates featuring posters of Herrmann, Kellar, Houdini, Chung Ling Soo, Thurston, Bosco, Carter, and Blackstone. I do not believe that there have been any revisions or corrections of the original 1973 text. If you’re interested in getting an overview of magic history, or you’re looking for a gift for layman friend who’s interested in magic, this book would be an excellent choice. You should be able to find it at most major bookstores.
The Banquet Magician’s Handbook by David Charvet One the bread and butter “gigs” of the contemporary working magician is the afterdinner, or banquet show. Generally this involves performing for an audience of anywhere from 50 to several hundred people, in a venue (usually the banquet room of a hotel) which is usually less than ideal. In The Banquet Magician’s Handbook, David Charvet has put together some excellent advice for anyone who wants to be successful doing this type of show. The first half of the book concerns the “nuts and bolts” of banquet work: What types of banquet work is available; 10 important points for designing a banquet act; valuable suggestions on incorporating illusions into the banquet show; hints on sound and lighting, including the plans for Walter Blaney’s “Zaney Lights,” a very practical portable lighting system; advice on how to get the jobs, including a standard booking sheet and a sample contract; excellent suggestions on how to set up the show and deal with the hotel staff; and advise on getting repeat bookings. All the material here is practical and worthwhile. The second half of the book contains advice from some successful banquet show performers including George Johnstone, Walter Blaney, Dick Newton, and Stan Kramien. You will find some valuable information here. Of particular interest to me was an interview with Becky Stroebel, who is a booking agent in the Portland area. Ms. Stroebel’s comments will give you insight into what an agent is looking for, and how to develop a strong working relationship with an agent. This is a slender volume, but it is crammed with useful information. If you are currently doing banquet shows, or if you want to start, this book will be a valuable resource. Highly recommended.
The Restaurant Worker’s Handbook by Jim Pace & Jerry MacGregor For the close-up magician, a restaurant is the most viable venue in which to ply your trade. Kirk Charles has written an excellent book on restaurant magic, and for the past couple of years Jim Sisti has had a column on the subject in Genii. Jim Pace and Jerry MacGregor are two experienced restaurant magicians in the Pacific Northwest, and they have pooled their knowledge (and have synthesized information from the published record) to provide a useful guide to getting and holding a restaurant gig. The book begins with a discussion of the importance of deciding what your philosophy of magic is. To help you with this process, the authors discuss their own “magic paradigm.” There follows several chapters on how to land a restaurant job, including valuable letters and telephone scripts which can help you get your foot in the door with the restaurant manager. Also offered here are suggestions on pricing your services and hints on how to keep your job. The middle section of the book is devoted to material - the routines that you will use in the restaurant. There is a list of suggested books, and each author shares some of his pet routines. One aspect of this section which I disagree with is the practice of “borrowing” patter lines from other performers. If a performer publishes a routine and includes his patter, then it is certainly available for your use. But to take a line you’ve heard without permission isn’t borrowing, it’s stealing, and it’s wrong. (In this regard, a line I use with “The Origami Bunny” is quoted. I have never published this line, although it is likely that I have used it on a videotape. I do not suggest that anyone use this line, because it requires a very delicate touch to deliver it without offending the spectator. In fact, in recent years I have changed the line to soften it even more.) The final third of the book discusses how to deal with special customers (children, lovebirds, businessmen, drunks, other magicians), advice on how to increase your income, suggestions on tipping, and hints on how to work effectively with the restaurant staff. For the most part, I agree with everything that is suggested in this book, and I would certainly recommend it for anyone who wants to break into this field. If you are unfamiliar with Kirk Charles’ or Jim Sisti’s writings on this subject, you’ll find that The Restaurant Worker’s Handbook gives you a “one-stop” shop of useful information.
Super Script Packages by Doc Wayne Doc Wayne sent me a bunch of his “Super Script” packages, and I am afraid that I am at a loss as to how to review them. If you go back to the January 1997 issue of MAGIC, you’ll find Doc’s ad on page 84. I looked at (and listened to) everything but “The Chump Chain” and “King Tut’s Nuts” (a title which wins this month’s good taste award). The
format is this: you receive a script with Doc’s patter, an audiotape of Doc delivering the spiel, and (depending on the package) a few auxiliary props. With those packages which give the scripts for commercially available tricks you will need to buy the props separately. Doc’s style is that of the old time snake oil salesman, and the patter is written to reflect that style. If this is your style as well, then perhaps you will find these scripts useful. For me, I would never use any of these scripts because they reflect neither my personality or my performing style. I should mention that the script package for “Nostradamus Revisted” is in a more serious style. So, do you need this? I don’t know. Sorry, that’s all I can tell you.
…from a shuffled deck in use… by Paul Cummins I first heard of Paul Cummins from Chris Moore, one of the founders and first manager of Illusions. Chris had worked with Paul at the Magic Moment restaurant in Sarasota. Chris raved about Paul’s work, and with the publication of these two sets of lecture notes I can understand the enthusiasm. The emphasis is on card magic, specifically routines which can be done at any time with “a shuffled deck in use.” Paul is a very fine technician, but he is also concerned about entertaining his audiences, so you will find that these routines combine interesting (and sometimes difficult) methods with and an understanding of how to make a routine commercial and memorable. Part one contains 16 routines, including: “Counting on It,” a routine which was very popular with one my Illusions colleagues; “Prevarication Detection,” which is a nice handling of the “Lie Detector” plot; and “The Multiple Location Routine,” in which many cards are selected, and all are found in interesting way. This excellent treatise is worth the price of admission. Part two contains 10 card routines and 6 coin routines. Again, the material is uniformly excellent, and I have been reading rave reviews for the “Top Billing” coin routine, which is a “Matrix” style routine which uses bills as covers. These are lecture notes, which means that there are bare-bones production values. There are no illustrations, and it is assumed that the reader is familiar with standard card and coin techniques. However, Paul is currently planning a fairly large lecture tour, so it would behoove you to try and catch him if plays a city near you. Also, Paul includes both his email and “snail mail” addresses, and says he will be happy to answer any questions you might have.
This is a fine collection of card and coin material. I highly recommend it to close-up enthusiasts.
The Ultimate Magic Square by Chris Wasshuber This is a puzzle, but it’s a very good puzzle, and it will appeal to the analytical members of your audience. Here’s the effect: A spectator rolls three dice to obtain a random number. (Alternatively, you could use “invisible” dice, and just have the spectator name a number between 3 and 18.) The magician holds in his hands a packet of cards. (Each card bears a number.) Once the number on the dice has been announced, the magician deals the cards into a four by four square. The magician announces that this is a Magic Square, and sure enough, each row, column, diagonal, and corner adds up to the chosen number. As a kicker, the cards are pushed together so the edges are flush. Written across the square are the words, “That’s Magic.” This happens every time, regardless of the number chosen. This is a very clever thing. It does not require sleight-of-hand, but you will have to familiarize yourself with some small “formulas” which control the dealing process. The instructions explain this quite clearly, and if you play with it for an evening and run through several of the possibilities you should have no problem remembering what you have to do. Because you need a fairly large clear area to lay out the cards this is not going to be a table-hoppers trick, but in a casual situation it would play very well, and would be very puzzling to any mathematically inclined spectators. Recommended.
Alien Invasion and Grandpa’s Deck by Danny Archer “Alien Invasion” is a new small packet trick from Danny Archer. Four poker-sized cards are removed from an envelope which bears the drawing of a spaceship. The each of the cards has the picture of a little green alien on the front and the back. A card is selected (forced) from a blue-backed deck. One of the alien cards is placed aside, and the selected card is added to the other three alien cards. Immediately, all four cards are shown to be the selected card, and the backs of the cards change to regular blue backs. The selected card is returned to the deck and the alien card is added to the other three cards. The cards immediately change to alien cards, front and back. This is another “cute” trick, and it will appeal to those who are just getting into card magic and have very limited technical ability. The only moves involved are the Elmsley count and any type of force. (Neither the Elmsley count or the force are explained in the directions.) The problem I have with this trick is that it feels like there should be more happening - in other words, the routine which Danny provides should be the first phase of a longer routine in which the cards change into several different selections. Unfortunately, that’s impossible with the cards provided. Also, you start the trick “dirty”
and you end “dirty.” This could be a problem, because a trick like this screams, “Trick Cards!” Unfortunately, the instructions provided no help in this area. The cards are well made, but this is not a trick that I would ever do. However, I like “Grandpa’s Deck” much more. This is based on a Stephen Tucker concept and is a variation of the “Oscar” trick. You show a deck of cards with different names written on the back. The deck is turned face up and the spectator lifts off a portion. The card cut to is noted, and the cut off portion is replaced. The deck is turned face down, and the spectator names any common man’s name. The deck is dealt through until that name is reached. The card is placed aside. It is the selected card. No sleight-of-hand is involved. As you can tell from the brief description of the effect, there are different restrictions to this particular method. The spectator must physically choose a card (a very fair looking procedure) and then a man’s name is chosen. Most of the common names are accounted for, and Danny gives you a suggestion should the spectator pick a name which is not among the 52 on the cards. There is still a clean-up problem here, but it is not nearly as serious as in the “Alien Invasion” trick. If you’re doing this table-to-table, there is some very brief reset time. If the effect appeals to you, you’ll probably find this to be a simple, effective addition to your repertoire.
The Gim-Crack by John Swomley Now here’s a fine thing: John has elaborated on a John Ferrentino idea and has produced a nifty device which goes around your neck and holds a hand-held microphone. The part which holds the mic is made of metal covered with rubber tubing, and there is an adjustable lanyard which allows you to move the mic so it is the proper distance from your mouth. If you have ever been in the situation where the only microphone available was a hand-held and you really needed a lavaliere, then this thing is a lifesaver. It will take up no space at all in your case, and will probably last you forever. John also makes a version of this called “The Bi-Cracky” which is slightly larger than the “Gim-Crack” and is designed to hold a wireless hand-held mic. Write him for details.
Magazine Department Several special interest magazines have crossed the review desk in recent months. Now is a good time to bring them to your attention.
Fizbin bills itself as a magazine “For and By the Young Magician.” The three issues I have on hand feature profiles of Eric DeCamps, Jeff McBride, and Wendel Gibson as well as tricks, reviews, and other stuff of interest to the teen set. The Illusionist is “The International Journal of Stage Magic and Grand Illusion.” This quarterly publication has been in existence for over four years and contains all kinds of information of interest to you guys who do the big box tricks. There are interviews with luminaries such as Jim Steinmeyer, Mark Wilson, Rand Woodbury, Paul Osborne, Paul Daniels, and Harry Blackstone, Jr. There are illusions plans, news, and reviews. If illusions are your thing, this magazine is well worth a look. Finally, if Bizarre magick is your cup of tea, you might want to check out The Altar Flame, which is published quarterly and is now in its fifth year. The issue I have is nicely produced and is full of tricks.
It’s Not Magic, But… Back in the ancient days, when the Apple IIe was a powerful computer, when 128K was more memory than you would ever use, and when programmers believed that writing compact, efficient code was a thing of honor, I had a T-shirt that said, “I Got the Babel Fish.” What this meant was that I had solved one of the most fiendishly clever puzzles in one of the most entertaining computer games ever created: Infocom’s version of Douglas Adams’ Hitchhiker’s Guide to the Galaxy. Infocom games are text games, and they were among the first that were available for personal computers. You interacted with the game by typing in commands such as, “Go north,” or “Throw the ax at the dwarf.” What set the Infocom games apart were the depth of the descriptions, the remarkable humor which permeated each game, and the absolutely mind-numbing puzzles. These games are probably the finest exercises in creative problem solving which have ever been devised. Activision (which now owns Infocom) has released 30 of the classic text adventures on one CDROM. Included are all the Zork games, the Enchanter/Sorcerer/Spellbreaker trilogy, and the riotous and vaguely vulgar Leather Goddesses of Phobos. This is an incredible bargain, and playing these games on a fast machine is an absolute delight. Games today may be flashier, but there are none which are finer than these “relics” from the early days of personal computing. Two notes: If you’re interested in Interactive Fiction, check out the web site at http://www.undergrad.math.uwaterloo.ca/~svanegmo/if/if-archive.html. Also, the only downside to the Activision disc is that they were unable to include The Hitchhiker’s Guide to the Galaxy. But it’s probably just as well; the puzzles are so tough they would only break your heart.
Details
The Feints and Temps of Harry Riser by Ed Brown. 270 pages. 8.5 x 11, hardbound. $45 postpaid (Domestic and foreign surface postage free. DHL air service add $25 for Europe, $35 elsewhere.) From Richard Kaufman, 4200 Wisconsin Avenue NW, Suite 106-292, Washington, DC 20016 A Magician Among the Spirits by Harry Houdini, a facsimile from the original manuscript from the Christopher Collection. 400 pages. 8.5 x 11, hardbound. $125 (Domestic and foreign surface postage free. DHL air service add $25 for Europe, $35 elsewhere.) From Richard Kaufman, 4200 Wisconsin Avenue NW, Suite 106-292, Washington, DC 20016 The Illustrated History of Magic by Milbourne and Maurine Christopher. 484 pages. 7.5 x 10 hardbound with dustjacket. $49.95. From Heinemann. Available at most bookstores. The Banquet Magician’s Handbook by David Charvet. 107 pages. 5.5 x 8.5, softcover. $27.50 plus $2.50 p&h. From David Charvet Studios, P.O. Box 23143, Tigard, OR 97281 The Restaurant Worker’s Handbook by Jim Pace & Jerry MacGregor. 154 pages. 5.25 x 8.5, hardbound with dustjacket. $29.95 (Postage free for US, Canada, and overseas surface; overseas air add $14). From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Super Script Packages by Doc Wayne. Various packages and prices. Write for details, or see the ad in the January 1997 issue. From Doc Wayne, Box 1302, Newport Beach, CA 92659 …from a shuffled deck in use…parts 1 and 2 by Paul Cummins. 8.5 x 11 plastic comb bound. Part one, 42 pages. Part two36 pages. Each volume $15, or $25 for the set, postpaid. From Paul Cummins, 3703 Foxcroft Road, Jacksonville, FL 32257 The Ultimate Magic Square by Chris Wasshuber. $15 postpaid. From David Malek, Box 15572, Newport Beach, CA 92659 Alien Invasion and Grandpa’s Deck by Danny Archer. Each is $15 plus $1 p&h. From Danny Archer, 303 S. Broadway, Suite B-235, Denver, CO 80209 The Gim-Crack by John Swomley. $10 postpaid. From John Swomley, 501 Bowers Street, Martinsburg, WV 25401 FizBin. A quarterly publication edited by John Fleischer and T. J. Shimeld. $10 per year. From FizBin, 119 Nashua Road, Groton, MA 01450 The Illusionist. A quarterly publication edited by Edd Schultz. $16 per year in US. ($18 to Canada, $24 Foreign airmail). From Zauber & Co., 8 Huntington St., Suite 313, Huntington, CT 06484
The Altar Flame. A quarterly publication edited by Mary Tomich. $20 per year in North America (elsewhere $25). From Thaumysta Publishing Co., Box 17174, Minneapolis, MN 55417 Classic Text Adventure Masterpieces of Infocom. CDROM for IBM or Macintosh. $25. From Activision. Available at most software stores.
March 1997 It’s Not Magic, But… A few months ago, I introduced a postscript to this column titled, “It’s Not Magic, But…” in which I could mention books, videos, software, websites, whatever, that (while not specifically magic oriented) were interesting. I also solicited your suggestions for items to include in this category. Unfortunately, due to space restrictions, Editor Stan had to cut this section from the last few columns. This month I use it as my lead, so if it goes, the column goes. Our suggested reading this month comes from Dr. Jerry MacGregor (co-author of The Restaurant Worker’s Handbook). His suggestions are so important that I felt they should lead off this month’s review column. They are: The Elements of Style by Strunk and White, On Writing Well by William Zinsser, and The Art of Readable Writing by Rudolf Flesch. To this list I would add a book which I have found useful: Style by Joseph M. Williams. In this age of desktop publishing, email, and magic bulletin boards, the ability to write clearly and concisely has become a critical skill. You cannot establish credibility if you handle the language poorly. I have watched as flame wars arose on the internet simply because the writers did not express themselves clearly. If you intend to self-publish a magic book or a set of lecture notes, your writing skills become even more important. Learning tricks from a book is a difficult process. A manuscript filled with errors in punctuation and grammar can stop a reader in his tracks. If you are considering writing a magic book, clarity and concision are not enough. I would suggest you add one other skill: persuasiveness. I need you to convince me (without hype) why I should take the time to study your version of a particular trick. This means, of course, that you have thoroughly studied earlier versions of the trick, and you believe you have substantially improved the effect, the method, or the presentation. (And, by golly, we’re back to Darwin’s First Law again.) The above books are very inexpensive. You’ll spend less on all four than you would for the average magic book. Do the magic world a favor. Buy them and study them. Incidentally, if you are in an isolated part of the country, you can find all these books (and about one million more) at the Amazon Bookstore. Point your browser to www.amazon.com and be prepared to drop a load of cash.
Harkey on Video
by David Harkey David Harkey is a well-known lecturer, performer, and creator, and is the author of Simply Harkey (1991). This is his first video, and is apparently the first of a proposed series of videos. For the most part, the material is drawn from Simply Harkey, and the emphasis is on non-card material, which is a refreshing change. Seven items are explained, three of which I think are absolutely terrific. Two of the three “terrific” items are routines from the book which have been reworked and improved. “East Meets West Meets South” is the penetration, destruction, and restoration of a borrowed dollar bill. Eric Anderson’s additions to this routine make it one of the best “almost impromptu” items I’ve seen. I predict that a lot of magicians are going to add this to their repertoires. “Pop Art II” is a routine Ernie Kovacks would have loved. You draw a cannon on a three by five file card. Along the barrel of the cannon you write the spectator’s name. (A nice point here is that you need not know the spectator’s name ahead of time.) The file card is rolled into a tube, and a piece of string is placed into it. The string is tugged, and an explosion of flame and confetti shoots out of the tube. The card is unrolled and the picture has changed: the front end of the cannon has been “blown off” and part of the spectator’s name has been obliterated. The new handling for this is infinitely better than the one in Simply Harkey, and the routine is now practical for the stand-up performer. My other favorite on the tape is “Spotweld,” in which the sides of a plastic straw are fused together while the straw is still in its paper wrapper. This is another “almost impromptu” miracle which can be set up very quickly if you are at a restaurant with friends. The above items are worth the price of admission, and make this tape worth owning. You’ll have to make up your own mind about the other items. In “Dirty Pool” you turn a partially inflated black balloon into an eight ball. Unfortunately, in the performance segment of this trick, Mr. Harkey does not do the necessary loading move, which, during the explanation part, looks very furtive. “Body Language” uses a clever method to produce a coin by apparently slapping an invisible coin against the back of your hand. The production is good, but I question whether you can get away with repeating the move four times in a row. “Goldfinger” is an interesting optical illusion using only your fingers and a ring. On the video the illusion looks good, but with my scrawny, piano-player fingers, it does not look so good. Finally, the last item on the video is a new Harkey creation. You show a bottle of spring water. The bottle is about one-fourth full of water. You put on the cap and you turn the bottle end for end. The water in the bottle turns to ice. Sounds neat, huh? Actually, the ice looks more like what snow looks like as it melts back into water. But the problem I see is this: where would you perform this trick? The stuff in the bottle isn’t ice, which means that it isn’t cold. I think that in a close-up situation the spectators would want to handle the bottle. And they can’t. In a stand-up up situation I’m not sure that the audience would appreciate the effect.
Anyway, you should know that the tape is very well produced and the explanations are very clear. If you’ve never seen Mr. Harkey in person, here’s your chance. And, the three routines mentioned above make this video worth the money.
Off the Cuff By Gregory Wilson Greg Wilson, [NOTE TO STAN: please put a footnote “1” here, and at the bottom of the page put the following footnote: Not that Greg Wilson, the other Greg Wilson.] the creator of the Stockholder wallet, has another fine offering with this video of impromptu magic. In a 90-minute live lecture setting, Greg explains a dozen routines using coins, rubberbands, pens, sugar packets, dollar bills, spoons, finger rings, and business cards. In addition to the complete routines which are explained, Greg also offers some extremely useful utility stratagems, which can be used with any small objects. The tape begins with “Something for Nothing,” a coin routine which uses the production from Harkey’s “Body Language” as its opening phase. This is followed by “The All Around Vanish,” which is a method for completely vanishing a small object. This vanish appeals to me a great deal since it depends on acting and attitude for its success. “Pitch and Ditch” is another utility move which allows you to turn your pants pocket into an impromptu Topit. The move can be used to change a small object into another small object. The coin segment of the tape concludes with “Coin under Watch,” in which a coin vanishes three times; it appears twice under the magician’s watch, and the third time it appears under the spectator’s watch. “Recap” is an excellent multi-phase routine using a Bic pen. This would be a worthy addition to anyone’s impromptu repertoire. If you have the Paul Harris Art of Astonishment books, you can find this routine in Volume One. Other routines on the tape include handlings for Dan Harlan’s “Traveling Cash” and Michael Weber’s “Offhand Penetration.” There is a routine for “Ring on Spoon,” and several different routines using balled-up dollar bills. (Some of these routines require lapping.) The tape ends with an explanation of “Hostile Takeover,” a trick which uses business cards. (If you’d like a taste of Greg’s style, you can find this trick in the Theory in Practice section of the December 1996 issue of MAGIC.) Greg’s explanations are clear, if not particularly concise. This video was shot live at a lecture, consequently there is a “looseness” which is probably appropriate for a lecture, but which may be slightly distracting to you watching at home. On the other hand, you might enjoy feeling as if you were actually attending the lecture. This small quibble aside, I think you’ll find that this video provides you with several useful routines and techniques, none of which are beyond the skill of the average magician. Recommended.
The Dungeon Video
By Anthony Owen On page 63 of the January 1997 issue of MAGIC you’ll find a picture of a bunch of smiling Brits, several of whom make an appearance on this smorgasbord video from Dynamic FX Limited. Anthony Owen was the editor of The Dungeon (see the review in the same issue), and on this video Anthony, John Lenahan, and Marc Paul offer a wide variety of close-up and stand-up magic. Many of the items explained can be found in other Dynamic FX publications, including the Sticky Blue Book (reviewed in September 1996), Caravan Site (a small 11 page manuscript which sells for 7 pounds and which US magicians can obtain from H and R magic), and The Dungeon magazine itself. I found four of the routines on the tape to be really excellent: “Miracle Monte,” which is a monte routine greatly influenced by the work of Michael Weber and Chris Kenner; a Mutilated Parasol routine of Marc Paul’s which uses the small umbrellas which come in foo-foo drinks at bars; John Lenahan’s variation of a familiar card location which ends by the giving the spectator some very personal information; and an “almost impromptu” match routine which takes only a few moments to set up. There are other card and coin routines explained, all of which are geared toward the magician of average ability. These include a no palm card to wallet, an easy “Open Travelers” routine, and a Matrix routine which uses an interesting gaff. Daniel Buckler also appears on this tape, but he is not presented effectively, which is a shame, because he is a very funny young man. The production values are not fancy, and a few of the routines could have benefited from more close-ups, but the material is performed and explained well. There is good magic on this tape, and it makes an excellent introduction to magic from The Dungeon. (I should mention that the easiest way for US customers to order from Dynamic FX is to use a credit card and telephone the order to 01727-821717, or to visit the website at www.totalweb.co.uk/dfx. The cards for “Miracle Monte” are available for five pounds.)
Superstarsign by Anthony Owen Also from Dynamic FX is this simple prediction effect based on Jim Steinmeyer’s “Spelling the Numbers.” You show a plastic card which is about the size of a credit card. In a circle on its face are the twelve signs of the Zodiac. The spectator points to his sign (or any sign) and then moves around the circle, spelling the name of the sign. There is a number written next to the sign he is now on, and he counts around the circle to that number. In this way he arrives on the sign for Sagittarius. He turns the card over and printed on the back is “Sagittarius.”
This is an easy little trick which requires no skill and can be carried in your wallet. Dynamic FX can also provide bulk quantities if you wish to customize this trick for a client. Write them for details.
Hocus Poker By David Solomon This is a card routine which is within the abilities of the average card worker, and which packs quite a visual wallop. Here’s the effect: The magician tells the story of a showdown between two legendary card cheats: Chicago Eddie and Detroit Fats. Each of the cheats is given four cards - a pair of aces and a pair of eights. (This, of course, is the legendary Dead Man’s Hand.) The object is for each cheat to improve his hand by any means possible. Eddie’s hand is shown. It now contains all four aces. Fat’s hand is shown and it has turned into a straight flush in clubs, which beats four aces. Eddie’s hand is shown again, and it has now changed into a Royal Flush in Hearts, which beats the straight flush. This is a pretty amazing trick, and it would be difficult (if not impossible) for another magician to reconstruct. There are two ways to get into the trick: you could simply remove the cards from a plastic wallet (which is provided) or you could apparently remove the cards from the deck you are using (this approach is not explained in the instructions, but would be easy to work out). The downside of this trick is that at the end you are left with a whole lot of gaffed cards, and (if you do this trick for a lay audience) you will have to construct appropriate audience management in order to keep the cards away from grabbing hands. However, if you’re looking for a trick to fool your pals at the magic club, this is a good one.
Candle Caps By Marcelo Contento My friend Marcelo has designed a small plastic cap which fits over the end of a Fantasio candle (either collapsed or extended). These caps prevent the evaporation of the lighter fluid in the candle, and (according to Marcelo) a capped candle will retain its fluid for days. They come in a bag of five. If you’re a stage guy who has suffered for years from the heartbreak of dry wick, you’ll want to contact your local dealer or Marcelo for a bag of these caps.
The Book of Imagination From Kymystical Magic Kid’s show performers will want to check out this version of the classic Magic Coloring Book. The book is a large 8.5 x 14 and provides five different color changes. On the first
flip through the spectators see a black and white picture of a rabbit coming out of a hat. Unfortunately, the rabbit is coming out tail-end first. The audience is asked to toss their favorite color at the rabbit. The book is flipped again, and there are splotches of color on the black and white picture. These colors are then swirled around (another flip through), the rabbit is coaxed out with a carrot on a stick (flip number four), and finally a full color picture of the rabbit appears (flip number five). This is a nicely made prop, and the instruction sheets which come with it are well illustrated. Recommended for the kid’s show magician.
Using Magic to Prevent Drug Abuse By Stan Davis Speaking of kid’s shows, many children’s entertainers add an anti-drug message to their shows. If you are planning to do this, you’ll probably find Mr. Davis’ manuscript to be very useful. Mr. Davis is a social worker and a part-time professional magician. He has used magic both in anti-drug shows and in counseling situations. The first chapter in the book contains excellent information on why people use drugs and what techniques are effective in preventing drug abuse. This is followed by several routines (using standard props), which address such issues as abuse of prescription medicines, alcohol abuse, drinking and driving, and cigarette smoking. There is also the full script for a 40-minute show about tobacco, and a chapter on some brief anti-tobacco routines which you can insert in any show. The book ends with a chapter on using magic to counsel children. This is an excellent manuscript, full of useful information. Recommended.
Covert Operations by Tom Frame Card guys looking for material which won’t bust their chops will want to check out this new set of notes from Tom Frame. Tom gets a lot of impact for minimum effort. The only downside of this collection is that several of the routines require that the performer be seated. (If you want to see if Tom’s style suits you, he had a One-Man Parade in the Linking Ring a few months back. Several of the routines in this collection appeared in that Parade.)
The Abracadabra Kid By Sid Fleischman This is not a magic book, but it is a very magical book. Mr. Fleischman is best known in the magic community for his 1993 book The Charlatan’s Handbook. What you may not
know is that he is also a best selling author of children’s books, mystery and suspense novels, and screenplays. The Abracadabra Kid is his autobiography, and in reading it you will find yourself remembering your own path through life and magic. (One incident in the book triggered in me a long forgotten memory of how my mother tried futilely to record the exact quantities of ingredients my grandmother used when she cooked.) This is a fun read and an easy read. I enjoyed it very much, and I think you will, too.
It’s Still Not Magic, But… Back in the ancient days, when the Apple IIe was a powerful computer, when 128K was more memory than you would ever use, and when programmers believed that writing compact, efficient code was a thing of honor, I had a T-shirt that said, “I Got the Babel Fish.” What this meant was that I had solved one of the most fiendishly clever puzzles in one of the most entertaining computer games ever created: Infocom’s version of Douglas Adams’ Hitchhiker’s Guide to the Galaxy. Infocom games are text games, and they were among the first that were available for personal computers. You interacted with the game by typing in commands such as, “Go north,” or “Throw the ax at the dwarf.” What set the Infocom games apart were the depth of the descriptions, the remarkable humor which permeated each game, and the absolutely mind-numbing puzzles. These games are probably the finest exercises in creative problem solving which have ever been devised. Activision (which now owns Infocom) has released 30 of the classic text adventures on one CDROM. Included are all the Zork games, the Enchanter/Sorcerer/Spellbreaker trilogy, and the riotous and vaguely vulgar Leather Goddesses of Phobos. This is an incredible bargain, and playing these games on a fast machine is an absolute delight. Games today may be flashier, but there are none which are finer than these “relics” from the early days of personal computing. Two notes: If you’re interested in Interactive Fiction, check out the web site at http://www.undergrad.math.uwaterloo.ca/~svanegmo/if/if-archive.html. Also, the only downside to the Activision disc is that they were unable to include The Hitchhiker’s Guide to the Galaxy. But it’s probably just as well; the puzzles are so tough they would only break your heart. Details Harkey on Video by David Harkey [NOTE: I HAVE MISPLACED THE INFO ON THIS. HARKEY’S PHONE NUMBER IS 541-484-6286] Off the Cuff by Gregory Wilson. $30 postpaid. From The Secret Source, 64 Seafare, Laguna Niguel, CA 92677
The Dungeon Video and Superstarsign by Anthony Owen. Video - 30 pounds for NTSC, 25 pounds for PAL. Superstarsign - 3 pounds. From Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England Hocus Poker by David Solomon. $15 postpaid. From David Solomon, 848 Greenbay Road, Highland Park, IL 60035 Candle Caps by Marcelo Contento. $3.50 for a bag of five caps. For individual bags contact your local dealer. For larger orders contact Marcelo Contento Productions, P.O. Box 396, Watertown, MA 02272-0396 The Book of Imagination from Kymystical Magic. $20. From Kymystical Magic, 21 Card Road, Sussex, NJ 07461 Using Magic to Prevent Drug Abuse by Stan Davis. 8.5 x 11 spiral bound. 29 single sided pages. $10 plus $2 p&h. From Stan Davis, P.O. Box 67, Wayne, ME 04284 Covert Operations by Tom Frame. 8.5 x 11 side stapled. 42 pages. $15 plus $2 p&h. From Tom Frame, 527A 21st Avenue, San Francisco, CA 94121 The Abracadabra Kid by Sid Fleischman. 6 x 9 hardbound with glossy dustjacket. 197 pages. $16.00. From Greenwillow Books. Available at most bookstores. Classic Text Adventure Masterpieces of Infocom. CDROM for IBM or Macintosh. $25. From Activision. Available at most software stores.
April 1997 Let Me Be Brief You’ll find this month’s review column to be shorter than most, for two reasons. The last 35 days have been extremely busy, with convention appearances at the Magi Fest, the Blackpool Convention in England, and the 20th Desert Magic Seminar in Las Vegas. In addition, I have traveled to Florida and there have been a large number of recording sessions. This produced one pooped reviewer. This has also been a rather dry period for new products. I’m sure this is just the lull between storms, however, and in the months ahead you’ll see the flood of material you’ve come to expect. This column wraps up my second year as product reviewer for MAGIC. My thanks to Stan for putting up with my erratic (and I’m sure ulcer producing) writing schedule, and my sincere thanks to all of you who have offered words of support. If there is a product on the market that you would like to see reviewed, please let Stan or me know. We’ll try our best to accommodate you.
Expert Imromptu Magic Made Easy by Tom Mullica The title above is exactly as it appears on the boxes of these three new videos. Someone at A-1 MultiMedia took a P. In fact, they took five of them. The word “Impromptu” is misspelled five times on each box. Now, I know that mistakes can happen, but shouldn’t you take a little more care in checking over the covers of your product? If I were Mullica, I’d be issed. There are over 70 effects demonstrated and explained on these three videos. Tom Mullica is the performer and teacher, and he does his usual fine job demonstrating and explaining the material. (As in other videos in which a large amount of material is presented, I feel that the word demonstration applies more than performance.) There are aspects of these videos which I think are very good, and there are other aspects which I find to be not good at all. Let me give you some background, and then we’ll talk about the good stuff first. The theory behind impromptu magic is that the performer is able to entertain his audience with whatever objects may be on hand; he does not need to have his pockets stuffed with props in order to prove that he’s a magician. The best impromptu magicians I know have three traits: encyclopedic knowledge, a devious and creative mind, and the ability to see an object in terms of its form and function. This last trait allows the performer to utilize whatever objects are available. These videos will help you begin to acquire the knowledge (although you will need other resources, some of which I’ll mention later), but the “mind” part you’ll have to develop on your own.
If you have been in magic for any length of time, you’ll probably be familiar with most of the material on these videos, for they focus on the classic impromptu effects. You find tricks with matches, handkerchiefs, napkins, bills, calendars, corks, paper clips, rubber bands, coins, silverware, and pop cans. Some of the effects include the ashes through the hand, pencil through handkerchief, the mouse, breaking off a button, the linking paper clips, the vanishing comb, the glass through the table, and the broken and restored rubber band. A couple of recent additions to the impromptu repertoire which you may not be familiar with are Allan Okawa’s “Cellophane Surprise,” in which the cellophane on the bottom of a cigarette pack is opened and magically resealed, and Harris and Mead’s “Fizz Master,” in which the carbonation from a can of soda is magically transported to another can. One item which I had never seen before is a bill to matches trick created by Jim Ryan. This looks unbelievable, and I was fooled by it. Unfortunately, it is not impromptu. You will have to make up the gaff ahead of time and carry it with you. So, the material is good, although whether you find anything new will depend on your level of experience. Another good thing about these videos is Tom Mullica. He has an obvious love for this material. His demonstrations will give you a feel for how the various tricks look, and his explanations are clear. You will be able to learn the material from these tapes. The tapes are shot and edited well, and the production values are consistent with other A-1 tapes. That’s the good part. Now for the things that really bug me. First, and I think most important, I am dismayed that there is very little crediting done on these tapes. Tom mentions some of the creators of the material presented, but no attempt has been made to give you a complete accrediting of the originators or the sources for the material presented. For example, Tom performs “Sefalajia” and there is no mention of Stewart James. Martin Gardner’s “Passe Passe Sponge Trick” is demonstrated (using matches) and there is no mention of Martin. I can understand if Tom didn’t want to research all the material presented, but somebody at A-1 should have. A list of credits should have been given at the end of the tape. These tricks were created by living, breathing human beings. A-1 is making a buck off them, the least they could do is to let you know who they were, and where you could find more information about each trick. The second thing that bothers me is the nature of the 24 “sets” into which the seventy trick have been organized. With a very few exceptions, there is absolutely no underlying organization of these sets. A three trick set might contain a trick with beans, one with buttons, and the last with paper balls. Or one with a donut, then one with a wand, then one with a cigarette paper. This is not a “set,” this is just three tricks in a row. To be most useful, the material should have been grouped thematically into a logical, coherent, and theatrically meaningful routine. For example, Tom could have done a series of match tricks, in which the progression of tricks led to a logical and satisfying climax. This would have made much more sense, would have made the tricks easier to learn and easier to remember, and would have given the viewer a hunk of material which, even though impromptu, would have a beginning, a middle, and an end.
I also think that the producers of these tapes made a very poor choice when they chose to reveal the secret of a trick which is currently in the repertoire of a well known stage performer. This trick was (until now) a very good secret, and since I do not believe that many others will ever perform the trick, revealing the method was simply not necessary. So, the bottom line is this. If you are a newcomer to magic and you absolutely lack the ability to read a book, you will find much of value on these tapes. If you have been in magic for a while, you will probably already know much of the material presented. However, if you really want to be good at impromptu magic, you should invest in The Encyclopedia of Impromptu Magic, Martin Gardner Presents, Michael Weber’s Lifesavers, Scarne’s Magic Tricks, and a complete file of The Minotaur. And finally, a note to the guys at A-1: Use the rofits from this tae to buy a sell-checker or hire a better roof-reader.
Ken Krenzel’s Ingenuities by Stephen Minch Ken Krenzel is well known as one of magic’s finest technicians and a creator of ingeniously constructed sleight-of-hand routines. It has been seven years since his last book (Ken Krenzel’s Close-up Impact!) was published. This new volume from Hermetic Press may surprise those of you who associate Ken only with knuckle-busting routines. There are some effects which will require considerable practice, but many of the routines replace advanced technique with the intelligent and subtle use of gaffs, producing routines in which the magic seems to happen in the spectator’s hands. The book begins with a Foreword by Ken. Two sentences in the opening paragraph sum up the approach of Ken Krenzel’s Ingenuities. He writes, “Some of the most magical magic is the kind which happens in a spectator’s hands.” And he concludes the paragraph by stating, “ Though I am a practitioner and lover of pure sleight-of-hand, I nevertheless believe that dexterity alone can sometimes be counterproductive to the performances of truly astonishing magic.” Surprised? I was. But the majority of the 34 routines which follow are directed by these two premises. The material is organized into five chapters, and the first, titled “Out of Hand” deals with routines in which the magic seems to happen while the cards are out of the magician’s control. The opening routine, “Box Top,” is fine example of this. If you’re a problem solver, try to figure this out: Ken has come up with a way to do Daryl’s “Ultimate Ambition” effect with a normal deck of cards. At the conclusion of an ambitious card routine the deck is placed into the card case, outjogged for about half its length. The spectator places the signed card into the middle of the deck. It is outjogged for about half its length. The deck is tilted so the spectator can see the face of the card, and the card and the deck are slid into the case. The card case is closed for a moment, and then opened. The deck is pulled out slightly, and the spectator removes top card. It is the signed
selection. Ken’s solution is truly ingenious, and while it will require some practice, it is not terribly difficult. Also in this chapter are interesting approaches to the “Any Card at Any Number” effect, “The Open Prediction,” and some sandwich effects in which the spectator handles the deck throughout the entire effect. While Ken’s solution to “Any Card at Any Number” is not the ultimate version (the effect gets slightly convoluted), the method is interesting and requires neither memorization nor calculation. Chapter Two is titled “Things Change” and it focuses on five methods for color change effects. Two of these appealed to me a great deal: “Sequence Mechanique” which uses Ken’s Mechanical Reverse to excellent effect; and “It’s a Wrap” in which a card rises from the middle of the deck to the top (while the deck is held face up). The interesting aspect of this is that when the card which rises is removed, the original face card of the deck is still in place. “Escaping Cardville” is the title of Chapter Two, and it contains six non-card items. Of particular interest to me were “Pocket Passport,” a version of copper-silver in which the final transposition happens in the spectator’s pocket; “Flipperoon” which combines a gaff with a move of Looy Siminoff to produce a very easy and eye-popping version of the now standard “Coin Vanishes and Ends up on Top of a Chosen Card” effect; “Poor Miser,” which is a wonderful scam to drop into the middle of your Miser’s Dream routine,” and “The Million Penny Mystery,” in which an ungaffed pen goes through some very odd antics. Chapter Four contains new work on some standard sleights and trick decks. Be sure to check out Ken’s thoughts on the venerable Peek Deck, and his handlings for the Vernon “Simple False Cut,” and the “Top-cover Dribble Pass.” The book concludes with a chapter titled “Tall Tales and Short Cons.” In this chapter you will find interesting “story” routines, many of which have a gambling theme. My favorites were “Cloning Queens” and “Fired Up,” which is a streamlined version of Becker and Knepper’s “Kolossal Killer.” Again, none of this material is beyond the ability of the average card man. Stephen Minch did the writing, and I don’t need to say much more than that. He’s one of the best in the business, and you will have no problem understanding his explanations. Kelly Lyles did the illustrations, and her work is also top-notch. Ken Krenzel’s Ingenuities is a surprising book, and when I say “surprising,” I mean that it was a very pleasant surprise. The majority of the routines are well within the abilities of the intermediate level card man, and are structured to entertain and amaze a lay audience. I found some things that I’m going to use, and I think you will, too. Recommended.
Card in Ceiling
by Damian Surr and Neil Sorsby This is the strangest thing that I saw at the Blackpool convention. The effect is the same as the standard Card on Ceiling, but with one big difference: the chosen card does not stick flat against the ceiling, it appears to have been driven into the ceiling, and hangs down with one corner imbedded into the surface of the ceiling. There are trade offs, of course. The method of choosing the card is a little more cozy than with the standard effect. Rather than the card being signed, a signed sticker is affixed to the selected card. The deck is then placed into the cellophane wrapper (which has been removed from the card case), and several rubber bands are wrapped around the whole thing. Then the deck is heaved at the ceiling. The wrapped deck falls, leaving the selected card hanging down with its corner (apparently) stuck in the ceiling. I should tell you that the card is not actually stuck in the ceiling, but the illusion is absolutely perfect. Damien tells me that this trick is just as reliable as the standard version. You will probably have to check out a new ceiling to make sure the card will adhere (but this is something you often have to do when attempting card on ceiling in a new location.) If you’re looking for a weird twist on a standard effect, this is well worth checking out.
The Low Main Deck by Chris Bacchus This is a clever and practical version of the shrinking deck effect. A poker-sized deck of cards is removed from the card case and is spread between the hands. (This spread is tight, and is done with the backs of the hands facing the audience. It is a cozy position, but does not look too unnatural.) The deck is squeezed between the hands and immediately becomes a miniature deck. The miniature deck is real and can be used for other effects (if you ditch the gaff which remains in the deck after the shrinking). The instructions offer no suggestions on how to proceed after doing the shrinking, but if you want to incorporate this type of effect into your close-up show, you’ll find that this is a practical trick which can be done in the real world.
How Time Flies Department My friend Richard Myer dropped me a letter mentioning that the new David Harkey video Harkey on Video (reviewed last month) is not 40 minutes long as stated on the video box. In fact, the video is only 28 minutes long. I’m sorry that I didn’t catch this when I reviewed the video, and in the future I’ll try to alert you to discrepancies between advertised length and actual length. (Write your own joke here.)
It’s Not Magic, But
Dale Salwak and Jamy Ian Swiss are two well-know gentlemen in the magic world. Both are currently associated with interesting books that I wanted to bring to your attention. Dale Salwak is the editor of The Wonders of Solitude, a charming little book which contains short writings from a wide range of disciplines concerning the benefits of spending a little time alone. As Dale writes in his introduction, “In school and at home, among friends and at play, there seems to be ever-lessening opportunities for quiet time apart. And as people grow older and their lives become steadily more hectic and fragmented, they find themselves caught up in a race against time with no time for themselves.” Dale began to collect writings on the nature of solitude, why it is important, and how we can reconcile the need to be alone with the spirit of community which pervades our daily lives. Dale gave me a copy of this book at the Blackpool Convention, and, after a 17 hour day of rubbing shoulders with 2000 magicians, I took it back to my hotel room and read it from cover to cover. It was like being taken to a quiet place. I enjoyed it very much. I think you will, too. Edward Tufte teaches statistical evidence and information design at Yale Universtity. Visual Explanations: Images and Quantities, Evidence and Narrative is the third book in his series on the display of information. His first book, The Visual Display of Quantitative Information (1983) is about pictures of numbers. His second book, Envisioning Information (1990), is about pictures of nouns. Visual Explanations is about pictures of verbs, the representation of mechanism and motion, process and dynamics, cause and effect, explanation and narrative. Of interest to magicians is one chapter devoted to magic trick illustrations, and this chapter was co-written with Jamy Ian Swiss. Tufte discusses magic illustrations for two reasons: they are the two dimensional representation of actions which occur in space and time; and the field of conjuring is related to disinformation design, in which the viewer is intentionally given information which leads to incorrect conclusions. I won’t pretend that I understand much of what Tufte has to say, but the book is fascinating and is absolutely beautifully produced. If you have an interest in design or in information theory you will enjoy all of Tufte’s books.
Details Expert Imropmtu Magic Made Easy (Three Volumes) by Tom Mullica. Each video $29.95 (any format). All three videos for $84.95. Postage and handling free for U.S., Canada, and overseas surface mail. Overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Ken Krenzel’s Ingenuities written by Stephen Minch. 8.5 x 11 hardcover with dustjacket. 224 pages. $37 plus $3 p&h (overseas air add $12.) From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468
Card in Ceiling by Damien Surr and Neil Sorsby. 8.5 x 11 spiral bound manuscript. 15 pages. Includes sample cards. Price postpaid: 12 pounds Sterling. From Damien Surr, 383 Stannington Road, Stannington, Sheffield, England, S6 5QN The Low Main Deck by Chris Bacchus. $20 postpaid. From Bacchus Manufacturing Co., PO Box 241582, Montgomery, AL 36124 The Wonders of Solitude edited by Dale Salwak. 5 x 7 hardcover. 103 pages. $12.95. From New World Library. Available at most bookstores. Visual Explanations by Edward Tufte. 8.5 x 11 hardcover with dustcover. 156 pages. $45 plus $3 p&h. Available from Jamy Ian Swiss, 401 W. 45th Street, #2B, New York, NY 10036
May 1997 Upgrade! Wow! Here I am at the front of the magazine. This is just like being bumped up from coach to First Class. And it’s great up here: you get your own personal VCR, the meals are served on real china, and the liquor never stops flowing. And best of all, I don’t have to look at Bob Farmer’s butt anymore. This begins my third year as MAGIC’s product reviewer. My thanks to Stan and the gang for putting up with my erratic writing habits, and thanks to everyone who has offered moral support. If there’s a product you’d like to see reviewed, drop me some email at
[email protected] or snail-mail me. We’ll try to accommodate you. Unfortunately, I’m under the weather as I write this column. I just got back from Markku Purho’s convention in Kouvola, Finland. I had a great time with Eugene Burger, Lennart Green, Guy Bavli, and Juan Mayoral, but I picked up a bug on the flight back and have been feeling pretty rotten ever since. If you want to get the complete multimedia experience of this month’s review column, read it out loud with two wads of cotton shoved up your nose and a Vick’s 44 cough drop in your mouth. Thank goodness the drinks are free in First Class.
The Art of Hopping Tables - Parts 1 and 2 Doing Time Deck-Aid by Mark Leveridge British magic dealer Mark Leveridge sent along three new items: a two video set on table-hopping; a packet trick geared toward the magician of average ability; and an intriguing new device for card workers. The Art of Hopping Tables is a two video set; the first video focuses on the nuts and bolts aspects of performing close-up magic in real world settings, the second video explains the seven routines Mark performs on the first tape. I want to emphasize right now (and I’ll remind you at the end of the review) that The Art of Table Hopping Part One contains no trick explanations; routines are performed and discussed in terms of audience management and performance problems, but no methods are given. If you want the methods, then you’ll also need Part Two. Part One begins with Mark explaining how he packs for the gig, and during this explanation he discusses subjects such as clothing and toiletries. He then explains how he organizes his props for an evening’s work, including his use of a small bag to carry extra
props and his use of a very small close-up mat to use as a performance area. Next is a performance segment which was shot live at a hotel where Mark regularly performs, and which uses real people as helpers. What we see is not “Table Hopping” in the way that it is thought of in the United States. Rather than performing for people at restaurant tables, Mark roams through several lounge areas of the hotel, performing for small groups of people seated on chairs and couches around coffee tables. This is a very casual atmosphere, and Mark has no problems joining these groups. He performs two or three tricks before moving on to another group of spectators. In the next segment of the tape, Mark and Chris Payne review the evening’s performance. This is done in a Q & A format, and Mark replays sections of the performance portion as he discusses such subjects as personality, technique, and audience control. A very interesting aspect of this is the discussion of what to do if something goes wrong. At one point in the performance segment there was a minor glitch, and Mark explains what was going through his mind as he extricated himself from the situation. I don’t think I have seen anything like this discussed on video. In the final portion of the tape, Mark interviews Stuart Bowie, a very experienced strolling/close-up magician. Stuart offers some valuable information, especially in working a cocktail party/banquet situation. I applaud Mark for taking the risk of producing a video which only discusses the concerns of the real life close-up worker. I don’t think that anything exactly like this has been offered on the market. If you are interested in entering this field, this tape is full of useful information. There are only two negative comments I could make: The performance segment in the hotel was shot using just one camera. We therefore do not get the close-up shots which would be helpful to make the action clearer to the home viewer. Also, I wonder whether the spectators are reacting naturally, considering that they know they are being video taped. I’m sure that there was no way to avoid this, but the audience does seem to be somewhat subdued. Part Two of The Art of Hopping Tables explains the seven routines which Mark performs on Part One. These include: “Spin Out,” the flash appearance of a selected from a closed card case; “The Hypnotized Coin,” a four phase coin and handkerchief routine; “Copy Ring,” in which the magician materializes an exact duplicate of the spectator’s ring; “The Department Store,” a very commercial routine using a blank faced deck; and “Aces Under Control,” a very simple way of producing four aces. None of these effects are particularly earth shaking, but they are effective, and would serve very well as the middle routine of a three routine “set.” Technical requirements are minimal, and all the routines are well within the abilities of the average magician. If you are considering performing close-up magic professionally, these tapes will give you a lot of information. Do remember, however, that there are no trick explanations in Part One. In order to have everything explained, you will need to purchase both tapes. (Mark does offer a discount if you order both tapes at the same time.)
“Doing Time” is a packet trick geared toward the magician of average abilities. Here is the effect: The magician shows two five-card packets, one red-backed, one blue-backed. The faces of the cards depict cartoon criminals - each packet containing the same five pictures. The spectator selects a criminal from the blue-backed cards. The red-backed cards are waved over the selected crook, and when the red packet is spread, one crook has turned face up - the same crook the spectator selected. The red packet is placed aside. The blue packet is now spread face up, and the pictures of the other four criminals have changed: they are now all behind bars. This falls into the “cute” category of tricks, and Mark has arranged matters so that at the end of the routine almost all the cards can be examined. This makes it easy to effectively manage “grabby” spectators. However, I do think that the handling Mark offers can be streamlined considerably. I know that his goal was to keep the technical requirements to a minimum, but this results in a cluttered handling. But, the effect is commercial, and if your card knowledge is minimal, Mark’s handling is certainly useable. Finally, “Deck-Aid” is an extremely intriguing “key card” gimmick, and I am totally at a loss as to how to review it. Mark provides you with three gaffed cards (two bicycle-back cards - one red, one blue- and a blue-backed Piatnik card) and an 18-page instruction booklet which details various effects and handlings for the “Deck-Aid” gimmick. The gimmicked card functions as a locator card (such as a corner-short, or a breather), but can also be used in a unique way as a “long distance” locator. In addition, you can control blocks of cards, such as the four aces, or even the thirteen cards of a suit. I have had a lot of fun playing with this gaff, and have come up with some applications for the kind of card work I do. The only reason that I am unsure how to review this is because of the price. Mark is asking $24 for the three gaffs and the booklet. You are really paying for the secret here, because the gaffs are very inexpensive. I’m not sure that the average close-up magician is going to get $24 worth of benefit from this. But then again, I might be wrong. If it were priced at $10 I would have no problem recommending it wholeheartedly, but I know that Mark values the secret more than that. Anyway, I’m on the fence. If you’ve bought “Deck-Aid” why don’t you drop me line and let me know what you think. I’ll tabulate the results and pass the info along to the rest of the readership.
The Looking Glass #3 edited by Kaufman, Racherbaumer, and Hobbs Issue number three of The Looking Glass has arrived, and it continues the standard of excellence set by the first two issues. There is great magic offered, including routines from Francis Carlyle (“Seeing at the Fingertips”), Rune Klan (a young Danish magician who contributes a remarkable multiple coin retention vanish), Paul Cummins (“Four-Way Reverse Backfire,” one of the highlights of his recent lecture), Alain Nu, Bob Farmer, Roy Walton, Hiro Sakai (who contributes a very weird trick with a hundred dollar bill), Shigeo Futagawa (“Bombs Away,” a wonderful origami trick), and others. Jon
Racherbaumer details Don Alan’s handling of a card stabbing effect which is a master class in intelligent, commercial routining. There is also the usual editorial “stuff,” the most interesting of which is the chance to hear another side (in this case Mr. Hobb’s) of the Stanyon’s Magic reprint story. If you get a subscription to Looking Glass you will get the first three issues immediately, and the fourth issue whenever it comes out. (Can you say, “Millennium?”) If a second volume happens it will probably come out as a large, single volume, encompassing the entire year. This would free the editorial triumvirate from time constraint pressures. (As if they felt that pressure now.) Bottom line: This is a high quality magazine, and is well worth your attention. Highly recommended.
The Art of Metal Bending The Perfect Net Bag by Guy Bavli While in Finland, I had the chance to spend some time with Guy Bavli, Israeli mentalist/magician/metal-bender. He is a very strong performer who gives a great deal of thought to the magic he performs. His lecture in Finland was very well received, and Guy spent a lot of time showing how to bend spoons and forks. This information is gathered in a set of notes titled, The Art of Metal Bending. The notes detail several different methods and presentations for bending, breaking, and melting spoons, and a very strong routine (based on a Steve Shaw trick) for bending and breaking the tine of a fork. For three days I watched Guy fry people with this stuff. You can, too. “The Perfect Net Bag” is a see-through change bag which allows you to do an extremely clean force. For example, you can have a spectator tear out a page of a newspaper. He then tears the sheet of paper into small pieces. These pieces are dropped into the bag (which, incidentally, is absolutely empty). The mentalist shakes the pieces around in the bag, and the spectator pulls out one piece. This piece is forced, and the information can be revealed as a prediction or a straight-ahead mind reading. This is a very nice prop, and when I saw Guy use it in his lecture, he fooled me. I had no idea how the force pieces were loaded. The bag does everything for you, there is no sleight-of-hand. The bag looks like a standard change bag (that is, there’s a straight handle attached to a circular piece of metal to which the bag is attached), but the bag itself is made of fine mesh netting, and you can see through it. And yes, I would agree that it doesn’t resemble anything you’d ever see in real life, but the netting makes it seem to be a prop of convenience rather than necessity. The bag is completely empty at the beginning, and the spectator drops in the torn newspaper pieces. The bag does all the rest. There are several other possible routines which Guy includes with the bag. This isn’t cheap, but it’s a very well made prop, and should give you years of use. Recommended.
The Sharpie We Use by Pete Peddicord Some of you out there may be yearning to perform John Cornelius’ “Pen through Anything” with a Sharpie (which is a trademark of the Sanford Corporation) marker. Well now you can. Pete Peddicord is manufacturing a Sharpie which is gimmicked in the same way as John’s original pen. You get the gaffed pen with an extra tip, a duplicate ungimmicked pen, and a small booklet with performance suggestions. My personal choice is John’s new improved pen which was reviewed here a while back, but I can certainly see the logic in using the real Sharpie to sign a card, and then later apparently using the same Sharpie for the penetration. Pete’s pens are well made, and they will definately do the job for you.
Illusion Projects: Sub Trunk by Clayton Cavaness You may recall that I have mentioned in this column that power tools and I will have nothing to do with one another. Piano playing is tough enough without trying to do so with less than the original God-given number of fingers. Consequently, I have never attempted to build an illusion, nor do I see myself doing so anytime in the future. However, lots of you are do-it-yourselfers, who feel comfortable handling skill saws, routers, drill presses, sanders, and other manly things. There has recently arisen various videotapes which walk you through the process of building illusions. The latest in this genre is Illlusion Projects: Sub Trunk from Clayton Cavaness, and a very nice package it is indeed. You receive both a manual and videotape. The manual gives you a cost analysis sheet, step-by-step instructions for building the illusion, a materials list, and several pages of blue print diagrams. The video then takes you step by step through the construction of the illusion. The video is well shot and edited, and clearly explains the building process. As Clayton mentions in the introduction to the manual, this is not Woodworking 101. The more experienced a craftsman you are, the better your project will come out. Also remember that power tools are just as happy to separate parts of you from yourself, as they are to cut wood, so be sure you know what you’re doing. But those warnings aside, I think that if you want to build your own Sub Trunk, this is great way to learn how to do it.
The Magicians’ Yearbook 1997 edited by Anthony Owen Once again, Anthony Owen and friends give us an interesting review of 1996 in this yearbook from Dynamic FX. Information is slanted toward the U.K. (which is as it should be since this is a British publication), and there is a section of tricks from such
well-known creators as Phil Goldstein, Steve “I take my coffee black” Beam, Angelo Carbone, Aldo Colombini, Peter Duffie, and John Lenahan. But the focus of this book is the year in review, and there lots of reviews: 13 book reviews, 19 trick reviews, and 25 video reviews. There are also awards given, for such categories as Best Book Value for the Money, Best Overall Book, and so forth. The Yearbook staff also reviewed current magic magazines and gave awards in four categories. All of us here at MAGIC are pleased and proud to have won in three of the four categories. Thanks, guys. The Yearbook also contains a large listing of agents, broadcasting companies, magic dealers, magic events, and lectures. Again, the focus is on the U.K. You should know that this is not a beautifully produced book, but the emphasis is on information rather than production values. I enjoyed this Yearbook just as much as I liked last year’s edition, and I think that you’ll enjoy it, too.
Music for Magicians Volume 1 by Mike King and Bill White I have mentioned before that it is extremely difficult to review music. I have no idea of your needs or your taste in music, nor can I effectively describe music in words. So all I really can do is give you some idea of the production values of the music, and how varied the styles are. Music for Magicians is the first offering from Mike King and Bill White. Bill composed the music and played keyboards; Mike played midi guitar and arranged and mixed the compositions. All the tunes are royalty free, which means that if you purchase the cassette you are free to use the music as you wish without further financial obligation. For the most part these are fairly simple tunes, featuring a lead voice with some type of accompaniment. To my ears they are obviously synthesized, and whether that bothers you depends on your opinion of synthesized music. There are 13 cuts, and the length of the pieces ranges from: 48 to 2:45. There is approximately 23 minutes of music on the cassette. The music is well produced. There are some up-tempo grooves offered, but many of the cuts are more mellow than other “music for magic” discs I have heard. You should be aware, however, that Music for Magicians Volume 1 comes to you on a cassette, and this means that there will be some tape “hiss” which cannot be eliminated. Mike and Bill also offer to customize any of these cuts for you, and they can provide original custom music. At $14.95 Music for Magicians is reasonably priced, and if you are searching for music on a budget, it is certainly worth checking out.
Super Rope from Malek Enterprises David Malik sent me some excellent rope that he has for sale. This rope is 100% cotton and is pure white. It has no core and is very flexible. The rope is about one centimeter in diameter. This is really nice rope, and it is limited in supply. I’m going to buy some, you’ll probably want to, too. Produce! Magic of the Renaissance by Tom Crowl Produce! is an audio-cassette newsletter which focuses on the business end of entertainment. Tom Crowl is a professional magician, but the information offered is designed to be of use to all variety artists, including musicians and singers. On the tape Tom sent to me (which is the first of the series), he spent a little bit too much time telling about himself and the other products he had to offer. However, the last half of the tape discusses how to get corporate sponsorship for your show, and the information offered was extremely valuable, especially for those who work in the school show market. I think that Tom has worthwhile information to impart, and if he eliminates the ads and tightens up his “spiel,” he’ll have a top-notch product to offer. If you’re looking for ways to make more money with magic you should definitely check this out. Magic of the Renaissance is a manual on how to work Renaissance Festivals. This is an unusual market, and is not for everyone, but if you have an interest in performing in this type of venue Tom’s manuscript will save you a lot of time and money.
Details The Art of Hopping Tables - Parts 1 and 2. Each video $49. Both together $80. “Doing Time” $20. “Deck Aid” $24. All items postpaid. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter, Devon EX2 4PA, England The Looking Glass by Kaufman, Racherbaumer, and Hobbs. Subscriptions for Volume 1 (#1-4) are $40 US, $60 Foreign subscribers. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington DC, 20016 The Art of Metal Bending by Guy Bavli. 8.5 x 11 softcover, stapled. 16 pages. $18 plus $3 for Air Mail postage. “The Perfect Net Bag” $145 plus $9 Air Mail Postage. Both from Guy Bavli, P.O. Box 20641 Tel Aviv 61204, Israel “The Sharpie We Use” by Pete Peddicord. $29 postpaid. From Magic…for pete’s sake, P.O. Box 562, Jarrettsville, MD 21084-0562
Illusion Projects: Sub Trunk - Video plus manual by Clayton Cavaness. $49 plus $6 p&h in US ($15 foreign p&h). From Illusion Projects, P.O. Box 4331, Batesville, AR 725034331 The Magicians’ Yearbook 1997 edited by Anthony Owen. 8.5 x 11, plastic comb bound. 95 pages. 12 pounds Sterling. From Dynamic FX Limited, Hertfordshire Business Centre, Alexander Road, London Colney, AL2 1JG, Herts. England Music for Magicians Volume 1 by Mike King and Bill White. Audio cassette. $14.95 postpaid. From Sho-me Magic, c/o Mike King, 310 S. Locust Street, Dixon, MO 654597693 “Super Rope” from Malek Enterprises. 50 ft. - $20, 100 ft. - $38, 150 ft. - $48. From David Malek, P.O. Box 15572, Newport Beach, CA 92659 Produce! by Tom Crowl. Audio cassette. Four issue subscription $29.95. Magic of the Renaissance: How to Work Renaissance Festivals. 8.5 x 11 plastic comb bound. 23 single sided pages. $15 postpaid. From Tom Crowl, P.O. Box 2131, Westminster, MD 21158
June 1997 “They All Float Down Here…” Recently, we’ve seen a resurgence of interest in self-levitation routines. Several ads have appeared, and an impromptu levitation was featured on a national television program. (See Jon Racherbaumer’s “Inside Out” column in this issue.) The choices are confusing, the ads are full of hype, and in most cases the price to learn the secret is steep. So, with the uplifting words of Stephen King’s Pennywise the Clown ringing in our ears, let’s take a look at the current crop of tricks that get you off the ground. But first, a bit of history. For the most part, all of the current self-levitations have their basis in two articles published by Karl Fulves. The first, titled “Impromptu Levitation,” can be found in the July 1994 issue of The Pallbearer’s Review (Vol. 9, No. 9, page 755.) Ed Balducci is credited in the article, but he explains that he was shown the method by Erwin Levine, who was one of the Harmonicats. Mr. Levine had no idea who the originator was. (Can you give us any help here, Johnny Thompson?) I don’t remember if I learned this method from this article or whether it got to me through the “underground” (whatever the hell that is), but a whole bunch of us were doing this back in the late 70’s. It is a remarkable effect, but it does require that the audience (which must be just a few spectators) be positioned properly. The second article was published some time in 1978 in The Chronicles #2, pages 10771080. The variations described include two important ideas: performing the levitation behind a sheet; and a method for getting both shoes off the floor. Curiously, in both cases the originators are unknown. As with all things magical, the novelty of the self-levitation wore off. A few years ago Steve Fearson revitalized the effect with “Fearson’s Fabulous Floatation.” This effect required more preparation, but once prepared the performer could (while wearing the necessary “stuff”) float both legs way off the ground. Steve elaborated on the method from The Chronicles, and used his coat as the screen behind which the floatation occurred. There are angle limitations, as anyone to the side or behind the performer will become very wise. In the January 1997 issue of MAGIC an ad appeared for Andrew Mayne’s “The Pocket Levitator.” This is a stripped down version of the Fearson trick, and again uses the Chronicles’ method for getting both shoes off the floor. For your $20 you get the necessary gimmick and four double-sided sheets of atrocious instructions. The illustrations are, for the most part, completely unhelpful, and the instructions are less than complete. We are told that we should do the dirty work (which will require at least one hand and both feet) “under the guise of the coat.” Don’t even bother to look up “guise,” it’s not going to help you here. If I had paid $20 for this I would be unhappy. My guess is that you would be too.
Canadian magician Ted Harding purchased “The Pocket Levitator” and decided that Mayne’s gimmick was awkward to use, so he figured out another way to get both shoes off the floor. Again, the method he uses was mentioned in The Chronicles. Harding is selling this method as “The Pilot,” and it is much more practical than “The Pocket Levitator.” However, this practicality comes with a serious price tag; “The Pilot” retails for $79. You get two pages of instructions which include two small illustrations of how to gimmick your shoes, and there are no illustrations of how to do the actual floatation. You are seriously paying for the secret here, because the gimmicks cost about $25. You should also know that there is a no return policy on this product. If you are unhappy once you discover what you have purchased, that’s tough. Steve Fearson has a new product out called “Fearson’s Box.” However, it does not fall under the category of “Impromptu Levitations” (unless it is your habit to walk around with a big plastic milk carton) so I will review it in a future issue. So, what should you do? Here’s what I’d do: If I wanted to include a floatation as part of my stand-up act, or as something I wanted to be ready to fry people with at a hospitality suite, I would purchase the “Fearson Fabulous Floatation.” It requires the most up-front preparation and expense, but once you have manufactured the necessary gaffs you can do a really good-looking levitation. (The trick sells for $69. Visit Steve’s web site at www.members.aol.com/nosraef/magic.html#top for more information.) If you want a levitation which requires less preparation I would buy a copy of the reprint of the Pallbearer’s Review and learn the Balducci levitation. I would also track down the information in the Chronicles. (This will be easy to do in the near future, because L&L Publishing is going to reprint the entire file of this magazine.) And unless you’re desperate to float right now, I would steer clear of both “The Pocket Levitator” and “The Pilot.” The first is unusable, the second is way too expensive. Happy flying.
The Elmsley Tahoe Sessions by Alex Elmsley Alex Elmsley has begun to make convention appearances again, and this is a wonderful thing. His recent lecture at the Four F’s convention received a long and enthusiastic standing ovation. While his enormous body of work has received wider exposure due to two excellent books by Stephen Minch, few of us have had the chance to see Mr. Elmsley perform or discuss his creations. Thanks to this new four-volume set of videos from L&L Publishing, Mr. Elmsley can visit with you in your home, and an erudite and charming houseguest he is indeed. I can’t imagine that there is anyone in magic who has not heard of Mr. Elmsley, since his famous four-as-four count seems to be one of the most frequently used moves in card magic. He is the creator of such terrific card routines as “Point of Departure,” “Between Your Palms,” “1002nd Aces,” and “Diamond Cut Diamond.” His seminal work on the faro shuffle gave us the terms “In” and “Out.” And even today one of his tricks, “Fate’s
Datebook,” is the basis for most of the Birthday Book routines which have flooded the marketplace. All of these routines and much, much more are presented on these tapes. If you are familiar with Mr. Elmsley’s material you will be delighted as you watch him perform and explain his various creations; if you are unfamiliar with the material, then you’re in for a revelation. All four tapes are shot in an informal setting: a dapper Mr. Elmsley seated at a small table in front of a wall of books. The audience consists of a small group of (very well known) magicians. Each performance is followed by a clear and concise explanation; excellent camera work and editing makes everything clear. In addition to the routines, each tape contains a number of short “reminiscence” segments in which Mr. Elmsley discusses subjects such as the Ghost Count, and the Faro, and offers thoughts on Creativity, Presentation, and other aspects of the performance of magic. These casual segments are just great (in fact, I would have loved to have a tape of nothing but reminiscences). You can check out the ads to get a complete rundown on all the routines explained on the four videos. I’ll just touch on a few of the highlights. Volume 1 begins with the “Four Card Trick,” the routine which introduced the Ghost Count. (This is the name Mr. Elmsley gave to the count; everybody else in the world calls it the Elmsley Count.) You’ll learn several routines which use count (and it’s offshoot: the Everchange Count). A new version of “Point of Departure” is performed, and the tape ends with a mindboggling routine called “Dazzled,” in which the backs of five playing cards change repeatedly. Volume 2 features the “1002nd Aces,” “The Elmsley Rising Card,” and “The Floating Ladies.” In my youth, these were seriously “underground” routines, and if you are unfamiliar with them you are going to get fooled. Volume 3 contains the famous “Fan Prediction” and “Multiplying Aces,” which is a knuckle-busting stage manipulation. Mr. Elmsley performs this effortlessly. Another highlight on this tape is “A Strange Story,” a routine which begins with an opening line which got an enormous laugh from me and from the audience on the tape. The first three volumes focus on card magic. Volume 4 features some of Mr. Elmsley’s non-card items. Highlights here are the “Torn and Restored Newspaper” and the “Elmsley Cup and Balls” routine. I had never seen this version of the newspaper tear performed, and it looks fabulous. The restoration is done in slow motion, and you see torn edges right up until the very end. I think that this is going to become a very popular version. The cups and balls routine has a truly remarkable ending, and if you don’t know what’s coming you are going to get fried. What else can I say? I love these tapes. I grew up studying this material, and watching the tapes makes me feel like I’m spending time with an old friend. Mr. Elmsley has charming presentations for his routines, and even if you never perform any of them you will learn a great deal by simply listening carefully to the thinking behind each effect. Thank you L&L for your fine job of capturing one magic’s greatest creators. And thank
you, Mr. Elmsley, for your creations and the pleasure of your company. Very highly recommended.
Encyclopedia of Card Sleights Volumes 7 and 8 By Daryl L&L Publishing has also released the final two volumes in Daryl’s monumental card series. The format is the same as in previous volumes of the series: Daryl demonstrates and explains an enormous number of card sleights. Volume 7 contains information on False Displays, False Dealing, Color Changes, and Switches & Changes. A couple things I noted on this tape: Daryl offers some excellent tips and suggestions for moves that you may think you already know. I was particularly taken by a bit of finesse for Ed Marlo’s Olram Subtlety. Daryl also teaches many of his own methods for these various moves, and these methods are uniformly excellent. The section on False Dealing is less than comprehensive. In fact, no bottom deal is actually taught. If you’re really interested in getting information on false deals I would suggest you look into the new Alan Ackerman videos from A-1 MultiMedia. Volume 8 finishes up the discussion of Switches & Changes, and continues with the Top Change, Packet Switches, Flourishes, and Miscellaneous information (including the Spread Cull and two methods for folding a card). The tape concludes with a lesson on how to peel cards. As I have mentioned in my reviews of the previous tapes of the series, these are excellent videos, and will be very instructive, especially when combined with the information available in the standard card texts. There is no longer any excuse for sloppy card technique. I recommend all the tapes in this series.
Pocket Power - The Video by Jarle Leirpoll We wrap up the video portion of this month’s column with Jarle Leirpoll’s new companion video to his excellent book Pocket Power. Three effects are explained: “Toilet Paper to Egg,” which puts Juan Tamariz’ Double Crossing the Gaze Switch to good use; “Norwegian Travellers,” a nice variation of the classic Vernon effect; and “The Almost Ultimate Newspaper Tear,” which combines the “Water in Newspaper” effect with Gene Anderson’s “Torn and Restored Newspaper.” Jarle’s method for preparing the newspaper is very ingenious. Jarle also demonstrates and explains his “No Gimmick Bill Switch,” which is an effective handling of the Koslowski “100 Dollar Bill Switch.” In addition to these effects there are a variety of useful hints and tips for using your pockets to ditch and retrieve items. As I mentioned in my review of the Pocket Power book, Jarle has some good work on this subject, and this video gives you a chance to see him in action. The video is well produced, and Jarle does a fine job demonstrating and explaining the various effects and techniques. Recommended.
Natural Selections by David Acer David Acer is a professional magician and comedian from Canada. Lately, he and fellow crazy person Jay Sankey have been busting up magic conventions across the country. Although this book of routines from David’s professional repertoire has been out for a while, it has only just arrived at the review desk. Natural Selections is a wonderful book, and I wanted to make it known to you. The thirty-one routines in Natural Selections are divided into eight chapters, with the emphasis on close-up magic with cards, coins, bills, business cards, and other miscellaneous items. There are also a few stand-up routines. The quality of the material is uniformly excellent; these are real world routines, designed to be performed under real life conditions. Here are a few of my favorites: “Lickety Flip” is a flourishy (but not particularly difficult) method for producing a four of kind. One benefit of David’s handling is that the cards stay in hands at all times, which makes this perfect for a walk-around situation. “The Camera Never Lies” and “Polaroid” are two routines which allow you to take a mental snapshot of a spectator’s card. In “Mini Fusion” a spectator selects a card from a deck which immediately shrinks to mini size. Two miniature cards are then “fused,” forming a poker-sized replica of the chosen card. And finally, “Swiss Pack,” in which a selected card is shown to be full of holes. The holes vanish from the card and jump to the deck, which now has one large hole going through all the cards. David offers an excellent routine for the standard Coins from Hand to Glass effect. It’s called “Money Flies,” and it would be suitable for both stand-up and close-up. “Rink” allows you to link a borrowed finger ring onto the stem of a borrowed pair of glasses. There are three fine routines which use a clever variation of the “100 Dollar Bill Switch,” and also a very commercial routine in which Andrew Jackson does some mind reading. The book concludes with two very funny stand-up routines. I especially liked the routine in which the air in the performer’s lungs changes places with the air in a balloon. (I know this doesn’t make much sense, but it’s a great routine.) I liked this book a lot. If you’re looking for commercial magic, this book should be in your library. Excellent material, well explained, and fun to read. (In fact, I laughed out loud several times.) Highly recommended.
Everything is Funnier with Monkeys by Doc Dixon I have a bad habit when I perform. Every now and then I will do what I call a “Dennis Miller” joke. This is a joke (most often ad-libbed) which involves such an obscure reference that nobody is going to get it. It is unprofessional and self-indulgent, but when I
do these jokes, I do them just for me. I did such a joke in one of the close-up rooms at the I.B.M. convention in Orlando, when I referred to a minor character in Charles Dickens’ A Tale of Two Cities. As I expected, there was no response whatsoever, except for a huge guffaw of laughter from the very back of the room. The person who got the joke was Chris Buylla, a.k.a. Doc Dixon, a.k.a. Zoltan, Master of the Inappropriate Gesture. Doc Dixon is big bear of man (actually, I guess he’s now a svelte bear of man, having lost 40 pounds) and he has a commanding presence when he performs. He is also very funny. Everything is Funnier with Monkeys is his first book and it is outstanding. Here again, as in the Acer book, we have a professional entertainer offering routines from his professional repertoire. There are 26 routines, mostly using playing cards, and they are all top-notch. In addition there are 9 thoughtful essays, and as an added bonus, the book is gaffed, which allows you to do a silly trick with it. All of the routines are worthy of your serious consideration, but I’ll mention some favorites. “Clippin’” is a very clever method for causing a selected card to appear folded under your money clip. “Psychic Buddies” turns an ancient origami fold into a Love Predictor. “Close Up Matt” is a very funny reworking of a Matt Schulien routine. “Potholio” takes my “Pothole Trick” in a completely different direction. “Reshuffled” allows you to do Paul Gertner’s “Unshuffled” without the need for any reset. Finally, one of the highlights of the book “Carpe Cajones” (what a great title), which introduces a diabolically clever method for a doing a multiple prediction. This is really good, and I predict that it will spawn a bunch of variations. If the book only had the 26 routines it would be worth the money, but Doc also offers us 9 very thoughtful essays. These range from the dangers of being wacky to the craft of comedy. Doc touches on many subjects which have not been discussed before, and if you think about the essays and apply your thoughts to your work you’ll be a better magician. All these routines come from Doc’s performing repertoire, and consequently they have been molded to fit his performing persona. Since you are not Doc Dixon (and be grateful for small blessings), you will have to structure the routines to fit your personality. Doc has provided enough of the “why” behind each routine to allow you to do this. One small criticism: A few of the routines would have benefited from a few more illustrations. Concerning the title of this book: I have no idea what it means. Doc says that a careful reading of the text will reveal the meaning of the title and it’s author. I’ve been through the book two and a half times, and I haven’t found it yet. If you figure it out let me know. Everything is Funnier with Monkeys is a really excellent book which I thoroughly enjoyed. The material is great, the essays are great, and you’ll laugh out loud when you read it. Good job, Doc, and thanks for laughing at my joke. Highly recommended.
(By the way. Please don’t write in saying that in order to get a good review from Close you have to laugh at his jokes. I’ve never met David Acer, and I thought his book was excellent. So there.)
Fascinating Origami - 101 Models by Adolfo Cerceda by Vicente Palacios Origami fans will be happy to know that Dover has finally released this book featuring the elegant origami of Argentina’s Adolfo Cerceda. If you are a newcomer to the world of origami Adolfo Cerceda may be an unfamiliar name to you. Many of his models appeared in Sam Randlett’s Art of Origami and Best of Origami, and in Robert Harbin’s Secrets of Origami, but these books have been out of print for many years. This is the first major collection of his work in English. Of special interest is the fact that Cerceda was a professional magician who performed under the name Carlos Corda. He was also a master of Argentine bullwhip and an expert knife-thrower. There are many magical references throughout the book. The folds are not particularly difficult, but the instructions are entirely based on illustrations. There is almost no text instruction. For this reason I think that beginners may run into some trouble. Intermediate and advance folders should have no problems. Elegance and charm are two traits of Cerceda’s models. He also has the ability to capture the essence and grace of a subject. Be sure to check the fold called “Old Magician.” This is an action model: the magician, in a tailcoat, bows at the waist. For origami fans this book is a treat.
The Quadro-Chick from Jon Allen I watched Jon Allen perform the “Quadro-Chick” and completely fracture a room full of magicians at the Oakland I.B.M. Convention. He got laughs, he got sighs, he got thunderous applause, all with a cuter-than-hell baby chick marionette. He is now offering this for sale, and, as I peer into my crystal ball, I foresee that this prop is going to be the next “Rocky.” Jon provides you with the chick marionette, which stands about 8 inches tall. The chick is operated with a simple crossbar control stick. The chick has a small magnet underneath its beak which will allow to pick up a shim card (which is included). Jon also provides you with an 8-page instruction booklet which shows you how to operate the puppet and also gives you a brief routine. There are also suggested hints, tips, and gags. Jon does not provide you with his routine and patter (which is understandable), so you’re on your own as far as working out a complete, scripted routine.
A couple of thoughts. The effectiveness of this routine depends on how good a puppeteer you are. I discovered that I’m a crappy puppeteer. But then again, I haven’t practiced. This is not a self-working thing. It is not difficult to learn how to manipulate the marionette, but you’re going to have to spend some time working with the chick in order to really bring it to life. Jon has taken the time, and he kills with his routine. Which brings me to my other point. If you get good with this chick and you develop a strong routine with it, you are probably going to have to close your show with it. Audiences go nuts over stuff like this, and I would be hard pressed to think of a routine which could follow it. What else can I say? This is a great prop. Jon will probably sell a zillion of them. If you come up with a good routine and you practice, you will kill with it. However, there is a price to pay: Be sure your ego is ready for the jolt when the repeat customers forget your name and ask that the chick performs at their table. Highly recommended.
The No 2 Pencil by Mark Jenest The Secret Source specializes in practical, commercial close-up routines, and this new release by Mark Jenest is no exception. The performer brings out a common, yellow, No. 2 pencil (you remember these from school). He points out the small black mark near the eraser end which says “No 2.” He then slides this mark down to the other end of pencil. He slides it back, causes a duplicate mark to appear on the other side of the pencil, makes all the marks disappear, and then causes the single “No 2” to come back. As a grand finale, he stretches the mark so it now says, “N U M B E R T W O” down the entire length of the pencil. This is a cute routine and requires no difficult sleight-of-hand. You receive two pencils and an excellent set of instructions. This is not earth shaking magic, but would be an entertaining interlude between “heavier” pieces. And it would be especially effective if you use the pencil in a preceding effect. Recommended.
It by Gregory Wilson Also from the Secret Source comes this new packet trick from Gregory Wilson (n.t.g.w.t.o.g.w.). The magician holds a packet of four cards. They are shown to have blank faces. Suddenly, the word “it” appears on one of the cards. The “it” card disappears and then returns. Then all of the cards have the word “it” on them. Finally, the words “this” and “that” appear on two of the cards. This is a commercial and practical trick, and is easy to do, requiring only basic card handling skills. The cards are well made, and were specially printed for this trick. Should the cards become worn from excessive use, the Secret Source will replace them. This is a courteous thing for them to do.
Greg gives you a complete patter presentation for this routine, and it reminds me of Daryl’s routine with the hole cards. That is, there is a great deal of wordplay involved. In fact, there is more wordplay involved than I feel comfortable with. It’s just not my style. However, if this is your style then you will love this trick.
Miracle Monte by Anthony Owen and Andy Nyman In the March issue of MAGIC I reviewed the Dungeon Video and I mentioned that this trick was one of the highlights of the tape. Unfortunately, cut from that review was the fact that Dynamic FX sells this as separate trick. The trick is a monte type routine done with three double-blank cards and one blank-backed card (for example, the seven of diamonds). The spectators try to keep track of the seven, but they are unable to do so. The routine has a very strong and impossible looking ending. This routine is greatly influenced by the work of Trevor Lewis, Chris Kenner, and Michael Weber. It’s easy to do and packs a wallop.
Pot vs Kettle Department Dear Mike Maxwell: I will never again tease you (or anyone else for that matter) about any spelling mistakes in your products. Somehow, the intentional misspelling of “Impromptu” (Imromptu Magic Made Easy) was itself misspelled in the sidebar index of my April review column. We have no idea who’s responsible for this, although I suspect John Moehring. (After all, he has at least two too many letters in his last name.) Anyway, I’m sorry to have made you the butt of my joke, I’ll never ever do it again, and I hope the tapes are selling well for you. Your pal, Mikeal Clouse
It’s Not Magic, But… My friend and fellow reviewer Jamy Ian Swiss has co-authored a chapter in a fascinating new book by Edward Tufte. Professor Tufte teaches statistical evidence and information design at Yale University. Visual Explanations: Images and Quantities, Evidence and Narrative is the third book in his series on the display of information. His first book, The Visual Display of Quantitative Information (1983) is about pictures of numbers. His second book, Envisioning Information (1990), is about pictures of nouns. Visual
Explanations is about pictures of verbs, the representation of mechanism and motion, process and dynamics, cause and effect, explanation and narrative. Of interest to magicians is one chapter devoted to magic trick illustrations, and this chapter was co-written with Mr. Swiss. Tufte discusses magic illustrations for two reasons: they are the two dimensional representation of actions which occur in space and time; and the field of conjuring is related to disinformation design, in which the viewer is intentionally given information which leads to incorrect conclusions. Speaking of incorrect conclusions, you will also be amazed to discover that the Challenger disaster could have possibly been averted had the engineers involved used more effective information design. I won’t pretend that I understand much of what Tufte has to say, but the book is fascinating and is absolutely beautifully produced. If you have an interest in design or in information theory you will enjoy all of Tufte’s books.
Details “The Pocket Levitator” by Andrew Mayne. $20 plus $2 p&h. From Andrew Mayne, P.O. Box 682088, Orlando, FL 32868 “The Pilot” by Ted Harding. $79 postpaid. From The Magic Corner, 2 Thorncliffe Park Dr., #5, Toronto, Ontario, Canada M4H 1H2 The Elmsley Tahoe Sessions Volumes 1-4 by Alex Elmsley. Each volume $29.95, the set of four $110. (PAL is $39.95 each volume, $150 for the set of four.) Free postage and handling in USA and Canada. Overseas orders add $7.50 for surface postage. From L&L Publishing, Box 100, Tahoma, CA 96142 Encyclopedia of Card Sleights Volumes 7 & 8 by Daryl. Each tape $29.95 (PAL format $39.95). Free postage and handling in USA and Canada. Overseas orders add $7.50 for surface postage. From L&L Publishing, Box 100, Tahoma, CA 96142 Pocket Power - The Video by Jarle Leirpoll. $29.95 (NTSC or PAL). From Jarle Leirpoll, Dagfinn Gronsoetsv, 34, N-2400 Elverum, Norway Natural Selections by David Acer. 6 x 10, hardcover with glossy dust jacket. 147 pages. $30 plus $4 surface mail ($14.75 air mail overseas.) From Camarand Academy of Magic, Inc., Dept. M, P.O. Box 269, Succ. A, Longueuil, QC, Canada J4H 3X6 Everything is Funnier with Monkeys by Doc Dixon. 8.5 x 11, plastic comb bound. 107 pages. $40 plus $4 p&h. From Doc Dixon, P.O. Box 68, Sutersville, PA 15083
Fascinating Origami by Vicente Palacios. 6 x 9 softcover, 182 pages. $9.95. From Dover Publications, Inc. Available at most bookstores. The Quadro-Chick by Jon Allen. $45 postpaid. From Jon Allen, 26 The Comyns, Bushey Heath, Herts, WD2 1HP, England The No 2 Pencil by Mark Jenest. I DON’T HAVE THE PRICE INFO FOR THIS! From The Secret Source, 64 Seafare, Laguna Nigel, CA 92677 It by Gregory Wilson. $15 plus $1 p&h. From The Secret Source, 64 Seafare, Laguna Nigel, CA 92677 Miracle Monte by Anthony Owen and Andy Nyman. Price is 5 pounds. From Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England Visual Explanations by Edward Tufte. 8.5 x 11 hardcover with dustcover. 156 pages. $45 postpaid. Available from Jamy Ian Swiss, 401 W. 45th Street, New York, NY 10036
July 1997 ’S Juanderful Let me start off by saying that Juan Tamariz is one of my heroes. He combines an absolutely diabolical mind with the soul of a poet and the manic performance style of someone who has just eluded the guards at the asylum. Be aware, however, that this performance style is a smoke screen; Juan thinks seriously and deeply about his magic, which is why his effects appear to have no rational explanation. Juan doesn’t do tricks, he does magic. A-1 MultiMedia has released three videotapes of Juan Tamariz performing and teaching some of his remarkable magic. The tapes are titled Lessons in Magic, and this is exactly what they are: object lessons in how to create powerful, baffling, and memorable moments of magic. These are marvelous tapes which should be carefully studied by anyone desiring to be a better magician. There’s an old saying that art is in the details, and attention to detail is one of the lessons which Juan imparts to us on these tapes. For that reason I will go into some detail concerning the contents of the three tapes. First, I should mention that these tapes go against the current trend of giving you an encyclopedic approach to a subject. Whereas many three-volume series may give you a hundred different items (which, due to time constraints must be fairly cursorily explained), the Lessons in Magic videos contain only 14 items. This means that the explanations of these routines are deep; Juan has time to explain every nuance of his performance and every detail of the thinking behind the routines. If you are used to absorbing your information in tiny sound-bites, this wealth of information can be overwhelming and intimidating. Repeated viewing is the key. Another suggestion: watch actively, not passively. Take notes. Think. Think. Think. The experience will change you and the way you approach your magic. I should also let you know that all the effects on these tapes are card routines. Don’t let that deter you. Even though Juan possesses remarkable skill with a deck of cards, the routines explained require only average card handling ability. There are a couple of routines which require no digital dexterity whatsoever. And remember, for Juan a deck of cards is simply a tool which allows him to connect emotionally with an audience. These are some of the most entertaining card routines you will ever see. So what’s on the tapes? Volume One begins with one of Juan’s most famous and baffling routines, “Neither Blind Nor Stupid.” (You can find this routine in Sonata under the title “Neither Blind Nor Silly.”) This routine is an object lesson in the Theory of False Solutions. Two cards are selected in a very fair manner. As the cards are returned and subsequently lost in the deck, Juan continually points out conditions which would allow
him to discover the cards. Each of these conditions is nullified, and in the process the audience themselves come to the conclusion that the cards are hopelessly lost. After this build-up (which is alternately serious and hysterical), Juan rapidly finds both cards using his highly developed olfactory sense. Pay particular attention to Juan’s use of audience management and his mastery of the technique of blatantly lying to the spectators’ faces. This is the kind of magic I love. Volume One continues with Juan’s routine for “Follow the Leader.” Juan synthesizes elements from Vernon, Daley, Elmsley, and Gioacchino Rossini (what?!) to produce a hilarious and baffling routine. This routine also includes the first example of how Juan establishes the identity of a card without ever showing its face. Next on the tape is a version of “Cards Across.” This is not Juan’s version of the Larry Grey approach (which is a highlight of Juan’s lecture), but rather is an almost sleight-free version which can be found in Sonata under the title “Traveling Cards.” Two thought-of cards travel from one ten card packet to another. There is only one move involved, and the result is miraculous. The first tape concludes with “The Caricature,” a very simple and commercial effect in which a caricature of the magician appears on the back of a selected card. Volume Two begins with “The Secret of Magic” in which an odd optical illusion is used to produce a selected card. This is followed by “Four of a Kind,” which is the ultimate version of the “Magician Makes Good” effect. A card is selected (no force) and pocketed by a spectator. The card’s identity is unknown to all. The magician attempts find the three mates of the selected card. He spreads through the face down deck and casually turns over three widely separated cards. Unfortunately, these cards are of three completely different values. The trick appears to have gone awry, and this impression is reinforced when the selected card is revealed and it does not match any of the reversed cards. In a moment of inspiration, the magician taps the deck with the selected card, and immediately the three mates of the selection turn face up in the deck. This is a fabulous trick; one which I immediately added to my repertoire. In fact, I took this trick to the World Magic Summit, and it flabbergasted all who saw it. Notice how Juan uses body language to convince the spectators that a genuine screw-up has occurred. The next routine is probably the highlight of the entire series: “El Cochecito,” Juan’s routine for the Kornwinder Car. You may have seen a truncated version of this routine on the World’s Greatest Magic I. A card is selected and lost in the deck. The deck is spread face up on the table, and a small, wooden, toy car is introduced. A spectator pushes the car along the tabletop beside the spread of cards. All of a sudden, the spectator feels the wheels lock up, and the car stops. It’s as if someone in the car has hit the brakes. It is confirmed that the car has stopped at the section of the spread where the selected card lies. The small group of cards which contains the selection is removed from the spread and the remainder of the cards placed aside. This small group of cards is dealt out into a row (Juan explains that this will be a road on which the car will ride). The cards in this row are face down; the spectators randomly mix the order of the cards. Another spectator pushes the car over the face down cards. The car stops on the selected card. Words cannot do justice to the impact of this routine. The assisting spectators literally freak out when the little car stops. What you will find interesting in the explanation of this routine
is that Juan is less concerned with the mechanics of the trick than he is with understanding the emotional content of the routine. His explanation of why laymen find this routine so appealing is fascinating. Volume Two concludes with Juan’s routine for “The Cannibals,” which has an enormously entertaining presentation. Of great interest is how once again Juan is able to establish the identity of a card without ever showing its face. Volume Three of the series begins with “Los Centauros,” a charming and evocative routine which is performed to a lovely musical background. “Sticker” involves the transposition between a pair of red tens and a pair of black tens. The interesting aspect here is that the red tens are placed in a stepped condition and a sticker is affixed to the back of the cards, holding them in place. This would appear to make any manipulation impossible. Juan next quickly demonstrates three routines (“A Number,” “Cards to Pocket,” and “Rising Card”), which are used to introduce a discussion of the Tamariz Perpendicular Control. This versatile and convincing move was explained in Sonata, but for some reason it has not caught on with American card workers. Juan’s performance and explanation on this tape should change that. Next is “Doubly Ambitious,” in which two selected cards repeatedly rise together from the center of the deck to the top. Notice how each phase is cleverly constructed to cancel out possible methods. Finally, Volume Three ends with Juan’s presentation of Alex Elmsley’s “1002 Aces.” This is a hilarious presentation, with superb audience involvement. The performance segments of these tapes were shot in front an audience of about twenty people. The audience seems to react with genuine enthusiasm, which is a refreshing change, since in many of the videos I watch the audience appears to been mostly deceased. During the explanation phase Juan is joined by Jim Krenz, who helps clarify any details. English is perhaps fourth down on Juan’s fluency list, but his explanations are clear and elegant, and you will have no problem understanding him. These are fabulous tapes. All three are absolute “must buys” for any magician who wants to improve his magic. If you can only afford one tape, start with Volume Two, and pick up the rest as soon as you can. My thanks to Señor Juan for sharing these marvelous routines and the theory behind them, and thanks to A-1 for making these valuable tapes available to the magic community. Very highly recommended.
The Magic of Spain - Ascanio by Arturo de Ascanio The magic world lost one of its finest thinkers when Arturo de Ascanio y Navaz died in April. His passing was even more poignant to those of us who had recently spent time with him at the Desert Magic Seminar. Very little of Ascanio’s material has been made available in English, but fortunately, Stevens Magic Emporium captured on video the maestro performing and explaining three of his classic card routines.
This tape could be subtitled “The Masterful Handling of Double Cards,” because the fluid, casual, and totally convincing handling of two-cards-as-one provides the backbone of all three routines. None of the techniques explained are particularly easy, but in Ascanio’s hands they are a joy and a wonder to behold. “Dama Inquieta (Restless Lady)” is the first routine on the video, and it is a “Homing Card” type of routine. It is very rare for me to completely miss someone palming a card, but I did in this routine. The handling was so natural and motivated that the palm went right by me. What makes this such a strong routine is that Ascanio’s handling of double cards convinces you that no extra cards are being used. “Ases con Amor (Aces with Love)” is Ascanio’s handling of the Vernon “Slow Motion Ace Assembly.” Ascanio has added beautiful bits of finesse to what was already an extremely strong routine. The ace laydown itself is a thing of beauty. Finally, the tape concludes with “Ases de mi Examen (Aces of my Exam),” which is a Stanley Collins type ace routine in which each of the aces vanish in a different way. Although Ascanio makes reference to the method by which he reproduces the aces, this procedure is not performed or explained on the tape. Ascanio performs and explains these routines in Spanish. Eric De Camps provides the excellent voice-over translation. An audience was in attendance, but is not present on screen. This is card magic of the highest caliber, and for that reason will be of most interest to intermediate and advanced card magicians. Ascanio’s explanations (and Eric’s translations) are the for the most part clear and understandable, although every now and then a move will slip by without a full explanation by Ascanio. This can be confusing, because Ascanio’s handling of double cards is so superb that it’s impossible to tell which card(s) are the doubles. You can figure it out, but you’ll need to hit the rewind button a few times. Like the Tamariz videos, The Magic of Spain - Ascanio allows us to spend time with another of magic’s great thinkers, one who also knew that art is in the details. Master the sleights and finesses presented here, and your card magic will be elevated to the highest level. Highly recommended.
T.A. Waters - Mind, Myth, and Magick by T.A. Waters T.A. Waters is the author of Mind, Myth, and Magick, a monumental (and wonderful) 800 page book which is required reading for anyone interested in mentalism. On this video T.A. demonstrates and explains 12 routines from the book. The routines use common objects such as envelopes, playing cards, and tarot cards, and all are within the abilities of the average magician.
Notice that in the above paragraph I used the word “demonstration” rather than “presentation.” At the beginning of the tape T.A. explains that he has chosen not to include full-blown presentations for any of the routines explained. I understand his reasons for choosing this route, but I wish he had gone the other way. The two assistants helping T.A. are pretty lifeless, and T.A.’s demonstration style is fairly lowkey. I fear that many magicians may pass this material by because the performance is not “exciting,” and that would be a pity, because there is some excellent material offered here. I’ll mention a few of my favorites. “No/No” takes an old mindreading gag and turns it into the first part of a convincing number divination. “AdamSmyth” is another number divination, based on the “Smith-Myth” principle. “Zodiaccount” uses the Linda Goodman book Love Signs in a clever book test. And “Quintasense” is an ingenious combination of the well-known Matrix force and the Major Arcana of the tarot deck. The tape concludes with an informal interview by Amy Stevens which will allow to you learn more about T.A. Waters. If you have not read and studied Mind, Myth, and Magick, this video is a good introduction to T.A.’s material. The book is a must-have, and I certainly recommend the video for anyone looking for simple, effective mental routines.
Entertaining with Balloons - Volumes 1 and 2 by L’il John Todd Watson is a Canadian entertainer who performs under the name L’il John. He makes balloon sculptures, and he does a terrific job of it. On these two videos Todd discusses his approach to entertaining children with balloon twisting and he also explains some great balloon sculptures. Volume One begins with a comparison of how a typical worker might approach the job of making balloon animals for a bunch of kids versus Todd’s approach of turning the balloon twisting into an interactive show. Todd’s approach certainly makes sense, since he gets an enormous amount of mileage out creating each sculpture. Next is a discussion of balloon basics, including how to blow up a balloon and a quick and sure-fire method for knotting the end of the balloon. Using a 1-2-3 method, Todd explains how to twist several simple animals, including a dog, a bunny, a giraffe, and a daschound. The tape ends with three sculptures which are a little more advanced: a parrot, a 3-petal flower, and a very cute version of a famous mouse from Anaheim. Volume Two continues the discussion of more advanced sculptures. Included are the Energizer Bunny, a lion, an airplane, a motorcycle, and a snake (a very cute sculpture). Todd then explains how to make a rubber ball out of a balloon (this is pretty cool), and how to place the ball into other a balloons and make interesting sculptures from them.
The tape concludes with instructions on how to make a balloon caterpillar and how to turn it into a butterfly. I have never done balloon animals, nor will I ever do balloon animals (it’s not my decision - it was part of my parole agreement), but if I were going to learn to twist balloons, these tapes would be a fine way to start. The production values of the tapes are not great, and some of the camera work is a little funky, but Todd does a good job of explaining what’s going on. Most of the more complicated sculptures are shot from two different angles, and this helps the learning process immensely. Highly recommended for anyone wanting to learn how to make balloon twisting entertaining.
Natural Selections - The Companion Video by David Acer I reviewed David’s excellent book Natural Selections in last month’s issue of MAGIC. A companion video to that book is available from the Camirand Academy. Twenty-five routines and sleights are included. Be aware that this is a performance video only; nothing is explained. The purpose of the tape is to allow you to see how the routines and sleights look. Page number references are given for each item demonstrated. Two bonus routines are included, and these are explained. “Diamonds are Forever” is a quick trick in which a diamond is plucked off of a seven of diamonds. The seven becomes the six of diamonds, and the “plucked” pip becomes a genuine gemstone. “The Card Also Rises” is a simple method for making a selected card rise from a card case. As with the L’il John videos, the production values are just average and the camera work could be better. But you can see and understand everything that’s going on. David is a very funny performer and there are a couple of laugh-out-loud moments on the tape.
Pocket Power - The Video by Jarle Leirpoll We wrap up the video portion of this month’s column with Jarle Leirpoll’s new companion video to his excellent book Pocket Power. Three effects are explained: “Toilet Paper to Egg,” which puts Juan Tamariz’ Double Crossing the Gaze Switch to good use; “Norwegian Travellers,” a nice variation of the classic Vernon effect; and “The Almost Ultimate Newspaper Tear,” which combines the “Water in Newspaper” effect with Gene Anderson’s “Torn and Restored Newspaper.” Jarle’s method for preparing the newspaper is very ingenious. Jarle also demonstrates and explains his “No Gimmick Bill Switch,” which is an effective handling of the Koslowski “100 Dollar Bill Switch.” In addition to these effects there are a variety of useful hints and tips for using your pockets to ditch and retrieve items. As I mentioned in my review of the Pocket Power book, Jarle has some good work on this subject, and this video gives you a chance to see
him in action. The video is well produced, and Jarle does a fine job demonstrating and explaining the various effects and techniques. Recommended.
Hocus Pocus Junior from Steve Burton Magic If you are a magic book collector, or if you have an interest in the history of magic, your checkbook is going to get a workout this month. All our books this month will be of particular interest to historians and collectors, and they are all terrific. Hocus Pocus Junior was published in London in 1634. It was the first fully illustrated English book devoted wholly to the explanation of the magician’s craft. Much of the material in the book was drawn from Scot’s Discoverie of Witchcraft and Rid’s Art of Juggling. The book was enormously influential, and served as the basis for magic texts for the next 300 years. Steve Burton Magic is a facsimile edition of the Henry E. Huntington Library copy of the 1634 first edition of this book. Painstaking reconstruction was required to produce this edition, since time had faded many of the original’s pages. The result is a magnificent little volume, which is quite readable, once you get used to the vagaries of 17th century English. At the end of the book Mr. Burton ha added some fascinating observations on the historical importance of Hocus Pocus Junior, and offers some conjectures on the book’s title and author. This is a lovely reproduction. It is limited to 300 copies, so if you want one you’d better get it now. Highly recommended.
Jean Hugard by James B. Alfredson The name Jean Hugard has been part of my magical experience since I began buying and studying magic books. The Royal Road to Card Magic and Expert Card Technique (coauthored with Fred Braue) were (and are) two of the most important books in my library. But Hugard died when I was seven years old, so, to me, he was always just a name on a book cover. This fascinating biography by James Alfredson gave me a chance to finally learn about the man behind the name. Hugard was Australian (his real name was John Gerard Rodney Boyce), and he was born in 1871. In the early 1900’s he performed under the name Oscar Kellmann, and later changed his name to Hugarde. For a time he added a continental flavor by billing his show as Les Hugardes, but this was too hip for the New Zealanders of the time, who kept asking where Les was. (I’m not making this up.) He dropped the final “e” sometime around 1909, and in 1916 left Australia for the United States.
It is as an author and teacher, rather than a performer, for which Hugard is remembered, and besides the two books mentioned above his works include Card Manipulations 1-5, More Card Manipulations 1-4, Miracle Methods 1-3, Show Stoppers with Cards, Modern Magic Manual, and the wonderful magazine Hugard’s Magic Monthly. What I was unaware of were the books which were “ghosted” by Hugard, including Greater Magic, The Fine Art of Magic (for George Kaplan), Mental Magic (for Al Baker), and Effective Card Magic (for Bill Simon). I very much enjoyed this biography of one of magic’s most important authors and teachers. It brought me closer to someone who, until now, had just been a name. I think you’ll enjoy this book, too.
Charles Bertram The Court Conjurer by Edwin A. Dawes Charles Bertram was also a part of my magical youth, because our local library had a copy of The Modern Conjurer, and I spent hours pouring over this book. Consequently, the images of a serious-looking gentleman doing “Cards Up the Sleeve” is stamped in my memory. Again, this was a situation where I knew the name, but knew nothing of the man. Edwin A. Dawes has done a marvelous job bringing to life Bertram and his contemporaries. We learn of Bertram the performer, the teacher, and the world traveler. Bertram was a favorite of British society, and enjoyed a long and close relationship with British Royalty, a relationship which (according to one apocryphal story) ended when Bertram became too familiar and asked the King for a cigar. This is another beautifully done book, and the text is accompanied by almost 100 rare photographs. In addition to the biographical material, the last 140 pages contain reprints of Bertram material from various books and periodicals. Besides the well-known material from The Modern Conjurer, there are Bertram articles from magazines such as The Strand and The New Penny Magazine. This is another book which I enjoyed immensely. It is a limited edition, so if you’re interested, don’t wait too long to pick up a copy.
Swami/Mantra by Sam Dalal I believe that Richard Kaufman now has the distinction of publishing the most hardbound books which bear the warning “Not to be Sold to Anyone Under 21 Years of Age” on the cover. His reprint of Sam Dalal’s magazines Swami and Mantra has this warning, and for good reason. Sam published information on how to perform many of the effects of the
Hindu fakirs, and should anyone actually be dumb enough to try some of these stunts they could easily do themselves some bodily harm. Mr. Dalal began publishing Swami in January 1972. It ran for 36 issues, ceasing publication in December of 1974. Mantra began in April of 1975 and ran for 28 issues, ending in July of 1977. I don’t believe that either magazine was well known in the United States. I have a couple of copies of Mantra in my files, but I had never seen any copies of Swami. There is some really excellent magic in these two magazines. The emphasis is on closeup and mentalism, and the contributors include people like Ed Marlo, Horace Bennett, Kirk Stiles, Peter Warlock, Martin Gardner, Milt Kort, J.K. Hartman, Tan Hock Chuan, and a kid named Goldstein. In addition, just about every issue contains the aforementioned “yogi” stunts, which are fascinating to read about. Be aware that both magazines were published long before desktop publishing became commonplace, consequently their layouts are less than beautiful. Richard has reproduced them exactly as they appeared. However, everything is readable. I’m glad to finally have a file of these magazines. Collectors and lovers of magical exotica will want to hop on this reprint because it is a limited edition.
The Art of Deception by Chuck Romano Ah, now this is a beautiful thing. The Art of Deception is subtitled “The Affinity Between Conjuring & Art” and in it Chuck Romano pays tribute to the men and women whose artwork is such a vital and vibrant part of the world of magic. This book began as an award winning series of articles in The Linking Ring. If you’ve read those articles I will tell you that they in no way prepare you for how wonderful this book is. Chuck takes us from the early images of the conjurer (featuring the work of Bosch and Bruegel) through the glory days of lithography (including marvelous full color reproductions of posters of Carter, Blackstone, Thurston, and Houdini). He pays homage to the magic illustrators of the past (Clifford Thompson, Marshall D. Smith, Chris Carven, Francis Rigney, Harlan Tarbell, Sid Lorraine, Nelson Hahne) and the present (Kaufman, Schmidt, Oakes, Onosaka, Gagnon, Jorgenson, Allen, Lyles, Kort, and Lyons). In each case he presents examples of the artist’s work and analyzes their styles. There is a chapter on magic catalogue illustrators, and one on those who provide illustrations for periodicals. There is a chapter on comic book magic, and a chapter on magic and fine art. I loved this book before I even opened it up. The cover illustration by Patrick Milbourn is hilarious. I wish I had a print to hang on my wall. As I went through the rest of the book I never stopped smiling. This book is a class act. There are over 400 photographs. It is
published in a limited edition of 500 copies. It is going to fly out the door. Get yours immediately or hate yourself forever.
A Price Guide to Books: 1639 - 1990 compiled by Michael Canick So now you’ve got a whole room full of books, but do you have any idea how much they’re worth? You will if you pick up this very handy volume from Michael Canick. Using lists and catalogs from book dealers, auction catalogs and direct observations at magic conventions and book fairs, Mr. Canick has compiled a price guide for magic books published between 1639 and 1990. More than 5,500 entries are included. The books are listed alphabetically by author, and there are columns for low price, high price, and auction price. At the end of this book there is an index which lists all the books alphabetized by title. This is a very useful guide. Highly recommended to anyone whose library takes up more than one shelf.
It’s Not Magic, But… I led off this month’s column by talking about the Tamariz tapes, and Juan’s desire to increase the emotional content of his magic. Well, if you want to learn how to increase emotional content from one of the masters read Hitchcock by Francois Truffaut. Truffaut spent hours talking with Hitchcock about his body of work, and the insights Hitchcock reveals will change the way you look at your own repertoire. In fact, you may run right out and find a McGuffin to use with your next four ace trick.
Details Lessons in Magic Volumes 1-3 by Juan Tamariz. Each video $29.95 (any format). All three videos for $84.95. Postage and handling free for U.S., Canada, and overseas surface mail. Overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The Magic of Spain - Ascanio by Arturo de Ascanio. $35 plus $2.50 p&h. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214 T.A. Waters - Mind, Myth, and Magick by T.A. Waters. $35 plus $2.50 p&h. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214 Pocket Power - The Video by Jarle Leirpoll. $29.95 (NTSC or PAL). From Jarle Leirpoll, Dagfinn Gronsoetsv, 34, N-2400 Elverum, Norway
Entertaining with Balloons Volumes 1 and 2 by L’il John. Each video $29.95 plus $3.75 p&h. From Camirand Academy of Magic Inc., Dept. M, P.O. Box 269, Succ.A, Longueuil, QC, Canada, J4H 3X6 Natural Selections - The Companion Video by David Acer. $20 plus $3.75 p&h. From Camirand Academy of Magic Inc., Dept. M, P.O. Box 269, Succ.A, Longueuil, QC, Canada, J4H 3X6 Hocus Pocus Junior, First Edition. 72 pages. 5 x 7. Cover is gold-stamped on black Levant grained Lexotone. $60 plus $3 p&h.($9 for foreign p&h). From Steve Burton Magic, P.O. Box 238, Cypress TX 77410-0238 Jean Hugard by James B. Alfredson. 6 x 9 hardcover. 72 pages. $20 plus $3 p&h. From David Meyer Magic Books, P.O. Box 427-M, Glenwood, IL 60425 Charles Bertram The Court Conjurer by Edwin A. Dawes. 360 pages. 8.5 x 11 hardcover with glossy dustjacket. $60 postpaid. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Swami/Mantra by Sam Dalal. 280 pages. 8.5 x 11 hardcover with glossy dustjacket. $60 postpaid. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 The Art of Deception by Chuck Romano. 406 pages. 8.5 x 11 hardcover with glossy dustjacket. $110 postpaid in US (Overseas orders add 20% for airmail and insurance.) From Chuck Romano, 900 W. Barbara Ave., South Elgin, IL 60177 A Price Guide to Books: 1639 - 1990 compiled by Michael Canick. 192 pages. 8.5 x 11 plastic comb bound. $45 plus $3.50 domestic p&h. From Michael Canick, 80 East 11th Street, Room 430, New York, NY 10003 Hitchcock by Francois Truffaut. $20. (ISBN 0-671-60429-5). A Touchstone Book from Simon and Schuster. Available at most bookstores.
August 1997 Floats ’em Jetsam The interest in self-levitations continues unabated. David Blaine’s performance of this effect continues to be a hot topic on Internet discussion groups, and many magicians have contacted me to get more information on the various methods available. Two more products have recently crossed the reviewer’s desk, so I thought I would take this opportunity to bring you up to date on new developments and to clarify a few points from my earlier discussion. You might want to get up to speed by rereading the first part of my column from the June 1997 issue of MAGIC. First, let’s talk about a couple of the big problems in reviewing these products. For the most part, the secrets involved are simple. I mean really simple. Consequently, I have to be very careful not to tip the method while explaining what’s good, bad, or indifferent about the product. In attempting to do this, I sometimes am more obtuse than I should be. I also tend to examine products from the viewpoint of their effectiveness for real life performance in front of an audience of real people. If, in my opinion, a product will not “work” in real life, then it had better have a large “play” factor; that is, it should be an entertaining “toy,” so that the purchaser can at least amuse himself at home. If neither of these conditions is met, then my reviews tend to be extremely negative. The levitations offered for sale fall into two categories: levitations done without any cover whatsoever, and levitations done behind a coat or a cloth. The levitation which is commonly referred to as the “Balducci Levitation” is done without cover. (As I mentioned in June, Ed Balducci did not create this levitation; he contributed it to the Pallbearer’s Review. But the name has stuck.) The levitations done behind a drape use mechanical methods to get both shoes (and in the case of the “Fearson Fantastic Flotation” both legs as well) off of the ground. The beauty of the “Balducci Levitation” is that it is completely impromptu; you can do it anytime, anywhere. It is a very strong piece of magic, and, even though it was “tipped” in several sources, it was not well known among magicians, and was highly prized among those who used it (myself included). There’s no cover, no set-up, no props, no nothing. You just float. There are angle restrictions, and there are limitations to the number of people who can watch. But I have never considered this to be a trick I would do all the time. I always saved this trick for someone who was already convinced that I could do miracles, and I wanted to push them over the edge. The levitations which use a coat as a cover are more dramatic, in that your feet go higher off the ground, but you pay the price in terms of conviction. Audiences are not stupid, and they must assume that the coat is hiding something from them. Your clothing will come under suspicion, especially your shoes. Which brings me to the items discussed in June. In the “Pocket Levitator” the device which enables you to get both shoes off the floor is visible on the outside of one of your shoes. It cannot be removed, and it cannot be
explained away. What do you do if the spectators ask to see your shoes? Perhaps this doesn’t bother you, but it bothers me. I will not perform magic which can be so easily unraveled. Consequently, for me, the “Pocket Levitator” is unusable. “The Pilot” puts the gaffs inside your shoes, so nothing is visible from the outside. This is a superior method, but “The Pilot” is a very expensive prop. The “Fearson Fantastic Flotation” involves even more preparation, and for that reason I consider it to be more useful for the standup/comedy club performer. Okay, so much for clarifying the old news. Here’s the two new items. First, Mike Bent offers “Zero Gravity,” which has its roots in the “Balducci Levitation.” Mike’s method improves the angle limitations and allows you to perform the levitation for a larger number of spectators. Both shoes come off the ground. There is no cover. However, you do pay a price in terms of the amount of preparation involved. What you get for your $20 is an eight-page manuscript which explains how to gaff your shoes. The preparation is extensive. However, once gaffed, the shoes should be good for a very long time. In addition to the cost of the manuscript, you will also have the added cost of a pair of shoes (Mike suggests sneakers) and the other necessary materials. Obviously, you will need to be wearing the shoes to do the levitation. This involves somewhat of a lifestyle commitment. (I can’t be clearer without tipping the gaff.) I have not made up a pair of these shoes, but Mike sent me a video of the levitation, and it looks very good. Would I ever use this? No. Should you buy this? I don’t know. It all depends on how important it is to you to increase the visibility of the routine. This is still a close-up routine, and is most deceptive when the spectators are looking down at your feet. Whether you buy this also depends on how you feel about walking around in a pair of gaffed shoes. And, as with the “Pocket Levitator,” if someone asks to see your shoes you (like Lucy Ricardo) may have some ’splaining to do. If you want to learn the “Balducci Levitation” and you don’t have a file of the Pallbearer’s Review, you might want to check out The Self-Levitation Video from A-1 MultiMedia. Mike Maxwell gives you a whole bunch of pointers on performing the levitation, including some excellent work from David Roth, who has used this trick for many years. In addition, there is a segment featuring Paul Harris, who offers some fine suggestions, especially concerning positioning yourself for maximum effect. The tape is no great shakes from a production standpoint, but the information is valuable, and should get you on your way to mastering this trick. Well, now you have a lot more to think about. But before we leave this subject (hopefully never to return again) let me mention two more things. Many years ago, Harry Riser and I were discussing the floating dollar bill effect. He said to me that if I intended to add that effect to my repertoire, then I had better be prepared to float a bill anytime, anywhere, because people who had seen the effect were going to run into me, and they were going to ask to see it again. If I weren’t prepared to do it, then their perception of the trick would be diminished. I believe this same advice holds true for self-levitations. If you do it once, you’d better be prepared to do it anytime anyone asks you. Only one method lets you do that - the Balducci.
Finally, should you decide to learn the “Balducci Levitation” please take the time to learn to do it well. The trick is easy to do badly. You going to be using some motor skills that you don’t normally use, and if you don’t build up some strength and sharpen your balancing abilities then the method will be transparent. As for me, I’m dropping the routine from my repertoire. In ten or fifteen years when everybody has forgotten about it, I’ll start doing it again. Have fun.
Max Maven’s VideoMind By Max Maven Max Maven needs no introduction to the readers of this magazine, nor to anyone who has been in magic for any length of time. He is a prolific creator, a commanding performer, and an eloquent spokesman on the art of magic. L&L Publishing has released three videos in which Max performs and explains mentalism effects suitable for close-up, parlor, and stage conditions. The material is first rate, Max’s performances are thoroughly enjoyable, and the production values are among the best I’ve seen. The first video of the series offers mental effects suitable for parlor conditions. Six items are explained including: “The Mockingbird,” a remarkable card location from the “Birds of Prey” series; “Autome,” an absolutely terrific book test; “Zenvelopes,” in which a spectator manages to pair up ESP symbols contained in opaque envelopes (this really fooled me when I saw Max perform it on Swedish television); and “Kurotsuke,” a previously unreleased routine in which the mentalist does some dowsing using five spectators and some marbles. The best thing about this routine is that it can be done completely impromptu. Video two contains Close-up mentalism, and seven routines are explained. Among my favorites are: “Shape Up,” in which the spectator chooses an ESP card in a very fair manner and yet manages to pick one which matches a previously isolated prediction; “Isolation,” a word divination to which Max has added some really sneaky stuff; “Positive Negative,” another impromptu stunt using imaginary props; and “The Hawk,” an absolutely impossible two card location. There are five Stand-up mentalism routines explained on volume three. All are excellent, but I was particularly impressed with “Tossed-out Tech,” which is Max’s previously unreleased work on the venerable “Tossed-out Deck,” and “Continental,” in which the spectator thinks of any country in Europe or Scandinavia and the mentalist reveals it. This routine can easily be done as a phone stunt. On all three tapes the performances are grouped together at the beginning, and this is a great idea, because you can play these tapes for your non-magician friends and you won’t have to constantly fast forward past explanations. The assembled audience is lively and enthusiastic, and they genuinely seem to be enjoying themselves. Their energy adds a great deal to the tape.
After the performance segments Max is joined by Eugene Burger for the explanations of each routine, and it is in these explanations that Max really shines. The clarity of his explanations is enviable, and his love for the subject matter shows through. One of the hallmarks of Max’s work is that his methods are truly ingenious. You’re going to get fooled by the material on these tapes, and then you’re going to be delighted when you find out how everything works. (By the way, there are some very funny moments on these tapes.) One aspect I must comment on is the use of computer graphics to aid in the explanations of the routines. I don’t believe I have seen graphics used so effectively in any other videos. Max directed these three tapes, and his experience in the video medium is obvious. (I should also mention that Max directed the Elmsley videos which I reviewed in June.) What more can I say? If you have an interest in mentalism, you’re going to learn a ton of stuff from these tapes. Excellent material, excellent performances, excellent production values. Well done, my friend. Very highly recommended.
Effortless Card Magic by Peter Duffie Peter Duffie is one clever guy. He seems to have the knack of creating outstanding card routines which require little or no technical ability, and which avoid the cumbersome mathematical methods which plague so many “self-working” card tricks. In his new book Effortless Card Magic, Peter offers us 70 routines which provide maximum impact for minimum effort. The material is divided into 14 chapters, each devoted to a particular type of effect. There are productions, coincidence effects, lie detector routines, four ace tricks, transpositions, spelling tricks, and routines based on Hofzinser and Hummer plots. I can’t possibly go into detail about the material, but I will mention three items which caught my fancy: “The Diary of Delusion,” is an extremely interesting approach to the well-known (at least to readers of this column) Danson diary trick. What makes this version so refreshing is that it does not stem from Elmsley’s “Fate’s Datebook.” “Clear to the Point” involves the disappearance of a selected card from between two jokers while the entire three card packet is enclosed in a clear plastic envelope. And finally, “Vanished or Gone” is a very clever trick in which a freely named card vanishes from the deck. This trick also appealed to Bob Farmer, who offers a humorous presentation. There is enough material here to keep a budding card man happy for a long, long time. But, don’t shrug off these tricks just because they don’t depend on muscle magic. You’ll find tricks in here which will smoke both laymen and your pals at the magic club. Highly recommended, especially for those who are just getting started in card magic.
(By the way, there is an omission on page 13 of the book. I contacted Peter and he gave me the missing information. Step D should read: “As the left hand is tossing its packet, your right hand picks up the face up section at its right edge - fingers below and thumb on top - and drops it onto the left hand group [figure 6].)
Dai Vernon’s Symphony of the Rings By Lewis Ganson So, what can I say about one of the truly classic routines of magic? Many years ago, I saw Johnny Carson perform two magic routines on the Tonight Show. He did the Cards to Pocket, and he did a Linking Ring routine. I believe that the Symphony of the Rings was the routine he performed. I was in my teens at the time, but I still remember Carson doing the routine, because up until then I thought I knew how the Linking Rings worked. I was completely fooled by this beautiful piece of magic. Vernon put the routine together in the 1940’s to use with his Chinese Act. Lewis Ganson performed the painstaking task of writing up the routine and taking the numerous photographs which accompany the text. L&L Publishing has again made the routine available to the magic community. If you have any interest in learning the rings, you have to start here. Period. And that’s about all I can say.
Growing in the Art of Magic: The Book Thought Sender Shotglass Surprise by Eugene Burger Eugene Burger has recently released three items of interest. Growing in the Art of Magic: The Book is a transcript of an audiotape originally released in 1992. On this tape Eugene offered monologues and dialogues (with Danny Orleans, Jack Gould, and Jay Inglee) on various topics including the Origin and Symbolism of Magic, Seeking a Magical Vision, Managing People Close-up, and Before and After the Show. If you didn’t purchase the audio tape, you will certainly want a copy of this book, and even if you did get the tape, you’ll probably want the book because it is so much more convenient to study. As with all of Eugene’s writings, you’ll find much to ponder here, and your magic will be better for it. “Thought Sender” is one of Eugene’s prized card effects, and it has fooled magicians and laymen alike. The magician introduces a deck of cards and then proceeds to send the thought of one card to the assisting spectator. The spectator makes all the decisions, and eventually arrives at the name of one card. That card is removed from the deck, and its back is a different color than the rest of the deck. The deck is then handed to the spectator
to verify this condition! “Thought Sender” combines a gimmicked pack with strong psychology and effective audience management to produce a stunning effect. It will take some practice, but this is not a difficult trick. Finally, Eugene has put together all the props necessary to do “Shotglass Surprise,” which is an effect which blew me away on his video Gourmet Close-up Magic. The magician shows a small, flat, paper bundle which is secured with rubber bands. He asks the spectators to feel the parcel to try and guess what it contains. After the parcel has passed among the spectators it is returned to the magician who removes the rubber bands and unfolds it. The parcel is actual a small paper bag. The magician reaches into the bag (with an absolutely empty hand) and removes a small shot glass filled with liquid, which he then drinks. This is a killer routine, perfect for walk-around situations, and Eugene provides everything you need including two glasses, six covers, two bags, and complete instructions including all the latest work. How good is this? It’s so good I wish that you didn’t know about it. All three items are highly recommended.
The Perfect Clip Board By Roy Oron and Guy Bavli Guy demonstrated these clip boards for me at the Collector’s Workshop Convention last May. They are just great. Two clipboards are provided, one is translucent, the other is opaque (white). The translucent board is for use during your show. You get a spectator up on stage, he writes something on a piece of paper clipped to the board. He removes and pockets the paper and returns the board to you. The board is placed aside. At any time you can get the information which had been written down. The opaque board is for pre-show work. Again, the spectator writes something on a piece of paper clipped to the board. He pockets the paper and at some later point in time returns the board to you. While the board is in his possession there is no way that he will discover the secret of it. You get the board back and you can easily retrieve the information. (This process must be done off-stage before the show begins. However, it is only the work of a moment to discover what was written.) These are professional props and they will last a long time. You get the boards, papers, instructions, and everything else you need. Highly recommended for the working mentalist.
Signed Bill in Pen The Animated Wand by John Cornelius Speaking of magic conventions, (nice one, oh Sultan of Segue), two of the best things I saw at the recent I.B.M. convention came from John Cornelius. “Signed Bill in Pen” is a
beautiful chrome ballpoint pen (which exactly matches the Cornelius “Perfect Pen”). The pen is gaffed and allows you do a routine based on John Carney’s “Calligraphic Cash” (see Carneycopia, pages 241-249). Here’s the effect: A bill is borrowed. The spectator is handed a pen and is asked to sign the bill. The pen is taken apart and a small gold tube is removed from inside the pen. The pen is otherwise seen to be empty. Using the ink refill, the bill is rolled into a tight cylinder, and the small gold tube is placed around it. The pen is reassembled and handed to the spectator. The bill vanishes. The pen is opened, and inside the pen is a rolled up bill. This bill is removed and handed to the spectator (at this point the magician’s hands are completely empty). The bill is unrolled. It is the signed bill. This is a very nicely made prop. Since it exactly matches the “Perfect Pen” you can begin your routine by doing a bill penetration, and then switch pens and finish by making the bill appear in the pen. John provides you with a small ten-page booklet which explains the handling (a few illustrations would have been a good idea). Some other routines are also detailed, including a clever idea for using the pen as a prediction device. Minimal technical ability is required. If you’re already using the “Perfect Pen” (and even if you’re not) this is well worth checking out. If you use a magic wand in your close-up work, you’ll also want to check out John’s “Animated Wand.” The wand is 12 inches long and about a quarter inch in diameter. It is chrome with gold tips. The wand comes apart in the middle, and there is a strong spring inside. This allows the wand to be bent in half. In this condition, the wand is placed in a small, felt carrying pouch. The wand is removed, held in the hand, and as the pressure is released the ends of the wand move away from each other as the wand assumes it straight position. This looks rather eerie. It is a simple matter to snug up the two halves, and the wand is ready for use in whatever routine you choose. There is also a magnet in one end of the wand, however no routines which use this aspect of the wand are included. As with all of John’s items, the pen and the wand are well made, and are good values for the money.
Commercial Carney by John Carney Speaking of John Carney (another good one, oh Prince of Blends), I should let you know that John has a new video out. It’s called Commercial Carney, and its the last of the trio of videos covering the material in Carneycopia. Routines include: “Bullet Train,” a rapid fire version of Cards up the Sleeve; “Oil over Troubled Waters,” a clever Oil and Water routine with a full deck kicker; “Easy as Hell Prediction,” a card trick whose name says it all; “Inscrutable,” John’s tightened up version of Derek Dingle’s “Regal Royal Flush”; “Versa Switch,” an excellent utility move; “Swing Blade,” one of John’s favorite impromptu tricks from Sach’s Sleight of Hand; and “The Thirteenth Victim,” one of my all time favorite Carney routines in which the infamous bullet catching trick is recreated.
The production values are very good, and the cover art on the box is hilarious. John’s performances and explanations are top-notch. I wish, however, that there had been an audience present. John is one of my favorite performers, and a truly funny man, but without an audience he seems to be rather subdued. But this is a small quibble. If you don’t have a copy of Carneycopia (and if you don’t, shame on you) this will give you a chance to sample a bit of the Carney world-class repertoire. If you have the book, I’m sure you’ll enjoy watching John demonstrate and explain the routines. (By the way, the first two videos in the series, Classic Carney and Chicarnery, are still available, and John is offering them at a special price of $35 each, postpaid. As a special deal you can get all three tapes for $100 postpaid, $120 for PAL.)
Three Ropes and a Baby Picture This! by Richard Sanders Camirand Academy offers two items from the professional repertoire of the very clever Richard Sanders. “Three Ropes and a Baby” is a multi-phase rope routine which has as its starting point the popular (and unfortunately, now often exposed) “Professor’s Nightmare.” The Sanders routine is a synthesis of ideas from many people, including Slydini, Aldo Colombini, and George Sands. I didn’t find anything earth-shakingly new here, but it is a tight and commercial routine. I was a little disappointed that the presentation included was so bland (the patter merely tells the spectators what they are seeing), and the presentation has absolutely nothing whatsoever to do with the title. However, if you don’t already have a three rope routine in your repertoire, this one would be an excellent choice. The instructions are very clear and are accompanied by 106 photographs. The necessary ropes are also included. “Picture This” is another variation of the venerable “Out to Lunch” effect. The performer has a card selected (forced). He then shows a picture of himself as a young boy, dressed in a top hat and cape, holding a magic wand and a fan of cards. The spectator initials this picture. The picture is placed face down on the spectator’s hand. When it is turned over, the picture has changed: all the cards have dropped to the floor, except for the previously selected card. Of course, the picture still bears the spectator’s initials. This is a very commercial trick. It’s easy to do and is quite memorable. There is one problem, however. For some reason, the picture cards were printed with the words “Photo by Anne White © Camirand Academy” along the lower right edge. This is completely bogus and as far as I’m concerned is unnecessary. The patter line about the picture being of you as a youngster pretty much gets shot to hell if the spectators notice the copyright information. I’ve talked to Guy Camirand about this, and he tells me that he will try to print the next batch without the copyright info. If he indeed does this, then let’s do our part by not ripping him off. If you need refills, order them from Guy.
A couple more things. You get three different force pictures, so if you’re working tables you can have different cards chosen. Also, I’ve got some work on this trick, and I’ve agreed to give it to Guy for his newsletter and future reprints of the instructions. Contact him for details.
A Price Guide to Books: 1639 - 1990 compiled by Michael Canick So now you’ve got a whole room full of books, but do you have any idea how much they’re worth? You will if you pick up this very handy volume from Michael Canick. Using lists and catalogs from book dealers, auction catalogs and direct observations at magic conventions and book fairs, Mr. Canick has compiled a price guide for magic books published between 1639 and 1990. More than 5,500 entries are included. The books are listed alphabetically by author, and there are columns for low price, high price, and auction price. At the end of this book there is an index which lists all the books alphabetized by title. This is a very useful guide. Highly recommended to anyone whose library takes up more than one shelf.
Sad News Department Marv Leventhal was at the Minneapolis I.B.M. convention and he gave me the sad news that The Minotaur will cease publication at completion of Volume 8. This means there are two more issues left to go. Marv has a limited number of complete files of the magazine, and most (but not all) back issues are available individually. The Minotaur is a wonderful magazine for the close-up enthusiast, and it has the highest percentage of noncard items of any of the current close-up journals. Contact Marv for further details. His address is P.O. Box 470025, Broadview Heights, OH 44147-0025
It’s Not Magic, But… Often, when a magician is performing in a close-up situation, he will hear a layman say, “Boy, I sure wouldn’t want to play cards with you.” This comment is usually interpreted as a statement of admiration for the magician’s card handling ability. I believe it is actually an expression of the spectator’s heartfelt hope that he will never have to spend any major amount of time with the magician in a social situation. However, if the subject of gambling (and especially Las Vegas) comes up in the conversion it would be a good thing to be able to speak knowledgeably on the subject. David Malek sent along a book which will allow you to do just that. It’s called The 101 Most Asked Questions About Las Vegas and Casino Gambling and the author is George Joseph, Director of Surveillance for Bally Corporation and hand-mucker extraordinaire.
This is a very entertaining book, and in it you’ll find the answers to questions which laymen will often ask you. For example: “Can the dealer make the ball land in any number they want on a roulette wheel?”; “Can slot machines be hot or cold?”; “Do casinos cheat customers?”; “What is the dead man’ hand?”; “Do cheaters get beat up by casinos?; “What does 86’d mean?”; “What happens if the dealer makes a mistake?”; “What is the black book?”; “What is the eye in the sky?”; “What is the most money ever won or lost at a casino?”; and the most important question of all “Why is the carpet in most casinos so ugly?” I liked this book a lot. It’s an easy read, and if you go through it a few times you’ll sound like you know what you’re talking about if a layman asks you some gambling questions. You’ll also find a lot patter possibilities as well. Check it out.
Details “Zero Gravity” by Mike Bent. Eight single sided pages. 8.5 x 11, side stapled. $20. From Hank Lee’s Magic Factory, P.O. Box 789, Medford, MA 02155 The Self-Levitation Video. $12.50 (PAL format $17.50). Postage is $3 for US, Canada, and overseas surface; overseas air add $7.50. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Max Maven’s VideoMind - Three Volumes. Each video $29.95. $84.95 for the set of three. Free postage and handling in US and Canada. Overseas orders add $7.50 for surface postage. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Effortless Card Magic by Peter Duffie. 8.5 x 11 hardcover with glossy dustjacket. 164 pages. $35. Domestic and foreign surface postage free. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Dai Vernon’s Symphony of the Rings by Lewis Ganson. 5.5 x 8.5 softcover. 26 pages. $10. Free postage and handling in US and Canada. Overseas orders add $2 for surface postage. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Growing in the Art of Magic: The Book. 45 pages. $15 plus $2 p&h. “Thought Sender.” $20 plus $3 p&h. “Shotglass Surprise.” $40 plus $4 p&h. All three items from Eugene Burger, 1260 North Dearborn Parkway, #105, Chicago, IL 60610 “The Perfect Clip Board” by Roy Oron and Guy Bavli. $89 plus $12.50 p&h. From Guy Bavli’s ProMagic, P.O. Box 20641, Tel Aviv, 61204 Israel “Signed Bill in Pen.” $35 plus $3 p&h.
“The Animated Wand.” $20 plus $3 p&h. Both from John Cornelius. 430 Elmwood, San Antonio, TX 78212 Commercial Carney by John Carney. $38 postpaid.$50 postpaid for PAL. (Checks for foreign orders must be drawn on US bank. California residents add sales tax.) From Catman Press, 13134 Valleyheart Dr., #3, Studio City, CA 91604-1932 “Three Ropes and a Baby” by Richard Sanders. $14.75 plus $2.50 p&h. “Picture This!” by Richard Sanders. $12.50 plus $2 p&h. Both from Camirand Academy of Magic, P.O. Box 269, Succ. A, Longueuil, QC, Canada J4H 3X6 A Price Guide to Books: 1639 - 1990 compiled by Michael Canick. 192 pages. 8.5 x 11 plastic comb bound. $45 plus $3.50 domestic p&h. From Michael Canick, 80 East 11th Street, Room 430, New York, NY 10003 The 101 Most Asked Questions About Las Vegas and Casino Gambling by George Joseph. 6 x 9 softcover. 186 pages. $17.95 postpaid. From David Malek, P.O. Box 15572, Newport Beach, CA 92659
September 1997 Odds and Ends It’s fall housecleaning time here at the reviewer’s desk. I’ve got fifteen items to discuss this month, so you’ll notice that the reviews are a bit shorter. I’m also starting a new, semi-regular feature called “From the Horse’s Mouth.” You’ll find it near the end of the column. I hope you had a good summer. In a few hours I’m off to Colon, Michigan to perform at this year’s Abbott’s Get-Together. Speaking of conventions, on behalf of Aldo Colombini, Fukai, Joe Givan, Paul Green, and Lupe, I’d like to thank Carey Lauder for his glowing review of the IBM close-up shows (see last month’s MAGIC). It makes all the hard work worthwhile.
Simon Says By Simon Lovell Simon Lovell is a wild-and-crazy transplanted Brit who lives in a sleepy village in Connecticut with his patient and charming wife Kat, and a 900 pound feline named Harry. Simon has made many convention appearances, is an often-heard contributor to cyberspace chatter, and for several years has authored a column for Jim Sisti’s magazine The Magic Menu. But his main gig is to work for real people in restaurants, bars, and hospitality suites. Simon Says is the first large, hardbound collection of routines from his professional repertoire, and it contains some excellent, commercial material. The book begins with a section titled “The Thoughts of Chairman Lovell” which consists of seven essays discussing various aspects of performing close-up magic in the real world. I appreciate the fact that the viewpoints Simon offers are couched as suggestions rather than commandments. This section contains Simon’s thoughts on approaching tables, opening and closing ploys, routining, resetting, tips, and flukes. There is also a fascinating discussion on the subject of invading the spectator’s comfort zone. You’ll find much of value in this opening section. The 50 routines, gags, and bits of business which comprise the body of the book are divided into five sections. The majority of the effects explained are card routines. Simon includes all his patter, as well as giving you the psychology and theory behind each effect. In other words, you’re getting the “why” as well as the “how.” When a working pro tips this work, I sit up and take notice, because this is the type of information that I can apply to my own routines. Even if you choose not to incorporate any of the routines into your own repertoire, there is much to gain here.
Sixteen routines are gathered in the chapter titled “Openers, Middlers, and Closers.” These are routines suitable for walk-around, table, or parlor situations, and none of them require difficult sleight-of-hand. Included are “Fingered Number Three,” and “Fingered Number Four,” which combine to form a very effective opening routine; “Another Departed Point,” which effectively melds two Elmsley plots; “Sleight of Mouth,” a handling for the venerable Card in Mouth effect (Note: even if you don’t care for this effect, be sure to take a look at Simon’s method for folding a card.); and “Who Killed Lilly Longlegs?” a fun (and apparently improvised) version of “Diamond Jack.” The next chapter contains nine routines which require that the performer be seated. Actually, that’s not completely true, because my two favorites - “The Lemming Ace Exchange” (which is based on a wonderful and little-known effect of Roy Walton) and Morley Budden’s “Pyramid Power” - can be done standing. They do require a performing surface, however. Ten effects using gaffed cards are explained in Chapter Four. “Hyperpoke,” “Heartless,” and “Flashburn 2” are three which particularly appealed to me. One nice aspect of these routines is that even though they use gaffs, they are designed to reset quickly. This is the hallmark of a real-world routine. Up till now, Simon has kept the digital work to a minimum, but the 11 routines in Chapter Five will require you to put in some practice time. Be sure to take a look at “Elmsley Cut Elmsley,” which is Simon’s handling of the classic “Diamond Cut Diamond” effect. Included in the description of this trick is Simon’s handling of the Push-off Second Deal. Simon does beautiful dealing work, and he gives you all the details here. If you put in the necessary time, you’ll add a very useful sleight to your arsenal. The final chapter is titled “Gags, Stunts, and Other Bits!,” and the title pretty much says it all. Included here is one of Simon’s trademark bits, the “Pen through Tongue.” I also liked the “Self-Writing Pen,” “Sebastian, the Mind-Reading Chicken,” and “Any Dog Called For!” Be aware, however, that you must use discretion as to when to perform some of these bits. In a bar situation, they would be hilarious. Simon did the writing, Jim Sisti edited the book, and Hannah Ammar did the excellent illustrations. If you enjoy card magic, and you’re looking for routines that will get the money, this book should be in your library. Highly recommended.
The Card Magic of Nick Trost By Nick Trost Younger readers of this magazine may not know who Nick Trost is, so let me take a moment to bring everybody up to speed. Mr. Trost is an extremely prolific creator of simple, but effective card routines. For 33 years (from 1961 through 1994) he had a monthly column in The New Tops magazine, and during this period he marketed a great
number of card effects, many of which became hugely popular. L&L Publishing has released a retrospective of Mr. Trost’s work, containing not only his original creations, but variations of these effects by his friends and colleagues. Of the 122 items in the book, 100 have been previously published. These routines have been revised and rewritten for this volume. Twenty-two routines are previously unpublished. The book is divided into 17 chapters, each chapter containing effects which are thematically related. Included are Coincidences, Four Ace routines, Gambling Tricks, Poker Deals, Predictions, Spelling Tricks, Reversed Card Effects, Packet Tricks, SpecialDeck Gambling Effects, and effects using ESP cards. At the end of the book is a useful Appendix which explains 20 basic moves (Biddle Move, Braue Addition, Braue Reversal, Elmsley Count, Flushtration Count, etc.) which are used in the routines. If you are new to card magic, this Appendix is a very handy addition. There is a ton of material here, and it is uniformly good. Some of these routines have become showpieces for well-known performers. (Rick Johnsson, for example, always used “Horserace” as part of his close-up show. I remember this vividly, because Rick incited his audience to pandemonium, and I often found myself competing against this wall of noise in an adjoining close-up room.) “Eight Card Brainwave” and “Jumbo TwoWay Split” were two very popular marketed items. In Part III of his series “The Ten-Card Deal: An Investigation,” (see MAGIC, March 1994) Bob Farmer selected Mr. Trost’s routine “Showdown” as one of the six all-time greatest routines for the Ten-Card Deal. Many of the routines in this book were great favorites of Stewart Judah. As you can see, there’s top-notch material here. For newcomers to card magic, this book is a must-buy. (In fact, if you were to own this book, Duffie’s Effortless Card Magic, Steve Beam’s two volumes of Semi-Automatic Card Tricks, and Phil Goldstein’s Focus, you would have enough simple, effective card magic to last you the rest of your life.) More experienced card workers will find the routines in this book to be a fertile field for experimentation and variation. Highly recommended.
Weird Stuff From The Amazing Jonathan You have probably seen the ads for this magic kit in the past few issues of MAGIC. You were probably intrigued; I know I was. And you probably asked yourself, “What the heck is in a magic kit that costs $100?” Well, now I know, and in a couple of moments, you’ll know, too. In a letter which comes with the kit (addressed to “Dear Weird Customer”) the Amazing Jonathan (hereafter known as A.J.) explains why he decided to produce his own magic kit. He gives two reasons. The first: “I felt it would be great to have my name on the first Magic Set that didn’t include the same old tired tricks that have been included in ALL
magic sets in the past 50 years.” The second reason: “To make money.” A.J. decided which effects would be included, manufactured many of them himself, directed, edited, and starred in the companion video, and wrote and produced the companion manual. He feels that the cost-to-market ratio is in line with those sets which contain cheap plastic tricks (Ball & Vase, Cups and Balls, Sponge Bunnies, etc.), and that you would pay about $150 if you were to purchase each of the props individually. So, what do you get for your $100? The kit contains: a thumb tip, an 8.5 inch square red silk, five (5.75 inch) square sheets of dental dam, a jar of slush powder, a needle to do “Needle Through Arm,” a gaffed Rubik’s Cube (which allows you to do the effect of instantly solving the cube), a gimmicked Sharpie marker which allows you to do a practical joke, a rubber tongue (for “Pen Through Tongue”), some blue-tac, an ungaffed deck of playing cards, a rubber spider (to secretly attach the back of a spectator’s hand ala “The Web”), a 60 minute video tape in which A.J. explains all the tricks, and a small spiral bound manual which also explains the material. The video and manual explain 25 tricks which can be done with the props provided. The card tricks which are explained are, but for one notable exception, the standard ones which have been exposed countless times in beginner’s books (a simple four ace revelation, a one-ahead card prediction, an ambitious card effect using similar pairs of cards, and the classic “Call the Wizard” phone effect). Unfortunately, also explained is a basic version of “Card Warp.” I’m not sure why A.J. decided to include this trick. I wish he hadn’t. The video has some funny moments, but for the most part A.J. just demonstrates and explains the material. The manual is also easy to understand. And the tricks are very nicely packaged. A.J. also pledges to handle all questions and problems promptly, preferably via email. So, do you need this? I have no idea. But now you know what you’re getting.
Marc Paul Lecture Video By Marc Paul New from Dynamic fx Limited is this 60 minute video featuring clever stand-up/close-up magician Marc Paul. The video was shot live at a lecture Marc gave at the Hen and Chickens Theatre in London. Because this was a live shoot, the video suffers from some lighting and distance problems. Two cameras were used, however, and there was nothing which was unclear. The emphasis is on close-up and mentalism, and most of the routines use a deck of cards. Marc does a fine job performing and explaining the material. Marc begins by explaining a card routine which he regularly uses as his opening routine. While there is nothing new as far as techniques are concerned, Marc explains his (very valid) reasons for using this routine. Other card effects include: the “New Encore Card Stab,” which uses a familiar stratagem in a clever way; “The Miracle Pack,” which allows you to locate a mentally selected card; “Universal Consciousness vs. the
Individual,” which combines some tough sleight-of-hand with a gaff to produce an impressive “card at any number routine”; and “Secrets Monte,” a three card monte routine which uses a Michael Weber concept to add a strong kicker ending. The cards necessary for this routine are provided with the tape. The non-card item in the lecture is quite strong. This is a Linking Finger Ring routine which does not use a Himber ring. The routine uses a simple gaff combined with a marvelous visual scam to produce an excellent result. This routine cannot be used in all situations, but if the conditions were right, it would be a killer. The tape concludes with a demonstration and explanation of the techniques of dice stacking. If you’ve ever wanted to learn this, you’ll probably find that the information given here is helpful. I enjoyed this tape a lot. The downside, unfortunately, is the price. An NTSC version will cost you 30 pounds, which at current exchange rates is about $50. That’s kind of high for a 60-minute video.
The B*M*K Wallet By Anthony Miller Tony Miller sent along this very nice prop, which allows you to do several different card in wallet routines. The wallet is made of black lambskin, and, when folded in half, is about 4.25 inches wide and 7.5 inches long. The wallet is gaffed in two ways. The left hand side of the wallet has a zippered compartment and is designed to be a “top loader” in the manner of a Kaps/Balducci wallet. The necessary slide has been concealed in a clever way. (You should be aware that, because of the size of the wallet, you couldn’t fit a small letter-sized envelope into the zippered compartment. If you want the card to appear inside an envelope, then you’ll have to use a pay envelope.) The right hand side of the wallet contains a second wallet (actually, it resembles a checkbook cover) which is gaffed in the manner of a Mullica wallet. Tony has made a clever addition to the Mullica gaff which allows you to toss the inner wallet out onto the table before the wallet is opened and the card is withdrawn. (Incidentally, Tony is using the Mullica concept with the permission of Jerry Mentzer, who owns the rights to the Mullica wallet.) In addition to the wallet, you receive a 12 page illustrated instruction book which completely describes the working of the wallet. Also included are two commercial routines, none of which require that you palm any cards. I’m impressed with this prop. It works well and looks great. If you’re in the market for a “card to wallet” wallet, the “B*M*K Wallet” is worth your serious consideration.
Aces in Their Faces By Bob Kohler
If you attended the Desert Magic Seminar earlier this year, you may have seen a fellow sitting on the floor frying everyone in sight with a remarkable four ace assembly. That fellow was Bob Kohler, and “Aces in Their Faces” is the routine he was performing. The Kohler routine uses an interesting set of gaffed cards originally created by Burling Hull. These cards allow very clean “shows” of the backs and faces of the cards and make the subsequent vanishes quite astounding. Bob’s cards were printed by the U.S. Playing Card Company, consequently they feel and look exactly like real cards. In addition to the three gaffs, you receive a very nicely printed 16-page instruction manual, illustrated with 15 photographs. Bob has eliminated all the hard work, and the routine is virtually sleightless. In addition, at the end of the routine you are reset and ready to perform again. Bob has several versions of this routine, some of which require more sleight-of-hand ability. These routines will appear on a video which will be released in the near future. I highly recommend, “Aces in Their Faces.” Even if you don’t do the routine Bob provides, it’s great to have a genuinely printed set of these cards. (By the way, Bob was not the first to develop a four ace routine using the Burling Hull gaffs. Although not mentioned in the instructions, Ed Marlo had a version called “Marlo’s Aces” which was published in the December 1965 issue of The New Tops. If you’re interested, you should be able to find it in M.I.N.T Volume 1.)
Magic Shoes World’s Greatest Card Trick By Bill Goldman Bill Goldman is one of country’s busiest trade show magicians. He’s also an occasional contributor to this magazine. (Check out the hilarious “Who Am I To Disagree” in the April 1997 issue.) Every now and then, Bill will share with us one of the routines that he uses for real people. (For example, the amazing trick “Monkey in the Middle.”) Bill has released two new routines, and while neither is earth shaking from a methodological viewpoint, they both provide great opportunities for those performers who place an emphasis on presentation and audience interaction. “Magic Shoes” is a simple prediction trick based on an old and familiar principle. The magician shows three small, laminated pieces of cardboard (each is 3.5 inches square). Each piece of cardboard bears the picture of an interesting pair of shoes. The performer tells a story about each of the pairs of shoes, and a spectator chooses one of pairs. The magician shows that he has accurately predicted which pair of shoes the spectator will choose. In “The World’s Greatest Card Trick,” the magician has a card selected. He then reads off some silly instructions on the back of a large plastic card. (The card is 5.5 x 8.5, and the front of the card says “World’s Greatest Card Trick.”) The card is eventually revealed
in an amusing and surprising way. (To be fair to Bill, I’m being intentionally vague about exactly what happens.) As I mentioned above, if you’re looking for new and interesting methods, you won’t find them here. But if you’re looking for real world material, both of these routines are well worth checking out. The props are sturdy and will last a long time, and both routines are reasonably priced.
The MagiCard By Mark Jenest This is a clever idea. Mark Jenest has created a credit card which allows you to perform five simple magic tricks. For example: A spectator freely (?!) decides on a country in the world and an animal. The credit card is turned over. It is from the First National Bank of Denmark, and bears a picture of an elephant. Another example: A spectator randomly (?!) generates a four digit number. It matches the date on the credit card. The effects are simple to do, they’re fun, and they’re funny. You’re provided with a very realistic looking credit card (which should last you forever) and a very clearly written set of instructions. I immediately stuck my “MagiCard” in my wallet. I bet you’re going to do the same. Recommended.
Wild Hand By Bob Miller One of the drawbacks of most “Wild Card” type routines is that they require some type of performing surface. Bob Miller has come up with a nice handling which keeps the cards in the magician’s hands at all times. This makes the trick practical for walk-around situations. The cards are gaffed in such a way that you can casually flash a lot of backs, and the routine is simple enough that little card handling ability is required. The recently revised instructions contain 36 illustrations which take you through every step of the routine. If you’ve wanted to add a “Wild Card” routine to your repertoire, “Wild Hand” is definitely worth checking out.
Hard 8 By Todd Theman Roger Klause does a remarkable barehanded vanish of a pair of dice. It is completely impromptu, and requires no gaffs. You hear Roger shake the dice in his hand. He opens his hand and the dice are gone. It’s amazing. Roger is able to accomplish this effect because his skeletal structure was altered when aliens abducted him many years ago. Thanks to Todd Theman, you can duplicate this
effect without the need to spend lonely late night vigils in remote farm pastures waiting for the flashing lights to appear overhead. “Hard 8” can be performed in short sleeves or long sleeves. The gaff is well made and should last you forever. There is a small amount of sleight-of-hand involved, but a wellwritten eight-page booklet explains all the work (a few illustrations would have been a nice idea). This is a good trick for walk-around situations, because it resets immediately and does not require a table. I liked this a lot, and I’m already thinking about applying the idea to other applications.
The Amazing Miniature Card Sticker Book By Jeff Brown Here’s another good idea. Jeff provides you with 56 miniature playing cards (the regular deck of 52, two jokers, and a red and a blue back) printed on a sheet of sticky-back paper. You’ll need to cut out the cards to use them, but before you do that, Jeff suggests that you head to the print shop and make color copies of the sheet. In addition to the sheet of cards, you also get an 18-page manuscript containing 200 ideas for how to use the miniature cards. I’m sure you’ll find plenty of uses for these cards; I know I did.
Slurp By Mark Parker Here’s the effect of this close-up trick: The magician shows a packet of cards which bear the picture of a full glass of red wine. A spectator initials the top card of the stack. The performer removes the card (face down) and visibly squeezes the wine from the card into a glass. The card is turned over; the wine glass is empty, but it still bears the spectators initials. Obviously, what we have here is yet another variation of “Out to Lunch.” The selling point of this version is the production of the liquid. The gaff which allows you to do this is practical, but you need to know that the liquid does not pour out of the gaff, it squirts out of the gaff. To me, this does not quite jive with how a wine glass works. However, this may not bother you. But I can think of other applications for the gaff, and perhaps you can, too. Bottom line: I think this trick is worth your consideration, especially because it is possible to use the gaff in other situations.
Nothing Up My (Green) Sleeves By Paul Green Paul Green is a busy corporate magician, and is also a regular columnist for The Magic Menu. In this 28-page set of notes, he explains seven routines from his professional repertoire. Included are: “One More Chance,” a prediction effect with a huge, funny build-up (the only problem I see with a trick like this is if after the long, long build-up the
trick should fail - but I’m sure that never happens); “Above, Beside, or Below,” a handling for Larry Jennings’ excellent “Peripatetic Coins”; “Cutting the Competition,” a very commercial use of an old trick called “Bi-Kolar Kut”; “The Pygmy Paddle,” which is a routine using a restaurant swizzle stick; “It’s Amazing,” which allows the spectator to become a mind reader; “Everyone In - Poker,” a routine which combines the “Vernon Poker Demonstration” and Michael Skinner’s “Overhand Power Poker”; and “Thanks,” a commercial routine which gives the assisting spectator a personalized souvenir. This is commercial and practical material. Although these are lecture notes, the material is well explained and even if you haven’t had the chance to see Paul’s lecture, you’ll be able to learn the material from the written explanations.
The Haunted House Handbooks By Shawne Baines Halloween is just around the corner. A staple of this holiday is the Haunted House, usually put on by a local civic group. If you are ever involved in designing such a project, you’ll find the four volumes of The Haunted House Handbooks are a valuable resource. Shawne Baines offers a ton of information for designing and building the various rooms of a Haunted House. All the ideas are practical and fun. The four booklets total 170 pages. The production values are minimal, but everything is understandable. If you ever were called on to help haunt a house, these would be good books to have in your library.
From the Horse’s Mouth Department We’re in the age of huge magic books. Every 45 days we get hit with one or two big books which contain 50 to 100 routines. How do we get through all this material? Where do we start? What’s the really good stuff? Because of the overwhelming amount of material are we missing some real gems? I sympathize with you. So I thought, “Why not go straight to the authors and ask them?” And that’s what I did. I’ve contacted several of the authors of books recently reviewed in this column and asked them to pick out five routines which were a) either personal favorites; or b) routines which might be overlooked by the casual reader. Each month I’ll list five hot routines which come to you straight from the horse’s mouth. For our opening installment I emailed that diabolical Scotsman Peter Duffie and asked for his five picks from Effortless Card Magic. He offered the following: “When Random Cards Collide!” (page 19): “Lie Stebbins” ( and “Lie Stebbins Plus!”) (pages 51-55); “The Magnet” (page 96); “A Popular Misconception” (page 150); and “Hofzinser by Stealth” (page 139). And as a bonus, here’s Peter’s five picks from his 1995 book Duffie’s Card Compulsions: “Judas Shuffle” (pages 167-169); “Just for Starters” (page 56); “Aces at Once” (page 64); “The Lucky Ten” (page 53); and “Sleuthsayers” (page 136).
It’s Not Magic, But… Here’s a September story: I turned 28 on September 15, 1980. I don’t mind birthdays, and most of them have been fun. This particular birthday was a sad one. William John Evans had died that day. The jazz world knew him as Bill Evans, and he was one of the most influential pianists in the history of jazz. Even though he’s been gone for 17 years, his legacy continues and his music continues to be a vital part of the jazz scene. There are no Evans biographies available (one is due out next year), but there is an excellent reminiscence by Gene Lees in the book Meet Me at Jim & Andy’s: Jazz Musicians and Their World (ISBN 0195065808, $10.95; you can get a copy at www.amazon.com). This book contains portraits of several jazz musicians, including Woody Herman, Paul Desmond, Billy Taylor, and Frank Rossolino. The stories are fascinating and often heartbreaking. There is an excellent Bill Evans website at www.34skid.com/lfehome.htm. The site is run by bassist Win Hinkle, and available there are all the back issues of a newsletter called Letter from Evans. The newsletter contains reviews, interviews, stories, and transcriptions of some of Evans’ solos. It’s excellent. If you’ve never listened to Bill Evans, you might start with my favorite Evans album titled You Must Believe in Spring. There are a lot of Evans compact discs available, and several large collections have been recently released, including all the material recorded for Verve records and the complete recordings from the last Village Vanguard sessions. So, my birthday this year will be fun, but somewhat bittersweet, and I’ll spend a portion of it (as I’ve done for past 17 years) listening to Bill Evans.
Details Simon Says by Simon Lovell. 8.5 x 11 hard cover with glossy dust jacket. 264 pages. $45 postpaid in US and Canada. From L&L Publishing, Box 100, Tahoma, CA 96142 The Card Magic of Nick Trost by Nick Trost. 6 x 9 hard cover with glossy dust jacket. 336 pages. $40 postpaid in US and Canada. From L&L Publishing, Box 100, Tahoma, CA 96142 Weird Stuff from The Amazing Jonathan. $100 postpaid. Address orders to “Weird Stuff,” P.O. Box 10462, Marina Del Rey, CA 90295
Marc Paul Lecture Video by Marc Paul. 30 pounds Sterling (NTSC), 25 pounds Sterling (PAL) postpaid. From Dynamic Fx Limited, Herts., Business Centre, Alexander Road, London Colney, AL2 1JG, UK “The B*M*K Wallet” by Anthony Miller. $69.95 postpaid. From Anthony Miller, 1157 Eastfield Road, Worthington, OH 43085 “Aces in Their Faces” by Bob Kohler. $15 postpaid. From Bob Kohler, 2244 Armacost Dr., Green Valley, NV 89014 “Magic Shoes,” $12 plus $2 p&h (foreign orders add $4 for p&h). “World’s Greatest Card Trick,” $10 plus $2 p&h (foreign orders add $4 for p&h). Both from Bill Goldman, P.O. Box 36, Clarendon Hills, IL 60559 “The MagiCard” by Mark Jenest. $10 plus $1 p&h (overseas add $3). From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 “Wild Hand” by Bob Miller. $10 postpaid. From Bob Miller, 29 Eighth Street N.E., Rochester, MN 55906 “Hard 8” by Todd Theman. $24.99 postpaid. From L.A. Magic, 10122 Topanga Canyon Boulevard, Chatsworth CA 91311 The Amazing Minature Card Sticker Book by Jeff Brown. $9.95 postpaid. From Jeff Brown, 135 West Second Street, Juneau, AK 99801 “Slurp” by Mark Parker. $20. Available from most dealers. Nothing Up My (Green) Sleeves by Paul Green. $12.50 postpaid. From Paul Green, 12569 Bradford Place, Granada Hills, CA 91344 The Haunted House Handbooks by Shawne Baines. $20 postpaid for all four booklets (add $5 for foreign p&h). From Brains of Baines Productions, Dept. M, Box 939, Knightdale, NC 27545
October 1997 “…An Occult Hand…” We’re entering the season of ghosts, goblins, and things that go bump in the night. Normally I don’t put much stock into paranormal phenomena, but a very odd thing happened as I was trying to organize material for this month’s column. Because I am an enormously disorganized person, I need my everyday life to be as calm as possible when I sit down to write the reviews. My home was far from calm this month. It was as if an occult hand had reached out and touched all of the animals in my house, causing them to forget that they had ever been housebroken. Pandemonium ensued. The animals were completely disoriented, and most distraught of all was my wife, who had very nearly reached the decision to harvest all our creatures for their meat and fur. Fortunately, in 48 hours everything had quieted down, and the animals had recalled that the living room carpet was not a litter box. In fact, the only one having any problems now is me. Another odd occurrence this month is the selection of books which crossed the reviewer’s deck. Each of the five is devoted to a singular aspect of magic performance. And each of the five is excellent and worth your consideration. By the way, I should mention that I had a great time at the Abbott’ Get-Together this year, although the second-hand smoke festival held at the Legion Hall got to be a little overwhelming. My thanks to Greg Bordner and his crew.
The Six-Hour Memorized Deck By Martin Joyal Memorized deck is a very hot subject these days. The Internet is buzzing with questions concerning which stack to use, the best method for memorization, and which books and videos contain the strongest effects. This heightened interest is due to the fact that many of the practitioners of this artifice have been more open in demonstrating to other magicians the powerful effects possible with a memorized deck. As with the current selflevitation craze, everybody wants to jump on the bandwagon. However, unlike the self-levitations, memorized deck work requires a pretty serious jump, and most magicians are, thankfully, unwilling to pay the price. Most stacks require that the student learn through the use of a mnemonic system, associating each number from 1 to 52 and each of the 52 playing with a mnemonic “word.” After these associations are learned, each “card word” and its associated “stack number word” are combined to form a vivid image. This is done for all 52 cards. To determine the stack number of a card, its “mnemonic word” is recalled, the image association is made, and
the “number word” is translated back into digits. A similar procedure is used to determine a card given its stack number. Eventually, the mnemonic system falls away, and you simply “know” the stack. From this point on, how good you get with the stack depends on how much time you spend with the deck in your hands. For most magicians, the demands of the mnemonic system are too overwhelming. An alternative is a stack based on calculation; that is, the position of each card in the stack can be calculated using a mathematical formula. A drawback to this approach is that unless the performer does his calculating extremely quickly, the audience may discern that “something” odd is going on. Another approach is to memorize the position of each card using a set of “rules” rather than mnemonic associations, and it is to this end that Martin Joyal offers the magic fraternity The Six-Hour Memorized Deck. Mr. Joyal has constructed a stack which appears to be in a completely random order, but which has been constructed using 14 rules which allow the performer to quickly recall either the stack number of a named card, or the card which falls at any given number. In this 240 page book Mr. Joyal not only completely explains the construction and the rules of his stack, but he offers an extremely interesting overview of stacked decks in general, and he details several effects to which his stack (or any other memorized stack) can be put to use. The book begins with an explanation of the differences between a “stack,” a “system,” and a “memorized stack.” These definitions are followed by three chapters which give overviews of stacks, systems, and memorized stacks. The information presented here is valuable and extremely interesting. Of special note are several tables which compare the various stacks and systems. Next, Mr. Joyal presents an overview of his stack, and he explains the difference between memorization using mnemonics and memorization using rules. Also presented here are some basic suggestions on how to practice memorizing the deck. This is followed by a chapter presenting the actual rules and how apply them. (Actually, there are two chapters presenting the rules. Mr. Joyal gives you the option of learning the stack using either “CHaSeD” or “SHoCkeD” order.) The rules are given in increasing order of complexity, allowing the student to absorb the easier rules before moving on to rules which are less intuitive. The information is extremely well presented, and I could certainly see that a dedicated student could become comfortable with the stack in the advertised six hours. To conclude his exposition of the stack, Mr. Joyal offers ways in which the stack can be altered to fit personal preference. In a chapter titled “Mesmerizing with the Stack,” Mr. Joyal presents eight memorized deck effects. To be honest, I was less than knocked out by these tricks, and there are two reasons why: 1) the stack is destroyed during the course of each trick, which makes them impractical for real world work; and 2) most of the tricks require mental mathematical calculation in order to find a spectator’s selected card. For example, in one routine you
must calculate the number of cards cut off by a spectator. This you find by the following formula: B=T-A-C-D-1. The number derived from this calculation is used in another calculation to determine the actual selected card. This is simply not my cup of tea. However, the effects are clever, and they may be exactly the kind of thing you’re looking for. The book concludes with two appendices (one which discusses the genesis of the Joyal stack, and the other which tackles the interesting problem of determining how “shuffled” a deck of cards really is) and a very thorough bibliography. The appendices were fascinating, and the bibliography is a very useful reference. So, you want to add memorized deck miracles to your repertoire. Should you buy this book and learn the Joyal stack? That’s a hard question to answer. Let me give you a couple of things to think about. Whether you use rules or you use mnemonics, the goal is exactly the same: the complete, instantaneous knowledge of the position of any card in the deck. My belief is that for memorized deck work to have any impact you have to know the deck “cold.” Rules and mnemonics will only get you part way there; time and commitment will bring the rest. Mastery will not come in six hours, or in six months. Mr. Joyal’s method will allow you to recall the cards and their stack numbers with a minimum of effort, but this is not the same thing as being able to use this information to present baffling and entertaining card mysteries. My other point is this: getting proficient with memorized deck takes a lot of time and effort. You’re probably not going to learn more than one stack in your lifetime (although if Juan’s book ever sees the light of day I probably will learn a second stack). For this reason you may want to consider learning a stack which has a number of built in features: that is, there are some tricks already built into the stack. Simon Aronson’s stack contains a number of such features, several of which I use to great effect in my work. The Joyal stack does not contain any features of this nature, because the cards were organized according to easily remembered rules. I have found that there are some things about Simon’s stack that I wish were different, and at some point in time I may alter his stack to better suit my performing needs. If you are a novice in this area it will be difficult for you to decide exactly what your needs are, but it would behoove you to take a moment and think about how you want to use the memorized deck. This could save you a lot of time and trouble in the long run. The bottom line? The Six-Hour Memorized Deck is a fascinating book, and is valuable for its excellent overviews of the various systems and its thorough bibliography. Will I learn this stack? No. But if you’re looking for a stack, and built-in features are not a factor, then the Joyal stack is certainly worth your serious consideration.
Digital Effects - The Magic of Joe Mogar By Steve Beam
Steve “I still take my coffee black” Beam has gone quietly mad over thimbles. No, that’s not quite true; Steve has gone loudly mad over thimbles. He loves thimbles. He wants you love thimbles, too. And so he has written this encyclopedic book on the subject, with an emphasis on the creations of Joe Mogar. I remembered Mr. Mogar’s name from a routine called “Mogar’s Novelty Four Thimble Routine” which was published in M-U-M in 1968. Digital Effects is the first major compilation of his material. And what a compilation it is! 230 pages of vanishes, productions, color changes, flourishes, and full routines. In addition to Mr. Mogar’s material, you’ll find contributions from Edward Victor, Geoffrey Buckingham, Ed Burchell, Edward Lloyd Enoch, and the ubiquitous Mr. Beam. The book begins with an interesting introduction in which Steve discusses two big challenges in writing a book on such a specialized subject: 1) writing the material in an entertaining manner; and 2) developing patter and presentational hooks so the material would work for a talking performer. I will tell you that Steve has succeeded at both of these tasks. The explanations are clear, understandable, and enormously fun to read. And Steve has developed some very clever and commercial patter possibilities for many of the routines. In addition to the introduction, the first part of the book contains useful information on “The Care and Feeding of Thimbles,” and helpful hints on how to read and understand the technical descriptions. Next comes the material, and there’s a ton of it. I will confess that while I did read the book in its entirety, I only played with a few of the moves. (Steve was nice enough to send along some thimbles. You can order sets in various colors from him.) Be warned: there’s not a lot of instant gratification here. We’re talking thimble manipulation with the emphasis on the manipulation part. Steve’s writing and Angie Reynolds’ excellent illustrations make everything clear. The information is here. All you’ll need to do is put in the time. The last quarter of the book contains some fascinating information including “Sound Effects” (perfect for being the most obnoxious person in your peer group), “Sleeving,” “The Big Pocket,” “The Complete History of Thimble Magic,” and a fairly thorough suggested reading list. In addition, there is a chart called “The Routine Builder.” This chart lists over 60 items from the book and gives easy to see information on the type of effect, whether it requires a silk handkerchief, whether sleeving is involved, the number of visible thimbles at the beginning and end of the item, the total number of thimbles required, and the ending position of the thimbles (for example, “3 at fingertips, 1 in thumb palm”). This is a great idea, and it makes it much easier for the budding thimbleguy to construct an original routine. I should also mention that this book is geared toward the male reader. Steve goes to great lengths to make sure that no one feels a loss of masculinity as they tackle the material in this book, and to this end he has given many of the items very “butch” names like “Deep Squat Production,” “The Macho Vanish,” “The Belcher,” “Proctologist Vanish,” “The Death Vanish,” “The Drill,” and “The Testosterone Vanish”. (I wonder if female
magicians reading this book will feel an increase of their femininity? Perhaps not, since the ones I saw at the convention shows this summer all wore leather and chains and swung big swords. But I digress.) However, Steve also wants you to get in touch with your feminine side. In fact, he wants your feminine side to go out and get him a cup of coffee. He takes it black. (While writing this review, I got in touch with my feminine side. It’s now suing me for harassment. But I digress.) What else can I tell you? Digital Effects is fun to read and the material is top-notch. It has great value as a reference book, and for those of you interested in thimble magic it’s a must-buy. (By the way, I just got off the phone with Steve, and he mentioned that the routines in this book are designed to work with real thimbles, rather than the large, phoney thimbles that magicians often use. To save yourself some hassle, you may want to order a set from Steve. You get 7 thimbles for $8.)
Raising the Dead for Fun and Profit By Jim Magus The last quarter of the year provides work opportunities with seasonal themes. In last month’s review column I mentioned The Haunted House Handbooks, and this month I’d like to bring to your attention Jim Magus’ manuscript Raising the Dead for Fun and Profit, which is a handbook on how to design, market, and promote a Seance Party. This need not be a show which is geared only for the Halloween season, however, for Jim offers suggestions on making the Seance Party a year-round entertainment package. The Seance Party scenarios presented in this book are designed as one or two person portable entertainment vehicles which can be performed in a variety of venues, including a client’s home, a restaurant, a Bed-and-Breakfast, or a corporate hospitality room. Jim discusses several very important points which must be considered before designing your Seance Party. These include decisions concerning: your personal style; the purpose of the seance (are you providing a moving metaphysical experience, or do you just want to scare the crap out of your audience); will you work alone; who is the spirit you are attempting to contact; and why are you contacting them. Jim offers suggestions on how to set the mood for the seance, and gives what he calls “The Ghost Hunter’s Bag of Tricks” which includes various devices which can produce spirit manifestations. The next section of the book details marketing schemes, including print advertising, mailers, and the use of entertainment agencies. Explained here are several successful marketing approaches used by psychic entertainers in various parts of the country. If your desire is to make a Seance Party a viable part of entertaining career, you’ll find the information in this section to be extremely valuable. Jim then presents five seance scenarios. These are not fully detailed scripts, but are outlines which give you the general theme and approach of each seance. Jim explains all the gaffs necessary to perform each seance, and at the end of the book there is a bibliography and a list of suppliers which will allow you to find further information. The
purpose of the seance scenarios is to give you a feel for how a seance is structured, and the type of manifestations which can occur. Delivering an effective seance puts great demands on a performer, and anyone who has the theatrical skills necessary to do an effective job will want to structure and personalize a seance according to their own strengths. The seance scenarios give you the framework to do that. I think this is an excellent manuscript, and it will be of value to anyone wanting to perform this type of show. The production values are no great shakes, but what Jim is selling is information. Recommended.
Get Your Show on the Road by Keith Johnson
How to Make Money Performing in Schools by David Heflick I’m reviewing these two books together, because they compliment each other nicely. Keith Johnson’s Get Your Show on the Road focuses on how to mold the disparate elements of your repertoire into an effectively structured act. David Heflick’s How to Make Money Performing in Schools tells you how take that act and sell it to the school assembly market. Both books are very thorough, and are packed with information. Neither author is a magician (Johnson is a juggler, Heflick is a musician), but the advice they impart is applicable to any area of the performing arts. The basic premise of Keith Johnson’s book is that many performers have a body of repertoire which they can present in a competent manner, but few performers have a tightly structured act, an act which reflects the performer’s unique interests and style, and which projects a stage persona which enhances (rather than competes with) the performers personality. In 30 comprehensive chapters, Mr. Johnson discusses such subjects as the elements of a routine, your character and style, projecting your style, overcoming roadblocks, introducing your routine, building and maintaining interest, audience involvement, the high point of the routine, writing the script, recovering from mistakes, crowd control, and building the show. Johnson’s focus is developing shows for the family market, but the information he gives can be easily transferred to other types of performing markets. There is a chapter on marketing the show, but marketing is not the main thrust of this book, which is why the Helfick book makes such a nice companion volume The subtitle of How to Make Money Performing in Schools is “A Definitive Guide to Developing, Marketing, and Presenting School Assembly Programs,” and that subtitle pretty much says it all. In the first part of the book Mr. Heflick offers information on the school market, ingredients for a successful program, developing a program, marketing and promotion, paperwork, pre-show concerns, sound reinforcement, and program presentation. There is also a chapter which suggests a method for making $3000 a week touring schools. Included here are interviews with national arts-in-education authorities such as Larry Stein, Director of Program Development for Young Audiences, Inc., and
Dorothy Sasscer of Chamber Music America. The second part of the book gives specific strategies for instrumentals musicians, dramatic performers, dancers, singers, and speakers. Again, the information is geared for a particular market, but the suggestions and approaches could be easily applied to any venue. These are two terrific books, filled with the kind of information which can only be obtained through experience. They will save you time, and they can make you money. Both are highly recommended.
The Yellow and Green Lecture Notes By Peter Studebaker Peter Studebaker is an old pal of mine from Dallas, Texas. He is a funny guy and a terrific magician who spends most of his time working in the corporate market. In these two sets of lecture notes he offers some excellent material for the close-up and stand-up performer. The Yellow Notes contain four items including a fine handling for the torn and restored cigarette paper, a commercial handling of the “Universal Card” plot, and a hilarious gag using a borrowed cat. The Green Notes contain a flash production of money from lottery tickets, a streamlined handling of “Rollover Aces,” and a terrific gag with a spectator’s tie. Each set of notes is only six pages long, consequently the descriptions are terse. However, you will be able to perform the routines from the information given. There’s good stuff here. Check it out.
Working the Tables By David Drake David Drake is another old friend whom I first met years ago at one of Howard Lyons’ Ibidem Conventions. David is from Toronto, is often in attendance at Obie O’Brien’s 4F convention, and he has been performing close-up magic professionally for 25 years. In this manuscript he details 20 routines from his professional repertoire. The first two routines, “The Pill Trick” and “The Steel Balls,” were featured in David’s appearance at the 1972 I.B.M. convention in Buffalo. These routines require that the performer be seated, but they are the only two in the manuscript which impose this performing condition. Magic with cards and coins receive the main focus in this manuscript, although there also routines which use keys, balls, finger rings, a nut and bolt, and string. The explanations are clear, but the photographs seem to designed more for artistic effect than clarity. However, everything is understandable. At the end of the manuscript is a very useful glossary which explains the various sleights used. All the material is well within the abilities of the average close-up worker.
This is commercial material from the repertoire of a working pro, and it is certainly worth your consideration.
The Expert Card to Wallet By Randy Wakeman If you’re in the market for a “card to wallet” wallet, I’m going to make life a little more difficult for you. Randy Wakeman showed me his wallet at the Abbott’s Get-together in August, and it is a beautiful thing. Rather than modify an existing wallet, Randy had this one built from the ground up. It is made of very supple black leather, and is quite compact. The wallet measures 3.75 x 6.5 when folded in half. Because of its smaller size, the wallet does not protrude as far over the top of the inner breast pocket, and this makes the loading action look very natural. This is a LePaul style wallet, Randy uses the same loading method as in the “B*M*K Wallet” reviewed last month, and this method completely conceals the loading slit. The wallet works like a charm. Randy also includes a small, 10 page instruction booklet which details the workings of the wallet and three possible routines. These instructions are not illustrated. This is an excellent product, and I highly recommend it. It’s not cheap, but if you’re working, this prop should last you forever. (If you’re trying to decide between this wallet and the “B*M*K” wallet I can only help you by saying that your decision must be based on whether you want a smaller sized wallet, and whether having the Mullica wallet feature is important to you. Both wallets are top-notch.)
Clone Zone Ghost Flight Mind Master By Peter Duffie Fans of Peter Duffie will want to check out these three new tricks from the sneaky Scotsman. “Clone Zone” is a packet trick in which four double-blank cards temporarily take on the faces of four other cards. At the end of the trick the four of kind become blank faced as well. In “Ghost Flight,” each card of a four of a kind becomes completely blank when placed between two double-blank cards. The four of a kind appears beneath a piece of cardboard under a spectator’s hand. My favorite of the three is “Mind Master!” A spectator is given a small datebook. From a choice of over 60 names, a second spectator selects a husband and wife. A third spectator reads a letter which has been in full view of the audience. This letter predicts the day of the couple’s wedding. The datebook is opened to the predicted date. Listed against that date is the name of the couple selected by the second spectator. This reads a bit
confusing, but in performance the effect is pretty clear cut, and is a clever use of several familiar principles. Since the first two routines use gaffed cards, you will have to manage your audience appropriately. However, in the “Mind Master!” routine everything is examinable, making it an excellent trick for the real world.
Clipped The Emergency Card From Danny Archer Speaking of real world items, Danny Archer sent along two new, practical tricks. “Clipped” is a routine by John T. Sheets in which a paper clip instantaneously penetrates a business card. The clip is moved about, and the clip and card are given to the spectator in a permanently linked condition. This is a clever trick, and while it will require some practice in order to perform it smoothly and convincingly, it is not a difficult trick. Plus, you have the added bonus of handing out your business card in an impossible condition. “The Emergency Card” is completely self-working, as long as you can force a card. (No force is explained in the brief instructions.) A card is forced. The magician brings out the emergency card. It is the wrong card. This is unfolded to show a different card. Again, it is not the correct card. Unfolding again produces a third incorrect card. Once again the paper is unfolded showing all 52 cards. Finally, the paper is unfolded to its fullest extent, revealing a jumbo (8.5 x 11) image of the selected card. I’ve seen tricks like this before, but this version is a handy size (the folded paper is about 2 x 2.75), and you could carry it in your wallet. Both tricks are worth checking out.
MagicClips CD-ROM From Studio Aholiab Steve Husting sent along this CD-ROM filled with magic oriented clip-art. There are images designed for backgrounds, business cards, headings, and gospel magic. The images are provides as both TIFF and GIF files, and a browser is included which allows you to easily view the images. (Both the browser and the images are suitable for Mac or PC.) I had no problem whatsoever installing and using these images in both Microsoft Publisher and Microsoft Word. There are quite a variety of images to choose from. However, there’s always a problem when trying to review something of this nature, because it’s impossible for me to know the type of artwork you may be looking for. Fortunately, there are two easy solutions. You can visit Steve’s web site at
http://members.aol.com/shusting, or you can order the disk and get a 90-day money back guarantee. Either way you can’t lose.
From the Horse’s Mouth Here’s Doc Dixon’s top five picks from his recent book Everything’s Funnier with Monkeys: “pec deck,” page 63; “carpe cajones,” page 101; “reshuffled,” page 104; “pinky shift,” page 98; and “brad pit,” page88.
It’s Not Magic, But… Robert J. Lang has a new origami book out titled Origami in Action. The subtitle is “Paper Toys that Fly, Flap, Gobble, and Inflate,” and that just about tells you all you need to know. I’m always on the lookout for this type of origami model to use in my work. There are some really fun models here, including two wonderful musician models: a strumming guitarist and a fiddling bassist. Lang’s models can be extremely complex and difficult to fold, but most of the models in this book are fairly easy. (By the way, if anybody out there knows Mr. Lang, perhaps you can pass along this suggestion. I always thought it would be a clever idea to combine Mr. Lang’s moving human figures with Bob Neale’s “Bunny Bill.” The result would be an origami magician that pulls a rabbit out of a hat. Designing something like this is far beyond my creative abilities, but it may be of interest to someone out there.)
Details The Six-Hour Memorized Deck by Martin Joyal. 7 x 10 hardcover, full cloth, with dustjacket. 240 pages. $35 plus $3 p&h (overseas airmail add $10). From Hermetic Press, 1500 S.W. Trenton St., Seattle, WA 98106-2488 Digital Effects - The Magic of Joe Mogar by Steve Beam. 8.5 x 11 hardcover, with dustjacket. 230 pages. $40 plus $3 p&h (foreign airmail add $18). From Steve Beam, 407 Carrington Drive, Knightdale, NC 27545 Raising the Dead for Fun and Profit by Jim Magus. 8.5 x 11 plastic comb bound. 84 pages. $35 postpaid. From Magus Enterprises, P.O. Box 294, Lebanon, GA 30146 Get Your Show on the Road by Keith Johnson. 5.5 x 8.5 softcover. 224 pages. $25 postpaid in US. (Foreign orders add $5 for surface and $15 for airmail.) From Keith Johnson, 25 Wildwood Avenue, Providence, RI 02907-3419 How to Make Money Performing in Schools by David Heflick. 5.5 x 8.5 softcover. 190 pages. $18.95 plus $2 p&h. From Silcox Productions, P.O. Box 1407, Orient, WA 99160
The Yellow and Green Lecture Notes by Peter Studebaker. $10 each plus $2 p&h. From Peter Studebaker, P.O. Box 822981, Dallas, TX 75382 Working the Tables by David Drake. 8.5 x 11 staple bound. 38 pages. “The Expert Card to Wallet” by Randy Wakeman. $89.95 plus $3 p&h. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544 “Clone Zone,” $12. Available from L&L Publishing, Box 100, Tahoma, CA 96142. “Ghost Flight,” $12.50. “Mind Master,” $20. Both available from Hank Lee’s Magic Factory, P.O. Box 789, Medford, MA 02155 “Clipped” by John Sheets. $10 plus $1 p&h. “The Emergency Card.” $5 plus $1 p&h. Both from Danny Archer Magic, 303 South Broadway, Suite B-235, Denver, CO 80209 MagicClips CD-ROM by Steve Husting. $59 plus $3 p&h. From Studio Aholiab, P.O. Box 26193, Santa Anna, CA 92799-6193 Origami in Action by Robert J. Lang. 8.5 x 11 softbound. 157 pages. $15.95. From St. Martin’s Griffin. Available at most bookstores.
November 1997 OUCH!!! Every important activity in my life, whether it be a vocation or an avocation, involves the dexterous use of my fingers. Consequently, it was with some degree of surprise that I found myself standing in a checkout line at Wal-Mart, preparing to purchase two large containers of Ronson butane fuel. I was going to go home and play with fire, and I was going to do it for all of you. The review desk had received some requests to evaluate the current crop of “fire from the hand” devices, and I was going to honor those requests, even though I seriously considered passing off the assignment to somebody else, perhaps someone whose sleight-of-hand abilities would not be affected by the wearing of a large amount of cotton bandages. (For example, Bob Farmer.) But, I decided that this was the type of character building challenge that I needed to face, and so, armed with Hydrocortisone spray and a fire extinguisher, I descended to my basement, slapped an old Jose Feliciano record on the phonograph, and played around with Chappy Brazil’s “Hand Dragon,” Jim Pace’s “Inviso-Torch,” and Steve Sheraton’s “Inferno.” You’re probably familiar with older style fire production devices such as “Fickle Fire,” or the “Hot Wallet” or “Hot Book.” They use a large fiber “pad” which is soaked with lighter fluid and then ignited with a flint. They continue to burn until a “cover” is closed, which extinguishes the flame. With each of these devices, the you must dispose of the prop which produces the fire. (You can dispose of the book and the wallet openly, the “Fickle Fire” gaff must be ditched secretly.) The new generation of fire gimmicks is designed to be done barehanded, and the gaff disposes of itself, either up your sleeve or under your coat. In all three cases you must be wearing a coat in order to do the fire production. The “Hand Dragon” is geared toward the stand-up or stage performer. “Inviso-Torch” and “Inferno” can be used stand-up or close-up. (Important note! In order to describe the various features of these three products, I must in some degree explain how they work. I don’t want to completely “tip the gaffs,” so I will do this in a somewhat vague manner. Do not attempt to take this information and build a device for yourself! To do so would be very, very stupid. The creators of these devices have done the dangerous part in order to develop safe products. Support their efforts.) (Important note number 2! These devices are not toys! They are basically hand-held flamethrowers which are capable of causing injury and destruction. Read and study the instructions carefully, and don’t leave them where children could have access to them.) (Important note number 3! I would not use any of these devices in a public performance situation unless I was sure that my liability insurance would cover any accidents.)
The theory behind the working of all three of these devices is this: pressurized propane gas is directed to a flint mechanism via a rubber tube. The flint is struck which ignites the gas, producing a large flame. The flame is extinguished either by stopping the gas flow, or by releasing the rubber tubing which simultaneously shuts off the flow and distances the flame from the gas source. Unlike the “Fickle Fire” gimmick, these three devices should only be allowed to “flame up” for a few seconds at the most. Producing a flame of greater duration could result in injury to the performer or degradation of the prop. Chappy Brazil (inspired by John Kennedy’s “Flame-thrower Match”) released his “Hand Dragon” in 1989, and it is meant to duplicate the “Fickle Fire” effect; that is, fire appears from the magician’s palm-up hand. The flame appears perpendicular to the hose which directs the gas flow. The nozzle where the gas ignites is made of brass, and this nozzle can get hot, which is why Chappy suggests producing a short burst of flame. If ignited for too long a period of time, the nozzle could burn your arm when it is retracted. The device is worn under your jacket, and the tubing goes down your sleeve. The tubing itself has no elasticity, and it is retracted via a mechanical means. The gas flow is controlled by pressure of the left arm (assuming the device goes down your left sleeve). This is a rather bulky mechanism, but it allows you to use a small (about 3.5 inch) can of butane as the gas source. Because you control the flow of gas in real time, you can create a small flame which flares up into a large flame and then dies down and disappears. Using a can of butane allows you to produce several large flames during the course of your act without fear of running out of fuel. The unit is designed for left-handed use. (Chappy’s thinking here is that as the flame is produced in the left hand, the right hand steals or produces an object.) The “Inviso-Torch” and “Inferno” are much smaller units, consisting of a small gas source, a length of tubing, and the nozzle/flint mechanism. The “Inviso-Torch” is about a foot long, the “Inferno” is about 13 inches long. Curiously, both units are almost identical in design and construction. They differ mainly in the type of hose used, an aspect I will discuss in a moment. In both cases the nozzle is designed to be held at the fingertips, and the flame runs in the same direction as the hose (rather than perpendicularly as in the “Hand Dragon”). Stretching the elastic hose releases the flow of gas, and the gas is ignited by striking the flint. The flame is vanished by releasing the nozzle. This accomplishes two things: the release valve is closed, and the flame is pulled away from the combustion source and is extinguished. However, if the nozzle is not released quickly, it is possible for the nozzle to retract still lit. I guarantee that this will happen to you at least once when you’re playing with the device, and you will find yourself with a length of rubber hose with a fire at one end of it hanging by the side of your leg. The initial instinct is to panic. Don’t. The flame can be easily extinguished by patting it with your hand, or you can grab the hose and let it snap back quickly. (Concerning this aspect of these two props: Once you understand how these devices work you will always let them snap back quickly. But in learning how to use them you will probably make a mistake. Consequently, in the initial stages of learning, do not wear a
jacket! This allows you to easily correct a mistake and extinguish an errant flame. I found it curious that neither set of instructions addressed this simple safety tip.) As I mentioned, both these devices are almost identical in construction and operation. The gas chambers of both are identical. They are easily refillable. The size of the flame can be adjusted by manipulation of these chambers. (But the size of the flame cannot be changed in real time; in other words, you set the size of the flame before you start to perform.) Both units allow for easy flint replacement. The main difference is in the type of hose used. The “Inferno” uses a special hose made of synthetic elastomers which allow it withstand extremes of temperature and degradation caused by sunlight, ozone, butane and greases. Degradation of the hose could cause leakage, which could present a hazard. Since the “Inviso-Torch” and the “Inferno” are identical in design, I thought I should ask the inventors for the history of their creations. In a letter to me, Jim Pace explained that his development of the “Inviso-Torch” came from seeing Chappy Brazil’s “Hand Dragon” at the 1993 Desert Magic Seminar. Jim wanted to achieve the effect of a retractable fire source without the bulkiness of Chappy’s design. Jim tried several different designs, and the discovery of a serendipitous gas container made the final design possible. Jim released his “Inviso-Torch” in 1994. In an email message from Switzerland, Steve Sheraton explained that the basic idea for “Inferno” was shown to him in the mid 1980’s by an Austrian engineer/inventor who was a magic enthusiast. He gave Steve an “Inferno” prototype which Steve thought little about until last year, when Steve decided to become a magic marketer. Steve put “Inferno” on the market, but has been unable to track down the Austrian engineer who showed him the original idea. (Perhaps one of our readers might know of this gentleman. If so, perhaps he could contact Steve or MAGIC.) Is this a case of coincidental independent invention? That’s for you to decide, I’m just a reviewer. “Inviso-Torch” was released in 1994, “Inferno” came out in 1996. One thing I would like to see with all three props is a better set of instructions. Considering the potential danger of using these devices, I think that the users deserve more than a single sheet of paper. (The “Hand Dragon” instructions are printed on two sides of a single sheet of paper. There are two illustrations. The “Inviso-Torch” instructions are printed on one side of a single sheet of paper. There are two illustrations. The “Inferno” instructions are the most complete and extensive. But the information is crammed onto two sides of a sheet of paper using very tiny type, and it is very difficult to read. There is an addition piece of paper which contains nine small illustrations. Steve Sheraton has done a good thing, however, by offering a companion video. This video shows Steve performing various effects using “Inferno,” and very clearly explains the use of the prop. There is an extra gimmick included in with video which allows you to do a couple of hilarious gags. (Incidentally, the video is done completely silently, so regardless of your language you can understand what’s going on.) The video can be
purchased with the “Inferno” (which saves you $10) or all by itself for $24.95. (Owners of “Inviso-Torch” may want the video just to get some handling tips.) So, which product should you buy? The “Hand Dragon” serves a particular function, and if you’re a stage worker who wants to incorporate a “Fickle Fire” effect in your act it would certainly fit the bill. Both “Inviso-Torch” and “Inferno” are usable and practical devices. “Inviso-Torch” is $10 less. For safety reasons (because of the special hose) and for clarity of instruction, I lean toward “Inferno,” especially if you are a pro who will be using the prop a great deal. That’s about all I can tell you. Whichever one you get, be careful.
The Greater Artful Dodges of Eddie Fields By Jon Racherbaumer Once again another of the books of my youth is resurrected in a new, more beautiful form. The original Artful Dodges of Eddie Fields came out in 1968. It was a small, unbeautiful, softbound book, “typeset” on a portable Smith-Corona typewriter. It was Jon Racherbaumer’s first book. I must have purchased it shortly after it came out, because I have copy number 8. And I learned and performed just about every trick in it. Eddie Fields was a pitchman, a carnival worker, a bar magician, a gambler, an astrologer, a psychic entertainer, and, along with George Martz, formed one of the greatest code acts in the history of magic. Fields is a master of psychology, and his love of subtleties and swindles shines through in this updated collection of his magical creations. The book focuses on card magic, with the emphasis on subtlety rather than knuckle busting sleight-of-hand. The first effect, “Way-Ahead Card to Cardcase,” admirably illustrates this approach. A spectator shuffles his own deck and then cuts it into seven piles. The name of the top card of each pile is recorded onto a piece of paper. The spectator decides on one of these cards. This card vanishes from the deck and appears inside the card case. There are absolutely no sleights. Here’s another example: A spectator shuffles a borrowed deck. He makes note of the top card. The magician asks the spectator to sign the card with an invisible pen. The spectator then shuffles the deck to his heart’s content. The magician takes back the deck and shuffles it. Without looking at the faces of the cards he announces, “Your card is now on top. I can see the signature.” The spectator turns over the top card. It is the selection. From the description of the above two effects, you might feel that this is material geared to fool others magicians, but that is not the case. “Dropsy Diddle” is a wonderful layman effect, and one which I used all the time. “Cool Spell” is another idea which I use to this day. “One and Only” and “Field’s Zodiac Card Miracle” are evocative routines which
(depending on your ability at cold reading) can be elevated to heights far beyond their simple methods. The material from the original book has been revised and rewritten, and many previously unpublished Fields routines have been added. You’ll also find contributions from Ed Marlo, Jon Racherbaumer, Michael Skinner, Paul Cummins, and Bob Sheets. (The Sheets routine is particularly fine, and is well worth your attention.) By the way, in case you didn’t know, Eddie Fields is the person who created the “Invisible Deck” presentation for Joe Berg’s “Ultra Mental Deck.” Near the end of the book you’ll find the story of how Fields came up with this presentation, and you’ll also find an interesting “Do-As-I-Do” effect using the “Ultra Mental Deck.” Because of the nature of the routines in this book, greater demands are placed on a performer’s presentational abilities than his digital dexterity. The end results are unfathomable and memorable mysteries, because the magician “didn’t do anything.” I love stuff like this. The Greater Artful Dodges of Eddie Fields is an excellent book, and is well worth your serious study.
The Expert’s Portfolio No. 1 By Jack Carpenter Intermediate and advanced card enthusiasts who would rather let their fingers do the talking should make a beeline to this new collection of card routines from Jack Carpenter. In the words of the author, The Expert’s Portfolio No. 1 is “a treatise addressing some of the most popular card plots; with the express intent of providing the most efficient and diabolically deceptive methods available to date.” This is a lofty goal, and a difficult one to achieve. But I think that Jack has come close; there is some excellent material here, and if you’ve got the chops to handle the technical requirements you’ll probably find a few routines that you’ll want to add to your repertoire. The book is divided into two sections: Card Magic, featuring six routines and two very visual card changes; and The Expert’s Turn to Deal, featuring five really fine gambling routines and Jack’s method for stacking cards using an overhand shuffle. My favorite routines in the Card Magic section were: “A Dance for the Devious,” in which four queens vanish one-at-a-time and then make a flash reappearance; “Steppin’ Out with Molly,” an extremely commercial Three Card Monte routine with some great magical surprises; and “A Potent Presage,” in which the spectator finds the mates of three predicted cards, followed by an unbelievable kicker. The most amazing thing about this routine is that it is completely sleight-free. It will also fool anybody - magician or layman. The first four routines in the second section of the book form a logical and theatrically strong sequence of gambling effects. They are thematically related in that (apparently) a
single riffle shuffle is used to bring about the desired result. In “The Sweep Control,” the deck is given one shuffle and is rapidly and gracefully cut into four piles. There is an ace on the bottom of each pile. This is followed by “Riffle ‘n’ Roll” in which the deck is reassembled, given one shuffle, and the aces are stacked to fall to the dealer in a five handed game. The deck is again reassembled, the aces are dropped on top, and the deck is given one shuffle. This time the aces have been stacked to fall to the dealer in a 10 handed poker game. This routine is titled “Nine Angry Men.” Finally, the kings and queens are removed and dropped on top of the deck. The deck is given one shuffle and is dealt out for a six-handed game. Player one gets the queens, player two gets the kings, but the dealer wins with four aces. Remember, this is done with one shuffle. These four effects performed in sequence would produce an enormous effect on an audience of laymen or magicians. The tricks are not easy (you will need some false dealing skills), but the results are way out of proportion to the work involved. This is a really fine book. The routines require card handling ability, but are not overwhelmingly difficult. Jack’s creative style is similar to that of Darwin Ortiz and Jim Swain. If you have enjoyed the books from those gentlemen, then you’ll love The Expert’s Portfolio No. 1.
Folding Money Fooling By Robert E. Neale (This book arrived right at deadline time, but so many people have asked me about it that I thought I should include it in this month’s column, even though I have only been able to go through it quickly and fold a couple of the models.) By now you should be well aware of the fact that I’m a big fan of combining origami and magic. One of the gurus of origami-magic is Robert Neale, author of Tricks of the Imagination, co-author of Magic and Meaning, and columnist for the Linking Ring. In Folding Money Fooling, Mr. Neale offers 19 magical models which can be folded from standard United States currency. They are all charming, ingenious, and well worth your time. The 19 models are separated in to four categories. The first chapter, Action, contains models which flap, flutter, shrink, jump, perch, and transform. The “Fluttering Butterfly” is a lovely fold in which the animating mechanism requires only a very subtle action to produce movement. Consequently, when the butterfly flutters its wings, it is very mysterious. Also beautiful is the “Crane in Flight,” which uses two bills and is modeled after Sam Randlett’s “New Flapping Bird.” The chapter titled Puzzles contains just that - four interesting (and in the case of the “Baffling Bill Braid” enormously frustrating) puzzles folded from money. You’ll learn how to make a Tangram set from seven bills, and you’ll discover how to turn a bill into a “Hyperbill” and then transform that model into a Flexagon.
The are six folds included in the chapter titled Tricks, including a method for folding a snake in a basket (the interesting thing about this is that when the snake appears, it is twice as tall as the basket), a animated mouth which can perform Bill Nord’s “SkullLocation,” and an indestructible pyramid of power. The book concludes with a full explanation of Mr. Neale’s most famous fold, “The Bunny Bill.” Jay Marshall was gracious enough to allow this marvelous fold to be included in this collection, and you will find several new ideas concerning its use. If you own the original instructions but have had trouble finishing off the model you’ll be delighted to learn that Mr. Neale has included a new method for forming the head and ears. Earle Oakes (himself an origami enthusiast) did the remarkable drawings and they are as clear and understandable as any that I have ever seen in an origami book. If you are new to origami, there is an introductory chapter which teaches you the basics such as reverse folds. Also be sure to read Mr. Neale’s helpful hints in the Preface. Understand that what is being presented here is not profoundly amazing magic (although I think that the ability to create these folds is profoundly amazing), nor is it meant to be. Anyone who works for real people knows that often it is the incidental moments of our act which are more memorable than the blockbuster miracles we perform. Folding Money Fooling is full of fascinating folds waiting to become memorable moments. I’m delighted that this book has finally been released. Both professional and amateur magicians will find it to be a valuable resource.
It’s Not Magic, But… Let me interrupt the reviews for a quick comment. At conventions and lectures, magicians often ask if I have videos for sale. They ask me this because they explain that they can’t learn magic from a book. This is said as if the ability to learn from a book is a genetic ability, and of course, it is not. Those who can learn from the printed page have developed this skill the way any skill is developed - through long and patient practice. If you place yourself in the category of those who can’t learn from a book, I have a suggestion: take up origami as a hobby. In order to fold origami models you must be able to read and follow written directions. There is no other way. Many beginners’ folds are very simple. They are designed for children. Start there. Learn to associate the written word with the given illustrations. Learn to read slowly and carefully. Learn to compare your folding with the goal of each step. Learn to visualize the results of each step so that you see it clearly in your mind before you attempt it with your hands. Little by little you will find that you can learn from a book, and this will give you the confidence to tackle more difficult projects, including learning tricks from magic books. As a starting point I would suggest Robert Neale’s Origami Plain and Simple (St. Martin’s Press) or the newly reprinted and revised Secrets of Origami by Robert Harbin (Dover). The Harbin book is a classic and has been long out-of-print.
Hocus Pocus Junior from Steve Burton Magic (This review was written at the beginning of June and was slated to appear in the July 1997 issue of MAGIC. Somehow it fell through the cracks. My apologies to Mr. Burton for the delay.) Hocus Pocus Junior was published in London in 1634. It was the first fully illustrated English book devoted wholly to the explanation of the magician’s craft. Much of the material in the book was drawn from Scot’s Discoverie of Witchcraft and Rid’s Art of Juggling. The book was enormously influential, and served as the basis for magic texts for the next 300 years. This release from Steve Burton Magic is a facsimile edition of the Henry E. Huntington Library copy of the 1634 first edition of this book. Painstaking reconstruction was required to produce this edition, since time had faded many of the original’s pages. The result is a magnificent little volume, which is quite readable, once you get used to the vagaries of 17th century English. At the end of the book Mr. Burton has added some fascinating observations on the historical importance of Hocus Pocus Junior, and offers some conjectures on the book’s title and author. This is a lovely reproduction. It is limited to 300 copies, so if you want one you’d better get it now. Highly recommended.
Elegant Card Magic Volumes 1 and 2 Cups and Balls - Execution, Theory, and Practice By Rafael Benatar This three volume video set from A-1 MultiMedia showcases the magic of Rafael Benetar, a Venezuelan who now lives in Spain. Rafael is a professional magician and musician (his Baroque lute playing is featured as the segue music on the video), and he is a colleague and confidant of two of Spain’s finest magicians: Juan Tamariz and the late Arturo de Ascanio. Rafael’s thinking is superb, and his card handling is exquisite, especially his handling of double cards. The technical material on these videos will be of immediate use to the intermediate and advanced card magician, but the theory behind the routines will be useful to all, regardless of skill level. The two Elegant Card Magic videos form a post-graduate course on elegant and intelligent card handling. Many routines are taught, my favorites being “Devishly Invisible” (Volume 1), an excellent handling and presentation of the “Devilish Miracle” plot, and “Right Between the Eyes” (Volume 2), a stand-up showpiece in which two spectators seem to do all the work. Many subtleties and stratagems are discussed within
the trick explanations, but there are also in depth instruction for some extremely useful sleights, such as Ascanio’s “Rubbed Laydown” and “Scattered Laydown,” and Rafael’s “Slippery Double.” The latter move is one of those that looks impossible, but you will find yourself doing it almost immediately. The Cups and Balls video focuses on Rafael’s commercial routine for this venerable prop. It is obvious that Rafael uses his routine in the real world (notice, for example, his ploy for determining whether he will have problems with “grabby” spectators), and he has constructed a three-phase routine which is clear-cut and to the point. More important than the routine, however, is the theory lesson which accompanies the explanation. Whether or not you ever perform the Cups and Balls, you will gain information that you can apply to every routine you perform. For example, Rafael’s explanation of Ascanio’s “Acciones In-Transito” (Transition Actions) is the best I’ve ever seen, and it sent me back to my own routines looking for ways to apply it. In addition to the Cups and Balls routine, Rafael also explains a clever handling for Charles Waller’s “A Visible Penetration” from Greater Magic (Rafael eliminates the need for a bottomless glass), and an Oil and Water routine combining ideas from Ascanio and Roy Walton. The Waller trick is a good one for stand-up, and Rafael has come up with a very funny presentation. I think these are great videos, and I’m sure you’ll want them in your collection. (By the way, check your file of the Linking Ring. Rafael had a One-man Parade a while back, and this will give you an insight into his thinking.
Shell Shocked By Barry Taylor Magic dealer Barry Taylor has put together a video demonstrating and explaining 10 routines using one of magic’s most versatile and deceptive gaffs - the Expanded Shell Coin. Routines include: “Foreign Exchange,” in which a half dollar and a copper coin change places under a card and then go through a series of transpositions between hand and card; “Invisible Extraction,” in which coins are invisibly removed from under an inverted coin box; “Half and Half,” a classic effect (see the Bobo book) in which two half dollars turn into two quarters; “Translocation,” an absolutely superb effect of John Kennedy’s, and one of the best Shell Coin routines; “Shadow Coins,” the popular “hands above the coins” matrix effect created by David Roth and made famous by Michael Ammar; and “Illusionation,” an original effect of Barry’s in which one coin multiplies into five, then back to one, then instantly back to five. This is a very visual effect, but you will need two shells to accomplish it. If you have no knowledge of shell coin routines, this tape would certainly be a good value. Barry’s explanations are clear and you’ll be able to learn from the video. Be aware, however, that these are not “effortless” coin routines. You will need to be able to palm, switch, sleeve, and pinch coins. Also, many of the routines require the use of a soft performing surface such as a close-up mat.
One criticism of this tape: I find Barry’s coin handling to be less than sterling when he classic palms coins and when he sleeves. If you mindlessly imitate what you see on the screen, you will be imitating bad technique. If you have no experience with coin magic, and video is your learning medium of choice, I would suggest that you first purchase the David Roth Expert Coin Magic videos (available from A-1 MultiMedia) to make sure that your technique is solid. Then use Shell Shocked as a source for further routines.
From the Horse’s Mouth Here’s Simon Lovell’s five picks from his new book Simon Says!: “Fingered Number Three” (page 22), “Another Departed Point” (page 33), “Sleight of Mouth” (page 71), “Challenge Reverse!” (page 68), and “Predicted Bermuda” (page 126).
Details “The Hand Dragon” by Chappy Brazil. $69.95 plus $5 p&h (in US). From Chappy Brazil, 3950 Koval Lane, Suite 2011, Las Vegas, NV 89109 “Inviso-Torch” by Jim Pace. $40 postpaid in US. From Pace Productions, 4122 SE Roswel, Milwaukie, OR 97222 “Inferno” from Creative Enterprise, USA. $49.95. (“Inferno” plus video, $69.95. Video alone, $29.95) From Inferno (Dept. G), 4073 N. Las Vegas Blvd., Las Vegas, NV 89115 The Greater Artful Dodges of Eddie Fields by Jon Racherbaumer. 8.5x 11 hardcover with glossy dustjacket. 156 pages. $35 (domestic and foreign surface postpaid). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 The Expert’s Portfolio No. 1 by Jack Carpenter. 8.5 x 11, spiral bound. 102 pages. Folding Money Fooling by Robert E. Neale. 8.5 x 11 hardcover with glossy dustjacket. 146 pages. $35 (domestic and foreign surface postpaid). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Hocus Pocus Junior, First Edition. 72 pages. 5 x 7. Cover is gold-stamped on black Levant grained Lexotone. $60 plus $3 p&h.($9 for foreign p&h). From Steve Burton Magic, P.O. Box 238, Cypress TX 77410-0238 Elegant Card Magic Volumes 1 and 2, Cups and Balls - Execution, Theory, and Practice, by Rafael Benatar. Each video $29.95. All three $89.95 (any format). Postage and handling free in US, Canada, and overseas surface. Overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742
Shell Shocked by Barry Taylor. $24.95 plus $5 p&h in US. (Overseas air add $10.) From Barry’s Magic Shop, Ltd., 11234 Georgia Ave., Wheaton, MD 20902
December 1997 Job 2:7 At first glance, you might assume that the title of this month’s column refers to the biblical passage which reads, “So went Satan forth from the presence of the Lord, and smote Job with sore boils from the sole of his foot unto his crown.” But that’s not the case. This month’s title refers to the fact that (at the time of this writing) I have been at the MAGIC magazine reviewer’s job for 2 years and 7 months. The scripture passage is just an odd coincidence, as is the fact that Satan is an anagram for both Santa and Stan A. Actually, I think if Satan really wanted to smite Job, he would have made him a product reviewer. But then again, I’m not so sure that Job would have had the patience. In the past 31 months, I have written 155,00 words discussing 400 books, videos, tricks, compact discs, and audiotapes. That’s about 13 items each month, with the average item receiving about 400 words of text. Of course, some products got longer write-ups, some shorter, and some words were wasted on dumb introductions, such as the one you’re reading now. I’m wasting words (and your time) because I need to reply to some points made in a letter by Jonathan Lomma (Letters, October 1997). Mr. Lomma writes, “The first thing learned by those who wish to critique the work of others for a living…” I do not critique for a living. I’m a professional musician and magician. If I depended on my reviewer salary for my livelihood, I would be living in a cardboard box under I-65. Mr. Lomma writes, “…a recap is not a review.” This is certainly true, but I do not believe that the 600 words I wrote concerning the videos in question (the Max Maven Video Mind series) were a recap. I highlighted the routines which appealed to me, commented on the excellence of the performances, the explanations, and the productions values, and told you the reader that I felt that these tapes were an excellent value for the money. In my book, this was a review. I tried to tell you what you needed to know in order to make an intelligent buying decision. And in that same issue of MAGIC I reviewed 15 other items. Not every product can be given enormous, in-depth coverage. I do not have the time, the energy, or the magazine space. But regardless of the amount of words I use to discuss an item, my goal is always the same: to let you know whether I think the product is worth the money. Mr. Lomma writes, “…we realize Max is your friend (you’ve taken the opportunity to remind us several times), but how would you feel if the last words of, say, a New York Times book review were: ‘Well done, my friend.’?” Let’s take the last part first. What you are holding in your hands now is not the New York Times. The reviews in the New York Times tend to be formal and impersonal. My reviews are informal, anecdotal, and (I hope) entertaining and (sometimes) funny. My writing style reflects my personality. If my style doesn’t appeal to you, fine. There are other reviewers out there who write in different styles. Read their reviews.
MAGIC magazine is a trade publication for a small group of people who share a common interest. Within that group is a tiny subset of creators who produce the books, tricks and videos the others purchase. Because I am a member of that subset, I know many of magic’s creators. Most of those creators are my friends. I’m happy to say that quite a few are very good friends. Be aware that at least 75% of the time I am reviewing the product of someone with whom I am personally acquainted. This situation produces the most difficult part of being a reviewer: I have to critique the work of my friends. And I must bear the consequences of what this criticism may do to our friendship. In a few cases it has ended friendships. So, if the elimination of the words “my friend” will increase the perceived objectivity of this column I am willing to do so. However, the omission does not change the actual situation. And in spite of the situation (and the consequences) I will continue to give you my honest opinion of the products presented here. One last thing. If Mr. Lomma, or any of you, believe that the purpose of this column is to con you into purchasing my friends’ products, you are not without recourse. Each of the monthly magazines has product reviews. Subscribe to them. Get a second or third opinion. Get on the Internet. Ask around. You have the resources to make an intelligent buying decision. (By the way, speaking of second opinions, I have yet to read a review which contradicts my opinion of Max’s videos.) Sorry to have to take the time to discuss all this. Now back to our normally scheduled program.
Jennings ’67 By Richard Kaufman I called Richard Kaufman in the middle of October to arrange to get the galleys of Jennings ’67. At that time Richard told me that Larry Jennings had gone into the hospital and was not doing well. Larry died a few days later, in the early morning hours of October 18. I was aware that for the past few years Larry’s health had been precarious at best, but knowledge of his passing still came as a shock. For the past six years Richard Kaufman had been working with Larry, preparing a trilogy of books covering Larry’s card techniques and routines. Jennings ’67 was at the printers while Larry was in the hospital. Sadly, he did not live to see the finished product. Larry Jennings moved to California in the early 1960’s. Larry had been shown some of Dai Vernon’s material by Ron Wilson, and he fell under the spell of the Professor’s brilliant thinking. Vernon was at the Magic Castle, and Larry went West to meet him. He never moved back. The late 60’s and early 70’s were exciting times at the Castle. Jennings had been joined by Bruce Cervon, and the Vernon-Jennings-Cervon triumvirate was responsible for some astonishingly fine magic. Jennings ‘67 focuses on this fertile period, and offers not only routines and techniques, but historical information about its creation. As Richard Kaufman explains in his Introduction, this book is an overview, an introduction to the
trilogy, and as such, it contains many tricks and a few sleights. The second volume will focus on simpler effects and Jennings’ techniques for simple and intermediate level sleights. The third volume will focus on more difficult routines and sleights. Six of Jennings ‘67’s nine chapters focus on specific card plots or techniques; three of the chapters address more generalized subject matter. The first chapter, “Easy Does It, Mr. Jennings,” allows the reader to try out some of the Jennings repertoire without overtaxing their technical abilities. Included here are a couple of amazing card locations, two handlings for Ed Marlo’s “Touch Turned,” a nice variation of Lin Searles’ “Aces Up,” and a remarkable “magician makes good” effect titled “Monarchs’ Quartet.” This trick appeared in Ultimate Secrets of Card Magic, but it lacked illustrations, and Lewis Ganson’s explanation was difficult to understand. You’ll be able to understand it here. The second chapter, “Some Tools,” includes Jennings’ techniques for various sleights, including a Double Pushoff Double Lift, a Multiple Shift, a false riffle shuffle from Dad Stevens, and a Top Palm. I found two items to be of particular interest. The Circle Shift is a “slow pass” based on the Black Pass. I unknowingly reinvented a variation of this shift back in 1978 after a session with Roger Klause. The Circle Shift had been previously published in Richard’s Almanac, but it seems to be little known. It is a very useful and deceptive shift. Also of interest was the discussion of the Immediate Bottom Placement, a method of card control better known as Convincing Control. (If you’re unfamiliar with this concept, here’s what happens: a selected card is secretly brought to the bottom of the deck while it appears as if the card remains in the center of the spread deck. It is a very deceptive sleight.) Kaufman discusses the evolution of this move, and explains two of Jennings’ handlings for this technique. Chapter Three focuses on routines which utilize the Gambler’s Cop. I believe that this was one of Larry’s favorite card moves, and in his hands it was a beautiful thing. Many magicians fear this move, but if performed adroitly and confidently and with the proper audience management it is completely deceptive. Included are a two card transposition, handlings for “Card to Pocket” and “Cards Across” (both of which use the principle of a children’s trick in an ingenious way), and an effect in which a card escapes from a rubberbanded deck. In the two card transposition, Kaufman describes two handlings, one created in 1967 and one created in 1996. In this way we can see how Larry’s thinking has evolved over the years. This comparison of old and new methods is repeated several times throughout the book. You will find separate chapters devoted to the “Princess Trick,” (included here is a fascinating attempt to reconstruct Dai Vernon’s handling for this effect), Ace Assemblies, and “Twisting the Aces.” Among the Ace Assemblies discussed are two handlings for the famous underground classic “Stencel’s Aces.” The first handling, from 1967, is a simplified version which is well within the abilities of the average card man. The second handling, developed in 1996, will require a bit more work. (Both, however, are easier than the original Stencel handling.) In case you’re not aware, “Stencel’s Aces” was one of the routines which eased Larry’s introduction into the Los Angeles magic community. It was one of the first tricks he performed for Dai Vernon. (And curiously,
here’s another case where a fabulous trick has been in print for 12 years and I never see anyone doing it.) Of main interest in the “Twisting the Aces” chapter are several handlings of a routine known as “Pineapple Surprise.” Jennings’ version of this Walt Rollins plot has inspired many variations, but an accurate description of the original Jennings handling has not been published until now. Here’s what happens: the Ace, Two, Three, and Four of Hearts go through a series of gyrations, turning face up and face down. The magician admits that he has used an extra card, and indeed, he now holds the four Heart cards plus an extra face down card. The face down card is shown to be the Five of Spades. Instantly, the other four cards turn into the Ace through Four of Spades. I predict that the gentlemen who make custom gaffed cards are going to be delighted that this routine has finally been published. Finally, there is an entire chapter devoted to the evolution of Larry’s most famous trick, the “Invisible Palm Aces” (you may be familiar with this routine under the name “Open Travellers”). This is not only one of Larry’s best creations, it is one of the best routines in all of card magic. Kaufman details the history of the routine (including the inspirational sources), fully describes the five routines which led up to the development of the final incarnation, and gives a glimpse into some of the “inner circle” machinations which occurred at the Castle at that time. (In this regard, we are shown a rather Machevellian side to Dai Vernon which has not previously been discussed in print.) There have been many variations of the “Invisible Palm Aces” which have appeared since the original description was published in Alton Sharpe’s Expert Card Mysteries, but I believe that Larry’s version is the best, and in Jennings ‘67 you will get all the work on this wonderful trick. For the intermediate and advanced card magician, this book is a must have and I recommend it very highly. The routines included encompass a wide range of effects and skill levels. And, on the remote chance that none of the effects appeal to you, there are, scattered throughout the book, Larry’s handlings and finesses for a variety of sleights. I eagerly look forward to the second and third books of this trilogy. If they are of the quality of this first volume they will stand as a lasting memorial to one of magic’s truly creative people - a man who left us much too soon.
Arcade Dreams: Marlo Without Cards By Jon Racherbaumer and Edward Marlo You probably associate the name Ed Marlo with card magic, and indeed, Ed was a prolific creator of card effects and sleights. But Ed was interested in all facets of magic, and published a large amount of non-card material. Jon Racherbaumer has assembled, rewritten, and annotated this material, and the resulting collection contains a wealth of routines for standard props that you probably already own. The amount of material is actually a bit overwhelming: 67 routines divided into three categories - Coin Connivery, Arcade Dreams, and Bar Magic. I was already familiar with much of this material because many years ago I assembled my own file of Marlo non-
card routines. I will mention a few of my favorites, and then I’ll give an overall impression of the entire collection. The Coin Connivery section begins with one of Ed’s best routines, “S.O.C.,” an Okito coin box routine which does not use any “turnover” moves. This routine is a fooler, and I incorporated part of it into a routine I used way back in 1976 at the I.B.M. convention in Evansville, Indiana. This section also contains “Copsil” (which Racherbaumer mentions was Ed’s favorite coin routine), “Pop-up Coins Across” (the first published routine to apply the Pop-up move to coins), and the famous “Spider Vanish.” You will also find Marlo’s handling for the coin fold, the venerable “Thieves and Sheep” trick, and an excellent coin through table, which incorporates a rarely used move of Ross Bertram. For a period of time Ed Marlo worked as a demonstrator at the Treasure Chest, a store in the Chicago Loop which featured pinball machines, books, records, souvenirs, toys, and magic tricks. The Arcade Dreams section contains routines which Ed developed for standard “slum” items: the “Red Snapper,” “The Ball and Vase,” “The Magic Frame,” and the “Bill Tube.” Highlights in this chapter are: “Colorful Vision,” a four-phase routine for the standard “Colorvision” prop which will fool laymen or magicians; and “Poor Man’s Locking Key Routine,” which is a routine for the cheap, miniature linking rings which came with the old S.S. Adams magic kits. (If you’re not familiar with this set of rings, they are about 3.5 inches in diameter and have a conspicuous solder joint on the perimeter. Ed took advantage of this solder joint in a very sneaky way.) I have found that it is useful to be able to do baffling routines with standard “slum” props, not only to “pitch” the items (which I did at one point in my life), but also to fool little kids in restaurants. You can derive a lot of satisfaction by fooling a little kid with a trick that they own. The final section of the book contains material created for performance in a bar. Ed Marlo actually owned and operated a tavern in Chicago. (I bet you didn’t know that. I didn’t.) The routines Ed created were used by himself and the other Chicago bar magicians, including Johnny Platt, Johnny Paul, Clarke Crandall, and Roger Siegel. In this section you’ll find a dice stacking routine, a handling for ring on stick, an excellent sponge ball routine, a Cups and Balls routine (using sponge balls, which was the custom of the Chicago bar magicians), a three ball routine using balls made from aluminum foil, and a multiphased Egg Bag routine, which culminates in the production of two bottles of beer. (Unfortunately, the final load demands that you be standing behind a bar in order to effect the production.) Jon Racherbaumer offers some interesting insights concerning the history of the various routines, and there are also some great Marlo stories, including the legendary seconddealing monkey story. Joseph K. Schmidt did the numerous illustrations in his inimitable style, and there are wonderful Nelson Hahne illustrations from the National Magic Company catalog which are used at the beginning of each trick. Arcade Dreams is a very worthwhile collection for the close-up performer who is seeking non-card material, and I recommend it. However, I would offer one caveat. I believe you
will find that for the most part these routines are too long for contemporary audiences. (For example, the Egg Bag routine is comprised of twelve phases.) The material will need to be edited, and that is going to require some work on your part. If you don’t mind going through the refining process you will find that Arcade Dreams is a mother lode of worthwhile information.
Ah-Ha! By David Harkey and Eric Anderson This new 21-item collection from David Harkey and Eric Anderson is a mixed bag: there are some really excellent items; there are some items which I would classify as “stunts,” rather than magic tricks (and I’ll explain more about this in a moment); and there are some tricks which I think are not deceptive at all. Compounding the problem is the fact that (with a few exceptions) it is not made clear exactly which author is responsible for what, consequently, I don’t know who to credit/blame for the mishmash that we’ve got here. Remember, as I mentioned in the introduction to this month’s column, my goal is to give you enough information to make an informed buying decision. To do so, I have to take a moment to talk about the philosophy behind the creation of deceptive magic. My philosophy seems to be completely opposite to that of Mr. Harkey, and this situation colors my opinion of his work. Part of my creative/deceptive philosophy are these guidelines: repeating the same move several times during the course of a routine is a bad idea because an intelligent spectator is going to associate those actions with the magical result and this will present a pathway toward the correct solution; if a proposed method is a straight line solution to a magical problem then try to figure out a way to keep the spectators from following that same straight line back to the solution; unavoidable unnatural moves should be done under the cover of strong misdirection; and finally, avoid putting a move at the exact moment when the spectators are watching for something to happen. Now that you understand where I’m coming from, let’s take a look at some of the material in Ah-Ha! First, the good stuff. (And when I say good, I mean really good. These three items could go into your show right now.) “Wingding” is basically the “Ash Trick” done with stickers. A sticker vanishes from a strip of stickers and ends up on the back of the spectator’s hand. This is a wonderful trick for children, it resets very quickly, and would be perfect for restaurant workers. “Shufflesque” is Eric Anderson’s in-the-hands false riffle shuffle. It includes a “waterfalling” of the cards and is extremely convincing. This was shown to me via the “underground” a while ago and I valued it so much that I have not shown it to another magician. It will take practice, but it involves more “knack” than actual skill. “East Meets West Meets South” is Eric Anderson’s revamping of a bill penetration of Harkey and Jay Sankey. I commented very favorably on this in my review of Harkey on Video. Why do I like this? Because Eric has eliminated the straight line
path. (In the original method the bill contained some odd creases which would easily lead the spectators back to the solution.) Now let’s talk about the “stunts.” There are several tricks in Ah-Ha! which would produce momentary surprise (and perhaps even amazement) but which could be solved by the spectators almost immediately. For example, in “Zuzu’s Petals” you pluck the petals off a daisy at the same time reciting, “She loves me, she loves me not.” You run out of petals while saying “She loves me not.” You blow on the stem and one last petal appears, allowing you to pluck it, saying, “She loves me.” This is a pleasant and evocative plot, but the method is a straight line solution. Take a moment and try to guess how this trick works. In all probability the first method that came to your mind is the same one which is used here. And this is probably the first method that a spectator is going to come up with. Nothing in the presentation leads them away from this solution. There are several other “tricks” like this in the book. In “Fingerling” you apparently pull the thumb off of a small child and then reattach it; in “Airlock” you unlock your car door with the power of your mind. In both of these “stunts” there would a moment of surprise, but I believe that the method would be immediately obvious to the spectators. Now, this may not be a bad thing, if you consider that these stunts are sort of like magical jokes. You get a moment of surprise, and then laughter as the spectators realize how the effect was accomplished. I don’t think there’s a problem as long as you the consumer know what it is that you are purchasing. The ads lead you to believe that you’re getting miracles, and if you expect to get miracles you’re going to be disappointed. Now let’s talk about some of the tricks that I don’t think are good at all. In “Bonfire” you rip the matches out of a matchbook and place them into a shot glass. The matches spontaneously burst into flame. In order to produce this magical effect, you must pour a dark, powdered chemical into the shot glass. This is done using a move credited to David Williamson. In order to accomplish this move you must grip the glass in a very unnatural way. In Williamson’s routine (“An Envanishment and Mysterious Re-appearance of a Quantity of Salt,” Genii, May 1991) this loading is done under strong misdirection at the beginning of the routine, long before anyone knows that salt is going to be one of the components of the trick. In “Bonfire” you load the shot glass (via the unnatural grip) after the matches have been placed in it and while all the heat (pardon the pun) is on it. Is this a poorly structured method? I think so. In “If Looks Could Kill” you read four spectators’ minds by getting one ahead. The same glimpse move is used three times in a row. The move is clever, but I think that by the third glimpse the audience is going to know how you’re getting your information. (By the way, I think that the presentation for this trick is excellent. I just wish the method were better.) In “Bottom Feeder” you cause a selected card to vanish from the deck and appear trapped between two jokers which had been previously placed in the card case. The method uses a clever move I first encountered in Ed Marlo’s “Who’s Hockley?” in Hierophant #4. The move is deceptive, but the structure of the method requires the card case to come into contact with the deck at the exact moment when there will be the most heat, and therefore the most suspicion. I think this is a bad method.
There are three other tricks that I would classify as “not bad,” and two that will be of use to almost nobody (unless you have the time and energy to make a plaster cast of a deck cards [which gets broken every performance] and to train your dog to do a trick). I’ve probably taken more time and space then this little book deserved, but it’s important that you understand why I found so many of the tricks in Ah-Ha! to be unsatisfactory. (I’m also hoping that by carefully explaining my viewpoint I will stave off the flood of letters from angry Harkey fans; letters which will vary in content only concerning the amount of bat guano that they think I’m full of.) I hope I’ve given you enough information that you can make an intelligent buying decision.
Intimate Miracles: The Magic of Dean Dill By Tim Trono Dean Dill is the creator of “Blizzard,” the card effect which took the magic world by storm (pardon the pun again) earlier this year. Intimate Miracles contains 11 routines from Dean’s professional repertoire. Dean’s magic is very visual, not particularly difficult, and has been worked out to the last detail. The emphasis is on non-card repertoire (hooray!), and I would not be surprised if one or two items find their way into your repertoire. And, as an added bonus, the book comes with an accompanying performance video, so you can get a feel for how these routines look. The book begins with the three routines that Dean performed for Johnny Carson on the Tonight Show. (Mr. Carson wrote the Foreword to Intimate Miracles.) In “Tonight Show Silks” two spectators hold a red handkerchief stretched out between their hands. A yellow handkerchief is pushed into the center of the outstretched red one. The yellow handkerchief immediately vanishes. The red handkerchief is placed aside and the spectators take grasp of a blue handkerchief. The magician reaches into the center of the blue handkerchief and magically withdraws the missing yellow handkerchief. The magician offers to repeat the trick using the red handkerchief. The red handkerchief is pushed into the outstretched blue one and vanishes. However, as a kicker, it is reproduced from the sleeve of one of the assisting spectators. “Tonight Show Matrix” follows the standard matrix effect with a “backfire” kicker. This really looks good, and is not terribly difficult, but be aware that it must be performed on a soft surface (such as a close-up pad). “Tonight Show Closer” is a card routine in which a selected card vanishes from the deck and appears, folded-up, under a metal cup. The magician offers to cause the folded card to penetrate the cup again. The card vanishes, and when the cup is lifted there is an orange under the cup. The orange is sliced in half and inside is the folded up selected card. (Note that this routine does not use a signed card.) Of these three routines, I think that the “Tonight Show Silks” is the most useful for the average magician. It can be done under any conditions, and the production of the handkerchief from the spectator’s sleeve is a memorable moment. Other routines include a very commercial stand-up sponge ball routine, a routine in which a signed dollar bill vanishes and appears inside a sugar packet (this routine is one
of the highlights of the book and is perfect for the restaurant worker), Dean’s well thought out handling of John Cornelius’ “Pen through Anything,” a routine in which four coins assemble under a paper napkin (this seems to have its roots in John Kennedy’s “Translocation,” and you’ll need to perform it on a soft surface), a floating match routine (to be honest, this looked like a match hanging from a thread, but perhaps it’s possible to come up with a presentation with more of an emotional hook - here’s a hint: look in the first volume of the Tannens’ bound reprint of the Jinx), and Dean’s routine for his commercially available trick, “Spotlight.” This is a sponge ball routine in which a beam of light is captured inside a sponge ball. This is a pretty routine, but you’ll need to purchase the prop in order to perform it. Intimate Miracles was written by Tim Trono, and I believe that this is Tim’s first attempt at writing a magic book. Unfortunately, there are a few times when his inexperience shows, for there are a few explanatory passages which are very confusing. (A prime example is on page 13 during the explanation of the “Tonight Show Matrix.” Adding to the confusion is the fact that the two accompanying illustrations are reversed: the text describes the left hand performing an action, the illustrations show the right hand performing the action.) Fortunately, the videotape comes to our aid here. If you watch the video as you work your way through the explanations you should be able to figure out what’s going on.) Remember, the video is a demonstration of the effects only; there are no explanations on the video. I wish that the tape could have shown Dean working for real people, rather than the contrived setting using his son and another young man as helpers, because the performance feels a little flat to me. However, the video certainly serves its purpose as a guide to showing you how the routines look, and it will clarify any confusion in the text. The bottom line: This is top-notch material which will be of particular value to real world close-up workers. Recommended.
Switch*A*Roo By Russell Niedzwiecki Russ Niedzwiecki showed me the prototype for this handy device a couple of years ago at the Collector’s Workshop convention. I thought it was a clever idea with a lot of possible applications. “Switch*A*Roo” allows you to easily and undetectably switch one or more playing cards (or business cards). Here’s the action: you show a playing card and place it into your outer breast pocket of your jacket. The card does not leave the spectators’ sight. (In other words, you don’t push the card into the pocket and then pull it back out.) You then reach for the card and hand it to the spectator. In the act of removing the card from the pocket it is switched. The switching action is completely natural and cannot be seen. The “Switch*A*Roo” device is 2.75 inches wide, 3.5 inches tall, and .75 inches deep. It is designed to fit in your shirt pocket (which must be opaque) or in the outer breast pocket of your jacket. I have found that a dark jacket helps hide the slight bulge which the device produces. “Switch*A*Roo” will hold up to ten cards, but I think that six is a
more reasonable number. You can do asymmetrical switches, and the device works equally well with playing cards or business cards. The instructions contain four simple tricks (including an ace assembly which would probably stump magicians), but I think that this device is most useful if you come up with your own applications. I prefer to use it as a “clean-up” device (for example, a completely examinable “Pothole Trick”) because the switch occurs after the audience thinks the effect is over. If you can think of a reason to use “Switch*A*Roo,” and if it fits your style of working, I don’t think you’ll be disappointed. Recommended.
Super Showdown By Nick Trost This is an elaboration of “Showdown” from The Card Magic of Nick Trost (see page 216). The original trick is a diabolical version of the “Ten Card Poker Deal.” Nick has expanded this into a remarkable four phase routine. Here’s what happens: 1) the magician shuffles the deck and deals out five poker hands. The magician wins with a full house. 2) The cards are reassembled and the deck is shuffled again. Five hands are dealt. Before the hands are shown the spectators are allowed to switch their hands for any other hand (including the magician’s.) The hands are shown. The magician wins. 3) Three of the hands are discarded. The remaining ten cards are shuffled and the top two cards are removed, face down. The spectator decides who gets which card. This is continued for all ten cards. The hands are shown. The magician wins. 4) The procedure of phase 3 is repeated, but this time the game is stud poker. Two cards are removed, face down. The spectator decides who gets which card. The next two cards are turned face up and the spectator decides who gets which card. This is continued for the remaining six cards. After two hands have been dealt, the spectator has the option to switch his hand for the magician’s hand. The hands are revealed, the magician wins. This is a remarkable routine which requires almost no sleight-of-hand ability. (The only sleight is the Jog Shuffle, and this move is explained in the instructions.) A 25 card stack is required, as are some gaffed cards which are included. (The gaffs look great, by the way.) This is not the kind of routine which will be suitable for all performing situations; you need a large enough performing area to allow you to deal out five poker hands, and because of the stack there is substantial reset time. However, in the right situation, this routine would kill. But, if you chose not to do the whole routine you can always just do the last two phases (which are the original “Showdown” routine) and this would reset quite quickly. Highly recommended.
MasteRing System By John Altpeter The idea of wearing a powerful magnet on your hand has been around for a while. An early example is the “Kling Ring” which was marketed by Emerson & West. Nicholas Night put out the “Enigma Gimmick” which was a piece of plastic shaped like the inside
of a finger with a magnet behind it. Recently, Dan Harlan has released the “Omega Ring.” John Altpeter’s MasteRing System is the nicest prop of this type that I have seen so far. What you get is very nice Sterling Silver ring in a signet design style. (You could have the face of this engraved if you so desired.) A powerful magnet is hidden under the signet face. By turning the ring 180 degrees you bring the magnet to the palm of the hand. This allows you to do several interesting effects (such as a chop cup routine without a magnetic cup.) One nice aspect of the MasteRing is that when it is turned with the magnet underneath, it looks like a wedding band. It is very unobtrusive and unsuspicious. Besides the ring, you also receive a videotape which explains how to prepare the ring for use, and several possible routines, including a chop cup routine, and a handling for the Weber/Rey “Bottle cap in Bottle.” This video is no great shakes from a production standpoint but you’ll be able to understand how to use the ring. (Actually, I don’t understand why segments of this video were not re-shot and re-edited. It serves no purpose whatsoever to watch Brad Burt spend 30 seconds trying to dislodge a bottle cap from a Champaign bottle. This looks extremely amateurish, and considering the present quality of magic videos, it is no longer acceptable.) However, the quality of the video is a moot point. Anybody who is going to spend $150 on this prop probably already has a use in mind for it. It is far too expensive to be a toy. Bottom line: If you’re looking for a magnet in a ring, this is the one to get. Highly recommended.
Magazine Department Card enthusiasts will want to take a look at Onyx, a new magazine from Ken Simmons. The first issue (which has apparently already sold out) contains material from Ed Marlo, Eddie Clever, Jon Racherbaumer, David Neighbors, Ken Simmons, and others. The magazine appears quarterly, and with the demise of Minotaur and Apocalypse, may be just what you need to satisfy your card Jones. The complete seventh volume (September 1996 - August 1997) of The Magic Menu is available from Jim Sisti. All six issues come to you in a specially printed envelope with a funny picture on front. If you’re a working restaurant or bar magician The Magic Menu is well worth checking out. Contributors in Volume Seven include Roger Klause, Michael Skinner, David Acer, Simon Lovell, Richard Sanders, Jay Sankey, Al the Only, and Paul Green. And finally, I just found out that Steve Bryant is ceasing publication of his excellent online magazine The Little Egypt Gazette. I’ve enjoyed reading Steve’s magazine and I can’t imagine the amount of work it must have involved to produce each issue. The Little Egypt Gazette offered interviews, reviews, current events, links, and tricks. I’ll miss it. You can find the last six issues or so at Steve’s web site at http://www.intersource.com/~sbryant/magic.html.
Oops Department In the past two months my fingers and my brain have inadvertently gone on separate paths, producing a couple of dumb mistakes. In the October issue I referred to Randy Wakeman’s “Expert Card to Wallet” wallet as a LePaul style wallet. It is not. It is a Kaps/Balducci style wallet, and this is important to know if you intend to use the wallet for card in envelope. In the November issue, in the sixth paragraph, I wrote that the fire devices used pressurized propane gas. This was a bonehead typo. The devices use butane gas, as is mentioned everywhere else in the article. Sorry.
From the Horse’s Mouth We have two top-five picks from The Greater Artful Dodges of Eddie Fields. The first list is from the book’s author, Jon Racherbaumer. The second list is from the man himself, Eddie Fields. Jon’s picks are: “Unlimited Card To Case” (page 24), “Triple Spectator En Rapport” (page 114), “Zinger” (page 73), “Bux Stop” (page 26), and “Killer Clock-Work” (page 62). And here are Eddie Fields’ picks: “Dropsy Diddle” ( page 71), “Triple Spectator En Rapport” (page 114), “Way Ahead Card To Card Case” (page 18), “Silent Transmission Telephone Mystery” (page 68), and “Tripartite” (page 32).
It’s Not Magic, But… I hope you all have a safe and joyous holiday season. I’ll see you next year. (And when’s the last time you saw that sentiment expressed in a New York Times review?)
Details Jennings ’67 by Richard Kaufman. 8.5 x 11 hardcover with dustjacket. 253 pages. $40 postpaid (domestic and foreign surface postage). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Arcade Dreams by Jon Racherbaumer and Ed Marlo. 8.5 x 11 hardcover with dustjacket. 203 pages. $40 postpaid (domestic and foreign surface postage). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016
Ah-Ha! by David Harkey and Eric Anderson. 5.25 x 8.5 hardcover with dustjacket. 90 pages. $30 postpaid (overseas air add $10). From Clandestine Productions, 1690 Cameo Dr., Eugene, OR 97405 Intimate Miracle: The Magic of Dean Dill by Tim Trono. 7 x 10 softcover. 81 pages. Comes with accompanying performance video. $37.50 plus $3 p&h (for PAL add $6; foreign orders add appropriate additional postage). From Dean Dill, 2130 Fairpark Avenue, Suite 110, Los Angeles, CA 90041 “Switch*A*Roo” by Russell Niedzwiecki. $29.95 plus $3 p&h. From Russell Niedzwiecki, 1457 Emerson Ave. NW, Grand Rapids, MI 49504 “Super Showdown” by Nick Trost. $15 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 “The MasteRing System” by John Altpeter. $150. (Be sure to specify ring size.) From John Altpeter, 1318 East 56th Street, Long Beach, CA 90805 Onyx from Ken Simmons. Published quarterly. $48 per year postpaid (US and Canada). $64 per year postpaid (Foreign). From Ken Simmons, 5265 N. Academy Blvd., #3300, Colorado Springs, CO 80918 The Magic Menu Volume Seven. $25.00. From The Magic Menu, 21 Noe Place, Beacon Falls, CT 06403
January 1998 Short Takes Space is tight this month, so here’s just a few words about a whole bunch of items. Dingle’s Deceptions: The Video By Derek Dingle In the 1970’s, Derek Dingle was the man. His knuckle-busting creations (which often climaxed with an unexpected left-field “kicker”) defined close-up magic for a generation of magicians. Derek delighted in fooling other magicians, and many of his routines were designed specifically for that purpose. By 1980, Derek had faded from the magic scene, turning his attention to the world of corporate magic. Recently, he has resurfaced, once again appearing at magic conventions. In Dingle’s Deceptions: The Video, Derek revisits the material from his first book, Dingle’s Deceptions (written by Harry Lorayne). This is the first video from Kaufman and Company, and unfortunately, it fails to completely satisfy. All six routines from Dingle’s Deception are included on the video, and there is a bonus routine, Derek’s very commercial version of “The Card in the Balloon.” These are the original handlings, and not the updated handlings described in Derek Dingle’s Complete Works (Kaufman, 1982). These are not routines for the faint of heart (or chops). They are all technically demanding, and will require considerable practice. In “Four Coins in the Counting,” four quarters assemble under the cover of two playing cards. This routine marked the first appearance of the now standard Pick Up Move (independently developed by Al Schneider). A highlight of this routine is the steal and load of the jumbo coin. The other coin routine demonstrated is “International Coins Through the Table,” in which four completely different coins penetrate the tabletop and land in a glass held under the table. The remaining five items are card routines. “Open Sez Me” was one of the first of the “produce four aces in four different flourishy ways” routines which have now become commonplace in the literature. Explained in this routine is the Dingle Bluff Shift, a remarkably useful utility move which seems to have been overlooked by present day card workers. “Through and Through” is a variation of Vernon’s “Queen’s Soiree,” which does use a sheet of newspaper. The Two, Three, and Four of Spades penetrate a jumbo card to join the Ace of Spades. You must be seated to perform this routine. The “Double Color-Changing Aces” is just that; four aces are lost in the deck, they are produced one at a time, their backs change from red to blue, and then their backs instantly change back to red.
The final two card routines I believe will be of most real world use to the average magician. In “Color Triumphant” a card is peeked at by a spectator. The deck is cut into three piles and is shuffled face up and face down. The deck is spread face up and it is seen that all the cards have righted themselves with the exception of the selected card. The deck is then spread face down. All the cards have changed to blue backs. “Color Triumphant” is a very practical routine, and is not too technically demanding. You will need a surface to perform it on, but a close-up mat is not necessary. I used to perform it all the time, and it is especially effective if you change the deck into a rainbow deck. “Card in Balloon” is based on ideas from Norman Jenson and Warren Stephens. It is described in Derek Dingle’s Complete Works, but omitted from that write up is an enormously funny (and extremely off-color) gag. This would play great in a comedy club or a bar, and if the gag is inappropriate it could easily be left out. Again, this routine is not too technically demanding. As Derek explained in an interview in MAGIC (May 1997), he has had to go back and reacquaint himself with these early routines because they are no longer in his current performing repertoire. And herein lies one of the problems with this video. These are hard routines, jam packed with moves from beginning to end. Refamiliarization does not equal fluidity, and there are many times when (to my eyes) the flow of the routine is impeded as Derek thinks about what is coming next. When these routines were first created, Derek was doing them all the time, and consequently there was a smoothness which only repeated performance can achieve. If you are considering purchasing this video in order to see why everybody was raving about Derek in the 1970’s, you may be disappointed. (And believe me, this is not a criticism of Derek’s performing abilities. I know all too well how quickly you can lose the “edge” from a routine which is not performed regularly.) Another question I have about this video is this: Exactly who is this video for? With the exception of the two routines mentioned above, the material is far beyond the abilities of the average magician. Derek himself found that other material was more effective for lay audiences. Many of the routines were subsequently revised and simplified. Since the tape does not succeed as a historical document (it would have if it had been shot in 1971), who will find value in it? I’m not sure. From a production standpoint, Kaufman and Company are definitely on the right track. Derek’s explanations are clear, and the added camera angles make it very easy to understand what is going on. In both “Four Coins in the Counting” and “Through and Through” the entire routine is demonstrated using clear plastic cards. Should you desire to learn any of these routines you will be able to do so. And there’s not much more I can tell you. The Art of Invisible Thread By Jon LeClair
Jon LeClair published the original “LeClair Animator” in 1986. You have probably seen the “teaser” ads which have been running for the past few months. And you’ve probably asked yourself, “Just what the heck is this?” Allow me to enlighten you. The “LeClair Animator” is a method of hooking up a length of invisible thread so you can perform levitations, animations, and other effects. Jon’s hook up is designed to minimize thread breakage, and allows you to get set at any time during your close-up routine. Jon details this method and a whole lot more in his new book, The Art of Invisible Thread. It is probably the most thorough and useful treatise on the subject that I have ever read. The book begins with a valuable Prologue by Eugene Burger. Be sure to read this, because Eugene offers suggestions which will ease you into the learning process. If you take his advice and learn the three simple tricks he mentions you will be well on your way to mastering thread work. Jon then devotes 35 pages to the explanation of the “LeClair Animator” hook up, methods for assembling the animator, utility thread techniques, and lighting considerations. One advantage to Jon’s hook up is that the performer is not tied to one spot. He can move to place himself in the most advantageous lighting position. A wide variety of effects are explained, including “The Floating Bill” (Jon’s preference is to do this with a cocktail napkin), Al Baker’s “Erectile Bill” and “Moving Knife,” “The Haunted Matchbox,” Jamy Ian’s Swiss’ wonderful and evocative “Animated Ring,” Gaetan Bloom’s “Standing Card,” and a remarkable handling for the “Haunted Deck.” In each case the handling is designed so that the thread is undamaged at the end of the routine. The book concludes with an explanation of how to extract invisible thread from women’s nylon tights. Interspersed are essays on various aspects of thread technique. One aspect of thread that I wish had been addressed more thoroughly is the psychology of using thread. In other words, when floating something which is light enough to hang from a thread how do you direct the spectators’ thought process away from the most obvious (and in this case, correct) solution. Jon touches on this, saying that he feels that animations are more effective than levitations, and when levitations are performed they should be kept very brief. I wholeheartedly agree with his assessment, but I yearn for a more complete examination of this subject. Jon includes everything you need in order to get hooked up right away. He also can provide a replacement kit of extra thread and putty ($14.95). Jon’s explanations are clear, and Tony Dunn’s illustrations are wonderful. Working effectively with thread is a lifelong commitment. You’re not going to get good in a week or a month. You have to live with the thread until it becomes a part of you. If you’ve got a burning desire to be a thread-head, this book is a must buy. It is the finest exposition of this type of material that I have seen. Highly recommended.
The Mental Magick of Basil Horwitz Volume 4 By Basil Horwitz This slender little book contains seven very strong and commercial mental routines from the professional repertoire of Basil Horwitz. Included are routines suitable for close-up and stand-up performance. I was particularly intrigued by several of the routines in this book, especially with Mr. Horwitz’ off beat use of the venerable “Out to Lunch” principle. Check out “Psychic Roulette” and “The Hot Chair.” They are not only commercial routines, but they may inspire you to develop other applications. Also take note of “Ultimate Challenge Thought and Clairvoyance” and “The Unlimited Principle.” The first is the latest incarnation of a routine which has seen development in volumes one and two of the Mental Magick of Basil Horwitz series. This method allows you to do a very convincing message reading effect, and leads naturally into a cold reading scenario. “The Unlimited Principle” allows you to do a multiple prediction effect (ala the “Koran Medallion”) but with simple, ordinary props. The method is not difficult, but I think would require a confident showman to pull it off successfully. I was quite impressed with this material. If you seek professional caliber mental material it is definitely worth your consideration. Recommended. Breslaw’s Last Legacy From Stevens Publishing Philip Breslaw was a German conjurer who immigrated to England in the early 1860’s and performed there until his death in 1783. The earliest known edition of Breslaw’s Last Legacy bears a publication date of 1784, so it is conjectured (probably correctly) that the book was written by someone wishing to capitalize on the Breslaw name. As Byron Walker writes in the introduction to this new reprint from Stevens Magic Emporium, “based on the number of editions published, Breslaw’s Last Legacy is the third most popular of the antiquarian English language books devoted primarily to legerdemain.” The various editions varied in the number of pages from as many as 144 to as few as 36. For this reprint the most enlarged version was used. The various editions also used different frontispieces. This reprint uses a charming picture showing a conjurer in a pulpit-like enclosure performing for an enthusiastic audience and one very bored dog. This book is part of the continuing series of reprints published by Stevens Magic Emporium, and maintains the standard set by previous volumes. I found Breslaw’s Last Legacy to be a fascinating read. Highly recommended to collectors and those interested in magic history. Business Card Miracles Written by Jon Jensen
If you make some portion of your living doing magic, you know the benefits of incorporating your business card into a magic trick. The spectators get a memorable souvenir, which, not coincidentally, has your name and phone number on it. Jon Jensen has compiled thirteen routines from people such as Dan Harlan, Gary Darwin, Paul McVee, and Frank Zak. None are particularly difficult, and all produce the desired result of leaving your card with the spectators at the end of the trick. There is a mixed bag of material here, and I found that many of the tricks use the “substitute one rectangular cardboard object for another rectangular cardboard object” method of creativity. That is, they are card tricks for which business cards have been substituted for playing cards. These I did not find to be particularly interesting. However, there are a couple of cute ideas, and I would draw your attention to Paul McVee’s “In the Money” (a business card is produced from between two bills), Gary Darwin’s “A Bright Idea,” (a light bulb drawn on the back of a business card mysteriously glows), and Dan Harlan’s “Birthday Surprise” (a routine which originally appeared in Minotaur). If you have no business card tricks in your repertoire, this book is inexpensive and is certainly worth a look. Stand Up Coin Power By Eivind Lowig Mr. Lowig is a colleague of Jarle Leirpoll (whose Pocket Power book and video have been reviewed in this column). Stand Up Coin Power is his first book, and contains (in his words) “13 new tricks and routines for the dedicated coin man.” The material is designed to be performed standing, and does not require the use of sleeving or a topit. In addition, while Mr. Lowig uses the phrase “the dedicated coin man,” the material is not extraordinarily difficult. The book gets off to a shaky start with “Stuck,” which is nothing more than the old “nail soldered to a coin” gag. I reread this several times wondering if there was some subtlety in the handling that I was missing, but there isn’t. Other than a thoughtful admonition to hand out the “nailed coin” with the same hand which holds the palmed coin, there is nothing new here, and I’m unsure why this effect was included. However, things get better from this point on, and there are many useful routines, including an offbeat 2 coin routine, a method for vanishing a fistful of money, a three coin production and vanish inspired by the work of Chris Kenner, and a nice coins across routine. The book concludes with a discussion of “The Pentium Change,” an offbeat method for vanishing or changing a coin. The book is clear and understandable (no small feat considering that English is not Mr. Lowig’s first language) and there are many illustrations (be aware that two of the illustrations in “The Elbow Vanish” are reversed). There has not been much coin magic offered recently, and there is certainly information of value here.
Climbing the Ladder to Successful Close-up Magic By Phil Jay Tales from the Road By Tom Lilly Drugs, Strangers, and Other Dangers By Ron Conley I’m grouping these three manuscripts together because they each focus on a specialized area of magic, and they will be of most use to those who intend to become full or part time professional magicians. Phil Jay is a restaurant and corporate close-up magic in England. His book offers a very interesting approach to successful restaurant magic, using an analogy to the children’s game “Snakes and Ladders” (more commonly referred to in the United States as “Chutes and Ladders”). Mr. Jay’s premise is that during the course of your performance you should imagine yourself climbing a ladder of esteem and respect. Each effect and every bit of interaction with your spectators should raise you up another rung on that ladder, so by the end of the performance the spectators place you “at the top of the ladder as an entertainer and a magician - ‘top dog’ - ‘numero uno.’” Mr. Jay then offers various suggestions to achieve this end. At the same time, the performer has to be wary of “snakes,” events which will lower the audience’s respect for the performer. These snakes can be produced by ill-advised comments, or by unruly spectators who try to sabotage your performance. Mr. Jay offers ways to deal with these situations. The book concludes with several routines which Mr. Jay has found useful in his work. Climbing the Ladder to Successful Close-up Magic is very worthwhile reading for anyone who wants to perform for real people in the real world. Mr. Jay’s advice is sound and well worth your consideration. (His suggestions for how to do magic for someone dining alone are excellent, and I don’t believe I’ve seen this discussed anywhere else.) Recommended. Tom Lilly is a full time pro from Maryland. His book Tales from the Road is a nuts and bolts handbook of the stuff you need to know if you’re going to make a living doing magic. Mr. Lilly focus is as a children’s entertainer, but his suggestions can be adapted to any field. He offers advice on promotional material (one of his brochures is bound into the book), contracts, organizing props, and crowd control. In addition, he details several of his children show routines. Tales from the Road is another worthwhile book, and I recommend it. Finally, if you would like to add an anti-drug show to your kid show resources, take a look at Ron Conley’s Drugs, Strangers, and Other Dangers. Mr. Conley gives the full details of his “Magical Say No Show,” which he has performed more than 1000 times throughout the southeast. He gives you all the work, including complete scripts for each of the tricks, booking and promotional suggestions, contract and pricing information, and
tips on how to survive on the road. I can’t imagine a pro giving away his bread and butter like this, but I think Mr. Conley is doing this in the hopes of getting this important message to more children throughout the country. If you’re a kids show performer, this book is definitely worth your time. Recommended. The Low Main Deck by Chris Bacchus This is a clever and practical version of the shrinking deck effect. A poker-sized deck of cards is removed from the card case and is spread between the hands. (This spread is tight, and is done with the backs of the hands facing the audience. It is a cozy position, but does not look too unnatural.) The deck is squeezed between the hands and immediately becomes a miniature deck. The miniature deck is real and can be used for other effects (if you ditch the gaff which remains in the deck after the shrinking). The instructions offer no suggestions on how to proceed after doing the shrinking, but if you want to incorporate this type of effect into your close-up show, you’ll find that this is a practical trick which can be done in the real world. Insight By Keith Fields This is a very interesting book test, with an approach which is different from any others I’ve seen recently. (I don’t think I’m going to deprive Mr. Fields of any sales by generally outlining the method. There’s no way that you’re going to make one of these for yourself, and besides, you wouldn’t anyway, because MAGIC readers do the right thing.) Anyway, here’s the gist of it. Open a book. Consider the left and right hand pages to comprise one bank of information. In Mr. Fields’ book, each left/right bank contains nine pieces of information, including a long word on the first line of the left hand page, a man’s name, a date, an occupation, a city, a country, and so forth. There are five different “banks” which repeat sequentially throughout the book. So if a spectator opens the book at any point, and if you can determine which “bank” they are looking at, then you can “mentally” discern all the other bits of information on the page. (There are several ways to gain the knowledge of which bank they are looking at.) The book you get looks like a standard soft cover trade publication. It is 199 pages long and appears completely innocent. The nature of the method requires a different approach to the picking of words in the text, but this has a very jazzy, freeform feel to it, and although I have absolutely no experience doing book tests, I fell into it right away. And I’ll tell you that everyone I’ve performed this for has been completely blown away by it. The price of this item places it outside of the realm of all but working performers (or wealthy amateurs). But if you’ve been looking for a strong book test to add to your act, this is well worth your consideration. Highly recommended. Details
Dingle’s Deceptions: The Video by Derek Dingle. $35 postpaid domestic and foreign surface postage. NTSC format. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 The Art of Invisible Thread by Jon LeClair. 5.5 x 8.5 hardcover with dustjacket. 160 pages. Includes supply of invisible thread and putty. $29.95 plus $3 p&h in US. (Canada postage $4, Europe $7, Asia $9). From Jon LeClair, 4060 Woodland Blvd., North Port, FL 34286 The Mental Magick of Basil Horwitz Volume 4 by Basil Horwitz. 6 x 9 hardcover. 74 pages. $28 plus $6 p&h. From Martin Breese International, Box 842, Sheffield, S2 5TB, England Breslaw’s Last Legacy. 4.5 x 6 hardcover. 144 pages. $35 postpaid. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214 Business Card Miracles written by Jon Jensen. 8.5 x 11, stapled softcover. 32 pages. $14.95 postpaid. From Jon Jensen, 3450 Oreana Avenue, Las Vegas, NV 89120 Stand Up Coin Power by Eivind Lowig. 8.5 x 11, stapled softcover. 46 pages. $25 (add $5 for surface mail, $9 for airmail). From Eivind Lowig, H. Haarfagresgt. 10B, 0363 Oslo 3, Norway Climbing the Ladder to Successful Close-up Magic by Phil Jay. 8.5 x 11 plastic comb bound. 62 single sided pages. $20 plus 2 p&h. From Show-Biz Services, 1735 E. 26th Street, Brooklyn, NY 11229 Tales from the Road by Tom Lilly. 8.5 x 11 plastic comb bound. 42 pages. $25 postpaid. From Thomas Lilly, 1407 Clarke Avenue, Lutherville, MD 21093 Drugs, Strangers, and Other Dangers by Ron Conley. 8.5 x 11 softcover. 96 pages. $25 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727 “The Low Main Deck” by Chris Bacchus. $20 postpaid. From Bacchus Manufacturing Co., PO Box 241582, Montgomery, AL 36124 “Insight” by Keith Fields. $185 plus $14 airmail postage. From The Kaymar Magic Company, 189a St. Marys Lane, Upminster, Essex RM14 3BU, England
February 1998 “The Hurrier I Go…” Again this month we have a lot to talk about and not a lot of space to do it in. If you’ve sent in a product for review and it hasn’t appeared in these pages yet, hang in there. Everything should appear eventually. We begin the column with some items which were postponed from January due to space limitations. Climbing the Ladder to Successful Close-up Magic By Phil Jay Tales from the Road By Tom Lilly Drugs, Strangers, and Other Dangers By Ron Conley I’m grouping these three manuscripts together because they each focus on a specialized area of magic, and they will be of most use to those who intend to become full or part time professional magicians. Phil Jay is a restaurant and corporate close-up magic in England. His book offers a very interesting approach to successful restaurant magic, using an analogy to the children’s game “Snakes and Ladders” (more commonly referred to in the United States as “Chutes and Ladders”). Mr. Jay’s premise is that during the course of your performance you should imagine yourself climbing a ladder of esteem and respect. Each effect and every bit of interaction with your spectators should raise you up another rung on that ladder, so by the end of the performance the spectators place you “at the top of the ladder as an entertainer and a magician - ‘top dog’ - ‘numero uno.’” Mr. Jay then offers various suggestions to achieve this end. At the same time, the performer has to be wary of “snakes,” events which will lower the audience’s respect for the performer. These snakes can be produced by ill-advised comments, or by unruly spectators who try to sabotage your performance. Mr. Jay offers ways to deal with these situations. The book concludes with several routines which Mr. Jay has found useful in his work. Climbing the Ladder to Successful Close-up Magic is very worthwhile reading for anyone who wants to perform for real people in the real world. Mr. Jay’s advice is sound and well worth your consideration. (His suggestions for how to do magic for someone dining alone are excellent, and I don’t believe I’ve seen this discussed anywhere else.) Recommended. Tom Lilly is a full time pro from Maryland. His book Tales from the Road is a nuts and bolts handbook of the stuff you need to know if you’re going to make a living doing
magic. Mr. Lilly focus is as a children’s entertainer, but his suggestions can be adapted to any field. He offers advice on promotional material (one of his brochures is bound into the book), contracts, organizing props, and crowd control. In addition, he details several of his children show routines. Tales from the Road is another worthwhile book, and I recommend it. Finally, if you would like to add an anti-drug show to your kid show resources, take a look at Ron Conley’s Drugs, Strangers, and Other Dangers. Mr. Conley gives the full details of his “Magical Say No Show,” which he has performed more than 1000 times throughout the southeast. He gives you all the work, including complete scripts for each of the tricks, booking and promotional suggestions, contract and pricing information, and tips on how to survive on the road. I can’t imagine a pro giving away his bread and butter like this, but I think Mr. Conley is doing this in the hopes of getting this important message to more children throughout the country. If you’re a kids show performer, this book is definitely worth your time. Recommended. The Low Main Deck by Chris Bacchus This is a clever and practical version of the shrinking deck effect. A poker-sized deck of cards is removed from the card case and is spread between the hands. (This spread is tight, and is done with the backs of the hands facing the audience. It is a cozy position, but does not look too unnatural.) The deck is squeezed between the hands and immediately becomes a miniature deck. The miniature deck is real and can be used for other effects (if you ditch the gaff which remains in the deck after the shrinking). The instructions offer no suggestions on how to proceed after doing the shrinking, but if you want to incorporate this type of effect into your close-up show, you’ll find that this is a practical trick which can be done in the real world. Insight By Keith Fields This is a very interesting book test, with an approach which is different from any others I’ve seen recently. (I don’t think I’m going to deprive Mr. Fields of any sales by generally outlining the method. There’s no way that you’re going to make one of these for yourself, and besides, you wouldn’t anyway, because MAGIC readers do the right thing.) Anyway, here’s the gist of it. Open a book. Consider the left and right hand pages to comprise one bank of information. In Mr. Fields’ book, each left/right bank contains nine pieces of information, including a long word on the first line of the left hand page, a man’s name, a date, an occupation, a city, a country, and so forth. There are five different “banks” which repeat sequentially throughout the book. So if a spectator opens the book at any point, and if you can determine which “bank” they are looking at, then you can “mentally” discern all the other bits of information on the page. (There are several ways to gain the knowledge of which bank they are looking at.)
The book you get looks like a standard soft cover trade publication. It is 199 pages long and appears completely innocent. The nature of the method requires a different approach to the picking of words in the text, but this has a very jazzy, freeform feel to it, and although I have absolutely no experience doing book tests, I fell into it right away. And I’ll tell you that everyone I’ve performed this for has been completely blown away by it. The price of this item places it outside of the realm of all but working performers (or wealthy amateurs). But if you’ve been looking for a strong book test to add to your act, this is well worth your consideration. Highly recommended. Bottoms Up:Finesse Card Under Glass By Tommy Middleton Written and Illustrated by David Harkey Reviewed by Jon Racherbaumer There are up-sides and downsides to every publication. The upsides of this booklet are its production values. Despite its slim number of pages (12), it looks classy. Designed like a glossy drink menu, it was expertly designed and succinctly written—perhaps too succinctly—by David Harkey. There are seven helpful drawings and readers, especially if they are completely unfamiliar with the basic effect, will be able to understand the rudimentary mechanics. If they are comparison-shoppers, they will probably pit the booklet’s actual price against their own criteria of real, robust value. If so, the downside of this booklet becomes quickly apparent. First, it is not a detailed treatise. On this account it cannot compete with better explanations already published. The booklet’s subtitle suggests finesse. This is a stretch because applying another cardman’s control and using a Tenkai palm are hardly revolutionary. Middleton is obviously enthused and this is praiseworthy, but he puts a high price-tag on only one trick. Granted: The basic effect is a potentially great, but such potential is achieved only by skillful performance. It was never meant for amateurs. Heba Haba Al, who was connected to the Card-Under-Glass effect in the same way hands are connected to arms, probably performed this trick a gazillion times. And every bar magician worthy of being called one thanks him for being one of its finest exemplars. They also bow to Johnny Paul and Jim Ryan. Each honed the requisite craftiness and split-second timing demanded by this “performance piece” by constantly working in realworld “trenches.” They knew, as Mike Close currently teaches, that The-Card-UnderGlass is not an isolated, singular effect. It is modular and is meant to be strategically used in a larger performance-composition. Professional workers “score” it and they (pun intended) “know the score” in the deepest sense possible. Like jazz musicians who fully grasp any melody, they can “riff” with practiced impunity, knowing how to “play” within given “contexts.” The Card-Under-Glass is not for beginners or average magicians. Its underlying mechanics may look like child’s play, but requires nerve, experience, and real-world practice. You must know how to tactically use it in an extended performance, how to repeat it (as Mullica and Close do), and how to achieve maximum impact. Furthermore, it cannot be practiced in private. Like the Classic Force, it must be rawly rehearsed in actual, variable performing situations for diverse kinds of spectators. Ask
Tom Mullica, Mike Close, John Carney, J.C. Wagner, Doc Eason, Bob Sheets, Eric Mason, Simon Lovell, and Terry Lunceford. This is why explanations do not abound in our literature. Only a few references come to mind. Simon Lovell published the “Glassy Card” in Close-up Magic To Tap Dance To (September-1989), Tom Mullica revealed his handling in Show Time At The Tom-Foolery (1992), and Mike Close tipped “The Card, the Forehead, and the Salt Shaker” in Workers - Number Three (1993). Mullica uses an ashtray, Close uses a saltshaker, and others use beer bottles and drink-filled glasses. These treatments are full-bodied, realistic, and pragmatic. Bottoms Up suffers in comparison. There is a striking lucuna between what Harkey wrote and what should have been written for this performance-piece to be forcefully successful. At best, it is an elegantly produced introduction to one of bar magic’s great bits of business. Bottom line: Check it out before you decide to buy. The Chronicles By Karl Fulves Theodore Annemann published the first issue of The Jinx in October of 1934. As he wrote in that first issue, “The tricks will be good, the hints, tips and miscellaneous matter that may creep in will be practical, and above all, the price will remain a fraction of a fraction in comparison with the value of the information disclosed.” The Jinx ran for 151 issues, ceasing publication in December 1941, shortly before Annemann’s death. Mourning the loss of both Annemann and his magazine, Walter Gibson and Bruce Elliott started The Phoenix. The first issue appeared in early February 1942, and contained this statement of purpose, “It is hoped that this magazine, The Phoenix, may in some degree provide magicians with the things that they expected from The Jinx.” Walter Gibson bowed out after 72 issues and Bruce Elliot continued alone, producing a total of 300 issues, the last of which appeared on February 5, 1954. At this point the magazine was taken over by Jay Marshall and Norman Jensen. It was renamed The New Phoenix, and the first issue came out on February 19, 1954. Jay eventually became the sole editor, and continued until March 19, 1958 at which time issue #348 appeared. The New Phoenix ceased publication for more than two years, until the appearance of issue #351in November of 1960 with Don Tanner as the editor. (The missing two issues have never been published.) Karl Fulves took over the editorial duties with issue #397, published on July 6, 1965. In that issue he writes, “When I agreed to take over the New Phoenix from Don Tanner, it was with the understanding that just four more issues of The Phoenix will be published. At issue #400 the bird will be fondly laid to rest…For the past few years I had contemplated running a sheet of my own, somewhat similar to The Phoenix…Those of you whose subscriptions to The Phoenix extend beyond issue #400 will have them fulfilled with the upcoming publication.” The new publication referred to was The Pallbearers Review, and the first issue appeared in November of 1965. Pallbearers ran for 10 years, with the last issue dated October, 1975. At that time, Fulves decided to continue The Pallbearers Review in a different style, “but featuring the same combination of subtlety and sleights crafted for the close-quarters performer.” This magazine
continued for 36 issues, ceasing publication in 1988. Therefore, as Max Abrams has noted, The Chronicles was the great-great-grandchild of The Jinx. I referred to The Chronicles a few months ago when I was discussing self-levitations, and I mentioned that a reprint would soon be available. Well, that reprint has arrived, and it is a gold mine of interesting and useful information. Moreover, because original copies of The Chronicles are difficult to find, this is material which is virtually unknown outside of the small group of original subscribers. The Chronicles focuses on close-up and stand-up magic, with the skill level geared toward the average magician. In addition, there is an extremely high percentage of noncard material. If you’re looking for routines to add to your act, or just to fool your pals at the magic club, you’ll find it here. The contributors are a who’s who of magic’s finest minds, including Dai Vernon, Slydini, Phil Goldstein, Alex Elmsley, Larry Jennings, Michael Skinner, George Sands, Howard Schwarzman, Martin Gardner, and Allan Slaight. There is far too much material here for me to give even a cursory mention of specific items, but I will tell you that there are some terrific psychic routines here, and a rope penetration which took the magic conventions by storm when it appeared almost 20 years ago. If David Blaine had done this rope trick on TV, the Internet would have melted down with magicians trying to find out where to buy it. The pagination of The Chronicles continues from the end of The Pallbearers Review, but the layout style is different. To be honest, I preferred the tightly packed, dense layout of Pallbearers, but I’m sure that the “friendlier” layout of The Chronicles will appeal to many. I highly recommend The Chronicles, and I highly recommend all the magazines which preceded it. In fact, if you obtain files of these magazines you’ll have more practical, fun, and stimulating magic than a human being could learn in several lifetimes. The Genius of Robert Harbin By Eric Lewis Robert Harbin was an extremely successful performer, an Origami enthusiast whose writings on the subject introduced many (including myself) to the world of paperfolding, and a prolific creator of magical effects including one of the most blatantly ripped-off illusions of our time, “ The Zig-Zag Girl.” It has taken almost fourteen years for Mike Caveney’s Magic Words to make this book a reality, and while it is sad that Mr. Lewis did not live to see the book’s publication, he would be happy to know that it stands as a loving tribute to his friend. Robert Harbin began his magical career in South Africa, where he was known by his real name, Ned Williams. A magic show at his school kindled the magic flame, and Ned began ordering small magic tricks from Will Goldston’s shop in London. He met Clive Maskelyne in 1928 during Maskelyne’s second tour of South Africa, and, while Maskelyne gave young Ned some realistic advice (“Make magic a nice sideline, but do
something else for a living.”), the desire to become a professional magician became more firmly entrenched. To do so, Ned felt he must move to England, which he did in 1928. The Genius of Robert Harbin traces Ned Williams early career in South Africa and England, though his appearances with “Maskelyne’s Mysteries” at St. George’s Hall and the Little Theater (it was at this time that he changed his name to Robert Harbin), culminating with his success as one of England’s most popular cabaret performers. Interspersed with the biographical information are discussions of the effects Harbin developed during each time period. Because Mr. Lewis was actively involved in the creation of many of these effects, he gives us a unique, insider’s viewpoint. (Be aware, however, that no details are given for effects which were published in The Magic of Robert Harbin. This was done intentionally to grant exclusivity to those who purchased that book.) The explanations of the effects are fascinating, and if you are a stage or cabaret performer, you will find much of value here. The reason for the delay of this book is this: The Genius of Robert Harbin is a very personal biography. Eric Lewis and Robert Harbin were close friends their entire lives. However, in 1968 Mr. Lewis moved to California and did not have the personal contact with Harbin that he had had when they both lived in England. Consequently, when the chronological history of Harbin reached 1968, Mr. Lewis stopped writing. As Mike Caveney explains, “Eric now felt uncomfortable writing about Harbin’s later years based on the recollection of others.” The manuscript sat in a closet, unfinished. Mr. Lewis died on June 6, 1993. Mike Caveney contacted John Fisher in the hopes that he could write the chapter detailing the final years of Harbin’s life, but Fisher’s work schedule made this impossible. Fortunately, Alan Shaxon agreed to finish the biography. Shaxon was a confidant and friend of Harbin during the late 1960’s and early 70’s and is able to offer the same personal insights as Mr. Lewis. The Genius of Robert Harbin is a wonderful book, and I enjoyed it immensely. As with all the products from Mike Caveney’s Magic Words it is a class act all the way around. Highly recommended. The Coney Island Fakir: The Magical Life of Al Flosso By Gary R. Brown If you enjoy magical biographies, you will also want to pick up a copy of Gary Brown’s new biography of Al Flosso. Flosso was a true “character,” and you don’t see very much of that in magic anymore. Perhaps one reason for the lack of magical characters is that the social environment necessary to produce a character’s eclectic past is no longer available. Flosso was apprentice to Henry Gordien, “Pop” Krieger, and Max Malini. He was a circus sideshow worker, a Punch and Judy performer, a carnival pitchman, a brilliant magician, and the owner of one of the most remarkable magic shops in history. As Mr. Brown explains in his Preface, “the documentary record of Flosso’s life is marginal…” so consequently much of The Coney Island Fakir is an anecdotal history, filled with the stories of those who knew him. In addition to the reminiscences and
biographical information, Mr. Brown also includes a chapter which details Flosso’s act, the highlight of which was Flosso’s handling of “The Miser’s Dream.” No attempt is made to explain exact handlings or techniques, the purpose of this description is to help give the reader a sense of Flosso the performer. Unfortunately, words can only do so much. If you really want to know what Flosso was like, you’ll have to track down a video of one of his performances. The actual biography encompasses 128 pages. There are nine pages of notes. The final eighty pages consist of the reprints of two booklets: Our Mysteries and Annemann’s Buried Treasures. Our Mysteries was produced by Flosso in the 1940’s (incidentally, the dust jacket incorrectly lists this book as Our Magic), so it’s inclusion makes some sense, but I’m at loss as to why the Annemann book was included. I enjoyed The Coney Island Fakir, and I think you will, too. Al Flosso was one of a kind, and we’ll never his like again. If you never had a chance to meet him, reading this book will give you some idea of what you missed. Recommended. The Desert Brainstorm Series Volumes 1-3 By the Arizona 6 1/2 The Arizona 6 1/2 (founded about 8 years ago by Robert Bluemle) is composed of several mentalists from the southwest who get together every few months to trade ideas, hone new material, and rob the occasional stage coach. Seven of these gentlemen were invited to Casa del Maxwell to perform and explain some of their pet mental effects. The three volumes of the Desert Brainstorm Series contain three routines each from Larry Becker, Lee Earle, Docc Hilford, Gene Urban, Mark Strivings, Christopher Caldwell, and Kenton Knepper. The quality of the material is uniformly high, and there is enough variety in method, effect, and presentation that anyone interested in mental magic should find something to their liking. The format of each tape is this: each gentleman performs his particular routine (in front of an enthusiastic and appreciative group) and then he explains the method in a “roundtable” setting in which the other six mentalists can offer questions, comments, or suggestions. This scenario works very well, making the viewer feel as if he is part of session. There is far too much material explained here to attempt even the most cursory summary. Some routines I liked better than others, but each of the seven participants offered worthwhile routines. In particular, I very much appreciated all the effects from Lee Earle and Kenton Knepper. If you can only afford one video, I would suggest that you start with volume one of the series. This will give you a feel for each gentleman’s style and approach to mentalism. In addition, Earle’s “Con-bination” and Knepper’s “Southwest Miracle” are individually worth the price of admission, so you’ve got nothing to lose.
If you’re looking for a wide variety of practical mental magic, I don’t think you can go wrong. Recommended. The A-1 All Stars Video Series: Numbers 3 & 4 From A-1 MultiMedia I don’t know a lot about the manufacturing and sales of video cassettes, but one thing I know is this: the length of a video tape influences its duplication costs. If a tape is longer than 90 minutes it may have to be “piggybacked” which makes it more expensive to duplicate. This is why most magic videos do not exceed 90 minutes. Well then, what do you do if you have material which had to be cut from a video project because of excessive length? A possible solution would be to put out a sampler - a tape which contains one trick each from a variety of performers. I do not know that this is the reason why the A-1 All Stars Video Series exists, but it is a plausible explanation. Two new tapes in this series have recently been released. Volume three features Juan Tamariz, Darwin Ortiz, Rafael Benatar, and Mark Strivings. Volume four features Tom Mullica, Darwin Ortiz, Lee Earle, Allan Ackerman, and Rafael Benatar. There is excellent material on both of these videos, with the emphasis on card magic. For me, the highlight of Volume three was Juan’s twenty minute routine with a memorized deck. This routine contains a variety of effects, culminating with the performer dealing out four perfect bridge hands. This routine uses Juan’s personal stack, which he details as part of the explanation. You’ll get no help as far as learning how to memorize the stack, but if you’ve been wondering what Juan’s stack is, you’ll find the information here. The highlight of Volume four is Darwin’s “Blind Aces,” a routine which I commented favorably on when I reviewed Cardshark. Not only is this a wonderfully commercial routine, the technical requirements are minimal, putting it well within the reach of the average card handler. Both these tapes are worth your consideration, especially if you are interested in card magic. If you are unfamiliar with the work of any of these gentlemen, these tapes would acquaint you with their styles and their material. However, I do have a suggestion for the folks at A-1: Since the production costs of these tapes are $0 (since all the material was shot during the process of producing other tapes), why not reduce the price of these sampler tapes? Price them at $19.95 (or less if feasible). Record companies do this, and in doing so they expose their customers to artists that they would otherwise not be aware of. It could be a mutually agreeable (and profitable) situation. Wow: It’s Ray Kosby By Ray Kosby Ray Kosby doesn’t make many convention appearances, consequently his name may be unknown to you. If you have heard of Ray, it’s probably because of a stunning (and heartbreakingly difficult) card trick called “Raise Rise” which was published in the
Magical Arts Journal. Fortunately for all of us, the material on Wow: It’s Ray Kosby is not nearly so difficult. The material is geared for the close-up and stand-up performer, and (hooray, hooray!) all are non-card effects. In addition, many (if not all) of these tricks are going to fool you the first time you watch them. A hallmark of any Kosby routine is a strong visual element. My two favorite routines were the penetration of a rubber ball through a clear plastic bag and a crazy “Professor’s Nightmare” type routine done with rubber bands. In addition you’ll find tricks with apples, pretzels, soda cans, coins, and sponges. Only the coin routines place any kind of technical demands on the performer, everything else is well within the abilities of the average magician. This is the second video from Kaufman and Company, and the production values are excellent. If you’re looking for quick, visual, non-card material, you should definitely take a look at this video. Highly recommended. Passing Through By Douglas Cameron Douglas Cameron has come up with a very clever kicker for the standard Card Through Handkerchief effect. Here’s what happens: Two cards are selected and returned to the deck. The deck is wrapped in a man’s white pocket handkerchief. The hank is shaken, and the first card penetrates through the hank. The hank is shaken again, but instead of the second appearing, a blank card emerges through the hank. The handkerchief is unwrapped, and the image of the second card is printed on it. Douglas offers two handlings, one of which requires no skill, the other which requires only average technical ability. There is no switch of handkerchiefs, and at the beginning, the hank can be freely shown, no printing can be seen on it. The only downside to this routine is that the “activation device” (which is not really the correct phrase, but I’m being vague so I don’t tip the gaff) must carried in a pocket, and must be recharged (or replaced with another unit) after about an hour. Now, don’t let this deter you, because this “device” is a fairly common thing, and if you’re doing strolling magic you could have several ready to go before you get to the gig. However, be aware that the gaff will use up one pocket. (Douglas suggests using your outside breast pocket). This is a very offbeat effect, and if it appeals to you it is well worth your consideration. Recommended. Glink By Jon Allen The idea behind this prop was explained in Jon Racherbaumer’s “Inside Out” column in the March 1997 issue of MAGIC. What you get with “Glink” is a pen which writes with a combination of glue and ink. The line the pen produces is narrower than that produced by
a Sharpie, but bolder than that produced by a Flair. If you write on a playing card and then press the card against another card, when the glue dries the bond is more or less permanent. If you let the glue dry first, then the adhesion becomes removable, as if you were using wax. In addition to the pen, you receive a 19-page booklet detailing seven effects which use “Glink.” Before you make a decision, read the effect referenced above to see if it appeals to you. A couple of things you should know: The “Glink” pen doesn’t resemble any pen commonly in use in the United States. The pen is black, about 4.5 inches long and the barrel is .5 inches in diameter. It doesn’t look particularly suspicious, but it is not a standard pen. The other thing you should know is that you must wait a minute or two for the “Glink” to dry if you want to have a removable bond. You’ll need to have something going on presentationally to cover this time lag. I will tell you that I have tried this (performing the trick from MAGIC), and the reaction was very strong. If the effect appeals, it is worth your consideration. Sketch-O-Magic By David Garrard Kid show performers will definitely want to take a look at David Garrard’s “Sketch-OMagic.” Here’s what you get: Visualize an 8.5 x 11 spiral bound artist’s sketch pad. The pad is held horizontally, with the spiral binding to the right. The pages of the sketch pad have been divided into thirds, horizontally. The each page of the top section shows the top third of a person’s head, the middle third shows the person’s eyes and nose, the bottom third shows the mouth and chin. The performer flips through each of these sections, displaying all the different combinations possible. A prediction is placed aside. Three spectators stop at three different sections as the magician flips through the pages. This produces the picture of a smiling, blue-eyed boy wearing a beanie. The prediction is revealed, the pictures match. This is a very nicely made prop, which uses the old Coloring Book principle in an interesting way. You’ll be doing it five minutes after you get it, and if you’re looking to add a mental-flavored effect to your kids show, it would certainly fit the bill. Recommended. It’s Not Magic, But… Longtime readers of MAGIC may remember a cover picture of Martin Gardner constructed of domino tiles. The tiles were arranged mosaic-fashion, and (if you stood back a bit and squinted) the spots on the tiles formed a portrait of Mr. Gardner. Computer scientist/artist Robert Silvers has advanced this concept to a degree which is mindboggling. He has written a computer program which constructs these mosaics from thousands of smaller, disparate images. The results are not only beautiful, but they are magical, even more so as you carefully examine each image and discover how the tiny photographs are incorporated into the whole.
Mr. Silvers has compiled 30 of these constructs into book titled Photomosaics. You’ll find a portrait of Abraham Lincoln composed of Civil War photographs, Darth Vader and Yoda made up of tiny stills from the Star Wars movies, and a portrait of Bill Gates made from the scanned images of various world currency. The book comes with a small magnifying glass so you can examine the composition of each mosaic. These are wondrous things, and they make a perfect way to pass a snowy afternoon. (By the way, you may have seen Mr. Silvers’ photomosaic of Princess Diana on the cover of Newsweek magazine in late December. You can also visit his web site at www.photomosaic.com. While you’re there, be sure to read the short articles by Penn and Teller.) Details Climbing the Ladder to Successful Close-up Magic by Phil Jay. 8.5 x 11 plastic comb bound. 62 single sided pages. $20 plus 2 p&h. From Show-Biz Services, 1735 E. 26th Street, Brooklyn, NY 11229 Tales from the Road by Tom Lilly. 8.5 x 11 plastic comb bound. 42 pages. $25 postpaid. From Thomas Lilly, 1407 Clarke Avenue, Lutherville, MD 21093 Drugs, Strangers, and Other Dangers by Ron Conley. 8.5 x 11 softcover. 96 pages. $25 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727 “The Low Main Deck” by Chris Bacchus. $20 postpaid. From Bacchus Manufacturing Co., PO Box 241582, Montgomery, AL 36124 “Insight” by Keith Fields. $185 plus $14 airmail postage. From The Kaymar Magic Company, 189a St. Marys Lane, Upminster, Essex RM14 3BU, England “Bottoms Up” by Tommy Middleton. 4.75 x 11, stapled. 11 pages. $15 postpaid. From Oasis Ltd., 1047 NW Baltimore Avenue, Bend, OR 97701 The Chronicles by Karl Fulves. 8.5 x 11 hardcover. 395 pages. $50 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 The Genius of Robert Harbin by Eric Lewis. 8 x 10 hardcover with dustjacket. 360 pages. $45 postpaid in US and Canada (Foreign postage - Surface: $6, Airmail: $24). From Mike Caveney’s Magic Words, 572 Prospect Blvd., Pasadena, CA 91103 The Coney Island Fakir: The Magical Life of Al Flosso by Gary R. Brown. 6 x 9 hardcover with dustjacket. 215 pages. $35 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142
The Desert Brainstorm Series Volumes 1-3 by the Arizona 6 1/2. Each video $29.95 (any format). All three: $84.95. Free postage and handling for US, Canada, and overseas surface; overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The A-1 All Star Videos Volumes 3 &4. Each video $29.95 (any format). Both videos: $54.95. Free postage and handling for US, Canada, and overseas surface; overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Wow: It’s Ray Kosby by Ray Kosby. $35. Free domestic and foreign surface postage. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 “Passing Through” by Douglas Cameron. $20. Available from most major magic dealers. “Glink” by Jon Allen. $20. Available from most major magic dealers. “Sketch-O-Magic” by David Gerrard. $25 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727 Photomosaics by Robert Silvers. $19.95. (ISBN 0805051708). 96 pages. Published by Henry Holt. Available at most bookstores, or from www.amazon.com.
March 1998 Expose This If the TV programming schedules are correct, we will have been hit by another round of exposure programs by the time you read this. As before, we will hear cries of anger and anguish throughout magicdom. Editor Stan offered some thoughtful comments last issue. Let me give you a few more things to think about. Do I think that there is anything we can do to stop these programs? No. Our society seems to be focused on tearing down rather than building up. We are obsessed with the revealing of secrets, whether these are secrets of our personal lives (or the personal lives of those who govern us), secrets between countries, or the mundane secrets of magic tricks. Those who willfully hide secrets come under attack, and magicians are an easy target. I believe that interest in these exposure programs will die down over time, as people come to realize how profoundly uninteresting the nuts-and-bolts methods of magic really are. But until that time we’re going to have to bite the bullet. However, there are some ways to make the rough times ahead more bearable. First, remember that people have very short memories. If you don’t believe me, try this: Get out a handkerchief and do the trick of Phoa Yan Tiong that Tom Mullica explained on the first World’s Greatest Magic program. My guess is that you can’t even remember what the effect was, and if you do, you can’t reconstruct the handling. (Don’t feel bad. I can’t remember it, either.) So, over time, people will forget the details of what they see on TV. You may have to drop an item from your program for a while, but in time you can safely reinstate the exposed trick. A second suggestion: Be smart. Or, if you’re not capable of being smart, at least be smarter than your audience. Close-up magicians (especially restaurant workers) have long suffered from an insidious form of exposure: the wise-ass who has bought a few tricks from a magic shop and thinks he knows what’s going on. If you’ve ever started to vanish a cigarette and heard the phrase, “I’ve got one of those plastic thumbs!” you know what I’m talking about. The solution is to be several levels more advanced than these bozos, and the way to do that is study, practice, rehearse, and be the best magician you can be. If the mysteries you perform in a restaurant can be easily unraveled by someone just walking into a magic shop, then you should either rethink your repertoire or your profession. Number three: Be realistic. Let’s be honest for a moment. If a woman gets into a box, and then something magical happens to her while she’s in the box, and then she gets out of the box and everything’s back to normal, it doesn’t take a rocket scientist to come to the conclusion that the box had something to do with the trick. I think that a lot of what has been revealed on TV is not really exposure; it has simply been confirmation of people’s suspicions. They knew that the box was faked somehow, they just didn’t know exactly
how. This is a problem stage illusionists have faced from day one - how do you transcend the focus on “the box”? The good illusionists have learned to minimize the problem, the hacks never seem to. (As an adjunct point, I cannot help but notice that, given the multitude of illusions which have been created over the years, only a handful are ever performed by the majority of stage magicians, and this fact makes such illusions an easy target for the exposer.) Finally, consider the purpose of your performance. If, during your show, the thought foremost in the audience’s mind is “How does this trick work?” I think you’re doing something really, really wrong. Making the secret (and the establishment of who knows the secret) the primary factor in your show can only lead to audience resentment and the proliferation of television shows which, by their blatant exposure, demean and minimize our craft. Am I angry that these shows exist? You bet. Am I going to let them affect me? Not at all. At this point I should mention that I bring up the subject of exposure because I want to discuss four books which are available to the general public. I do not consider any of the four to fall under the category of “exposure.” All four are well written, and all four contain information which I wish had not been revealed in a general publication book. However, this doesn’t bother me in the least, because the books are expensive enough that the merely curious won’t pay the price, and even the interested layman won’t read and learn the material anyway. (How can I say that with such confidence? Because the majority of magicians don’t read and learn. Why should laymen?) Anyway, here’s a quick rundown on books from Penn and Teller, Giovanni and Jon Racherbaumer, Harry Lorayne, and Dr. S. Brent Morris. Penn & Teller’s How to Play in Traffic is the sequel to the dynamic duo’s best selling How to Play with Your Food, and it is written in the same irreverent, witty, and intelligent style as its predecessor. The theme here is tricks to do while on the road, although in this case “the road” could more accurately be defined as the journey of life, since the first trick involves death, immortality, and a cenotaph. You’ll discover ways to torment the passengers in your car, produce a laugh and a possible upgrade at the airline ticket counter (courtesy of Tom Mullica), find a selected card using a Gideon Bible, prove that you are the God of Carbonation (using the Paul Harris/Eric Mead “Fizzmaster”), produce a spirit photograph of the Virgin Mary (although the image looks more like the Virgin Teller), romance your significant other from a great distance, and perform an amazing psychic effect at a random restaurant. (This last effect, although credited to a gentleman named Aye Jay, first appeared in The Astonishing Executive, and is the creation of Paul Harris and Bill Herz.) There are some hilarious gags which, if you have any brains at all, you will never ever attempt, such as the “I Sleep with My Eyes Open” gag, the Charles Hardin “You’ve Got My Hat” gag, and the guaranteed-to-get-your-butt-tossed-into-the-slammer “Airport Security Laptop Computer” gag. Interspersed among all this stuff are some wonderful
essays including Penn’s report on NASA’s quantification of comedy timing, and Teller’s evocative sketch of the Philadelphia College of Physicians’ Mütter Museum. (Curiously, the same day that I read Teller’s essay, I did a gig at the College of Physicians. As beautifully written as Teller’s piece is, it in no way prepares you for how profoundly disquieting the museum is.) The entire book is make-you-laugh-outloud funny, and the tricks are good ones. (And even better than the tricks are the presentations.) Laymen are going to read this stuff and completely dismiss it as a joke. Don’t make that mistake. If you’re smart, you’ll get a copy, study it, and learn a lot about what magic is all about. I really enjoyed this book. I think you will too. Highly recommended. Capitalizing on the current “Let’s light up something really stinky in a public place” craze, Giovanni Livera and Jon Racherbaumer have released The Amazing Cigar, subtitled “The Connoisseur’s Secrets to Smoke Rings, Mystifications & Other Cool Things.” The title pretty much says it all: these are simple tricks, stunts, and puzzles with cigars and their associated accouterments. Most of the information here has been revealed many times before, but Jon Racherbaumer’s fine writing and Earle Oakes’ outstanding illustrations make this a definitive source for this type of material. You’ll find a chapter on how to blow smoke rings (featuring techniques from Bert Pichel and Harry Garrison), tricks using cigars (such as the suspended cigar, the immobile cigar, the cigar from miniature purse, the rising cigar, and Jack Tillar’s “Blister”), tricks using the cigar band (such as the jumping cigar band, and the band which moves along a rubber band), tricks with matches (such as the come-back match, the thieves and sheep, the piano card trick with matches, and a trick using the paddle move), tricks using matchboxes (in this section the Haunted Matchbox is explained), tricks with ashes (such as the card revelation on the arm, and the ashes on the spectator’s hand), and puzzles with matches. I’m sorry that the Haunted Matchbox handling and the ash trick were included, but such is life. The book concludes with some simple instructions for cigar box juggling. This is a beautifully done little book, and I recommend it. It would make a nice gift to a friend who smokes and is interested in magic. Even if you’re not interested in buying it, you should track down a copy to familiarize yourself with the tricks that are tipped so you can adjust your repertoire accordingly. Harry Lorayne’s The Magic Book was first published by G. P. Putnam in 1977 and it was geared for the general public. L&L Publishing has reprinted The Magic Book, and as far as I am aware, does not plan on distributing it outside of the magic community. This is a good thing, for if a book ever qualified as being “too good for laymen” it was this book, for it is a virtual gold mine of information on beginning and early-intermediate sleight of hand. Harry is an excellent writer and teacher and he makes all the material understandable and learnable. The book begins with easy card moves such as the ribbon spread and the Charlier Cut, and moves on to slightly more advanced techniques such as the jog shuffle, the Hindu
shuffle, the Double Lift, the Top Palm, and the Glide. There follow two sections of excellent card magic, including a cutting the aces routine, a color-changing deck routine, and a handling for the Ambitious Card. Coin magic is the next subject discussed, and among the sleights explained are the Finger Palm and the Retention of Vision vanish. The section on Coin Magic contains some outstanding routines, including a Copper-Silver routine, a Four Coin Assembly, and a handling for Coins Through the Table. Also explained are Mental Effects, Number Magic (including Harry’s routine for the Instant Magic Square) and Miscellaneous Effects (including the ash trick, Stewart James’ “Sefalaljia,” and a Paul Curry/Jack Avis shoelace penetration). All the routines and sleights are explained with Harry’s usual attention to detail. This is an outstanding book, and it would be one of my first choices to any beginner who has a serious desire to learn magic. I’m happy that it’s back in print, and I’m even happier that it’s not being offered to the general public. It’s just too good. Highly recommended. Dr. S. Brent Morris has advanced degrees in both mathematics and computer science from Duke University and Johns Hopkins University. As his bio states, “He is believed to have the only doctorate in the world in card shuffling; his dissertation is entitled ‘Permutations by Cutting and Shuffling: A Generalization to Q Dimensions.’” If what you have read so far makes you hot, you’re going to love Dr. Morris’ new book Magic Tricks, Card Shuffling, and Dynamic Computer Memories, in which he sets out some of the mathematics of the faro shuffle. This book is geared toward the mathematician who enjoys fooling around with a deck of cards, or the magician who has a background in mathematics. If you enjoyed (and more importantly, understood) Martin Gardner’s column in Scientific American you will probably enjoy this book. I should warn you, however, that the math part is pretty serious, and (as a unsuccessful math major) was far beyond my comprehension. The card tricks included are good ones, but you’ll have to be able to do perfect faro shuffles. Fortunately, this I can do, but a comfortable facility with this sleight is beyond most magicians, and would certainly be far beyond anything that a reader from the world of mathematics would be able to do. Dr. Morris explains a method for doing the faro shuffle, but I don’t particularly think that it is the best method. My suggestion is (and has been for quite a while) to obtain a copy of a small booklet called The Faro Shuffle by Ed Marlo. You can get it from Magic, Inc., and in my opinion it contains the most efficient method for performing the shuffle. You should know that the card tricks explained include Paul Swinford’s “Seekers”, a trick which combines Eddie Fields’ “Invisible Pen” and “Cool Spell” with a faro placement principle, a variation of Alex Elmsley’s “Book of Fortunes” (which uses Dr. Morris’ book as one of the props), and Paul Gertner’s “Unshuffled.” I would recommend this book only to card magicians who are serious about their math. If you are already an experienced faro shuffler, then you probably are already familiar with the card tricks
explained. Everybody else is going to be jumping into the deep end without a life preserver. (By the way, if you’d like a feel for what is in this book, check out the Linking Ring from September to December 1997. Portions of Magic Tricks, Card Shuffling, and Dynamic Computer Memories were serialized therein.) Doc Eason Live! Volumes 1-3 By Doc Eason In the summer of 1977 William Eason left California on bike trip to the Rocky Mountains. He and some friends stopped in at the Tower Bar in Snowmass, Colorado to have a few drinks. He never left. Working behind the bar that night was Bob Sheets, one of the great magicians of our time, and a student of the legendary Heba Haba Al. William Eason watched Bob and decided, “This is what I want to do.” And he did. Young Mr. Eason apprenticed himself to Sheets, waited tables at the Tower, and began to study magic books. (Curiously, one of his first was the aforementioned Magic Book by Harry Lorayne.) Sheets eventually left the Tower Bar to open the Jolly Jester in downtown Aspen, and “Doc” Eason took over the position as the Tower’s magic bartender. He has held that position for twenty years. Doc Eason is now doing something that most professionals are reluctant to do: he is releasing the material with which he has made his living during his tenure at the Tower Bar. When a professional does this, I sit up and pay attention, because I am going to gain information which can only be garnered over a long period of time, and I am going to learn material which has proven itself through the test of fire - material which is completely practical, completely worked out, and completely effective for entertaining an a lay audience. If you want to just skip the rest of the review and get to a phone and order these tapes now, do so. They are truly excellent. If you want more info, read on. The video crew of L&L Publishing captured Doc on several nights performing at the Tower Bar for audiences of real people. Considering the restrictions of such a shoot, the performances came out very well. Everything is clear and understandable, and as a viewer at home you’ll be able to appreciate the impact of each trick. I should mention that a few times edits were made in which the camera shifts to a spectator reaction or action. Sometimes during these cuts, Doc does something “sneaky.” Do not feel cheated by this. One of the problems of magic on video is that it takes a three dimensional, free moving art form, and sticks it into a box. Misdirection which works perfectly in real life fails miserably on television. Rest assured, if you were watching in person, you’d be looking right where the camera is looking when the dirty work occurs. The highlight of Volume One is Doc’s remarkable Card Under Glass/Multiple Selections Routine. If you know anything about music you’ll understand when I tell you that this is
a 30 minute routine in classic Rondo form, with the A section being the revelation of a signed card under a drinking glass. Doc gets the card under the glass eight or nine times, and the impact on the audience is overwhelming. Also included in this “hunk” is an ambitious card routine, a handling of Dai Vernon’s “Triumph”, and a Three Card Monte routine which contains some really fine work on the bent corner dodge. As a finale, Doc has 15 cards selected, and not only finds all 15, but he remembers the names of the people who selected the cards. This is what commercial magic is all about. If you can only afford one tape of the series, start with this one. You will get a feel for how Doc works, and you will gain information far out of proportion to the money spent. Volume Two contains material which Doc calls “stand alone” routines. In other words, these effects are not tied into a longer routine, and consequently can be used when there is a sparser crowd, or when folks come back into the bar to see “just one more trick,” or they can be used to break up longer routines. The two routines which are worth the price of admission here are the “Happy Birthday” trick (which can be adapted for any special occasion) and Doc’s presentation of Steve Spill’s handling for “Bill in Lemon.” The latter is the kind of routine which, after the taping is over and the euphoria wears off, the performer thinks, “I wish I hadn’t given that away.” Volume Three contains a variety of material suitable as openers, closers, and individual hunks. Of particular interest is Doc’s handling of “The Anniversary Waltz” (this trick, in the parlance of the bar magician, is guaranteed to GTFM), Max Maven’s “Tearable,” and Doc’s signature piece, “The Card on the Ceiling.” You should be aware that Doc does not discuss his most famous variation “The Card Through the Ceiling Fan.” This is a potentially dangerous trick (not to the magician, but to the spectators), and I totally concur with the decision to withhold an explanation. On each tape there are three or four of “Doc’s Prescriptions for a Long and Successful Performing Career.” These brief bits of information are possibly the most valuable advice on the tapes. I was especially appreciative of the three prescriptions offered on the third tape. Listen, and take this advice to heart. Following the performance segment and the prescriptions, Doc discusses and explains all the routines in a conversation with Michael Ammar. These explanations have a casual and loose feel to them. Intercut throughout the explanations are Super Practice Sessions which give close-up, overhead views of the moves involved. Doc is passionate about his material, and he should be; this material made him a living for twenty years. His enthusiasm will rub off on you. One more point you should be made aware of: Doc is not a technician, although the moves he does he does very well. Nor is he an inventor of radical new plots or ingenious new sleights. He is a performer and an entertainer whose gifts lie in the ability to routine and structure material for maximum audience involvement and impact. You probably already know more tricks than you’ll ever use. What you may not know is how to make those tricks as entertaining as possible. You’ll gain insight into this from these tapes, and you’ll also gain insight into the skills required to hold a gig for twenty years. These are
marvelous tapes, and they’re a tribute to one of magic’s finest performers, and, more importantly, one of magic’s nicest people. Very highly recommended. (By the way, if you’d like an autographed picture of Doc along with your tapes, you can order a set from him at Doc Eason, Rocky Mountain Magic Inc., 524 Park Circle, P.O. Box 50, Basalt, CO 81621. Visit his website at www.doceason.com for more details.) Easy to Master Card Miracles Volumes 4,5, & 6 By Michael Ammar If you can’t read, prefer not to read, don’t have the time to read, can’t understand what you read, don’t know what to read, or just plain don’t like books, Michael Ammar has come to your rescue with three more videos jam packed with top-notch card magic. As in the first three volumes of this series, Michael (along with his merry men Paul Harris and Eric Mead) has scoured the annals of card magic (and you know how painful that can be) and has found more than thirty really good card tricks which he demonstrates and teaches in his inimitable style. If you’re looking for material, you’ll find it here; many of these routines are in the repertoires of professional close-up workers around the world. In addition to finding these routines for you, Michael, Paul, and Eric have done two other important things: they have invented interesting presentations for the routines; and in many cases they have reworked and simplified handlings (for example the no-palm method for Dr. Daley’s “Magician vs. Gambler”). I would not qualify this material as “easy.” There are some virtually self-working routines, but the majority of the routines require early-intermediate to intermediate card skills. In particular, the neat handling of double cards is a prevalent technical demand. So, you will have to practice. But everything you need to know is on the tapes. As far reviewing the material presented, I will simply mention a few favorites. On Volume Four I liked “J.C.’s Super Closer,” Dr. Daley’s “Magician vs. Gambler,” and Larry Jenning’s “Ambitious Classic” (although I prefer the original Jenning’s handling.) On Volume Five be sure to check out “Virginia City Shuffle” (a no-gaff version of Martin Lewis’ “Sidewalk Shuffle”), Henry Christ’s “Fabulous Four Ace Trick,” Michael’s work on “The Card on the Ceiling,” and Harry Riser’s “Hofzinser All Backs.” On Volume Six I would direct your attention to Larry Jennings’ “Close-up Illusion,” Roy Walton’s “Oil and Queens” (which Derek Dingle used on a television appearance many years ago), and John Bannon’s brilliant (and really easy) “Play It Straight Triumph.” Actually, there are no clinkers in the bunch. Regardless of your taste in card magic and your skill level, you’re going to find some tricks that appeal to you. Each tape includes a brief written summary of each trick (which you could give to a friend who likes to read) and a set of gaffed cards which allows you to do a “Bonus Trick.” The real sleeper in the bunch is Nick Trost’s “Ace in the Hole.” As a treat to yourself, if you buy Volume Six don’t look at the gaffed cards until you see the trick performed. I guarantee you’re going to get totally fooled.
The production values of these videos are excellent, and Michael is to be commended on both the competence of his performance of material which is not in his normal repertoire and the clarity of his explanations. There is tremendous value for the money here. Highly recommended for those who prefer video as their learning medium. Miracles with Cards Video Series Volumes 1, 2, & 3 By James Swain Previously in this column I have mentioned that I am a big admirer of Jim Swain’s card magic. His creations exemplify intelligence combined with subtlety combined with skill. Jim knows that simple does not mean easy, and often the most direct and deceptive method is going to require advanced technical skills. Jim possesses these skills (and so could you if you practiced) and he puts them to excellent use. The material on these three videos comes for the most part from Jim’s book Miracles with Cards. This book and it’s predecessor Don’t Blink should be in the library of every aspiring card man. Each tape contains outstanding material, and I will again simply mention some favorites. On Volume One: “Airmail Card” and “Poker Interchange” (Jim has a new, streamlined method for this which eliminates the set-up and reduces the work). On Volume Two: “Four Robbers,” “The Swain Full Deck Control,” and “Vanishing Aces.” And on Volume Three: “Boxed B’Wave,” and “The Well-Traveled Card.” In addition, each video contains a segment in which Jim explains one or more forms of the pass. Jim is an expert practitioner of this move, and the information given here is easily worth the price of admission to someone who wishes to add this move to his arsenal of sleights. In particular, “The Miracle Pass,” (Jim’s handling of the Riffle Pass) is an extraordinary move. Now for a bit of bad news. Unfortunately, the production values (and in particular the camera work) of these videos do not do justice to the quality of the material. For the most part, the routines are framed in a static medium shot which captures Jim, the surface of the table, and an assisting spectator or two. Occasionally there is a close-up shot, but I feel that these were done afterwards, and that the video was shot with just one camera. What this means is that much of the action is too far away to be completely distinct, and this is frustrating. This does not mean that you will not learn from these tapes, but I know that there will be several times when you’ll be wishing that the camera would zoom in to catch more detail of an action. Your best bet will be to use these tapes in conjunction with Jim’s books. Any details which are unclear on the videos will be clarified by the written word. However, despite these production flaws, these videos are well worth your time and money. Highly recommended for upper-intermediate and advanced card enthusiasts. Glink By Jon Allen
The idea behind this prop was explained in Jon Racherbaumer’s “Inside Out” column in the March 1997 issue of MAGIC. What you get with “Glink” is a pen which writes with a combination of glue and ink. The line the pen produces is narrower than that produced by a Sharpie, but bolder than that produced by a Flair. If you write on a playing card and then press the card against another card, when the glue dries the bond is more or less permanent. If you let the glue dry first, then the adhesion becomes removable, as if you were using wax. In addition to the pen, you receive a 19 page booklet detailing seven effects which use “Glink.” Before you make a decision, read the effect referenced above to see if it appeals to you. A couple of things you should know: The “Glink” pen doesn’t resemble any pen commonly in use in the United States. The pen is black, about 4.5 inches long and the barrel is .5 inches in diameter. It doesn’t look particularly suspicious, but it is not a standard pen. The other thing you should know is that you must wait a minute or two for the “Glink” to dry if you want to have a removable bond. You’ll need to have something going on presentationally to cover this time lag. I will tell you that I have tried this (performing the trick from MAGIC), and the reaction was very strong. If the effect appeals, it is worth your consideration. Sketch-O-Magic By David Garrard Kid show performers will definitely want to take a look at David Garrard’s “Sketch-OMagic.” Here’s what you get: Visualize an 8.5 x 11 spiral bound artist’s sketch pad. The pad is held horizontally, with the spiral binding to the right. The pages of the sketch pad have been divided into thirds, horizontally. The each page of the top section shows the top third of a person’s head, the middle third shows the person’s eyes and nose, the bottom third shows the mouth and chin. The performer flips through each of these sections, displaying all the different combinations possible. A prediction is placed aside. Three spectators stop at three different sections as the magician flips through the pages. This produces the picture of a smiling, blue-eyed boy wearing a beanie. The prediction is revealed, the pictures match. This is a very nicely made prop, which uses the old Coloring Book principle in an interesting way. You’ll be doing it five minutes after you get it, and if you’re looking to add a mental-flavored effect to your kids show, it would certainly fit the bill. Recommended. It’s Not Magic, But… Longtime readers of MAGIC may remember a cover picture of Martin Gardner constructed of domino tiles. The tiles were arranged mosaic-fashion, and (if you stood back a bit and squinted) the spots on the tiles formed a portrait of Mr. Gardner. Computer scientist/artist Robert Silvers has advanced this concept to a degree which is mind-
boggling. He has written a computer program which constructs these mosaics from thousands of smaller, disparate images. The results are not only beautiful, but they are magical, even more so as you carefully examine each image and discover how the tiny photographs are incorporated into the whole. Mr. Silvers has compiled 30 of these constructs into book titled Photomosaics. You’ll find a portrait of Abraham Lincoln composed of Civil War photographs, Darth Vader and Yoda made up of tiny stills from the Star Wars movies, and a portrait of Bill Gates made from the scanned images of various world currency. The book comes with a small magnifying glass so you can examine the composition of each mosaic. These are wondrous things, and they make a perfect way to pass a snowy afternoon. (By the way, you may have seen Mr. Silvers’ photomosaic of Princess Diana on the cover of Newsweek magazine in late December. You can also visit his web site at www.photomosaic.com. While you’re there, be sure to read the short articles by Penn and Teller.) Details Penn & Teller’s How to Play in Traffic by Penn Jillette and Teller. 7.5 x 9 softcover. 226 pages. $18.95. From Boulevard Books. Available at most bookstores. The Amazing Cigar by Giovanni Livera and Jon Racherbaumer. 6 x 9 hardcover with glossy dustjacket. 146 pages. $24.95. From Magic Marketing Concepts, P.O. Box 677055, Orlando, FL 32867-7055 The Magic Book by Harry Lorayne. 6 x 9 hardcover with glossy dustjacket. 306 pages. $29.95. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Magic Tricks, Card Shuffling, and Dynamic Computer Memories by S. Brent Morris. 6 x 9 softcover. 148 pages. $28.95. From The Mathematical Association of America, P.O. Box 91112, Washington, DC 20090-1112 Doc Eason Live! Volumes 1-3 by Doc Eason. Each video $29.95 (any format). All three for $84.95 (Overseas orders add $7.50 for surface postage.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Easy to Master Card Miracles Volumes 4,5, & 6 by Michael Ammar. Each video $29.95 (any format). All three for $84.95 (Overseas orders add $7.50 for surface postage.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Miracles with Cards Video Series Volumes 1, 2, & 3 by James Swain. Each video $35. All three for $100. From Don’t Blink, 18240 Wayne Road, Odessa, FL 33556
“Glink” by Jon Allen. $20. Available from most major magic dealers. “Sketch-O-Magic” by David Gerrard. $25 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727 Photomosaics by Robert Silvers. $19.95. (ISBN 0805051708). 96 pages. Published by Henry Holt. Available at most bookstores, or from www.amazon.com.
April 1998 Viva Where?!! As you may have noticed from the change of address information in last month’s review column, I have moved out west. The main reason for the move is that I’ve discovered I have an unnatural need to be close to the Hoover Dam. (And yes, I am seeking treatment.) When I arrived, I was completely surprised to discover that there are a lot of magicians who live in Las Vegas. Who would have thought? Anyway, the change of scenery is doing wonders for me, and now Editor Stan doesn’t have to make long distance calls asking where my column is, he can bang on my apartment door directly. Once again this month, we have a lot of material to talk about, and not a lot of space. So let’s get to it. The Award-Winning Card Magic of Martin A. Nash Volumes 1-3 By Martin A. Nash Martin Nash is a frequent performer at Hollywood’s Magic Castle, and has twice received the Castle’s Close-up Magician of the Year award. He bills himself as “The Charming Cheat,” a character he portrays quite well. On this three volume video set from A-1 MultiMedia, Mr. Nash performs and explains many of the routines from his professional repertoire. The routines are varied in terms of theme, length, and skill level required, and each tape contains one long, multi-phased “card act,” as well as useful information concerning various and sundry card sleights. If you are already familiar with Mr. Nash’s work (through his three card books) or are looking for practical card routines to add to your repertoire, you will find much of value on these tapes. Mr. Nash is not a creator of radically different plots or effects. Instead, he reworks familiar plots and combines thematically related effects into structurally sound routines. Advanced card workers will probably already have their own favorite methods for these effects, but intermediate and upper-intermediate card men may find it useful to study Mr. Nash’s approach. You will find treatments of such effects as the “Invisible Palm Aces,” the “Ambitious Classic,” Charlie Miller’s “Dunbury Delusion,” “The Lie Detector,” Bill Simon’s “Call to Colors,” “Vernon’s Aces,” and Ed Marlo’s “Mental Topper.” In addition, Mr. Nash offers useful work on such sleights as the Pull-Through Shuffle, Top-Stock controls, the Greek Deal, and the Center Deal. The latter two moves would not pass in fast company, but they are very useful for magical applications and are not too difficult to learn. The three long routines (“Ovation,” “Jacks or Better,” and “Colors on the March”) are well structured and effective, but because of their length and the need to have a large performing surface available (to deal out cards) I’m not sure how useful they will be for
the average performer. However, in a casual situation (such as a party at a friend’s house) they would play very well. (They would also play well in the Close-up Gallery at the Magic Castle.) Be aware that these tapes are not for card magic novices. Mr. Nash’s approach to card magic is to use the most expedient method available, and if this method requires advanced card technique, so be it. (For example, the “Colors on the March” routine requires extensive use of the second deal.) The upside of this is that seeing such routines can inspire you to sit down and actually learn to do the work. Bottom line: If you’re looking for routined card material, or if you’re a fan of Martin Nash’s work and want to see him perform his routines, The Award-Winning Card Magic of Martin Nash is worth your consideration. Recommended. Steve Bedwell: M.D. Not Required By Steve Bedwell Whit Haydn’s Comedy Four Ring Routine By Whit Haydn These two videos are the first releases from Imagica, the production company whose head honchos are Bob Kohler and Rick Thomas. And judging from the quality of the first two tapes, they will be a force to be reckoned with. Steve Bedwell: M.D. Not Required features seven items from the repertoire of the man who won the Gold Cups at the 1994 I.B.M. convention, and Whit Haydn’s Comedy Four Ring Routine gives you the complete work on one of the finest stand-up routines in magic. Steve Bedwell lives in London and recently abandoned the field of medicine to pursue a career in the enormously lucrative field of comedy magic. Steve’s magic is very visual, diabolically clever, and has been worked out to the last detail. And as a bonus, most of the routines explained on this tape are well within the abilities of the average magician. The tape begins with a great sight gag in which Steve cuts off his thumb during the course of a cut-and-restored rope routine. (Be aware that the rope routine is not explained on the tape. It is a fooler, and I think you can find it in Steve’s first set of lecture notes.) There follows: a version of the Vernon’s “Travelers” which requires only one palm; a production of foil-wrapped chocolate candies (Steve has some very nice tips here for enhancing the illusion of the foil balls coming from the mouth); and a very visual quicky where a selected jumbo card is apparently snapped out of a satchel by a length of rope. The final three items are the highlights of the tape and are easily worth the price of admission: “Shake, Shuffle, and Twist” is a hands-off version of Vernon’s “Triumph”; “Re-Boxed” is an eye-popping effect in which a deck of cards penetrates a card box and ends up back inside; and “Tonsil Tickler,” is Kevin Smith’s remarkable inflated balloon swallowing effect. All three of these look absolutely great on the video, and all three are probably going to fool you.
Steve Bedwell: No M.D. Required is Imagica’s first release. There are some color matching problems, but the performances, explanations, and editing are top-notch. There are no production gliches in Whit Haydn’s Comedy Four Ring Routine. Whit’s routine is one of the funniest and most commercial linking ring routines available. If you’ve never seen it, there’s really no way I can describe it except to say that at the heart of the routine is a marvelous three-phase “hunk” in which the spectator and the performer apparently perform the same actions with two rings. It is a riot. The tape begins with Whit performing the routine in front of an enthusiastic audience at the Magic Castle. The woman (an audience member) who assists him is perfect. After the performance Whit takes you through every step of the routine, including all the nuances and bits of business which only come from having done a routine thousands of times. One of the nice aspects of the explanation portion is that after each phase is explained, the appropriate segment of the performance is replayed so you can see the actions performed up to speed. This routine is not difficult, but it is not self-working. It will take time and effort to learn the sequence of moves so they flow smoothly from one segment to the next. More importantly, the audience management which the routine demands can only be learned through performance. Whit tells you everything you need to know, but getting maximum laughter from this routine is something that cannot be learned in front of a mirror. You will have to get out and do it. If you don’t have a linking ring routine and you want to add one to your stand-up repertoire, Whit Haydn’s Comedy Four Ring Routine is the place to start. Ring routines don’t get much better than this. Bravo to Imagica on their first two releases. Both tapes are highly recommended. Three Pieces of Silver By Rune Klan Rune Klan is a twenty-year old Danish coin man. If his name is familiar to you at all, it is probably because of a Multiple Retention Vanish which he contributed to Richard Kaufman’s The Looking Glass. Three Pieces of Silver contains seven very commercial coin routines, which are thematically related in that they use three coins. Rune has remarkable technical facility, and the routines are not for those who are afraid of practice. However, the work is worth it, for these are very magical looking coin routines. Before I describe any of the routines I want to mention two things which impressed me very much: the production values of this video and Rune’s exceptional command of English. The performance segment of the tape was shot on a restaurant set, and the camera work is excellent. Rune’s patter and his explanations are clear and succinct, and the fluency of his second language is enviable. Most people in the United States don’t speak English this well.
The seven routines on this video are divided into two three-trick sets plus an encore. Included are a three coin production, a routine in which the three coins vanish from a purse and appear in the magician’s hand, a coins across routine, and a routine in which the coins vanish and appear under a saucer. The encore is a version of the popular “let’s get on the floor and do Matrix” routine. Using only three coins gives the magician an edge methodologically, and Rune’s clean-up is clever. With the exception of the Matrix routine, all the material suitable for performance in real world conditions. (And I suppose that the Matrix routine could be done depending on whether you think that getting down on the floor to do a trick is a good idea. I’m at the age where once I get down I have a hard time getting up.) This is a remarkable first effort from a young man who will undoubtedly make an international reputation for himself. This tape has it all: excellent material, performances, explanations, and production values. If you’re a coin man looking for interesting and challenging commercial routines, do not pass this by. Highly recommended. Stars of Magic Sampler From A-1 MultiMedia A-1 MultiMedia’s Stars of Magic video series was originally released by Tannen’s. This sampler gives you a chance to see six of the magicians featured in the series. I believe that these tapes came out in the early 1980’s, so there is an odd “home movie” feel to these videos as you watch some of magic’s current middle-aged baby boomers as the young turks they used to be. Featured on the sampler are: Frank Garcia, performing a five cigarette production; Paul Harris, doing “Super Swindle,” a card effect in which a selected card vanishes from between two folded up Jacks; Derek Dingle, performing an impromptu Wild Card routine (not a “Universal Card” as listed on the video box); Bernard Bilis, with an unusual cut and restored card routine; Eric DeCamps, performing a Ring and String routine; and David Roth, with a really deceptive Three Ball routine. For me, the most interesting routine on the video is the Roth Three Ball routine. It does not use the standard “Pop Up” move, and is a real fooler. A-1 has wisely priced this video at $19.95, so if you’re curious about the series, this is an excellent way to find out what the Stars of Magic series has to offer. The Cruise Magician’s Handbook By Fred Becker I’m sure that at some point in time we all have fantasized about performing on a cruise ship: exotic locales, great food, copious drink, minimum work, maximum leisure, and the occasional stroll around the deck to see what Gavin MacLeod and Bernie Kopell are up to. Well, the reality of cruise ship work is quite different, and if you are serious about embarking on this line of work you must absolutely pick up a copy of Fred Becker’s The
Cruise Magician’s Handbook. This is as thorough a treatise on the subject as I have ever read, and after reading it you may decide that cruise ship work is not for you. Mr. Becker discusses every aspect of cruise ship work, beginning with an examination of what is expected of the cruise ship entertainer. Also discussed in this introductory section are the various types of cruises, varying levels of cruise ship quality, how performances are scheduled, the importance of the performance rating questionnaire, and the performer’s shipboard status . Chapters 2-5 cover the business part of the gig: how to get booked, how much money to expect (and how to hang on to your money once you start spending a lot of time aboard ships), how to make money selling extra goodies (like magic sets and video tapes), and what to watch out for in the contract you sign. This is extremely valuable information, and to aid you in your booking negotiations Mr. Becker includes “The Cruise Booking Worksheet” which will aid you as you make contacts and conduct negotiations. Chapters 6-11 discuss life at sea, including suggestions on how to pack, how to deal with the performance rating system, information on the technical aspects of cruise ship performing (such as dealing with a live band and the sometimes limited sound and light systems), structuring your acts, and hiring an assistant. Chapter 12 recounts the story of a trip from hell, in which the Beckers took four days to fly to Bali without a change of clothing. We all have nightmare travel stories, but this one is unbelievable. The final third of the book contains vital information on how to conduct your (land side) business while aboard ship, suggestions on how to get your props from point A to point B, tips on passports, visas, and medical certificates, suggestions on how to travel with livestock, and strategies on getting from the airport to the ship. The book concludes with several appendices contain information on business resources, cruising resources, magic resources, a directory of cruise lines, and an extensive listing of foreign entry requirements for most of the places on earth that you might ever want to travel to. The Cruise Magician’s Handbook is an extraordinary resource. I cannot imagine anyone attempting to enter this field who would not benefit from this book. If you want to work cruise ships, Mr. Becker has saved you hundreds and hundreds of hours of research and will keep you from making the type of errors which can only be avoided by experience. This book should sell for a lot more money. Highly recommended. Vis a Vis: A Jack Avis Book By Jack Avis and John Derris If you have read magazines such as Pallbearer’s Review and Epilogue, the name Jack Avis will be very familiar to you. Mr. Avis is a prolific creator of close-up magic, specializing in card magic. He devises elegant solutions to magical problems, and his creations provide stimulating fodder for further experimentation. Vis a Vis is the first large hardbound collection of Mr. Avis’ material, and as such will be greatly welcomed by card and close-up enthusiasts.
The book begins with several interesting coin routines, including one which uses the venerable Party Popper in an unconventional way, and a very pretty four coin production using a handkerchief. There follows a chapter of card sleights, including several useful palming techniques, a clever stratagem for the Hindu force, and one of Mr. Avis’ most well known moves - the Siva count. Chapter three contains gambling themed routines, and of particular interest here are Mr. Avis’ exploration and clarification of Dr. Elliott’s runup systems from Elliott’s Last Legacy. Mr. Avis’ interpretation of Elliott’s very cryptic instructions is fascinating. If you are interested in runup systems you will also want to examine Mr. Avis’ variations on John Scarne’s runup system. Another favorite in this chapter is “Weight Lifter,” a variation of Bob King’s “Weight Guess Plus.” Those looking for commercial routines to add to their repertoires should check the last two chapters, titled “Master Plots” and “Wild and Woolly.” “Hole in the Table” and the “Rara Avis Card Stab” put interesting spins on two well known plots: the glass through the table, and the card stab. The “Rara Avis Card Stab” ruins a deck of cards, but it would definitely give other magicians problems. “Safety Cut” uses the Jerry Andrus “Linking Pin” gaff in a way that I have never seen before, and “Loops Entwined” is Mr. Avis’ excellent handling of Paul Curry’s “Linked.” Because the galleys of this book arrived very close to deadline, I am only able to give you a cursory run through of the material it contains. One aspect of Mr. Avis’ creations is that they very rarely require advanced card handling ability. The material in Vis a Vis should be well within the abilities of the average close-up magician. Recommended for card and close-up enthusiasts. Ron Bauer’s Private Studies Numbers 1-6 By Ron Bauer John Luka’s company, Magic by Mail, has released the first six routines in the Ron Bauer Private Studies series. They are: “Gadabout Coins Revisted,” a handling of the classic “Two in the hand, One in the pocket” effect; “Sudden Death Gypsy Curse,” a routine using Peter Kane’s “Gypsy Curse” cards; “Cross to the Feminine Side,” a miniature “Out of this World” effect with a topical patter line; “Butch, Ringo, & the Sheep,” a handling of the venerable “Thieves and Sheep” trick; “Hornswoggled Again,” a short-change routine with paper currency; and “Ode to Poker Dan,” a miniature all-backs routine culminating in the production of five aces. The purpose of the Ron Bauer series is to give lessons in presentation and audience management. The routines are completely scripted, but the scripts are not particularly personality driven so it should not be that difficult to adapt the patter to suit your own style. In addition, Mr. Bauer emphasizes the “why” of each routine, and this is valuable, because this information can be transferred to other routines.
The production values of this series are no great shakes. Each routine comes in a booklet measuring 4.25 x 5.5 and containing at the most 12 pages. Sandra Kort did the illustrations, and they are good, but small. Considering that any of these routines has the potential to go into your working repertoire, I think that $10 is a reasonable price. If the routines in this series were released together in a book, it would be a valuable resource, but my guess is that Mr. Bauer values them too much to go that route right now. And by releasing the routines individually, you need only purchase the ones which interest you. Bottom line: Recommended for those looking for real world close-up material, and for hobbyists who want a better understanding of how magic really works. Completely Cold By Kenton Knepper and J Tank What we’ve got here is a very slender little booklet (4.25 x 5.5, 32 pages) that sells for a lot of money ($40). It contains a system for doing cold reading; that is, giving a spectator a psychic reading without any previous knowledge of the person. “Completely Cold” is a very simple system, which requires no memorization and which uses a couple of easy rules to produce in the spectator the feeling that they have had a very positive read. This type of thing is way out of my field of expertise, so I gave the booklet to some friends who do psychic reading. Their assessment: “Completely Cold” is really good. Use the techniques presented here, add in your own conversational abilities and the general common sense which all of us possess, and you’re going to be able to do a pretty convincing psychic read. This type of material is not for everyone, and I believe that one reason “Completely Cold” is priced so high is to keep it out of the hands of the merely curious. However, if you are a psychic entertainer, or you want to enhance your magic by giving people the impression that you know a whole lot about them, then this booklet will probably be worth more than its $40 price tag. And if you combine this booklet with the information contained in Kenton’s “Wonder Words” tapes, they may well make you chief. Recommended. The Locking Deck By Tim Spinosa Now this is pretty cool. A card is selected from the deck (no force). The card is returned and the deck is shuffled. The magician brings out a chrome combination lock face which is placed on the top of the face down deck. The spectator is asked some questions, and the dial is turned to various numbers (as if opening a safe). After the third number is dialed in, the lock face is lifted and a substantial number of cards come away with it, clinging to the bottom of the dial. This block of cards is placed aside, and the card sitting on the top of the lower portion of the deck is revealed. It is the chosen card.
This trick looks weird, and the effect is one which I do not believe that I have seen before. The deck is gaffed to some degree, although it would be possible to do a few tricks with it before performing “The Locking Deck.” The best bet would be to switch decks and bring in the gaffed deck when you need to. Several handlings are explained in the instructions, but I worked out my own, and if you have any card handling experience you’ll probably do the same. The easiest handling is a no-brainer and requires little technical ability. I liked this trick a lot. If you’re looking for a new trick to add to your real world repertoire, or just want to fool the guys at the magic club “The Locking Deck” is worth considering. Recommended. Slow-Motion Oil & Water Visual Melt-Thru By David Neighbors “Oil and Water” routines have a bad reputation, and probably for good reason; many are less than convincing, and the routines are far too long to be entertaining. These two new routines from David Neighbors are only three phases long, meaning that they are probably palatable for real world human consumption. Each routine uses a gaff, which means that the unmixing of the cards is very convincing. Neither routine is particularly difficult. However, because there is a gaff involved in each routine you will have to figure out how to bring the gaff in and out (the instructions offer some suggestions). In “Slow-Motion Oil & Water” three red spot cards and three black spot cards are alternated. They immediately separate; the blacks are now together above the three red cards. This is repeated. For the final phase the cards are left in their separated condition. Instantly they become alternated. “Visual Melt-Thru” follows the exact same routine, except that the black cards have blue backs, the red cards have red backs, and when the cards are alternated the black cards are dealt face down and the red cards are dealt face up. Even with this (apparently) heightened conditional restriction, the cards separate twice and then immediately become alternated again. Whether either of these tricks will appeal to you depends on how much you like the Oil and Water plot. Whether your spectators will enjoy the effect will depend on your presentational skills. Both are very visual and require only average card handling ability. Coin Card By Danny Archer This is a gaffed card which will allow you to load four quarters (or half dollars) under four different playing cards. I remember seeing a similar gaff in a book of Don England’s many years ago, but at the moment I cannot check the reference. The card that Danny sells is well made and should last for many performances. He includes a simple method for loading the coins, and also provides a simple Matrix routine.
I can vouch for the effectiveness of this gaff. In the early part of February, a well known close-up worker smoked a small group of very well informed magicians using this gaff. I was one of the group, and I didn’t have a clue as to how the coins were loaded. This performer used his own handling, but it was not radically different from what Danny offers in his instructions. If Card and Coin combinations are your thing, this is definitely worth a look. Recommended. Anagram-ation By Jim Krenz “Out to Lunch” meets “Card-toon” in this new trick from Genii video reviewer, ace magic demonstrator, and new west coast resident Jim Krenz. The effect is this: The magician shows a stack of business cards bound with a rubber band. (The cards are larger than a standard-sized business card.) On one side of the card is a “magic” logo, and on the other side are the words “For Astonishment…” (And no, these are not Paul Harris’ business cards.) A spectator places his initials next to the logo. A playing card is selected (forced). The business cards are picked up, the rubber band is removed. The performer riffles the stack of cards and an animation occurs. The “h” in “Astonishment” drops down to the bottom of the card, bounces back up, and hits the rest of the letters, scrambling them. When the letters come to rest (at the end of the riffling process) the card now reads “Nine of Hearts” which is the name of the selected card. In addition, this “Nine of Hearts” business card bears the spectator’s initials. This is a very cute and commercial effect, and if you personalize the back of the business cards (several ways to do so are suggested in the instructions) you will be handing out your name and phone number with a memorable souvenir. You will use up one card each performance, and 48 extra cards are supplied. The steal of the half-card will require a little practice, but this is not too difficult. The only drawback I see is that this trick suffers from the same problem as “Card-toon”: you can only effectively perform it for one person at a time, because the animation is really only clear for one person at a time. If this doesn’t bother you, then this is a fun and memorable trick, and I recommend it. Close’s Clones By Michael Close This is my trick, so I’m not really going to give you a review of it. This is the routine known as “We’re All B*z*s On This Bus” from Workers #3. The cards have long been unavailable, and now A-1 is putting them back on the market. This is the exact same set of cards that I used to sell - printed and designed by Ton Onosaka - but unlike the version I sold, the instructions included here contain the complete text of the Workers #3 routine - both patter and handling.
Not much more I can tell you, other than the fact that there is almost no “play” value in these cards. You’re not going to get much gratification playing with them in front of your mirror. You need an audience of real people to get the full fun out of the trick. I have used the trick professionally for many years, and I continue to do so. Oh, yeah, one more thing. If you plan on using this in your work, ditch the sponge nose that’s included with the cards and buy a soft rubber nose. It’s impossible to package the set with the rubber nose (they’re too bulky), but the rubber ones work better in performance. It’s Not Magic, But… If you prefer to pepper your patter with references to witchcraft and the occult, you need to pick up a copy of Tom Ogden’s new book Wizards and Sorcerers, an encyclopedia of the strange. If you’ve ever wondered what words like bao, dukun, himmelsbrief, and succubus mean, you’ll find them (and many more) here. Tom provides an eclectic mix of the past and the present, including magic references from literature, art, music, theater, television, and movies. A casual read through will give you more patter possibilities than you could use in a lifetime. Wizards and Sorcerers is a nicely produced hardcover book and will look great on your coffee table. And besides, any book that includes references to both Mr. Mxyzptlk and the Mighty Morphin Power Rangers can’t be bad. I enjoyed it. You will too. Details The Award-Winning Card Magic of Martin A. Nash Volumes 1-3 by Martin A. Nash. $29.95 each (any format), all three for $84.95. Postage and handling free for U.S., Canada, and overseas surface; overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Steve Bedwell: M.D. Not Required by Steve Bedwell. $29.95 postpaid (any format). Outside U.S.A. add 20% postage. From Imagica, 2657 Windmill Pkwy., Box 313, Green Valley, NV 89014 Whit Haydn’s Comedy Four Ring Routine by Whit Haydn. $29.95 postpaid (any format). Outside U.S.A. add 20% postage. From Imagica, 2657 Windmill Pkwy., Box 313, Green Valley, NV 89014 Three Pieces of Silver by Rune Klan. $24.95 (overseas postage and handling $7.50). From Rune Klan, Bakke alle 1, 2970 Hoersholm, Denmark Email:
[email protected] Stars of Magic Sampler from A-1 MultiMedia. $19.95 (any format). Postage and handling free for U.S., Canada, and overseas surface; overseas air add $7.50 per video. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742
The Cruise Magician’s Handbook by Fred Becker. 8.5 x 11 spiral bound. 240 pages.$55 postpaid. From Amazing Magic Tricks, P.O. Box 780025, Orlando, Fl 32878 Vis A Vis: A Jack Avis Book by Jack Avis and John Derris. 8.5 x 11 hardcover with dustjacket. 156 pages. $40. (Domestic and foreign surface postpaid.) From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Ron Bauer’s Private Studies Numbers 1-6 by Ron Bauer. Each manuscript $10. From Magic by Mail, 25744 Melody, Taylor, MI 48180-3284 Completely Cold by Kenton Knepper and J Tank. $40. From Wonder Wizards, 3104 E. Camelback, Suite 312, Phoenix, AZ 85016 The Locking Deck by Tim Spinosa. $29.95 plus $5 p&h. From Tim Spinosa, 3322 Charlotte Drive, Baton Rouge, LA 70814 “Slow-Motion Oil & Water” and “Visual Melt-Thru” by David Neighbors. Each effect $10. Both for $17. From Ken Simmons, ONYX Publications, 5265 N. Academy Blvd., Suite #3300, Colorado Springs, CO 80918 “Coin Card” by Danny Archer. $11 postpaid. From Danny Archer Magic, 303 S. Broadway, B-235, Denver, CO 80209 “Anagram-ation” by Jim Krenz. $29.95 plus $1 p&h for U.S., Canada, and overseas surface; overseas air add $7.50. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 “Close’s Clones” by Michael Close. $15 plus $1 p&h for U.S., Canada, and overseas surface; overseas air add $7.50. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Wizards and Sorcerers by Tom Ogden. 8.5 x 11 hardcover. 246 pages. $40. ISBN 08160-3151-7. From Facts On File, Inc. Available at most bookstores or from www.amazon.com.
May 1998 Tons O’ Stuff!! This column marks the beginning of my fourth year as product reviewer here at MAGIC. My thanks to all who continue to offer words of encouragement. I couldn’t do it without you. In an effort to begin the fourth year with a fairly clean slate, I’m going try to cover a whole lot of items which have been stuck in the pipeline for a while. So here we go. The Sleight Album: The Magic of Aaron Fisher By Dan Harlan Aaron Fisher is one of the up-and-coming young turks of magic. He is creative, has great hands, and most importantly, is a real student of magic. He’s one of the guys you’re going to be hearing a lot from down the road. His creations have been published in many of the contemporary magic journals, but if you are unfamiliar with his material, pick up a copy of The Sleight Album, a representative sampler of his work. The title, The Sleight Album, is a take-off on the Beatles’ The White Album, and on the cover of the notes you’ll find a grinning Aaron Fisher superimposed with the Fab Four. The titles of the tricks are also clever take-offs of Beatles’ tunes, such as “The Long and Winding Trick” (a simple but effective production of the Kings and Aces), “Hey, Chewed” (the transformation of a borrowed dime into a piece of chewing gum), “Gum Together” (a stick of gum travels back in time), and “You Never Give Me Your Money” (a coins across - coin transformation melange). You’ll also find some useful utility moves, including a sneaky bluff pass and Aaron’s knuckle-busting one-hand version of the Hartman Popover move. The production values are no great shakes, but the writing and the illustrations are clear and understandable. And the material is top notch. At $15 this is a good value for the money. Recommended. Bouncing Back By Robert D. LaRue, Jr. and Steve Spangler Do I need to tell you what Bounce/No Bounce balls are? Okay, some of you don’t know. These are small black balls, one of which bounces the way a bad check does, the other of which bounces like an anvil. They were introduced to the magic community in the late 1940’s and have been a standard “gag” magic item ever since.
In Bouncing Back, Robert LaRue and Steve Spangler have compiled 50 routines, ideas, and presentations for the BNB balls. These include both close-up and stand-up routines, and there is enough variety here that you should be able to find something which appeals. (I will tell you that there is one gag in here that appeals to me greatly, and which I am planning on adding to my repertoire.) Mr. Spangler’s professional work is in the area of chemistry, and he has created two sets of BNB balls. One set is the standard one inch diameter close up size ($8.95 per set) and the other is a stage size set (1.5 inch diameter, $12.95 per set). He offers a special deal: the large set of balls and the book for $24.95. Either set of balls works like a charm. Bouncing Back and the associated sets of BNB balls are an excellent value, and I highly recommend them. Selling Your Specialty Act to Hollywood By Shaunnery Steevans Shaun Steevans is a sword swallower, a knife thrower, a fire-eater, a juggler, and a magician. He arrived in Hollywood in 1977 and set about selling his talents to the powers that be. He has distilled the essence of that experience into Selling Your Specialty Act to Hollywood, a slender manuscript which offers practical suggestions on how to break into the movie, video, and television markets. Mr. Steevans discusses unions (SAG and A.F.T.R.A.), resumes, promotional photos and videos, agents (including a useful list of agents who book specialty acts), job possibilities, and Internet sources. This is nuts-and-bolts, no-nonsense information. The production values of this manuscript are primitive, and had it been laid out more tightly it would have probably been a third of its present size. However, what is being offered here is information, and if you are in the process of trying to crack the Hollywood market, I believe you will receive value for your money. Mindful Mentalism Edited by Paul Hallas If you’re looking for a wide variety of commercial mental effects, take a look at Mindful Mentalism, a collection of 28 routines, compiled by England’s Paul Hallas. Contributors include Arthur Setterington, Eddie Burke, Roger Curzon, Peter Duffie, Peter Kane, Lewis Jones, Ali Bongo, and Marc Paul. Several of these routines come from the contributor’s professional repertoire. There are some interesting presentational plots here, and a couple of intriguing methods, but overall I found this collection to be less than earthshaking. However, the price is reasonable, and you may find some ideas here that you can use. The Complete Guide to Teaching Magic
By Alfred M. Albers One difference between music and magic is that in the field of music there are a large number of competent teachers and a well-established pedagogical system. I believe that magic is (and has been and probably always will be) a guild, where the expert practitioners have had the opportunity to study with an established “master” who imparted information in a non-formal and unstructured way. However, there are those who (for whatever reasons) feel a need to teach a magic “class.” Whether such classes do any more than provide members for magic organizations or customers for a magic shop is a debate best left for another time. If you’re going to teach a magic class, it behooves you to do the best possible job you can, and this little manuscript from Al Albers will help you organize your material and present it in an effective way. The most important point in Mr. Albers’ treatise comes in the first chapter titled, “Preparation.” He suggests that any would-be magic teacher ask himself the following questions: 1) Why do I want to teach magic? and 2) What are my qualifications to teach? Honest answers to these questions would do much toward diminishing the amount of inferior instruction which passes for teaching these days. Mr. Albers offers suggestions on gathering the appropriate materials to teach, on determining how many sessions a course should last, and on outlets available for teaching. He also gives detailed course outlines, evaluation forms, and a prospective course syllabus. Mr. Albers’ approach can easily be adapted to whatever your teaching style may be. Competent teachers are rare, and great teachers may be becoming extinct. Unfortunately, merely having enthusiasm for a subject is not enough. If you know why you want to teach magic, and you are realistic in your assessment of your abilities and credentials, The Complete Guide to Teaching Magic will be a very useful resource. Recommended. Close-up Classics By Michael Vincent Michael Vincent is a talented young card man from England. In this set of notes he details his handlings for 15 classic card plots. Included are routines for the Two Card Transposition, Vernon’s “Picking Off the Pip,” “Wild Card,” “Triumph,” Hofzinser’s “Everywhere and Nowhere” and “Remember and Forget,” Jennings’ “Look - An Illusion,” and the “Collectors.” Michael’s handlings are certainly sound, but be aware that he possesses a fine technique, and many of his routines are quite difficult. I could recommend these notes without reservation, except that the price is rather high. $35 (20 pounds Sterling) is a little steep for a 48 page, plastic comb bound, set of notes. However, if money is not a factor, and you enjoy challenging card material, Close-up Classics is certainly worth your consideration.
Thayer Quality Magic Catalog Instruction Sheets: Volume Four Compiled by Glenn Gravatt Collectors and historians will want to take note of this reprint of the fourth volume of the Thayer Catalog instruction sheet series. Included in this volume are tricks with cards, cigarettes, livestock, matches, money, silks, and more. Also included is an index covering all four volumes in the series. A New Look at Some Classic Close-up By Bill Okal From 1964 to 1980, Bill Okal was a regular performer at Eddie Fechter’s Forks Hotel. During his tenure, he did not only work on developing new material and presentations. He was also interested in learning what the Forks’ audiences actually thought about the magic they saw performed. Mr. Okal writes in the introduction to A New Look at Some Classic Close-up, “I came to two inescapable conclusions: 1) lay audiences are much more perceptive than many performers think, and 2) most presentations trick, as opposed to convince the audience.” I am in total agreement with this assessment. In this set of notes, Mr. Okal attempts to “beef up the conviction aspect of some of the classic effects, to make them more magical.” Included are three versions of the Torn and Restored Card, a “Slow Motion” Ace Assembly, a variation of Vernon’s “Triumph,” a Coins Across routine, a four coin assembly (using only one cover card), and two versions of the cut and restored rope. Whether or not you choose to adopt any of Mr. Okal’s handlings, studying his methods and understanding the thought process behind his routines will be of value to you. None of the routines require advanced technical ability. One downside, unfortunately, is that several of the routines require lapping, which means that the performer must be seated. A New Look at Some Classic Close-up is an excellent value, and I highly recommend it. The Professional Routines of Ron Fredrick By Ron Zollweg Ron Zollweg is also a well-known member of the Forks Hotel community. In this set of notes he details three routines he has used professionally for over 30 years. Included is a routine with a scarf (which includes a series of flourishes, knots, and penetrations), a sponge ball routine, and a chop cup routine. This is practical, commercial magic, well within the abilities of the average magician, and at $4 is priced way too low. If you don’t already have a favorite routine for these props, these notes are well worth checking out. Stage Cool By Michael P. Lair
These days there is very little new material offered to those who do stage magic (especially those who do a silent manipulative act). If you’re looking for this type of material, check out Stage Cool, a new set of lecture notes from Michael P. Lair. There’s magic with confetti, streamers, umbrellas, candles, and swords. The routines are not particularly difficult, and are very flashy. Wonder Words Volume 2 The Wonder Words Workbook By Kenton Knepper The second volume of Kenton Knepper’s Wonder Words series has been out for a while, but I just recently got a copy to review. I was enthusiastic about the first volume, and I am equally enthusiastic about the sequel. Kenton’s premise is that the words we use in performance can profoundly impact a spectator’s perception of a magic effect. In fact, there are effects which can be accomplished using words alone. There is so much information on these four cassettes, that I can’t begin to summarize them. Even if you were to not use any of the information offered, listening to the tapes will change the way you think about your patter. One suggestion: There is a drawback to presenting this material on audiocassette, and that is that you hear Kenton speaking the words. You associate the phrases with his voice and manner of speaking. You might think to yourself, “I can’t deliver these lines. They won’t sound natural to me.” Write down the words and the structural suggestions as you listen to Kenton, then put the tapes away. Get the concepts and then recast the words into phrases which suit your style of working. In this way I think you’ll get maximum value from the tapes. In addition to the four cassettes, you also receive a small booklet containing some excellent effects from Kenton, Docc Hillford, Gene Urban, and Steve Banachek Shaw. In particular I would draw your attention to Shaw’s “Brain Game.” I watched Kenton do this at the Convention at the Capitol, and the woman assistant was freaked out. She actually thought Kenton was in her head. Strong stuff. If you are serious about adding Wonder Words to your magic vocabulary, you might want to take a look at the Wonder Words Workbook, which is designed to enhance the value of the Wonder Words Volume One tapes. Kenton provides page after page of fill-inthe-blank examples which will allow you to work out your own phrases using such tools as Unspecified Verbs, Presuppositions, Embedded Commands, Modal Operators, and Awareness Deceptions. Be aware that the Workbook will be of no use to you unless you own Wonder Words Volume One. This material is not cheap, but I believe it is important and worth your serious consideration. Highly recommended. The Magicians’ Yearbook 1998
Edited by Anthony Owens Anthony Owen is back with another edition of his Magicians’ Yearbook, covering conventions, products, magazines, lectures, and other events of 1997. Contributors include Ali Bongo, Eugene Burger, Aldo Colombini, Al Smith, R. Paul Wilson, Marc De Souza, Tony Griffith, Eddie Dawes, Marc Paul, and yours truly. The focus is on events in the U.K., but the reviews of products, conventions, and lecturers should be of interest to all. As I have said before, I find the British viewpoint to be a refreshing change from the viewpoint offered in most of the American magazines. I have enjoyed Anthony’s previous Yearbooks, and I enjoyed reading the 1998 edition as well. Word of a Lie By Ali Bongo Based on work done by Alex Elmsley, Max Maven, and Terri Rogers, this clever mental effect by Ali Bongo is a real puzzler. Here’s what happens: A spectator is given some small folded cards, each of which bears six words. The words are printed in either red or black ink. The spectator chooses any one of the cards, and then merely thinks of one of the six words on the card. The performer (whose back is turned) asks the spectator to call off the colors of the six words, reading from top to bottom, but he must lie when he calls off the color of the chosen word. The spectator does this. Given only this information, the performer names the mentally selected word. Ali Bongo provides two methods for accomplishing this effect. This first, which uses a cue sheet (which is provided) is an absolute no-brainer (assuming you can add), and can be done almost immediately. However, those who prefer not to use the cue sheet can do the effect using mnemonics, because the words used were derived using a mnemonic system. Obviously, the use of the red/black word cards places this trick into the “contrived” category, and you’re not going to convince anybody that you’re a real mind reader by performing it. But it is a puzzler, and will certainly give your buddies at the magic club something to scratch their heads over. The Art of Public Squeeking By Doc Wayne Here’s another practical offering from The MagicSmith. Doc Wayne’s The Art of Public Squeeking is a handbook of useful and silly ways to utilize the venerable “Squeeker,” a small plastic device which squeaks when you squeeze it. You probably already own one of these (and if not, there is an excellent one provided with the booklet), but Doc’s suggestions may have you squeaking in ways you never thought of.
During my Illusions days, I remember watching Terry Veckey use a Squeeker near the finale of his marathon Benson Bowl routine. It got huge laughs, and can probably do the same for you. Recommended. White Bikes By Paul Richards Draw a Blank By Aldo Colombini A blank-faced (or double-blank) deck has an intrinsic novelty value. Its appearance is unusual, and when it is used as the “kicker” of an effect, its strangeness makes it doubly surprising. Dean Dill’s “Blizzard” exploited this surprise very effectively. Two new card tricks from Paul Richards and Aldo Colombini also use blank-faced cards in an effective way. The effect of “White Bikes” is this: A blue-backed deck is introduced, and is shown to be normal. A red-backed card is placed aside as a prediction. A spectator selects a card from the face up blue deck (forced). The blue-backed deck is placed aside, face down. The selected card is shown to match the prediction. As a kicker, the blue deck is spread face up, and all the faces are now blank. “White Bikes” is structurally related to a color-changing deck routine of Derek Dingle. The card is forced using an old mathematical force. A sleight is required in order to prepare the deck for the kicker, but this sleight is covered by strong misdirection, and even those with limited technical ability should be able to do the necessary work. In “Draw a Blank,” a spectator is asked to name a card, for example the Two of Hearts. The magician removes a deck of cards from his pocket and shows that the deck is completely blank on both sides. He then removes four completely blank cards, claiming that these are the four Twos. The spectator touches one of the cards. The other three are shown to be blank and are returned to the deck. The selected card is turned over; it is the Two of Hearts. “Draw a Blank” resembles “Blizzard” in effect, but there is an important difference. In “Blizzard” the actual condition of the deck is unknown to the audience until the final surprise revelation. In Aldo’s trick the audience knows up front that the performer is using a blank deck. The surprise, therefore, is the appearance of a named card from a blank deck, rather than the effect of the spectator psychically naming the only card in an otherwise blank deck. Both routines are well within the technical abilities of the average magician, and both play very well. However, you should be aware that in both routines you are left with a gaffed deck in your hands, and you will need to structure your audience management accordingly. Both tricks are recommended. The Reparation
By Jon Lovick Jon Lovick has come up with an easier handling for Guy Hollingworth’s famous pieceby-piece card restoration, “The Reformation.” Jon has based his handling on David Regal’s “Piece by Piece” from the book Star Quality by Harry Lorayne. In the last couple of years there has been a great deal of interest in Guy’s routine, but those who aspire to learn it have been stymied by two factors: 1)The routine is quite difficult; and 2) “The Reformation” was a limited edition release, so until Guy’s book comes out it is almost impossible to get the work. I have seen Jon perform “The Reparation,” and it looks good. Is it as good as “The Reformation”? I don’t think so. Simplifying the handling involved trade-offs which I believe weaken the look of the effect (for example, the dodge of apparently placing two of the torn pieces into a shirt pocket). If you are anxious to do the “one-piece-at-a-time” restoration effect, and you are not a person who enjoys serious, concerted practice, then “The Reparation” is worth your consideration. Otherwise, I would wait for Guy’s book. Hotel Mystery Dice Stack By El Duco I am at a bit of a loss when it comes to reviewing prop magic (and here I am defining a “prop” as something which exists only in the world of a magic show). My entire adult life I have avoided using anything which looks like a prop (and this includes linking rings, egg bags, and cups and balls), consequently I’m not sure which factors are important to someone who is going to purchase this type of item. My guess would be: 1) quality of the manufacturing of the prop, 2) ease of performance, 3) deceptiveness. If I’m off base here, or if there are other factors drop me a line and straighten me out. Based on these three factors, I’m not sure that these two new products from Sweden’s El Duco are going to satisfy. “Hotel Mystery” is a cross between “Bank Night” and “Keyrect.” The magician displays a small plaque which looks like a portion of a hotel door. There is a doorknob at the top, and a black plastic box at the bottom. (The box has a slot at the top and an LED at the bottom. It is supposed to represent an electronic door lock.) The magician also has five plastic hotel key cards. He explains that there is money locked in his room, and only one of the keys will open the door to the room (and the money). Each of four spectators gets the key card of their choosing, the magician takes the remaining card. They may be exchanged if desired. None of the spectators’ cards activates the LED. When the magician’s card is inserted the LED glows green. The little box is opened and a hundred dollar bill is removed and pocketed by the magician. So what’s wrong here? First, the key cards provided do not resemble hotel key cards. There is no magnetic strip, and there are no distinctive logos. To even the most casual observer, it would be obvious that the cards play no part in the activation of the LED. If you were seriously planning to perform this effect you would have to go out and obtain some real hotel key cards. Second, the little black box that contains the money doesn’t
really lock. Anyone at any time could simply snap it open, and this undermines the notion that the key cards unlock the box. Third, I don’t think that there is any real mystery here at all. Considering that even the most unsophisticated spectator is aware of how things can be remotely controlled electronically, I believe that someone would simply guess that the magician could control when the LED lit up. And this would be a correct assumption. “Dice Stack” consists of a circular wooden base with a metal rod protruding vertically from its center. Three dice (two yellow, one red) are placed over the rod. (The dice have holes running through their centers.) The red die is in the middle. The dice are covered with a square tube. The red die vanishes from the stack of three and appears on the center of a previously tied loop of ribbon. The props provided are well made, and I believe that with practice this could be a reasonably deceptive trick. However, you need to know that this is not a self-working trick. A “move” is required to effect the vanish of the red die, and it is going to take some practice for this to look natural and non-suspicious. (And in the brief time I played with this, I was not able to get to the point where the move looked natural.) This may be more work than a “prop” person may be willing to invest. That’s about all I can tell you. I hope you’ve got enough information to make an intelligent buying decision. Killer Elite By Andy Nyman Andy Nyman has nicely dressed up an old magical principle in this simple mental effect. (Bill Goldman recently used the same principle in his trick “Magic Shoes.”) The mentalist removes four postcards from an envelope. Each bears the picture of a classic movie “psycho”: Robert de Niro in Taxi Driver, Al Pacino in Scarface, Michael Madsen in Reservoir Dogs, and John Travolta in Pulp Fiction. The spectators are asked to envision that the four killers are sitting in a room and a shoot-out ensues. The spectator is asked to guess which of the four killers survives. His guess is shown to be correct. Obviously, you’re not paying for the secret here (because you probably can already guess how the trick works), but the props provided are very nice, and it would certainly be possible to create an evocative scenario with them. You’re not going to be starting any new religions with this trick, but as a lead in to more profoundly mysterious mental effects “Killer Elite” would certainly be effective. It’s Not Magic, But… I have attended two magic conventions so far this year, and at each, events have occurred which generated an enormous amount of conversation. At the Convention at the Capitol, Australian Phil Cass polarized the audience in a way I have not seen since the legendary Mundaka performance at the Quebec I.B.M. convention. And at this year’s Desert Magic
Seminar the object of interest was MAJOKE, a parody of the very magazine you’re reading right now. MAJOKE is the creation of a group Las Vegans known as The Evil Five, and is a sterling example of what happens when you place powerful computers into the hands of creative people who have way too much free time. MAJOKE completely captures the look of MAGIC, and skewers every single aspect of it. There are some excellent satires here, there is also material for which the term “sophomoric” is far too kind, and there were a few things which I thought were extremely harsh and very unfunny. But, I’m a magic reviewer, not a comedy reviewer, and my main reason for mentioning this parody is this: you’ve probably already heard about MAJOKE and were thinking about purchasing it. Be aware that much of the language and imagery tends to be crude and vulgar. If the language you hear in the average comedy club bothers you, then you should probably steer clear of this. And that’s about all I can tell you. Details The Sleight Album: The Magic of Aaron Fisher by Dan Harlan. 8.5 x 11, stapled. 18 pages. $15 postpaid from Aaron Fisher, 3783 Toothwood Lane, Las Vegas, NV 89115 Bouncing Back by Robert D. LaRue, Jr. and Steve Spangler. 8.5 x 11, stapled. 65 pages. $12.95 postpaid in US, foreign orders add $10 for p&h. From WREN Enterprises, Inc., 3145 W. Monmouth Ave., Englewood, CO 80110 Selling Your Specialty Act to Hollywood by Shaunnery Steevans. 8.5 x 11, thermal bound. 27 single-sided pages. $20 postpaid in US, $25 elsewhere. From Shaunnery Steevans, P.O. Box 324, North Hollywood, CA 91603-0324 Mindful Mentalism edited by Paul Hallas. 8.5 x 11, plastic comb bound. 62 pages. $24 postpaid (pay by US$ check or money order, Canada: C$34, includes shipping and GST). From I Saw That!, 35 Candle Liteway, North York, Ontario, M2R 3J5, Canada The Complete Guide to Teaching Magic by Alfred M. Albers. 8.5 x 11, plastic binder. 35 pages. $12.50 postpaid. From Al Albers, 3901 Morning Light Lane, Virginia Beach, VA 23456-4970 Close-up Classics by Michael Vincent. 8.5 x 11, plastic comb bound. 48 pages. $35. From H & R Magic Books, 3702 Cyril Drive, Humble, TX 77396-4032 Thayer Quality Magic Catalog Instruction Sheets: Volume Four compiled by Glenn Gravatt. 6 x 9, hardbound with dustjacket. 324 pages. $30. From Lee Jacobs Productions, P.O. Box 362, Pomeroy, OH 45769-0362
A New Look at Some Classic Close-up by Bill Okal. 8.5 x 11, plastic comb bound. 38 pages. $20 plus $3 p&h. From Alex Hargrave Productions, 18 Adobe Drive, Concord, CA 94520 The Professional Routines of Ron Fredrick by Ron Zollweg. 5.25 x 8.5, stapled. 48 pages. $4 plus $1 p&h. From Ed Eckl, 3 Gregg Street, Beverly, MA 01915 Stage Cool by Michael P. Lair. 5.25 x 8.5, stapled. 31 pages. $15 postpaid. From Michael P. Lair, 3300 Enfield Ave. NW, Canton, OH 44708 Wonder Words Volume 2 by Kenton Knepper. 4 audio cassettes. $65 postpaid in US. The Wonder Words Workbook by Kenton Knepper and J. Tank. 8.5 x 11, plastic comb bound. 68 pages. $35 plus $5 p&h. From WonderWizards, 3104 E. Camelback, Suite 312, Phoenix, AZ 85016 The Magicians’ Yearbook 1998 edited by Anthony Owens. 8.25 x 11.75, stapled. 90 pages. 15 pounds Sterling. From Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England “Word of a Lie” by Ali Bongo. 8 pounds Sterling. From Dynamic FX Limited, Unit 6, Hertfordshire Business Centre, Alexander Road, London Colney, Hertfordshire, AL2 1JG, England The Art of Public Squeeking by Doc Wayne. 5.5 x 8.5, stapled. 48 pages. $7.50 plus $1 p&h (overseas add $3 for p&h). From The MagicSmith, 64 Seafare, Laguna Niguel, CA 92677 “White Bikes” by Paul Richards. $14.95. From Elmwood Magic and Novelty, 507 Elmwood Avenue, Buffalo, NY 14222 “Draw a Blank” by Aldo Colombini. $25. From Mama Mia Magic, P.O. Box 7117, Thousand Oaks, CA 91359 “The Reparation” by Jon Lovick. $15 postpaid. From Jon Lovick, 4322 ½ Sunset Drive, Los Angeles, CA 90027 “Hotel Mystery” $60. “Dice Stack” $45. Both from El Duco’s Magic, Box 31052, S-200 49 Malmo, Sweden “Killer Elite” by Andy Nyman. $20. Available at most dealers. Majoke. $12 postpaid. From Evil Five Productions, P.O. Box 30470, Las Vegas, NV 89036
June 1998 Untitled I couldn’t think of a title for this month’s column. So sue me. Solomon’s Mind By Eugene Burger For almost 30 years, David Solomon has been a vital and vibrant member of a coterie of Chicago cardmen that includes Simon Aronson, Steve Draun, John Bannon, and Bill Malone. The center of attraction of this group was the prolific and controversial Edward Marlo, and for many years David was a confidant, friend, and helper to Marlo, assisting in the production of many of Marlo’s manuscripts. David is also a prolific creator of card magic, and his routines have appeared in the Linking Ring, M.U.M., The Trap Door, MAGIC, Hierophant, Kabbala, the various Marlo Magazines, and in Sessions, a book coauthored by David and Simon Aronson. Solomon’s Mind collects David’s finest routines from the past 25 years. There is previously unpublished material, and many previously published routines have been updated and revised. One intriguing aspect of this book is that it’s author, Eugene Burger, is not generally associated with technical card magic. Eugene is an excellent writer, and his explanations are clear and concise, and, most interestingly, he often introduces an “outsiders” viewpoint, asking the types of questions that the average reader might ask. (For example, see Eugene’s discussion of the D’Amico Spread.) The book is divided into four sections, Magic for Laypersons, Magic for Planned Closeup Shows, Magic for Sessions, and Prepared Magic for Sessions. The material ranges from routines which are virtually self-working, to routines which will require more advanced technical ability. Part One begins with “Steinmeyer’s Nine Card Problem with Seven Cards,” a routine which is one of the highlights of the book. Jim Steinmeyer published his “Nine Card Problem” in the May 1993 issue of MAGIC. David’s method eliminates the need to spell the word “of,” reduces the number of cards to seven, and adopts Jon Racherbaumer’s suggestion of using a lie detector plot. The result is an absolutely remarkable trick, which can be performed over the phone. (In fact, Eugene performed this for me over the phone, and it fooled me completely.) I predict that David’s handling of this plot will become a staple in the repertoires of many close-up magicians. Other highlights in this section include “Four the Hard Way,” which is a handling of Bob Walkers “Topsy Turvy Torsion Version,” (which is itself a version of “Twisting the Aces”), and “Cutting Ten” a diabolical version of the Spectator Cuts the Aces plot. The nice aspect of “Cutting Ten” is that the revelation of the four Tens comes as a complete surprise.
Part Two includes several gaffed card effects, and it is here that the reader is introduced to one of the hallmarks of David’s work: the intelligent and completely sneaky use of gaffs. In the Foreword to Solomon’s Mind, David discusses gaffed cards, and echoes a sentiment I often heard from Harry Riser, “I think that it is only after we have established our credentials that laymen and magicians will buy an impossible effect using gaffed cards.” And there are some impossible effects in this chapter, including one of David’s signature pieces, “Cigarette or Pencil Through Signed Card.” In addition to David’s multi-phase routine, you will find routines from Eugene Burger and Danny Orleans. (A nice aspect of the Orleans routine is that it does not require a cigarette.) Also in this chapter are David’s Oil and Water routines, a gaffed and extremely clean version of Jerry Sadowitz’s “The More Things Change” (this is a remarkable routine, and is not beyond the abilities of the intermediate card man), and a routine using the Elmsley rising card gaff, in which two selections rise from the deck. I would especially draw your attention to the Oil and Water routines. This is a plot which has concerned David for more than 20 years, and his routines are the best I have seen. (“Technicolor Oil and Water” requires gaffed cards, but don’t let that deter you. It is amazingly visual and is definitely worth the investment to purchase the gaffs.) The final two chapters detail material geared to bamboozle your magic pals (although many of the routines would certainly play well for laymen). Included are sandwich tricks, ace assemblies (including treatments of the Succession Aces and the Reverse Assembly plots), a handling for “Triumph,” and what may be the best version ever of the Observation Test. David’s routine was inspired by Juan Tamariz’s routine in Sonata, and when demonstrated elicited an enthusiastic vocal reaction from Juan. In addition to the excellent card material, there are discussions of David’s relationship to Ed Marlo. These discussions are fascinating, and they offer some interesting insights. At the end of the book there is a final conversation with Eugene in which David says, “Marlo was obsessed with card magic and having his name credited to any ideas he created. As the people in the group surrounding him started to have their own personalities and inventions, in Marlo’s eyes we became his competition.” Unfortunately, this eventually led Marlo to become estranged from those who had been his closest companions. Solomon’s Mind is an exceptional collection of well thought out card magic, and I highly recommend it to card magicians of average or above ability. The variety of skill requirements and the balance between gaffed and non-gaffed material should appeal to all tastes. (And, I should mention that David can provide most of the gaffed cards required. A bookmark included with Solomon’s Mind gives you all the necessary prices and ordering information.) Street Magic By Edward Claflin and Jeff Sheridan Jeff Sheridan began his career as a street performer in 1967, performing in various locations throughout New York City’s Central Park. In 1972 he discovered the perfect
performing spot, and eventually became known as “the magician at Sir Walter Scott’s statue.” (For more information on Sheridan’s career and his influence on many wellknown magicians, see Richard Kaufman’s article in the October 1997 issue of MAGIC.) One of the people attracted to Sheridan’s Central Park performances was Edward Claflin, a freelance writer who, when he discovered that no book on the history of street magic existed, suggested that he and Sheridan collaborate on one. The original edition of Street Magic has been out of print for 20 years. Fortunately, Kaufman and Company has again made this valuable text available to the magic community. Street Magic begins with an examination of ancient tribal magic - the magic of shamans, medicine men, witch doctors, and priests - and segues into a discussion of the influence of magic in early Greek, Roman, and Egyptian societies. There follow chapters on the magic of Hindu Fakirs, Oriental conjurors, and the jugglers, mountebanks, and necromancers of the Middle Ages. The wandering magicians of the 16th century are discussed, as are the seminal texts which appeared at this time: Scot’s The Discoverie of Witchcraft, Thomas Ady’s A Candle in the Dark, Hocus Pocus Junior, and Henry Dean’s The Whole Art of Legerdermain. In the 1800’s, a new form of street magic evolved, the kind of impromptu, off-hand miracle which helped enhance the reputation (and enlarge the ticket sales) of the stage magicians of the time. Louis Christian Emanuel Appollinaire Comte was a master of this, inciting near riots by his ventriloquial abilities. (One stunt nearly cost him his life.) Also examined are the exploits of Bartolomeo Bosco, Robert-Houdin, and Alexander Herrmann. At the turn of the century, the greatest promoter and showman in the United States was Harry Houdini, and an entire chapter is devoted to his career. At the beginning of their book, Claflin and Sheraton define street magic as “a kind of popular entertainment in the guise of magic or illusion, performed outside the boundaries of conventional theater.” One chapter of Street Magic is devoted to those whose performances are peripherally related to street magic, including psychics Jean Dixon and Edward Cayce, mentalists Kreskin and Uri Geller, and street juggler Philippe Petit, who made headlines in 1974 by walking a cable stretched between the twin towers of New York’s World Trade Center. The book concludes with an examination and analysis of Jeff Sheridan’s work in Central Park. Street Magic is a rich and detailed book, and this brief review cannot do it justice. The text is accompanied by numerous photographs and drawings, many from Sheraton’s private collection. For those interested in the history of this most unconventional of venues, Street Magic is a must-buy. Highly recommended. Buffaloed By Jim Buffaloe Years ago, Jim Buffaloe attended a lecture given by Jim Ryan. At the end of the lecture, Mr. Buffaloe asked Jim why he didn’t include more coin tricks in his repertoire. Ryan replied that he did not think coins had much potential for entertainment. This remark had
a profound effect on Jim Buffaloe, and the results can be seen in Buffaloed, a book which contains mostly coin routines, all structured for maximum entertainment. Jim Buffaloe is a musician and a magician, and for many years was Minister of Music for the Southwest Baptist Church in St. Louis. He contributed two One-Man Parades to the Linking Ring (in 1985 and 1987), and each won the trophy for best One-Man Parade. Many of the routines in Buffaloed originally appeared in those Parades, but all the material has been updated and revised. There are 36 coin routines in Buffaloed, grouped into four sections (Brief Routines, Productions and Concealments; Extended Platform and Close-up Routines; Theatrical Close-up with Props; and Self Analysis: A Tool Toward Excellence). In addition, there are five routines geared toward young audiences, ten general magic routines, and essays on improving your speaking voice, methods for connecting with an audience, and techniques for the creation of magic routines. The first section of coin magic concerns itself with technique rather than full blown routines. For me, the highlight was “A Lesson in Subtlety,” in which a well-known children’s trick is used to effect a barehanded four coin production. I wish I could have seen this performed before I read it. I know it would have fooled me. The next two chapters contain coin magic designed with entertainment in mind. It is rare to find a book of coin tricks in which presentation is the foremost concern. This is an enormously refreshing change from the coin material which is normally offered for sale. Mr. Buffaloe incorporates unusual props, and often dresses standard props in unusual garb (for example, turning a coin box into a miniature safe.) He also takes standard gaffed coins and places them into extremely novel presentations, the highlight of which is “This Spud’s for You,” which combines the Cigarette through Quarter effect with the science experiment of driving of straw through a potato. This is memorable magic, gang. The chapter on Self Analysis provides an in-depth look on how a magic routine (in this case a Copper/Silver transposition) is created. If you’ve ever wondered how creative people develop magic routines, this chapter will be enlightening. Mr. Buffaloe is also concerned that many magicians fail to use their voices effectively. In a chapter titled “The Magic in Your Voice,” he draws on his years of experience as a vocal teacher to offer exercises which will help you develop a more flexible and effective speaking voice. I don’t believe that I have read this type of information in any other magic book. Finally, there are two chapters containing general magic and magic geared for an audience of children. All the routines are worth your careful consideration, but I would draw your attention to “Mouse Capades” (a routine which would be effective for both children and adults) and “A Crown for a Queen,” which is a very clever presentation for Ton Onosaka’s jumbo Three Card Monte cards.
Buffaloed is one of the best books of non-card magic that I have read in a long time. Excellent routines, excellent thinking, excellent essays. What more could you want? If you need more prodding and you have a file of the Linking Ring, check out the previously referenced One-Man Parades. Or, you could just take my word for it. This is a fine, fine book, and it should be in your library. Highly recommended. Wit and Wizardry: The Magic of Norm Houghton Edited by Tom Ransom Norm Houghton died on March 4, 1998, and I was saddened to learn of his passing. Norm has a special place in my heart, because he, along with Bill Elliot, Tom Ransom, Stewart James, Mel Stover, and Pat Lyons were a part of the best magic magazine I’ve ever read, Howard Lyons’ Ibidem. If you have never read Ibidem, or you have never attended a Fechter’s convention, you may not know who Norm was. But his role is clearly explained in David Drake’s introduction to Wit and Wizardry, which is a collection of Norm’s creations. David writes, “There are men and women in magic who move along beneath the surface of events, quietly affecting and influencing the actions of their more public peers. They are highly respected, often consulted, and genuinely admired by the alert and intelligent in the magic community. Norman Houghton of Canada is one of these.” Norm was a prolific creator and Wit and Wizardry contains over 80 items, with an emphasis on close-up magic with cards, coins, and other small objects. In addition, there are mentalism routines, and routines with ropes and silks. A factor which will appeal to many is that all the routines are well within the ability of the average magician. (Also included are some of Norm’s gag lines, but if you’re not inclined to puns you may find them to be a bit much.) This is a fine and varied collection, and there is some very interesting material hidden here. For example, check out “Card in Shirt Pocket,” which was published in 1957 and is a predecessor of Gordon Bruce’s popular “Pocket Palm” technique. Also, take a look at “The Slide and It’s Uses,” an analysis of the Hofzinser cull. This treatise was written more than 30 years ago and was slated to appear in Ibidem #34-35, but was never published. One minor quibble: I’m not particularly enamored with the layout of this book. There are only a few illustrations, which gives the book a rather spartan appearance. For historical reasons it would have been nice to have a few photographs included. Bottom line: Wit and Wizardry is a worthwhile collection of material from a man who was a clever thinker and a fine human being. Recommended. Magic On Prescription Edited by Adrian Harris
Also greatly missed by his friends and colleagues is Dr. Peter Moffat, who was a member of the I.B.M. and was an Honorary Life Member and Past President of the Scottish Association of Magical Societies. Magic On Prescription contains the collected writings of Dr. Moffat, including card effects, mentalism, close-up routines, and material for stage and cabaret performance. In addition, there are contributions from Roy Walton, Peter Duffie, Gordon Bruce, Trevor Lewis, Bob Ostin, and others. The material here isn’t earthshaking, but I found some nice ideas (for example: Trevor Lewis’ “Knowing the Ropes,” Tom Johnson’s “Key to the Door,” and Dr. Moffat’s “Male Versus Female”). Magic on Prescription is published by the Perth Magic Circle, and a portion of the profits will go to the Children’s Ward at Perth Royal Infirmary. Clever & Pleasant Inventions By J. Prevost Clever & Pleasant Inventions was published in 1584, and was the first book in French dealing with the subject of conjuring. In fact, this book seems to be the earliest book in any language devoted entirely to prestidigitation. (Reginald Scot’s The Discoverie of Witchcraft was published in England the same year, but it had only a small section which explained the methods of conjurors.) About its author, J. Prevost, almost nothing is known. The original book is itself very rare, and is very little known, even in France. Thanks to the efforts of Stephen Minch and translator Sharon King, we now have available a very readable English translation of this important historical text. As with most of these old books, the most fascinating thing is discovering exactly how old some of our favorite tricks are. For example, here you will find descriptions of the Coloring Book (or “blow book” as it is also known), the gaffed funnel which allows liquid to be drawn from a spectator’s head, an early predecessor of the Himber wallet, the ash trick, the cord and pillars, and the egg bag. (The mention of the egg bag was particularly interesting, because the description reads “Take a night cap, made in the Turkish style; that is, one with a high form and wide at the bottom. And inside it, to one side, sew a small pocket.” In other words, at one point in history the egg bag prop was an object which was familiar to the audience.) Clever & Pleasant Inventions is a first class production all the way around. I understand from Stephen Minch that the first printing has been completely sold out to magic shops and wholesalers. So if you want a copy (and if you’re a historian or a collector you definitely want a copy) get one quick. Highly recommended. (By the way, Stephen Minch also asked that I publicly correct an error in Clever & Pleasant Inventions. The copyright statement should read: “Copyright on Translated Text and Translator’s Introduction 1998 by Sharon King. Copyright on Notes and Other Introductory Material 1998 by Stephen Minch. If you would like a copyright correction sticker, contact Hermetic Press.) The Magical Writings of Edwin A. Dawes
Published by Brian McCullagh Historians and collectors will also want to pick up a copy of this bibliography of prolific English author Dr. Edwin A. Dawes. (The bibliography lists material from 1955 to 1996, and thus does not include Dr. Dawes most recent book, the excellent Charles Bertram the Court Conjuror.) Dr. Dawes output is staggering (his historical column “A Rich Cabinet of Magic Curiosities has passed the 200 mark and continues to go strong) and this bibliography is an extremely useful resource. Miracles While You Wait By Mark Jenest In the past year or so, Mark Jenest has released several clever and commercial effects, including “The No. 2 Pencil” and the “Magic Credit Card.” In Miracles While You Wait, Mark hits the streets of Hollywood, performing seven offbeat and easy to do close-up effects. There is magic with cards, coins, paper money, balloons, Chapstick, olives, and a bartender’s jigger. For me, the highlight of the tape is the opening trick, “Billoon!” Here’s what happens: The magician blows up a black balloon. The spectator holds it by the tied stem. A bill is borrowed, signed, and vanished. The balloon is shaken, and the spectator holding it hears something rattling around inside. The magician carefully takes the balloon between his hands and lowers it to the ground. The balloon is popped. There among the shredded balloon pieces is the borrowed dollar bill. The method for accomplishing this trick is very clever, it puzzled me, and I predict that “Billoon!” will find its way into a lot of repertoires. The remainder of the tricks are practical and effective, but I was not fooled by any of them. However, this doesn’t mean that you won’t be able to make use of them performing for real people. Miracles While You Wait is an entertaining tape, and Mark’s goofy interaction with people on the street is a hoot. Also, The Magic Smith is pricing this tape at $20, which makes it a good value for the money. Recommended. Coin Cascade By Dean Dill I saw Dean demo this new trick at the Convention at the Capitol, and it is quite effective. Here’s what happens: The magician displays three half dollars and a styrofoam cup. One at a time the halves vanish from the right hand and appear under the inverted cup. The magician then inverts the cup and pushes all three coins through the bottom of the cup. (This is not done magically, the coins are actually tear the bottom of the cup.) The cup is lifted, shaken, and suddenly a shower of 17 coins tumbles from the mouth down cup. The coins don’t drop in a clump, they cascade down to the table. (Hence the title, clever, huh.)
Dean provides you with the necessary gaff, written instructions detailing two routines, and a low budget video in which he demonstrates and explains the two routines. Neither routine is particularly difficult, but you will have to be familiar with basic coin technique. Be aware, this is a fairly low-tech gaff. However, it gets the job done, and if you saw Dean do this you’d probably get fooled. The cascade of the coins is very pretty and mysterious, and the trick resets quickly. If you work in a venue where you can use the table top, this is a trick you could probably use. Recommended. The Sight Unseen Case By Mark Strivings Mentalist Mark Strivings has adapted several old principles to create a utility business card wallet which allows you to do several different effects. For example: A spectator can write something on a business card which is placed face down into the case. The case is closed and pocketed. You can reveal the information. Billets can be switched using the case. If doing a prediction, billets can be secretly introduced into the case. You can secretly nail write on a card which has been placed into the case. And so forth. Mark provides a booklet outlining some simple ideas using the prop. The wallet is leather and seems to be fairly well made. Be aware, however, that it cannot be examined. (Nor is it meant to be examined. If your presentation attracts heat to the wallet you’re doing something wrong.) At $50, the “Sight Unseen Case” seems a little pricey to me. However, I have spoken to people who own it and use it, and they are pleased with their investment. Because this is a low tech prop, and has little “play” value, I think it will be of most value to those who are already making money from mentalism, or who wish to add a mental routine to their working repertoire. Thought Transmitter By John Cornelius Here, on the other hand, is a high tech wallet from the man who calls the hardware store home, John Cornelius. John provides you with a black plastic wallet which measures approximately 3 x 4.5. A spectator writes some information (a number, an ESP symbol, the name of a playing card, etc.) on one of the inner surfaces of the wallet. (I should explain that there are two pads of paper under plastic on the inner surfaces of the wallet. The spectator uses a dry erase marker and writes on the plastic surface. This allows the message to be erased and the wallet reused without using up any paper.) The wallet is closed and a rubber band is snapped around it. The magician takes back the wallet and immediately discovers what has been written. This could be repeated indefinitely. (But why would you want to?)
The method is very clever, and (in watching John demo it) has fooled everybody who saw it. John provides you with a clever routine, and the electronics of the wallet will last for many, many performances before batteries need to be replaced. It is also possible to have a spectator write something on a business card, place it in the wallet, and then discern what has been written. This is not an inexpensive item, but I believe that what you get justifies the price. If the effect appeals to you, I don’t think you’ll be disappointed. Recommended. Jack in the Box By Ed Alonzo This is one of two cool things that I saw at the recent Hollywood Day of Magic. Ed has adapted Martin Lewis’ “Cardiographic” (with Martin’s blessing) for a kid’s show presentation. Here’s what happens: The magician shows a coloring book containing pictures of children’s toys. A child calls out “Stop” as the magician riffles through the book. The picture on the stopped at page is remembered. The book is placed aside. The magician picks up a large drawing pad and attempts to draw a picture of the toy the child is thinking of. He draws a box with the letter “A” on it. But the child was not thinking of a toy block. So the magician turns the block into a drawing of a Jack in the Box. Again, this is incorrect. The child explains that he was thinking of a clown. The magician draws a handle on the Jack in the Box and apparently turns the crank. A clown rises from the box. It is the same clown the child was thinking of. After the clown stops moving the piece of paper is torn from the pad and given to the child as a souvenir. Martin’s original trick is a sensational one (which is why many pros use it), and this adaptation plays great and should be a big hit with kids. Ed has done a top-notch job providing you with everything you need: the gaffed coloring book, stencils, the drawing pad and pen, a cassette tape with Jack in the Box music, and complete instructions. This is not cheap, but is a good value for the money. If you’re a kid show performer, this is definitely worth your consideration. Highly recommended. Spex Efx By Christopher Hart and Joe Monti This was the other cool thing I saw at the Hollywood Day of Magic. The magician has a spectator take a card (forced). A second spectator (who did not see the selected card) is given a pair of 3D glasses (the kind we used to wear when we watched cheesy 3D movies). A small penlight flashlight is held in front of the second spectator, and he is told to look into the light and try to discern the identity of the card. He cannot. The light is moved farther away from his face. Suddenly, the second spectator sees the image of two small hearts floating in the air around the flashlight. He names the Two of Hearts, which was the selected card. This is a neat trick, is a complete no-brainer (assuming you can force a card), and the appearance of the two floating hearts is cool. You get everything you need, including the
small penlight flashlight. My guess is that by this summer this will be the trick that everybody will be playing with. Recommended. It’s Not Magic, But… Here’s a new origami book for those of you who enjoy that sort of thing. Russian Origami by Sergei Afonkin and Tom Hull contains simple models from folders in the former Soviet Union. Most of the folds are simple, and are quite charming. In addition, there are several folds which move, including a Clapping Clown and a Monster made from a dollar bill, both of which could have magical applications. If you’re a newcomer to origami, this would be an excellent book to add to your library. Details Solomon’s Mind by Eugene Burger. 10 x 7, hardbound with glossy dustjacket. 233 pages. $45 postpaid. (Europe add $20, other foreign orders add $30.) From David Solomon, 848 Green Bay Road, Highland Park, IL 60035 Street Magic by Edward Claflin and Jeff Sheridan. 8.5 x 11, softcover. 156 pages. $25 postpaid (domestic and foreign surface postage). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Buffaloed by Jim Buffaloe. 8.5 x 11, hardcover. 224 pages. $45 postpaid in U.S. ($55 postpaid outside of U.S. via airmail). From Dan Garrett, 4929 Salem Road, Lithonia, GA 30038 Wit and Wizardry: The Magic of Norm Houghton edited by Tom Ransom. 6 x 9, hardcover. 178 pages. $35 plus $4 p&h. From I Saw That, 35 Candle Liteway, North York, Ontario, M2R 3J5, Canada Magic On Prescription edited by Adrian Harris. 6 x 8, softcover. 58 pages. $16 postpaid in US. From Adrian Harris, 3 West Mains Avenue, Perth, PH1 1QZ Clever & Pleasant Inventions by J. Prevost, translated by Sharon King. 5.5 x 7.5, hardcover. 270 pages. $45 plus $3 p&h (Overseas airmail add $10). From Hermetic Press, 1500 SW Trenton St., Seattle, WA 98106-2468 The Magical Writings of Edwin A. Dawes published by Brian McCullagh. 8.5 x 11, perfect bound. 30 pages. From H&R Magic Books, 3702 Cyril Drive, Humble Tx 773964032 Miracles While You Wait by Mark Jenest. $20 plus $3 p&h (International orders add $7). From The Magic Smith, 64 Seafare, Box M, Laguna Niguel, CA 92677 “Coin Cascade” by Dean Dill. $25 plus $3.50 p&h. From Dean Dill, 2130 Fairpark Ave., # 110, Los Angeles, CA 90041
“The Sight Unseen Case” by Mark Strivings. $50 postpaid in US, elsewhere add $3 for p&h. From Mark Strivings, 3309 N. Grandview, Flagstaff, AZ 86004 “Thought Transmitter” by John Cornelius. $40 “Jack in the Box” by Ed Alonzo. $129.95 plus $10 p&h. From Theatrical Magic, 4716 Cartwright Avenue, Toluca Lake, CA 91602 “Spex Efx” from Christopher Hart and Joe Monti. $17.50 postpaid. From Christopher Hart, 204 N. Fairview Street, Burbank, CA 91505 Russian Origami by Sergei Afonkin and Tom Hull. 8.5 x 11, softcover. $15.95. From St. Martin’s Griffin. Available at most book stores.
July 1998 Time Machine I have never been one to cart a camera with me to magic conventions. I often find myself posing with people for snapshots, but I don’t take many pictures for myself. However, as I was sorting through my collection of “stuff” in preparation for my move to Las Vegas, I came across some photos I took years ago at various conventions. There were pictures of Vernon, Faucett Ross, Slydini, Larry Jennings, Roger Crabtree, and other friends and acquaintances. I was surprised at how much these pictures delighted me, and how glad I was that I had taken them. Now, suppose I told you that some old home movies existed. Movies of some legendary people in magic, people you’ve heard of, but probably never met, and certainly never saw perform. I saw one of these “movies” when I was a kid. I saw it one time, and I never saw any others, but that one viewing had quite an impact on me. Thirteen of these home movies exist, and you can own them, and, like a time machine, they will take you back into the past to visit with old friends and watch the performances of a man who had a profound influence on the evolution of close-up magic. The “home movies” I’m referring to are the 13 episodes of the 1961 television series Magic Ranch, and the host of the show is the legendary Don Alan. William McIlhany is selling the 13 episodes on four VHS cassettes. Three of the shows are in color, and on the fourth cassette Mr. McIlhany includes outtakes from the shows. The proceeds from the sales of these tapes go the family of Don Alan. The format of each show is the same: Don performs an opening bit (usually gag related) in front of a group of people assembled on couches and chairs in the main room of a dude ranch set. After the opening credits (accompanied by organ music designed to make the hair on the back of your neck stand on end), Don moves over to the reception desk and invites some spectators over to watch some “sneaky stuff.” And what marvelous stuff he does. It is in this setting that Don performs the classics of his repertoire: the Chop Cup routine, the Chinatown half/Fez/Lump of Coal routine, his version of the Benson Bowl routine, his routine for the Nudist Deck, the puppet routine, and the paper bag card stab. It is not only stunning to watch Don performing these routines, but to also hear lines which have become part of the patter of every close-up magician in the country delivered by the originator. On each episode, following the close-up set, Don introduces a young magician who performs a (mercifully) brief stand-up set. I was hoping that one of these magicians would be someone whose name is now familiar to the world of magic, but unfortunately, that is not so. After the young magicians comes one of the true highlights of these shows, the performance of a well-known professional magician. The line-up includes Jack Gwynne, Al Flosso, Jay Marshall, Richard Himber, Neil Foster, Karrell Fox, Senator
Clarke Crandall, George and Betty Johnstone, and Johnny Platt. Watching these performances was a revelation to me. Some (like Flosso, Himber, and Crandall) I had never seen perform. Others, like Jay and Karrell, I know well, and it was a joy to hear the familiar voices coming out of much younger bodies. For me, watching Marshall, Fox, Flosso, and Crandall is worth the price of admission. (I think you’ll especially enjoy how Fox and Alan tag-team the audience during the performance of the egg on the fan.) Don Alan briefly interviews each guest magician, and then performs a final close-up trick to bring each episode to an end. The outtakes included on the four videos are marvelous, and they include some still photos shot during the production of the Neil Foster episode. You’ll also see Don being surprised with birthday cakes on two occasions, and Jay Marshall doing a commercial for Slo-Poke suckers, which put me on the floor. I can’t tell you how delighted I am that these videos are available. When I was nine years old I accidentally tuned in to a Magic Ranch episode, and it blew me away. Unfortunately, I was never able to find it again. (Maybe the local TV station had dropped it, I don’t know.) Anyway, now I have them all, and I have been spending a lot of time traveling into the past and visiting with some of the greats of magic. As far as I’m concerned, these tapes are a must-buy. They are my pick of the month and I give them my highest recommendation. Dan Harlan’s Ultimate Impromptu Magic By Dan Harlan Dan Harlan is a fan of impromptu magic. His (much lamented) magazine Minotaur featured a high percentage of non-card items, and much of that material required little in terms of prior preparation. This, of course, is the definition of impromptu magic - the ability to do miracles on the spur of the moment with whatever props are available. Dan Harlan’s Ultimate Impromptu Magic is a three video set which contains a wealth of fine magic using everyday objects. Volume One begins with a high tech tour de force as Dan interacts with three different incarnations of himself. You see this kind of digital wizardry on TV all them, but I think that this is the first time I’ve seen it done on a magic video. There follows five completely routined “sets.” Each set uses a common prop. The first set uses nothing but the magician’s hands. The other sets include tricks with matches (both paper and wooden), crayons (a highlight here is Dan’s “Crayon Eating Monster” which could save your life sometime if you have to amuse a little kid), chewing gum (two fine tricks by Aaron Fisher), and safety pins. The other two videos contain tricks with money (including a really “cool” idea by Mark Sicher), napkins (including Dan’s “Starcle” which is much easier to understand on video), cigarettes, and pens. There are also segments with tricks to do when you’re standing around at a party, tricks to do at restaurants, and some silly stunts to do when your medication wears off.
I appreciated the fact that Dan has grouped these tricks into prop related sets. Doing so makes it easier for the viewer to learn and remember the material. In addition, once you have practiced the material (remember, impromptu does not mean unrehearsed) and interjected your own personality, you’ll have some good magic to perform should the occasion arise. Dan does a fine job performing and explaining, and the production values don’t get much higher. If you’re looking for spur of the moment magic, Dan Harlan’s Ultimate Impromptu Magic is an excellent resource. Highly recommended. The Art of Dice Stacking By Jim Zachary Dice stacking is one of those things that’s sort of a cross between magic and juggling. That someone can pick up six dice off the tabletop, one at a time, and keep them contained within an oscillating dice cup is juggling. That the dice are perfectly stacked at the end of this process seems completely magical. Jim Zachary is one of the most technically proficient dice stackers that I’ve seen. After stacking six dice he “unstacks” them, by picking off the top die into the moving cup, and then continuing down the stack until all six dice are again swinging within the cup. He then stacks and unstacks 10 dice (using a taller cup), and, for a finale, stacks 15 dice. This looks unbelievable. And, just to rub it in, he picks off the top die with the cup. If you have a desire to learn to stack dice, this tape will certainly head you in the right direction. Mr. Zachary’s performance style is very low-key, but his explanations are very clear and easy to follow. His technique for loading objects into the cup (big dice, a large elasticized stack of dice) appears less impressive than his stacking technique, but because of the nature of the video shoot he does not have the benefit of any misdirection. Consequently, the loads appear (at least to me) very obvious. However, in the real world, the surprise of the stack itself provides mountains of misdirection. This is the best basic dice stacking video that I have seen. Be aware, however, that dice stacking is a skill, and will require concerted practice to acquire performance level ability. But if you’re willing to devote the necessary time, this tape will give you the information you need to learn to stack. (And, if you’re interested, L&L Publishing provides dice cups made by Mr. Zachary. Contact them for details.) David Roth Live in Sacramento 1998 Classic Showpieces! By David Roth David Roth was part of a stellar line-up at this year’s Convention at the Capitol. David’s lecture contained material which had not been previously “tipped”. This lecture was videotaped and has been released as David Roth Live in Sacramento: 1988. The material is top-notch, and I’m sure it will be anxiously received by all the coin guys out there who have wondered what Mr. Roth has been up to lately.
Four routines are explained, and in the course of the explanation many variations and alternative moves are discussed. “The Coins & Silk Routine” concerns the production, envanishment, and reproduction of four half dollars using a silk handkerchief. David uses a now standard technique in an offbeat way here. “The Champagne Glass Concealment” is a technique which is used in the course of a coins across routine. “Purse Frame Wild Coins” is a rather convoluted in which a brass slug is produced from a purse frame. It is transformed into a half dollar. Another slug is produced. It is changed into a copper coin. A third slug is produced, and it is changed into a gold coin. The spectator indicates any of the coins, for example the copper coin (this is a free choice). The copper coin is placed in his hand. A fourth slug is produced from the purse. This changes into the copper coin, and the spectator finds that he is holding the slug. During the explanation of this routine, David reveals the working of “The Drop Switch” which is a very fine utility move. The final routine is “The Rubber Coin,” in which a rubber ball and a coin transpose from hand to hand. Finally, the ball vanishes and the coin becomes a big rubber coin. Unlike the previous three routines, you must be seated to perform “The Rubber Coin,” and you’re also going to have to track down the necessary prop. As usual, David’s performances and explanations are first rate. As I mentioned, this was a live performance, but the A-1 crew did a good job, and you will be able to learn from the video. The Classic Showpieces! video was shot in a studio, and it features four routines which David has used as closers in his close-up act. In “The Funnel” is the classic coin in bottle effect with a serious twist: the bottle is a miniature liquor bottle. David places a small funnel in the bottle. Four half dollars are dropped in the funnel. He pushes on the coins with a pen, and a miniature half dollar drops into the bottle. This is repeated for the other three halves. As a kicker, the four miniature halves are dropped into the funnel and the four real half dollars emerge. “The Planet” is an involved routine in which three half dollars are changed into three foreign coins. A fourth half dollar is signed by a spectator. All four coins vanish and are found inside a small plastic globe (the kind used on a pencil sharpener) which has been on the table since the beginning of the routine. In “The Sleeve,” David brings out a sleeve which has been cut off from a jacket. Coins vanish and appear in the sleeve, a mirror is produced, coins multiply via the mirror, and finally, a big coin is produced from the sleeve. The final routine is “The Rainbow” in which coins change color when they are touched to a plastic rainbow. The kicker is the production of a small pot of gold. Of these two videos, I believe that the Live in Sacramento video will be the most use to the average coin magician. The Classic Showpieces! routines are fun to watch, but require serious performance restrictions. You must be seated, the audience must only be in front of you, and you have to have enough room to lay out your own close-up mat which has a double servant attached to it. I don’t know of many venues in which this material will work. In addition, each routine requires a number of specialized props. They are not commercially available, so if you want to perform these routines, you’re going to
have to find someone to make them for you. I seriously doubt that many magicians will be performing these routines. On the other hand, the Live in Sacramento video does contain material which can be done under the conditions in which most of us find ourselves performing. And, because there are no specialized props (with the exception of the “Rubber Coin,” which is my least favorite routine on the tape) you’ll be able to work with these routines right away. Roth fans will want both videos, but those looking for material they may actually do should consider the Live in Sacramento 1998 tape. The Phil Cass Video By Phil Cass Australian Phil Cass was also one of the featured performers at the Convention at the Capitol, and his stand-up show generated an enormous amount of conversation, both at the convention and later on the Internet. There was also a lot of buzz about his close-up set which, unfortunately, I did not see because I was working at the same time. The centerpiece of Phil’s set was his handling of the Three Shell Game. The Phil Cass Video from A-1 MultiMedia focuses on Phil’s performance and explanation of the shell game, and also includes “Fisherman’s Wharf Special,” an effect in which water (or beer) travels magically from hand to hand. As he states at beginning of his explanation, Phil has brought little to the technical side of the shell routine; the routine he uses is Gary Ouellet’s Super Shell routine. Phil’s main contribution is to the psychological aspect of the routine. At the very beginning he tells the spectators that they are really going to be playing for money; if a spectator bets and loses, the spectator will owe the magician whatever money was bet and lost. The game then becomes one of almost pure psychology, as time and again Phil talks the spectator out of the correct choice. The final phase is a very fine sequence using two shells, a wine glass, and a small plastic dish (the kind that airlines use to serve salads). The spectator himself covers the pea, and yet loses one more time. By the end of the routine the spectator has run up a substantial debt, and Phil cancels that debt, and thanks the spectator for playing. I think that the idea of making the game real is a fascinating one, because it turns the routine into a cat and mouse game between the magician and the spectator. With money on the line each shell-picking decision becomes an important one, consequently there is a great deal of emotional involvement. However, let me offer a couple of warnings to those of you who may want to learn Phil’s routine. First, gambling routines tend to be divisive in nature, especially routines such as Three Card Monte, the Shell Game, the Endless Chain, and the Ten Card Poker Deal, in which the assisting spectator can never win. The situation becomes one of magician versus spectators, and it takes a talented performer to avoid coming off looking like a jerk. If you make the game real, you increase the antagonism factor, and it will require a master showman not to alienate his audience. To be honest, this is not the kind of relationship I try to build with my audience, but you may feel differently. Second, if you are going to play this game for real (where the spectator
actually loses his money if he’s wrong and he wins your money if he’s right), then your technique had better be flawless, because every move you make is going to be burned by the people watching you (especially the guy with money on the line). And if they catch you doing something sneaky they are going to be very vocal in letting you know. In other words, you must be good enough at the game that you could go out on the street and hustle it, because that is exactly what you are doing. And you’d better have the cash on hand to pay up in case you do get caught, because if you don’t you’ll probably get lynched. “The Fisherman’s Wharf Special” uses a standard prop in a clever way to produce the effect of water traveling from one hand to the other. It looks quite good, and in the right situation (bars, cocktail parties) would be very effective. The bottom line? I don’t know. I fear that an inexperienced performer will take this information and end up reinforcing the stereotype of magician as jerk. If you like gambling routines, The Phil Cass Video is worth your consideration, but handle with care. Doug Edwards Packs a Wallop! Written by Harry Lorayne Mr. Edwards is a long time contributor to Harry Lorayne’s Apocalypse. In fact, more of Mr. Edwards’ material appears in that magazine than any other contributor. Doug Edwards Packs a Wallop! is a collection which focuses on card routines, with a few interesting non-card items thrown into the mix. Several of the routines have previously appeared in print, all have been rewritten and revised for this book. For the most part, the card routine plots are familiar ones: ace revelations, poker deals, and chosen card revelations. Mr. Edwards finds interesting twists, however, and none of the routines are particularly difficult. My favorite card routine is an offbeat and ingenious use of an Invisible Deck called “See Through Three.” If you were to ring in the gaff at an appropriate time, this effect would establish your otherworldly dexterity with a deck of cards. And best of all, it’s self-working. Also included among the card routines are some very useful false cuts, and Mr. Edwards’ work on various shuffles, including the Zarrow shuffle, the strip-out shuffle, and the onehanded tabled faro. In particular, the handling of the Zarrow shuffle is very useful, and may give you the boost you need if you’ve been having trouble with that move. The non-card material includes a handling of the $100 Bill Switch (no thumbtip used), an effect in which a pair of scissors is tossed onto the center of a piece of rope, and my favorite of the bunch, “Half Empty-Half Full,” which uses a Richard Himber gaff (the method of making the gaff is explained) in an offbeat and extremely visual way. This one would have fooled me if I had seen it performed.
If you’re a card guy looking for clever material which is not particularly difficult, take a look at Doug Edwards Packs a Wallop! Recommended. Come a Little Closer Edited by John Derris Back in the early 1950’s, an enthusiastic group of magic hobbyists would meet on Saturdays in London. They would frequent the magic shops and hang out in nearby cafes, talking magic, swapping moves, and demonstrating their latest creations. This little group published a small booklet in 1953, each member contributing a routine to the publication. This booklet sold quite well, and the members of the group became fairly well known in magic circles. You may recognize a few of the names. The group consisted of Alex Elmsley, Jack Avis, Bobby Bernard, Ted Danson, Roy Walton, Al Koran, John Derris, Arthur Holland, and Tommy Vanderschmidt. L&L Publishing has released an expanded version of the original Come a Little Closer booklet which contains new contributions from those in the group who are still involved in magic (which is almost the entire group). With a list of contributors which includes some of the cleverest minds in magic, you can well imagine that Come a Little Closer contains some fine magic. The emphasis is on close-up magic with cards and coins. I will mention a few of my favorites. Jack Avis offers “The Siva Fold,” a method for folding a playing card into quarters under the guise of natural actions. He then describes a card to wallet effect using the fold. Ted Danson’s “Give Me a Ring,” is a great method for doing the Bank Night effect. Also explained is “It’s a Date,” the trick which started the Birthday Book/Diary craze. I was glad to finally read this effect. The method is a bit cumbersome, but it’s a real fooler. John Derris contributes some excellent coin and finger ring routines, and a remarkable ring and shoelace routine based on a Bob McAllister idea. You’ll find Alex Elmsley’s famous routine “Point of Departure” here, as well as a diabolical Si Stebbins trick and a funny card counting rhyme. Roy Walton is represented with a color changing knife routine, and a few of his ingenious card routines. The final chapter of the book is an essay titled “What is Wrong with Magic?” The title says it all. You will read this essay and say to yourself, “The author is absolutely right, these are the things that are wrong with magic.” Then you’ll get really depressed, because the author of the essay is Oswald Williams, and the essay was written in 1923. In 75 years almost nothing has changed, and this fact really bums me out. I enjoyed Come a Little Closer very much. If for some reason you’re unfamiliar with the work of the contributors, this is an excellent introduction. And I think you’ll find material here that you can use. Recommended. Laughter Legacy By David Ginn
Gene Gordon was a performer, author, magic dealer, and one of the founders of the International Brotherhood of Magicians. For 40 years he collected notebooks of gags, jokes, one-liners, stories, and patter bits. When he died in 1994, his wife Ruth passed these notebooks on to well-known children’s entertainer David Ginn. Mr. Ginn has transcribed these jokes, organized them into categories, and added material from himself and his friends. The collection is titled Laughter Legacy and it includes jokes on such subjects as animals, education, food, clothing, magic tricks, kid helpers, cannibals, money, television, music, work, weather, old age, and why the chicken crossed the road. I am wary about books of gags simply because so many magicians feel that owning such a book and reciting some of the jokes contained therein will make them a funny person. Of course, nothing could be further from the truth. (Long time readers of this magazine will remember a discussion that Mac King and I had concerning the nature of comedy.) What happens most often is that magicians all go to the same pool of jokes, and consequently we all sound alike. My feeling is that using these stock lines is okay as long as they are the seasoning of your patter and not the main ingredient. Having said that, are the jokes in Laughter Legacy funny? Well, that depends on your sense of humor. There were some lines that I thought were pretty funny, and which I have placed into my mental “Jokes to Use if the Situation Arises” file. There are other lines which I didn’t find particularly funny or which simply do not fit my style at all. I’m sure you will find that the situation is the same for you. There are a lot of jokes here, and for $25 the price is fair. The Art of Magic By Joe Layden and Carl Waldman with Jamy Ian Swiss If you enjoyed the recent PBS special The Art of Magic, you’ll want to pick up this companion volume. This is a beautifully produced “coffee table” type book, full of pictures and posters of historical and contemporary magicians. The book traces a familiar history: early shamanism to Egyptian priests and Hindu Fakirs, through the wandering conjurors of the Middle Ages and the reformation of Robert-Houdin, to the contemporary stage performers of the Twentieth Century. Accompanying the text are commentaries by such notables as Lance Burton, Jeff McBride, Max Maven, Eugene Burger, Robert Neale, Jim Steinmeyer, Peter Samelson, and Jamy Ian Swiss. If you have a layman friend who is interested in magic, The Art of Magic would make a great gift. Or just treat yourself to a very handsome book. Recommended. Kiss Off By Gregory Wilson The Magic Smith comes through again with this nicely produced set of props which will enable you to do Chop-cup type routine using a small can of Hershey’s chocolate syrup and a small Hershey’s candy kiss. Here’s what happens: The plastic lid is removed from the can and a small candy kiss falls from the cup. The kiss is placed into the pocket and it
reappears under the cup. The kiss vanishes when struck by a spoon and reappears under the cup. Suddenly, two large candy kisses appear under the cup. As a kicker, it is revealed that the can is completely sealed. And, as a second kicker, a bunch of kisses are produced. This routine is based on a classic routine of Paul Harris, and is very commercial. You get all the necessary props (including a spoon!) plus an 18-minute video of Greg Wilson (yes, that Greg Wilson) performing and explaining the routine. To use the word manic to describe the performance segment would be an understatement, and I kept hoping that Jim Fowler would show up to tranquilize the assisting spectators. Greg’s explanation is clear and concise, and there are some very funny gags on the tape. The tape concludes with a young magician performing the routine in a close-up contest, proving that if he can do it, you can do it. This is a top-notch production all the way around. If the effect appeals to you, you will not be disappointed. Recommended. Card in Mousetrap By Jarle Leirpoll This card effect from Norway’s Jarle Leirpoll is guaranteed to get a reaction from your audience. Here’s the effect: A card is selected (free choice). The spectator signs the card and also draws a picture of a mouse on the card. The card is shuffled back into the pack. The magician brings out a small mousetrap. The trap is set and is placed on an assisting spectator’s outstretched palm. Now the magician takes a card from the top of the deck and passes it (face down) over the business end of the mousetrap. Nothing happens and the card is placed aside. This is repeated for several cards. Eventually, one card is passed over the trap and it goes off, catching the card. The card is revealed, it is the signed card. I’m ambivalent about this trick for several reasons. The first has to do with the amount of discomfort I’m willing to put my spectators through. Having the mousetrap on your outstretched palm is a pretty unnerving thing, and when that sucker goes off it scares the crap out of you. Will this trick get screams? You bet. So does Jim Pace’s “The Web.” But it’s not the way I like to treat my audience. You may feel differently. Secondly, you should know that everything in this trick is ungaffed. There are no gimmicks, you are only paying for the card control secret and the method of setting off the trap. In the instructions Jarle mentions that sometimes it’s hard to find a trap that works well, so he includes one. I wouldn’t do this trick in a million years, but that’s just me. If you do decide to perform it, be careful who your helper is, and make sure your liability insurance covers heart attacks. Details
The Complete Magic Ranch. Four VHS cassettes, sold as a set only. $99.95 plus $3.05 p&h. From William H. McIlhany, P.O. Box 7486, Beverly Hills, CA 90212 Dan Harlan’s Ultimate Impromptu Magic by Dan Harlan. Three volumes, each video $29.95 (any format). All three for $84.95. (Postpaid in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 The Art of Dice Stacking by Jim Zachary. $29.95 (any format). (Postpaid in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 David Roth Live in Sacramento 1998 by David Roth. $29.95 (any format). Postpaid in US, Canada and overseas surface. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Classic Showpieces by David Roth. $29.95 (any format). Postpaid in US, Canada and overseas surface. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The Phil Cass Video by Phil Cass. $14.95 (any format). Postpaid in US, Canada and overseas surface. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Doug Edwards Packs a Wallop! by Harry Lorayne. 6 x 9, hardbound with glossy dustjacket. 197 pages. $35 (Postpaid in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Come a Little Closer edited by John Derris. 8.5 x 11, hardbound with glossy dustjacket. 93 pages. $29.95 (Postpaid in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Laughter Legacy by David Ginn. 5.25 x 8.5, hardbound with glossy dustjacket. 224 pages. $25 plus $2 p&h. From David Ginn, 4387 St. Michaels Drive, Lilburn, GA 30047 The Art of Magic by Joe Layden and Carl Waldman with Jamy Ian Swiss. 8.5 x 11, hardbound with glossy dustjacket. 256 pages. $30. From General Publishing Group. Available at most bookstores. (IBSN 1-57544-036-9). Kiss Off by Gregory Wilson. $40 plus $3 p&h. (Overseas add $10. Foreign orders should indicate video format.) From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 Card in Mousetrap by Jarle Leirpoll. NOK 100.00 (About $13.40 US). Airmail postage to US: $3. (Airmail to Europe: $2). From Jarle Leirpoll, Dagfinn Gronosetsv, 34, N-2400 Elverum, Norway
August 1998 Yeow!! Okay, so how come nobody told me that it gets really, really hot in Las Vegas during the summer? Fortunately, I beat the heat by reading some cool books. You can, too. Brain Food By David Parr David Parr is a thoughtful magician. He carefully constructs the effects he puts into his performing repertoire, and he treats magic as an art. It is possible that Mr. Parr’s name is familiar to you: for a period of time he was the video reviewer for Genii magazine, and his excellent handling for the Mullica Wallet was featured on Eugene Burger’s video Gourmet Close-up Magic. This routine and seven others are featured in Mr. Parr’s first hardbound collection, titled Brain Food. Mr. Parr offers us a well-stocked table; I’m sure that several of these routines will find their way into the repertoires of working performers, and his essays give us much to mentally chew on. Brain Food begins with three essays discussing The Art of Magic, Ideas, and Presentations. Of particular interest to me were Mr. Parr’s thoughts on the homogeneous nature of magicians. Why must we all look alike, talk alike, and do the same tricks? Mr. Parr offers a suggestion which will immediately make you unique. Ask yourself this question, “ How does my magic represent me - my interests, thoughts, and feelings?” The essay on Ideas will give you some suggestions on how to infuse your magic with your personality. In the discussion of Presentations you’ll learn how Mr. Parr analyzed one of the basic tricks in magic, the vanish of a cigarette, and discovered within its basic effect a second effect, one which could be exploited with an interesting presentation. This leads into the first effect of the book, “A Yogi Mystery,” in which the vanish of a cigarette is cloaked in the mystique of the Hindu fakir. (Actually, others have probably considered this same presentational approach. West Lafayette magician Mark Brandyberry used to open his stand-up show at Illusions with the vanish of a cigarette using the Hindu fakir theme. However, Mark took a comedic approach, and his routine is completely different than Mr. Parr’s.) Having discussed Presentations, Mr. Parr turns his attention to Methods, and this analysis leads to one of the highlights of the book, “Slow Motion Swindle,” an interesting approach to the classic U.F. Grant “Slow Motion Bill Transposition.” In the original effect a borrowed five dollar bill transposes with the magician’s one dollar bill. Mr. Parr’s methods allows for the five dollar bill to end up in the magician’s hand, which, if you use a swindler patter scheme, is a much more logical ending. In addition, there is an idea at the end of the routine which (while unexploited by Mr. Parr) would allow you to raise the effect to another level of impossibility. And that’s the only hint I’m going to give you.
Next, Mr. Parr discusses Effects, and sets himself the challenge of developing “a finished magic piece from scratch - new presentation, method, and effect…” The question here is what exactly does “new” mean - new as far as the world of magic is concerned or new as far as the one doing the creating is concerned? The routine which Mr. Parr developed, “Psilocation,” meets the requirements only in the sense that Mr. Parr was unaware of other tricks which satisfied the conditions of his created effect. The trick is not a bad one, but (as is stated in the book) Harry Lorayne published a method almost 30 years ago, and the presentational approach is one which has been used by others many times before. Mr. Parr’s approach to originality is laudable, but sometimes doing a bit of research after you’ve come up with your desired effect can save you a lot of time and heartache. An essay titled “Wonder in Ordinary” explores magicians’ fascination with props which could only exist in the world of a magic show, the chrome tubes and lacquered boxes which are so temptingly displayed on the shelves of magic shops. Mr. Parr’s conclusion is that it is, of course, far more effective to use props which seem to be ordinary, everyday objects. This essay is followed by the explanation of Mr. Parr’s handling for the Mullica Wallet. This is a very fine routine, and, if you own a Mullica Wallet, is well worth your consideration. Next, Mr. Parr discusses Fair Play, with an eye toward “the elimination of those moments when the audience might think, Hey, he just did something funny with the deck!” As an effect which satisfies this criteria, Mr. Parr offers “Future Shock,” a prediction effect which would probably fool both laymen and magicians. The locator card described here is one which can be used many other ways. The next routine, “Lucky Penny,” will probably have a lot of magicians rushing to find their Lippincott coin boxes. The last two routines in Brain Food will be of the least practical use to the average magician, but the thinking behind them is of value. “The Company of Wolves” uses some tarot cards and a rubber “wolfman” hand. “Dinner with the Borgias” is a complete script for a magical mini-play, in which three members of the audience are invited to avoid poisoning during an onstage cocktail party. Brain Food ends with a dialogue between David Parr and Eugene Burger in which aspects of “Dinner with the Borgias” are discussed. I enjoyed Brain Food very much. The melding of theory and tricks is well done, and any of the first six routines could easily find their way into your repertoire. None of the routines require difficult sleight of hand. Mr. Parr writes clearly and intelligently, and what he has to say will make you think. Recommended. The Now You See It, Now You Don’t! Notebook By Bill Tarr You may be familiar with Bill Tarr’s name from his two best-selling general public magic books. The Now You See It, Now You Don’t! Notebook is his first book geared to
the magic community. It’s a big book, with a wide variety of material, including magic with cards, coins, rings, balls, and mentalism. The books begins with five essays dealing with such subjects as Magic as Art, The New Information Highway, Commercial Magic, and the benefits of working slowly. Mr. Tarr is a professional sculptor, and I found his comments on magic and art to be very interesting. Mr. Tarr’s goal with these essays is to get the reader to strive a little harder and, perhaps, to treat magic with a little more respect than it is getting these days. In fact, the quote which begins The Now You See It, Now You Don’t! Notebook pretty much says it all. It’s by Sir Philip Sidney and appeared in Our Magic: “Who shootes at the mid-day sonne, though he be sure he shall never hit the marke, yet as sure he is he shall shoote higher than who aymes but at a bush.” There is far too much material here for me to go into any great detail. The chapter on Card Magic contains: a routine for the McDonald $100 Aces; a Wild Card handling based on Peter Samelson’s “The Invasion of the Body Snatchers”; a topological routine which blends “Card Warp,” “Cardboard Connection,” a torn and restored effect, and a moving hole plot; a close-up manipulative routine; and various and sundry utility moves including color changes, false shuffles and cuts, and forces. Chapter Three contains magic with Coins, Rings, and Balls. Highlights include: “Dazzle,” a multi-phased stand-up routine in which a poker chip vanishes, reappears, changes color, grows in size, multiplies, and finally disappears for good (Mr. Tarr also explains a sit-down version of this routine); and “Foilball,” an impromptu multiplying ball routine using balls made from aluminum foil. There is a chapter of Mental Magic which includes an interesting no-force version of Hen Fetch’s “Mental Epic.” Mr. Tarr is quite enamored of a substance called “Blue Tac,” and he devotes a chapter to explaining fourteen items using the sticky stuff. I can vouch for the effectiveness of Blue Tac, as several of my cohorts at Illusions made extensive use of it. Finally, Mr. Tarr devotes two chapters to explaining a gimmicked pen called a “BT.” You may be familiar with this prop, since Mr. Tarr marketed it back in 1985. This is an ingenious prop, and the routines provided are strong. In addition, Mr. Tarr offers some suggestions on using the BT in a magic (rather than mental) context, and in so doing has effectively exploited the idea of having “two of the only one in the world.” (If you get the book you’ll know what I’m talking about.) Mr. Tarr can provide you with BT gimmicks if you choose not to make them up yourself. Now for a negative comment. For some reason, the decision was made to lay out this book using a “hand printing” font. (At least, I’m assuming this is a font. If not, Mr. Tarr has amazingly uniform printing skills.) The font is small, and, for me, tiring to read. While the use of this font gives the impression that you are reading through someone’s notebook, I don’t think it’s the best way to present heavily text-based information. (Bob Wagner used the same approach in his book, but the writing was much larger.)
The Now You See It, Now You Don’t! Notebook reminded me of the general magic books I used to devour when I was a kid, especially the books written by Walter Gibson. It is rare to find a book with this variety of material, geared toward the magician of average abilities. None of the routines are particularly difficult, although the manipulative routines will definitely require practice. If you have been in magic a few years and are still exploring the various avenues available, this book is worth checking out. Making Contact By Satori The mentalist known as Satori was born in 1947 in the city of Eisenach, which was in the Soviet Zone of post-war Germany. He was trained as a tool maker, but had an affinity for music, eventually mastering a dozen instruments, studying composition and conducting, and performing professionally as a musician. His interest in magic and mentalism began at age twelve, and, because he lacked access to literature on the subject, he was forced to develop his own methods. In 1987 he began performing full time. He scored successes at several magic competitions, including top honors at the 1994 FISM competition at Yokohama. Satori is an expert in the field known as contact mind reading, and in Making Contact he explains his techniques. Making Contact begins with an excellent overview of contact mindreading written by Max Maven. According to Max, the technique goes back to 1872, when a Chicago newspaperman named John Randall Brown would impress his co-workers by locating hidden objects. The technique became known as muscle reading, and over the years a few books have appeared explaining how to accomplish this feat, including a 1935 book by Robert Nelson which dubbed the technique “Hellstromism.” Probably the most familiar current practitioner is Kreskin, who uses audience members to guide him in the search for his hidden paycheck. Satori has devised a logical pedagogical approach to learning contact mindreading. He first defines his terms and then discusses both the types of tasks which are suitable and the requirements for the person who is to serve as the transmitter. He then lays out a series of practice tasks which will enable you to learn to monitor the subtle clues which are being given to you by the transmitter. Finally, Satori offers several experiments suitable for stage performance, including methods for diving playing cards, words, dates, and times set on watches. The book concludes with a very thorough bibliography. Very little has been written about contact mind reading, and Making Contact is a valuable contribution to the literature. Obviously, this kind of thing is not for everybody, and a successful and entertaining performance would require a masterful showman. But if you’re interested in the subject, I would suggest that this is the book you go to first. Recommended. Down Under Deals By Andrew Wimhurst
Australian Andrew Wimhurst is a new name to me, but I would guess that he is going to be one of the next “heavy” card guys that people will want for their magic conventions. Down and Under Deals is a set of lecture notes detailing some of Mr. Wimhurst’s card work, and if you don’t mind “paying the price” in terms of serious practice you’ll find some top-notch card material here. Mr. Wimhurst’s preference is for gambling oriented routines, and most of the material in Down and Under Deals are gambling routines or gambling sleights. You’ll find methods for the Center Deal (a move which in Mr. Wimhurst’s hands receives high praise from people like Jack Carpenter), the Greek Deal, a one-shuffle riffle stack, and a full deck false shuffle. One of the highlights of the gambling routines is “The Return of the Ultimate Card Shark,” a routine designed for formal performances and which gets my vote for this year’s funniest introductory comment (“Apart from a second deal, a bottom deal, a Greek deal, and a center deal, this effect is practically self-working.”) Not everything in this collection is going to bust your chops. There are a few items which require only average to intermediate ability with cards. In particular, I was impressed with the “Fan Control” and the “Fan Peek,” two moves which are highly prized by Mr. Wimhurst, and which I sort of regret mentioning myself. I should tell you that while these are lecture notes, every item is thoroughly explained and accompanied with very clear photographs. Mr. Wimhurst also does a fine job crediting his inspirational sources. This is not material for the faint of heart, but if you are familiar with the creations of people like Ortiz, Nash, Carpenter, and Hollingworth (and more importantly, if you can do that kind of material) you’ll enjoy Down and Under Deals. My guess is that we’ll be hearing a lot more from Andrew Wimhurst. I can hardly wait. Recommended. Stack Attack By L.R. Brooks If, on the other hand, you prefer card tricks with a minimum of muscle involved, you’ll want to take a look at Lew Brooks’ new manuscript Stack Attack. The theme which ties together the nine routines is that having a secret pre-arrangement (of a few or many cards) can give you maximum effect for a minimum amount of work. Lew is one of the mainstays of the magic club scene here in Las Vegas and he also has many years of experience as a casino dealer. I’ve had the pleasure of watching him do several of the routines from Stack Attack, and they are very effective. The two highlights of the book are “Bughouse Poker” and “Poetry Poker.” (Most of the routines in Stack Attack have a gambling theme.) “Bughouse Poker” uses the flourish display from Bruce Cervon’s “Fast Flush” in a very effective way. The patter story is great, and best of all, you only need to stack five cards. This routine is worth the price of the book. “Poetry Poker” requires a more extensive stack, but the story line is charming
(which is not something I often say about poker deals). This would be a great trick for someone doing bar magic. If you’re looking for card material with a gambling theme and which requires only average card handling ability, you won’t go wrong with Stack Attack. Recommended. Black Art Breakthroughs By Don Drake The principle of “Black Art” concealment is a useful one. I believe it is most effective when used sparingly. When used as the basis for an entire act (such as that of Omar Pasha) I’m not sure that it deceives. This is not the fault of the principle, it is the fault of overuse. If a close-up performer did a fifteen minute act and the only sleight used was the riffle pass, and the sleight was used many times, it wouldn’t take a rocket scientist to associate the riffling of the cards with the resultant magical effect. I saw the Omar Pasha show a while back at one of Joe Stevens’ Desert Magic Seminars. The show was a lot of fun, and many of the effects were eye-popping, but I’m not sure it’s magic. I think that any reasonably intelligent spectator could offer a fairly accurate explanation for what they saw. Anyway, there is very little in the literature about black art. Las Vegas magician Don Drake (who prefers to spell his name DONDRAKE) has been interested in the subject for over thirty years, and in Black Art Breakthroughs he offers techniques, tips, and routines using the black art principle. You’ll find information on constructing back drops, the proper materials to use, and suggestions on lighting the set. There are also quite a variety of effects offered, from familiar ones such as the Flying Carpet, to more contemporary ideas such as Gary Darwin’s “Black Art Striptease.” While the majority of the material is geared toward stage performance, Don also has some ideas for the parlor performer, including the “Wizard’s Window,” which sits on a table, and in front of which you perform black art tricks. I’ve watched Don perform some effects using the Wizard’s Window, and while the effects were pretty “eye candy,” I do not believe that anyone watching would be completely clueless as to the method involved. This is not the type of material that I could see myself performing ever. But, considering the dearth of information on the subject, it is a worthwhile resource if you are thinking about adding a black art effect to your show. The Quartet By Roger Linden Nestled in a bend of the Mississippi River, in the heart of the Midwest, St. Louis, Missouri is the hometown of some very fine magicians, including Brother John Hamman, Harry Monti, Chris Kenner, and Chris Corn. In 1995, I.B.M. Ring One and S.A.M. Assembly #8 instituted a Heritage Award program. Four famous St. Louis
magicians were given this award posthumously. They were Paul Braden (better known as Paul LePaul), Joseph Pisculic (who used the stage name Joe Scott), Roy Mayer, and William Keckritz (better known as Bill Baird). Roger Linden was a friend to these four gentlemen, and in his manuscript The Quartet he has written brief biographical sketches of the four. Included is information on each of the magic acts that the four performed, reviews from trade publications, and facsimiles of promotional materials. I’m sure that this project was done as a labor of love by Mr. Linden, and if you have an interest in any of the four you’ll get a glimpse into their lives and accomplishments. Unfortunately, The Quartet is marred by poor production values. There are numerous typos, and the layout is often erratic. This could be excused ten years ago, but with the advances in home desktop publishing there is no reason for any publication to have an amateurish look. I applaud Mr. Linden for keeping the memory of these four gentlemen alive, but I wish it had been done in a more polished and professional way. The Magic of The Art of Hopping Tables M.I.M.C. By Mark Leveridge In the spring of 1997 Mark Leveridge released a two video set titled The Art of Hopping Tables. The first tape featured Mark performing for real people in a hotel, followed by an analysis of that performance. The second video contained the explanations for the effects performed. (For a more detailed review see MAGIC, May 1997.) Mark has now released a booklet with written explanations of the 13 effects from the video. There is magic with cards, coins, rings, paper money, badges, and beer mats. As I mentioned in my May 1997 review, none of these routines are earth-shaking, but they are practical and well within the abilities of the average close-up magician. And at $20 for 13 routines the price is very reasonable. M.I.M.C. is a set of lecture notes containing six items suitable for close-up and stand-up. The opening routine is a funny take-off on the “Professor’s Nightmare” which would be good for an audience of magicians (laymen wouldn’t get the joke). In “Room Key,” the spectators generate a “random” number which matches the number on the performer’s hotel room key. This uses the same matrix method as Mark’s “Cabaret Calculus”. To my way of thinking, this is a very contrived way to come up with a seemingly random number. (However, you may feel differently. If so, Mark offers all the props for this trick for $16.) If you’re unfamiliar with Mark Leveridge’s creative style, these notes would be a good introduction. A well produced and informative catalog is also available from him. Watch & Wear From Bazar de Magia The popularity of the Collector’s Workshop’s trick “Perfect Time” has spawned a number of similar effects. Some are knockoffs. I don’t believe that “Watch & Wear” from Bazar de Magia is a knockoff. The basic effect is the same: As a prediction, the
magician sets his watch to a particular time. The spectator names any time, and this time matches the time set on the magician’s watch. Both watches work on the principle that the magician can (fairly) quickly set the watch without touching the stem of the watch. The magician merely waits until the correct time shows up, and then stops the motion of the watch. “Perfect Time” uses a magnet to activate the watch mechanism, “Watch & Wear” uses gravity; that is, the stem is pulled on the watch and if the watch is held vertically, the hands move quickly. To cease the motion of the “Perfect Time” watch you remove the magnetic source. To stop the hands of the “Watch & Wear” watch you turn the watch to a horizontal position and push in the stem. This last sentence is important, especially if you want a completely hands off approach to this trick. Before you can look at the face of the watch, the stem must be pushed in, which means that either you (the magician) or the spectator (if you’re brave) must touch the watch. This may or may not be important to you. Of greater importance than the mechanical methods is this: both watches require that the performer has superior presentational skills. Why? Because while the watch is moving you’ve got to be talking. And until the spectator calls out his selected time you have no idea how long you will have to be talking. Which means you will have to construct and carefully rehearse some modular patter - patter which can be logically stopped at any point. The price of both props and their presentational demands place them beyond the scope of the amateur magician. These are way too expensive to be toys. “Watch & Wear” is a well made prop, looks good on your wrist, and comes with a one year warranty. Your decision will be based on which method is right for you. The Birthday Banner By Danny Archer This new release from Danny Archer is a very colorful variation on the torn and restored newspaper effect. Here’s what happens: The magician displays a number of individual birthday cards. They are squared into a stack, given a shake, and they visibly transform into 32 x 22 inch banner which says, “Happy Birthday!” Danny provides you with a nicely made set of props, and instructions which give you several patter possibilities. One small problem is that the loose stack of birthday cards is held together with rubber bands, and the securing of these cards is not particularly hidden from the audience. In other words, at the beginning of the effect the spectators see you remove two rubber bands from the stack of cards. You replace the rubber bands, and then “Wham,” the cards change into the banner. While I don’t believe that “The Birthday Banner” is meant to be a profound mystery, the fact that the cards are secured by rubber bands certainly would explain to any astute spectator why the cards do not scatter on the floor.
At $40 this is not a particularly inexpensive trick, but it not something which you could easily make up yourself. While not specifically a kid’s show effect, I think that “The Birthday Banner” will be of most use to children’s performers. It is a simple, effective, and visual way to say “Happy Birthday,” and is definitely worth your consideration. Fortune Cookie Surprise By Dave Haverset and Bryan Lizotte Right off the bat I should tell you that this effect has nothing in common with “Popcorn Surprise,” which is an effect that will get you tossed in the slammer in any of the fifty states. What Dave and Bryan provide you with are a dozen very legitimate looking fortune cookies with fortunes that say, “The Card You Selected Was the 10 of Spades.” Assuming you know how to force a card (no force is explained), it is a simple matter to ring in one of these phony cookies at the end of a Chinese meal. It’s goofy, it’s fun, and I got a good reaction from it when I tried it out on some friends. (As the instructions suggest, this plays particularly well if before the food arrives you attempt to find the selected card and fail.) Recommended. From the Horse’s Mouth Here’s David Solomon’s five picks for tricks you may have overlooked from his new book Solomon’s Mind: “Small Color Collision” (pg. 98), “Unhappy Student” (pg. 107), “Stripped Cheek To Cheek” (pg. 207), “Right-Handed Triumph” (pg. 145), and “One Gaff Makes the Observation Test” (pg. 198). Details Brain Food by David Parr. 6 x 9 hardbound with dustjacket. 136 pages. $28 postpaid. From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468 The Now You See It, Now You Don’t! Notebook by Bill Tarr. 8.5 x 11, hardcover. 250 pages. $40 postpaid (domestic and foreign surface). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Making Contact by Satori. 5.5 x 8.5 softcover. 68 pages. $25. From H&R Magic Books, 3702 Cyril Drive, Humble, TX 77396-4032 Down and Under Deals by Andrew Wimhurst. 8.5 x 11, spiral bound. 56 pages. $28 US (send an international money order), $40 AUS postpaid. From Andrew Wimhurst, 105 Dunstan Street, Curtin, ACT 2605, Australia Stack Attack by L.R. Brooks. 8.5 x 11, plastic comb bound. 43 pages. $19.95 postpaid. From Magic Fun Factory, 3450 Oreana Avenue, Las Vegas, NV 89120 Black Art Breakthroughs by DONDRAKE. 8.5 x 11, plastic comb bound. 45 pages. $20 postpaid. From Magic Fun Factory, 3450 Oreana Avenue, Las Vegas, NV 89120
The Quartet by Roger Linden. 8.5 x 11, thermal bound. $15 plus $2 p&h. From Roger Linden, 3349 Clemens Drive, St. Charles, MO 63301-4400 The Magic of The Art of Hopping Tables by Mark Leveridge. 5.5 x 8.5, stapled. 58 pages. $20. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter, Devon EX2 4PA, England M.I.M.C. by Mark Leveridge. 5.5 x 8.5, stapled. 30 pages. $12. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter, Devon EX2 4PA, England Watch & Wear from Bazar de Magia. $195 plus $10 airmail postage. From Bazar de Magia, Casilla de Correo No. 58, Secursal No. 1(Av. De Mayo), (1401) Buenos Aires, Argentina “The Birthday Banner” by Danny Archer. $40 plus $3 p&h. From Danny Archer Magic, 303 S. Broadway, B-235, Denver, CO 80209 Fortune Cookie Surprise by David Haversat and Bryan Lizotte. $9.99 per box of one dozen cookies. From See-More Magic Shop, 82 Main Street, Seymour, CT 06483
September 1998 Too Much? I walked out of the dealer’s room at the I.B.M. convention with a bag containing three large hardbound books, twelve videos, and a half dozen tricks. And that was from visiting just three dealers who had given me new products to review. For several years I have wondered just how long this onslaught of books, videos, and tricks can continue. Will we reach a point where the market is so saturated that the release of new products recedes to a reasonable pace? We may have reached that point, and the slowdown may be triggered by the wholesalers and jobbers rather than the magical buying public. A wholesaler’s standing order for 100 of a new video release works when the release is a single video, but if the release is a three, four, or seven (!) volume set, that adds up to a lot of videos to move in thirty days (when the normal invoice is due). I know that there were several very frank discussions at the I.B.M. convention, and one major producer has suffered severe cutbacks in standing orders. We may well look back on the summer of 1998 as the beginning of the slowdown of books and videos. If this is indeed the case, I’ll be delighted. I think that so much information is being offered that nobody is learning anything. You don’t have time to absorb a book before the next one comes charging through the door. Anyway, we’ll see. And no matter how it turns out, the summer of 1998 was hot and interesting. The Complete Cups & Balls The Complete Cups & Balls Videos Volumes 1 and 2 By Michael Ammar Professor Hoffman said, “The Cups and Balls is literally the groundwork of all legerdemain,” and he may well have been right. I would imagine that every competent close-up performer has studied the Cups and Balls, whether or not the routine has become part of their performing repertoire. For some professionals, the Cups and Balls is one of the showpieces of their act, others (myself included) have never done the Cups in front of a paying audience. However, whether you intend to use the routine professionally or not, a diligent study of the Cups provides valuable lessons in the graceful manipulation of small objects, timing, routining, and audience management. The skills learned here can be transferred to all areas of the art of magic. For most students, the first stop on the road to learning the Cups was the classic Dai Vernon routine in The Dai Vernon Book of Magic. But to acquire a greater depth of knowledge, it was necessary to do a wide ranging search, because information on the Cups is scattered throughout the literature. But now that search (while beneficial and instructive in many ways) is no longer immediately required because Michael Ammar has compiled a remarkably thorough and effectively organized treatise on the subject. The Complete Cups and Balls may not be totally “complete,” but there is more than enough information here to take a student from novice to near-expert status. The course
of action has been laid out in a pedagogically sound way, all that is required of you is intelligent study and concerted practice. The book begins with an examination of the necessary props and definitions of commonly used technical terms. This is followed by a very simple routine (similar to the old Rub a Dub Dub routine) which would provide the student with an opportunity to become comfortable with handling the props. Michael then begins an examination of the “meat and potatoes” moves of the Cups and Balls: Fake Transfers, Secret Loads, Steals, Fake Loads, so called “Cool Moves” (such as the Charlie Miller move and the Galloping Post move), and Final Load moves. Interspersed with these explanations are discussions of the four fundamental skills of Cups and Balls magic (and, actually all magic): Acting, Timing, Routining, and Misdirection. Included in this part of the book are three fundamental Cup and Ball routines, each of which requires successively more digital dexterity. Part Two of the book focuses on sequences of moves rather than individual sleights. Included are Advanced Wand Vanishes (including the Mora/Vernon Wand Spin Vanish and David Williamson’s Striking Vanish), Possibilities for the Opening of a Routine, Body Sequences (that is, sequences of moves which would be appropriate to use as middle phases of a routine), Final Load Techniques (including information on where to secrete the final loads, timing considerations, and display rhythms), and Ending Sequences. This section concludes with a meticulous discussion of two complete routines: the classic Vernon routine and Michael Ammar’s routine. Had the book ended here it would have been an enormous resource for the student, but there is a bonus chapter. Eighteen profession magicians discuss their techniques, theories, and presentational approaches for the Cups and Balls. Those who have offered their thoughts include Mike Rogers, Bob Sheets, Gazo, Tom Mullica, Paul Gertner, Tommy Wonder, Michael Skinner, Johnny Thompson, and David Williamson. For me, this section is the highlight of the book, and contains invaluable information for anyone who plans on performing the Cups in front of real people. The Complete Cups and Balls has been a dream of Michael’s for over 15 years, and has been in the production phase for 3 years. The dedication to this project shows. While not every Cup and Ball move has been included, those sleights which are included are useful and are presented in a logical progression. In addition, a unique idea has been incorporated into the layout of the book. There are no numbered photographs as in the standard magic book. All photographs are keyed to the relevant text through the use of highlighting and a connecting line and arrow. This is an innovative technique, and in this case works perfectly. As your eyes hit a highlighted series of words, they follow a line down to the associated photo. Then, after the information in the photo has been assimilated, the eyes follow the line back up to the text. There is no need to jump down to a photograph, and then try to find where you were in the text. And in a book which is top heavy with technical information, this is a great idea.
As an aid to learning the material in The Complete Cups and Balls, L&L Publishing offers a two volume companion video set. The videos follow the format of the book exactly, so as you work your way through the book you can follow the associated information on the videos. A huge added bonus on the videos is a series of historical discussions by England’s Bob Read. Bob has spent the last 25 years collecting prints which depict the performance of the Cups and Balls. Through his analysis of these prints, Bob is able to give us all sorts of information on the history of the performance of the Cups. His insights are concise, deep, and fascinating. You should know that the second video concludes with an explanation of the Dai Vernon routine. Michael Ammar’s routine is not performed or explained on the videos. In addition, none of Bob Read’s information is included in the book (which is a pity, since a historical analysis with accompanying prints would have brought the book much closer to the word “Complete”). The book concludes with a fairly thorough Bibliography, which will provide the student with many more avenues for further investigation. The Complete Cups and Balls and the associated videos are absolutely first rate, and they are my pick of the month. Michael’s love for this subject shows through, and I can think of few people in magic who could have organized such a large amount of material in such an effective way. If you are serious about learning the Cups, I can think of no better resource than this book and its companion videos, and I give them all my highest recommendation. Hard-boiled Mysteries By Bruce Cervon In the 1960’s Bruce Cervon moved out to Los Angeles to join Larry Jennings and Dai Vernon at the Magic Castle. Mr. Cervon’s notebooks of the material developed and discussed during this time became the basis for the very excellent Vernon Chronicles series. Hard-boiled Mysteries is the second large collection of Mr. Cervon’s material, the first being Ultra Cervon, published around 1990. The emphasis is on card magic; fortynine of the fifty-two items are card routines or card sleights. Curiously, there is a very large error on the front and the spine of the dustjacket. Stephen Minch is listed as author of the book. Mr. Minch was the editor of the book (this is correctly stated inside the book on the title page). Mr. Cervon is the author of Hard-boiled Mysteries. Now for the hard part. I was disappointed with Hard-boiled Mysteries, and for you to understand why, I will have to explain my criteria for a good card trick (or any trick for that matter). You may have different criteria, in which case your opinion may be different. But in any case, by taking a moment to explain where I’m coming from, you’ll be able to make an intelligent buying decision. In his later years, Dai Vernon used to say that he spent most of his time trying to eliminate moves. In other words, the less overt handling in a routine, the better. The goal is for the spectators to say, “But he didn’t do anything!” Simon Aronson expresses this eloquently in his book The Aronson Approach. He writes, “There is a world of difference
between a spectator’s not knowing how something is done versus his knowing that it can’t be done.” I don’t care if an effect is self-working, uses gaffs, or requires difficult sleightof-hand, but I do care that from the spectator’s point of view the handling be uncluttered and clear cut. Think about this, and decide what your own point of view is. In Hard-boiled Mysteries, Mr. Cervon tackles some familiar plots. He offers handlings for Ace Assemblies, The Spectator Cuts the Aces, Poker Run-ups, Wild Card, and The Queens Soiree (in this case done without the newspaper - the four cards penetrate through a wallet). Many methods exist for these plots. We must then ask Darwin Ortiz’s question: Is a new trick superior to what has come before in terms of plot, method, or presentation? It is here that much of Hard-boiled Mysteries falls short. For example, in the first routine “Award Ace Assembly,” twelve indifferent cards are laid out into four piles of (apparently) three cards each. The procedure for laying out these cards is not uniform. One of these piles is held in the left hand. Each of the four aces comes into contact with this pile before the ace is apparently dealt onto a pile on the table. The aces are made to appear in the left hand pile. To me, this is a completely unconvincing handling. Here’s another example. In “The Spectator Cuts the Four Aces Once More” the standard plot is followed: the spectator cuts the deck into four piles. The magician picks up the right hand pile and reveals an ace on the top. Then, each of the other three piles comes into contact with the right hand pile as an ace is revealed. The sleight that Mr. Cervon uses in this handling is a clever one, but it is repeated three times, and the touching of the packets is not as effective as techniques used in other published methods. If you are an experienced and enthusiastic card man, you will probably find within the routines some techniques and handling approaches which you can incorporate into other effects. A chapter titled “Moves and Their Tricks” contains some intriguing sleights, the best of which is “The Insertion Strip-out,” a very useful move which was first published in Richard’s Almanac. There are also some routines using the Faro shuffle which will probably puzzle your pals at the magic club. In the Foreword to Hard-boiled Mysteries, Mr. Cervon writes that the effects contained within were assembled in 1984 and that the book was basically finished in 1990. This was about the time when Ultra Cervon appeared. I very much enjoyed Ultra Cervon, and I feel it contains routines which are practical, commercial, and fit the criteria which I mentioned above. The question is: if all the material was assembled in 1990, was there a conscious decision to sort it into A and B material? Who knows? The bottom line is this: If you are unfamiliar with Mr. Cervon’s creations, buy Ultra Cervon. If you’re a hardcore card guy who has to have every book that comes out, you’ll find some interesting things to play with. And if you’re anybody else, save your money. L.I.N.T. By John Luka
John Luka is a native of Detroit, Michigan. In 1958, two friends introduced him to Milt Kort, one of the unsung masters of close-up magic. John was so enamored of Mr. Kort’s knowledge and expertise that he took a job at Mr. Kort’s drugstore. Working at the drugstore allowed John the opportunity to hobnob with such experts as Dai Vernon, Charlie Miller, Harry Riser, and Ron Bauer, who would stop by to visit with Milt Kort. These meetings instilled in John a deep love of close-up magic, and in particular the kind of magic exemplified by the gentlemen mentioned above. In October of 1993, John Luka began a column titled “Thoughts On…” which appeared in The New Tops magazine. The column ran until December 1994, at which time The New Tops ceased publication. It is very likely that the existence of these columns is completely unknown to you (it was completely unknown to me). These fourteen columns, plus eight more which were unpublished, have been collected into a book titled L.I.N.T. Pocket Stuff for Close-up Magicians. (The L.I.N.T. stands for Luka in New Tops.) The emphasis is on card magic, and there is some excellent material here. Mr. Luka has solicited contributions from some of the top magicians in the world, including Michael Ammar, Ron Bauer, Paul Chosse, Paul Cummins, Eric DeCamps, Bill Kalush, Milt Kort, and Jack McMillen. The material ranges from that which will require a substantial amount of practice to master (such as Bill Kalush’s “The Fidgeting Card” and Paul Cummins’ work on the Diagonal Palm Shift) to routines which require less dexterity (Ron Bauer’s interesting handling for “The Lie Detector” and “Key to the Draw,” a funny routine by Jack McMillen and Charlie Miller.) You’ll also find some techniques and hints for the Turnover Pass and the Zarrow Shuffle, and a couple of commercial coin routines (plus Milt Kort’s Invisible Okito Box routine, which should give your magic buddies a chuckle). There is some fine material here, and at $30 for 22 items, the price is certainly reasonable. If you’re looking for close-up routines, L.I.N.T. is definitely worth checking out. Recommended. Trephine By Richard Bartram, Jr. Trephine is a book of surprises. For me, one surprise came as I typed the title into Microsoft Word. The spellchecker didn’t give me an error message. (My normal routine is to type in the Details information before I begin to study the review product.) Trephine is a real (albeit obscure) word. I will not spoil the surprise for you by telling you what it means. Trephine contains an eclectic mix of card, coin, mental, and miscellaneous magic, tied together by an offbeat and intriguing story. As explained in the introduction of Trephine, the original manuscript was offered to Mr. Bartram in a collection of abandoned magic. The author of the manuscript was apparently a magician who was wrongly incarcerated in a mental institution, and who created the effects during the course of his confinement. Whether you choose to believe this tale or not, the story of this magician’s internment allows for some marvelously satiric jabs at
the present state of affairs in the world of magic. If you are very thin skinned, you may find that your comfort zones are somewhat invaded. I found this “back story” and its eventual payoff (which explains the title of the book) to be hilarious. What about the magic? It is uniformly good, and is well within the abilities of the average magician. There are some very offbeat ideas, including a few truly tasteless and funny stunts (imagine the pandemonium when you perform the Steve Matthews shoelace penetration and the spectator’s pinky goes flying through the air). Contributors include Evert Chapman, Matt Grover, John Alley, Gary Plants, and the nearly mythic Paul Swinford. (Paul’s routine with the old Hindu Prayer Chain is a fooler, and a great addition to your arsenal of sneaky routines with “slum” props.) In all likelihood you’ll find several items to add to your repertoire. I know I did. Trephine is a unique and offbeat book: good, practical material, presented in a distinctive way. I enjoyed it very much, and I think you will too. Recommended. The Magic Business By Michael Bailey I first encountered the name Michael Bailey in 1972, when I read a review of the S.A.M. National Convention in Genii. I remember his name turning up in print a few times after that, and then all of a sudden he dropped off the planet, and I never heard anything else about him. Well, of course, he hadn’t disappeared, he had merely turned his attention away from the world of magic conventions and toward the world of corporate magic. And in this field he has been enormously successful, spending the past 25 years as one of the busiest trade show magicians in England. He has written a very big book titled The Magic Business, in which he thoroughly presents the information you’ll need to know if you want to enter this challenging and demanding field. The Magic Business is divided into three parts: The Exhibition Business, The Meeting Business, and Any Other Business. Part one discusses trade shows, part two is about incorporating magic into sales meeting, and part three offers suggestions for other magical markets in the corporate world. In each of the three parts Mr. Bailey holds nothing back. He presents information on how to get work, how to make the pitch, effects which work well in a trade show setting, how to write the script, and how to promote yourself and the people you’re working for. You’ll find examples of illusions, giveaways, sales letters, contracts, and full scripts. There is a ton of material here, and Mr. Bailey presents it in a clear, understandable way. At 390 pages, this is a big, big book. At $100, it’s not cheap. However, if you have any interest in trade show work (and it seems like every magician I talk to these days wants to do trade show work), The Magic Business will save you time and money, and gives you insights which can only be gained from years of experience. Combine this book with Dick Ryan’s books and you have a postgraduate course in the business of corporate magic. I believe that The Magic Business will become a standard reference for trade show magic. I highly recommend it.
Michael Skinner’s Professional Close-up Magic Volumes 1-4 Michael Skinner’s Master Teach-in Series Volumes 1-3 By Michael Skinner In my January 1997 review of Michael Skinner’s Classic Sampler, I mentioned that a lot of people were disappointed that the book did not contain more routines from Michael’s enormous repertoire. If you were one of those who were lusting for more Skinner material, rejoice! A-1 MultiMedia has released seven Michael Skinner videotapes. The four volume Michael Skinner’s Professional Close-up Magic contains 37 close-up routines, with an emphasis on card magic. The Michael Skinner Teach-in Series is comprised of three videos, each of which contains the performance and explanation of one non-card close-up routine. On all these videos, Roger Klause joins Michael for interviews and reminiscences, and he lends a hand during the explanation segments. On the first of the Professional Close-up Magic videos, Michael explains that he currently takes a medication which (as a side effect) produces a trembling in his hands. These tremors are noticeable on all seven videos, but they do not inhibit Michael’s technical ability, nor are they particularly distracting. Michael Skinner is not a great innovator of new effects or sleights. Rather, he is the master of finesse, and he has the ability to refine an effect to the point where minimum effort produces maximum impact. Consequently, you will find familiar plots here, but the methods have been streamlined to the nth degree. Understand, however, that efficient does not mean easy. Michael is one of the finest technicians around, and some of the routines require advanced sleight-of-hand ability. (For example, you’ll need to be comfortable with the bottom deal and the classic side steal.) But there are also routines which require only average ability, so a nice mixture of skill levels is represented here. Michael’s fans will want all four tapes, but if you are unfamiliar with his work, or if you’re on a budget, I would suggest starting with Michael Skinner’s Professional Closeup Magic Volume 3. Included are Michael’s handling of “The Flying Eagles,” a routine for the Ball Vase (this is another fooler using a “slum” item), a very commercial version of Ed Marlo’s “Push Through Failure,” an excellent Ambitious Card routine, and “2nds, 3rds, 4ths, & 5ths,” a Vernon/Cervon creation which began life as a small packet Ambitious Card routine, and which Michael has turned into a demonstration of otherworldly card dealing skill. Not only does this tape give you a feel for Michael’s performing style and creative approach, but any of the above five routines could find an immediate place in your repertoire. Each of the three Master Teach-in Series videos focuses on a single routine. Included are Michael’s close-up three ring Linking Ring routine, a brief routine for the color changing knives, and two methods for performing the “Ring on the Stick.” The Linking Ring routine is a pretty one, designed to be performed tableside. It includes a little seen Al Koran move and a method for switching out the key ring at the end of the routine. The
color changing knives routine is simple but effective, and lasts about a minute. Both methods for the ring on stick are commercial and practical. One method uses a handkerchief, the other uses a duplicate ring. I believe that all the material offered on these seven tapes is of value to the close-up performer. The only question is how much money do you want to spend and when do you want to spend it. A few of the routines are specifically designed to bamboozle fellow magicians, but the majority of the magic is designed for lay consumption. My only minor quibble is that the three routines from the Master Teach-in Series could have been released on one video. However, all the tapes offer good value for the money. Michael Skinner has made his living from the material demonstrated on these videos, and you can probably do the same. I recommend all of them. The Tommy Wonder Video By Tommy Wonder This video was originally released by Mark Leveridge Magic, and it captures Tommy Wonder lecturing at a British Close-up Magic Symposium in 1991. This is a lecture which Tommy has given several times in the United States, and it never fails to generate a strong reaction from the magicians in attendance. The material includes a handling of a Paul Harris Torn and Restored Card (with a method for restoring the last piece), a very visual transformation of a cigarette lighter into a box of matches, and a multi-phased Ambitious Card routine which incorporates Tommy’s excellent handling for the “Card in the Box,” a lightning fast version of the Mercury Card Fold, and a mind blowing finale in which the entire deck of cards is visually jammed back into a miniature card box. All these routines are described in the Books of Wonder, but words cannot do justice to how completely baffling they are. Tommy’s explanations are thorough, and he expounds on all the theoretical aspects which are the true secrets of magic. This video was shot live at the lecture, but the camera work was good, and you’ll be able to appreciate and understand everything you see. Tommy Wonder is one of the great magicians on the planet, and when he talks, I listen. I’ve seen this lecture several times, but I was happy to watch it again. (And I was reminded of some things that I had forgotten.) You’ll learn, too. Recommended. On the Pass Basic Card Technique By Richard Kaufman On the Pass is a re-release of a video which originally appeared sometime in the 1980’s. Richard Kaufman demonstrates and explains many types of passes, including the Classic Pass, the Riffle Pass, several forms of the Jiggle Pass, and the Herrmann Pass and its Turnover pass variants (including Steve Draun’s excellent Midnight Shift). Also included are five routines which utilize the various passes. All the routines are good, but because they are designed to showcase the pass, you may feel that they overuse the move.
Every expert practitioner of the pass has his own opinions on how to perform the move properly and effectively. On the Pass provides solid, basic information, and I recommend it. I would also suggest that if you are serious about learning the Pass that you invest in Jim Swain’s books and videos. Basic Card Technique is a compendium of standard card moves. If you master these moves you will probably be able to negotiate most average and low intermediate level card tricks. Richard demonstrates and explains the moves well, and you will be able to learn from the video. I believe that a tape like this is most useful when combined with a text like Royal Road to Card Magic or Roberto Giobbi’s Card College. The cut shots which introduce each sleight are either really hip or unbelievably goofy, depending on your taste. The ad copy for this video asks, “Why buy ten tapes and watch lots of moves you’ll never use? Buy this tape and learn exactly what you need.” I assume that this is a reference to Daryl’s Encyclopedia of Card Sleights. Well, I’m not sure how Richard knows exactly what I (or you) need, and I’ve always felt that the more you know, the more you know. However, if you’re a newcomer to card magic, and you just want to get some standard moves under your belt so you can do a few tricks for your friends, then you’ll find what you need in Basic Card Technique, and for that purpose I recommend it. The Dice Stacking Video From A-1 MultiMedia Todd Strong is a juggler who has come up with some cool dice stacking moves. These are showcased on The Dice Stacking Video. Todd has an excellent method for learning to stack dice, and he clearly explains this, along with various stacking variations (squares, diamonds, pairs, etc.), aerial stacking techniques, methods for un-stacking dice, and techniques for stacking many dice, tiny dice, and things other than dice. Since Todd does not offer a dice stacking routine, Mike Maxwell demonstrates and explains (with permission) Clarke Crandall’s Dice Stacking Routine. This is a commercial routine which culminates with the appearance of big dice under the dice cup. If you’re a dice stacker, The Dice Stacking Video will give you some new stuff to practice. And if you combine this video with the recently released Jim Zachary video, you’ll be well on your way towards being the Dice Stacking Master of the Universe. Recommended. Hello, Sucker! By Harry Anderson This performance by Harry Anderson was taped in 1985 and was originally broadcast on the Showtime cable network. This is Harry the Hat at his prime, doing classic routines like the “Buffalo Bill” (“We’re doing a money trick!”), “Cuff Links,” “The Needle
Through Arm,” and “Monarch Monte.” You’ll catch glimpses of Mike Caveney and Tina Lenert (why use stooges when you’ve got friends), and there is a series of running gags which involve Harry conning Turk Pipkin. Hello, Sucker! is a lot of fun, and I highly recommend it. Be aware, however, that the performance does contain some adult language. Cash Card & Cash on the Corner By Phil Goldstein and Shigeo Takagi Victor and Marcelo Contento have manufactured and released the special plastic folders which are required to perform Phil Goldstein’s “Cash Card,” and Shigeo Takagi’s “Cash on the Corner.” In both routines blank pieces of paper are placed into one side of each folder, and the paper magically becomes real money. The Goldstein routine in particular features a blow-off which is both puzzling and extremely convincing. Either routine would be excellent for table hopping, bar magic, or stand-up in front of a small audience. Recommended. Sprizzer Thumbs-Up From Inferno, USA Creative Enterprise of Switzerland, the people who brought you “Inferno,” have come up with two new things to put on your fingers. The first, “Sprizzer,” allows you to produce a squirt of water (or whatever liquid you’ve filled the thing with) from your bare hand. The instructions give you some basic ideas on how to use the thing, but if you really want to exploit the device you’ll need to purchase the Sprizzer Movie. This showcases the way in which the “Sprizzer” can simulate sneezes, popped pimples, and other amusing bodily discharges. The ad for “Sprizzer” makes it seem as if you can produce smoke from the device, but this is a little deceptive. The smoke is simulated and is produced by filling the “Sprizzer” with baby powder. I think that “Sprizzer” could be fun to use as a gag and that’s about it. The instructions give methods for putting on the gimmick secretly, but I doubt their effectiveness, and when I consider the actual effect, I’m not so sure it’s worth the effort anyway. I can see this being used as a gag, but it’s your call whether you’ll get $20 worth of fun from it. On the other hand, I see absolutely no reason whatsoever for the existence of “Thumbsup,” an extremely realistic, soft plastic thumb tip. First, I would pan this just for the illegible instructions which come with it. I am 45 years old, have very good eyes for my age, and I can’t read the instructions without a magnifying glass. This is inexcusable. Second, the extremely soft rubber makes this thumb tip very difficult to work with. You’re going to have to coat the inside with baby powder to get it to slide on and off at all. And doing a move such as the $100 Bill Switch is extremely difficult because the bill hangs up as you try to load it into the tip. Third, if you personally believe that a thumb tip has to look totally realistic in order to fool people, then you need to learn a lot more
about how magic works. Trust me, this kind of verisimilitude is absolutely unnecessary. Buy a Vernet tip and learn how to use it. Buying “Thumbs-up” is equivalent to sticking your $15 into the flame of your “Inferno.” Spooked By Nicholas Einhorn England’s Nicholas Einhorn has taken an idea of mine in an interesting direction and has produced a very effective handling for the Haunted Deck, a handling which can be performed with a borrowed deck. A card is freely selected and fairly returned. The deck is tabled or can be set on the floor. The deck cuts itself, the upper half sliding backwards. Suddenly, the top card of the lower half jumps out of the deck and onto the table. It is the selected card. The deck can be handed out for examination, and you can be reset in a matter of seconds. I’m impressed with Mr. Einhorn’s routine. The handling is not difficult, but requires practice in order to be smooth, reliable, and worry free. The animation of the deck is under control at all times, and the jumping of the card is a shocker. And as with any effect that uses thread, lighting is a consideration. At $65 the price is not cheap, but Mr. Einhorn provides you with an ITR Boss thread device, the complete instructions, and the other necessary “thing.” If you already have an ITR Boss you might want to contact him to see if a reduction in price is possible. I like this so much that I’m putting in some concerted practice time. If the effect appeals, “Spooked” is worth your serious consideration. Recommended. Celebrity Autographs By Terry LaGerould “Celebrity Autographs” is a very commercial and easy method for doing the signed card to wallet effect. Here’s what happens: A card is selected, signed, and returned to the deck. The magician offers to show some of his celebrity autographs. Bringing out a leather wallet, the magician removes the clear plastic insert. (This is a series of hinged plastic window compartments, the type which would contain credit cards, etc.) Flipping through the windows, the magician displays several cards which have been signed by famous people. One of the cards is face down. The spectator slides this card from its compartment. It is the signed card. This is a very clever idea, which has the potential for a lot of humor. The loading of the wallet is dead easy, and requires no sleight-of-hand. And the extraction of the card from the plastic compartment is very convincing. If you’re looking for an offbeat, easy, and commercial version of card to wallet, you won’t go wrong with this. Recommended. The Hip-shot Wallet With a Chinese Menu in His Hand By Anthony Miller
A little while ago, Anthony Miller released the BMK wallet which I reviewed favorably in this column. The BMK wallet was designed to fit in your inner breast jacket pocket. The Hip-shot wallet is designed to fit in your back trouser pocket. The Hip-shot uses the same loading method as the BMK, which allows you to produce a card from a zippered side compartment. It is also possible to load the wallet so the card is produced from the long zippered compartment which would normally hold your money. When folded in half the wallet is 4.25 inches wide and 5.25 inches tall. It’s easy to use (you will of course have to be able to palm a card), is well made, and looks great. If you’ve been looking for a wallet of this type, be sure to check out the Hip-shot wallet. Recommended. Anthony also sent along “With a Chinese Menu in His Hand,” a mental effect using a simulated menu from a Chinese restaurant. Here’s what happens: The magician introduces a prediction which is placed aside. He then brings out a Chinese restaurant menu. A spectator decides on an appetizer, a soup, and an entree. He does this by choosing from “Column A” or “Column B” for each item. The food item selected is written down. Then, three other spectators are given groups of playing cards, and, using these cards, they determine the prices of the three food items. The prices are totaled, and the total is recorded. Finally, the prediction is opened, and it is seen that magician has correctly predicted the food items and the total. I don’t care for this at all. I believe that if the assisting spectator is astute, he will see through the scam which is used in selecting the food items. (And others watching could fathom the method as well.) I also don’t like the idea of using the playing cards to force the total. Anthony uses a presentational ploy to introduce the deck of cards, but to me this simply screams “Force!”. If you like the idea of the restaurant presentation, there are more convincing routines available in the literature. (For example, check out Phil Goldstein’s “Menu Pause” in his book Thabbatical.) Not recommended. Oops I managed to misspell John Lovick’s name four times in my May review of “The Reparation.” His name is spelled “John,” not “Jon.” And last month I completely bungled the title of Andrew Wimhurst’s excellent lecture notes. They are titled “Down Under Deals,” not “Down and Under Deals.” My apologies to both these gentlemen. Details The Complete Cups and Balls by Michael Ammar. 8.5 x 11, hardcover with glossy dustjacket. 172 pages. $40 postpaid in US and Canada. The Complete Cups and Balls Videos by Michael Ammar. Two volumes, each $29.95 postpaid in US and Canada. Set of Book and 2 Videos: $95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142
January 1998 Short Takes Space is tight this month, so here’s just a few words about a whole bunch of items. Dingle’s Deceptions: The Video By Derek Dingle In the 1970’s, Derek Dingle was the man. His knuckle-busting creations (which often climaxed with an unexpected left-field “kicker”) defined close-up magic for a generation of magicians. Derek delighted in fooling other magicians, and many of his routines were designed specifically for that purpose. By 1980, Derek had faded from the magic scene, turning his attention to the world of corporate magic. Recently, he has resurfaced, once again appearing at magic conventions. In Dingle’s Deceptions: The Video, Derek revisits the material from his first book, Dingle’s Deceptions (written by Harry Lorayne). This is the first video from Kaufman and Company, and unfortunately, it fails to completely satisfy. All six routines from Dingle’s Deception are included on the video, and there is a bonus routine, Derek’s very commercial version of “The Card in the Balloon.” These are the original handlings, and not the updated handlings described in Derek Dingle’s Complete Works (Kaufman, 1982). These are not routines for the faint of heart (or chops). They are all technically demanding, and will require considerable practice. In “Four Coins in the Counting,” four quarters assemble under the cover of two playing cards. This routine marked the first appearance of the now standard Pick Up Move (independently developed by Al Schneider). A highlight of this routine is the steal and load of the jumbo coin. The other coin routine demonstrated is “International Coins Through the Table,” in which four completely different coins penetrate the tabletop and land in a glass held under the table. The remaining five items are card routines. “Open Sez Me” was one of the first of the “produce four aces in four different flourishy ways” routines which have now become commonplace in the literature. Explained in this routine is the Dingle Bluff Shift, a remarkably useful utility move which seems to have been overlooked by present day card workers. “Through and Through” is a variation of Vernon’s “Queen’s Soiree,” which does use a sheet of newspaper. The Two, Three, and Four of Spades penetrate a jumbo card to join the Ace of Spades. You must be seated to perform this routine. The “Double Color-Changing Aces” is just that; four aces are lost in the deck, they are produced one at a time, their backs change from red to blue, and then their backs instantly change back to red.
Hard-boiled Mysteries by Bruce Cervon. 8.5 x 11, hardcover with glossy dustjacket. 178 pages. $40 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 L.I.N.T. by John Luka. 8.5 x 11, hardcover with glossy dustjacket. 143 pages. $29.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Trephine by Richard Bartram, Jr. 8.5 x 11, hardcover. 182 pages. $35. From Magic Methods, PO Box 4105L, Greenville, NC 29608 The Magic Business by Michael Bailey. 8.5 x 11, perfect bound. 390 pages. $100. From H & R Magic Books, 3702 Cyril Drive, Humble, TX 77396-4032 Michael Skinner’s Professional Close-up Magic Volumes 1-4 by Michael Skinner. Each volume $29.94, postpaid in US and Canada. All 4 videos for $110. Michael Skinner’s Master Teach-in Series Volumes 1-3 by Michael Skinner. Each volume $12.50, postpaid in US and Canada. All 3 videos for $35. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The Tommy Wonder Video by Tommy Wonder. $29.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 On the Pass by Richard Kaufman. $35 postpaid (domestic and foreign surface postage). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Basic Card Technique by Richard Kaufman. $35 postpaid (domestic and foreign surface postage). From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 The Dice Stacking Video. $19.95 postpaid in US and Canada. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Hello, Sucker! by Harry Anderson. $19.95 postpaid in US. From Meir Yedid, P.O. Box 2566, Fair Lawn, NJ 07410 Cash Card & Cash on the Corner by Phil Goldstein and Shigeo Tagaki. $19.50 plus $3 p&h. From Marcelo Contento Productions, P.O. Box 396, Watertown, MA 02272-0396 Sprizzer: $19.95. Sprizzer Video: $14.95. Both for $29.95 plus $4.95 p&h. Thumbs-Up: $14.95. Both from Inferno USA, 4255 E. Charleston Blvd., Suite 275M, Las Vegas, NV 89104 Spooked by Nicholas Einhorn. $65 (35 pounds Sterling). From Nicholas Einhorn, 75 Millwell Crescent, Chigwell, Essex, IG7 5HX, England
Celebrity Autographs by Terry LaGerould. $29.95 plus $2 p&h in US. From Terry LaGerould, 300 Holcomb Ave., Suite #7, Reno, NV 89502 The Hip Shot Wallet. $49.95 plus $3.50 p&h. With a Chinese Menu in His Hand. $15.00 plus $3.50 p&h. Both from Radio Free Atlantis Productions, P.O. Box 477, Powell, OH 43065
October 1998 On The Road Again I’m writing this nine days before I leave on a three month lecture tour. I’ll be travelling through the Mid-west, the South, the East, and Canada. If our paths cross, please say hello and let me know how the review column can be of better service to you. I’m interested in your feedback. The Magic of Jeff McBride By Jeff McBride Jeff McBride is one of most imitated magicians in the world. His magic incorporates the many disciplines which interest him: martial arts, mime, drumming, dance, mythology, anthropology, shamanism, and storytelling. Those who attempt to imitate him fall short because they copy only the superficial aspects of his act. When McBride performs he shares his life with his audience. Jeff McBride is also a fine teacher, as those who have attended one of his convention lectures, private coaching sessions, or Mystery School will attest. The Magic of Jeff McBride is a two volume video set which contains the best material of the McBride convention lectures. The format is interesting; on Volume One Jeff performs all the material, there are no explanations. This means that this entire tape is suitable for viewing by your non-magic friends. Volume Two contains all the explanations. Volume One begins with a performance of the “Commando” card manipulation act. (Be aware that this act is not explained on Volume Two. The majority of the techniques involved can found on The Art of Manipulation videos.) Next is a segment using the marketed item “McBride’s Candle.” The candle lights by itself, floats, the flame penetrates a cloth without harming it, and the sequence culminates with the production of two bouquets of real flowers. Jeff then performs “Silas and the Slickers,” a routine which is accompanied with rhyming patter. This routine is billed as a gambling routine, but it is more along the lines of the “Gambler vs. Magician” plot. The routine is well within the abilities of the average card handler, and the use of a Peter Kane display technique provides a very visual climax. Next is silent routine using a 260 balloon. At the heart of this very commercial routine is an idea from (of all people) Phil Goldstein. One of the highlights of the tape is the next item, Jeff’s performance of “Kundalini Rising.” This card rise can be done with any deck of cards, and as the assisting spectator holds the card box, the card rises from it. One of the amazing aspects of this trick is that the card stops and starts several times as it rises from the box. (In his explanation of this effect on Volume Two, Jeff tips Pierre Kuntzman’s “Creeping Card,” in which the selected card crawls from a tabled spread of cards. It’s an eerie effect.)
Jeff then performs the “Water Fountain Production,” in which the water is produced from a wad of tissues. The method is easy, practical, and best of all, cheap. This is followed by an excellent Tarot card routine, using a very simple method. For those of you who do cold reading, this little trick may be worth the price of the tapes. The performance segment concludes with McBride’s handling of Yoshio Hirose’s “Torn and Restored Bill” and a few more card manipulations. Following the performance segment, Michael Ammar interviews Jeff on a variety of subjects. (More of these interviews are interspersed among the explanations on Volume Two.) Here Jeff discusses his story in magic, and expounds on those people and disciplines which have influenced him. Volume Two contains the explanations for all the material on Volume One, and it is here that Jeff shines as a teacher. His explanations are clear, detailed, and full of enthusiasm for the material he is explaining. Jeff devotes time to the theoretical details of each effect, and in the process of explaining much peripheral information is also revealed. Whether or not you choose to perform the trick under discussion, you’ll gain insights that you can apply to other tricks. If you are a McBride fan, you’ll have already purchased these tapes by the time this review appears. If for some reason you’ve never heard of Jeff, I suggest you read the interview with him which appeared in the February 1998 issue of MAGIC. This will familiarize you with his “whole life” approach to magic. Whether or not you buy into Jeff’s mystical viewpoint, The Magic of Jeff McBride contains much of value. The material is practical, the explanations are excellent, the production values are top-notch, and the theoretical discussions may change the way you look at magic. Highly recommended. (By the way, you should know that The Magic of Jeff McBride is sold only as a two volume set.) The Magic of Jack Carpenter Volumes 1 and 2 By Jack Carpenter Jack Carpenter creates some very clever card material. You may remember that I was enthusiastic about his Expert’s Portfolio #1 which appeared a while back. Material from that manuscript and his earlier book Modus Operandi (written by Stephen Hobbs) appear on The Magic of Jack Carpenter, a two-volume release from A-1 MultiMedia. Volume One features card magic, while Volume Two focuses on gambling routines. Although Jack’s material will appeal mostly to those whose skill level is upper intermediate and above, the highlight of Volume One requires very little dexterity. “A Potent Presage” is one of the best self-working effects of past few years. The deck is shuffled by a spectator. The magician removes three prediction cards. The spectator places these three cards face up into three different places in the deck. The deck is
divided at the points where the prediction cards lie. Somehow, the spectator has managed to locate the mates of the prediction cards. As a kicker, it is revealed that the spectator has also located a four of a kind (Jack uses the four sevens). And remember, all this happens from a shuffled deck. Two other routines worth your attention are “A Dance for the Devious,” and “Pocket Interchange,” which is one of Jack’s signature routines. Volume Two is my favorite of the two videos, because it is in the ingenious construction of gambling routines that Jack really shines. The tape opens with “Steppin’ Out with Molly,” an extremely commercial monte routine which does not require any bending of the cards. The highlight of the video is a series of routines which are tied thematically by the fact that in each routine the deck is shuffled only once: “Four at Once” produces the aces in flourishy manner; “The Sweep Control” loses the aces with a shuffle and then produces them with four quick cuts; “Riffle & Roll” is a demonstration of stacking the aces for five hands with one shuffle; “Nine Angry Men” is a ten hand stack which uses one shuffle; and “The D.C. Hustle” is a one shuffle Triple Duke (that is, the dealer stacks the four queens for one hand, the four kings for another hand, and the four aces for himself). And it happens in one shuffle! These routines are not easy, but they are not going to break your fingers. You will need to be able to do a passable second deal. Fortunately, Jack takes some time to discuss the second deal on this video, and his sound advice may bring you closer to mastering this move. Jack is a low key performer, but he does a good job demonstrating and explaining his routines. If you are a reasonably advanced card man and you already have both of the above mentioned books, you probably don’t need these videos. But if video is your learning medium of choice, or if you just want to watch the originator perform his creations, The Magic of Jack Carpenter is definitely worth the investment. Recommended. The Sleight of Hand Artistry of Michael Vincent By Michael Vincent Michael Vincent is a British card man whose dignified and reserved style of performing reminds me of that of Michael Skinner. The Sleight of Hand Artistry of Michael Vincent was taped on location as Mr. Vincent performed and lectured for a British magic club. The material presented is basically one long card act, featuring material from a variety of creators, including Simon Aronson, Larry Jennings, and Ed Marlo. Michael lays claim only to the routining of the material. Effects included in the act are Oil and Water, Follow the Leader, Spectator Cuts the Aces, the Collins Ace Vanish combined with a Henry Christ revelation sequence, a Double Duke poker deal, and Ed Marlo’s “One Shuffle Eddie.” This last routine has quite a number of things going on. The deck is shuffled face up and face down. The cards are ribbon spread. The entire deck has turned face down except for the four aces. As a final kicker the deck is shown to have separated itself into the four suits, each arranged in order from ace to king.
Since none of these routines were created by Mr. Vincent, what is of interest here is how he has routined the individual effects, how he manages to maintain the necessary stacks of cards, his presentational approaches, and his theoretical discussions. Unfortunately, as far as the average magician is concerned, this act imposes a number of serious restrictions. First, lapping is used extensively during the first part of the act, which means that the performer must be seated. Second, the act requires a considerable amount of performance space. Third, the act, while not terribly difficult, does require above average card handling ability. And finally, the act is long. While there will certainly be occasions where all these conditions will be met, most close-up performers would only be able to use a few segments of the act. If you are a card aficionado, there is material of interest here, although in all probability you’ll already have your own favorite methods for accomplishing these effects. Mr. Vincent’s comments on the theory behind the effects are valuable. Unfortunately, this tape is priced at 30 pounds Sterling, which at the current exchange rate means it sells for $50. This is very pricey in today’s video market. Because of this, I have reservations unreservedly recommending it. Draun on Dice By Steve Draun Steve Draun is one of America’s finest card men and close-up performers. On this video he performs and teaches four very practical and commercial dice effects: Ed Marlo’s “Dice Transposition,” Dr. Sack’s “Spotted Sorcery,” Mohammed Bey’s version of the Four Object Assembly, and Dai Vernon’s “Climax for a Dice Routine.” (The Vernon routine is designed to follow the Sack’s routine.) Also included on the tape is Steve’s commercial Ambitious Card routine. The tape begins with Steve performing tableside in a hotel banquet situation. He performs the Ambitious Card routine and the Sack and Vernon routines. Unfortunately, only one camera was used for this shoot, and the spots on the dice simply cannot be seen. This renders the performance virtually useless. You’ll understand what is supposed to be happening, but if you’ve never seen the Sack routine performed, the visual impact will be completely lost. The other two routines were shot in a studio setting, and the one camera set-up adequately captured the performances. Steve does a fine job explaining all the routines, and in particular his explanation of the Ambitious Card routine is a lesson in intelligent card handling. There is some very valuable information tipped here. I should also mention that included with the tape are seven dice: five regular sized dice, one small die, and one big die which measures 1 3/8 inch on a side. These are not casino style dice, they are the type that you might find in a drugstore. If you’re unfamiliar with these dice routines, you will certainly be able to learn them from Draun on Dice. Add in the Ambitious Card routine and I believe you’ll get value
for your money. However, I am disappointed with the production values. Both the performer and the material deserved better. Card College Volume 3 By Roberto Giobbi I was enthusiastic about the first two volumes in this series, and I am enthusiastic about Card College Volume 3. Roberto’s analyses and explanations of the various sleights and routines are exemplary, and Richard Hatch’s translation and Stephen Minch’s editing have produced an English version of the text which is a delight to read. Volume 3 is larger than either of the previous books in the series, and it contains the most challenging material. Included in Volume 3 are discussions of the Double Lift (the handlings here are more sophisticated than those in the earlier volumes), False Displays (including the Ascanio Spread, the Olram Subtlety, Bro. John Hamman’s Gemini Count, the Flushtration Count, and the D’Amico Spread), Riffle Shuffle Techniques (including the Zarrow Shuffle, the Pull-through False Shuffle, and the Vernon Triumph Shuffle), the Multiple Shift, the Faro Shuffle, Advanced Palming Techniques (including the One-handed Top Palm, the Gambler’s Cop, and the Loewy Palm), Color Changes, the Side Steal, and the Diagonal Palm Shift. In addition to the mechanics of each sleight, Roberto offers “Check Points,” which include practice tips and valuable psychological information. Paired with each sleight chapter is a chapter devoted to routines which utilize the particular sleight. These trick chapters contain some of magic’s best card routines, including Vernon’s “Triumph,” Steve Freeman’s “Time Machine,” a version of Paul Harris’ “Re-set,” and a handling for “The Cannibal Cards.” All the routines are uniformly excellent. I would rate the sleights in Card College Volume 3 to be upper intermediate to advanced. Mastery of these sleights (including the devilishly difficult Diagonal Palm Shift) will place you in an elite group. Roberto Giobbi has organized and explained the material in an effective way. All that is required of you is careful study and thoughtful, concerted practice. As I have stated before, I really wish I had had these books when I was beginning my study of card magic. They are marvelous. Highly recommended. Richard Sanders - Close-Up Assassin Written by David Acer Canadian Richard Sanders has released some very commercial effects in the past few years. He collaborated with Jay Sankey on the book When Creators Collide, and his routines have appeared in Genii, The Magical Arts Journal, and The Magic Menu. CloseUp Assassin is the first solo collection of his original material, and it contains some fine, practical magic which will be of interest to close-up and stand-up performers.
The book contains 11 items which utilize cards, coins, bills, sugarless gum, and limes. None of the routines require advanced technical ability. Among my favorites are: “Richie’s Double Bill Switch,” which allows you to easily change a $20 bill into a $50 bill into a $100 bill; “Trick Photography II,” in which a selected card vanishes and appears on your ID photo; and “Behind My Back,” which would be a great lead-in to other Card on Forehead routines. In addition, there are two very fine money routines in which a signed bill ends up in an impossible location. The nice thing about Richard’s routines is that in each case the spectator himself removes the bill. There is no switch at the end as is often the case in this type of routine. In “Cramped,” the bill ends up inside the cap of the marker which the spectator used to sign the bill. “Sour Dough” is a fabulous method for doing Bill in Lemon (or lime). If you do stand-up magic this trick is probably worth the price of the book. Close-Up Assassin comes with an accompanying performance video. The performance conditions can most kindly be described as “spartan,” with Richard performing for a single spectator on a set which consists of a table and a chair. From the standpoint of trying to generate any energy or enthusiasm, this is a pretty tough room. While this situation allows you to get a feel for how each effect looks, it hardly showcases Richard’s performing abilities. This is a pity. David Acer has done a fine job writing up the routines, and many photographs accompany the explanations. Packaging the book with the video is a clever idea, especially for those of you who have a hard time visualizing an effect from the written word. If you’re looking for some clever, practical material, Richard Sanders - Close-Up Assassin should fit the bill. Recommended. Be a Street Magician! By David Groves You may have read David Groves’ article “Street Smart” in the August 1998 issue of MAGIC and thought to yourself, “Man, this is the life for me!” Well, before you hit the pavement, do yourself a favor and pick up a copy of David’s three volume series Be a Street Magician! These three books will save you time, money, energy, and maybe even your life. Volume One concerns itself with the nuts-and-bolts of designing a show suitable for the street. Included is information on the types of tricks which work best in the street environment, how to hook and sustain an audience, what kind of money is attainable, how to structure the all important pitch (including suggestions for your tip container), and suggestions for putting street performing in perspective as far as your career is concerned. Volume Two covers life on the street including finding a performance spot, controlling your crowds, amplification and lighting considerations, romance on the street, and
interacting with your fellow performers and law enforcement officials. Volume Three gives you venue possibilities for a number of cities around the United States, including Los Angeles, San Diego, San Francisco, New Orleans, Chicago, and New York City. Here’s a real quick summation: If you intend to work the streets you must read these books. Be a Street Magician! contains advice from a man who’s been through it, and he’s sharing his experience with you. $40 is way too cheap for this type of information. Highly recommended. It’s a Matter of Style By Jason Womack It’s a Matter of Style is a set of lecture notes which accompanied a seminar given by Texas magician Bob White. Bob’s name may be unfamiliar to you, because he has published little, but he is a magician who thinks intelligently and deeply about his magic. One of his guiding principles is Erdnase’s rule of Uniformity of Action. Many, many years ago, I had a brief session with Bob, and I was greatly impressed with his skill and the naturalness of his handlings. In It’s a Matter of Style you’ll find Bob’s thoughts on Uniformity of Action, and his approach to several sleights and effects, including a natural Double Lift, an excellent small packet palm, an alternative for the Gemini Count, a handling (popularized by Roger Klause) of the Depth Illusion, and handlings for Peter Kane’s “Jazz Aces,” E.G. Brown’s “Spelling Trick,” and Pressley Guitar’s “Two Copper & Silver.” In addition, there is a marvelous routine for the Torn and Restored Tissue Paper. In an opening essay, Bob writes that the methods explained in the notes were not designed with the novice in mind. This is very true. I think that It’s a Matter of Style will be of most benefit to those who have spent a few years in the study of sleight of hand. Because these are lecture notes, there are no fancy production values. There are also no illustrations. However, the notes are well written, and you will be able to learn from them. If you’re interested in the finer points of sleight-of-hand, I think you’ll find much of value in It’s a Matter of Style. Recommended. Extra! Extra! Read All About It! By Doc Dixon Doc Dixon has taken a well known principle of mental magic and applied it in an interesting way. The magician has a spectator select a card and attempts to divine its identity by mindreading. He has trouble determining the card. The spectator admits that she has chosen the guarantee card. To salvage a messy situation, the magician suggests that she think of one of the words on the guarantee card. The magician divines the word. The principle here is one which is used in book tests. Doc provides you with a specially printed Bicycle Back guarantee card which has about 100 words of text on it. The
stratagem that Doc uses for determining the word is clever and does not smack of “pumping.” He also provides an 8-page booklet detailing all the handling. I think that “Extra! Extra! Read All About It!” is a clever trick, and I recommend it. However, I would advise you to heed Doc’s suggestions as to the presentation of this trick. 100 words of text is not the same as an entire book, and the method will probably become transparent if you merely hand the guarantee card to someone and attempt to read their mind. But if you do it Doc’s way, you’ll have a very nice little mental interlude. Bar Code By Eric Maurin I have been impressed with the products released by The Magic Smith. I’m also a fan of Eric Maurin, who’s 1992 booklet Secrets contained some fine material. “Bar Code” is Mr. Maurin’s elaboration of Fumio Inagaki’s bar code gag. You’re probably familiar with this gag, it’s in the repertoire of many magicians. The magician holds up an envelope which contains a prediction concerning the results of a spectator’s imaginary visit to a supermarket. The spectator states aloud the name of her favorite supermarket and decides on an item in that store. The prediction is removed and it contains a large picture of a Universal Price Code Bar. Mr. Maurin has turned this into a close-up trick, and has expanded on this in the following ways: The bar code is actually a “readable” bar code (a Doug Wicks idea). When the prediction card is tilted the bars become legible writing, and through a play on words it appears as if bars do contain the spectator’s item and price. As a kicker, the card is turned around, and on the back of it is the name of the supermarket which the spectator chose at the beginning. You need to know a couple of things. First, you will not always be correct on the name of the supermarket. Whether or not the name is revealed is an “out.” Second, The Magic Smith has done a big no-no in my book and has advertised this product with a very deceptive ad. If you look at their ad on page 23 of the September 1998 issue you’ll see that the name of the supermarket is written in the center of the card. But, because of the limitations of the method, this is not where the writing will appear. It appears in a visually weaker position on the card. “Bar Code” is basically a gag trick anyway, but the ad makes it seem as if you are able to end with a miraculous prediction. You don’t. For $10 this is not a bad close-up gag, but if you think you’re getting a miracle, save your money. Cone-tact By Aldo Colombini The “Ball, Cone, and Handkerchief” was one of Dai Vernon’s favorite routines. It is also one of the most requested routines in the repertoire of Harry Riser. (Harry’s routine eliminates the handkerchief and incorporates a Morrison Pill Box.) However, Ball and Cone routines do not seem to have entered the repertoires of the general magic populace.
This may be due to the fact that the required props have not been readily available. Aldo Colombini has come to the rescue with “Cone-tact,” which provides you with a cone, three balls, and a silk handkerchief. Also included is Aldo’s adaptation of the Vernon routine. Let’s talk about the props first. The cone is 6 inches tall and the mouth of the cup is 2.25 inches in diameter. It is orange-ish tan in color and has a stamped design around the base and the top. There is brown, vertical, crosshatched stitching at the juncture point which forms the cone. The balls are made of a “clingy” rubber and are 1.5 inches in diameter. The silk measures 18 inches on a side. These props differ quite a bit from the ball and cone set which I remember Harry using. The cone Aldo provides is quite supple; you can easily squeeze it flat. Harry’s cone was of a much stiffer leather. Because of this, you will need to learn to handle Aldo’s cone with a light touch. Also, Harry’s cone was of a darker leather, and the seam in the cone was not obvious. Aldo’s cone resembles a folk craft object. Harry’s routine (and Vernon’s routine) used billiard balls. Aldo provides you with rubber balls. I guess the point I’m trying to make is this: If you look at the pictures in The Dai Vernon Book of Magic and think that this is what Aldo’s props look like, you’ll be disappointed. This is not a criticism of the “Cone-tact” props, but you should know that the Vernon props look elegant, while the “Cone-tact” props are more casual. Aldo provides you with an eight phase routine in which the ball is produced from the silk, penetrates the silk, vanishes, penetrates the cone, changes color twice, multiplies, and finally disappears completely. The instructions are well written and are accompanied by many clear illustrations. If you have thought about incorporating a Ball and Cone routine into your repertoire, the “Cone-tact” set is well worth your consideration. This is a sleight-of-hand routine, but it is not particularly difficult, and the manipulative lessons learned will serve you well in other applications. Should the routine become a staple of your repertoire, you could easily upgrade to different types of balls, or go to the (sizable) added expense of having a cone custom made for you. Blame it on the Heat Department I inadvertently transposed some information in last month’s column. Phil Goldstein is the creator of “Cash on the Corner.” “Cash Card” is Shigeo Takagi’s trick. Also, in John Luka’s L.I.N.T. the excellent handling for the Diagonal Palm Shift belongs to Paul Chosse, not Paul Cummins. Details The Magic of Jeff McBride Volumes 1 and 2 by Jeff McBride. $54.95 postpaid in US and Canada. (Overseas surface add $7.50) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142
The Magic of Jack Carpenter Volumes 1 and 2 by Jack Carpenter. Each video $29.95, postpaid in US, Canada, and overseas surface mail. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 The Sleight of Hand Artistry of Michael Vincent by Michael Vincent. 30 pounds Sterling. From Michael Vincent, 24 Oak-Tree House, 111A Shirland Road, London, W9 2EN, England Draun on Dice by Steve Draun. $39.95 postpaid in the US. From Bob James’ Magic Shop, 107 Addison Ave., Elmhurst, IL 60126 Card College Volume 3 by Roberto Giobbi. 7 x 10, hardcover with glossy dustjacket. 300 pages. $35 plus $3 p&h (overseas airmail $12). From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468 Richard Sanders - Close-Up Assassin by David Acer. 5.5 x 8.5, softcover, stapled. 85 pages. Book comes with accompanying video. $37.50 plus $3.75 p&h. From Camirand Academy of Magic Inc., P.O. Box 269, Succ. A, Longueuil, Quebec, Canada, J4H 3X6 Be A Street Magician, Volumes 1 through 3 by David Groves. 8.5 x 11, spiral bound. 145 total pages. $40 (for all three volumes) postpaid in U.S. From David Groves, 2112 Ocean Park Blvd., #5, Santa Monica, CA 90405. It’s a Matter of Style by Jason Womack. 8.5 x 11, plastic comb bound. 26 pages. $25 plus $3 p&h. From Magicland, 603 Park Forest Shopping Center, Dallas, TX 75234 Extra! Extra! Read All About It! by Doc Dixon. $12 plus $2 p&h. From Doc Dixon, P.O. Box 68, Sutersville, PA 15083 Bar Code by Eric Maurin. $10 plus $1 p&h. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 Cone-tact by Aldo Colombini. $65 plus $6.50 p&h. From Mama Mia Magic, P.O. Box 7117, Thousand Oaks, CA 91359
November 1998 Tales From The Road “Oh I’m going to Alabama, with my laptop on my knee…” A lyric from the 20th Century version of Oh, Susanna. The first part of this column was written at the dining room table of Max Howard and Diane Bray. The remainder was written as we motored down the highway heading toward Jacksonville, Florida. (The we in this case is me, my companion Lisa, and Pablo the Wonder Chihuahua.) If you look up Southern Hospitality in the dictionary, there is a picture of Max and Diane holding a rotisserie chicken, a bowl of potato salad, and a bottle of white wine. We had just finished the tenth of ten lectures in a row with a break, and they were lifesavers. Trying to do the review column while racing around the country is a challenge, and if the column is less cohesive than usual, that is the reason. I’m amazed that I can plug a computer into a cigarette lighter and write while I’m driving down the highway. Arthur C. Clarke was right. By the way, I’d like to thank Stephen Hobbs for stepping back into the reviewer’s job. For those who don’t know him, Stephen has authored many excellent books, he publishes a magazine called Labyrinth, and he was the reviewer here at MAGIC before Mac King and I started. Magic for Dummies By David Pogue The Dummies series of books was a direct result of the proliferation of personal computers. Faced with a daunting stack of computer manuals, computer owners cried out for books that were more user friendly. The Dummies series filled that need. If you own a computer, you probably have one of their books. (I have two, both on the subject of DOS.) These books present information in a clear, light-hearted way, and have become immensely popular. They have branched out into subjects beyond the world of computers and business, and it was only a matter of time before a book on magic was released. Magic for Dummies is a big book, it is very well written, contains excellent material, and will be a valuable resource for anyone just getting started in magic. Author David Pogue is a member of the International Brotherhood of Magicians, and he has written several other books in the Dummies series. He was assisted by a group of magicians he refers to as the “Advisory Pantheon.” This group contains some very well known magicians, including Michael Ammar, Mike Bent, Eugene Burger, Lance Burton, Mike Caveny, John Cornelius, Daryl Martinez, Doc Eason, Bob Farmer, Paul Harris, Bill Herz, Chad Long, Harry Lorayne, Jay Marshall, Jeff McBride, Tom Mullica, Billy
McComb, Jamy Swiss, Johnny Thompson, and many others. These magicians have contributed original creations or have suggested “public domain” routines. Because of this, the quality of the material in Magic for Dummies is extremely high. The book begins with an Introduction which explains the organization of the material, some information on the history of the tricks, the meaning of the cute icons which accompany the text (these icons provide quick visual guides to portions of text which contain information on prep work, misdirection moments, psychological touches, and tips on performance), and advice on how to learn the material. Unfortunately, in this Introduction, Mr. Pogue continues to reinforce the great lie that learning a few magic tricks will correct all your personality deficits. I am sure that this sales pitch sells books (and indeed, this has been one of the main ways that magic dealers have attracted buyers), but the downside is that it brings into the community of magicians more social misfits than we really need. The tricks are organized into five categories: very simple tricks with low skill levels and high humor content, simple impromptu tricks using a variety of easy to borrow props, tricks for restaurant settings, card tricks, and parlor magic. There are some really good tricks here including “The Missing Spray Paint Marble,” “The Ninja Key Catch, “The Shuffling Lesson,” (all devised by Chad Long), Bob Farmer’s “Creepy Little Baby Hand,” Mike Bent’s “Post-It-ive Identification,” Michael Ammar’s “Photocopied Card,” Jay Marshall’s handling of the “Bouncing Dinner Roll,” George Schindler’s “Phantom Photo,” and Gregory Wilson’s “A Sugar Substitute” and “The Evaporating Sugar.” As always, I wish that a few of these were not in a book geared for the general public, but I’m just being cranky. Even if you are an experienced magician, you’ll probably find a couple of tricks here that you’ll want to add to your repertoire. The explanations of the tricks are top notch. The instructions are broken into easy to digest steps, which begin with a boldfaced important action, followed by further information which clarifies each step. The friendly icons lets you know about the type of information contained in each paragraph. There are hundreds of clear photos that accompany the text, which should make learning breeze, even if you’re a person who has a hard time learning from a book. In addition to the tricks, you’ll find lots of other information, including the ten basics of good magic, ten classic moments in magic history, ten deceased magicians worth knowing about, and ten ways to get more into magic. There are also appendices which contain names and addresses of magic stores, publications, magic societies, and magic magazines. Finally, there is a comprehensive index. There’s not much more I can say. Magic for Dummies contains excellent tricks and information, explained in a way that anyone can understand. If you’re a beginner, this book should be at the top of your list. And even if you’re not a beginner, you’ll probably find some tricks that you’ll enjoy learning. Protean Card Magic
By Paul Gordon Mr. Gordon has written several books of card magic, and was often a contributor to Harry Lorayne’s Apocalypse. Longtime readers of MAGIC may remember that I was less than enthusiastic about Mr. Gordon’s first book The Card Magic of Paul Gordon. I am happy to say that I enjoyed Protean Card Magic, and I think those with average or above average card handling abilities will find much to keep them occupied. Mr. Gordon’s approach to card magic seems to have been greatly influenced by Harry Lorayne, and indeed, Mr. Gordon’s writing style is very similar to Mr. Lorayne’s. You will find four ace tricks, variations of standard plots (such as Vernon’s “Twisting the Aces,” Henry Christ’s “Tally-Ho,” and Alex Elmsley’s “Point of Departure”), and several useful card techniques. None of the routines require advanced card skills, and all are explained clearly. With the demise of Apocalypse and Steve Beam’s Trapdoor, there will be a lot of card men going “cold turkey” looking for new card tricks to add to their arsenals. Mr. Gordon has announced that Protean Card Magic will be his last major publication. He has gone out on a high note. If you enjoy the type of card magic that appeared in Apocalypse, I think you’ll enjoy Protean Card Magic. A Pasteboard Odyssey By Armando Gutierrez and Kevin Kelly If, on the other hand, you enjoy card magic with more challenging technical demands, take a look at A Pasteboard Odyssey, which contains the card creations of Kevin Kelly. Kevin is a student of the work of Ed Marlo, and his routines show that influence. Kevin has also spent a lot of time with Don England, a man who creates ingenious gaffed card effects. You will find a number of routines which use Don’s gaffed cards. This material will be of most interest to experienced card men. There are many references to Marlo moves and routines, and you will need to have access to these sources in order to completely understand the routines. Some of the routines require lapping, and others require the use of a close-up pad. Depending on your performing environment, you may find these conditions are restrictive. If you enjoyed the creations of Ed Marlo as exemplified in his Marlo’s Magazines, I think you’ll enjoy A Pasteboard Odyssey. The handlings are clever and will provide many avenues for further exploration. Very, Very Close Volumes 1-4 By Michael Close Reviewed by Stephen Hobbs I like Mike. Well, actually, I don’t really know Mike Close that well; but I like his magic. His Workers series of manuscripts stands as a truly significant contribution to the
art — in my opinion one of the best “books” of this decade. Now, through L&L Publishing, Mike is releasing a set of seven companion videotapes to the Workers series. I have had an opportunity to see four of these tapes and, while I have never been a huge video fanatic, I can honestly say that if you enjoyed the manuscripts, you will want to seriously consider investing in the videos. Here’s why I like Mike’s approach to magic: Mike tries to find classic plots to work on or, when necessary, to develop new and bizarre plots; he strives to incorporate interesting technical angles and subtleties in his effects for maximum possible impact — in other words, he routines his routines; he is not afraid to employ sleight-of-hand when necessary, but does not abuse or overuse it; and finally, he worries about presentation and has developed a style of performing that suits his own personality. Now you may or may not agree with all the choices Mike has made; although on the whole I do. You may not like the plots he has chosen, his routining decisions, his choice of sleights, or his mode of presentation — but you have to like the approach: the desire not just to do someone else’s magic, but to create and develop your own. And that’s what the Workers series, both books and videos, seems to me to be all about. They demonstrate how one skilled and creative performer developed his own repertoire. Sure, there are ideas and subtleties and moves and plots throughout these videos that you can and will use. But if you just do “The Pothole Trick” verbatim you’re missing the point. These videos are a source of inspiration — a guide to what you too can accomplish given the necessary time and appropriate dedication. All four videos are nicely produced; L&L is to be congratulated on really mastering the art of putting together a professional video package. The performances — before an enthusiastic audience — are generally well shot, the explanations exceptionally so. I particularly liked the “overhead cam” shots of the performer’s hands — they really give you a performer’s view of the situation without that cumbersome “over the shoulder” or “under the armpit” angle. Also well done are the “theory” conversations or essays that are interspersed throughout the tapes. These cover a wide range of issues and provide what many videotapes lack: a sense of the performer’s thinking and theoretical concerns — an insight into his “artistic soul”, if you will. Not every performer can pull this off, but I thought that Mike did an excellent job in this regard. A brief aside on a trend that is being seen increasingly on magic videos these days: the guest host. Or in this case, hosts — in the form of Michael Ammar and Eric Mead. I certainly understand the attractions of this approach: increased name recognition, perhaps; the ideal of the “small session” in which tricks are discussed and explained; a “third eye” to point out explanatory lapses. But the concept often seems to fall short. Now don’t get me wrong, Ammar and Mead in no way detract from these tapes. But at times they seem somewhat unnecessary. Perhaps with a performer who was less sure of his material or his ability to explain it, the “host” concept would come into its own. Here, however, Mike is so certain of his material, and has obviously explained it so many times
— down to the last detail — that, with a few notable exceptions, Ammar and Mead’s commentary seems superfluous. The advertisements for these videos will hit the magazines soon, and you can get a complete run down of the contents of the tapes from them. Allow me to just touch on some highlights. Volume One is perhaps the most idiosyncratic of the tapes. On the one hand it contains what is undoubtedly Mike’s most well known effect, “The Pothole Trick”, which is described in exceptionally clear detail. On the other hand, there is a video essay and two tricks involving the memorized deck, something I’m fascinated by, but may not be everyone’s cup of tea. Finally, Mike’s interest in origami is nicely introduced with the funny and relatively easy to do “Ooh-ah Bird”. Volume Two begins to pick up the pace. “The El Cheepo Magic Club” and “Reynaldo the Great” are two tricks that are theoretically geared for children, but which also play strongly for adults (accompanied by an essay on why having tricks of this sort is a good idea). “Pink Floyd” provides a solid example of how proper routining can eliminate unnecessary “tells” in your performance — here the focus is on double lifts in the context of a packet trick. “Coda Chrome” is Mike’s handling of a truly boggling Stewart James’ prediction effect. “Chicken Teryaki” is a well-routined two coin transposition with some interesting theoretical implications. Finally, “You Hue” has got to be one of the strongest effects you can do for a spectator: magically print his or her name on several business cards, in the same color pen he randomly chose at the beginning of the trick! With Volume Three we shift into high gear. “Too Ahead” is a multi-phase coin routine that is very impressive. I passed this one by when I read it in manuscript form, but it looks great — a good example of video catching the essence of a trick in performance. “Lie Detector” is an involved performance piece with a strong ending — very good, but putting it together will send you on the mother of all scavenger hunts. “Four Card Reiteration” is a Dan Garrett trick that allows Mike to talk briefly about palming; but for some “real work” on palming you should check out Mike’s tape devoted to that subject. “Rubik’s Dollar Bill” is a unique “puzzle” type routine. While perhaps not quite my style, I know several magicians who love to perform this effect. More interesting to me is the “Origami Bill Production” which allows you to instantly transform any piece of paper into an elaborate origami creation. Finally, the video closes with what I think is Mike’s best routine: “The Frog Prince”. Quite a collection. Volume Four is devoted to stage or platform routines, a subject often overlooked in the “close-up” world of magic videos. The “Big Surprise” is a great way to frame your entire show — with a little work this premise could be adapted to many different contexts. Two character performance pieces, “A Visit From Rocco” and “Rocco Returns” are both very nice. “Ring Fright” is an excellent stage handling for Ring Flight, without the usual gimmick. “Take a Letter” is an offbeat card-in-impossible-location routine — so offbeat that the audience will never suspect the ending. “Butte Ox? Two Butte Ox!” is Mike’s very personal handling of the cards across plot — difficult for anyone else to adopt, for reasons discussed on the tape, but an excellent lesson in misdirection nevertheless.
Finally, there is a performance (but no explanation) of Mike’s “Stupid Travelers” — performance only, I suspect, because Mike probably couldn’t imagine anyone else actually doing this routine! All in all, a very strong tape. I want to conclude by addressing a question that may be buzzing around in the back of your mind. Michael Close, as the regular reviewer for MAGIC, has gone on record as stating his preference for books over videos. Why, then, did he decide to produce this video package? Well, I’m sure the money didn’t hurt; but no one gets rich off magic video sales. In fact, Mike offered a more interesting explanation when I “interviewed” him about this project over the phone. The Workers material represents a significant chunk of the past twenty or so years of Michael Close’s life. Having performed it extensively, recorded it in book form, and shared it with magicians throughout the country on lecture tours and at conventions, the time has come to put it to rest. Mike explained that he is planning a magic “sabbatical” that could extend for several years — a time to relax, recharge, and (slowly, at their own pace) develop new routines and a new repertoire. In the course of this process, some effects from the Workers series will undoubtedly be retained, but many more will be let go. Rather than see those effects lost forever, or to be forced years from now to resurrect and record them for posterity, it makes much more sense to video tape them now. Today these routines are still fresh for Mike — they have an edge honed by repeated and recent performance. Recording them today allows you, and the next generation of magicians, to see them at their best. And by then, who knows, we may have Workers: The Sequel to enjoy. Treasures Volumes 1 and 2 By Alexander DeCova Way back in the early 1990’s, I stood next to Joe Stevens at his booth at the Magi Fest convention. I was demonstrating “The Pothole Trick,” Joe was demonstrating Alexander DeCova’s “Flash Restoration.” Joe was outselling me four to one. Not only that, but he had a most ingenious method for cleaning up at the end of the trick. The moment he finished a demonstration the observing magician would thrust a twenty-dollar bill at him. Joe would ditch the gaff as he pocketed the twenty. The DeCova trick was so strong and so visual that virtually every demo was a sale. American magicians have not yet had a chance to see Alexander DeCova, and very few of his creations have been published in English. (“Flash Restoration” was published in MAGIC a few years ago – you may want to check it out.) Consequently, the material explained on Treasures, a two-volume set released by Murphy’s Magic Supplies, should come as a revelation. These are ingenious routines, practical, commercial, and not difficult to do. If you can only afford one video, I would suggest that you purchase Volume 2 first. There are three routines here that are each worth the price of the video. The first is “Flash Restoration.” A card is selected and torn into pieces. The spectator is given one piece. The remaining pieces are placed on top of the tabled deck. The magician merely places his hand on top of the deck and the card is instantly restored, except for the small piece which the spectator holds. Not only is this effect eye-popping, it is remarkably easy to do.
The second “worth the price” effect is “Professional Card to Wallet.” Mr. DeCova has solved a technical problem in an ingenious way, and I was fooled by this trick. Again, the handling is very easy. Finally, I would draw your attention to the “Master Silk Routine.” This is a handling for the venerable “Sympathetic Silks.” Four silks are displayed on a simple tray. A spectator (yes, that right, a spectator) ties two of the silks together with several knots. The magician drops these knotted ends into a champagne bucket. This action looks completely fair. Two unknotted silks are bunched up and placed into the spectator’s hands. The knots leave the two silks in the champagne bucket; they are now untied. The spectator shakes out the silks he holds. They are knotted together. I guarantee that the method Mr. DeCova uses will fool you. I was completely taken in. The rest of the material on Volume 2 and the routines on Volume 1 are also effective and practical. Mr. DeCova states that he is not a great innovator, rather he is a “fixer,” he adds the necessary finesses and details which turn commonplace routines into miracles. I am impressed with his ability to devise such simple, ingenious, and effective “fixes”. Mr. DeCova is from Germany, but his English is excellent. You will have no trouble understanding his explanations. The production values of the videos are only average; only one camera was used, and Mr. DeCova is alone – there are no assisting spectators. However, the fact that only one camera was used will not impede your learning, and the tricks are such foolers that you will appreciate their effectiveness. I was very impressed with Treasures Volumes 1 and 2, and I highly recommend them. Mr. DeCova has an ingenious mind, and I hope that some day American magicians can see him in person. Draun on Dice By Steve Draun Steve Draun is one of America’s finest card men and close-up performers. On this video he performs and teaches four very practical and commercial dice effects: Ed Marlo’s “Dice Transposition,” Dr. Sack’s “Spotted Sorcery,” Mohammed Bey’s version of the Four Object Assembly, and Dai Vernon’s “Climax for a Dice Routine.” (The Vernon routine is designed to follow the Sack’s routine.) Also included on the tape is Steve’s commercial Ambitious Card routine. The tape begins with Steve performing tableside in a hotel banquet situation. He performs the Ambitious Card routine and the Sack and Vernon routines. Unfortunately, only one camera was used for this shoot, and the spots on the dice simply cannot be seen. This renders the performance virtually useless. You’ll understand what is supposed to be happening, but if you’ve never seen the Sack routine performed, the visual impact will be completely lost. The other two routines were shot in a studio setting, and the one camera set-up adequately captured the performances.
Steve does a fine job explaining all the routines, and in particular his explanation of the Ambitious Card routine is a lesson in intelligent card handling. There is some very valuable information tipped here. I should also mention that included with the tape are seven dice: five regular sized dice, one small die, and one big die which measures 1 3/8 inch on a side. These are not casino style dice, they are the type that you might find in a drugstore. If you’re unfamiliar with these dice routines, you will certainly be able to learn them from Draun on Dice. Add in the Ambitious Card routine and I believe you’ll get value for your money. However, I am disappointed with the production values. Both the performer and the material deserved better. Dynamic Walkaround Magic By Anthony Owen and Paul Andrews Strolling magic presents many challenges to the professional magician. The challenges involve repertoire (tricks have to be done away from a tabletop and can rarely involve the use of the spectator’s hands) and interpersonal skills (how do you barge into a group of people and start doing magic for them). Anthony Owen and Paul Andrews discuss theses and other concerns on the video Dynamic Walkaround Magic. They offer eight routines which are effective in strolling situations, and they discuss how to deal with the many problems which are inherent in such venues. The routines presented are simple but effective, and they are well within the capabilities of the average magician. There are routines with cards, coins, matches, and money. Two routines which I would draw to your attention are “Pencil Through Coin,” which climaxes with the spectator apparently pulling the coin off the pencil, and “Brainwash,” which is an interesting variation on the standard “Brainwave” plot. After the performances, Anthony and Paul discuss various approaches for working strolling situations. Their advice is sound and practical. They then discuss and explain the effects that were performed. Their explanations are clear, and you will be able to learn from the video. Unfortunately for American readers, the current exchange rate hurts the price point of this video. It is priced at 30 pounds Sterling, which translates roughly to $50. This is a bit high for a video in today’s market. There is information of value on Dynamic Walkaround Magic, and were it priced lower (for example at $30 which is standard for videos these days) I would recommend it unreservedly. It’s a Matter of Style By Jason Womack It’s a Matter of Style is a set of lecture notes which accompanied a seminar given by Texas magician Bob White. Bob’s name may be unfamiliar to you, because he has
published little, but he is a magician who thinks intelligently and deeply about his magic. One of his guiding principles is Erdnase’s rule of Uniformity of Action. Many, many years ago, I had a brief session with Bob, and I was greatly impressed with his skill and the naturalness of his handlings. In It’s a Matter of Style you’ll find Bob’s thoughts on Uniformity of Action, and his approach to several sleights and effects, including a natural Double Lift, an excellent small packet palm, an alternative for the Gemini Count, a handling (popularized by Roger Klause) of the Depth Illusion, and handlings for Peter Kane’s “Jazz Aces,” E.G. Brown’s “Spelling Trick,” and Pressley Guitar’s “Two Copper & Silver.” In addition, there is a marvelous routine for the Torn and Restored Tissue Paper. In an opening essay, Bob writes that the methods explained in the notes were not designed with the novice in mind. This is very true. I think that It’s a Matter of Style will be of most benefit to those who have spent a few years in the study of sleight of hand. Because these are lecture notes, there are no fancy production values. There are also no illustrations. However, the notes are well written, and you will be able to learn from them. If you’re interested in the finer points of sleight-of-hand, I think you’ll find much of value in It’s a Matter of Style. Recommended. Bar Code By Eric Maurin I have been impressed with the products released by The Magic Smith. I’m also a fan of Eric Maurin, who’s 1992 booklet Secrets contained some fine material. “Bar Code” is Mr. Maurin’s elaboration of Fumio Inagaki’s bar code gag. You’re probably familiar with this gag, it’s in the repertoire of many magicians. The magician holds up an envelope which contains a prediction concerning the results of a spectator’s imaginary visit to a supermarket. The spectator states aloud the name of her favorite supermarket and decides on an item in that store. The prediction is removed and it contains a large picture of a Universal Price Code Bar. Mr. Maurin has turned this into a close-up trick, and has expanded on this in the following ways: The bar code is actually a “readable” bar code (a Doug Wicks idea). When the prediction card is tilted the bars become legible writing, and through a play on words it appears as if bars do contain the spectator’s item and price. As a kicker, the card is turned around, and on the back of it is the name of the supermarket which the spectator chose at the beginning. You need to know a couple of things. First, you will not always be correct on the name of the supermarket. Whether or not the name is revealed is an “out.” Second, The Magic Smith has done a big no-no in my book and has advertised this product with a very deceptive ad. If you look at their ad on page 23 of the September 1998 issue you’ll see that the name of the supermarket is written in the center of the card. But, because of the limitations of the method, this is not where the writing will appear. It appears in a visually weaker position on the card.
“Bar Code” is basically a gag trick anyway, but the ad makes it seem as if you are able to end with a miraculous prediction. You don’t. For $10 this is not a bad close-up gag, but if you think you’re getting a miracle, save your money. Cone-tact By Aldo Colombini The “Ball, Cone, and Handkerchief” was one of Dai Vernon’s favorite routines. It is also one of the most requested routines in the repertoire of Harry Riser. (Harry’s routine eliminates the handkerchief and incorporates a Morrison Pill Box.) However, Ball and Cone routines do not seem to have entered the repertoires of the general magic populace. This may be due to the fact that the required props have not been readily available. Aldo Colombini has come to the rescue with “Cone-tact,” which provides you with a cone, three balls, and a silk handkerchief. Also included is Aldo’s adaptation of the Vernon routine. Let’s talk about the props first. The cone is 6 inches tall and the mouth of the cup is 2.25 inches in diameter. It is orange-ish tan in color and has a stamped design around the base and the top. There is brown, vertical, crosshatched stitching at the juncture point which forms the cone. The balls are made of a “clingy” rubber and are 1.5 inches in diameter. The silk measures 18 inches on a side. These props differ quite a bit from the ball and cone set which I remember Harry using. The cone Aldo provides is quite supple; you can easily squeeze it flat. Harry’s cone was of a much stiffer leather. Because of this, you will need to learn to handle Aldo’s cone with a light touch. Also, Harry’s cone was of a darker leather, and the seam in the cone was not obvious. Aldo’s cone resembles a folk craft object. Harry’s routine (and Vernon’s routine) used billiard balls. Aldo provides you with rubber balls. I guess the point I’m trying to make is this: If you look at the pictures in The Dai Vernon Book of Magic and think that this is what Aldo’s props look like, you’ll be disappointed. This is not a criticism of the “Cone-tact” props, but you should know that the Vernon props look elegant, while the “Cone-tact” props are more casual. Aldo provides you with an eight phase routine in which the ball is produced from the silk, penetrates the silk, vanishes, penetrates the cone, changes color twice, multiplies, and finally disappears completely. The instructions are well written and are accompanied by many clear illustrations. If you have thought about incorporating a Ball and Cone routine into your repertoire, the “Cone-tact” set is well worth your consideration. This is a sleight-of-hand routine, but it is not particularly difficult, and the manipulative lessons learned will serve you well in other applications. Should the routine become a staple of your repertoire, you could easily upgrade to different types of balls, or go to the (sizable) added expense of having a cone custom made for you. The Golden Shells
By Whit Haydn and Chef Anton The Cups and Balls is an ancient trick. While it has long been a staple in the conjuror’s repertoire, it has also been used as the basis for a gambler’s con game. In RobertHoudin’s book Card Sharpers there is a description of the Cups being used as a money making swindle. The game of Thimble-Rig is mentioned as early as 1716 in John Gray’s Trivia, or Walking the Streets of London. The swindle certainly goes back much further. As sleight-of-hand techniques became more sophisticated, the game evolved. In the United States it became known as the Three Shell Game. Many magicians have included Three Shell Game routines in their repertoires, and recently there has been a resurgence of interest in Shell routines. Whit Haydn and his partner Chef Anton have produced a gorgeous set of props called “The Golden Shells.” These shells are made of solid pewter with a heavy 22 karat gold finish. Whit has spent many years experimenting with the design of the walnut shell prop, and the results of his experimentation have been incorporated into “The Golden Shells.” The mold for the shells was cast from a real walnut shell. The interior of this shell was modeled with heat-hardened clay, and the inside and outside of the shell were hand carved and sanded to create correct curves and surfaces. The result of this painstaking care is that these shells are an absolute delight to use. The pea goes in and out with a minimum of effort, and to the spectators the base of the shells appear perfectly flat, apparently making any steal of the pea impossible. Whit provides you with seven peas. These peas are injection molded and will work on any surface, including glass and marble. They are washable. In addition to the compressible peas (which are used to perform the Shell Game), you also receive a matching “straight” pea which does not compress and which will not come out from under the shells. This can be switched in and left with the spectators for examination. For your $100 you get the three shells, the various peas, a shot glass which will fit over a shell, and four pages of information about the shells. You do not get a routine. A video of Bob Kohler’s Trade Show Shell Routine will appear sometime this fall. Anyone who is going to pay $100 for this prop probably already has a Shell routine in their repertoire. The only negative comment I have heard about “The Golden Shells” is that they are obviously not ordinary walnuts. Some performers prefer to use real walnut shells. Other performers weave a story around the golden shells and how they came to possess them. This, of course, is simply a matter of taste. If the prop appeals to you, you won’t be disappointed. I think “The Golden Shells” are great, and I highly recommend them. POW! By Pepe Monfort and Martin Kaplan “POW!” is a further development of Pepe Monfort’s “An Experiment in Black and White” which was published in the November, 1997 issue of Genii. You may want to track down that issue to check out the basic premise of the trick. The original trick used a
sheet of paper which was torn into eight strips. This has been streamlined in “POW!” through the use of eight business cards. Here’s what happens: The magician shows the spectator eight business cards each of which has words printed in blue on one side and in red on the other side. It is explained that the words printed in red are the opposite (that is, antonyms) of the words printed in blue. The spectator is shown the cards, one at a time, and he indicates a card by saying, “Stop.” He thinks of any word on this business card. The cards are gathered and turned over. The spectator is asked to find the antonym of his selected word. When he indicates that he has found it, the magician reveals both words. This is a clever trick, and I think that both magicians and laymen will find it quite puzzling. Obviously, with any trick of this nature in which the choice is limited to a relatively small number of words and the selection procedure is somewhat contrived, you are not going to convince people that you are a real mind reader. For that reason, “POW!” is more suitable for a magician who wants to perform a mental-flavored effect rather than someone who presents himself as a mentalist. But if you’re looking for a simple, effective mental trick that you can carry in your wallet, “POW!” is worth your consideration. Details Magic for Dummies by David Pogue. 7.25 x 9.25, softcover. 369 pages. $19.99. ISBN 07645-5101-9. Published by IDG Books Worldwide. Available at most bookstores. Protean Card Magic by Paul Gordon. 6 x 9 hardcover. 142 pages. $35. Available from your favorite dealer. Dealer inquires to: Murphy's Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742 A Pasteboard Odyssey by Armando Gutierrez and Kevin Kelly. 8.5 x 11, plastic comb bound. 130 pages. $25. From The Magician! Publications, 1115 Woodlawn, Charleston, IL 61920 Very, Very Close Volumes 1-4 by Michael Close. Each video $29.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Treasures Volumes 1 and 2 by Alexander DeCova. Each video $25. Available from your favorite dealer. Dealer inquires to: Murphy's Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742 Draun on Dice by Steve Draun. $39.95 postpaid in the US. From Bob James’ Magic Shop, 107 Addison Ave., Elmhurst, IL 60126 Dynamic Walkaround Magic by Anthony Owen and Paul Andrews. 30 pounds Sterling postpaid. From Dynamic FX Limited, P.O. Box 27202, London, N11 1WP, England
It’s a Matter of Style by Jason Womack. 8.5 x 11, plastic comb bound. 26 pages. $25 plus $3 p&h. From Magicland, 603 Park Forest Shopping Center, Dallas, TX 75234 Bar Code by Eric Maurin. $10 plus $1 p&h. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 Cone-tact by Aldo Colombini. $65 plus $6.50 p&h. From Mama Mia Magic, P.O. Box 7117, Thousand Oaks, CA 91359 The Golden Shells by Whit Haydn and Chef Anton. $100 postpaid in US. From Bob Kohler Productions, 2657 Windmill Parkway, Box 313, Green Valley, NV 89014 POW! by Pepe Monfort and Martin Kaplan. $15 postpaid. From Martin Kaplan, 817 Monterey Street, #4, Alhambra, CA 91801
December 1998 Tales from the Road (II) Absolutely Magic is a small magic shop centrally located in Andrew J. Pinard’s sprawling farmhouse, which is located in the heart of New Hampshire. The shop faces an old cemetery, which provided a peaceful background for the writing of this month’s column. Andrew and his wife Jill were kind enough to allow the Great Traveling Lecture Tour to camp out for four days, and Lisa, Pablo, and I are grateful for their hospitality. At this point (32 lectures into the tour), not having to drive for four days in row is a great luxury. Space is at a premium this month, so the reviews are briefer than usual. The Direct Link By John Anders The idea behind John Anders’ “Direct Link” is quite old; Professor Hoffman mentions it in Later Magic. Tommy Wonder and Alexander DeCova have also published their handlings for this idea. By incorporating a John Cornelius idea (popularized by Michael Ammar), Mr. Anders has designed a device that allows you to vanish small objects and then retrieve them from your left trouser pocket. In effect, you are lapping while standing up. During my stint as MAGIC’s product reviewer, I have tried to avoid revealing the methods of reviewed items. However, in the case of “Direct Link” I don’t think I can give you enough information to make an intelligent buying decision without explaining (to some degree) exactly what it is that you’re buying. What we’re talking about here is a belly servante, a device that allows you to toss objects down the front of your pants. The device John sells is a slightly curved, plastic receptacle which is about 6.5 inches wide, 5.75 inches tall, and 1.25 inches deep. The top and the left sides of the device are open. The device goes into the front of your pants where it is held in place by pressure between your belly and the waistband of your trousers. If you perform a little surgery on your left pants pocket, you can retrieve anything that you toss into the device. The first problem I encountered with the device is that I don’t own a correct pair of trousers. You will need a loose fitting pair of slacks, probably of the “Sans-a-belt” style. I discovered that with all my belted trousers the “Direct Link” juts out at the bottom, which makes it look as if I’m wearing a medical contrivance. There may also be a tendency for the device to slip downward, and Mr. Anders offers some suggestions on how to counteract this.
The second problem is the size and shape of the device itself. Everyone is built differently, and the device may not fit your body well. I also think that this device is designed for slender men. If you are stout, you may not be able to use it at all. I am also disappointed that Mr. Anders made the decision to cut the opening in the left side of the device. This means that you must use your left pocket; no other option is available. It would have been more useful if the side openings had been perforated, allowing the user to punch out whichever opening would be most useful. Now let’s talk about using the “Direct Link.” Mr. Anders provides a videotape in which he demonstrates and explains several effects using the device. Not one of these effects inspired in me a desire to use the prop. In fact, I question the manner in which Mr. Anders uses the “Direct Link.” To my eyes, objects were ditched at psychologically ineffective moments, and the ditching action was obvious and completely unnatural. I believe that the “Direct Link,” the Topit, and Sleeving are most effective when used to “clean up,” and the action must occur during a moment of audience relaxation (such as at the end of a trick). None of Mr. Anders’ applications use the device in this way. In one very amusing segment of the videotape, Mr. Anders explains how to cover the upper opening of the device. This involves some minor gaffing of your shirt, which is explained in a way that would make Harry Anderson wince. So, what’s the bottom line here? If you think you’re buying the wonder device of the ages, you’re wrong, and you’re probably going to be disappointed. Before you spend $80 I think you should already have in mind a very good application for a gaff like this. Check out Volume 2 of The Books of Wonder to learn Tommy’s work on the device. (Unfortunately, Alexander DeCova’s book is not available in English.) Used sparingly, at psychologically sound moments, and with intelligently choreographed movements, I think that the “Direct Link” could be an effective tool. If overused, it just looks obvious, and I don’t believe it will fool anyone. Would I ever use it? Nope, but I’ll never use a Topit either. Bar Code By Eric Maurin I have been impressed with the products released by The Magic Smith. I’m also a fan of Eric Maurin, who’s 1992 booklet Secrets contained some fine material. “Bar Code” is Mr. Maurin’s elaboration of Fumio Inagaki’s bar code gag. You’re probably familiar with this gag, it’s in the repertoire of many magicians. The magician holds up an envelope which contains a prediction concerning the results of a spectator’s imaginary visit to a supermarket. The spectator states aloud the name of her favorite supermarket and decides on an item in that store. The prediction is removed and it contains a large picture of a Universal Price Code Bar. Mr. Maurin has turned this into a close-up trick, and has expanded on this in the following ways: The bar code is actually a “readable” bar code (a Doug Wicks idea). When the prediction card is tilted the bars become legible writing, and through a play on words it appears as if bars do contain the spectator’s item and price. As
a kicker, the card is turned around, and on the back of it is the name of the supermarket which the spectator chose at the beginning. You need to know a couple of things. First, you will not always be correct on the name of the supermarket. Whether or not the name is revealed is an “out.” Second, The Magic Smith has done a big no-no in my book and has advertised this product with a very deceptive ad. If you look at their ad on page 23 of the September 1998 issue you’ll see that the name of the supermarket is written in the center of the card. But, because of the limitations of the method, this is not where the writing will appear. It appears in a visually weaker position on the card. “Bar Code” is basically a gag trick anyway, but the ad makes it seem as if you are able to end with a miraculous prediction. You don’t. For $10 this is not a bad close-up gag, but if you think you’re getting a miracle, save your money. Cone-tact By Aldo Colombini The “Ball, Cone, and Handkerchief” was one of Dai Vernon’s favorite routines. It is also one of the most requested routines in the repertoire of Harry Riser. (Harry’s routine eliminates the handkerchief and incorporates a Morrison Pill Box.) However, Ball and Cone routines do not seem to have entered the repertoires of the general magic populace. This may be due to the fact that the required props have not been readily available. Aldo Colombini has come to the rescue with “Cone-tact,” which provides you with a cone, three balls, and a silk handkerchief. Also included is Aldo’s adaptation of the Vernon routine. Let’s talk about the props first. The cone is 6 inches tall and the mouth of the cup is 2.25 inches in diameter. It is orange-ish tan in color and has a stamped design around the base and the top. There is brown, vertical, crosshatched stitching at the juncture point which forms the cone. The balls are made of a “clingy” rubber and are 1.5 inches in diameter. The silk measures 18 inches on a side. These props differ quite a bit from the ball and cone set which I remember Harry using. The cone Aldo provides is quite supple; you can easily squeeze it flat. Harry’s cone was of a much stiffer leather. Because of this, you will need to learn to handle Aldo’s cone with a light touch. Also, Harry’s cone was of a darker leather, and the seam in the cone was not obvious. Aldo’s cone resembles a folk craft object. Harry’s routine (and Vernon’s routine) used billiard balls. Aldo provides you with rubber balls. I guess the point I’m trying to make is this: If you look at the pictures in The Dai Vernon Book of Magic and think that this is what Aldo’s props look like, you’ll be disappointed. This is not a criticism of the “Cone-tact” props, but you should know that the Vernon props look elegant, while the “Cone-tact” props are more casual. Aldo provides you with an eight phase routine in which the ball is produced from the silk, penetrates the silk, vanishes, penetrates the cone, changes color twice, multiplies, and
finally disappears completely. The instructions are well written and are accompanied by many clear illustrations. If you have thought about incorporating a Ball and Cone routine into your repertoire, the “Cone-tact” set is well worth your consideration. This is a sleight-of-hand routine, but it is not particularly difficult, and the manipulative lessons learned will serve you well in other applications. Should the routine become a staple of your repertoire, you could easily upgrade to different types of balls, or go to the (sizable) added expense of having a cone custom made for you. POW! By Pepe Monfort and Martin Kaplan “POW!” is a further development of Pepe Monfort’s “An Experiment in Black and White” which was published in the November, 1997 issue of Genii. You may want to track down that issue to check out the basic premise of the trick. The original trick used a sheet of paper which was torn into eight strips. This has been streamlined in “POW!” through the use of eight business cards. Here’s what happens: The magician shows the spectator eight business cards each of which has words printed in blue on one side and in red on the other side. It is explained that the words printed in red are the opposite (that is, antonyms) of the words printed in blue. The spectator is shown the cards, one at a time, and he indicates a card by saying, “Stop.” He thinks of any word on this business card. The cards are gathered and turned over. The spectator is asked to find the antonym of his selected word. When he indicates that he has found it, the magician reveals both words. This is a clever trick, and I think that both magicians and laymen will find it quite puzzling. Obviously, with any trick of this nature in which the choice is limited to a relatively small number of words and the selection procedure is somewhat contrived, you are not going to convince people that you are a real mind reader. For that reason, “POW!” is more suitable for a magician who wants to perform a mental-flavored effect rather than someone who presents himself as a mentalist. But if you’re looking for a simple, effective mental trick that you can carry in your wallet, “POW!” is worth your consideration. The Incredible Floating Pen By Patrick Snowden By now you’ve probably seen the ads for this trick. The picture that accompanies the ad shows a Bic ™ type pen floating a few inches above a pad of writing paper. A hoop is being passed over the pen. The picture is an accurate representation of how the floating pen looks. Here’s how the effect goes: The magician brings out a pad of paper (measuring 5.25 x 8 inches) and sets the pad on the table. The pad is opened and a sheet of paper is removed. The spectator writes the word “float” on the piece of paper. The paper is then rolled into a tight tube, in which form it resembles a magic wand. Meanwhile, the magician has displayed a small bracelet which is placed aside. The magician retrieves the pen from the spectator and holds it above the pad. The spectator
waves the paper wand toward the pen, and the pen floats above the pad of paper. The bracelet is passed over the pen, apparently showing no means of support. Finally, the pen is lifted away from the pad and is put away. (The pen could probably be examined; the pad of paper cannot be examined.) The idea behind “The Incredible Floating Pen” is not new. More than twenty years ago, I watched a very clever Chicago magician utilize the same principle in a charming miniature levitation. I don’t know if Mr. Snowden was aware of this early trick, but no mention is made of it in the instructions. You may have made some guesses as to how “The Incredible Floating Pen” works. In all probability, you are correct. Now, I have good news and bad news. The good news is that the illusion of the pen floating is quite good. (It should be, the pen is actually floating.) The bad news is that this is not a self-working trick. It will require some concerted practice in order to present it smoothly and effectively. I also think it is possible that some laymen may be familiar with the underlying principle that makes the trick work. “The Incredible Floating Pen” is a static flotation; the pen hovers over the notepad, but nowhere else. Nor does it levitate up from the pad. Because of this, you should decide whether it is important to you if the floating object moves through space. The pen is static, it does not move. In a trick like the Floating Dollar Bill, the bill does move up and down. At $290 this is a very expensive trick. It is far too expensive to be a toy. In fact, when you get this, you may wonder if what you receive is worth the price. It is possible to perform this in a walk around situation (if there were tables to set the props on), and the trick resets quickly if you have done adequate preparation ahead of time. You could also display it on a shelf in your house and perform it for visiting friends. But I would offer a final word of caution. If you’re looking for a miracle, this probably isn’t it. “The Incredible Floating Pen” looks good, but you’ll pay a price, both in dollars and in practice time. I Spell Magic F-U-N More I Spell Magic F-U-N By Dick Stoner Dick Stoner is a very successful trade show magician. His magic shop on South Harrison Street in Fort Wayne, Indiana will soon celebrate its 50th anniversary at the same location. This store holds fond memories for me. When I was six years old my parents took me to this store and Dick Stoner sold me my first magic tricks. On I Spell Magic F-U-N and More I Spell Magic F-U-N Dick Stoner performs and explains many of the routines from his professional repertoire. These are Dick’s bread and butter routines. He has made a living from them, and you probably could, too. To demonstrate just how commercial these routines are, the majority of the performance segments are drawn from Dick’s many appearances on the Nashville Network. Using
these actual television broadcasts is a great idea: the production values are great, and you get to see how a real life audience responds to this material. The routines on the two videos are equally divided between stand-up material and card effects. Among the stand-up effects are: Dick’s Linking Ring Routine (with the buttonhole link gag); a strong routine for the Wrist Chopper; the “Record Breaking Wrist Tie Routine”; a stand-up sponge balls routine; a handling for the Sympathetic Silks; and a “Long & Short Rope” routine. The card routines include: “The Columbo Clincher” (which is better know as “The Fingerprint Trick”); “The Las Vegas Glasses” (which uses a prop invented by Karrell Fox); and “Shuffled Off and Buffalo ‘Em” which combines several flourishy shuffles with a Slop Shuffle finale. Dick’s philosophy is that magic is meant to be fun, and his presentations emphasize laughs. While you will not find anything which is earthshakingly new, you will find practical, commercial material which is well within the abilities of the average magician. The explanation segments were shot using one camera, which means that you don’t get a lot of close-ups, but you will be able to learn from these videos. I do wish that more effort had been made to credit the material; almost no credits are given. When I was a kid, much of the magic I did was inspired by the routines I saw Dick Stoner perform. His style was an early influence. At $40 each, these tapes are a bit pricey, but I think you’ll find the material and the advice to be valuable. Signs of the Times By Jim Sisti Magic Menu editor Jim Sisti has taken a very old trick and cloaked it with an astrological presentation. “Signs of the Times” is based on the classic “Mutus Nomen” card location and uses Stewart Judah’s shuffle sequence. Rather than using playing cards, Mr. Sisti provides you with 20 varnish-coated cards (about the size of business cards) which contain astrological and planetary symbols. The cards are shuffled and dealt out in pairs. A spectator picks any pair and remembers both cards. The cards are gathered, shuffled, and dealt into four rows of five cards. The spectator indicates which rows contain his cards. The magician names the two cards. Mr. Sisti has added a nice touch which completely eliminates the memory work usually associated with this type of trick. The use of the astrological cards provides a natural lead in to cold reading. In fact, the only reason I can see for performing this particular version is to do an astrological reading. Otherwise, it seems like the magician is going to a lot of trouble just to divine the names of two cards. You should also know that this trick has some space constraints. You’re going to need an area about 14 inches square to deal out the cards. Clearing this much space may be a problem in some venues. Because the cards must be overhand shuffled, you may want to lightly powder the cards so you can run them with surety.
“Sign of the Times” is not an earth-shaking effect, but it could be an effective routine for those of you who incorporate readings into your magic. Spin the Bottle By Ariel Frailich Causing a selected card to vanish from the deck and appear in an impossible location is a strong plot. Having the card appear in a bottle is a variation which goes back to Roterberg. Ariel Frailich has come up with a simple method and a very commercial “Bizarre” presentation. A spectator selects a card (forced) and shuffles it back into the deck. The deck is cut into several piles, arranged into a circle. A bottle is placed into the center of the circle. Attempting to find the card, the bottle is spun. It stops at a packet. The other packets are shown; they do not contain the selected card and they are eliminated. The cards of the selected packet are distributed into several piles and the spinning/elimination process is repeated. This is done until one card remains. It is turned over, but it is not the selected card. The trick has apparently failed. The spectator picks up the bottle and looks inside. The selected card is inside the bottle. Ariel provides excellent instructions, and offers several handling and presentational variations. The trick requires little technical ability and produces a strong effect. You should be aware that the layout will require some space, which may be a problem in some venues. For bar magicians this trick is a natural. If you’re looking for a simple, strong, and unique card routine, “Spin the Bottle” will suit the bill. The Ultimate Snowstorm Set By Larry Maples & Raven Recent legislation passed by the United States Congress has decreed that all stage magic acts must now end with Snowstorm in China. If you’re hot and heavy to avoid the Confetti Police and join the “Let’s leave the stage a mess club,” you should check out “The Ultimate Snowstorm Set”. You get a 15-inch red nylon fan, a six-pack of snowstorm confetti gimmicks (3 white, 1 red, 1 mylar, and 1 multicolor), and a 31-page booklet titled Secrets of the Snowstorm. The booklet covers various gimmicks, methods for stealing the load, tips on lighting, fanning techniques, types of fans, and 12 routines. All kidding aside, “The Ultimate Snowstorm Set” is a good value and will provide the beginning (or experienced) snowstormer with everything they need to litter the stage with style. Manacles of the World By T. L. Gross
The subtitle of Manacles of the World is “A Collector’s Guide to International Handcuffs, Leg Irons & Other Miscellaneous Shackles and Restraints.” It certainly is that. In ten chapters Mr. Gross gives an overview of shackles in history, discusses basic types and styles of shackles, and delineates a great number of British, American, Continental European, and Third World shackles. 170 photographs and illustrations accompany the text. I have little knowledge or experience in this facet of magic, so I turned this book over to a couple of experienced escape artists. They were delighted with it. If you are a collector or have an interest in escapology, this book will be a valuable resource. And at $10 it is an absolute steal. It’s Not Magic But… Aye Jaye is a performer, stand-up comedian, member of the Clown Hall of Fame, and a world-class schmoozer. Schmoozing is the art of treating others well, and Aye Jaye has put all his schmoozing knowledge in a book titled The Golden Rule of Schmoozing. You’ll find techniques for schmoozing your boss, your co-workers, your customers, your significant other, your kids, your neighbors, and just about anybody else you’ll encounter. The book is a fun and easy read, and the advice is practical and down to earth. If everybody read this book and took its advice to heart the world would be a kinder, gentler place to live. Magicians’ interpersonal skills should be as good (if not better) than their technical skills. The Golden Rule of Schmoozing is a handbook for anybody who plans on standing in front of an audience. (By the way, if you don’t like to read, The Golden Rule of Schmoozing is available on audio tape, with the incomparable Penn Jillette doing the reading.) Details The Direct Link by John Anders. $80 (for device plus NTSC tape), $75 (for device plus PAL tape.) $6 for p&h in Europe, $7.50 for p&h to US. From John Anders, Essehout 158, 2719 MG Zoetermeer, The Netherlands. Bar Code by Eric Maurin. $10 plus $1 p&h. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 Cone-tact by Aldo Colombini. $65 plus $6.50 p&h. From Mama Mia Magic, P.O. Box 7117, Thousand Oaks, CA 91359 POW! by Pepe Monfort and Martin Kaplan. $15 postpaid. From Martin Kaplan, 817 Monterey Street, #4, Alhambra, CA 91801 The Incredible Floating Pen by Patrick Snowden. $289.95 postpaid in US. From Hocus Pocus, 2311 E. McKinley, Fresno, CA 93703
I Spell Magic F-U-N & More I Spell Magic F-U-N by Dick Stoner. Each video $39.95 postpaid. From Stoner’s Fun Stores, 712 S. Harrison Street, Fort Wayne, IN 46802 Sign of the Times by Jim Sisti. $20. From Jim Sisti, 21 Noe Place, Beacon Falls, CT 06403 Spin the Bottle by Ariel Frailich. $11 postpaid in US ($15 postpaid in Canada). From I Saw That!, 35 Candle Liteway, NorthYork, Ontario, M2R 3J5, Canada The Ultimate Snowstorm Set by Larry Maples & Raven. $29 postpaid in US. From Larry Maples & Raven, Inc., 16 Weatherstone Way, Smithtown, NY 11787 Manacles of the World by T. L. Gross. 8.5 x 11, softcover. 162 pages. $10 plus $3 p&h in US (foreign orders add $5 for p&h). From T. L. Gross, P.O. Box 16896, Clayton, MO 63105 The Golden Rule of Schmoozing by Aye Jaye. 6 x 9 softcover. 192 pages. ISBN 157071-129-1. $12.95 From Sourcebooks, Inc. Available at most bookstores.
January 1999 How Far to Ithaca? We’ve just left I-44 and merged onto I-40 on the west side of Oklahoma City, Oklahoma. We’re on the way back to Las Vegas, and the surest sign that we’re pointed in the right direction is that the sky is big again. We’ve swapped the Dodge Caravan for a U-Haul truck, and trying to type on the laptop is an exercise in frustration; the sensitivity of the computer keyboard combined with the vibrations of the truck cab produce words with about a third too many letters. I’m strongly tempted to tell Lisa (who’s driving) to bypass our exit and keep heading west. I-40 is the most direct route back home. But there are still four more lectures remaining, which means we can’t go home just yet. Our route will be circuitous, with a few more adventures ahead of us. Now I know how Odysseus felt. I visualized this lecture tour as a vision quest, hoping that life on the road would provide me with some insights, some deeper understanding of myself or the world around me. Perhaps an answer to the ultimate question of Life, the Universe, and Everything. Unfortunately, it didn’t work out that way. I’ve traveled 14,000 miles, stayed in 60+ cities, and the only thing I’ve learned is that sarcasm is wasted on hotel front desk clerks. They simply don’t have the wit to appreciate it. However, I have gained some insight into what it takes to survive a long lecture tour. I’ll pass these tips along to you at the end of the column. The rigors of the last three weeks of the lecture tour have made it very difficult to get this column done. I’m sure that editors Stan and John have been pulling their hair waiting for me to get this in to them. If you have sent in a product for review and it has not yet appeared in Marketplace, be patient. Your product is probably waiting for me back in Las Vegas. All will appear eventually. Finally, I forgot to wish you all a happy holiday season. I hope 1999 is a safe, fun, and prosperous year for you. The Book By Fraps, Thun, and Willich The magicians known as Die Fertigen Finger were one of the highlights of the 1997 FISM congress in Dresden, Germany. Here’s what Mike Caveney had to say about their lecture: “…ten young Germans performed a carefully scripted show that made you forget you were actually listening to a magic lecture. Hilariously funny and brilliantly entertaining. All fine magicians individually, but as a group, an absolute knockout.” I had a chance to see Die Fertigen Finger at this year’s Desert Magic Seminar, and I agree with Mr. Caveney’s assessment. These young men are thoughtful, clever, serious about their magic, and very, very funny. These traits are clearly displayed in The Book, a large
collection of close-up magic and theoretical essays from the various members of Die Fertigen Finger. The subtitle of The Book is “Don’t Forget to Point,” an obvious bit of advice from a group whose name in English is The Flicking Fingers. (The history of the “Don’t forget to point” admonition is explained at the beginning of the book. It is a very funny story. Throughout the book there are photographs chronicling the History of Pointing. These photos are also very funny.) The Book is divided into four large sections titled Close-up, Cards, Ideas, and Theory. There is a wide variety of material explained, and the technical requirements are varied enough as to appeal to a wide audience. I’ll mention some items that I found particularly interesting. The Close-up chapter begins with a very pretty coin routine by Thomas Fraps in which three half dollars are produced using a pair of tweezers. Rainer Pfeiffer offers a routine called “Change” in which two coins (a copper and a silver) continually penetrate through a small coin purse. This routine is perfect for walk-around situations. If you have an interest in Cup and Ball routines, be sure to check out “The Fruit Cups,” created by Pfeiffer, Manuel Muerte, and Helge Thun. You’ll find some interesting approaches here. Finally, be sure to take a look at Jörg Willich’s “Gummi-Bear Penetration,” the perfect trick to do when you and your pals are wine tasting in the Napa Valley. Card guys will find much to keep them busy in Chapter Two. Among my favorites: Thun’s “Providence ’93,” in which a selected card visually changes several times and ends up in a folded condition under the magician’s watch; Muerte’s “It’s Shoe Time,” in which a selected card and a wine glass appear in the magician’s shoe; and Jörg Alexander’s “The Sympathetic Ten,” a very clever version of Herbert Milton’s “Sympathetic Clubs.” The Ideas chapter has some nifty ones (ideas, that is), including a visible production of a hammer, and some useful card moves from Pit Hartling and Thomas Fraps. Finally, be sure to pay attention to the Theory chapter. There are four excellent essays here, covering a variety of subjects. It is this diversity of areas of expertise that makes The Flicking Fingers such a potent and vibrant creative force. Each member brings to the mix knowledge from fields outside of conjuring. Willich offers suggestions on “Being Creative with Magic,” Fraps discusses “The Blind Spot,” an essay on how the eye and the brain process information, Gaston writes on the subject of “How to Act Wrong,” and Thun offers methods for dealing with difficult spectators in his essay “Status and Improvisation.” The Book is an excellent compilation from a very talented group of young men. I’m glad I had a chance to see The Flicking Fingers in action, and I expect great things from them in the future. Five Times Five Scotland By Peter Duffie
This is the second book of publisher Richard Kaufman’s Five Times Five series. (The first featured the magic of Japan.) The idea of the series is to focus on five creations from each of five magicians from a specific country, and while the concept is an excellent one, Mr. Kaufman mentions that bringing such a project to fruition is a difficult task. (In his prefatory comments Mr. Kaufman amusingly notes, “I have yet to find five French magicians who would agree to allow their tricks to be in the same book with each other.”) Five Times Five Scotland does not strictly adhere to the format (there are three routines from each of ten magicians), but the material is excellent, and we get five extra tricks to boot. Four of the contributors should be familiar to American readers: Roy Walton, Gordon Bruce, R. Paul Wilson, and Peter Duffie (who authored the book). One of the delights of a book of this nature is discovering material from people with whom I was previously unfamiliar. The book focuses on card and coin magic, and will appeal to those with intermediate and above technical skills. If you’re interested in coin magic, be sure to check out the three routines by Walter “Sonny” Day. Of particular interest is a version of “Chink a Chink” which uses a most unlikely gaff. While the performing conditions for this routine are a bit restrictive (you must be seated and using a close-up mat), the method is a fooler. (Sadly, Mr. Day died before the publication of this book.) I can also highly recommend the two coin routines of R. Paul Wilson, who is one of the finest creators and technicians of his generation. Paul offers interesting (and challenging) variations of two of John Ramsay’s classic routines. For commercial card routines, take a look at Dave Campbell’s “Dotty Spots,” Duffie’s “Delirium,” Steve Hamilton’s “A Welcome Return,” Wilson’s “Card on Case in Case,” and Walton’s “Ghostly Spells.” (Concerning the Campbell trick: You should investigate the possibility of doing the trick with business cards, which would leave you in a position to hand out your card at the end of the trick.) Peter Duffie’s explanations are very clear, and Ton Onosaka’s illustrations are magnificent. Five Times Five Scotland is a top-notch collection of close-up routines from some very clever creators. Birthday Magician’s Handbook By Dave Fiscus For many magicians, performing at children’s birthday parties provides a substantial part of their magic income. And though many may denigrate children show performers, they are truly warriors in the trenches; an audience of children places great demands on the performer. Lloyd Jones published the first edition of Dave Fiscus’ Birthday Magician’s Handbook in 1980. Unfortunately, the book suffered from poor production values. Lee Jacobs has
revised and updated this book, and it is a valuable resource for anyone interested in this area of magic. Dave Fiscus has been an educator, an administrator, and a school principal. He is currently teaching science to gifted children. During the period of time he was an administrator, he feared he was becoming too far removed from children, and this was one of his main reasons for becoming a birthday party magician. His purpose for writing Birthday Magician’s Handbook was to provide information on both the performing and the business aspects of the birthday show market. The book begins in an interesting way by discussing the disadvantages of being a birthday party magician. Aspiring magicians should seriously consider these factors. Mr. Fiscus then describes a typical birthday show scenario and follows this with advice on getting to the show, setting up, dealing with parents, warming up the audience, and using children as assistants. The next few chapters explain how to prepare the show, including suggestions on style, showmanship, practice, continuity, routining, and audience control. Mr. Fiscus then spends several chapters explaining how to deal with the various age groups the birthday magician will encounter. Having a well planned, carefully rehearsed birthday show will do you no good if no one hires you, so Mr. Fiscus next explains the business side of birthday shows. The information presented here (on advertising, estimating costs, setting fees, selling, bookkeeping, and getting paid) is clearly presented and very valuable. Finally, the last third of the book presents many routines that Mr. Fiscus has used in his birthday shows. All use standard props, and are within the ability of the average magician. In revising this book, Lee Jacobs enlisted the aid of Chris Carey, Helene Mark, David Ginn, and Samuel Patrick Smith. They have done an excellent job updating the material and adding alternative viewpoints. If you are considering entering the birthday show market, Birthday Magician’s Handbook is a book that should be in your library. And more experienced performers will also find it to be a useful reference book. Komedy Kid-show Kassettes By Ginn, Smith, and Taylor Kid show performers looking for practical, real world advice should pick up Komedy Kid-show Kassettes, a three cassette set featuring David Ginn, Samuel Patrick Smith, and Steve Taylor in a round table discussion. Each of these gentlemen is an experienced kid show performer, and the insights they offer come from performing hundreds of shows. Each cassette focuses on one aspect of kid show magic. Cassette One gives suggestions on how to produce a kid show. Topics discussed are: creating a show, structuring a show, writing effective patter, developing a performance personality, adapting shows for pre-
schoolers and older children, show lengths, practicing and rehearsing, and suggestions for repeat performances. Cassette Two deals with performing kid shows, and included advice on using sound systems, lighting and backdrops, handling nervousness, picking cooperative volunteers (the suggestions here are worth the price of admission), handling problem kids, organizing your props, dealing with performance mistakes, and suggestions on the inclusion of livestock in your show. Cassette Three gives information on promoting your show, and includes advice on: determining your fees, free show requests, how to time mailings, who to contact, closing the deal, using contracts, and using referrals. The three cassettes total four hours in length. I believe that all kid show performers will find valuable information here. Combine the Komedy Kid-show Kassettes with the Fiscus book reviewed above, and you’ll have a graduate and postgraduate course in kid show magic. The Watch Steal Video By Charles Bach and Chappy Brazil Chappy Brazil was a vital and vibrant member of the Las Vegas magic community. He was also a master of the wristwatch steal. The night that this video was completed, Chappy was tragically killed in a traffic accident. While his loss is still palpably felt, it is fortunate that the information on The Watch Steal Video remains behind, for it is the best information on the subject that I have seen. On The Watch Steal Video, Chappy and illusionist Charles Bach discuss how to steal three types of watches: buckle type watches (this is your standard leather strap type), flip tab watches, and metal clasp expandable band watches (Rolex watches are of this type). The information on the Rolex steal is worth the price of the tape, for many believe that this type of watch is impossible to steal. The tape begins with an examination of each type of watch. Then Chappy and Charles take each type in turn, and demonstrate how each watch can be stolen. We first see Chappy out on the street, performing for laymen, stealing a watch. Then the steal action is explained in detail, and we again watch Chappy’s street performance, with a voice over explaining each step of the steal. There are several important points here, including the use of a trick to cover the steal, and the very clever (and non-insulting) method for returning the watch. Three types of watches are not discussed on this video: the hard rubber band watch (like a diver’s watch), the stiff plastic band watch (like a Swatch watch), and the no-clasp expansion band watch. Chappy’s advice is simply to avoid attempting to steal these types of watches. Next, Charles and Chappy offer ways to practice the watch steal, and then discuss several ways to incorporate a watch steal into a magic routine. One offbeat routine involves
loading the stolen watch into a can of soup. The idea is clever, but I think it is only practical for a stage magician who uses an assistant. Many magicians use a watch steal in their acts. Most that I have seen do the steal in a clumsy and inelegant way. The methods taught on this video are absolutely top-notch, and will allow you to get watches from the most attentive spectator. The Watch Steal Video provides the best methods I have seen, and the material is presented in way that you will be able to learn from it. Highly recommended. Card Stunts By Gregory Wilson I hereby declare that from this point forward Gregory Wilson (he of the “Stockholder,” “It,” Off the Cuff, and “Kiss Off”) is to be known as the Greg Wilson, and Mark Wilson’s son Greg will be known as the other Greg Wilson. My reason for doing this is that I have run out of funny ways to refer to Gregory as “the other Greg Wilson.” Gregory’s new video Card Stunts features eight card routines, each of which has a very visual (or in some cases “flourishy”) aspect. Greg performs all eight routines in an extended set in the Close-up Gallery of the Magic Castle. This is a one camera shoot, which means you get a fairly static long shot of the action. You’ll be able to tell what’s going on, but a few close-up shots would have been nice. The opening routine, “Heavyweight Boxing,” is visually quite stunning, as the card box continually jumps back and forth from your pocket to around the deck. “G-Force” is a repeat card forcing routine. “Reset with a Hook” is just that – a variation of the classic Paul Harris routine with a presentational hook which explains why the cards are transposing. “Revelation in Spades,” is a handling of a Ricky Jay plot. All thirteen spades are produced (in order) in a flourishy way. Gregory explains each of the routines clearly and effectively. These are not routines for the beginner, but most are within the abilities of the average card magician. This type of visual, rapid-fire card magic will appeal to many magicians. The tricks are fast, flourishy, and will certainly establish in the minds of the audience that you are someone who has skill with a deck of cards. If this approach to card magic appeals to you, Card Stunts will definitely provide you with some new routines for your repertoire. Coins! By Michael P. Lair Most books and videos these days focus on close-up magic. Very little product is geared toward the stage performer. (Especially the performer who does manipulation.) In his new video Coins!, Michael P. Lair offers some routines involving the manipulation of large plastic coins. These routines are not particularly difficult, and could provide a pleasant interlude of silent manipulation in your stand-up act.
The main idea presented in Coins! is a method for visually producing a large plastic coin. This method is based on an old gambling idea, and looks quite good. A large coin is produced, vanished, reappears, and eventually turns into silver confetti (or a long mylar streamer). Michael offers several variations using the production technique. The tape concludes with a method for vanishing a coin, and a method for sleeving a coin. Unfortunately, I felt that both of these techniques were unconvincing. The production values of this video are good, and the big coin routine is worthwhile. If you’re looking for stand-up manipulation ideas, Coins! is worth checking out. Tim Wright’s Zombie By Tim Wright No doubt about it, “Zombie” is a classic of magic. Many magicians use the effect in their stand-up acts. If you’ve never worked with the trick, and you’re considering adding it to your repertoire, it would be worth your while to check out Tim Wright’s Zombie, a video tape which provides a basic course in “Zombie” manipulation. This is a self-produced video, and the production values are just average. We see Tim standing in his living room, and it is here that he discusses such subjects as the proper construction of the gimmick, the various types of foulards available, how to get into the routine, how to get out of the routine, and music, costume, and character ideas. (A note to Tim: Next time get rid of the cane. Watching you twirl it as you give your introductory patter was unbelievably annoying.) We then watch Tim’s alter ego Skilldini perform the “Zombie” at the Magic Castle. Skilldini is a comedy character, consequently much of Tim’s routine is played for laughs. Tim discusses and explains all the moves in his routine, and most of the moves will be useful to the general practitioner, regardless of whether a serious or a comedy approach is desired. There are two very interesting historical pieces included on this video. One is some rare footage of Joe Karson performing his creation on the streets of Colon. The other is a performance by Neil Foster at an Abbott’s Get Together. Tim Wright’s Zombie is a worthwhile resource to a newcomer interested in performing this effect. It provides the basic information that will get you on the road to learning to float a metal ball. However, I would also suggest that anyone who is going to perform the “Zombie” must also study Tommy Wonder’s essay on the subject. Tommy’s information will help you turn a trick into a miracle. Greatest Magic MIB: Magicians in Black
These two tapes from Royale Productions feature two magic shows performed in a theater in Fort Lauderdale, Florida. They are not instructional videos, they are just magic shows. Which to me means that you paying for the quality of the performances. So for me to review these tapes I have to judge the quality of the individual acts which make up each show. This is not exactly what a product reviewer is supposed to do. But here it goes. I see no reason for the existence of either of these tapes. The caliber of each show is mediocre at best. They remind me of the excruciating opening night stage shows inflicted on magic conventioneers. The Magicians in Black video is somewhat saved by appearances of escape artist Dean Gunnarson and comedy magician Kerry Pollock, but Pollock (who is the Master of Ceremonies) looks as uncomfortable as the orchestra leader on the Titanic. He knows that no matter how well he does his job this ship is going down. Save your money. Not recommended. Manacles of the World By T. L. Gross The subtitle of Manacles of the World is “A Collector’s Guide to International Handcuffs, Leg Irons & Other Miscellaneous Shackles and Restraints.” It certainly is that. In ten chapters Mr. Gross gives an overview of shackles in history, discusses basic types and styles of shackles, and delineates a great number of British, American, Continental European, and Third World shackles. 170 photographs and illustrations accompany the text. I have little knowledge or experience in this facet of magic, so I turned this book over to a couple of experienced escape artists. They were delighted with it. If you are a collector or have an interest in escapology, this book will be a valuable resource. And at $10 it is an absolute steal. Full Circle From Mystic Magic Here’s just what the magic world needs: another ring and rope routine. This particular routine combines elements of “The Professor’s Nightmare” with ideas from George Sands, Daryl Martinez, Richard Sanders, David Williamson, and Aldo Colombini. The magician begins with three unequal ropes. They stretch and become the same length. Two of these ropes magically fuse into one long rope. This rope is tied into a loop and a plastic bracelet penetrates the loop several times. The ends of the rope are removed (leaving an endless loop) and then replaced. (Is any of this beginning to sound familiar?) Finally, the ropes return to their original unequal lengths, bringing the trick “Full Circle.” You get all the necessary props, plus a videotape which demonstrates the routine and then explains it. While the tape does an adequate job explaining the routine, I think a routine
of this nature needs printed instructions as well, so that the student has illustrations to refer to. The problem that I have is that “Full Circle” is a personalization which advances neither the effect, the method, nor the presentation. If you have absolutely no experience with ring and rope routines, you may find that “Full Circle” fits the bill. However, my suggestion would be to track down the original sources (by the inventors mentioned above) and devise your own personalization. But please, unless it improves effect, method, or presentation, don’t publish it. Animental Lucky Lotto By Danny Archer “Animental” is a simple mental effect from Danny Archer, who runs the Magician’s Lecture Network. The magician shows four laminated cardboard strips. Each strip has the pictures of four animals on each side. A spectator thinks of one of the animals. The magician reveals the selected animal. This can be done for up to four people at a time. “Animental” is not a profound mystery, nor are you going to convince anyone that you have genuine psychic powers. However, it is simple and colorful, and would play well for both adults and children. If you’re looking for an easy mental effect it may well suit the bill. “Lucky Lotto” is a fun method for revealing a selected card. A card is chosen, lost in the pack, and the magician attempts to find it. He fails. As recompense he offers the spectator a lottery ticket. The spectator scratches off the ticket and finds the name of the selected card printed on the ticket. With the current popularity of state lotteries, “Lucky Lotto” is a natural. Danny provides you with 25 lottery tickets, which represent four different force cards. (There is an easy way to tell which card is on which ticket.) Danny also gives you a sample presentation, and provides a simple method to force a card. “Lucky Lotto” is simple, effective, and worth your consideration. It’s Not Magic, But… So, you want to go on an extended lecture tour, do you? Here are my top five suggestions for what you’ll need to stay safe and sane on the road: 1) A traveling companion. Having someone share the trip with you not only eases the physical burden of driving, unloading, setting up, tearing down, and loading up again, but can also ease the psychological stress of the trip. 2) A laptop computer. A powerful laptop is not a luxury, it’s a necessity. 3) Some type of street map program. We used a program called Microsoft Streets, and it was just great. The program not only gives you detailed maps of just about every city in the United States, but it also lists hotels, restaurants, post offices, and shopping malls. This program saved our butts many times. 4) Your own pillows. You are going to find yourself in some pretty crappy hotels. Having
your own pillows can make the difference between a good night’s sleep and no sleep at all. 5) Vitamins and herbs. Travelling stresses the body, and the greatest danger is getting sick while you’re on the road. It’s tough to eat healthy, and vitamins and herbs can make a big difference in your energy level and your overall wellbeing. Good luck, and happy lecturing. Details The Book by Fraps, Thun, and Willich. 8.5 x 11, hardcover with glossy dustjacket. 177 pages. $40 postpaid in US. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Five Times Five Scotland by Peter Duffie. 8.5 x 11, hardcover with glossy dustjacket. 126 pages. $35 postpaid in US. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Birthday Magician’s Handbook by Dave Fiscus. 6x 9, hardcover. 214 pages. $30. From Lee Jacobs Productions, P.O. Box 362, Pomeroy, OH 45769-0362 Komedy Kid-show Kassettes by Ginn, Smith, and Taylor. Three audio cassettes. $38 postpaid. From Steve Taylor, P.O. Box 301231, Portland, OR 97294 The Watch Steal Video by Charles Bach and Chappy Brazil. $29.95 plus $3 p&h. From The Watch Steal Video, 4114 West Martin Ave., Las Vegas, NV 89118 Card Stunts by Gregory Wilson. $30 plus $3 p&h. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677 Coins! by Michael P. Lair. $27 postpaid. From Michael P. Lair, 3300 Enfield Ave. NW, Canton, OH 44708 Tim Wright’s Zombie by Tim Wright. $30. Available from most magic dealers. Manacles of the World by T. L. Gross. 8.5 x 11, softcover. 162 pages. $10 plus $3 p&h in US (foreign orders add $5 for p&h). From T. L. Gross, P.O. Box 16896, Clayton, MO 63105 Full Circle by Mystic Magic. $19.95 plus $3 p&h. From Mystic Magic, 111 S. Barranca Street, Suite 320, West Covina, CA 91791 Animental - $18. Lucky Lotto - $15. Both from Danny Archer, 303 S. Broadway, B-235, Denver, CO 80209
February 1999 Art & Artifice Magic does not exist in a vacuum. The inventions of the illusion designers and the manner in which their creations are presented reflect the sensibilities of the era. To truly understand the work of people such as Devant, Selbit, Morritt, and Maskelyne, their illusions must be placed in historical context. In doing so we learn what worked in the past and why it worked, and more importantly, we gain insight into what will work today. Jim Steinmeyer is a true student of magic. He is interested in the technical and the historical aspects of illusions. His new book Art & Artifice contains five fascinating essays which examine some remarkable illusions, and the remarkable men who created them. The title Art and Artifice suggests that the essays will be studies in contrast, the contrast between the esthetic effect, and the craft which helps produce that effect. The first essay recounts the tragic life of Steele MacKaye, a theatrical producer and entrepreneur, who believed he had his finger on the pulse of the Nation, when unfortunately he had his finger somewhere else. MacKaye (whose name rhymes with “sky”) began his career as an actor, having trained with the Parisian instructor Francois Delsarte. The Delsarte system prescribed a set series of gestures to express emotions, and MacKaye’s life could be described as a series of grand gestures. MacKaye loved spectacle, and his productions boasted remarkable theatrical effects. It was his belief that bigger was better which led to his downfall. MacKaye convinced the planners of the 1893 World’s Fair to allow him to build an enormous theater, dubbed the Spectatorium, in which MacKaye would stage a musical production recreating Columbus’ discovery of America. As Mr. Steinmeyer writes, “The Spectatorium would accommodate an audience of 12,000, with a proscenium fully 70 feet tall and 150 feet wide.” The music was to be provided by an orchestra and three choruses, and the stage was constructed with 25 sliding platforms which could be pulled from sight, revealing an area filled with water on which threequarter scale versions of the Nina, Pinta, and Santa Maria would sail into view. Unfortunately, the Spectatorium was never completed, and its failure marked the end of MacKaye’s career. Interwoven with the story of MacKaye’s downfall is the story of John Nevil Maskelyne and David Devant, and it is the juxtaposition of two different approaches to theatrical illusion which makes this first essay so compelling. MacKaye (and to some extent Maskelyne as well) felt that the artifice alone was sufficient; spectacle would satisfy theatergoers. Devant believed that artifice must serve art. The magical plays he wrote for St. George’s Hall “were more restrained, more self conscious.” The illusions served the function of the play, the craft involved was invisible, and all that remained was the emotional effect produced. It is a nice ironic touch that the essay concludes with a
description of Devant performing The Mystic Kettle: a lone man on an empty stage pouring various drinks from an innocent looking kettle. In “The Moth and the Spotlight” you will learn how Mr. Steinmeyer (with help from John Gaughan and some very hardworking assistants) recreated David Devant’s The Mascot Moth. In this extraordinary illusion a woman vanishes in full view of the audience. The recreated illusion was used in the Broadway show Merlin, starring Doug Henning. The essay “Above and Beneath the Saw” recounts the history of the Sawing Through a Woman illusion. P.T. Selbit’s creation was an immediate sensation and began the tradition of victimizing women on stage. The question Steinmeyer asks is: Why was Sawing Through a Woman suddenly the right illusion for the right time? The final two essays of Art & Artifice are my favorites, and together they comprise a marvelous detective story. “Morritt’s Donkey (In Theory and In Practice)” details Mr. Steinmeyer’s search to discover the method for Charles Morritt’s The Disappearing Donkey. I was struck by how much Mr. Steinmeyer’s investigation resembled a Sherlock Holmes mystery, with Alan Wakeling playing the part of Mycroft Holmes and providing a valuable clue into the workings of the illusion. The mystery was eventually solved, and the recreation of Morritt’s The Disappearing Donkey was performed at the Conference on Magic History in 1995. The essays in Art & Artifice reflect both Mr. Steinmeyer’s profound scholarship and his immense love for the subject. If you are a historian, an illusionist, or just someone who wants a better understanding of how magic works, you’ll want this book in your library. I enjoyed Art & Artifice very much and I highly recommend it. It is my pick of the month. Stodare The Enigma Variations By Edwin A. Dawes Guest Review by Brian McCullagh Written by Dr. Edwin A. Dawes, the recent recipient of the Magic Circle's prestigious award, the Maskelyne, for contributions to British magic, this is the story of Joseph Stoddart (Colonel Stodare), a young magician of Victorian England who found fleeting fame before a premature death and who will be remembered as the one “who introduced to the wider world one of the most acclaimed and astonishing illusions of all time - The Sphinx.” In the book, Dr. Dawes succinctly explains his motivations: “Stodare probably presents more confusion, problems, and mysteries for the historian of magic than any other performer. His real name, nationality, parentage, place and date of birth, early career, age at death, and his apparent performance of magic after his demise are all mysteries offering a challenge which I found irresistible.” The fact that many of those discrepancies and errors were perpetrated by respected magic historians such as Henry Ridgely Evans and Sidney W. Clarke puts this work of Dr. Dawes into its true perspective.
The opening chapter is an enthralling description of the Dickensian London that was the milieu in which Colonel Stodare worked, ensuring the reader approaches the book with feet “firmly on the ground,” appreciating the social and economic conditions in which entertainers of the day had to work. Selected line drawings from Gustave Doré’s London: A Pilgrimage (1872) vividly illustrate the text, and the images are seared on the mind, providing a backdrop for everything that follows. The detective work starts with an examination of all the problems associated with the Stodare family name and parentage, including a look at the claim that Stodare was one of John Henry Anderson’s illegitimate sons. The Colonel’s brother, Alfred (often confused with Joseph), plays a vital role in the story; his career and later bitter dispute with Joseph are minutely studied. A major part of the book, of course, is an examination of Colonel Stodare’s short career, from 1860 to 1866, with the six-month season at Egyptian Hall being highlighted. Just about every reader of this review would be familiar with the frontispiece of Professor Hoffmann’s Modern Magic - a drawing of the illusion, “The Sphinx.” Dr. Dawes examination of Stodare’s introduction for “The Sphinx” vividly brought home the impact the illusion had on the general public at the time. Indeed it would be difficult to even imagine any new magic trick having such an influence. Perhaps the effect could be likened to that when Robert Harbin’s “Zig-Zag” was first performed. Certainly a point for discussion. Dr. Dawes points out that the presentation was an integral part of the illusion’s success. The head, being that of a sphinx, ensured the illusion was topical and, of course, ideally suited to Egyptian Hall. Also discussed is the role played by the press in building up public expectation. Many contemporary press reports are quoted. Another aspect of the “Stodare Enigma” is the involvement of Elizabeth, wife of the Colonel, who not only acted as his assistant but attempted to carry on his show after his death. We also meet Artemus Ward who appeared in opposition to Elizabeth and would even have challenged Joseph Stodare if he had been alive. In his now familiar style, Dr. Dawes examines, in depth, Ward’s London season. A chapter is devoted to the four Stodare publications - a bibliographic nightmare, but Dr. Dawes is more than equal to the task. His scientific background is again in evidence as he systematically goes about solving the many problems, pointing out errors in bibliographies and making the necessary corrections. Not only are bibliographic aspects discussed, but also issues such as the actual authorship of some of the books. He concludes that Stodare was probably not the author of A New Handy Book Of Magic and that the book was “an extension of the imaginative advertising that was employed in The Times and other quality journals.” Finally, Stodare’s actual magic is examined, together with his style. As we would expect from this author, he concludes with over five pages of bibliography and references, emphasizing again the breadth and depth of his research.
Several appendices include a translation of the 1886 Belgian pamphlet explaining the workings of “The Sphinx” and the “Indian Basket,” as well as facsimiles of Colonel Stodare’s Hand-Book Of Magic (1862) and A New Handy-Book Of Magic (1865). The latter's preface provides fascinating reading as Stodare’s magic is compared to that of “the old school.” How about this? “Of pseudo conjurers and ‘wizards’ there are plenty, who have not in them one spark of the real art. They play with pretty toys; they perform with ingenious machines; they talk very tall talk; yet they have but one good illusion they imagine the public believes in them... Why, anybody could set up half-a-dozen such ‘professors’ out of a London toy shop.” The Preface continues in that vein for two pages. We think some of magic’s present problems are new! This is a book that, once started, I could not put down. I especially appreciated it from two points of view. Firstly, it is a record of extraordinary research, the likes of which will be difficult for anyone to equal. Secondly, there is so much there for the performing magician if he/she cares to make the effort to see it. Any fan of Dr. Dawes will not need encouragement from me to purchase this book. My advice to those who wish to be real magicians, and who don’t normally purchase “history books,” is to purchase this one. The gold is there if you are prepared to mine it. This hardbound book of 278 pages is limited to an edition of 500 copies. I do not think they will be available for long. The Complete Guide to Restaurant and Walk-around Magic By Kirk Charles Kirk Charles is a full-time professional in the Seattle area. In 1987 he wrote a text on the business of performing close-up magic in restaurants. In 1989 he produced a companion volume, discussing other walk-around venues, including corporate functions, weddings, and parties. Mr. Charles has consolidated and updated these two works in The Complete Guide to Restaurant and Walk-around Magic. It is a valuable and useful resource. The book is divided into four parts. The first part, “Preparing,” analyzes the material that you’ll use in a walk-around venue. Are the routines direct and to the point? Are the props durable, inexpensive, and easy to carry? Do the routines re-set quickly, and are they angle proof? These and other considerations are discussed, and Mr. Charles gives his suggestions. Part two is concerned with promoting restaurant and walk-around magic. Here you’ll find tips on choosing the prospective market, photos, business cards, and composing an appropriate brochure. Part three contains the information that will probably be of most interest to those trying to break into the strolling magic business: How to sell your services. Included is advice on setting your fee, auditioning, composing a contract, marketing, interviews, and booking yourself on the phone. Part four discusses the nuts-and-bolts of working restaurants and other strolling venues. Mr. Charles offers excellent advice on interacting with the wait staff, approaching the table, accepting tips, soliciting outside work, dealing with problem audiences, and learning to be a professional.
The book has four useful appendices. The first contains 25 short scenarios. The test is this: Should one of these situations occur, what would you do? Experienced performers will already have methods for dealing with these situations (and most of the methods will have been learned under fire). The newcomer will benefit from analyzing the hypothetical situation and formulating some sort of plan of action. Appendix Two contains sample contracts for restaurant work, special event work, a generic form contract, a sample booking sheet, and a model release form. Appendix Three contains a sample press release. In preparation for this book, Mr. Charles sent out a questionnaire to a dozen well-known restaurant and bar workers. Those who responded were Eugene Burger, Doc Eason, Paul Green, Tony Griffith, Richard Webster, Simon Lovell, Jim Sisti, and Al the Only. Their replies to the questionnaire comprise Appendix Four. This is useful information, and the newcomer can discover a variety of approaches to choosing repertoire, seeking work, dealing with the restaurant staff, and handling troublesome spectators. The book concludes with a handy (but not particularly comprehensive) bibliography. If you feel you’re ready to jump into the trenches and perform magic in real-life situations, The Complete Guide to Restaurant and Walk-around Magic will provide you with the information you need to know. The rest is simply perseverance and hard work. Recommended. Top Secrets By Terri Rogers Britain’s Terri Rogers has created some very clever material, including the excellent book test The Key. Top Secrets contains 15 of Ms. Rogers’ routines, a few of which have been previously offered as individual dealer items. If you enjoy offbeat plots and tricks with a topological bent (pun intended), you’ll find something of interest here. The book begins with a routine based on the ancient “Boomerang” optical illusion. Ms. Rogers has adapted the optical illusion to name-plates, and has constructed a presentation based on a conflict over who gets top billing, Laurel or Hardy. The Boromian Link is based on Paul Harris’ Immaculate Connection. Three playing cards (which have had the centers removed, leaving only cardboard frames) are linked together in various configurations. The routine concludes with an interesting kicker based on the original Boromian Rings principle. There are several topological tricks including: Buckled Bunkum, in which a belt buckle turns over while still attached to the belt (there is a wonderful scam at the end of this routine); StarGate, a previously marketed routine in which two cards which are glued back to back pass through one another; The Flexicard, which chronicles the adventures of a small rabbit; Blink, another routine based on the Boromian Rings principle; and The Magic Oblong, in which three plastic rings stacked on a spindle turn into a large oblong plastic frame.
There are also some good mental items, including Chess Mate (with addendum from Max Maven), and Word of Mind, a previously marketed effect which makes use of the principle of the progressive anagram. Because of the reliance on topological principles, many of these routines lack what I would call a strong magical “punch” at the end. They tend to be extremely interesting puzzles. If you are a good storyteller, they would certainly provide a memorable interlude between more mysterious material. The routines in Top Secrets remind me of the creations of Robert Neale. If you enjoy his work, you’ll certainly have fun with Terri Rogers’ Top Secrets. Psychological Subtleties By Banachek Banachek is the artist formerly known as Steve Shaw. Steve Shaw is the creator of Pyschokinetic Time and Psychokinetic Touches, two routines which are in the repertoires of mentalists around the world. Steve also developed the method for the Bullet Catch performed by Penn and Teller (one of the most baffling routines I’ve ever seen). Psychological Subtleties is a reference book of useful information for anyone doing mentalism or mental magic. Banachek starts off with a discussion of psychological forces and methods for saving yourself if the force fails. He offers methods for using a nailwriter in a psychological test, and then considers the placement of a psychological test within a mentalism show. Banachek then presents ideas for the subtle forcing of letters, numbers, cards, money, drawings, times on watches, and dream images. He also discusses psychological methods for use in metal bending routines, Q&A routines, the Ash Trick, and telephone tests. The book concludes with an essay on the ethical question of how a mentalist explains his abilities. There is wealth of information here, and my brief review does not do this book justice. If you perform any mentalism at all, you need to read and study Banachek’s Psychological Subtleties. Highly recommended. Martin Gardner’s Table Magic Dover Publications has reprinted five of Martin’s early works (Match-ic, 12 Tricks with a Borrowed Deck, After the Dessert, Cut the Cards, and Over the Coffee Cups) in one volume titled Martin Gardner’s Table Magic. Of the five books mentioned in parenthesis in the previous sentence, only Cut the Cards appeared in the large Martin Gardner Presents compilation published by Kaufman and Greenberg. Consequently, the majority of this material will be completely unknown to most magicians, and at a price tag of $5.95 this is the bargain of the month.
For this new book, Martin has reorganized the material into four categories: Cards, Matches, Coins and Bills, and Common Objects. He has also added a few notes and a couple of new puzzles. The card routines are typical Gardner - maximum impact from subtle handlings which do not require difficult sleight-of-hand. Be sure to take a look at the Improved Topsy-Turvy Deck, Double Climax Speller, Never-Miss Stop Trick, and Improved Lie Speller. (And if you need more prompting, read Stephen Minch’s essay “In Praise of Gifts Forgotten” in Martin Gardner Presents.) The non-card material consists of tricks, stunts, jokes, and puzzles. This is the type of “Table Crap” that Jay Marshall made famous, and is so effective in impromptu situations. If you’ve read Martin’s column in MAGIC you need no further urging from me; you’re probably already a fan of his work. For everybody else, stop by your local bookstore (or magic shop) and pick up a copy of Martin Gardner’s Table Magic. I think you’ll be glad you did. Tricks & Twists By Andre Kole and Jerry MacGregor Andre Kole has now joined the list of magicians who have produced general public books geared toward youngsters. The tricks included are ones which have been explained in many other beginner’s magic books. If you’re looking for a present for a young person, Tricks & Twists would certainly fit the bill, but I think that Karl Fulves’ books published by Dover give you more bang for the buck. (In fact, Kole and MacGregor credit Fulves as one of their inspirations, so why just go right to the source?) Hockmann, the Great Exposes Himself! By Milt Larsen From 1968 to 1988 Milt Larsen wrote about Professor Harry Hockmann in the Magic Castle Friday lunch menus. While such a publication scheme does provide more permanence than writing Hockmann’s exploits in the snow in Vermont during the spring thaw, it deprives those of us who have never had lunch at the Castle from every learning about the extraordinarily checkered career of the world’s oldest living vaudevillian. Fortunately, the complete Hockmann history has been brought between covers in Hockmann, the Great Exposes Himself!, a book which is sure to find a place in your library, probably between your copy of Uncle John’s Ultimate Bathroom Reader and your last two issues of Reader’s Digest. Hockmann rubbed shoulders with the near-great, the not-so-nearly-great, and the not-byany-stretch-of-the-imagination great. He also rubbed shoulders with a lot of people who tried to have him arrested for doing so. We are lucky that Milt Larsen recorded Hockmann’s reminiscences, for how else would we learn of a midwest magician named “The Great Zammo, the Wizard of Oz” who, under pressure from the Frank L. Baum estate was forced to change his name to “The Great Whappo, the Wizard of Oz.” Or “The Great Sucko…the Human Vacuum Cleaner” who, after accidentally inhaling a truckload of corks was never successfully buried at sea. Or “Deflyto, The Great” who built a
costume incorporating tiny metal wings, and who boasted that he could fly from the top of the Empire State Building to Staten Island in less time than it would take the building’s elevator to travel from the top to street level. (Unfortunately, Deflyto never got any further than 34th Street, but he did beat the elevator down.) I’m sorry to say that there is blatant exposure in this book. Mr. Larsen reveals the secrets of some of Hockmann’s greatest effects: The Double Lift (implanted magnets and a shim card make for a clean double), The Floating and Vanishing Elephant, the Vanishing Flying Machine Illusion, and The Fakir’s Favorite Hindu Rope Trick (the entire stage set is built upside down, the performer and the assisting kid wear magnetic shoes, and the audience is given special “reverse prism” glasses). While many of you may scoff, these are the secrets which made Hockmann what he is today: a really, really old drunk. As Mr. Larsen states on the back cover of this book, “These are the secrets that Hockmann planned to take to his grave. Unfortunately, he hasn’t died yet.” What else can I say? This review was exactly as serious as this book is. Hockmann, the Great Exposes Himself! gave me some chuckles. It will probably do the same for you. Update Department I reviewed David Groves’ Be a Street Magician! in the October, 1998 issue of MAGIC. What I received for review were three plastic comb bound books with average production values. Mr. Grove has now released the information in one very nicely produced 8.5 x 11 softcover book. The book is now a high-class affair, with glossy paper and lot of photographs. As I mentioned in my earlier review, if you ever intend to work the street, Be a Street Magician! is a book you must read. See David’s ads in previous issues of MAGIC for more details. Expert Coin Magic Made Easy, Three Volumes By David Roth First, let me clear up some confusion caused by the labeling of these videos from A-1 MultiMedia. The boxes are marked Volumes 18, 19, and 20. This is because they are part of the “Made Easy” series. David Roth has released six earlier videos as part of this series, so if you’re keeping track, these newly released videos are numbers seven, eight, and nine in the Roth Expert Coin Magic Made Easy series. Each video concerns itself with a single subject: Volume 18 is magic with Coins & Silks; Volume 19 is Dinner Table Coin Magic; and Volume 20 contains Coin Flourishes, Stunts, & Wagers. Volume 18 contains 14 routines, including a multi-phased Coin & Silk routine (a coin is produced from a silk, vanishes, reappears, penetrates the silk, and then vanishes completely), two versions for Coin Through Finger Ring, Tenkai’s Magical Filtration (similar to the classic Expansion of Texture), E. Brian MacCarthy’s Coin Vanish, and Coins Through Silk (a routine popularized by Michael Ammar which uses three coins and a sheer silk).
Volume 19 focuses on Dinner Table Coin Magic. Here you will find two methods for Coins Through the Table, the classic Coin & Glass Through Table, the Weeping Coin, a little known trick of T. Nelson Downs’ called the Napkin Ring Coin Vanish, and the Free & Unlimited Coinage of Silver (a trick which was the basis for Albert Goshman’s masterful Salt and Pepper Shaker routine). Be aware that these tricks are designed to do while seated at the dinner table and consequently use a lot of lapping. In Volume 20 David Roth demonstrates and explains some of the most useful coin flourishes, including The Coin Roll, the Flip-over Flourish, the Coin Roll-down, the Swivel Pivot, the Elbow Catch (including John Cornelius’ great coin vanish), and two versions of the Coin Star. Also explained on this video are some simple bar bets using coins. As in his previous videos, Mr. Roth does a fine job demonstrating and explaining these routines. And if you listen carefully you’ll find some very worthwhile hints and tips scattered throughout the videos. However, I feel that the usefulness of these videos will entirely depend on whether or not you like to read. The material on these tapes does not come from Mr. Roth’s repertoire; he researched the topics and discovered, analyzed, and practiced the various routines so he could demonstrate and explain them. If you think about it, this is something you could do if you simply put your mind to it. There is certainly some value in seeing Mr. Roth handle these tricks (and especially watching him perform and explain the flourishes), but if your library is of any decent size you probably have all these tricks in books somewhere. You just have to track them down. The bottom line? David Roth’s Expert Coin Magic Made Easy Volumes 18, 19, and 20 are of most value to non-readers. Others may want to visit their libraries first. Side Effect By Guy Bavli Israel’s Guy Bavli offers this interesting spoon bending effect: The magician holds up two spoons, one in each hand. The spectator indicates a spoon and the other is discarded (magician’s choice). The remaining spoon is held between the thumb and first finger. The spoon begins to soften and bends downward on both sides. The melting process stops and the bent spoon is handed to the spectator who can examine it thoroughly. Side Effect looks quite good, but I encountered several problems trying to learn it. First, your success in performing this will depend on you hand size. I have very small hands, and I was simply unable to hold the gaffs in such a way that everything was hidden from view of the audience. If your hands are normal sized or larger, you probably won’t encounter this problem. Second, Guy’s instructions are not particularly clear. Not only did I have trouble understanding how to steal off the gaff, but it seemed to me that when I handed the genuinely bent spoon out for examination, the spoon was bent in the wrong direction. I spent quite some time comparing the illustrations in the directions with the photos in Guy’s ad, and I still couldn’t figure out what I was doing wrong. Finally, Guy’s suggestions for how to get into this trick are vague. You are going to have to go into your
briefcase, or into your coat pocket, or (if you’re seated) into your lap to allow your right to arrange the gaffs properly. This is not going to look as if you just pick a couple of spoons off a table and go into the trick. Having said all the above, let me tell you that I worked out a handling which fit my hand size, allowed me to steal off the gaff in a natural way, and have the bend end up in the correct direction. However, that doesn’t do you any good. But I think that if you are creative at all and are willing to spend a little time playing with the props, you’ll be able to figure out something that works for you. If you don’t mind doing this, Side Effect may be worthwhile to you. If not, I’m not sure you’ll get $30 of value from this. Pop Pop Poof! By David Garrard Here’s a very simple and visual kid’s show trick from David Garrard. The magician shows a bag of lollipops. He removes a cherry lollipop and wraps it in a purple silk. This is handed to a spectator. The magician then removes a grape lollipop from the bag and wraps the lollipop in a red silk. This is handed to another spectator. A snap of the fingers and the lollipops transpose: the cherry lollipop is under the red silk and the grape lollipop is under the purple silk. The nice part here is that the spectators unwrap the silks to reveal the transposition. Because the lollipops are ungaffed, the spectators can keep them as souvenirs. This trick is easy to do, and is very effective. You are provided with a bag of lollipops, two silks, and the necessary gaffs. If you’re a kid’s show magician, Pop Pop Poof! is worth checking out. Details Art & Artifice by Jim Steinmeyer. 6 x 9, hardbound with gold stamped cover. 191 page. $35 plus $5 p&h ($10 overseas). From Hahne, 514 South Parish Place, Burbank, CA 91506 Stodare The Enigma Variations by Edwin A. Dawes. Cloth square back binding, 278 pages. $50.00 (postpaid in USA; surface mail paid elsewhere) from Richard Kaufman, 4200 Wisconsin Ave., NW, Suite 106-292, Washington, DC 20016 The Complete Guide to Restaurant and Walk-around Magic by Kirk Charles. 6 x9, hardcover with glossy dustjacket. 240 pages. $30 plus $3 p&h (overseas airmail add $10). From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468 Top Secrets by Terri Rogers. 6 x 9, hardcover. 128 pages. $40 plus $5 p&h. From Firebird Distributing, 1945 P Street, Eureka, CA 95501
Psychological Subtleties by Banachek. 6 x 9, hardcover. 115 pages. $40 plus $1 p&h in US. From Magic Inspirations, 3613 W. Clay Street, Houston, TX 77019 Martin Gardner’s Table Magic by Martin Gardner. 6 x 9, softcover. 128 pages. $5.95. ISBN 0-486-40403-X. From Dover Publications, Inc. Tricks & Twists by Andre Kole and Jerry MacGregor. 5 x 8, softcover. 164 pages. ISBN 1-56507-974-4. From Harvest House Publishers. Hockmann, the Great Exposes Himself! by Milt Larson. 6 x 9, softcover. 126 pages. $14.50 plus $3 p&h. From Brookledge Corporation, Magic Castles, Inc., 7001 Franklin Avenue, Hollywood, CA 90028 Expert Coin Magic Made Easy by David Roth. Three Volumes. Each video $29.95. All three for $84.95. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Side Effect by Guy Bavli. $30 plus $4 p&h. From Guy Bavli, P.O. Box 20641, Tel-Aviv, 61204, Israel Pop Pop Poof! by David Garrard. $15 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727
March 1999 Beautiful Anguish René Levand wants to hurt you. He wants to get your brain in a vise grip and squeeze so hard the tears come. As he states in the Prologue to The Mysteries of My Life, “The kind of magic I do is really not for amusement, but rather for amazement. I try to amaze the audience, really shock them, choke the audience good and hard. I strive to bring them to a point of profound anguish.” That Señor Levand is able to do this single-handedly, using only a deck of playing cards, is a remarkable achievement. Also remarkable is the fact that the twelve tricks which comprise Señor Levand’s act perfectly compliment his personality and serve as an expression of his life. To me, this is the highest accomplishment of a great artist, an accomplishment which is often seen in music and art, but which is rare in the world of magic. It is as if Señor Levand is saying, “Here is my life, full of struggles, triumph, pain, and profound mysteries. My life has been affected in ways I cannot begin to explain. You will see things that you cannot explain, and in this way, you will be affected as well.” I realize that I’m gushing, but The Mysteries of My Life is an absolutely fabulous book. A perfectly structured, completely integrated, profoundly amazing act is a rarity. Most of us have repertoire, from which we pick and choose the routines which we will use in any given performance set. But few performers have designed their close-up shows with a clearly defined dramatic structure and a seamless integration of techniques. There are performers in the United States who are capable of developing such acts, but the venues here tend to preclude this approach. Señor Levand’s act is about 45 minutes long, and demands a venue in which the audience can sit quietly and appreciate what he does. Where does one find such a venue? Even the Magic Castle does not allow such a long show. The Mysteries of My Life is divided into two parts. The first, written by Richard Kaufman and marvelously illustrated by Earle Oakes, explains every nuance of the twelve tricks which comprise The Act. The second half of the book, titled “My Life: Shuffling Memories,” was written by Señor Levand and translated by Tina Lenert. In these reminiscences you will learn much about Señor Levand’s approach to creativity, performance, magic, and life. Many of the tricks in the Act have appeared in the three earlier Levand books, Slow Motion Magic Volumes 1 and 2, and Magic from the Soul. Even if you have these books, you will appreciate Richard Kaufman’s clear writing and the manner in which each effect is integrated into the whole. The act begins with a simple two card transposition, titled My Visiting Card. This is followed by a version of Triumph and a miniature Ambitious
Card segment. At this point comes one of Señor Levand’s most famous routines, Why Do the Colors Alternate Themselves? This is a variation of Bill Simon’s Call to the Colors in which the cards (which have been thoroughly shuffled by this time) suddenly alternate red, black. Then they alternate in pairs of reds and blacks, then singly again, then in groups of three. To the audience it appears as if Señor Levand is simply dealing cards off the deck and the order of the cards changes. (Curiously, this is one of two times in the Act in which Señor Levand gets a monumental reaction from simply dealing cards.) There now comes a version of Follow the Leader and Señor Levand’s It Can’t Be Done Any Slower, a devastating handling of Oil and Water. This is followed by an Elevator routine, a routine in which Señor Levand divines the identities of several cards while his head is turned, an unbelievable Card to Pocket, and I Know Them and I Don’t Know How, in which Señor Levand rapidly calls off the entire order of the deck as he deals them with his head turned. (Remember, at this point the deck has been shuffled dozens of times.) It is hard to believe, but this routine consistently generates a standing ovation. This occurs because of the incredibly clever routining, which leads the audience to believe that there is no way that Señor Levand could know the order of the cards. Two short encore pieces follow: The Deck is Feminine and Remembering My Credentials. Señor Levand generally concludes his performance by telling a couple of touching stories (including a classic O’Henry tale), and these are included in the text as well. Now having raved about the quality of the material and the brilliance of the construction, let me tell you that if you’re looking for material to add to your repertoire you will probably be overwhelmed, because these tricks are hard. I mean really, really hard. Señor Levand performs false riffle shuffles, second and third deals, false cuts, double lifts, triple lifts, and other sleights with one hand. You could, of course, substitute two-handed versions of these moves. But even so, the technical demands are still great. In addition, the techniques and presentations are so married to Señor Levand’s personality that it will take considerable effort to adapt them to your own style of working. In this way The Mysteries of My Life very much resembles Showtime at the Tom Foolery, which chronicled the act of Tom Mullica. In both cases, the performer’s personality so infuses the material that it is difficult to even consider performing it. Having said that, I do think The Mysteries of My Life is an outstanding book, one which should be in your library. You certainly do not want to imitate Señor Levand, in fact, to do so would be impossible. However, you can learn from his example. A careful study of the structure of his act will reap valuable rewards. I highly recommend The Mysteries of My Life. It is my pick of the month. Cyclops By Bob Farmer
You know Bob Farmer from his excellent Flim-Flam column in this very magazine. (And by the way, welcome back, Bob, we missed you.) Bob is a student of magic, and all of his marketed items show great scholarship and ingenuity. Bob’s newest release is Cyclops, an offbeat Cups and Balls routine. Actually, I should have said Cups and Ball routine, because this routine uses three cups and only (apparently) one ball. (And having written that, I’m not sure why the routine is called Cyclops, since the Cyclops of mythology had only one eye. Perhaps Bob knows something only the Cyclops’ closest friends knew. But I digress.) Bob’s routine has some interesting aspects: it requires no special equipment; it can be done in almost any performance environment; and it is not particularly difficult. Perhaps the most unusual aspect is that Cyclops uses big balls (Bob suggests 2 inch solid rubber balls). This greatly increases the visibility of the routine. Cyclops is divided into three acts, each act containing several effects. Bob gives a summary of each act on the back cover of the Cyclops booklet, which is an excellent learning aid. The big ball vanishes, appears at the magician’s elbow, jumps from cup to cup, penetrates the bottom of a cup, vanishes from the magician’s pocket and appears under a cup, and finally multiplies into three balls. For those of you who may feel that the production of three balls tips the method, Bob offers several alternative endings. One of Bob’s gifts is his ability to describe complex routines in an easy to understand way. Each phase of the routine is introduced with a bold-faced paragraph heading which explains exactly what you are going to be learning. All the illustrations are grouped at the back of the manuscript, and you may want to remove the plastic comb and lay out these pages so you don’t have to keep flipping back and forth. If you’re looking for an offbeat Cups and Balls routine, Cyclops is certainly worth your consideration. It’s easy, effective, and practical. And at $10 it’s a steal. Recommended. Magic Squares By Mark S. Farrar Magic squares are not magic, but the knowledge of how to construct them seems to be one of the ancillary skills which a magician ought to possess. In Magic Squares, Mark Farrar has provided a useful reference book for those who want to learn about these fascinating mathematical curiosities. Mr. Farrar gives a brief history of magic squares, and then gives some general information on the types and classifications of magic squares. Next, he presents general formulas for constructing magic squares, and then provides analyses of 3x3, 4x4, and 5x5 magic squares. Following this are 18 routines in which magic square are utilized in a conjuring context. There are some offbeat ideas here, including a routine which utilizes a memorized deck, and one which combines a magic square and origami. Some of these
routines are only sketchily described, and you may have to seek out the original source (which Mr. Farrar refers to) in order have all the information you need. The book concludes with a useful bibliography and five appendices which provide information on various summation combinations for 4x4 and 5x5 squares. Magic Squares is an excellent reference book for those looking for information on this subject. Electronic Wizardry By Dr. Tom N. Todd If you’re a do-it-yourselfer, be sure to check out Tom Todd’s Electronic Wizardry. Dr. Todd covers a variety of subjects, including batteries, pyrotechnics, wireless remotes, solenoids and valves, sound systems, lighting and special effects, and high tech spy stuff. You’ll learn how to make flashpots, hand flashers, confetti cannons, and a bunch of other cool stuff. The text is geared to those who already have some experience with electronic projects, but Dr. Todd provides resources for those who are new to the subject. I recommend Electronic Wizardry. There are not many books available on this subject. However, let me offer the following warning: Some of the devices explained here could be potentially harmful to the magician or the spectators. Use common sense and be careful. The Money Maker Machine Manual By Algonquin McDuff Rhett Bryson and Dexter Cleveland are back with the sixth book of the infamous McDuff Trilogy. This time around they tackle the venerable Money Maker Machine. (This machine has two rollers; you feed a blank piece of paper into the rollers, turn a handle, and the machine apparently prints a genuine dollar bill.) You may find out more about the Money Maker Machine (hereafter known as the MMM) than you really wanted to know. The Money Maker Machine Manual begins with a history of the device, including the diagrams from four U.S. patents. Most magic dealers have included a MMM in their catalogs, and there is a chapter with the various ads which have appeared. Next is a chapter with photographs showing a wide variety of MMMs which were produced over the past hundred years. Included here is a model designed by Derek Verner, Dai Vernon’s son. The last half of the book contains routines for the MMM from contributors such as Martin Gardner, Frank Herman, Charles Pecor, Marv Leventhal, George Schindler, Al Cohen, Warren Stephens, and Dan Garrett. There are some very nifty ideas here.
I would imagine that all of us have owned a MMM at some point in our magical lives. The Money Maker Machine Manual provides a lot of information in the usual lighthearted McDuff style. I enjoyed it. I think you will too. The Little Green Lecture Notes The Little Green Lecture Video By Pit Hartling Pit Hartling won second place in the card magic category at the 1994 FISM convention in Yokohama, Japan. He is a member of the Flicking Fingers, a talented group of young German magicians who made a strong impression in 1997 at the Dresden FISM and in 1998 at the Desert Magic Seminar. Pit gave a few lectures around the United States last year. The Little Green Lecture Notes and The Little Green Lecture Video contain five clever card effects, none of which require advanced card handling ability. My two favorite effects are Cupit and Chaos. In Cupit, the Joker acts as the God of Love, pairing up all the cards of the deck, so that each card lies next to its mate. The method is offbeat, and would fool you if you saw it performed. Chaos is a two card location which is completely self-working, but which is extremely hard to reconstruct. Also included in the Notes are: Robin Hood, which combines the Cards Across and The Collectors plots; Defect, a rising card routine with a comedy kicker; and Triathlon, a three card location. All the routines are clearly explained, and Pit offers some additional tips, hints, and suggestions at the end of each routine. The Little Green Lecture Video contains all the routines from the Notes, plus two more: Chameleon, a handling for the Universal Card which is very visual; and The Ultimate Coincidence, an effect in which every card in the performer’s deck matches the cards in a deck which a spectator has shuffled. This effect is not explained, and I would imagine that magicians are going to wear out the Slo-mo button on their VCRs trying to figure out how this trick works. (Incidentally, there is a mistake in the description of this effect on the video box cover. It says that the spectator’s deck is borrowed. This is not true. The magician hands the deck to the spectator to shuffle.) The video is well produced, and Pit’s explanations (and his English) are excellent. Whether you choose to buy the Notes or the Video, I think you’ll find The Little Green Lecture to be worthwhile. Recommended. The Big Picture By Woody Pittman Woody Pittman is a very successful comedy magician. He started out in comedy clubs, but lately has been plying his trade on cruise ships. His stage persona is a marvelous combination of charm and weirdness which makes him a delight to watch. The Big Picture is a set of notes in which Woody discusses character development for magicians. Woody explains how he created and developed his character, how you can create your own unique character, how to develop unique presentations, how to motivate your
character’s actions, and how to choose assistants from the audience. These are notes, consequently Woody does not go into great detail about any of these subjects, but his advice is practical and useful. One of the most difficult aspects of the performance of magic is finding your own unique voice. No one has all the answers, but The Big Picture will point you in the right direction. The Eye Deceived, the Ear Amused, and the Mind Astonished! By Gary Hunt William Augustus Reich was born in Salem, North Carolina in 1883. He was a pacifist, but joined the North Carolina 26th Regimental Band during the Civil War, and played the bass drum. (This makes perfect sense to me, because I’ve worked with drummers who use the bass drum as a lethal weapon.) As a band member he also worked as a hospital attendant, and saw most of his unit wiped out at the battle of Gettysburg. Between battles he gave concerts and magic shows and later became known as Professor Gus Rich, the Wizard of the Blue Ridge. You may know of Gus Rich because of Max Howard’s marvelous recreation “The Great Southern Sleight of Hand Show.” Gary Hunt gave a talk on Gus Rich at a recent Magic Collector’s Weekend. The Eye Deceived, the Ear Amused, and the Mind Astonished! are the notes from that talk, and they include biographical information, reviews of Gus Rich’s shows, photographs of his props, and a brief article by Max Howard on the evolution of “The Great Southern Sleight of Hand Show.” There are a limited number of these manuscripts available. If you want a copy, contact Mr. Hunt right away. Sylvester Pitch 98 By Dan Sylvester Dan Sylvester is a walking special effect. His character, Sylvester the Jester, is a living cartoon, and it is a tribute to Dan’s creativity that he has been able to bring to the stage effects which have only been seen in the world of animation. Dan is also an accomplished sleight-of-hand magician, and he has developed a utility move which will be of interest to close-up and parlor magicians. The Sylvester Pitch (also known as the Inertia Pass) allows you to secretly transfer an object from right hand to left hand as the left hand openly tosses an object to the right hand. The beauty of the Sylvester Pitch is that the hands are not close to each other, and the secret transfer happens at the exact same time as the overt tossing action. In the video tape Sylvester Pitch 98, you’ll learn how to perform the pitch, and you’ll learn the extended Miser’s Dream routine in which the pitch is incorporated. The pitch is not particularly easy, it will require some conscientious practice in order to master it. But
the time spent is worth it, for this is a utility move which will allow you to secretly transfer any small object, and large objects as well. The tape begins with excerpts from the Sylvester the Jester stage act. Then Dan performs and explains the pitch and the associated routines. While Dan’s explanations are clear, he does not completely abandon his “Jester” persona during the teaching segments, and some may find this off-putting. The camera work is also good, especially considering that the pitch is a three-dimensional move, and needs to be seen live to be completely appreciated. The Sylvester Pitch is an excellent utility move, and Sylvester Pitch 98 explains it very well. If you’re a sleight-of-hand guy, it is worth your serious consideration. Automatic Thimbles From Creative Enterprises Also from the folks who brought you “Inferno” is this set of thimbles which allow you to perform interesting manipulations with a minimum of technical ability. The thimbles come in two varieties, white or multicolored, and you get four thimbles in each package. These are big magician-style thimbles (you’d never find a seamstress wearing something like this), and they are about 1.25 inches tall and the mouth of the thimble is 1 inch in diameter. The size of these thimbles caused me some problems. Because of my small hands and skinny fingers the thimbles fit very loosely and insecurely. If you have normal hands this probably won’t bother you. Included with each set of thimbles is an instruction sheet which explains the basic production move. The basic move is this: You show a thimble on your forefinger. You do this very cleanly. You then immediately produce another thimble on your middle finger. This move looks very good and is quite deceptive. The instructions give you the information you need to produce four thimbles. While the instructions do a satisfactory job explaining the thimble productions, I think that anyone who is seriously considering using these thimbles should also invest in the companion video, titled Automatic Thimbles Movie. Steve Sheraton demonstrates and explains several routines, and (as he has done in several other videos) he does this silently. This means that if English is not your first language you’ll still be able to understand what’s going on. I’m not a thimble guy, so I don’t know if these thimbles can be used for routines such as those of Joe Mogar in Digital Effects. But if you’re interested in a simple thimble routine, the Automatic Thimbles and the Automatic Thimbles Movie will certainly fit the bill. Bound Ambition By Rev. Alan Geddes
Here’s an offbeat and simple card effect. The magician brings out a curious deck of cards. The side of the cards have been punched and a plastic comb binder has been placed through the holes, thus producing a deck which makes sleight-of-hand impossible. The magician riffles through the cards and a spectator says, “Stop.” The card at that point is noted. (Incidentally, during this riffle it is seen that all the cards are different.) The cards are squared. The magician then pulls away the plastic comb. The deck comes free, but one card remains, hanging from the plastic comb. It is the selected card. This is not an earthshaking effect, but the prop is novel, and it is completely selfworking. You receive a gaffed deck, an ungaffed deck, a duplicate force card, and an extra comb in the event of breakage. If the effect appeals to you, “Bound Ambition” is worth checking out. Silk Dream By Werry This little trick has been getting a lot of advertising space. Here’s what happens: The magician shows his hands empty. (They are actually empty.) He slowly reaches out and apparently grabs something from the air. The magician then makes a small tossing motion and a silk appears in mid-air. First off, let me say that the illusion produced by this device is quite good, however it will take some time and practice to coordinate all the actions so they generate the desired result. The “Silk Dream” device is a one-shot deal - you produce one silk and that’s it. You can produce the silk at any time during your act. There is some noise when the silk is produced. You will need to cover this noise with music or a forceful vocal outburst. The ads say, “Never do your hands touch your body or your clothing.” This is slightly deceptive. You must make contact with the device in order to trigger it. You can use your wrist or your forearm, and this can be done in a very subtle and non-obvious way, but this is not a “no touch” device. Another factor is the size of the silk which can be produced. The ads say that you can produce an 18 inch silk. I think this is only possible if the silk is extremely thin or is cut diagonally. I tried this with a 12 inch silk, and the silk had to be packed very tightly in order to fly out freely and produce the desired illusion. On page 59 of Bruce Elliott’s Magic as a Hobby there is a trick called “Popper” which is the barehanded production of a silk. This requires no gaffs, although you would have to perform the production near the beginning of your act. I would suggest tracking down this book and trying out this production to see if you like the effect. If the effect appeals, and if you have a reason to include such an effect in your act, then Werry’s “Silk Dream” may be exactly what you’re looking for. Murphy’s Chest From Bazar de Magia
In The Book Without a Name, Ted Annemann had an effect called “Seven Keys to Baldpate.” There have been many variations of this effect, including popular mechanical versions such as “Key-r-rect.” With “Murphy’s Chest,” Bazar de Magia has produced a practical, simple, and fairly foolproof method for performing this effect. There are many presentational approaches, but here’s a simple one: The magician brings out a small wooden box. It has a lock on the front, and sticking out of this lock is a small key. The magician (or a spectator) turns the key and unlocks the box. The magician drops a $100 bill into the box, closes it, locks it, and removes the key. He now brings out four more keys which are similar to the one which opens the box. He mixes all five keys in a large brandy snifter and each of four spectators chooses a key. The key which remains is taken by the magician. Each spectator will try his key. If it opens the box, he get the $100. Any of them may switch keys with the magician at any time. All the spectators try their keys. None work. The magician (or a spectator if desired) tries the fifth key, and it opens the box. The wooden box has a mahogany veneer and is 5.5 x 4 x 8. It is gimmicked in an ingenious way which allows for almost hands-off operation. You receive all the necessary props, two duplicate keys, and a small instruction manual. (Important note! If you buy this prop, turn to page 11 of the manual and read the entire page before you play around with any of the props! You could easily screw something up. I almost did.) The manual contains several routines, including an idea from Ted Lesley. I like this very much. The box looks good, the method is ingenious, and the handling is a no-brainer. Unfortunately, at $389 this item is only practical for professionals and wealthy amateurs. But if you fall into one of those categories, I think that you’ll get a lot of use out of “Murphy’s Chest.” Recommended. The Pro-Folio By Andy Nyman Also of use to working professionals is this elegant prop from British mentalist Andy Nyman. “The Pro-Folio” is a leather business portfolio. It measures 9.5 x 13 inches and is made of black buffalo hide trimmed with brass corners. Built into the portfolio are a peek device and an impression device. Neither device is high-tech, but both work like a charm. (The manner in which the peek is obtained is particularly ingenious.) Andy provides you with the necessary prop and a manuscript which details all the handling. He also includes several routines, including an excellent one based on graphology. Andy’s motivation was to design a prop which would look at home in a corporate setting. Both the price and the nature of the material performed with this prop place it outside the realm of the inexperienced or the merely curious. However, if you are a working mentalist, “The Pro-Folio” would be an excellent investment. Recommended.
The Psycho-Kinetic Pen From Grand Illusions Here’s an easy-to-carry way to prove your telekinetic abilities. The magician brings out a black Bic pen. He places the pen on a table, allowing half the pen to project over the edge of the table. The magician makes mystic passes over the pen. In a few seconds, the pen tumbles over the edge and onto the floor. You get three pens (one gaffed and two ungaffed) and a page of instructions. The pen is easy to use, reset is simple, and the effect packs small and plays big. If you’re anxious to have your own “Uri” moment, “The Psycho-Kinetic Pen” is worth checking out. Details The Mysteries of My Life by Richard Kaufman and René Levand. 8.5 x 11, hardcover with glossy dustjacket. 169 pages. $40 postpaid in U.S. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Cyclops by Bob Farmer. 8.5 x 11, plastic comb bound. 12 pages. $10 postpaid ($12 outside North America). From Bob Farmer, Box 1262, Brockville, Ontario, Canada K6V 5W2 Magic Squares by Mark S. Farrar. 8.5 x 11, plastic comb bound. 107 pages. $30. From H&R Magic Books, 3839 Liles Lane, Humble, TX 77396-4088 Electronic Wizardry by Dr. Tom N. Todd. 8.5 x 11. 38 pages. $22 plus $3 p&h. From Tom Todd, 1312 N.W. 12th, Suite 111, Moore, OK 73170 The Money Maker Machine Manual by Algonquin McDuff. 6 x 8, plastic comb bound. 102 pages. $20. From Jester’s Press, P.O. Box 3442, Spartanburg, SC 29304 The Little Green Lecture Notes. 8.5 x 11, stapled. 37 pages. $15 The Little Green Lecture Video. $35. Both by Pit Hartling. From H&R Magic Books, 3839 Liles Lane, Humble, TX 77396-4088 The Big Picture by Woody Pittman. 4.25 x 5.5, stapled. 38 pages. $10. From Woody Pittman. P.O. Box 845, Hollywood, CA 90078-0845 The Eye Deceived, the Ear Amused, and the Mind Astonished! by Gary Hunt. 8.5 x 11, stapled. 24 pages. $10 plus $2 p&h. From Gary Hunt, 3209 Rugby Road, Durham, NC 27707 Sylvester Pitch 98 by Dan Sylvester. $34.95 plus $5 p&h. From Inferno, 4255 D, E. Charleston Blvd., Las Vegas, NV 89104 Automatic Thimbles. $19.95
Automatic Thimble Movie. $15. From Inferno, 4255 D, E. Charleston Blvd., Las Vegas, NV 89104 Bound Ambition by Rev. Alan Geddes. $17.95. From Showplace Magic, 50 South Main Street, Salt Lake City, UT 84144 Werry’s Silk Dream. $30. Available from most magic dealers. Murphy’s Chest. From Bazar de Magia. $389. From Bazar de Magia, Casilla de Correo No. 58, Sucursal No. 1, (1401) Buenos Aires, Argentina The Pro-Folio by Andy Nyman. $175 plus $15 p&h. From Andy Nyman, 67 Hammersmith Grove, London, W6 ONE, England. The Psycho-Kinetic Pen from Grand Illusions. $26.95 plus $3 p&h. From Grand Illusions, 7704 Fair Oaks Blvd., Carmichael, CA 95608
April 1999 Born Backwards A long time ago, in a Hollywood, California which no longer exists, there was a restaurant called Sharpe’s Cafeteria. Above this cafeteria was a faded plaque displaying some words from Omar Khayyam. The Worldly Hope men set their hearts upon/Turns Ashes - or it prospers; and anon,/Like Snow upon the Desert’s dusty Face/Lighting a little Hour or two - is gone. For a while, Arthur Brandon and Roger Coker lived above Sharpe’s Cafeteria in a two bedroom apartment whose living room was filled with illusions in various stages of completion, paint, tools, reams of fabric, an old sewing machine, and an amiable duck. How Brandon and Coker arrived in Hollywood, and how they traveled from there to perform in the major cities around the world, is the subject of Milo & Roger, an autobiography by Arthur Brandon. It is a story of love, laughter, tears, frustration, perseverance, and most of all, hope. Arthur Brandon was born July 19, 1916 in Alliance, Ohio, a small town about 25 miles southeast of Akron. His father, Harry, was a chauffeur and a truck driver. His mother Katie brought in some extra money by cooking in restaurants. Katie gave birth to ten children. Only Arthur and his sister Evelyn survived past infancy. Arthur’s parents were hard working, earthy, funny people. Most importantly, they were supportive of their son’s dream to be a professional magician. For Arthur Brandon, the magic bug had bit early. Vaudeville was still in its heyday, allowing Arthur a chance to see such great magicians as Howard Thurston and Harry Blackstone, Sr. A Johnson Smith catalog introduced Arthur to the world of mail-order miracles, and this information was soon supplemented by a library copy of Modern Magic and lessons from the Tarbell Course, donated by a sympathetic barber. In the summer of 1929 Arthur performed a charity show for the Ladies Aid Society. Billed as “Brandon! The Boy-Wonder Magician!!,” his handbills contained a quote from the New York Times: “Brandon is a genius of magic…See him!” The quote, of course, was pure fabrication, but Arthur continued to use it through the early part of his adult performing career. (In fact, years later, a Hollywood agent named Eddie Cochran hired Arthur and Roger on the strength of this quote. As Cochran told his secretary, “I gave that guy a television contract even though I’ve never seen his act. I figured that anyone with enough guts to fake a quotation from the New York Times must be good.”) Having achieved some success and popularity in Alliance, Arthur Brandon eventually hit the road, touring with the Doc Whorrel Medicine Show and the Dan Fitch Minstrel Show. These excursions gave Arthur his first taste of the realities of life as a touring performer: cheap hotels, lousy food in claptrap diners, and hours of drudgery as the shows traveled from city to city. During these travels Arthur encountered a number of charming eccentrics, including Dr. George Brinkler (who was a “Naturopath”) and Abie’s Irish Rose, a Broadway actress long past her prime.
Eventually, Arthur ended up in Akron, Ohio. There, in a small magic and novelty shop located across the street from his hotel, he met Roger Coker, an aspiring young magician 16 years his junior. By this time, Arthur had adopted the stage name “Milo,” and he and Roger became partners. At their initial performance at Chin’s Victory Room in Cleveland, Roger inadvertently established the framework for their future act. Dressed in an Aladdin costume, Roger (functioning as Milo’s assistant) walked out on stage, caught a sandal on the makeshift stage stairs, and sent himself and a tray full of props sprawling on the floor. The audience was hysterical. When the second show went without mishap, Mr. Chin asked, “Why don’t you do funny spill-milk-and-water in act?” The seeds were planted. The duo moved west, and in their apartment above Sharpe’s Cafeteria they designed, built, and rehearsed illusions. The act began to take shape, and there followed a long period of paying dues: gigs at state fairs, a stint with Meeker’s Greater Shows (a touring carnival), and endless one-night-stands throughout the United States. When times were lean, Roger would supplement their income by working as a waiter and Milo would give psychic readings. In fact, astrology, numerology, and mysticism were important subjects to Milo, and are mentioned frequently throughout Milo & Roger. Very often an important decision was preceded by a consultation of the Tarot. (Arthur also envisions two Gods of India, who benevolently watch over the two magicians.) Eventually, the gigs got better, and the venues became more prestigious. A week at the Wilshire Ebell Theater in Los Angeles (booked by Bill Larsen) led to a tour with Mexican actress and singer Amalia Mendoza. The act was also a huge hit in the Orient, and this tour marked Milo and Roger’s first visit to Thailand, the country which would eventually be their home. They spent a year as Mitzi Gaynor’s opening act, followed by headlining in the Lido show in both Paris and Las Vegas. Finally, Milo and Roger spent eight years starring at The Crazy Horse, the exclusive nightclub in Paris. Roger Coker died of cancer in March, 1997. Arthur Brandon died in November, 1998. Somewhere, the Gods of India have been joined by two men who never really grew up, and all four are laughing. The manuscript of Milo & Roger was written some years ago, its original title was Born Backwards. (Arthur was born feet first, and he attributes his intuitiveness and psychic ability to this fact.) The book is inspiring, touching, gentle, vulgar, laugh-out-loud funny, and completely entertaining. Milo and Roger were one of the great comedy magic acts of all time. Although their partnership lasted 49 years, it feels as though their time here was too fleeting, much like Omar Khayyam’s snow on the desert. Milo & Roger is a wonderful remembrance of their struggles and triumphs. I highly recommend it. It is my pick of the month. (Excerpts from Milo & Roger appeared in the January, 1999 issue of MAGIC.) The Comedy Magic of Rich Marotta, Volumes 1-3
By Rich Marotta Rich Marotta is a professional comedy club magician, with extensive performing credentials. On these three new tapes from A-1 MultiMedia, Rich discusses and performs material designed for three different venue situations: stand-up, walk-around, and closeup. The ad for these tapes states, “At long last the secrets of creating Comedy and Magic are revealed!…Rich imparts all of his professional tips and information to assist you in adding comedy to your magic.” Unfortunately, this is not quite true. Let’s first talk about the material which Rich performs, and then I’ll discuss why I feel these tapes fall short of the mark. Volume One (Stand-up Comedy & Magic) was taped on location at a comedy club in Sacramento. I should advise you that the language Rich uses is typical of most comedy club performers. (The tape box bears the warning: Contains Adult Language.) If such words bother you, you should avoid this tape. The tape box lists 10 tricks. Twelve tricks are actually performed during the set. (A production of a fish bowl and a color changing necktie are not listed on the box.) Only six of these tricks are actually explained. Not explained: The fish bowl production, the color changing tie, a repeat cigarette production, a cut and restored rope trick, a version of the McCombical Prediction, and Business Cards to Pocket (actually a version of Vernon’s Travelers performed with a blank-faced deck). Of the remaining items, I was most impressed with Paper Strip (which provides a meaningful patter hook for the Red Ashes trick), Mugged (a commercial version of Oswald Williams’s Hold-up trick, which Rich marketed a few years ago), and Card in Orange (which offers the spectator a free choice of an orange). Even in the items which are not explained, you will probably garner some useful information. For example, note how Rich takes the heat off an unwanted laugh during the McCombical Prediction. Following the performance, Rich explains the six effects, and gives some useful advice on comedy clubs. He discusses the need to establish yourself as a comedian, and as a magician, and emphasizes that all “dead time” must be eliminated. Also, the comedy club magician must provide meaning for the props used, and in many cases props are introduced with a gag. Rich often refers to specific moments in his performance, and these segments are intercut, to refresh the viewer’s memory. This is useful. Volume Two concerns itself with Walk-around Magic. This is a difficult venue, because very often there will be no table available, consequently all the tricks must be designed to be done in the hands. Ten tricks are performed and explained. Rich begins with the old Quarter on Forehead gag. (This uses a coin with a large nail soldered to it.) Rich uses this trick as an ice-breaker and as a barometer of the mood of the crowd. I find this to be way too goofy for my taste, but it may work for you. Also of interest is a Double Card to Pocket routine, two card effects which use a handkerchief, a sponge bunny routine with an off-color kicker, and a six-phase ring on rope routine. This latter routine is marred by a very poor execution of Clifton’s Ring Move, but does have a fine gag where the borrowed ring appears in a small box. (And here’s a question: Why wasn’t this ring routine re-shot? The handling mishap occurs right at the beginning. Nothing would have been lost by filming another take.)
I am skeptical about several of the other routines which appear on this video. Gypsy Tie is a version of the Gypsy Thread trick, but in this case the thread is apparently pulled from the spectator’s tie. The lighting in this segment is horrendous, and looks like amateur video. In addition, this routine uses a gaff which is loaded under the spectator’s tie. This gaff has thread spooled on it. It would easily take several minutes to reset this gaff. I have found in hospitality suite and cocktail party situations that your reset time must be almost zero. When you’re hired to perform for 150 or 200 people in a couple of hours, your tricks must be reset as you put them back in your pockets. Another trick on this video, Card in Lemon, also suffers from this reset problem. To do this trick in real life you’re going to have to prepare a whole bunch of lemons in advance, and then you’re going to have to run back to your brief case to reload after each performance. To me, this is not practical walk-around magic. In addition, this trick is also performed under miserable lighting conditions. Plus, just as the trick starts, one of the spectators knocks over a table lamp. Why, why, why, wasn’t this re-shot?! Rich makes no funny comments, the trick hasn’t started (so no genuine audience reaction is lost), so why not start over? Leaving this accident in just looks dumb. Finally, Volume Three focuses on Close-up Magic. There are some good tricks here, including Repeat Escape (which makes effective use of the Biddle move), Swindle ( the handling here is more akin to Herb Zarrow’s Swindle Mates, rather than Paul Curry’s original A Swindle of Sorts), Matchic Trick (a marketed item of Rich’s, in which a signed napkin transposes with a bunch of matches), Visible Card to Wallet (the vanish of the card is a fooler), Nest of Boxes (a clever handling of the Tenyo Nest of Boxes which requires some serious surgery on your suit), and Queen’s Soiree (a method by Dai Vernon which suffers from a less than beautiful half-pass). Rich gets an excellent reaction from the crowd during this close-up set. There is nothing terribly original here, but you’ll find some nice touches. A couple of points I should mention: Rich never explains exactly how to construct the gaff for Matchic Trick; some of the card tricks require palming (and the even more dreaded Diagonal Palm Shift); and I think there are better ways to do the “open switch” in Swindle. Even though the move is fair, what Rich does makes it look like something sneaky is going on. Now, having given you an overview of what’s on these tapes, let me tell you what the big problem is: They don’t have very much to do with comedy. The funniest of the three is the Stand-up tape, and there is very little discussion on how to add comedy to your act. There is no discussion on establishing character, call-backs, or how to create your own material. And on the other two videos there is very little that is funny at all. So if you think that these tapes are going to teach you the secrets of comedy, you’re going to be disappointed. Bottom line: The only tape that lives up to the advanced billing is Volume One, the stand-up magic video. The other two contain some useful and practical tricks, but they don’t have anything to do with comedy magic.
And here’s a warning to all video producers: Magic video production has reached a point where an amateurish product is unacceptable. Any video which contains footage that looks like it was recorded by someone who has never used a camcorder before is going to get unceremoniously panned. Period. Wonder Words Volume 3 By Kenton Knepper I don’t know where you read your copy of MAGIC, perhaps in your living room, or in your magic den, or at the kitchen table. You’re probably in comfortable, safe, surroundings right now, but what I’m about to tell you may cause the hairs on the back of your neck to stand up. Kenton Knepper sent me a box containing the third volume of his Wonder Words tapes. I opened the box, removed some newspaper which had been used to cushion the tapes, and lifted out the plastic carrying case. Just as I did this, a very large, very agitated spider crawled out of the box, over my hand, up my shoulder, and down my back. He leapt to the floor and scurried away before I could trap him. I’m sure that he’s still hiding in my kitchen. Weird, huh? And a complete lie. The above paragraph contains one of the word constructions explained in Wonder Words 3, and I’m curious if it worked on you. Did the hairs on the back of your neck stand up? Email me (
[email protected]) and let me know if it had any effect on you at all. Wonder Words 3 is the final volume in the Wonder Words series, and it follows the format of the previous two volumes. You receive four audio cassettes (each cassette is about an hour in length) and a 97-page booklet which contains several routines and a helpful index for both Wonder Words 2 and 3. The cassettes cover a variety of linguistic topics, including the “But” Cause and Effect Formula (which is what I used in the opening paragraph), Open Ended Questions, Truisms, Pattern Interrupts, Stacking, Presuppositions, Subtext, Double Binds, Shifting References, and many others. While I found much of interest, some of these linguistic formulas seem to be based on Neural Linguistic Programming, and I am skeptical about whether they actually work. (Which is why I’d like to know how you reacted to the opening paragraph.) The companion booklet contains routines from Dan Harlan, Barry Schor, Docc Hilford, David J. Greene, Allen M. Zingg (an fine trick involving a borrowed wrist watch), Kenton Knepper, and Jeff McBride (Jeff gives a detailed analysis of the script for Kundalini Rising). The routines are quite good, especially as examples of how tricks can be strengthened through linguistic deception. I should mention, however, that if you intend to perform any of these routines you’ll have to spend some time adapting the patter so it sounds natural to you. Now, here’s a couple of criticisms. I fear that Kenton is beginning to take himself way too seriously. There is a goofiness to his presentation of the material which I found slightly off-putting. I really don’t need somebody to tell me that they’re going to crawl into my head and implant material subconsciously. The second side of tape 4 is heavily
padded. Kenton bids us farewell, and makes that parting a very slow process. Saying goodbye is like ripping off a Band-Aid, do it quick and get it over with. These tapes (and the entire series for that matter) are of most use to working performers. In order for this information to be of value, you’ve got to try it out in front of real people, evaluate their response, and then tweak your patter until it accomplishes your desired goal. I doubt that an armchair magician will get $75 of value from these tapes. I am a believer in the power of linguistic deception. I don’t buy into everything that Kenton presents, but he did inspire me to start thinking about patter in ways I had not previously considered. If you are unfamiliar with his work, you may want to start with Volume One of Wonder Words. Those of you who are fans of his work will certainly want to add Wonder Words Volume 3 to your collection. Card Magic for Amateurs and Professionals By Bill Simon Dover Publications has reprinted Bill Simon’s Effective Card Magic under the title Card Magic for Amateurs and Professionals. The book was originally published by Louis Tannen, and Jean Hugard is credited as Editor (although I believe that Hugard ghostwrote the book for Simon). This book was one of my favorites when I was a kid, and contains some excellent magic. Among the highlights are Business Card Prophecy (which uses a utility move that has become a standard card technique), Call to the Colors (one of the best second deal tricks around), and The Magnetic Cards, an excellent self-working trick which was part of my repertoire for many years. In addition, there is a chapter which describes a pedagogically structured method for learning to do a strike second deal. This is one of the very few examples in the literature in which a sleight has been broken down into its component parts so it can be mastered in a logical way. I learned to do the strike second from this book; you can, too. I don’t believe that this book has been available for many years. It’s a classic, and should be in your library. You can probably find it at your local magic shop, bookstore, or check out amazon.com. (ISBN 048640188X). Mathemagics By Arthur Benjamin and Michael Bryant Shermer The subtitle of Mathemagics is “How to Look Like a Genius Without Really Trying.” Looking like a genius without trying is easy for Dr. Arthur Benjamin (whose name anagrams into “Look, a quixotic bear”), because he is a genius. I’ve seen Arthur destroy a room full of magicians and laymen with his lightning calculation act. It is beyond impressive; it’s otherworldly.
In Mathemagics, Dr. Benjamin tips his mitt and gives you all the information you need to be able to do mental addition and subtraction, mental multiplication of three, four and five digit numbers, and mental division. In addition, there are chapters on mnemonics, pencil and paper mathematics, and mathematical magic tricks. Obviously, this is not the type of thing you’re going to learn to do overnight. But if the subject interests you, Drs. Benjamin and Shermer have provided a marvelous text, clearly written and full of humor and enthusiasm. And who knows, someday when you’re stuck in line at the supermarket waiting for the manager to help the checkout clerk make change for a dollar without the use of the cash register, you can entertain those around you by doing some cube roots in your head. Recommended. Crazy Dominoes From Victor and Marcelo Contento This nicely produced kit from Victor and Marcelo Contento provides you with five red plastic dominoes. They are 1 x 2 inches, and you get two double-fours, two double-ones, a domino which is blank on both sides, and a double-faced domino with a double-four on one side and a double-one on the other. With these props it is possible to do a variety of routines, four of which are included. In Marcelo Contento’s Crazy Dominoes routine, the double-four and the double-one continually transpose. Kirk Charles’ offers a routine based on a Monte theme, and our own Bob Farmer describes a swindle which will allow you to fleece your friends and neighbors. (Bob’s routine was originally published in the December, 1996 issue of MAGIC.) Years ago, Dutch magician Tommy Van Dommelen marketed a routine called Dizzy Dominoes. Through an arrangement with Supreme Magic, the Contentos have again made these props available. The dominoes look great, and the routines are effective and not difficult to perform. If you’re looking for a change-up from your normal card and coin fare, “Crazy Dominoes” could certainly fit the bill. Dan Ford’s Rubber Chicken Egg By Dan Ford Well, talk about one of those situations where the name says it all…If you’re looking for a rubber egg to use in such tricks as the Egg on the Fan, look no further. Dan Ford has produced a very well made, realistic-looking rubber egg. According to Dan, each egg goes through a five-stage manufacturing process. The egg handles well and appears to be very durable. So what else can I say? If you need a rubber egg, Dan’s your man. Deadlock By Patrick Reymond
This is a utility prop from France’s Patrick Reymond. Here’s one possible effect (created by David Acer): The magician shows a small padlock. (This is like a luggage lock, in which the combination is set by turning three small dials.) The magician borrows a spectator’s finger ring, threads it onto the loop of the lock, and then snaps the lock shut. The lock is placed under a handkerchief and the spectator holds the ring (and the lock) through the hank. The magician removes his own finger ring and closes his hand around it. A magic gesture is made, and his ring has changed into the spectator’s ring. The spectator uncovers the lock, and hanging from the loop of the lock is the magician’s ring. What you’ve got here, is a padlock which will allow you to switch items. The method is clever, but you will have to spend some time practicing with the lock so that your actions look genuine. There are other routines included, but the Acer routine is the most logical. The other routines require that you fold up a business card (or a borrowed bill), punch a hole in it and thread it onto the loop of the lock. This makes no sense to me. If your goal is to switch a small folded paper object, it would be far more logical to use a David Hoy’s pen gimmick. In addition to the lock, you’ll also receive a well written instruction booklet and two wedding bands to use with the Acer routine. (These are standard sized men’s rings, although for my hands they were way too big.) I’m on the fence as to how useful this prop actually is, but if the effect appeals to you, it’s worth checking out. All Thumbs From Lea P. Magic This is a simple card effect. The spectator selects a card and places his thumbprints on the back. The card is fairly shuffled back into the deck. The magician examines the backs of the cards, apparently looking for the thumbprints. He places one card on the table. It is the selected card. Offering to repeat the effect, the magician brings out a fresh deck (one which has not be contaminated with other fingerprints). The spectator shuffles the deck. The magician slides out a card and shows it around. The card is replaced in the deck and the deck is fairly shuffled. This time it is the spectator who tries to find the card from the back. He looks over the cards and whenever he wishes he places a card face down on the table. It is the card which the magician had selected. The advertising for this trick is a little deceptive in that it states “No Marked Deck.” Technically this is true, but let me just tell you that if I was performing this trick I would have to have my reading glasses on. “All Thumbs” uses a combination of old principles, and should get a good reaction. You’ll need to be able to exercise some audience management, but the trick is basically self-working. As in the trick above, if the effect appeals, “All Thumbs” is worth checking out. Origami Update
The people at Dover Publications have also been reprinting a ton of excellent origami books. Most of these have been out of print for years. If you’re an origami fan, here’s some that should be in your library: Secrets of Origami by Robert Harbin (ISBN 0486297071). This huge book has marvelous folds from creators such as Neal Elias, Fred Rohm, George Rhoads, Adolfo Cerceda, Ligia Montoya, and Robert Neale. This edition corrects a number of errors in the previous edition. Included here is Fred Rohm’s “It’s Magic,” a three dimensional model of a rabbit sitting on top of a die. I can’t tell you how many of these I have folded and given away as gifts. This is a classic book. Origami Step-By-Step by Robert Harbin (ISBN 0486401367). Originally titled Origami: A Step-by-Step Guide, this book contains some beautiful (and difficult) three dimensional models by Patricia Crawford. The Unicorn, Scorpion, and Full-Masted Ship are gems. Origami Omnibus: Paper Folding for Everybody by Kunihiko Kasahara (ISBN 4817090014). A big book with folds for all skill levels. Originally published as a hardcover book, this volume has been very difficult to find. (This book and the next are published by Kodansha.) Origami for the Connoisseur by Kunihiko Kasahara and Toshie Takahama (ISBN 4817090022). The skill level here ranges from Intermediate to Very Complex. Included are many geometric folds and models from John Montroll, David Brill, Peter Engel, and Jun Maekawa. Modern Origami by James Minoru Sakoda (ISBN 0486298434). Stylish and highly stylized folds which emphasize straight lines rather than realism. They look great when folded from foil paper. My favorite is the Owl, which used to sit on my desk when I was a kid. Finally, if you’re new to the world of origami, I would suggest you pick up John Montroll’s Teach Yourself Origami (ISBN 0486401413). Montroll is known for his extremely complex folds, but in this case he leads you gently through the learning process, offering simple folds, well explained. These lead into more interesting and advanced models, and the book ends with some complex folds, including Fred Rohm’s Water Wheel and Impossible Vase. If you can diligently work your way through this book, you’ll be able to handle almost any origami project you encounter. Your local bookstore should be able to order any of these books, or visit amazon.com. Happy folding. It’s Not Magic, But… In last month’s column I discussed the remarkable dramatic structure of René Lavand’s close-up act. (And my sincere apologies to Señor Lavand for consistently misspelling his
last name.) If you’d like to learn more about the subject of dramatic structure, pick up a copy of Robert McKee’s Story. Dr. McKee has a Ph.D in cinema arts, was a Fulbright scholar, and has taught screenwriting seminars around the world. Story is subtitled “Substance, Structure, Style, and the Principles of Screenwriting.” Dr. McKee discusses structure as it relates to setting, genre, character, and meaning. He delineates the principles of act and scene design, composition, crisis, climax, and exposition. As he states in his Introduction, “Story is about principles, not rules…A rule says, ‘You must do it this way.’ A principle says, ‘This works…and has through all remembered time.’” Story is a valuable resource for anyone interested in learning about the screenwriter’s craft. (And my thanks to Dirk Remacle of Belgium for bringing this book to my attention.) Details Milo & Roger by Arthur Brandon. 6 x 9 hardcover with glossy dustjacket. 418 pages. $37 plus $3 p&h (overseas airmail add $12). From Hermetic Press, 1500 SW Trenton St., Seattle, WA 98106-2468 The Comedy Magic of Rich Marotta by Rich Marotta. Three volumes. Each volume $29.95. All three for $84.95. (Postpaid in U.S., Canada, and overseas surface; overseas air add $7.50 per video.) From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742 Wonder Words Volume 3 by Kenton Knepper. Four audio cassettes plus 97 page booklet. $75 plus $5 p&h. From Kenton Knepper, 3104 E. Camelback Road, Suite #312, Phoenix, AZ 85016 Magic for Amateurs and Professionals by Bill Simon. 5 x 8, paperback. 181 pages. $7.95. From Dover Publications. Available at your local bookstore or magic shop. Mathemagics by Arthur Benjamin and Michael Bryant Shermer. 6 x 9, paperback. 207 pages. $18. From Lowell House. ISBN 0737300086. Available at your local bookstore. Crazy Dominoes from Victor and Marcelo Contento. $25 plus $5 p&h in U.S. ($8 for international p&h). From Marcelo Contento Productions, P.O. Box 396, Watertown, MA 02471-0396 Dan Ford’s Rubber Chicken Egg by Dan Ford. $25 postpaid. From Dan Ford, Box 204, Essex, IL 60935 Deadlock by Patrick Reymond. $37.50 plus $3 p&h. From Camirand Academy of Magic, Inc., P.O. Box 269, Succ. A, Longueuil, QC, Canada J4H 3X6 All Thumbs. $17.50 postpaid. From Lea P. Magic, 2251 Rampart Blvd., #404, Las Vegas, NV 89128-9998
Story by Robert McKee. 6 x9, hardcover with dustjacket. $32. From ReganBooks. ISBN 0060391685. Available from most bookstores.
May 1999 Shadows with Shears Things were very different back in 1982. The boom in magic publishing and the widespread merchandising of magic secrets was still a few years away. The appearance of a large, hardcover magic book was an event. Best of Friends, Volume 1 marked the final phase of Harry Lorayne’s book publishing days. (He would, of course, continue publishing Apocalypse for many more years.) Richard Kaufman’s dynasty (in collaboration with partner Alan Greenberg) was just beginning, and Derek Dingle’s Complete Works foreshadowed the remarkable flood of magic books that would soon appear. A-1 MultiMedia, L&L Publishing, and Hermetic Press were not even in the picture. Magic videos were in their infancy. (In fact, general consumer home video was just starting to gain popularity.) Few magic videos were produced, and the ones that were released were very expensive. Joe Stevens, a major player in magic videos, would not join the party until the late 1980’s. Dai Vernon was 88 years old in 1982. He had been at the Magic Castle since the mid 1960’s, and his presence attracted a stellar group of magicians who moved to Southern California to learn from the Professor. Lewis Ganson had recorded much of Vernon’s material in the Dai Vernon Book of Magic, the Inner Card Secrets Trilogy, and Dai Vernon’s Ultimate Secrets of Card Magic. In 1979, Karl Fulves’ published four Close-up Folios detailing many of Vernon’s previously unpublished routines. But even with this body of information available, Fulves wrote, “…there is still, even after 50 years, a great deal of secrecy surrounding Vernon’s methods.” (And, of course, a great deal of information had yet to be disclosed. For example, there was much speculation about Revelations, Vernon’s commentary on The Expert at the Card Table. Revelations would not appear until 1984.) In early September 1982, Canadian magician Hans Zahn began an ambitious project: an extensive video shoot that would record many of Vernon’s unpublished handlings, tips, and suggestions, and would also provide a glimpse into Vernon the man. The result was seventeen hour-long videos that were released by Zahn’s Videonics company. Each video was $80, making the set a whopping $1,360. (And remember, we’re talking 1982 dollars here.) Because of the steep price tag, most magicians are probably unfamiliar with these videos. L&L Publishing has acquired the Videonics catalog, and has re-released Vernon Revelations: The Video Series in nine volumes. Volumes 1 through 8 are double videos: each contains two volumes of the original Videonics series. Volume 9 contains the final hour of the series. According to the L&L promotional material, the tapes have been digitally re-mastered from the original first generation tapes. I’ll have more to say about
this re-mastering and editing later. First, let’s talk about what’s on these tapes, how to make most effective use of the information, and how to decide which tapes to purchase. The format of all the tapes is the same: Michael Ammar, Gary Ouellet, and Steve Freeman join Vernon, and a topic of discussion is introduced. Either Vernon or one of the co-hosts demonstrates the trick or sleight, and then the material is explained. This is not tightly structured teaching; Vernon often gets sidetracked, and the explanation takes a circuitous path. Throughout the explanations, Vernon reveals a lot of history, and the discussions of the evolutions of his tricks are fascinating. All of the classic Vernon routines are discussed on these videos, including: Triumph, Cutting the Aces, Spellbound, Kangaroo Coins, Ring on Wand, the Slow Motion 4 Aces, and The Travelers from Stars of Magic; the Balls and the Net, the Jumping Jacks, the Ball and Cone, Leipzig’s Coin on Knee, and the Vernon Cups and Balls Routine from the Dai Vernon Book of Magic; the Vernon Symphony of the Rings routine; the Trick That Can’t Be Explained, and the Vernon Three Card Monte Routine from the Inner Secrets of Card Magic Trilogy; and the Five Coin Routine, the Vernon handling of the Berg Knot, and the Color Changing Silks, which appeared in the Fulves Close-up Folios. But this just scratches the surface. Vernon talks about sleights from Expert at the Card Table, methods for palming cards, false deals, false shuffles, color changes, various techniques for crimping, and handlings for the double lift. Having sat through all 17 hours of these videos, I will tell you that the amount of information is overwhelming. The second half of tape number seven (which contains volumes 13 and 14 of the original series) is titled “Four Stars Live,” and consists of Vernon, Ammar, Ouellet, and Freeman performing. Several of these performances are duplicated on other tapes in the series. There are no explanations included. Tapes eight and nine, titled “Vernon, the Man,” feature reminiscences by the Professor. No magic secrets are revealed on these tapes. A highlight is a segment where Vernon cuts a silhouette of Steve Freeman. For many years Vernon made his living as a silhouette cutter (his business card read, “Shadows with Shears”), and although he claimed to be much out of practice, he does a beautiful job. My favorite moments on these videos were the small but extremely valuable tips that Vernon casually tosses off (for example, the importance of breaking the wrist, the real secret of the Five Card Mental Force, and a great suggestion for the Erdnase Bottom Palm) and the unexpected events which happen when you turn a camera on and simply let it roll uninterrupted (for example, Vernon fooling himself while demonstrating the Three Card Monte, and the work on where Tony Georgio hides his money). Now, let me give you some information that will help you make an intelligent buying decision. First, these are not teaching tapes. I did not spend a great deal of time with Vernon, consequently those who knew him better than I may dispute the following opinion, but I do not think that he was a great teacher. I think that those who learned from him learned by a process of osmosis, rather than a process of direct instruction. At the age of 88, Vernon’s mind had a tendency to wander, and his explanations ramble hither and
yon. Important technical points tend to be glossed over, or in some cases forgotten completely. If you’re looking for clear-cut instruction, you’re not going to find it here. In fact, these tapes are of most value if you are already familiar with the Vernon repertoire. This means reading and studying all the books mentioned above, plus Volumes 1-3 of The Vernon Chronicles. (Also be aware that while a substantial amount of the material which was revealed on the Vernon Revelations videos was generally unknown back in 1982, almost all of it has subsequently appeared in print, most notably in the Vernon Chronicles books.) Also be aware that the quality of the demonstrations ranges from quite good to atrocious. (Under no circumstances should you use the performance of The Travelers as a model to emulate.) I would assume that the need to press on through an extremely lengthy shooting schedule precluded the luxury of re-shooting, however this means that the tapes are full of miscues, dropped cards and coins, poor camera angles, lost microphones, and lapses of memory. Vernon was also handicapped by a left thumb that was no longer completely functional, and there are some moves which he simply could not perform. But there are some, such as the Hofzinser Transfer, which he performed beautifully. Now, let’s move on to the subject of re-mastering and re-editing. I don’t have a copy of the original Videonics tapes, so I can’t compare the originals to the L&L release. I can tell you that the video image and the sound are clear. However, I was surprised to find some moments that should have been edited out. For example, there are several places on the tapes where the hosts are sitting around waiting for the director to yell, “Action.” Keeping this footage in looks dumb and is completely unnecessary. There has also been a bit of controversy (mostly on the Internet) concerning items that may have been edited out of the original tapes. Louis Falanga tells me that about 3 minutes have been edited out of tape number one. This footage involves Vernon lambasting one of the hosts. Louis explained his reasons for cutting out this incident, and I understand his position. However, I wish that the footage had been left in, for it not only gives some insight into Vernon’s character, but it emphasizes how strongly he felt about certain aspects of magical performance. So, are these tapes worth owning? Absolutely. Since most of you will not have the resources to purchase them all, my suggestion is to contact L&L Publishing and obtain a flyer that describes the contents of each of the tapes. Then, pick a tape that covers a subject that interests you. I enjoyed Vernon Revelations: The Video Series very much. Watching them reminded me of how profound a loss Vernon’s passing was. He was a standard bearer for naturalness, attention to detail, and dedication to a craft. His influence on generations of magicians was profound. If you never had a chance to spend time with the Professor, you owe it to yourself to pick up at least one of these videos. Pay attention, think about what you see and hear, and your magic will be the better for it.
Daryl’s Ambitious Card Video By Daryl Martinez Daryl really likes the Ambitious Card plot. He should, his Ambitious Card routine was part of the card act which won him first prize for card magic at the 1982 F.I.S.M. in Lausanne, Switzerland. In 1987, Daryl published The Ambitious Card Omnibus (written by Stephen Minch), an excellent compendium which included Daryl’s Ambitious Card Routine and many other related maneuvers. Daryl’s Ambitious Card Video contains much of the information from The Ambitious Card Omnibus. The tape begins with Daryl, seated at a table, performing his Ambitious Card routine for an enthusiastic audience. The routine consists of many phases, and as Daryl comments later, the routine is not rigidly structured: Daryl often spontaneously picks and chooses from his repertoire of available moves, giving the routine an improvised or “jazzy” feel. The routine concludes with one of the most astonishing climaxes in magic: the entire deck is tied up with a piece of rope. The Ambitious Card (which has been signed on both the front and the back by many spectators) is unequivocally pushed into the center of the deck. The card is pushed flush. The front edge of the top card is now lifted slightly and the card is slid out from under the rope. It is the signed selected card. Daryl explains each phase of his Ambitious Card routine, and then explains two dozen other moves that can be used in an Ambitious Card routine. Of particular interest is the new method for Ultimate Ambition (the climax using the bound deck). If you don’t know this new work, you’re going to get fooled when Daryl performs it. As I have mentioned in other reviews of Daryl’s videotapes, Daryl is a charming and enthusiastic teacher. The camera work during both the performance and the explanations is excellent. It is also a pleasure to see a video audience responding the way a normal audience would. As a home viewer you’ll be able to appreciate how powerful Daryl’s routine is. If you’re looking for information on the Ambitious Card, and if video is your learning medium of choice, look no further. Daryl’s Ambitious Card Video has an excellent performance, excellent material, excellent explanations, and excellent production values. What more could you ask for? The Golden Shells Video By Bob Kohler For 18 years Bob Kohler has been using the Three Shell Game as part of his professional repertoire. He has performed it at trade shows, hospitality suites, outdoor events, and private parties. Bob gives five reasons why his Shell Game routine is so effective: the routine is loaded with action; the routine allows the magician an opportunity to establish his performance character; the routine is not terribly difficult, thus the performer can focus his energies on showmanship and presentation; the routine is highly entertaining; and the routine is totally amazing.
The Golden Shells Video details almost all the work on Bob’s routine. (In a moment I’ll discuss an aspect of the routine which is glossed over in the explanation.) The routine consists of five phases. During the first two phases a spectator tries to guess the location of the pea. The spectator fails, even though in each phase he is given two chances to find the pea. In phase three the game is simplified, but the pea still ends up in an unexpected location. In phase four the secret move is apparently exposed, but the spectators are still fooled. In the final phase the spectator places a shell over the pea and then covers the shell with a shot glass. The pea vanishes and appears under another shell. Then it vanishes and reappears under the shell that is beneath the shot glass. Bob begins with a discussion of the required props. Bob uses the metal shells produced by the School for Scoundrels (see my review of “The Golden Shells” in the October 1998 issue of MAGIC). Bob makes some valid points for the use of the metal shells, and you’ll want to consider his viewpoint when you are deciding which props you’ll use. Bob then goes into a detailed explanation of the five phases of the routine. The discussion of each phase is intercut with the action as it occurred during the performance. Overhead shots are used effectively, and you’ll be able to learn from his explanation. Now let’s talk about something that is not thoroughly explained on the tape. During the first two phases of the routine a spectator is asked to guess where the pea is. If he believes what his eyes tell him, he will guess wrong. The spectator is given a second guess, choosing between the two shells that remain. There is strong psychology involved here, and in all probability the spectator will guess incorrectly. But what if he doesn’t? What if he guesses the correct shell on his first or second guess? This aspect of the routine is not completely explained on the video. Bob does explain a move that allows you to show a shell empty when it actually contains the pea, but he does not go into the various possibilities that may arise during a performance. I asked Bob about this, and he felt that it was too time consuming to discuss every possible situation. So here’s my suggestion: If you intend to perform the Three Shell Game, then you must be good enough at it to actually hustle it. (This is same advice I gave concerning the Phil Cass shell routine.) So read as much as you can about the Shell Game, especially the texts by Garcia and Ouellet. You need to know how to get yourself out of trouble, and Bob’s video does not go into detail concerning that aspect of the game. That small limitation aside, Bob’s routine is excellent and extremely commercial. Anytime a professional releases a routine that he uses to make a living, I sit up and take notice. The Golden Shells Video is a top-notch teaching tape, and the routine is strong and well worth your consideration. (You should be aware that Bob Kohler retains both Trade Show and Television performance rights for this routine. So if you intend to do the routine on TV or at a trade show, you’ll need to talk to Bob first.)
Behind the Seams By Tony Clark For several years Tony Clark has been headlining in the “Phantasy” show at the Horizon Hotel and Casino in Lake Tahoe, Nevada. He is an excellent dove worker, and in Behind the Seams: The Inner Secrets of Dove Magic he tips work that will be of interest to anyone who wants to do dove productions. Here again, we have a professional performer releasing information that can only be gained through years of experience and thousands of performances. Tony begins with a video clip history of the evolution of his act. This segues into a discussion of how to gaff up your wardrobe to more effectively hide the loads and increase the speed and deceptiveness of the steals. Tony goes into great detail describing loops, various dove holders and harnesses, and methods for stealing and producing the doves. A highlight of the tape is Tony’s Invisible Sleeve Steal, a truly deceptive method based on Slydini principles. Behind the Seams is a really fine teaching tape, full of valuable, time saving information. I recommend it to any aspiring dove workers. Powerful Impromptu Card Magic By Paul Gordon This new videotape from England’s Paul Gordon contains 12 routines from two of Mr. Gordon’s books, Protean Card Magic and Nocturnal Creations. (Actually, only 11 of the routines are explained. The Gordon Diary Trick is performed but is not explained. However, this not a great loss, because I think that Mr. Gordon’s method for this trick is not particularly good.) The routines are demonstrated in a simulated restaurant setting. Unfortunately, the assisting spectators are in desperate need of caffeine, and this, combined with Mr. Gordon’s low key performing style, makes for a subdued viewing experience. For the most part the routines are variations of standard card plots: Cutting Aces, the Collectors, Twisting the Aces, etc. Mr. Gordon prefers handlings which avoid difficult sleight-of-hand, so his constructions should appeal to magicians with average card handling ability. Near the end of the videotape Mr. Gordon discusses a sleight he calls “ITHEC,” which is an Elmsley Count performed using a spectator’s hand. While Mr. Gordon may have come up with this idea independently, Roger Klause originally conceived this idea. Roger showed me this idea in 1976, and it was something he had been doing for several years previously. I kept the idea very tight, finally releasing it (with Roger’s permission) in Workers #5 (1996). There is no substantive difference between the Gordon and the Klause handlings. Therefore, I’m afraid that Mr. Gordon is about 30 years too late to claim this move as his own.
Unfortunately for those of us in the United States, Powerful Impromptu Card Magic is priced at $60, which is very expensive for a videotape in today’s market. If you are unfamiliar with Mr. Gordon’s work, you may first want to pick up a copy of Protean Card Magic or Nocturnal Creations to see if his style appeals to you. Houdini From Chip Taylor Communications This 30-minute documentary on Harry Houdini was produced by the Wisconsin Education Commission Board. There is no copyright date, but I would guess that it was produced in the late 1980’s. The documentary is well done, with lots of photos, film clips, and interviews with Sidney Radner, Harry Blackstone, Jr., and Doug Henning. If you’re a collector of Houdini memorabilia, or would just like to add a Houdini documentary to your video collection, Houdini is worth a look. Ron Bauer’s Private Studies, Numbers 10 – 12 From John Luka Enterprises John Luka has released three more routines in the Ron Bauer Private Study series. Each booklet in the series is about 16 pages long and explains one routine. The goal of the series is to describe both the “how” and the “why” of each routine. Ron Bauer is a “worker” and each of the routines in the series is commercial and practical. Number 10 in the series is Ron Bauer’s handling of Charlie Miller’s Left Handed Hank. This is a funny routine in which a handkerchief refuses to stay tied. The beauty of this routine is that it will play for an audience of 2 or 200. Number 11 is Ron Bauer’s Mechanical Deck, a handling for Al Baker’s The Deck that Cuts Itself. The handling is based on an Ed Marlo concept, and the deck does not actually cut itself – the selected card emerges from the side of the deck as the deck is held in the left hand. The only problem I see with this routine is that the gaff is ditched on the floor at the end of the routine. For someone doing table-hopping, this would mean preparing a large number of gaffs before the start of the gig. (Ron does offer an alternative using the card case, but this only works if you perform seated.) Number 12 in the series describes Paul Chosse’s Bar Bill Stunt, a handling for what is commonly referred to as The Hundred Dollar Bill Switch. Chosse’s method does not use a thumb tip. With the current glut of big, hardback books on the market, I’m surprised that Mr. Luka chose to market this material as individual tricks. On the one hand, you the consumer can purchase only those routines that interest you. On the other hand, if you bought them all you’d be paying $120 dollars for 12 routines. Be that as it may, all the routines in this series are worth your attention. If you’re looking for commercial close-up magic, check out the Ron Bauer Private Studies series. The Koornwinder Kar
By Dick Koornwinder Allow me the opportunity to give all of you the chance to do the right thing. Dick Koornwinder was at the recent World Magic Seminar in Las Vegas. In 1971, Dick made an agreement with Ken Brooke. Ken agreed to sell only Koornwinder Kars which Dick himself had produced. Dick has never given nor sold any one else the manufacturing rights to his Koornwinder Kar. Dick has once again placed the Koornwinder Kar on the market. If you own a knockoff, do the right thing and buy the trick from Dick. If you’re unfamiliar with the trick, I’ll simply tell you that it’s one of most amazing and commercial card tricks ever invented. It’s a favorite of Juan Tamariz (who has performed it on television and included his handling on a video from A-1 MultiMedia). Dick has come up with some revised techniques for handling the car, and they are great. The price and ordering information can be found in the Details section. Dick accepts Visa, and for more information you can contact him by email at
[email protected]. Dave’s 16-Digit Deception By David R. Landry I’m not sure what to say about this new mathematical trick from Dave Landry. Here’s what happens: The magician hands out a sheet of paper and a pencil to many members of his audience (the more the merrier). On the paper are 36 small boxes connected with lines and arrows. Each member of the audience takes out a credit card and writes one digit of the credit card number into one of the top row of boxes. There follows a series of additions, subtractions, and multiplications. At the conclusion of this mathematical manipulation, an amazing coincidence is revealed. Well, what can I say? I applaud Mr. Landry for discovering a little-know fact about credit cards and attempting to apply this information to a magic effect. However, I think that this trick would be about as entertaining as stopping your performance and having the audience fill out their tax forms. The method of the trick demands that each audience member perform all the calculations accurately. Considering the complete math incompetence of the average American, you’ve got the potential for a trick which is going to fail more times than it succeeds. Mr. Landry includes the instructions, sample audience worksheets, and a 3.5 floppy disk with files that will allow you to print out more sheets. He also has a 30-day money back guarantee, so if you’re unhappy with the trick, you can return it. My own preference would be to bring a Chia Pet to the show, water it, and invite my spectators to watch the grass grow. But perhaps you can think of a way to make Dave’s 16-Digit Deception entertaining. If so, more power to you. Mogar’s Miracle Knife Routine By Joe Mogar
Joe Mogar (he of the marvelous thimble manipulations) has put a very nice set of Color Changing Knives on the market. You get four knives: one white, one black, one white/black, and one which is red on one side and split red/white on the other. You also receive a plastic carrying case and a three-position pocket holder. The knives handle beautifully. Also included is a fine routine from Joe, but you could use the knives with any routine you may already know. If you’re looking for knives, Mogar’s Miracle Knife Routine is worth your attention. Strange Feats & Clever Turns Compiled by Charlie Holland Charlie Holland is the Deputy Chief Executive and Program Director at the Circus Space, a British training center for the circus arts. He is also a former professional juggler. In Strange Feats & Clever Turns, Mr. Holland has compiled information on variety, sideshow, and vaudeville performers who plied their trade at the beginning of the 20th century. What makes for fascinating reading is that the reports of these performers come from the journals of the day. Included are articles about W.C. Fields, J.N. Maskelyne, David Devant, and a host of other jugglers, acrobats, strongmen, contortionists, sharp shooters, and sideshow freaks. The text is accompanied with a myriad of period photographs. If you have an interest in the history of magic and the allied arts, you’ll enjoy Strange Feats & Clever Turns. It's Not in English, But… Guest Review by John Moehring Eight years ago, a Viennese journalist approached Austrian magician, Magic Christian, with the idea of writing an article on J.N. Hofzinser for an employee magazine published by the Austrian Finance Ministry. Because Hofzinser had been a Ministry employee more than 130 years earlier, Christian referred the writer to the Ministry records for background material. To Christian’s surprise, the journalist turned up numerous files documenting Hofzinser’s civil service career. This discovery led Christian to the wealth of untapped historical resources, which in turn, triggered the painstaking research that has ultimately resulted in the volume J.N. Hofzinser: Non Plus Ultra. “The documentation assembled here is staggering,” wrote Richard Hatch, “and it substantially revises the canonical portrait of Hofzinser passed on to us by Ottokar Fischer.” Hatch translated Fischer’s 1942 Johann Nepomuk Hofzinser Zauberkünste from German to English in 1985. “Perhaps most notable is the fact that Hofzinser did not die neglected and forgotten after a prolonged illness.” Hofzinser died March 11, 1875, yet, Christian has documented public performances by the master as late as September 1894, with a presumption of private performances during the subsequent winter season. Included in the book are the numerous, lengthy obituaries that appeared in major newspapers, with details of Hofzinser’s career as both civil servant and performer. Reproduced are playbills, programs, lithographs, and even a photograph of his mysterious wife, Wilhelmine. The literary efforts of the Viennese conjurer are well documented. In
addition to being a published poet, he was a music and theater critic. Reproduced are selected reviews of such renowned musicians Paganini and Liszt, as well as performance critiques of fellow conjurors Herrmann, Bosco, and Doebler. An exceedingly rare 1857 booklet by Patuzzi, purporting to contain excerpts from Hofzinser’s dairy, is reprinted in its entirety, as are complete translations of the 41 known letters written by Hofzinser. Christian also documents Hofzinser’s balloon ascensions with the famous Goddard brothers, and a trip to Paris, where he might have contacted Robert-Houdin. The text of Magic Christian’s impressive 352-page work of scholarship, published in a limited edition of 999 copies by Volker Huber, is entirely in German. An English translation may be forthcoming. But until that time, for those who read German - or for those who don’t and just enjoy thumbing through a beautifully produced, lavishly graphic foreign-language magic book - J.N. Hofzinser: Non Plus Ultra may purchased from H & R Magic Books for $100. Personal Note This column marks the end of my fourth year as product reviewer here at MAGIC. My thanks to all of you who have offered words of support. Those words are greatly appreciated. A reminder to those planning on submitting items for review: Be sure to include all necessary ordering information. Failure to do this results in a less timely review. Thanks. Details Vernon Revelations: The Video Series by Dai Vernon. 9 videotapes. Each tape $29.95, any 3 for $84.95, any 6 for $160, all 9 for $240. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 Daryl’s Ambitious Card Video by Daryl Martinez. $29.95. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142 The Golden Shells Video by Bob Kohler. $24.95 plus $3 p&h. From Bob Kohler Productions, 2657 Windmill Parkway, Box 313, Green Valley, NV 89014 Behind the Seams by Tony Clark. $49.95 plus $3.50 p&h. From Tony Clark, P.O. Box 3472, Stateline, NV 89449 Powerful Impromptu Card Magic by Paul Gordon. 29:95 pounds Sterling/$60 US. From Paul Gordon, 108 King Edward Avenue, Worthing, West Sussex, BN14 8DQ, UK Houdini from Chip Taylor Communications. $29.95. From Chip Taylor Communications, 15 Spollett Drive, Derry, NH 03038 Ron Bauer’s Private Studies Series, Numbers 10 – 12. Each booklet 5.5 x 8.5, 16 pages. Each booklet $10. From Magic by Mail, 25744 Melody, Taylor, MI 48180-3284
The Koornwinder Kar by Dick Koornwinder. $80 plus $6 p&h. From Dick Koornwinder, Schinkelhavenkade 7, 1075 VS Amsterdam, Holland Dave’s 16-Digit Deception by David R. Landry. $15. From David Landry, 3504 Driftstone Circle, Fayetteville, NC 28311 Mogar’s Miracle Knife Routine by Joe Mogar. $45 plus $3 p&h. From Magic Stars, 123 Lakeview Drive, P.O. Box 594, Alloway, NJ 08001 Strange Feats & Clever Turns compiled by Charlie Holland. 6.5 x 9.5, softcover. 188 pages. $19.95 surface mail or $24.95 air mail. From Holland & Palmer, 22 Gilbert Road, London SE11 4NL, England (www.holland-palmer.demon.co.uk)
June 1999 The Road Too Well Traveled Jon Racherbaumer’s introduction to last month’s “Inside Out” column struck a nerve with me. Jon wrote, “The amount of redundancy and reinvention is greater than ever…” and he is correct. Each month magicians are greeted with a flood of new products, and precious little of it excites the imagination or the intellect. There is a sense of sameness about all this material, the feeling that we’ve been there, done that. The reason for this feeling of sameness is that today’s “creators” are churning out variation after variation of plots that have been worked to death years ago. These variations (or “personalizations” as I prefer to call them) rarely move magic forward. They move laterally, meandering through familiar territory on well-worn paths, bringing us to places we’ve been to many times before. They have not made the trip more efficiently, they have not deepened our understanding of the journey, nor have they made the trip more entertaining or enlightening for the spectators who travel with us. Making an effect easier to perform is not necessarily an improvement. Sometimes the view from the top of the cliff is more greatly appreciated if we have climbed the face, rather than taken the circuitous path around the backside of the mountain. If you’re not a creator, you might think that coming up with these variations is a difficult task. It’s not, really. Put six card guys in room, ask them to come up with methods for doing an Ace Assembly, and in a couple of hours you’ll probably have more than a dozen methods. Most, if not all, will stink. The creation of these personalizations is not necessarily a bad thing. It’s an excellent way to begin to exercise your creative muscles. The big question is this: Is your creation worth publishing? To find out, subject your creation to Darwin Ortiz’ Three Rules: Have you substantially improved the Effect, the Method, or the Presentation? In order to answer this question you must understand the creations of those who have gone before you. And in order to do this you must become a student of magic, and this means reading and studying everything you can get your hands on. Coming up with personalizations is easy. Coming up with creations that satisfy the Three Rules is really hard. This is why the amount of crap in the marketplace vastly outnumbers the quality items. Let me offer you some suggestions. For the next 18 months I see no need for anyone to spend any time on the following effects: Four Ace Assemblies, Spectator Cuts to the Aces, Flourishy Four Ace Productions, The Collectors, Sandwich effects of any type, Triumph, Reset, Color Changing Deck, Cannibals, Between Your Palms, Matrix, Reverse Matrix, any type of damn Matrix, Coins Through the Table, Spellbound, Card to Pocket, Card to Wallet, Cards Across, the Victor 11 Card Trick, Six Card Repeat, the Invisible
Palm Aces, Ring on Rope, Ring on Shoelace, Ring on String, Ring on Anything, or the Professor’s Nightmare. We’ve been there, we’ve done that, a thousand times over. Instead of methods, consider strengthening the presentation of a trick. Let’s take David Roth’s famous Hanging Coins as an example. In this effect, the magician shows four coins. Three disappear. (They are apparently hung on an invisible Sky Hook.) Then they reappear. My question is this: How do you explain away the fact that the fourth coin doesn’t vanish? (Because of the exigencies of the method the fourth coin cannot vanish.) The way to do this is with a presentation that somehow justifies the fact that the fourth coin doesn’t disappear. If David Roth has a solution for this, he didn’t include it on Expert Coin Magic Made Easy Volume 2. Finding a solution for this problem would be an advancement, because it would eliminate what I think is a suspicious aspect of this routine. For all you method guys here’s something I wish would be passed into law: After cards are removed from the deck they can no longer come into contact with the deck. What I mean is this: You can no longer take out the four aces, put them on the table, pick them up, count them back onto the top of the deck, and then deal them face down onto the table. There is no logic to this, it looks stupid, and it clutters up the handling. What this means, of course, is that you can no longer use the Braue Addition, Hartman’s Secret Subtraction, and Marlo’s Atfus. Pretend that these moves no longer exist, and come up with something better. Finally, if you want to discover new effects, I have two suggestions. First, go outside the world of magicians, magic tricks, magic magazines, and magic clubs for your inspiration. Second, if you must stay within the world of magic, go backwards – look to the old books for a wealth of material just waiting to be modernized and revitalized. I am aware that the problems posed above are hardly earthshaking, but I do have solutions for them. I didn’t think it was fair to ask you to think about something unless I had also worked on the problem. I also have no intention of telling you the solutions I have come up with. If I tell you my answers, there is a strong probability that you will stop thinking about the problems. (During my lecture tour I explained how I had “fixed” some methodological and presentational problems in Ton Onosaka’s trick Lucky Lady. My reason for doing this was to inspire others to find unworkable tricks and fix them. At the end of the discussion the two most often asked questions were, “What was the name of the trick you just did?” and “Where can I buy it?” If I sound disillusioned and slightly defeated, I am.) Finally, I’ll do my best to alert you to those products that move magic laterally (or backwards). If we refuse to buy products of marginal value we can send a message to the magic producers that we will no longer accept the mediocre. Roger Klause’s Ultimate Slow Motion Bill Transposition By Roger Klause
U. F. Grant’s Slow Motion Bill Transposition is an old trick. It appeared in Volume 3 of the Tarbell Course. Despite its age, the trick is in the repertoires of many close-up magicians, and it continues to fascinate contemporary creators. (See Michael Weber’s Lifesavers, page 64; Eugene Burger’s Craft of Magic, page 54; and David Parr’s Brain Food, page 29.) Now from Houdini’s Magic Shop comes Roger Klause’s Ultimate Slow Motion Bill Transposition, and it is superb. The effect is this: The magician borrows a five dollar bill. It may be signed by the spectator. The magician brings out a one dollar bill. Both bills are shown openly and fairly. The entire surfaces of both bills can be seen. The spectator folds the five into eighths; the magician does the same with the one dollar bill. Both bills are placed into the spectator’s hand, which closes around them. The five dollar bill is removed. The five is rubbed on the back of the spectator’s closed fist, and the five immediately changes into the one dollar bill. The spectator opens his hand and finds that he is holding the five. Both bills are opened and all surfaces are shown fairly. Roger has combined ideas from Dai Vernon and Bob McCallister to produce a seamless and absolutely baffling handling. There is not a single suspicious move, and because of the manner of gaffing the one dollar bill it can be shown completely freely – the entire surfaces of both sides of the bill can be shown. There is nothing to hide. Best of all, the handling is quite easy. (I should point out that the spectators cannot examine the gaffed bill, but the display is so fair that I can’t imagine that the spectators will have much interest in examining the bill.) You receive a videotape in which Roger performs and explains the routine. The production quality is good, and Roger’s explanation is clear. You also receive printed instructions on how to construct a gaffed bill. For maximum deceptiveness, the bill must be constructed carefully, however the gaff is not difficult to make. Roger Klause kept this trick under wraps for 15 years, and I can see why. If this were my routine I wouldn’t have told anybody about it either. Keep the gaffed bill in your wallet, and you’re ready to fool people anytime, anywhere. Roger Klause’s Ultimate Slow Motion Bill Transposition is fine routine, and an excellent improvement of the original U. F. Grant trick. I highly recommend it. Pristine By Wesley James One Tear at a Time By J. C. Wagner Guy Hollingworth’s piece-by-piece card restoration effect The Reformation continues to inspire variation and experimentation. The two latest efforts are Pristine, a 40-page booklet by Wesley James, and One Tear at a Time, a videotape from J. C. Wagner. Before I discuss the pros and cons of these two items, let’s bring everyone up to speed on this effect.
The starting point of all the published versions was David Copperfield’s performance of the Torn and Restored Baseball Card. This performance featured a piece-by-piece restoration of a historic baseball card, plus the pulling off of the spectator’s signature and the removal of all creases. The trick looked good, but most magicians believed (probably correctly) that it could only be done on television. Along came Guy Hollingworth, who figured out a method for performing the trick in the real world. Guy demonstrated the trick for me (and many others) at the Chicago S.A.M. convention, and later released the method on a videotape titled The Reformation. He also performed it on a World’s Greatest Magic special. The Hollingworth method is excellent, but challenging. In addition, the videotape was a limited edition and hard to obtain. The scarcity of the video plus Guy’s virtuoso performance made The Reformation a hot topic of discussion. Eventually, of course, variations were spawned. Now, let me clear up a couple of common misconceptions. Regardless of what anybody’s advertising hype may say, there is no version of the piece-by-piece restoration that is easy to do. All the versions require that you hold out a piece (or pieces) of card during the course of the trick. In other words, your hands are dirty the entire time you’re performing. It is very difficult to hide an object in your hand and still use that hand in a natural way. In fact, I think there are very few magicians on the planet who do this well. Each version of the piece-by-piece restoration is a multi-phased routine with lots of steps and lots of moves. Consequently, the student is faced with a fairly steep learning curve. You’re going to have to put in lots of hours of practice before the trick begins to look good at all. Wesley James is a thoughtful magician. Pristine resembles the original Copperfield effect in that the card is returned to its original pristine condition: the card is restored, the signature is pulled off, and the creases are removed. In his Introduction, Mr. James explains why he feels that this pristine restoration is important. He also explains the importance of having the card signed. While I appreciate Mr. James’ reasons, I should mention that they are not absolutely necessary to produce a baffling torn-and-restored effect. Through psychology and acting it is possible to set up a situation where the spectators are perfectly happy (and thoroughly amazed) if the card is still creased and unsigned. A drawback of the Pristine restoration is the amount of preparation necessary. You’ll need three cards for each performance, and one of these cards must be prepared for the signature removal. If you intend to perform Pristine in a walk around situation you’ll have to decide whether this added preparation is worth the effort. Mr. James does a fine job explaining his method, but you are not going to learn this in one sitting. Nineteen illustrations accompany the text, but adding 20 or 30 more would have been helpful. A routine like this flows from one phase to the next, and more illustrations would have given us a feel for that flow. Mr. James makes some trade-offs in the method: the pocket is used to ditch a piece, and the restoration of the third piece is a bluff. Mr. James gives a good argument for the use of this bluff restoration, but I believe that one of the strengths of the Hollingworth method is that each piece is genuinely attached. You’ll have to make up your own mind. The manuscript concludes with an excellent essay on the use of a mirror as a practice tool.
It’s interesting that J. C. Wagner has tackled the piece-by-piece restoration problem, since his Torn and Restored Card from Seven Secrets inspired a lot of variations a few years ago. One Tear at a Time is a video from Brad Burt’s Magic Shop. Mr. Wagner performs and explains his handling without the benefit of an audience. Unfortunately, I don’t think that his handling improves the effect, the method, or the presentation. First, Mr. Wagner’s performance is less than convincing. To my eyes the handling appears very “cozy,” and there is much shuttling back and forth of hidden pieces. Mr. Wagner also uses the pocket to ditch, incorporates the bluff restoration of the third piece, and completely loses the visual aspect of the restoration of the final piece by folding the card into quarters. Granted, this does allow the final restoration to occur in the spectator’s hand, but I feel that this trade-off weakens the effect. So, what’s the verdict? I still feel that Guy Hollingworth’s The Reformation is the superior method. The routine should be in the Guy Hollingworth book that is supposed to appear sometime in the near future. (And a suggestion to the publisher of that book: Rerelease the Reformation video. It definitely helps to see Guy perform this trick.) To those trying to work out their own methods I feel that Wesley James’ Pristine is worth reading and studying. I wish that Pristine had been sold with an accompanying performance video. With a routine this complex it would be nice to see what the final result is supposed to look like. I do not recommend One Tear at a Time because I think it fails to advance the piece-by-piece restoration plot. Twenty By Gaston Quieto Gaston Quieto is a young close-up magician from Argentina. He owns a Magic Bar in Buenos Aires, and his new videotape Twenty contains eight effects from his professional repertoire. Unfortunately, Mr. Quieto tackles familiar plots, and the result is a tape that will be of limited usefulness to the average close-up magician. The tape begins with a film noir feel; Gaston leaves his apartment, walks to his car, and drives to the magic bar while being stalked by a mysterious stranger who suddenly disappears. Have we seen this before? Yep. Both of Guy Hollingworth’s videos begin with Guy walking the streets of London. Been there, done that. The first effect is a vanishing card case followed by a sandwich routine using two jokers. For the first phase of the sandwich routine, Mr. Quieto substitutes Lennart Green’s Top Shot move for Daryl’s Hot Shot Cut. This increases the difficulty substantially, but does it improve the effect? The Top Shot move is not invisible, it’s just fast. Next is a four ace production using a variation of the Forton Pop-out move. The final phase of this production is the visual change of an indifferent card into an ace. The change looks good, but I question the practicality of using the floor as a servante. The next item, Kings Production, is not explained and will probably send viewers racing to hit the rewind button. The aces and kings are used for a variation of Paul Harris’ Reset.
Two coin effects follow: Hipnosix is the vanish and reappearance of three coins, followed by the surprise production of three extra coins and a jumbo coin; Reverse Matrix is just that, another version of this plot with a method which is not as good as others I have seen. Next is a version of the Torn and Restored Card. This also uses the Top Shot move and requires that the performer be seated. Finally, there is Through and Through, which is the most interesting effect on the tape. This is the penetration of a signed card through a glass tabletop. Based on a move of Johnny Benzais, this looks very good, although Mr. Quieto’s handling is not easy, requiring a one-handed double lift and a variation of a Ross Bertram Pick-up move. Gaston Quieto is obviously enthusiastic and talented, and I wish he had used his energies to explore more unfamiliar territories. You should know that most of these tricks are quite difficult, and will require considerable practice to do well. Many of the routines require the use of a close-up mat. Magicians who are skillful enough to perform these routines will already have their own favorite methods for the standard plots discussed. Through and Through is the best trick on the tape, but it is beyond the abilities of the average magician. And is one trick worth $30? That’s for you to decide. Psycho-Kinetic Dice By Gary Kurtz Gary Kurtz is a dynamic performer who established an enviable reputation as a performer and creator of challenging sleight-of-hand close-up magic. In recent years he has shifted his attention to the mentalism field. (You may have seen him on television performing his version of Russian Roulette using knives and paper bags, a routine that scares the bejeezus out of me.) Psycho-Kinetic Dice comes from Gary’s professional repertoire, and it is an effective demonstration of psychic ability. You receive four dice, four 35mm film canisters, a marking pen, the necessary gimmick, and an instruction booklet. Several different effects are detailed. For example: The mentalist makes a prediction. Each of four spectators is given a die. They can examine the dice to their satisfaction. Each spectator tosses his die into a plastic beer cup. The spectators note the number on the upper face of the die. They call out these numbers, for example 4-6-2-1. This accurately matches the prediction made earlier. Another possible effect: Each of the four dice is placed in a 35mm film container. The container caps are snapped on, and each of four spectators takes a canister. The canisters are shaken. The mentalist divines the numbers that are uppermost on each of the dice. Gary provides several versions of each of these effects. He is thorough in his explanations, and has obviously thought a great deal about how to make each of these tests seem genuine. The underlying method is not new, but Gary has structured each routine for maximum deceptiveness. (I should also mention that these routines are geared for the stand-up performer. It is possible for the dice to make some noise as the secret
maneuver is performed. If there is some distance between performer and audience this noise will not be noticed.) Psycho-Kinetic Dice is not for the beginner. At $155 it is too expensive for the merely curious, and strong presentational skills are required. Plus, you’ll need to put in some practice time in order to handle the props smoothly and casually. But if you do mentalism for a living, I think you’ll find that Psycho-Kinetic Dice is a strong addition to your repertoire. Completely Mental Volumes 1-3 By Jas Jakutsch So who is Jas Jakutsch? Jas is a Polish-born Canadian mentalist who has been inspired by the work of Gary Kurtz. As far as I know, the Completely Mental volumes are his first published works, and while the production values are minimal, the material is uniformly excellent. Volume 1, titled Three 4 One, begins with the description of an effective Center Tear. This center tear is then put to use in a routine called The ATAW Triple Test. By combining the center tear with a progressive anagram pump and a bluff you are able to reveal three different pieces of information. Mr. Jakutsch next describes an impression device that allows you to retrieve the information right under the audience’s noses. This impression device is utilized in a routine called the JAJA Quadruple Test in which four pieces of information are divined. Volume 1 concludes with IOU, an offbeat effect involving money. This routine has a nice, unexpected kicker. Volume Two focuses on routines using billets. Numerous switches and peeks are explained. The final routine is a five-part divination. Volume Three is devoted to routines using playing cards, specifically routines in which the mentalist divines cards that have been selected from a thoroughly shuffled deck. These routines incorporate a familiar card-cheating stratagem used in a very clever way. All the routines in the Completely Mental volumes are completely thought out performance pieces, and as such they will be of most use to the experienced mentalist. These are not particularly easy routines; in addition to a strong stage presence the performer will also need mental and digital dexterity. But the material is top-notch, extremely clever and well constructed. All three volumes of the Completely Mental series are worth your serious consideration. Blood, Sweat, and Pinky Breaks By Magnus Magnus is a young man who, since age 14, has made his living as a close-up magician. In 1997 he suffered an injury which has temporarily sidelined his performing career. In Blood, Sweat, and Pinky Breaks he gives the nuts-and-bolts information that you need to know if you want to make a living from magic.
The specific venue discussed in this book is restaurant magic, and Magnus makes excellent suggestions on what type of venues to approach, how to make the sale to the general manager of the restaurant, how to deal with the service staff, and how to deal with the customers. In addition, there is also a section on how to work private parties. I liked this book very much. The advice is practical and is presented in a no-nonsense way. Many magicians who are good performers and entertainers have no business sense whatsoever. Blood, Sweat, and Pinky Breaks will get you headed in the right direction. I recommend it. Chicken Ala Card By Gerry Frenette John Moehring loaned me his copy of Magic Christian’s excellent German language book, J. N. Hofzinser: Non Plus Ultra (See “It’s Not English, But…” in last month’s Marketplace). The book is full of surprises, but for me the most amazing revelation was that Hofzinser was the first magician to pull a folded-up card out of the rear end of a rubber chicken. Apparently, Hofzinser had improvised the trick at a dinner party. He had had a card selected, signed and returned to the deck. Suddenly, Madame Hofzinser knocked over a glass of wine, and during the ensuing distraction Hofzinser folded up the card and shoved it into the small squab which had just been placed in front of him. When the commotion died down, Hofzinser showed his hands empty, reached into the backside of the squab, and delicately plucked out the card. The dinner guests went wild. The trick was immediately added to Hofzinser’s salon show, using a ceramic chicken instead of a real squab. (At this point I should mention that I neither read nor speak the German language, so I’m sort of guessing at the actual description in the J. N. Hofzinser: Non Plus Ultra book. I called Richard Hatch for confirmation, but he kept laughing and dropping the phone, so I’m not sure if I have translated this correctly.) Anyway, I mention all this because it’s possible that you have wanted to add this classic (and classy) effect to your stand-up repertoire. If so, you’re in luck, because Canada’s Gerry Frenette has created a routine and assembled all the props to allow you to do just that. The Chicken Ala Card routine is designed for stand-up venues. A card is selected, signed, and returned to the deck. The deck is placed into a top hat, and is given further shuffles inside the hat. (When he does this, Mr. Frenette says, “I’ll shuffle the cards inside this top hat so there’s no possibility of sleight-of-hand.” The ludicrousness of this remark gets a huge laugh from the audience, but I’m not sure that Mr. Frenette realizes that the line is funny.) The rubber chicken is brought out and held by the claws. The chicken’s head is lowered into the top hat in an attempt to find the chosen card. The bird is lifted, a card is hanging from its beak. It is not the signed card. This is repeated twice more, but to no
avail. Finally, the chicken is squeezed and a plastic egg pops out of its nether region. The egg is opened, and inside is a folded played card. It is the signed selection. Mr. Frenette provides you with all the props necessary to perform this trick…almost. You get the gaffed rubber chicken, shim cards, holder, plastic eggs, and a video that shows Mr. Frenette performing and explaining the routine. However, if you’re going to use Mr. Frenette’s sleight-free method you’ll need a container of some type (such as a top hat), and a magician’s table that has an inner shelf on which the rubber chicken can rest. When I do stand-up I work out of a briefcase which rests on top of a stand. I would not be able to use Mr. Frenette’s method. (However, if you know anything about sleight-of-hand, you should be able to work out another method for doing this trick.) At $65, Chicken Ala Card seems a bit pricey to me. But if the effect appeals, you may appreciate not having to track down all the necessary props. Dave’s 16-Digit Deception By David R. Landry I’m not sure what to say about this new mathematical trick from Dave Landry. Here’s what happens: The magician hands out a sheet of paper and a pencil to many members of his audience (the more the merrier). On the paper are 36 small boxes connected with lines and arrows. Each member of the audience takes out a credit card and writes one digit of the credit card number into one of the top row of boxes. There follows a series of additions, subtractions, and multiplications. At the conclusion of this mathematical manipulation, an amazing coincidence is revealed. Well, what can I say? I applaud Mr. Landry for discovering a little-know fact about credit cards and attempting to apply this information to a magic effect. However, I think that this trick would be about as entertaining as stopping your performance and having the audience fill out their tax forms. The method of the trick demands that each audience member perform all the calculations accurately. Considering the complete math incompetence of the average American, you’ve got the potential for a trick which is going to fail more times than it succeeds. Mr. Landry includes the instructions, sample audience worksheets, and a 3.5 floppy disk with files that will allow you to print out more sheets. He also has a 30-day money back guarantee, so if you’re unhappy with the trick, you can return it. My own preference would be to bring a Chia Pet to the show, water it, and invite my spectators to watch the grass grow. But perhaps you can think of a way to make Dave’s 16-Digit Deception entertaining. If so, more power to you. Update Department All Thumbs (Marketplace, April 1999) is now available from Lea P. Magic, 3008 Ripon Drive, Las Vegas, NV 89134-7522. The Psycho-Kinetic Pen (Marketplace, March 1999) has been withdrawn from the market. And the results of the Wonder Words 3 spider story
(Marketplace, April 1999) are in. Most who replied were unaffected by the NLP sentence construction. R.I.P. Department It is always disheartening when a wonderful trick is thoughtlessly exposed to the general public. The latest casualty in this headlong rush to make everyone in the world a magician is Fizz-Master, a trick from The Art of Astonishment, Book 2. How good is this trick? So good I wish that it had never been published. The effect is offbeat and original, and the method is completely counterintuitive. Someone named Matthew J. Costello tips the trick in an article titled “Anywhere Magic” in the June 1999 issue of GAMES magazine. Curiously, in the introduction to the article Mr. Costello writes, “Magicians prefer to keep their tricks secret. After all, what fun is it if you learn to do something cool and then discover that everyone you meet knows the exact same trick.” Nicely said, Mr. Costello. A pity that you can’t follow your own advice. None of the tricks exposed are of Mr. Costello’s creation, and as far as I can tell his knowledge of magic comes from reading books geared to the general public. (He credits Fizz-Master to Penn and Teller, an assumption that probably came from a less than thorough reading of How to Play in Traffic.) Fizz-Master is actually the creation of Paul Harris and Eric Mead, and I send my condolences to the parents on the loss of their child. It’s Not Magic, But… Robert-Houdin said it: A magician is an actor impersonating a magician. Unfortunately, the truth is closer to this: A magician is guy who owns some tricks who doesn’t have a clue what acting is all about. David Mamet knows what acting is all about. He is a successful playwright, screenwriter, and director. In True and False: Heresy and Common Sense for the Actor, Mamet gives advice on such subjects as Emotions, Actions, Guilt, Concentration, Talent, Habit, and Performance and Character. Along the way he takes aim and demolishes the Stanislavsky method. I’m a Mamet fan and I enjoyed this little book immensely. I think you will, too. (By the way, I’m always on the lookout for items to include in this section of Marketplace. My own interests tend to be limited to a few areas, so if you have any suggestions please drop me a line at
[email protected].) Details Ultimate Slow Motion Bill Transposition by Roger Klause. $29.95. From Houdini’s Magic, 6455 Industrial Rd. Suite L, Las Vegas, NV 8911 Web site at: http://www.houdini.com/whats.html
Pristine by Wesley James. 5.5 x 8.5, stapled. 41 pages. $20 plus $3 p&h. From Onyx Publications, 5265 N. Academy Blvd., Suite #3300, Colorado Springs, CO 80918
One Tear at a Time by J. C. Wagner. $29.95 postpaid in US and Canada ($37 postpaid for overseas air). From Brad Burt’s Magic Shop, 4204 Convoy Street, San Diego, CA 92111. Fax: 619-571-7943. Web site: www.magicshop.com Twenty by Gaston Quieto. $30 plus $10 p&h. From Gaston Quieto, Esmeralda 625 8C, 1007, Buenos Aires, Argentina. Fax: 5411-4325-1604. Email:
[email protected] Psycho-Kinetic Dice by Gary Kurtz. $155 postpaid. From Paravox, Inc., 2280 Avenue Regent, Montreal, Quebec, H4A 2R1, Canada. Fax: 514-487-2612. Completely Mental Volumes 1-3 by Jas Jakutsch. 8.5 x 11, plastic spine bound. Each volume approximately 25 single-sided pages. $25 per volume. $70 for all three. From Paravox, Inc., 2280 Avenue Regent, Montreal, Quebec, H4A 2R1, Canada. Fax: 514487-2612. Blood, Sweat, and Pinky Breaks by Magnus. 8.5 x 11, plastic comb bound. 34 single sided pages. $19.95 plus $3 p&h. From Magnus, 623 Darren Way, Grand Junction, CO 81504 Chicken Ala Card by Gerry Frenette. $65 plus $8 p&h. From Gerry Frenette, 1240 Bancroft Dr., Mississauga, Ontario, L5V 1B4, Canada. Fax: 905-567-4826. Email:
[email protected]
Dave’s 16-Digit Deception by David R. Landry. $15. From David Landry, 3504 Driftstone Circle, Fayetteville, NC 28311 True and False by David Mamet. 6 x 8, paperback. 127 pages. $11.00 ISBN: 0679772642. From Vintage Books. Available from your local bookstore or amazon.com.
July 1999 Lots O’ Stuff Last month I took up time and space shouting from my soapbox. To make it up to you, here some short reviews of a whole lot of stuff. Harry Lorayne Card Videos Volumes 1-4 By Harry Lorayne Harry Lorayne should need no introduction to the readers of this magazine. In May, MAGIC added Mr. Lorayne’s name to the list of 100 most influential magicians of the 20th century. Mr. Lorayne’s first four books, Close-up Card Magic, Personal Secrets, My Favorite Card Tricks, and Deck-sterity should be in the library of any aspiring card magician. The Magic Book, a tome geared toward the general public, is one of the best beginner’s books around. His magazine, Apocalypse, recently ceased publication after a 20 year run. To the delight of Mr. Lorayne’s many admirers, L&L Publishing has released the first four videos in a series which will showcase many of Mr. Lorayne’s favorite card tricks. The actual title of these videos is Harry Lorayne is probably the best teacher of, entertainer with, close-up card magic…EVER!, a title guaranteed to drop an English teacher at 100 yards. Each tape is about an hour and a half long, and each contains a substantial amount of material. Mr. Lorayne performs in front of an enthusiastic audience, and in many cases combines thematically related material into a two or three trick “set.” After this performance block, the tricks are explained. Mr. Lorayne does a fine job explaining the material, and you will be able to learn from these tapes. In some cases the explanation of a routine leads into the demonstration and explanation of a related routine. There is far too much material here for me to go into detail on each effect, but here are my favorites. From Volume 1: “HaLo Aces,” which uses Mr. Lorayne’s bottom slip-cut to effectively cut to four aces; “1-2-3-4 Aces”; and the “Status Quo Shuffle,” an excellent and little-used method for controlling one card during an overhand shuffle. From Volume 2: Peter Marshall’s “Rock and Roll Aces”; and “Lorayne’s Poker Deal #1,” which requires little skill but packs a big punch. From Volume 3: “Magician vs. Gambler”; “The Great Divide”; and Bro. John Hamman’s “Two Shuffles Harry.” From Volume 4: “The Lorayne Spin”; “The Ultra Move”; “Lorayne’s Poker Deal #2”; and Henry Christ’s “Tally-Ho.” For a complete listing of the routines on each tape I suggest you check out an L&L Publishing ad. If you can only buy one tape at time, I would suggest starting with Volume 3 or 4. I can vouch for the effectiveness of the routines mentioned above, since I’ve been doing them from the time they were originally published. I should also mention that on Volume 2 Mr.
Lorayne teaches a fine method for performing a double lift from a small packet of cards. During the course of this discussion, he disparages the use of a technique called the Altman Trap. Unfortunately, Mr. Lorayne is not performing the move correctly (he is holding the break with the tip of his left thumb, rather than at the base of the thumb) and it is for this reason that the move does not look good. When done correctly, the Altman Trap is undetectable, it is a valuable ploy, and it is in the arsenals of most of the top card magicians. Now, I want to discuss something about these tapes that troubles me. The method of crediting material is unsatisfactory. Mr. Lorayne does credit some sources during his explanations, but there are occasions when there is a curious absence of credit. (For example, during the explanation of “Two Shuffles Harry,” Bro. John Hamman’s name is never mentioned.) At the end of the tape there is a listing of people for whom credit is due, but these names are not associated with any particular trick. It’s just a listing of names. A viewer who is not a student of card magic would have no idea whether a routine was Mr. Lorayne’s or the creation of someone else. Now, I understand that the exigencies of magic video production demand that a lot of material be recorded in a short period of time, but proper and explicit crediting could be done in post production. (In fact, Mr. Lorayne added a lot of information in post production, including clarifications, handling tips, and explanations of why camera angles made certain moves look less than beautiful.) On the Michael Ammar Easy to Master Card Miracles series explicit credit was given on the video box and on the videotape. I would hope that future volumes of the Lorayne series would follow this example. Mr. Lorayne has made a significant contribution to the literature of close-up magic. If you have never seen him perform, or if you are unfamiliar with his work I think you’ll find much of value in this video series. Mark Leveridge’s Master Routines Volumes 1& 2 By Mark Leveridge The eight routines on this two volume set were originally released as separate manuscripts (a few as manuscripts with necessary props). Realizing that learning an extended routine from the written word is difficult for some magicians, Mark Leveridge now presents this material in a video format. Volume One contains four routines: “The Commercial Sponge Ball Routine,” which is suitable for close-up or walk-around; “The Free Selection Collectors,” which is not based on the traditional Collectors plot (in Leveridge’s routine a selected card finds its three mates which then turn into the four Aces); “Stay at Home Coins,” a routine for the Boston Box; and “The Ring Competition,” which uses a rope and a 5-inch ring. My favorite here is “The Ring Competition,” which features a good patter “hook” and a nice move for the final penetration. Volume Two also contains four routines: “Wild Dice,” which is a hybrid of the Cups and Balls and the Walnut Shell and Pea, using matchbox drawers and dice; “The Ring and
String” routine, which uses a string and a finger ring; “Spot the Difference,” a stand-up routine with a Monte theme; and “The Security Pen,” in which three coins are magically placed inside a pen and then are extracted again. I really liked “Spot the Difference”; the method fooled me, and I think the basic trick could be adapted to many different situations, including trade show presentations. “Wild Dice” is clever, and magicians will probably be puzzled by the controlling of the main die and the subsequent production of many dice of different colors, but for me there is a serious flaw: the matchbox drawers are never shown empty at the beginning. This may not bother you, but it would keep me from ever doing the routine. Mr. Leveridge is not interested in creating routines that will intrigue and puzzle magicians. This is material designed for lay audiences in the real world. You won’t find revolutionary new techniques here, but you will find solid performance material. Experienced stand-up and close-up performers will probably already have similar routines in their repertoires. But if you’re just starting out, you may find that the Mark Leveridge’s Master Routines videos are exactly what you’re looking for. Kevin King’s Money Morph By Kevin King Kevin King is originally from Indiana. He now works at Bill Malone’s bar in Florida. Some years ago, Kevin released a manuscript detailing his handling of the “$100 Bill Switch.” Kevin is now presenting this information on a nicely produced videotape. I was enthusiastic about Kevin’s work on the bill switch when the manuscript first came out, and I still feel that it is an excellent handling. What Kevin has done is to add an important finesse to the bill switch. In Kevin’s handling there is no pause in the folding/unfolding process. The bill is constantly in motion, and to the viewer it appears as if one bill “morphs” into another. This fluidity of action is a marvelous addition, and greatly enhances the effect. If you do not currently perform any version of the “$100 Bill Switch” then you will have some serious practice time ahead of you. However, if you already perform the switch competently, then you should be able to incorporate Kevin’s additions with just a little concerted practice. The production values on this video are good, and Kevin’s explanation is clear. However, with a move of this nature, the position of each finger is important, so you’ll probably be rewinding the tape often to capture every nuance of Kevin’s method. As I mentioned in my earlier review, I have adopted Kevin’s handling, and I think you’ll also want to. Kevin King’s Money Morph is a beautiful thing, and I recommend it. Close-up & Personal By David Regal
It’s remarkable the breadth of interests which the world of magic encompasses. Even the subset of close-up magic has its factions and splinter groups: card magicians, coin magicians, hobbyists with little technical ability, dabblers looking for a new trick to fool their magic club buddies, problem solvers seeking out new plots to vary, magicians who only work formal venues (such as the Magic Castle), and the real-world warriors who ply their trade in the trenches (restaurants, hospitality suites, cocktail parties, banquets, and trade shows). Rarely does a book appear which will make all these people happy. However, David Regal’s Close-up & Personal is such a book, and among its 72 items is literally something for everyone. Mr. Regal is a television writer and producer, and the first thing you’ll notice when you peruse Close-up & Personal is that most of the routines are completely scripted. The “Script” is very important to Mr. Regal (in fact, he has included an essay on the subject), and his scripts will serve as expert examples as you construct your own presentations. (And there are also some very funny lines you can add to your repertoire.) The book is divided into seven sections: Cards, Neither Fish Nor Fowl, Cards &, $, Assemblies, Mental, and Gaffed Decks. Because of the large amount of material presented, I’ll only be able to briefly discuss my favorites. The Cards section begins with a prediction effect called “All’s Fair.” The bold method will give you an inner glow of satisfaction. “Clean Cut” is a handling of “Spectator Cuts the Aces” that uses a discrepancy to good advantage. Several effects in this section use what Mr. Regal refers to as “The Oddity,” a prop which is special or unique. Such props are inherently fascinating to an audience, and provide an immediate “hook.” Neither Fish Nor Foul contains routines using a variety of props. “There & Back” is method for causing a borrowed finger ring to travel between two inverted glasses. The method is designed for a formal close-up show, but if you’re looking for a trick to fool your houseguests, this would be a good one. “Got a Light?” is an excellent method of performing the “Sympathetic/Acrobatic Matchboxes.” “Letter Perfect” uses a Bob Hummer principle to magically produce a spectator’s name. This could be an excellent trade show trick. Cards & offers routines which use playing cards in combination with other objects. There are some great “Oddity” tricks here, including “The Half Deal,” “Pointing the Way,” “Mystic Poker,” and “Nailed!”. (The latter item would be a great television trick.) $ and Assemblies cover mostly familiar plots, including “Coins Through the Table,” “Reverse Matrix,” “Coins Across,” and various “Four Ace Assemblies.” Method mavens will enjoy working through these handlings. Mental includes some very offbeat mental items, including a prediction effect based on the famous soliloquy from Hamlet. Finally, there is Gaffed Decks which (obviously) contains routines using prepared decks. Again, there are some fine ideas here, including a funny presentation for the “Nudist Deck.”
Close-up and Personal is a marvelous collection, with routines that will appeal to the worker, the hobbyist, or the tinkerer. Mr. Regal is a thoughtful and ingenious creator, who is interested in developing complete performance pieces. I enjoyed this book very much, and I think you will too. Recommended. Science Magic By Martin Gardner If you enjoy the science stunts that appear each month in “Martin Gardner’s Corner” here in MAGIC, you’ll want to pick up a copy of Science Magic. As Mr. Gardner explains in the Preface, many of these stunts appeared in Physics Teacher magazine, some were contributed to Children’s Digest, and others are appearing in print for the first time. The tricks, puzzles, and stunts utilize ordinary, everyday items, and thus are excellent additions to your impromptu repertoire. (Be sure to check out the penny-spinning stunt. This is the kind of con that Bob Farmer lives for.) You don’t need me to tell you how good Mr. Gardner’s stuff is. Science Magic is a great little book. Buy it. The Center Flip and Other Cardtastrophes By Michael Schwartz Michael Schwartz is the author of Invisible Secrets Revealed and Expert at the Pitch Table. Many of his effects were sold through Sorcerer’s Apprentice, a magic shop that closed in 1976. The Center Flip and Other Cardtastrophes contains material developed by Mr. Schwartz during the late 1960’s and early 1970’s. The book is in two parts. The first part is devoted to variations on “The Center Flip,” which is a flourishy method of producing a card from (apparently) the center of the deck. Many different handlings are explained. The second half of the book contains tricks which had been contributed to other publications or which were sold by Sorcerer’s Apprentice. There are a wide variety of effects, many of which use gaffed cards. (As Mr. Schwartz explains in his Introduction, it is absolutely unnecessary to have perfectly made gaffs in order to fool people. A poorly manufactured gaff, if handled naturally, will still deceive.) The production values of this little book are no great shakes, but the explanations are understandable and the photographs, though small, are clear. The Center Flip and Other Cardtastrophes will be of most interest to card enthusiasts, who will find many ideas to play with. Dylan Sardo’s The Mother Load Written by John Lovick Mr. Sardo has constructed a multi-phased routine that incorporates elements of the Albert Goshman “Salt & Pepper Shaker” routine with a final load sequence reminiscent of the Cups and Balls. The magician brings out two half dollars, an English penny, a glass, a card box, and a “camera shutter” style coin purse. The penny is placed in a jacket pocket and returns to the left hand, joining the two silver coins. This is repeated twice. Then the penny vanishes and appears under the purse. This repeated. The penny vanishes and ends
up under the card box. Then it vanishes and appears on top of the card box. All three coins vanish and appear under the glass. Finally, three jumbo coins are produced, one each under the glass, the purse, and the card box. There are, of course, other routines of this nature that have been published, including Jamy Ian Swiss’ “Double Ashtray/Drink” routine, Doc Eason’s “Repeat Card Under Glass” (which comes from Heba Haba Al’s seminal work on the trick), the aforementioned Goshman routine, and my own “Card, Forehead, and Saltshaker” routine. One big difference between “The Mother Load” and all these other routines is that “The Mother Load” appears to be designed for a formal close-up venue (for example, the Close-up Gallery in the Magic Castle). The routine demands a lot of table space, quite a few props must be brought to the table, and the audience must be configured in a particular way. I mention this because a routine of this nature can only be perfected by repeated performances in front of real people. You can practice all you want in front of a mirror, but you won’t really get good until you try it in front of a audience. Unless you work regularly at the Magic Castle, I’m not sure where you’re going to be able to perform this routine. “The Mother Load” is clever and well constructed, and if you’re interested in this type of routine it would be a worthwhile resource. But unfortunately, I just don’t see this routine as being of practical use to the close-up worker who plies his trade in normal close-up venues. Walter Wick’s Optical Tricks By Walter Wick Some of you may remember a photograph of Jerry Andrus standing inside an impossibly constructed crate. The design of the crate is an optical illusion, and as such usually existed only as a drawing. But there it was in real life with Mr. Andrus standing comfortably inside it (or outside it, depending on how you looked at it). Photographer/author Walter Wick has designed a children’s book which contains photographs of impossible objects. The book is beautifully designed, and it will turn your brain inside out as you try to figure out how these illusions are constructed. (Amazingly, even the front cover of the book is an optical illusion.) Walter Wick’s Optical Tricks is a great book to put on your coffee table as a reminder of the remarkable ability of the human brain. I’m fascinated every time I look through it. (My thanks to Mac King for bringing this book to my attention.) Animated Miracles By Yigal Mesika Magicians continue to be fascinated with tricks using invisible thread. Norway’s Finn John pioneered the use of a loop of invisible elastic thread. Yigal Mesika has purchased
the rights to the Finn John “Loop,” and in Animated Miracles he has compiled ten effects which use the Loop. The effects include several methods for animating a fork, psycho-kinetic effects with matches and eyeglasses, a very nice “Haunted Deck” handling, and a method for performing the floating finger ring. As Mr. Mesika states in final section of Animated Miracles, “Loop” work has two drawbacks: in a bright room the thread is very visible; and the thread is fragile. This means that you will not be able to do these tricks under all conditions, and you will have to practice. It is this last condition that most magicians are blind to, and it is for this reason that many are disappointed when they purchase a trick whose method depends on thread. Competency in thread work demands a major commitment. You have to live with the thread until it becomes a part of you. Only this will inspire the confidence to use it fearlessly and effectively. You can perform some miraculous effects with the “Loop.” If you’re willing to pay the price (in time and effort) you’ll find some strong magic in Animated Miracles. Cosmosis, Zoom, Haunted By Ben Harris Speaking of thread tricks, one of the most ripped-off tricks in recent memory is Ben Harris’ “Cosmosis,” more familiarly known as “The Floating Match.” Mr. Harris has returned to the magic scene after a five-year absence, and has re-released his original trick. The effect is this: A match is placed on the back of a playing card. The match suddenly rises off the back of the card and floats above it. Various “proving” moves are possible, including passing a finger ring over the floating match. “Cosmosis” comes with a prepared playing card, a large instruction sheet with 23 photographs, and a small sample of elastic thread. The instructions are excellent, and included are instructions on how to construct the “Cosmosis” card and 12 tips from Jim Kleefeld. I have never played with any version of this trick, so I can’t comment on the construction of the “Cosmosis” card vs. any of the knock-offs. The card included handled just fine (as long as you pay attention to lighting considerations), and with the instructions provided (and a supply of elastic thread) you can make up any kind of card you want. Mr. Harris is offering an interesting deal. “Cosmosis” sells for $15, but if you trade in your knock-off version at the time of purchase the price is only $7.50. Since I think it’s important to support the creative people in magic, I think this trade-in option is a good idea. “Zoom” is another thread effect in which a playing card mysteriously moves around the tabletop. The construction of the card is ingenious, and the card can be handed out for examination without fear of the gaff being detected. You should know, however, that one
hand remains in close proximity to the card as it moves around the table. Again, the instructions are excellent, and the method of preparing the gaffed card is explained. As with most thread tricks, this one will require concerted practice in order to be effective. Since the above two effects require elastic thread, Mr. Harris is also selling “Ultra Elastic Thread.” 200 feet of thread are provided in a small cardboard dispenser. The instructions explain how to prepare various gaffed cards, and more importantly how to make elastic loops. You should know, however, that this thread is very shiny. The instructions give a method for eliminating this shine. Finally, “Haunted” is a non-thread effect. The magician shows a piece of stiff paper and folds the paper into a triangular tube. A card is selected (forced). Flour (or salt, or sugar, or any powdery substance) is sprinkled into the tube. When the tube is lifted the spectators see the name of the card written in flour. “Haunted” is a clever effect, but I see a few problems. First, it’s a little messy, so you’ll have to find the correct performing situation. (My suggestion is to use pepper and place the tube on a cocktail napkin. Then the mess is easily disposed of.) Second, I think that spectators are really going to want to examine the paper tube, and this they cannot do. This means that you’re going to have to manage the situation in such a way to take the heat off the tube, and I’m not sure how to accomplish that. All these items are worth your consideration. If you understand that none of them is the miracle of the ages, and all of them will require practice to perform effectively, I don’t think you’ll be disappointed. Business Card Scanner By El Duco Sweden’s El Duco has come up with a handy prop that allows you to easily switch one set of business cards for another. The main effect goes like this: The magician removes a small (4 x 2.5 inch) business card case. A business card is removed and offered to the spectator. Unfortunately, the card is blank on both sides. Another card is removed, and it too is blank on both sides. The cards are returned to the case, and the magician removes a pen from his pocket. (The pen is ungaffed, and should have a standard metal clip.) A card is removed from the case, and the pen is clipped to it. The pen is slid along the card. At the end of the sliding action the card is turned over and the face of the card has been printed. (In the ad for this trick the photograph depicts the spectator’s view just after the card has been turned over.) The business card is given to the spectator. The business card case is made of leather, and it looks completely innocent. It cannot be examined, but there is no reason why the spectator should want to do so. The case does not use the Himber Wallet principle. The handling is very easy, and the case can be used for any effect in which you need to switch a business card.
El Duco’s “Business Card Scanner” is a practical and useful little prop. If the effect appeals, I think you’ll find it to be a worthwhile addition to your close-up repertoire. The Double-up Wallet The Gripper Card Case By Roy Roth “The Double-up Wallet” from England’s Roy Roth allows you to perform the following two-phase effect: The magician brings out a wallet. Flipping it open reveals that one side of the wallet has a clear plastic compartment. Under this compartment is a piece of a file card. The file card is removed and the spectator signs it. It is replaced under the clear plastic compartment. A card is selected (forced). The name of the card appears on the file card that had been signed by the spectator. The magician attempts a second trick. A playing card is selected and signed by the spectator. The magician flips open the wallet and points out a zipper that runs the length of the wallet. The zipper is opened and a card is removed from the zippered compartment. It is the signed card. “The Double-up Wallet” comes with a routine by Billy McComb, and while I generally defer to Dr. McComb’s taste and experience, in this case I don’t understand what benefits this wallet offers. In the first phase of the routine you cannot hand out the file card after the writing appears. To me this is a step backwards, since you could simply use the “Out to Lunch” principle and have writing appear on a card that can be given out as a souvenir. There are other wallets on the market that allow you to load a card into a zippered compartment without the need for sleight-of-hand, and if I were going that route, I would choose a Mullica-style wallet. The “Gripper Card Case” is a small leather case that will hold a deck of cards. The case is attached to a metal clip with a strip of Velcro. The clip can be hooked onto your belt. To make use of the cards you just pull the case off the clip. I can see this being useful for the close-up worker for whom pockets are at a premium. Using the clip frees up a pocket. When you first play with the case you’ll need to loosen up the leather to allow a deck in a card box to be completely inserted. Once you do this, the case works like a charm. For the close-up and strolling magician, the “Gripper Card Case” is a handy item. Pete’s ESP By Pete Best, Jr. (?) The effect of this trick may sound familiar to you. The magician places a white sticker on the back of a playing card. The sticker is identified by writing the current date on it. The card is replaced in the pack. Anyone in the audience names any playing card they wish. That card is removed from the face up deck, and the card is rested, face out against a beer bottle. To completely isolate the card, the bottle is lifted and placed onto the card. Now, a spectator searches through the deck for the card that had the sticker on it. This card cannot be found. The card under the bottle is removed. It has the sticker on its back.
If this effect sounds familiar, it’s because it’s David Harkey’s trick. Mr. Harkey published three different versions: in the April 1987 issue of Linking Ring, in the October 1988 issue of Genii, and in Simply Harkey (page 163.) The method of “Pete’s ESP” is almost identical to Harkey’s “Spinner,” including the ploy of “accidentally” writing the wrong date on the sticker, and the method for causing the card with the sticker to disappear from the deck. There is no mention of Mr. Harkey in the instructions of “Pete’s ESP.” I see no reason why you and Mr. Harkey should both be ripped off. “Pete’s ESP” sells for $15 and you get a deck of cards, some stickers, and the instructions. Track down either of the two magazines referenced above, or spend $30 more for Simply Harkey and get 59 extra tricks. Under no circumstances should you buy “Pete’s ESP.” Mr. Mysto Poster From MystoTrix When I was a kid I loved comic books, and I had a ton of them. (Oh, for a time machine to go back and seal those puppies in plastic bags and lock them in a safe deposit box.) I became less interested in comics as I grew older and they adopted the self-righteous name of “graphic novels.” But I would occasionally visit a magazine shop and see if there was anything new or different. In October or November of 1975, I was in a store in Indianapolis, and saw issue number one of Mr. Mysto Magazine. The cover art was great. There was Mr. Mysto, swinging from a light cord, a busty babe wrapped in his right arm, kicking the snot out of some bad guy. I leafed through the comic, but for some reason I never bought it. Later, when I went back for it, the copy was gone, and the store never stocked any more of them. You can imagine my surprise, then, when I received in the mail a poster depicting that comic book cover which I had not seen (or even thought about for that matter) for almost 25 years. The poster is 18 x 24 inches, and is printed in vibrant colors on high quality paper. It’s a perfect addition to any guestroom where you don’t want people overstaying their welcome. I understand that the Magic Castle has acquired the original artwork (done by the talented Daniel Sylvester), so you may have seen this as you walked to the Palace of Mystery. It’s fun and it’s funny. What more can I say? Magical Melodies By Alan Skogerbo Defying the Laws of Physics: Music for Magic By David Gustafson Magicians are always on the lookout for inexpensive, royalty free music for their acts. These two new compact discs hope to fill that need. Alan Skogerbo’s Magical Melodies provides 13 full length tunes (ranging in time from 1:47 to 4:39) and 13 short pieces
(ranging from :11 to :33). The music is all synthesized. I was not particularly thrilled with the production; I think that the drums needed to be “beefier” and the music lacked punch. Unfortunately, my first impression was “video game music.” I was more impressed with David Gustafson’s Defying the Laws of Physics. There are nine full-length cuts, and the music was written with certain illusions in mind (sword basket, shadow box, origami, metamorphosis, etc.). I liked the grooves, the mix, the sounds (again, this is mostly synthesized music), and the drums. Each of the long cuts is edited into shorter versions. In addition, Mr. Gustafson provides some short pieces for use as intro and exit music. Unfortunately, some of these attempt orchestral simulation, and sound “cheesy.” The last piece on the disc is a version of the ending of Igor Stravinsky’s Firebird. Since this is the music that Lance Burton has used in his show for many years, my suggestion to all of you is: Stay away from it! This music is associated with Lance, so pick something else. It is impossible for me to know your taste in music. What I dislike you may find perfectly acceptable, and there is no way for me to describe music in words. Fortunately, both of these gentlemen have web sites that will allow you to listen to some of their music. I urge you to check them out before you buy. It’s Not Magic, But… While we’re on the subject of music, I want to bring to your attention a couple of music programs. I’ve been using music software since the days of the old Apple IIe, and these two programs are great fun to use, even if you’re not a professional musician. The first is Acid Music, from Sonic Foundry. This is a loop-based music program. This means that you use small wave files to construct your music. One drawback with this type of program is that if the wave files are not in the same key, or are not at the same tempo, things sound very strange. The Acid Music program handles all these chores, allowing you to “paint” with sounds. Even if you have no music training at all, you can make some funky music, white boy. Go to www.sonicfoundry.com for more information. Band-in-a-Box is a midi program, and to get full benefit from it you need to have some music training. You type in a chord progression, choose a style of music, hit the “Play” key and the program generates rhythm tracks in the style you’ve chosen. There is also an intelligent soloist function that generates improvised solos over the chord changes. This program is a hoot, and has great potential for jazz education. Find out more at www.pgmusic.com. Details Harry Lorayne Card Videos by Harry Lorayne. Four videos, each $29.95, all four for $110. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525-7008. Email:
[email protected]
Mark Leveridge’s Master Routines Volumes 1& 2 by Mark Leveridge. Each video $19.95. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525-7008. Email:
[email protected] Kevin King’s Money Morph by Kevin King. $20 plus $3 p&h. From The Magic Smith, 64 Seafare, Laguna Niguel, CA 92677. Fax: 949-249-8277. Web site: www.magicsmith.com Close-up & Personal by David Regal. 8.5 x 11, hardcover with glossy dustjacket. 254 pages. $45 plus $5 p&h. From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email:
[email protected] Science Magic by Martin Gardner. 5 x 8, hardcover. 96 pages. $14.95. From Sterling Publishing Co., Inc. ISBN 0-8069-9543-2. Available from your local bookstore or any online bookstore The Center Flip and Other Cardtastrophes by Michael Schwartz. 5.5 x 8.5, plastic comb bound. 104 pages. $20. From Designer Things, 9112 Darnell, Lenexa, KS 66215 The Mother Load by Dylan Sardo. Written by John Lovick. 8.5 x 11, stapled softcover. 16 pages. $15 postpaid. From John Lovick, 4322 ½ Sunset Dr., Los Angeles, CA 90027. Email:
[email protected]. Walter Wick’s Optical Tricks by Walter Wicks. Oversized hardcover. 45 pages. $13.95. From Scholastic Inc. ISBN 0-590-22227-9. Available from your local bookstore or any online bookstore. Animated Miracles by Yigal Mesika. 8.5 x 11, plastic comb bound. 20 pages. $25. Available from your favorite dealer. Cosmosis. $15. ($7.50 with trade-in of knock-off version.) Zoom. $10. Haunted. $10. Ultra Elastic Thread. $25. All four by Ben Harris. From Media T Marketing Pty. Ltd. Email:
[email protected]. Available from your favorite magic dealer. Business Card Scanner by El Duco. $25 plus $2 p&h. From El Duco’s Magic, Box 31052, S-20049 Malmo, Sweden. Fax: +49 40 21 72 28. Email:
[email protected] The Double-up Wallet. 30 pounds Sterling The Gripper Card Case. 25 pounds Sterling. Both from R.A.R. Magic, 82 Pennard Drive, Pennard, Swansea, SA3 2DP, U.K. Fax: 01792 233517. Email:
[email protected]. Web site: www.rarmagic.co.uk Pete’s ESP by Pete Best, Jr. (?). $15. From Discount Magic and Cool Stuff Warehouse, Box 285063, Boston, MA 02128-5063. Fax: 800-438-7236. Email:
[email protected]
Mr. Mysto Poster. $20 postpaid (foreign orders add $5). From MystoTrix, 13134 Valleyheart Dr., #3, Studio City, CA 91604. Email:
[email protected] Magical Melodies by Alan Skogerbo. $19.95 plus $3 p&h ($5 overseas postage). From Alan Skogerbo, 1103 11th Avenue NE, Rochester, MN 55906. Email:
[email protected]. Web site: http://paloma.iuma.com. Defying the Laws of Physics by David Gustafson. $38. From Human Music & Sound Design, 4 Tartan Court, Horsham, PA 19044. Fax: 215-682-7945. Email:
[email protected]. Web site: www.humanmusic.com.
August 1999 The Moment I need to take a moment to talk about The Moment. The most famous comment concerning The Moment comes from S. W. Erdnase. In his discussion of the Shift, Erdnase writes, “The shift has yet to be invented that can be executed by a movement appearing as coincident card table routine; or that can be executed with the hands held stationary and not show that some maneuver has taken place, however cleverly it may be performed. Nevertheless upon occasion it must be employed, and the resourceful professional failing to improve the method changes the moment; and by this expedient overcomes the principal obstacle in the way of accomplishing the action unobserved.” [My italics.] Careful study of Erdnase’s words reveals several important points. First, the “resourceful professional” must understand that The Moment exists; many routines have a critical point in time when a crucial sleight must be performed. The danger occurs if The Moment coincides with heightened spectator attention. Obviously, if the spectators see the sleight happen, deception is destroyed. But just as fatal is the situation where the spectators do not actually see the sleight, but suspect that something underhanded has happened. This suspicion alone is enough to destroy magic. For a card cheat, it may be necessary to use a Shift to nullify a cut. But the point in time when this sleight must be performed (immediately after the cut is replaced) is also the time when there is the most “heat” on the deck. The second aspect of Erdnase’s comment is this: if we are aware The Moment exists, and if we are sensitive to the fact that it may occur at time of heightened spectator awareness, then we may be able to structure our routine so that the sleight is delayed. In other words, we change The Moment. The classic comment concerning changing The Moment comes from Max Malini (who we will discuss further later in this column). Malini had very small hands, and an attentive spectator could probably discern many of his sleights. Someone asked Malini how he managed to deceive using these sleights. He replied, “You do it when they’re not looking.” But what if they don’t look away? “Then you wait,” was his response. How long do you wait? “You wait a week!” Most of us don’t have the luxury of such a leisurely performance pace, consequently we have to understand when the heat will come, and when we must execute our sleight so we arouse not the slightest suspicion. Interestingly, once you understand the importance of The Moment and you begin to structure your routines accordingly, you develop the magical equivalent of perfect pitch. If I watch someone who mishandles The Moment, I experience a discord that reminds me of a musician playing a passage out of tune.
I wanted to bring you up to speed on The Moment, because it plays a critical factor in my review of three new videos by Israeli mentalist Guy Bavli. Titled Bending Minds, Bending Metal, the tapes feature a variety of mental and psychic effects. The production values of the videos are good, and Mr. Bavli does an excellent job of explaining the effects (especially impressive since English is not his first language). However, I am not enthusiastic about Mr. Bavli’s methods, since I think that many of them incorrectly exploit The Moment. The effects on the three videos fall into four categories: metal bending effects, psychic phenomena (such as stopping watches and animating spoons), standard mentalism effects, and effects which use special props which must be purchased in order to perform the effects. Let’s look at each category in detail. I found the metal bending effects, especially the spoon bending effects to be the most “out of tune” as far as The Moment is concerned. Let’s face it, if you’re going to bend a spoon, then at some point in time you’re going to have to actually bend the spoon. The question is when do you do it? Mr. Bavli offers several spoon bending effects on Volume One. The first, “Bending a Spoon in a Spectator’s Hand,” involves a technique original to Mr. Bavli. Unfortunately, in order to accomplish the bending, the magician’s hand must assume a very unnatural shape, and in my opinion, an astute spectator could discern this. Also, the spoon is bent as it goes out of sight. The last person to touch the spoon in its unbent state is the magician. This, I believe, produces a violation of The Moment. In “Bag Bend,” Mr. Bavli hands out several small paper bags to members of the audience. He drops a spoon into each bag. The spoons bend. Again, the last person to the touch the spoons is Mr. Bavli. There is only one possible moment when the spoons could have been bent, and that is exactly when the secret action occurs. (This routine also contains a violation of natural action concerning how objects are placed into containers, a subject which Tommy Wonder has discussed in relationship to placing objects into pockets.) There are several effects in which nails are bent, but I don’t think that Mr. Bavli’s handlings will convince anyone that you have genuine psychic power. At best, they will be taken as magic tricks. “Bending a Large Nail,” utilizes an extra nail, a switch normally used with pocketknives, and an equivoque. To my way of thinking, the introduction of a second nail simply clutters the effect. “Bending a Small Nail” utilizes lapping, which may limit its usefulness. And again, Mr. Bavli executes the necessary sleight at a time when the most heat is on the nail. The best of the metal bending effects is “Miracle with a Fork,” which is based on a Steve Shaw idea. This is a novel and impressive demonstration, and Mr. Bavli’s additions to the Shaw effect are good. Also worthwhile is “Spoons from Card Case,” a clever and practical way to produce some spoons and forks. The other psychic effects include “Stopping a Watch/Time of the Future” which combines a watch stopping effect with Steve Shaw’s “Psychokinetic Time.” Unfortunately, I’m not convinced of the wisdom of doing these two effects together, since the method used for stopping the watch is the same action that a spectator would
use preparatory to setting the time on the watch. “Haunted Spoon” is an effect in which a spoon is wrapped in handkerchief and animates. Mr. Bavli’s method uses a familiar gaff, but allows you to hand out the handkerchief at the end of the routine. You will need to be seated in order to perform this. The mental effects are generally good, with the exception of “The Perfect Prediction.” This is a book test. The method involves the equivoque of a book, adding a playing card to a previously shuffled deck, forcing that card on a spectator, having random numbers written on the card, and switching out that card for another card which has prearranged numbers. These numbers are added to obtain a page and line number in the forced book. This type of approach to a book test was hackneyed in Annemann’s time, and age has not improved it. If you really had the ability to read minds would you go through all this rigmarole to have the spectator think of a word? I don’t think so. Finally, Mr. Bavli demonstrates several effects that use special props that he sells. “Perfect Key Bending” uses a device which allows you to bend keys. Again, to my eyes the required move happens at exactly the wrong time. “The Perfect Clipboard” is a design duplication effect. “The Lottery Prediction” uses Mr. Bavli’s “Net Change Bag.” This is a clever prop, unfortunately Mr. Bavli makes a serious mistake (which you should not make) when he performs the routine. He shows a large tumbler that contains small plastic disks. Each of these has a number on it. He dumps these disks into the change bag, and offers the bag to the spectators to choose numbers. Well, to my mind, the glass would have made a perfectly acceptable container for the selection process. Why dump the chips into the bag? It makes no sense. (You should also know that there is an error of labeling on Volumes Two and Three. “The Lottery Prediction,” using the change bag is on Volume 2. “The Perfect Clipboard” is on Volume 3.) Mr. Bavli could certainly argue that the video camera is unforgiving, and that in the real world his methods are perfectly acceptable. In fact, depending on your experience with The Moment, you may find them perfectly acceptable. But at best, I feel that these are mental magic tricks. No astute laymen will think that he is seeing anything other than a magic trick. However, I know that better methods exist. Two of my friends perform metal bending routines, and their routines are seamless. There is no way to discern (on video or otherwise) when the performer does the work. Consequently, I’m afraid I cannot recommend Bending Minds, Bending Metal to you. If you invest in them I think you’ll find yourself spending a lot time trying to rework The Moment. Malini and His Magic By Dai Vernon Now, Max Malini was a guy who understood The Moment. Consider, for instance, one of Malini’s greatest effects, the production of a block of ice from under a hat. In Malini and His Magic, Dai Vernon admits that Malini fooled him completely with this trick. The question was - when did Malini obtain the ice? Vernon writes, “I must admit that to this
day, I do not know exactly how he got it or where it came from.” Vernon was fooled because Malini changed the moment. The ice was obtained early, and Malini waited for the psychologically proper moment to perform the trick. Magician Tommy Martin recounts one episode when Malini stood at a bar for half an hour with the block of ice under his coat. Is this dedication to The Moment worthwhile? I’ll let Vernon answer that question. He writes, “The effect created a profound impression on everybody who was there, and was something to remember all their lives.” Max Malini was one of the great characters in the history of magic. His real name was Max Katz Breit, and he was born in 1873 in Ostrov, a town on the border of Poland and Austria. His family immigrated to the United States when Max was a young boy. He specialized in performing for the movers and shakers of his era, and his clients included the Astors, the Vanderbilts, the Rockefellers, several United States Presidents, and the royalty of many European countries. He was brash, bold, arrogant, and outrageous, and everyone who saw him considered him the finest magician they had ever encountered. Malini and His Magic was originally published by Supreme Magic, and it has long been out of print. I’m happy that L&L Publishing has again made this book available. Included are discussions of Malini’s classic tricks, including the “Cigar Levitation,” the “Blindfold Card Stab,” the “Button Trick,” the “Egg Bag,” the “Coin Game,” the “Card Vanish,” the Color Change,” and “The Production of a Block of Ice.” While Vernon is credited as the author, Lewis Ganson wrote the words, working from audio tapes prepared by Vernon and Faucett Ross. Faucett Ross also recorded a chapter detailing Malini’s promotional techniques. There is also a chapter of reminisces from Edwin Dearn, who spent time with Malini in Shanghai and Australia. Max Malini is an important figure in the history of close-up magic. His routines are still effective today (one need only see Bob Sheets’ handling of the “Blindfold Card Stab” to realize this), and his bravado and schmoozing abilities are inspirational. But most important was his commitment to The Moment. Unwilling to settle for performing “tricks,” Malini did miracles that were based on his ability to manipulate The Moment. His magic is legendary. If you study his life and his methods, you may be able to do the same. Malini and His Magic should be in your library. House of Cards By Chuck Romano One of the heartbreaking aspects of jazz history is number of great performers whose lives were cut short by substance abuse. Charlie Parker, John Coltrane, Art Tatum, Bill Evans, the list goes on and on. Those of us who mourn the incredible loss of their premature passing find ourselves asking, “Why?” Why does someone with so much talent, with (apparently) so much going for them, destroy themselves with drugs or alcohol? Perhaps we ask why in the futile wish that we could somehow go back and change the past – save our heroes from their own self-destruction. Of course, we can never know why. No one can really understand the demons a person carries within
himself. The contemporaries of our jazz heroes may have understood their colleagues’ addictive compulsions, but if they did, they were helpless to stop the process. Paul Rosini was one of the most successful magicians during the golden age of hotel and nightclub entertainment. He worked the top spots, he commanded an impressive fee, he was a hit with audiences of laymen and magicians, and he drank himself to death at age 45. Most contemporary magicians are unfamiliar with Paul Rosini. In Greater Magic, John Northern Hilliard sited Rosini as one of America’s “Ten Living Card Stars.” He contributed a few tricks to the magic magazines of the day, and after his death W. F. (Rufus) Steele published Paul Rosini’s Magical Gems. In House of Cards: The Life & Magic of Paul Rosini, Chuck Romano fills in some of the blanks in the history of this most charismatic and enigmatic performer. The book is in three parts: Part One is Rosini’s biography; Part Two is a detailed account of five different acts performed by Rosini; Part 3 is an appendix which contains a reprint of Paul Rosini’s Magical Gems. Mr. Romano has done a great deal of research in the preparation of this book, and he has clarified several pertinent facts. Rosini was born Paul Vucic (not Vucci as has appeared in most conjuring books and magazines) on September 29, 1902 in Trieste, Italy. Trieste is now a part of Italy, but at the time of Paul’s birth it was under Austrian rule. In 1912 the Vucic family immigrated to the United States, settling in Chicago. Paul developed an interest in magic at a young age, and often frequented August Roterberg’s magic shop. The family moved to New York City in 1916, and shortly thereafter, Paul became Julius Zancig’s partner in a two-person mind reading act. Paul left the act in 1917 and was replaced by David Bamberg. For a short period of time (around 1918), Paul assisted Carl Rosini. When Carl Rosini left the United States for an extended tour of South America, many felt that he would never return to the United States. Paul, who had returned to the Midwest, had decided that Vucic was an unsuitable name for a conjuror, and (perhaps feeling that he would not be in competition with Carl Rosini) took the stage name Rosini. He began to work hotels and nightclubs. When Carl Rosini returned to the United States and learned that his former assistant had appropriated his last name, he was incensed. Carl Rosini decided that pursuing legal action against Paul was impossible (although he did prevent Paul from using the name Rosini when performing in New York), but his anger and bitterness toward Paul never faded. In fact, after Paul’s death Carl said, “Now he is gone, and I am still here.” Paul’s career soared, and so did his alcohol consumption. In fact, there is a classic Rosini story (which I do not believe is in Mr. Romano’s book) that when Rosini checked into a hotel he ordered a case of playing cards and a case of Scotch, and when he finished his run both would be used up. Paul Rosini died in Chicago on September 19, 1948. Part Two of House of Cards is particularly fascinating. It details the effects that comprised five separate acts that Rosini performed. Much of this information came from a manuscript written by Charles Maly, a professional magician and mentalist. In 1936, Mr. Maly had the opportunity to watch Rosini perform at the Park Plaza Hotel in St.
Louis, Missouri. He also had the chance to discuss the effects with Rosini, and he made copious and detailed notes. The Maly manuscript was in the collection of Max Hapner, who passed it along to MAGIC’s Associate Editor John Moehring. John made the manuscript available to Mr. Romano. Rosini’s repertoire consisted of standard effects: the Cups and Balls with baby chicks as final loads, the “Thumb Tie,” the “Vanishing Bird Cage,” the “Sympathetic Silks,” the “Card in Cigarette,” the “Miser’s Dream,” the “Brainwave Deck,” the “Egg Bag,” the “Linking Rings,” and the Malini “Card Stab.” But even though the effects were standard, Rosini’s presentation was not. The Maly manuscript provides much information on the structure of Rosini’s routines, but unfortunately leaves many unanswered questions concerning Rosini’s patter and bits of business. In an attempt to find some answers, I have spoken to several people who knew Rosini, and no one could give me any specific information. All I could discover was that he was charming, technically excellent, and extremely charismatic. House of Cards concludes with a compilation of Rosini tricks from the published record, some unpublished information via Neal Elias, and a complete reprint of Paul Rosini’s Magical Gems. Paul Rosini has intrigued me ever since I read his tricks in Greater Magic. While his photographs (and the comments from his contemporaries) paint him as the ultimate in sophistication and technical competency, he was a man with flaws and demons. After all, this was a man who stole the last name of a working performer, based his repertoire on the routines of other established professionals (Charles Bertram and Nate Leipzig), and appropriated someone else’s trademark line (Max Malini’s “A little waltz, please.”). But he elevated the material in way that other performers could not, and he left a lasting impression on those who saw him. I’m delighted that Chuck Romano has provided the magic community with such a thorough biography. Paul Rosini remains somewhat of an enigma, but I sense that he was an enigma to his contemporaries. I enjoyed House of Cards very much. I think you will, too. (An excerpt from House of Cards appeared in the March 1999 issue of MAGIC.) The Himber Wallet Book By Harry Lorayne The Himber Wallet has achieved “classic” status. Many variations of the original wallet have appeared on the market, and it is a prop that is used by magicians around the world. When Richard Himber first introduced the wallet to the magic marketplace, he asked Harry Lorayne to write an accompanying instruction book. This was titled Best of Billfooled. In 1963, Himber came up with a variation on the wallet, which he called the “Trick-A-Rette Case.” Again, Mr. Lorayne wrote an instruction book titled The Hundred Dollar Book. In The Himber Wallet Book, Mr. Lorayne has revised and corrected these original manuscripts and has added contemporary material to provide a wide variety of
routines using this versatile prop. If you own a Himber Wallet, or if you’re considering buying one, you’ll find a lot of information here. As with any collection of this type, the quality of the material ranges from the very, very good to the very, very dumb. On the “very good” side are routines like “Instant Money,” “Five Star Miracle,” and “Polaroid Money.” These are not only three of the best effects possible with a Himber Wallet, they are three of the strongest effects in the close-up repertoire. On the “very dumb” side is “Cut and Restored Ribbon” in which a ribbon is threaded through the wallet, then cut, then restored. This trick falls under the category of “I’ve got this prop, what is every possible thing I can do with it, regardless of how illogical it is?” If you had the powers of a real magician, would you slip a ribbon into a wallet before you cut it? If you answered “yes,” I’m afraid I’m going to have to ask you to step out of the gene pool. In the “Last Word” section of this book, Mr. Lorayne mentions that there are five basic uses for a Himber Wallet: to switch items; to produce an item; to make something disappear; to predict a future occurrence; or to do a bit of mindreading. Considering that The Himber Wallet Book is to be used as a reference volume, it would have been useful if Mr. Lorayne had organized the material according to these five categories. If there is an underlying order to the book, I don’t know what it is; effects of all categories are scattered throughout, so if you are looking for a particular type of effect you’re going to have to read through the whole book. Perhaps this creates a book which is more interesting to read cover to cover, but it minimizes its effectiveness as a reference book. This quibble aside, I think you’ll find much of value in The Himber Wallet Book. The Dice Stacking Book By Todd Strong Todd Strong is a juggler who has taught at the De Etage performing arts school in Berlin and the National Circus School of France. A while back I reviewed his excellent dice stacking video. The Dice Stacking Book is a companion volume that provides the wouldbe dice stacker with a ton of information. Todd discusses the necessary props, the basic stacking move, stacking variations, aerial moves, decapitating moves, and stacking items other than dice. He is thorough, and his explanations are clear. One very cool aspect of the book is that there are two “flip pictures” located on the bottom corners of each page. Flip the pages of the book in one direction and you see a mini-movie of Todd stacking four dice. Flip the pages the other way and you see him “decapitating” and stacking four dice. This is a clever idea, for it allows you to see the stacking motion in action. Todd is a juggler, not a magician, so the emphasis is on stacking rather than magic effects (two magical ideas are included). Consequently, you’ll need to seek out other sources if you’re looking for a magic routine. (Todd includes a bibliography to help you track down
more information.) If you’ve been looking for a book on dice stacking, look no further. The Dice Stacking Book is an excellent resource. Pete’s ESP By Pete Best, Jr. The effect of this trick may sound familiar to you. The magician places a white sticker on the back of a playing card. The sticker is identified by writing the current date on it. The card is replaced in the pack. Anyone in the audience names any playing card they wish. That card is removed from the face up deck, and the card is rested, face out against a beer bottle. To completely isolate the card, the bottle is lifted and placed onto the card. Now, a spectator searches through the deck for the card that had the sticker on it. This card cannot be found. The card under the bottle is removed. It has the sticker on its back. If this effect sounds familiar, it’s because it’s David Harkey’s trick. Mr. Harkey published three different versions: in the April 1987 issue of Linking Ring, in the October 1988 issue of Genii, and in Simply Harkey (page 163.) The method of “Pete’s ESP” is almost identical to Harkey’s “Spinner,” including the ploy of “accidentally” writing the wrong date on the sticker, and the method for causing the card with the sticker to disappear from the deck. There is no mention of Mr. Harkey in the instructions of “Pete’s ESP.” I see no reason why you and Mr. Harkey should both be ripped off. “Pete’s ESP” sells for $15 and you get a deck of cards, some stickers, and the instructions. Track down either of the two magazines referenced above, or spend $30 more for Simply Harkey and get 59 extra tricks. Under no circumstances should you buy “Pete’s ESP.” Mr. Mysto Poster From MystoTrix When I was a kid I loved comic books, and I had a ton of them. (Oh, for a time machine to go back and seal those puppies in plastic bags and lock them in a safe deposit box.) I became less interested in comics as I grew older and they adopted the self-righteous name of “graphic novels.” But I would occasionally visit a magazine shop and see if there was anything new or different. In October or November of 1975, I was in a store in Indianapolis, and saw issue number one of Mr. Mysto Magazine. The cover art was great. There was Mr. Mysto, swinging from a light cord, a busty babe wrapped in his right arm, kicking the snot out of some bad guy. I leafed through the comic, but for some reason I never bought it. Later, when I went back for it, the copy was gone, and the store never stocked any more of them. You can imagine my surprise, then, when I received in the mail a poster depicting that comic book cover which I had not seen (or even thought about for that matter) for almost 25 years. The poster is 18 x 24 inches, and is printed in vibrant colors on high quality
paper. It’s a perfect addition to any guestroom where you don’t want people overstaying their welcome. I understand that the Magic Castle has acquired the original artwork (done by the talented Daniel Sylvester), so you may have seen this as you walked to the Palace of Mystery. It’s fun and it’s funny. What more can I say? Details Bending Minds, Bending Metal by Guy Bavli. Three Videos. $29.95 each. All three for $84.95 (postpaid in US and Canada). From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Fax: 916-852-7785. Web site: www.A1MagicalMedia.com Malini and His Magic by Dai Vernon. 6 x 9, hardcover with glossy dustjacket. 108 pages. $30 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected]. Website: www.allmagic.com/llpub. House of Cards by Chuck Romano. 6 x 9 hardcover. 305 pages. $35 postpaid in US. Overseas orders $45 postpaid. From Chuck Romano, 900 W. Barbara Ave., South Elgin, IL, 60177. Email:
[email protected]. The Himber Wallet Book by Harry Lorayne. 6 x 9 hardcover with glossy dustjacket. 227 pages. $35 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected]. Website: www.allmagic.com/llpub. The Dice Stacking Book by Todd Strong. 6 x 9 softcover. 94 pages. $9.95 plus $3 p&h (international orders add $6 for p&h). From Perceptual Motion, P.O. Box 204, Point Roberts, WA 98281. Fax: 360-945-0786. Email:
[email protected]. Web site: http://members.xoom.com/dicestacker Pete’s ESP by Pete Best, Jr. $15. From Discount Magic and Cool Stuff Warehouse, Box 285063, Boston, MA 02128-5063. Fax: 800-438-7236. Email:
[email protected] Mr. Mysto Poster. $20 postpaid (foreign orders add $5). From MystoTrix, 13134 Valleyheart Dr., #3, Studio City, CA 91604. Email:
[email protected]
September 1999 Too Perfect Theory One of the more perturbing aspects of the world magicians and magical hobbyists is the need for all criticism to be good criticism. No one ever wants to hear that their sleights flashed, their music was poorly edited, their patter was inane, their convention was boring, their book, prop, or video less than valuable, or their latest idea less than original. This glossing over of all negativity is especially true when it comes to biographical information. All magicians are great guys, and no one ever has any warts. I remember when MAGIC was in its infancy, Richard Kaufman wrote a brief reminiscence of Frank Garcia. Because he portrayed Mr. Garcia as a less than perfect human being, Mr. Kaufman received a lot of hate mail. This was ridiculous. No one is perfect. We all have frailties, weaknesses, and flaws, and it is how we overcome these (or perhaps how we fail to surmount these) that make us interesting human beings. Dai Vernon was one of magic’s great characters. In the August issue of MAGIC he was named to the list of 100 who shaped the art in America. He said of his obsession with magic, “If you want to be an artist, you must devote your life to it, and if you want to be truly great, you have to give up everything else. You must dedicate your life to art.” My question is this, What is the price of that obsession? To date, nothing written about Vernon really answers that question. Why? Because to do so would place him in a less than perfect light. Fortunately, Canadian director Daniel Zuckerbrot has created a biography of the Professor in which the warts have not been airbrushed out. Dai Vernon: The Spirit of Magic was originally produced for History Television in Canada. The video includes some extraordinary photographs and film footage, and features reminiscences from Max Maven, Jackie Flosso, Herb Zarrow, John Carney, Steve Freeman, Dr. Persi Diaconis, and Ricky Jay. Most remarkable are the interviews with Vernon’s sons, Edward and Derek, who provide previously unknown information about Vernon the man and the father. Vernon was charismatic, frustrating, insensitive, and brilliant. As Ricky Jay states, he had the ability to cause people to get up and move. Wherever he was located immediately became the center of the world of magic. We will not see another like him. Dai Vernon: The Spirit of Magic is fascinating and exhilarating. It is one of the best magic videos I have ever seen, and I highly recommend it. (For more information on Dai Vernon: The Spirit of Magic, see Cushing Strout’s article in the July, 1999 issue of MAGIC.) Drawing Room Deceptions By Guy Hollingworth
This column is being written at the end of July. Deadline is a couple of days away. Guy Hollingworth’s Drawing Room Deceptions has just arrived, presenting me with a dilemma. Do I try to fit a brief review in an already crowded column, or do I wait a month and give the book more expansive coverage? A brief review will not do justice to the quality of this book, but if I wait, the review will not appear until October, and the book will have been out for two full months. My decision to include a review this month was predicated on that fact that Guy’s book has been anxiously anticipated by many, and has been the subject of great speculation on the Internet. I’m sure most of you know who Guy Hollingworth is. He has appeared on the World’s Greatest Magic, he has lectured and performed at magic conventions around the world, he has appeared on the cover of MAGIC, and his trick “The Reformation” has spawned many variations and generated tons of comment. Guy is young, tall, good-looking, intelligent, charming, and possesses enviable technical facility with a deck of cards. It would be easy to hate him, except that he is such a nice guy. In fact, the first thing you may notice about Drawing Room Deceptions is its lack of hype and self-aggrandizement. Guy has written this book in a style reminiscent of the turn of the century, as if Nevil Maskelyne and David Devant were looking over his shoulder. Don’t let me give you wrong impression; Drawing Room Deceptions is not difficult to read, it simply captures the sensibilities of a more refined and genteel time. So, what about the tricks? Most of the material that Guy has performed and lectured on appears in Drawing Room Deceptions, including routines from The London Collection videotape. Chapter One includes variations on “Waving the Aces,” Guy’s vertical treatment of “Twisting the Aces.” (The version where all four cards change is not included here, but will be included in a separate manuscript which will be released in the near future.) Chapter Two details two very tough routines, “The Penetration of Four Cards through a Jacket,” and “An Ambidextrous Interchange.” Also explained is the “One Card Routine” that Guy uses as a follow-up to “An Ambidextrous Interchange.” Card magic does not get more challenging than this. The feint of chops need not apply. Chapter Three explains routines that make use of a common stationery item. These routines are all within the ability of the average card magician. Next, Guy pauses for an Interval, during which he explains several excellent and useful sleights, including shifts, palms, switches, false deals, and false shuffles. These techniques are put to use in Chapter Four, which discusses several gambling routines. Chapter Five is my favorite chapter. It explains a method for allowing you to produce a signed card in any impossible location you can conceive. Guy fooled me completely with this at a lecture here in Las Vegas. Chapter Six contains a potpourri of items, including a very offbeat in-the-hands version of “Triumph.” This routine was one of the highlights of The London Collection. Finally, the question you’ve all been waiting for. Does Guy explain The Reformation? Yes, he does. However, because of the technical nature of the routine and the necessity for attention to details, the description of the routine is long and involved. (It takes 14
pages just to describe how to tear the card into fourths.) You’ll be able to learn from Guy’s explanation, but it will require concerted effort to do so. Unfortunately, if you don’t already own a copy of The Reformation video, this will be the only source of information available to you. When Guy released the video, he pledged that it would be a limited edition and would not be reissued. He is a man of his word, and The Reformation video will not appear on the market again. However, I understand that a new Hollingworth video will appear soon, and “The Reformation” will appear in a performance only segment. So you will at least be able to see what the routine looks like. (You could also track down a copy of Guy’s appearance on WGM.) Quick summary: This is an outstanding book. The material is geared toward the experienced card magician, but there are routines which require little or no skill (for example, be sure to check out the “Voodoo” routine that is cleverly hidden in the Prologue). Drawing Room Deceptions is one of the best books of the year, and I highly recommend it. The Complete Idiot’s Guide to Magic Tricks By Tom Ogden Tom Ogden is well known as fine magician and a very funny guy. Although this book appears under the banner of The Complete Idiot’s Guide series, do not be misled. Tom’s book is neither condescending, nor is it written to appeal to idiots. Not only does The Complete Idiot’s Guide to Magic Tricks contain excellent beginner’s tricks, it also discusses subjects which are rarely addressed in a book geared toward the novice. The book begins with several introductory chapters that cover the origins of magic, the basic effects of magic, some important rules for the fledgling magician, constructing patter, finding your character, and what to do when things go wrong. There is also a wonderful little section listing some of the “right” and “wrong” reasons for taking up magic as a hobby. The next large section of the book contains the tricks. For the most part, these tricks have appeared in other magic books geared toward the general public. Exposure of these tricks is not going to do your show any harm. There are tricks with cards, money, everyday objects, food, rope, and silks. Also included are mathematical mysteries, simple mental effects, and tricks suitable for the stage (the “Afghan Bands,” “Clippo,” the “Miser’s Dream,” and “Dollar Bill in Orange.”) Bound into the front and the back of the book are two cardboard sheets that contain gaffed cards that can be punched out. The back design of these cards is the standard Bicycle Brand, but because of the thinness of the cardboard you would not be able to ring in these cards from a normal deck. Tom explains all the tricks very clearly, and the text is accompanied with many sidebar hints, tips, and enrichment information. The book concludes with a brief history of magic, information on some current practitioners, and sources of further information, including a recommended reading list. The Complete Idiot’s Guide to Magic Tricks is a fine book for the beginner, and I
recommend that you keep it in mind as an excellent choice for someone who is just starting out in magic. Sports and Pastimes From Steve Burton Magic This month I want to call your attention to three books that will be of interest to historians and collectors. The first is the Steve Burton Magic reprint of Sports and Pastimes, authored by the anonymous “J.M.” and published in London in 1676. The original is one of the rarest conjuring books in the world, with only two copies known to exist. The copy used for this reprint is part of the Huntington Library (San Marino, California) collection of old English books and manuscripts. Edgar Heyl discovered the book in that collection, and included it in his A Contribution to Conjuring Bibliography, English Language, 1580-1850. As Heyl wrote, “Here we have in Sports and Pastimes an important conjuring book – important because over half the conjuring tricks in it had not appeared before, and because the descriptions for the most part can be relied upon as having been written by one who, through not a professional, was yet conversant with the craft.” You’ll find descriptions of “The Egg Box” (the forefather of the “Ball and Vase”), “The Melting Box” (an offshoot of the “Cap and Pence”), and the first-ever description of “Trouble Wit.” There is also a version of the “Cut and Restored Handkerchief” which provides a means for disposing of the extra piece, a vanishing coin routine similar to a routine found in Hocus Pocus Junior, but which allows the use of a borrowed handkerchief, and a hands-off method for making a knife jump out of a pot of water. This is the second historical book that Steve Burton has reprinted, and he has done a very nice job. This is a limited edition of 300 copies, so if you are interested I would suggest you contact Mr. Burton right away. (There is also a deluxe leather-bound edition, limited to 30 copies, priced at $200 postpaid.) European Jewish Magicians 1933-1945 By Hannes Höller Historians will also want to take note of this compilation of biographies of Jewish magicians who lived and worked in Europe during the years of Nazi persecution. The book contains 35 biographies, including such notables as Theo Bamberg (Okito), Hans Trixer, Dr. Jaks, and Emil Loew. As Mr. Höller says of this volume, “It is obviously not complete. But, if it shows one thing, then it’s the importance of investigating, researching, and documenting information before it too becomes extinct.” In his note to me, Mr. Höller requests that purchasers send cash, but I think this is a bad idea. I believe that an international money order is a safer way to go. This volume is also a limited edition of 300 copies. The Artistic and Magical Life of Bob Kline By William King, Jr.
Our final historical volume this month will be of particular interest to those who collect magical apparatus. Before he retired, Bob Kline was a schoolteacher, a part-time pro, and the owner of Kline-Kraft Magic. You may be familiar with one of Mr. Kline’s most famous effects, “Copentro,” in which four half dollars vanish and visibly appear in a shot glass which has been covered with a tumbler. The Artistic and Magical Life of Bob Kline traces Mr. Kline’s career and the evolutions of several of his marketed effects. For collectors, the final few chapters will be of most interest as they contain photographs of every trick marketed by Kline-Kraft Magic. These are organized by date of release, and a brief description of the effect and the number of units manufactured accompany each picture. Some custom-made effects and illusions are not listed. I understand that only a few copies of this book remain, so contact Richard Kaufman immediately if you want one. Memories Are Made of This By Simon Aronson Interest in Memorized Deck work continues. During my last lecture tour I spent a little time discussing the basics of Memorized Deck. Now you can get an introduction to Memorized Deck from the chief guru himself, Simon Aronson. Memories Are Made of This is a set of notes that answers such questions as: What is a Memorized Deck; What stack should I memorize; What other tools (that is, sleights) will I need; Is there a substitute for memorization; What are the basic principles of Memorized Deck work; How do I memorize the stack; and How long will the memorization process take? Finally, Simon includes three excellent tricks that use the Memorized Deck. “Everybody’s Lazy” first appeared in Simply Simon, and was one of the highlights of that book. The other two effects, “The Invisible Card” and “Two Beginnings” have not previously appeared in print. Both of these tricks make use of the Open Index principle, which means that they disarrange a minimum number of cards, making them very practical for the strolling performer. This is the type of Memorized Deck magic I love, and I immediately added both of these tricks to my repertoire. If you already have all of Simon’s hardback books you really don’t need this set of notes (but you may want to pick them up just for the two new tricks). However, if you were thinking about jumping in the pool, but you’d like to get a feel for the temperature of the water first, Memories Are Made of This would be a fine introduction to the subject. Recommended. The Wondrous World of Numberplay & Wordplay By Paul Swinford
For many years Paul Swinford was the Parade editor for the Linking Ring, and he published two very interesting books on the Faro Shuffle. Paul Swinford is not as visible on the national magic scene as he once was, but his interest in magic remains strong. Each February he lectures for the Cincinnati IBM Ring, and this year the topic of his lecture was magical stunts and curiosities using numbers and words. The Wondrous World of Numberplay & Wordplay are the notes from that lecture, and they provide a fine introduction to the subject. The Numberplay section contains information on the 1089 force (including the very funny “Mr. Smith Meets Dr. Matrix”), a previously unpublished Stewart Judah number prediction, effects using a pocket calculator, rapid addition, and effects using cyclic numbers. The Wordplay section includes excision exercises (word lists in which each successive word is formed by eliminating one letter from the previous word), lipograms (a written work that deliberately omits a certain letter of the alphabet), anagrams, and palindromes. Many examples are given, and the palindrome section is quite extensive. Mr. Swinford writes in an easy to read style, and his enthusiasm for the subject shows through. These are the types of stunts that should be part of the performing magician’s impromptu arsenal. The Wondrous World of Numberplay & Wordplay is a fine introduction to a delightful realm of intriguing oddities. I think you will enjoy it. Recommended. The Silver Surf Written by Joshua Jay Troy Hooser is a very clever and creative magician, and his ingenious routines have found favor with many of the top close-up workers in the country. Unfortunately, in several instances this appreciation has resulted in the appropriation and publication of Mr. Hooser’s material without his name being associated with it. In The Silver Surf, Joshua Jay has written up three of Mr. Hooser’s coin routines. Close-up performers will find them to be useful and practical additions to their repertoires. Two of the routines, “Ex-Troy-dinary” and “Troy This One,” involve the vanish and reproduction of three coins. Both use completely different methods, and either would be an excellent lead-in to the currently popular “Fingertip Coins Across” routines. (“Troy This One” originally appeared in Tom Craven’s Havenly Close-up column in the Linking Ring, and it won the Best Trick award for 1997.) In “A Charming Chinese Challenge,” three Chinese coins penetrate a length of ribbon. This is an extremely visual effect, and is not particularly difficult. If you attended one of the national conventions this summer you may have seen Joshua Jay performing this routine. I’m delighted that this manuscript has surfaced, and I hope that it is the prelude to a much larger book of Mr. Hooser’s magic. He deserves the recognition. If you enjoy coin magic you’ll enjoy The Silver Surf. And at $10 this is a real bargain.
The Egg Bag Book By John Novak The Egg Bag is a classic magic trick. In the 1876 American edition of Modern Magic, Professor Hoffmann referred to the Egg Bag as “a very old fashioned trick.” (A version appeared in Clever & Pleasant Inventions in 1584.) Yet, it remains in the repertoires of many contemporary professionals. (For example, Jeff Hobson absolutely kills with his Egg Bag routine.) Why does this trick preserver? Probably for two reasons: the props are simple, and the effect is clear-cut and easy to understand. The egg appears, the egg disappears, the egg comes back. In addition, because of its simplicity, the Egg Bag is the perfect vehicle for allowing a performer’s personality to express itself. In The Egg Bag Book, John Novak has compiled a large amount of useful information about this venerable trick. Mr. Novak discusses the various styles of Egg Bag (giving basic construction patterns), describes the different types of eggs which can be used, offers several different routines, lists notable performers who have used the prop, and gives a useful Bibliography of books and videos which contain Egg Bag information. I find Mr. Novak’s writing style to be somewhat difficult to read at times, but there is no denying that he has assembled a very useful reference book. If you are serious about constructing an Egg Bag routine of your own, you’ll definitely want to have The Egg Bag Book in your library. (Stevens Magic Emporium has also released The Egg Bag video featuring Martin Lewis, Tom Mullica, Billy McComb, Charlie Miller, and Johnny Thompson. This video contains excellent information from top-notch performers and is certainly worth your consideration. The Egg Bag video is $22.50 postpaid, but you can purchase it and The Egg Bag Book together for $35 postpaid.) Close’s Dungeon By Michael Close Reviewed by Mac King In 1960 Martin Gardner wrote up a trick called “The 3-by-3 Matrix” for his New Mathematical Diversions column in Scientific American. As with many of Mr. Gardner’s items, there have been uncounted variations on this trick of moving an object around a layout of cards as directed by a set of previously recorded instructions. The original Scientific American version had the instructions recorded on an index card. The first marketed version was Hal Newton’s “Voice From Another World,” which used a phonograph record to play back the recorded instructions. In the manuscript for his version of the trick, Michael Close mentions that he first saw this trick in it’s “Animal Safari” rendering by Lee Noble and Jerry Lubin, which was released in 1971. The trick has been evolved, and improved upon, by such luminaries as Robert Neale and Max Maven. The latest version is by Michael Close, and is called “Close's Dungeon.”
Michael’s version does not add significantly to the methodology of this trick, but he does add some welcome comic relief, and there is one small bonus effect that adds a very charming kicker at the conclusion of the trick. The premise of this trick is that there are nine rooms in a dungeon. Nine cards represent these, with line drawings showing the different rooms. An audiocassette is started and the prerecorded voice of the Dungeon Master gives instructions to the spectator who is trying to find the room containing treasure and avoid the rooms that contain the hideously evil monsters. The spectator is given a small figure of a knight and told to place it on any room. The voice on the tape seems to know the spectator’s every move through the dungeon. I’ve performed this trick for quite a few folks and the reaction is always good. There is not much for the magician to do, just start the tape and follow along. So the skill required for this is rather minimal, although the above mentioned kicker does take a teeny tiny bit of skill. People laugh at the jokes on the tape, and are fooled and surprised by the magic that happens. That seems like just what you’d want when you spend your twenty dollars for a trick. You get everything you need except a tape player. As your guest reviewer I recommend this. Noah’s Mix Up Perpetual Calendar From Mama Mia Magic Gene Castillon’s “Noah’s Mix Up” was originally published in Apocalypse, in May 1978. The magician displays two packets of jumbo cards: one red-backed, the other bluebacked. Each packet contains five cards picturing five animals. (The same animals appear in each packet.) Each of two spectators is handed a packet of cards and is asked to think of one of the animals pictured. They then spell the name of the animal, transferring one card from the top to the bottom of the packet for each letter. The magician turns away during this process. The magician then takes the cards and gives them a series of shuffles (reverse faro-shuffles, a maneuver that requires no skill). At the end of these shuffles the top five cards are handed to the first spectator and the bottom five are given to the other spectator. They fan out their cards and discover that each contains four cards of one color and an odd-backed card. The odd-backed cards are the thought of animals. To be honest, I am not a big fan of this type of effect. The spelling and shuffling process smacks of a mathematically based routine. However, there is one big plus, which is that the entire effect is self-working, so if this type of effect appeals to you, you’ll be able to add it to your repertoire with a minimum of effort. The cards provided are colorful, but I found them to be a bit sticky to work with. The application of a little fanning powder may easily correct that situation. Aldo Colombini has also provided two other routines that utilize the cards. The first is a mind reading effecting using balloon modeling, and the other is a version of Larry Becker’s “Will the Cards Match.” “Perpetual Calendar” consists of four self-working routines that use a small pocket calendar (which is provided). There is a playing card printed on each day of the year. None of the routines is the typical “Birthday Book” type routine that has become popular
of late. Peter Duffie’s “Centrifugal Diary” is a prediction effect. Using a deck of cards, a spectator determines a month and day of the year. (This is done by cutting a bunch of cards, shuffling them, sorting out the court cards, and separating the reds and blacks. The spectator counts the number of court cards, and then picks either the red or black cards and counts those. The number of court cards determines the month of the year, the number of the selected-color cards determines the date.) The spectator looks up the determined date in the calendar and the card at that date is noted. A prediction envelope is opened (it has been in sight the entire time). The card in the envelope matches the card on the selected date. The other Duffie trick, “The Diary of Delusion,” is also a prediction effect, but it uses an entirely different method to determine the card. Aldo Colombini offers two routines, “Have a Date,” a prediction effect that uses the Bob Hummer CATO principle, and “Birthday Location,” in which the card printed on the spectator’s birthday turns out to be the only card in the deck with an odd colored back. While not earth-shaking, the four effects are good. Since little or no skill is required they will be of most interest to the hobbyist. If the effects appeal, I think you’ll find them worthwhile. Phobia By Kevin Wade The effect of this little close-up routine is as follows: The magician shows a small pay envelope that is held closed with a paper clip. The clip is removed and the magician partially slides out a small playing card. Only the back of this card is seen. As the card is slid back into the envelope, the magician comments that the card is a prediction of events to come. Next, a small packet of cards is introduced. Each card contains the description of a phobia, and the object associated with that phobia. (For example, there is a card with a spider, representing arachnophobia, and one with a rattlesnake, representing ophidiophobia. As an aside, I should mention that arachnophobia is misspelled on the card.) A spectator selects one of these cards. He then opens the prediction envelope. In a very startling way the magician proves his prediction was correct. To be fair to Mr. Wade, I have been intentionally vague as to the climax of this trick. The surprise at the end of this trick is very much like the surprise at the end of Jim Pace’s “The Web.” That is, the spectator is going to get a scary shock. For this reason, I would never perform “Phobia” for anyone but my friends. The handling is very simple (only a basic double lift is required) and if this type of effect appeals, you will certainly get a strong reaction. (I should also mention that there is another effect that has just been released which also involves a phobia theme. The effects have different climaxes. I do not believe that either inventor had knowledge of the other’s creation.) Omega By Stephen Tucker
Phil Goldstein’s “B’Wave” continues to inspire variations, the most recent being “Omega,” from England’s Stephen Tucker. The description of the effect is a bit involved. Here it goes: The magician brings out a packet of eight cards. He explains that these are two sets of the four queens (apparently all blue-backed). One set is face up, and this set is placed on the table. The other four (face down) cards are held behind the magician’s back as he (apparently) makes a prediction. The cards come out from behind the back and are placed on the table (still face down). Now, the magician picks up the face up packet and places them behind his back. He asks the spectator to think of one of the queens, and then asks which queen is being thought of (for example, the Queen of Clubs). The magician announces that he knew the spectator was going to think of the Queen of Clubs. The face up cards are brought out from behind the back and held in the left hand. The magician spreads the packet of face down cards that are lying on the table. Three of these cards are face down, but the Queen of Clubs is face-up. Now comes a set of successive kickers: The face up cards in the left hand are spread, and one card is seen to be face down. The three face up cards are turned over, they now have red backs. The face down card is turned over, its face is now blank. The Queen of Clubs that is face up on the table is turned over, its back is now red. The other three face down cards are turned over, their faces are now blank. At this point all the cards can be examined. The hype on “Omega” is that it is “The world’s only examinable ‘B’Wave’.” This is true. The method is clever, but I fear that the method is cleverer than the resultant effect. I tried out this effect on many people on my trip to and from the Little Rock IBM convention, and the consensus was that the effect was confusing. I agree, and there was nothing I could figure out to make things less confusing. You should also know that it is necessary to be able to hold cards in the palm in order to perform “Omega.” (Notice that I didn’t say that you have to be able to palm cards. You place the cards in the palm behind your back, so no palming skill is required. I apologize to Mr. Tucker for “tipping” part of his method, but potential buyer should know this.) I messed around with several different handlings, but I could not eliminate the “behind the back” procedures, and to my way of thinking, going behind your back twice kills this effect. Compared to the clarity and fairness of “B’Wave,” “Omega” seems cluttered, contrived, and confusing. For your $18.50 you get a single sheet of instructions and eight ungaffed cards. Card guys will probably be intrigued by “Omega” and will attempt (as I did) to work out a cleaner handling. But is that challenge worth $18.50? I don’t think so. “Omega” would probably have been better suited for publication in a book or a magazine, rather than being released as an individual trick. VideoDrome By Andy Nyman Card in Crystal Ball From Mike Rogers Bottoms Up! By Jeff Brown
Venerable indeed is the following plot: The spectator selects a playing card and the magician (that would be you) reveals its identity in an interesting way. I’ve grouped together the three tricks listed above because they are variations of this plot. Andy Nyman’s “VideoDrome” is the most interesting of the lot. It is designed to be used when you have friends visiting your home. Lying out on your coffee table is a videotape from the London Centre of Paranormal Research (formerly the London Centre of Paranormal Research and Cosmetic Hair Removal). If one of your friends notices the tape, you suggest attempting some easy psychic experiments to see if he is a suitable test subject. Some tests involving numbers and geometric designs are performed. (A nice touch here is that all the tests involve the videotape box cover.) Finally, the spectator selects a playing card. (This is done in such a way that the selection appears quite fair.) The videotape is placed into the VCR and played. The spectator places his hand against the TV screen as playing cards are displayed. When he sees his card he is to think, “Stop.” After a few moments the correct card is revealed on the TV screen. What Andy has come up with is not an earth-shattering new idea, but the video is nicely produced and I like the fact that you do the preliminary tests using the video box. It is possible to repeat the effect, but I would suggest against this. The entire routine is sleightfree. If the effect appeals, I think you’ll have a lot of fun with “VideoDrome”. Mike Rogers has come out with a small (about 7/8-inch in diameter) clear acrylic ball to use in the following effect: A spectator picks a card (forced). The magician shows the little ball, calling it a miniature crystal ball. Another spectator looks into the interior of the ball as the magician holds it in front of him. Suddenly, the spectator sees the image of an Ace of Diamonds materialize in the interior of the ball. The Ace of Diamonds is indeed the selected card. This is a simple and effective trick (one which was a favorite of Dr. Jaks), and Mike provides you with the ball, a small red drawstring bag to carry it in, and a small sheet of instructions. Unfortunately, one small mistake was made in the manufacturing process. When the image of the card was stamped on the outside of the ball, it was not reversed. This means that when you look through the crystal, the image of the Ace of Diamonds is backwards. This is not a fatal flaw, because the image is recognizable, even though the indices are in the wrong corners (and fortunately, the letter ‘A’ looks the same whether reversed or not). The “Card in Crystal Ball” is worthwhile. Finally, there is Jeff Brown’s “Bottoms Up!” This is a white ceramic mug which has a playing card imprinted on the inside bottom. You offer your guest a cup of coffee, force the correct playing card, and when they empty their cup they see their selected card. Again, if the effect appeals you’ll have fun with this. Clarification Department My apologies to Dave Landry for omitting his Internet information. I also want to clarify that the multiplication in “Dave’s 16 Digit Deception” involves doubling each of eight
numbers of the credit card. Dave considers doubling to be adding a number to itself. I consider doubling to be multiplying by two. It’s Not Magic, But… I have no hard evidence of the following, but I suspect that this conjecture is true: Somewhere deep beneath the Vegas desert is a mutated rock formation which sends out magnetic rays that attract weirdoes, wackos, con men, hustlers, scufflers, freaks, and fools. (It is only a coincidence that the MAGIC offices happen to be located here.) The millions who visit Las Vegas each year (and the million or so who live here) are a fascinating lot, and their stories would make interesting reading. Fortunately, Michael Konik has assembled some of these stories in a book called The Man with the $100,000 Breasts. The title character is a man named Brian Zembic, better known as “The Wiz.” The Wiz is a shuffle-tracking blackjack player, a Backgammon expert, and a master at hustling proposition bets. In 1996 he agreed to the following bet: for $100,000 he would get breast implants and keep them for a year. He did so, kept them, and won the bet. (According to some local sources, he still has them.) In addition to Mr. Zembic, you’ll meet “Ron,” an expert card counter, Max Rubin (author of Comp City: A Guide to Free Las Vegas Vacations), Archie Karas (who drove into Vegas with $50 and ran it up to $17 million), golf hustler Terrance Leon Jr., David James (who operated a sports-pick hotline, with his four-year old son picking the teams), and world-class poker players Johnny Moss, Phil Hellmuth Jr., and Huck Seed. If you’re looking for some stories to spice up your gambling routines, or a source book of patter possibilities, look no further. The Man with the $100,000 Breasts is very entertaining, and I think you’ll enjoy it. Details Dai Vernon: The Spirit of Magic directed by Daniel Zuckerbrot. $20. Available from most magic shops. Drawing Room Deceptions by Guy Hollingworth. 6 x 9 hardcover. 311 pages. $35 postpaid in US and Canada (Foreign postage – surface $5, air $17). From Mike Caveney’s Magic Words, 572 Prospect Blvd., Pasadena, CA 91103. Phone: 626-4494155. Fax: 626-449-8025. The Complete Idiot’s Guide to Magic Tricks by Tom Ogden. 7.5 x 9, softcover. 374 pages. $18.95. From Alpha Books. ISBN 0-02862707-5. Available from your local bookstore or any online bookstore. Web site: www.mgr.com Sports and Pastimes by J.M. 5.5 x 7.5, hardcover. 48 pages. $75 postpaid in US, $85 postpaid overseas. From Steve Burton Magic, P.O. Box 238, Cypress, TX 77410-0238 Phone: 281-376-2487
European Jewish Magicians, 1933-1945 by Hannes Höller. 6 x 8, softcover, perfect bound. 81 pages. $22 postpaid. From Hannes Höller, Leopoldstrasse 39, D-40211 Dusseldorf, Germany. Fax: 0211/36 55 62 The Artistic and Magical Life of Bob Kline by William King, Jr. 8x 10 hardcover with glossy dustjacket. 96 pages. $55 postpaid. From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington DC 20016. Phone: 202-237-0497 Memories are Made of This by Simon Aronson. 8.5 x 11, softcover, stapled. 29 pages. $15 postpaid in US. Available only from Simon Aronson, 2500 Lakeview, Suite 2901, Chicago, IL 60614 The Wondrous World of Numberplay & Wordplay by Paul Swinford. 8.5 x 11, plastic comb bound. 24 pages. $10 plus $3 p&h. From Paul Swinford, 6773 Le Conte Ave., Cincinnati, OH 45230 The Silver Surf by Joshua Jay. 8.5 x 11, plastic comb bound. 28 pages. $10 plus $2 p&h. From Troy Hooser, 14253 Overton Road, West Salem, OH 44287 The Egg Bag Book by John Novak. 8.5 x 11, softcover, perfect bound. 105 pages. $21 postpaid. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214. Email:
[email protected]. Web site: http://allmagic.com/stevensmagic. Fax: 316-686-2442 Close’s Dungeon by Michael Close. $20 plus $3 p&h. From Michael Close, 4616 W. Sahara, PMB 199, Las Vegas, NV 89102. Email:
[email protected]. Web site: www.bigfoot.com/~magicdude. Noah’s Mix Up by Gene Castillon. $15. Perpetual Calendar by Peter Duffie and Aldo Colombini. $20. US & Canada add 10% for p&h. Overseas air mail add 20%. From Mama Mia Magic, P.O. Box 7117, Thousand Oaks, CA 91359. Fax: 805-499-3561. Web site: www.mamamiamagic.com Phobia by Kevin Wade. $15 plus $3 p&h. From Kevin Wade, 9982 S. 592 Road, Miami, OK 74354. Phone: 918-542-5815 Omega by Stephen Tucker. $18.50 postpaid. From Jeff Busby Magic Inc., 506 Sixth Street, Wallace, ID 83873-2249. Phone: 208-556-1192. UK and European orders can be made to Stephen Tucker, 1 Castle Haven, Foley Terrace, Great Malvern, Worcs. WR14 4RQ, England. (UK – 10 pounds Sterling postpaid; Europe – 11 pounds Sterling postpaid.) Fax: 01684-566485 VideoDrome by Andy Nyman. $30 US (20 pounds Sterling in U.K.) plus $5 p&h (2.50 pounds Sterling, U.K.) From Andy Nyman, 67 Hammersmith Grove, London, W6 ONE, England. Phone: +44 (0) 181 748 2613. Email:
[email protected]
Card in Crystal Ball from Mike Rogers. $10. Available from most magic dealers. Bottoms Up! by Jeff Brown. $14.95 postpaid. From Jeff Brown, 135 W. Second Street, Juneau, Alaska 9980. Email:
[email protected]. Web site: www.alaska.net/~jbrown. The Man with the $100,000 Breasts by Michael Konik. 6x 9, hardcover with glossy dustjacket. 234 pages. $24.95. ISBN 0-929712-72-2. From Huntington Press. Available from your local bookstore or any online bookstore.
October 1999 No End in Sight A little over a year ago, I predicted that we had reached the high water mark of magic production. The deluge of books, videos, and tricks would soon begin to recede. Boy, was I wrong. So, once again, I offer you short reviews of a whole bunch of stuff. The Complete Idiot’s Guide to Magic Tricks By Tom Ogden Tom Ogden is well known as fine magician and a very funny guy. Although this book appears under the banner of The Complete Idiot’s Guide series, do not be misled. Tom’s book is neither condescending, nor is it written to appeal to idiots. Not only does The Complete Idiot’s Guide to Magic Tricks contain excellent beginner’s tricks, it also discusses subjects which are rarely addressed in a book geared toward the novice. The book begins with several introductory chapters that cover the origins of magic, the basic effects of magic, some important rules for the fledgling magician, constructing patter, finding your character, and what to do when things go wrong. There is also a wonderful little section listing some of the “right” and “wrong” reasons for taking up magic as a hobby. The next large section of the book contains the tricks. For the most part, these tricks have appeared in other magic books geared toward the general public. Exposure of these tricks is not going to do your show any harm. There are tricks with cards, money, everyday objects, food, rope, and silks. Also included are mathematical mysteries, simple mental effects, and tricks suitable for the stage (the “Afghan Bands,” “Clippo,” the “Miser’s Dream,” and “Dollar Bill in Orange.”) Bound into the front and the back of the book are two cardboard sheets that contain gaffed cards that can be punched out. The back design of these cards is the standard Bicycle Brand, but because of the thinness of the cardboard you would not be able to ring in these cards from a normal deck. Tom explains all the tricks very clearly, and the text is accompanied with many sidebar hints, tips, and enrichment information. The book concludes with a brief history of magic, information on some current practitioners, and sources of further information, including a recommended reading list. The Complete Idiot’s Guide to Magic Tricks is a fine book for the beginner, and I recommend that you keep it in mind as an excellent choice for someone who is just starting out in magic. The Egg Bag Book By John Novak
The Egg Bag is a classic magic trick. In the 1876 American edition of Modern Magic, Professor Hoffmann referred to the Egg Bag as “a very old fashioned trick.” (A version appeared in Clever & Pleasant Inventions in 1584.) Yet, it remains in the repertoires of many contemporary professionals. (For example, Jeff Hobson absolutely kills with his Egg Bag routine.) Why does this trick preserver? Probably for two reasons: the props are simple, and the effect is clear-cut and easy to understand. The egg appears, the egg disappears, the egg comes back. In addition, because of its simplicity, the Egg Bag is the perfect vehicle for allowing a performer’s personality to express itself. In The Egg Bag Book, John Novak has compiled a large amount of useful information about this venerable trick. Mr. Novak discusses the various styles of Egg Bag (giving basic construction patterns), describes the different types of eggs which can be used, offers several different routines, lists notable performers who have used the prop, and gives a useful Bibliography of books and videos which contain Egg Bag information. I find Mr. Novak’s writing style to be somewhat difficult to read at times, but there is no denying that he has assembled a very useful reference book. If you are serious about constructing an Egg Bag routine of your own, you’ll definitely want to have The Egg Bag Book in your library. (Stevens Magic Emporium has also released The Egg Bag video featuring Martin Lewis, Tom Mullica, Billy McComb, Charlie Miller, and Johnny Thompson. This video contains excellent information from top-notch performers and is certainly worth your consideration. The Egg Bag video is $22.50 postpaid, but you can purchase it and The Egg Bag Book together for $35 postpaid.) Masters of Mental Magic: Falkenstein and Willard Volumes 1-3 By Glenn Falkenstein and Frances Willard The team of Glenn Falkenstein and Frances Willard is well known in the world of magic. They have received numerous awards, including the Joseph Dunninger Award, the Milbourne Christopher Award of Excellence, Jack Smith’s Dragon Award, Stage Magicians of the Year from the Magic Castle (multiple times), and they were recently inducted into the Society of American Magicians Hall of Fame as living legends. Watching Frances Willard in a state of serene repose as the curtains of the Spirit Cabinet are whipped aside is truly one of the great moments in magic. Having written the above paragraph, I must now disregard all of it and focus only on the product which has recently been released, the three volume Masters of Mental Magic: Falkenstein and Willard. I fear that I am now in the same position as the boy who commented on the Emperor’s wardrobe, and that is a very unpleasant position. Many aspects of these tapes are disappointing. I will mention the good, the bad, and the ugly, and hope that I give you enough information to make an intelligent buying decision. First, the ugly: Volume 1 contains performances of three of Falkenstein and Willard’s well-known routines: The Blindfold Act, the Two-way Mindreading Act, and the Gypsy
Rope Tie. (The famous Spirit Cabinet routine does not appear on these videos.) These performances were videotaped at Graham’s Restaurant in Squaw Valley. In an attempt to provide a backdrop for the performances one wall was draped with a curtain. Actually, it was draped with two curtains side by side, one that was an orange-brown color, the other which was a mottled gray. The sight of these two curtains butted up against each other is, unfortunately, profoundly ugly, and very distracting. It would have been better to simply leave the back wall undraped. The show begins with Glenn performing The Blindfold Act, which is a strange amalgam of Q&A and Seeing with the Fingertips. Glenn places two half-dollars onto strips of surgical adhesive and then places the strips over his eyes, apparently “embedding the half dollars into the eye sockets.” Unfortunately, it is obvious (even in a long shot) that the half-dollars are off to the sides. You can clearly see Glenn’s closed eyes. Even at the end of the taping process there is a gaping hole at the side of his nose. As Glenn is being blindfolded, Frances collects cards that audience members have filled out. These cards are placed into a wicker basket that sits on top of a small stand. Also hanging from the stand is a net basket that is used as a waste container. The act consists of Glenn waking to the stand, removing a card from the wicker basket, crumbling the card in his hands, and then apparently revealing the information on the card. Unfortunately, on this particular performance, it is painfully obvious that Glenn is reading the information off the cards in the basket. He spends far too much time looking into the basket instead of facing the person whose mind he is apparently reading. Also, for a man who is supposed to be blindfolded, he has the uncanny ability of finding the wastebasket with unerring accuracy. (He turns, he shoots, he scores!) Next is the Two-way Mindreading Act. Frances is blindfolded, and Glenn walks through the audience picking up items that Frances identifies. This act is effective, and there are some very funny bits. The code used is deceptive, except when Glenn codes the serial number of a dollar bill. (“Will you get the number? Can you next? All right. See if you can get it, can you? Go ahead try.”) I cannot help but think that an intelligent spectator would suspect that there is some sort of covert communication going on here. Finally, Glenn and Frances perform The Gypsy Rope Tie. Frances’ hands are tied behind her back and then arms and torso are bound with a long length of rope. A male spectator stands in front of her, and a curtain is placed around them. They are out of sight for a few seconds, and when the curtain is lowered, Frances is wearing the man’s jacket, although her hands, arms, and body are still securely bound. This is a very effective trick. Volume One ends with an informal discussion with Glenn, Frances and Michael and Hannah Ammar. The conversation includes information on the history of the various acts, and Frances shows various pieces of memorabilia, including the Rapping Hand used by Willard. Volume One includes only the performance and the discussion. There are no explanations of the three acts.
Volume Two contains the explanations of the three acts performed on Volume One. If you only purchase this tape you’ll still be able to get a flavor of each act, because Glenn and Frances do a brief demonstration before they begin the explanation. First on the menu is the Blindfold Act. Glenn explains the taping process, and describes how he has modified his blindfold (actually a pair of dark glasses) to compensate for declining visual acuity. If you choose to add the Blindfold Act to your repertoire, you’ll have to make a philosophical decision regarding the use of the information cards. Even though I’m not a mentalist, it would seem to me that when doing Q&A the first thing you’d want to do is get the information cards out of the audience’s sight quickly. The less the audience remembers the cards, the stronger the impression of mindreading. With Glenn’s approach, the cards are the focus of attention, and if you have to take more than a brief glance at them to learn the information, I fear the audience will sense that something underhanded is going on. (In fact, Glenn mentions that in venues with poor lighting, he will place a lamp near the stand on which the card basket rests. What must the audience think of that?) The code used by Glenn and Frances was taught to them by the Mardonis. The basis of the code is explained, as are the words used to code numbers. However, they do not go into detail on the code words for each specific object. (Glenn and Francis can code 121 different objects.) However, with the information they give, it would certainly be possible to construct your own coding system. The routine that will be of most use to the stand-up or stage magician is the Gypsy Rope Tie. The history of this effect is not explained on the video, but I believe a Russian couple, Elaine and Rudolph, originally featured this trick. (Considering that Glenn and Frances did not invent the trick, one could certainly argue about the ethics of revealing it on videotape without credit or permission.) The Gypsy Rope Tie is one of those “packs small/plays big” tricks that we’re all looking for, and I would guess that it will find its way into many magicians’ acts. Volume 3 contains a potpourri of mental effects, most involving playing cards. None are strikingly original. You’ll finding handlings of The Princess Card Trick (performed as a two-person effect), a three-card divination using a simple force, Paul Curry’s “Out of This World” (with a method for setting up the trick using Sid Lorraine’s Slop Shuffle), a three-card prediction using the One Ahead principle, and a simple handling for the Lie Detector plot. Also included are handlings for the venerable Ball and Tube (which begins as a nice experiment in imagination and unfortunately degenerates into a magic trick) and an effect in which a blindfolded Frances divines the serial numbers of several borrowed dollar bills. This latter trick is marred by the fact that Frances stands behind the infamous “wicker basket of information” as she recites the serial numbers. Any intelligent spectator is going to know exactly what’s going on. Finally, Glenn explains several of his promotional stunts, including a headline prediction and a blindfold drive. (Although the box cover of Volume 3 states that there is an interview with Michael and Hannah Ammar on this video, none is included.) While the effects on this video are certainly practical, anyone who has studied mentalism for a length of time will probably already be familiar with all of them.
So, what’s the bottom line? Anyone looking for a tape as a historical document of the Falkenstein and Willard act will probably be disappointed with Volume 1, although they may enjoy the interview segments. On Volume 2, the Gypsy Rope Tie is probably worth the price of the tape. Volume 3 will only be of benefit to those with limited knowledge of the repertoire of mental magic. (By the way, don’t bother sending hate mail. There was no pleasure writing this review.) Phobia By Kevin Wade The effect of this little close-up routine is as follows: The magician shows a small pay envelope that is held closed with a paper clip. The clip is removed and the magician partially slides out a small playing card. Only the back of this card is seen. As the card is slid back into the envelope, the magician comments that the card is a prediction of events to come. Next, a small packet of cards is introduced. Each card contains the description of a phobia, and the object associated with that phobia. (For example, there is a card with a spider, representing arachnophobia, and one with a rattlesnake, representing ophidiophobia. As an aside, I should mention that arachnophobia is misspelled on the card.) A spectator selects one of these cards. He then opens the prediction envelope. In a very startling way the magician proves his prediction was correct. To be fair to Mr. Wade, I have been intentionally vague as to the climax of this trick. The surprise at the end of this trick is very much like the surprise at the end of Jim Pace’s “The Web.” That is, the spectator is going to get a scary shock. For this reason, I would never perform “Phobia” for anyone but my friends. The handling is very simple (only a basic double lift is required) and if this type of effect appeals, you will certainly get a strong reaction. (I should also mention that there is another effect that has just been released which also involves a phobia theme. The effects have different climaxes. I do not believe that either inventor had knowledge of the other’s creation.) Omega By Stephen Tucker Phil Goldstein’s “B’Wave” continues to inspire variations, the most recent being “Omega,” from England’s Stephen Tucker. The description of the effect is a bit involved. Here it goes: The magician brings out a packet of eight cards. He explains that these are two sets of the four queens (apparently all blue-backed). One set is face up, and this set is placed on the table. The other four (face down) cards are held behind the magician’s back as he (apparently) makes a prediction. The cards come out from behind the back and are placed on the table (still face down). Now, the magician picks up the face up packet and places them behind his back. He asks the spectator to think of one of the queens, and then asks which queen is being thought of (for example, the Queen of Clubs). The magician
announces that he knew the spectator was going to think of the Queen of Clubs. The face up cards are brought out from behind the back and held in the left hand. The magician spreads the packet of face down cards that are lying on the table. Three of these cards are face down, but the Queen of Clubs is face-up. Now comes a set of successive kickers: The face up cards in the left hand are spread, and one card is seen to be face down. The three face up cards are turned over, they now have red backs. The face down card is turned over, its face is now blank. The Queen of Clubs that is face up on the table is turned over, its back is now red. The other three face down cards are turned over, their faces are now blank. At this point all the cards can be examined. The hype on “Omega” is that it is “The world’s only examinable ‘B’Wave’.” This is true. The method is clever, but I fear that the method is cleverer than the resultant effect. I tried out this effect on many people on my trip to and from the Little Rock IBM Convention, and the consensus was that the effect was confusing. I agree, and there was nothing I could figure out to make things less confusing. You should also know that it is necessary to be able to hold cards in the palm in order to perform “Omega.” (Notice that I didn’t say that you have to be able to palm cards. You place the cards in the palm behind your back, so no palming skill is required. I apologize to Mr. Tucker for “tipping” part of his method, but potential buyers should know this.) I messed around with several different handlings, but I could not eliminate the “behind the back” procedures, and to my way of thinking, going behind your back twice kills this effect. Compared to the clarity and fairness of “B’Wave,” “Omega” seems cluttered, contrived, and confusing. For your $18.50 you get a single sheet of instructions and eight ungaffed cards. Card guys will probably be intrigued by “Omega” and will attempt (as I did) to work out a cleaner handling. But is that challenge worth $18.50? I don’t think so. “Omega” would probably have been better suited for publication in a book or a magazine, rather than being released as an individual trick. VideoDrome By Andy Nyman Card in Crystal Ball From Mike Rogers Bottoms Up! By Jeff Brown Venerable indeed is the following plot: The spectator selects a playing card and the magician (that would be you) reveals its identity in an interesting way. I’ve grouped together the three tricks listed above because they are variations of this plot. Andy Nyman’s “VideoDrome” is the most interesting of the lot. It is designed to be used when you have friends visiting your home. Lying out on your coffee table is a videotape from the London Centre of Paranormal Research (formerly the London Centre of Paranormal Research and Cosmetic Hair Removal). If one of your friends notices the tape, you suggest attempting some easy psychic experiments to see if he is a suitable test subject. Some tests involving numbers and geometric designs are performed. (A nice
touch here is that all the tests involve the videotape box cover.) Finally, the spectator selects a playing card. (This is done in such a way that the selection appears quite fair.) The videotape is placed into the VCR and played. The spectator places his hand against the TV screen as playing cards are displayed. When he sees his card he is to think, “Stop.” After a few moments the correct card is revealed on the TV screen. What Andy has come up with is not an earth-shattering new idea, but the video is nicely produced and I like the fact that you do the preliminary tests using the video box. It is possible to repeat the effect, but I would suggest against this. The entire routine is sleightfree. If the effect appeals, I think you’ll have a lot of fun with “VideoDrome”. Mike Rogers has come out with a small (about 7/8-inch in diameter) clear acrylic ball to use in the following effect: A spectator picks a card (forced). The magician shows the little ball, calling it a miniature crystal ball. Another spectator looks into the interior of the ball as the magician holds it in front of him. Suddenly, the spectator sees the image of an Ace of Diamonds materialize in the interior of the ball. The Ace of Diamonds is indeed the selected card. This is a simple and effective trick (one which was a favorite of Dr. Jaks), and Mike provides you with the ball, a small red drawstring bag to carry it in, and a small sheet of instructions. Unfortunately, one small mistake was made in the manufacturing process. When the image of the card was stamped on the outside of the ball, it was not reversed. This means that when you look through the crystal, the image of the Ace of Diamonds is backwards. This is not a fatal flaw, because the image is recognizable, even though the indices are in the wrong corners (and fortunately, the letter ‘A’ looks the same whether reversed or not). The “Card in Crystal Ball” is worthwhile. Finally, there is Jeff Brown’s “Bottoms Up!” This is a white ceramic mug which has a playing card imprinted on the inside bottom. You offer your guest a cup of coffee, force the correct playing card, and when they empty their cup they see their selected card. Again, if the effect appeals you’ll have fun with this. Professional Rope Knife By Lanny Kibbey So, you want to do a Cut and Restored Rope routine, but, since your testosterone level can only be accurately measured using a seismograph, there is no way that you’re going to use a little sissy pair of scissors. Well, you’re in luck. Lanny Kibbey has produced a big honking knife that will allow you to convincingly cut a rope in half. Lanny’s knife looks like a hunting knife, with a 5-inch blade and a 5-inch cherry wood handle. In performance, you hand out a length of rope for examination. When the rope is returned, you pass the blade of the knife down the rope, asking a spectator to say stop. You stop at that point, and by placing a foot on each end of the rope you form a triangle with the rope. (The points of the triangle are the two ends trapped by your feet, and the point held against the edge of the knife.) With a swift upward movement, you apparently
cut the rope in half. The actual situation is that the rope is uncut, and you have a small piece of rope doubled in half, simulating the cut ends. From this point you can go into any rope restoration you know. “The Professional Rope Knife” is an absolutely beautiful prop, and it works like a charm. Lanny demonstrated this for me at the Little Rock IBM convention, and the cutting action looks very convincing. This is designed for the stand-up or stage magician, and if it suits your performing style I think you’ll be very happy with “The Professional Rope Knife.” Recommended. The Magic of Cox Dixon By Doc Dixon In the Linking Ring advertisements that preceded the 1999 convention in Little Rock, Doc Dixon’s name was consistently misspelled as “Cox Dixon.” Never one to run from an obvious joke, Doc titled his lecture notes The Magic of Cox Dixon – The World’s Greatest Magician and Straight-to-Video-Actor (if you know what I mean). The notes contain five routines and a couple of essays. Included is a simple handling for causing a freely named card to rise from the deck, a funny prediction that can serve as a lead-in to a stronger routine, and a storytelling card trick (ala “Sam the Bellhop”). Doc is a thinker, and each routine acts as a springboard for a theoretical discussion. I’m a fan of Doc’s work. His tricks are practical and clever, and he writes in an entertaining way. If you are unfamiliar with his work, The Magic of Cox Dixon would be a great introduction. Recommended. The Complete Dove Worker’s Package From Amos Levkovitch Amos Levkovitch is one of the best dove workers around. He is offering a complete package of materials for the aspiring dove worker. Here’s what you get: A Christian Dior tuxedo jacket (custom tailored to the size of the performer with four dove pockets and tail pocket sewed in, and sleeves ruffled and modified for two doves), pants, shirt, bow tie, vest, four custom made dove holders with four matching 24’ silks, match pull, silk clip, studs, cufflinks, a dove care manuscript, two videos, and plastic tubes for sleeve loading. I have not examined the tuxedo Amos is offering, but considering his experience and attention to detail, I cannot imagine that this would be less than excellent. The two videos (Just Do It, and Dove Tails) are superb. Just Do It gives you the nuts and bolts information concerning the production of doves (including some tips that are the result of years of experience), and Dove Tails tells you how to keep your birds happy and healthy. Rarely have I seen anyone treat birds (or any other animal for that matter) with the love, care, and respect that Amos does. (If you don’t wish purchase the entire package from Amos, each video is available separately, for $55 each plus $5 p&h.) If you are serious about dove work, “The Complete Dove Worker’s Package” is an excellent investment.
Amos also is selling “The Z-Dove,” a miniature version of the classic “Zig-zag” illusion using the dove as the assistant. This is a very clever and deceptive little trick and would be a novel and worthwhile addition to a dove act. The “Z-Dove” sells for $125 plus shipping and handling. Short Takes Here are a few words about some excellent items: Michael Forbes is fine magician and a dedicated craftsman. His “Ring Flight” is absolutely the best prop available for doing this popular trick. The case is made of black lizard, the reel is specially made and is extremely quiet, the interior of the case can be shown, and no indentation of the reel is evident on the outside of the case. This is a beautiful prop, and has my highest recommendation. The Science Behind the Ghost is another marvelous treatise from Jim Steinmeyer. This time around his topic is the classic “Pepper’s Ghost” illusion. (The most famous recent incarnation of this illusion is in the ballroom of Disneyland’s Haunted Mansion.) As in previous Steinmeyer tomes you’ll find tremendous scholarship presented in an entertaining way. The bad news that The Science Behind the Ghost is limited to 150 copies, half of which were snapped up at 1999 Magic Collector’s convention. I hope you can track down a copy. Lost amid all the hoopla of the resurrection of Genii magazine was the fact that the fourth and final issue of The Looking Glass was published. As with the previous three issues, the magic is excellent and the commentary (although much briefer in this issue) is interesting. (I would bet a dime to doughnut that somebody is going to take the coin routine in this issue and win a close-up contest with it.) You can obtain individual issues or a complete volume of four issues from Richard Kaufman. Wittus Witt’s International Magic Yellow Pages 1999-2001 is now available. The 9th edition of this useful little reference book contains over 3,000 entries from 55 countries covering such heading as magic dealers, lecturers, illusion builders, periodicals, clubs, collectors, and web sites. I was enthusiastic about the previous edition of the Yellow Pages, and I’m enthusiastic about this one. This edition is limited to 1,000 copies worldwide. The creative process is a mysterious thing, and those who create are often asked how they come up with their ideas. On the audiotape Creativity – The Secrets of Invention, Mark Leveridge discusses creativity with John Bannon. In the past few years, John’s law career has caused him to maintain a low profile in the magic world, so for those who don’t know of him, he is the author of two excellent books (Impossibilia and Smoke and Mirrors), and is the creator of the popular packet trick “Twisted Sisters.” The interview with John was recorded live in front of an audience of magicians, and sometimes the conversation wanders off course, but for the most part you’ll find some interesting information on how magic tricks are brought into existence.
Stand-up magicians and kid show performers will want to check out “The Lie Detector Helmet” from Magical Productions. This “Rube Goldberg” style prop is designed for laughs. The “helmet” part is a black colander (that’s a spaghetti strainer to you and me) which is placed (inverted) on a spectator’s head. Attached to the top (actually the bottom, since the colander is upside-down) is a 5 x 5 inch metal contraption which holds eight batteries and has a knob, an antenna, and a flashing red light. While the spectator wears the helmet the machine beeps and the light flashes if he tells a lie. (And by the way, that’s all the helmet does: it beeps and flashes.) “The Lie Detector Helmet” comes with a sample routine (and an excellent kid show suggestion from Brad Burt), but I would assume that anybody with enough money to buy this already has a routine in which it could be incorporated. My only criticism is that to trigger the helmet you use a small handheld remote control unit (measuring 1 x 2 inches). The instructions offer suggestions for concealing this remote, but for $300 it would have been nice to be able to set the thing off without using your hands. You may remember Paul Cummins from his fine two-volume lecture notes From a Shuffled Deck in Use. Paul is also an accomplished coin magician. The effects demonstrated and explained on the new video Up in Smoke are standard plots, but Paul’s methods are excellent. Several of the effects require no table, making them extremely useful for the strolling magician. I would not classify these effects as easy, but the required sleights should be in your arsenal. Paul does a fine job explaining all the sleights before going to detailed explanations of the routines. There is a bonus card routine included: a handling of the Collectors plot with a marvelous visual swindle at the end. Up in Smoke is an excellent and useful video, and I recommend it. It’s Not Magic, But… Michael Finney is a very fun man. This summer he appeared at both the SAM National Convention and Abbott’s Get-together and he killed. Magicians associate Michael with his great comedy magic act, but Mr. Finney is also an accomplished stand-up comedian. His new compact disc Michael Finney: “No Tricks” features 52 minutes of hilarious material. One thing I admire about Michael’s comedy is that it is based on genuine wit, and not gratuitous vulgarity. I laughed out loud many times, and I think you will, too. Michael is a great guy and deserves your support. Pick up a copy of his CD and let the good times roll. (By the way, Michael was just in town working at Maxim’s and he wanted me to mention that if you’d like to have your copy of the CD autographed, he would be happy to do so. Just let him know when you order.) Details
The Complete Idiot’s Guide to Magic Tricks by Tom Ogden. 7.5 x 9, softcover. 374 pages. $18.95. From Alpha Books. ISBN 0-02862707-5. Available from your local bookstore or any online bookstore. Web site: www.mgr.com The Egg Bag Book by John Novak. 8.5 x 11, softcover, perfect bound. 105 pages. $21 postpaid. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214. Email:
[email protected]. Web site: http://allmagic.com/stevensmagic. Fax: 316-686-2442 Masters of Mental Magic: Falkenstein and Willard Volumes 1-3 by Glenn Falkenstein and Frances Willard. Three videos, $29.95 each, $84.95 for the set. (Free p&h in the US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-5257008. Email:
[email protected]. Website: www.allmagic.com/llpub. Phobia by Kevin Wade. $15 plus $3 p&h. From Kevin Wade, 9982 S. 592 Road, Miami, OK 74354. Phone: 918-542-5815 Omega by Stephen Tucker. $18.50 postpaid. From Jeff Busby Magic Inc., 506 Sixth Street, Wallace, ID 83873-2249. Phone: 208-556-1192. UK and European orders can be made to Stephen Tucker, 1 Castle Haven, Foley Terrace, Great Malvern, Worcs. WR14 4RQ, England. (UK – 10 pounds Sterling postpaid; Europe – 11 pounds Sterling postpaid.) Fax: 01684-566485 VideoDrome by Andy Nyman. $30 US (20 pounds Sterling in U.K.) plus $5 p&h (2.50 pounds Sterling, U.K.) From Andy Nyman, 67 Hammersmith Grove, London, W6 ONE, England. Phone: +44 (0) 181 748 2613. Email:
[email protected] Card in Crystal Ball from Mike Rogers. $10. Available from most magic dealers. Bottoms Up! by Jeff Brown. $14.95 postpaid. From Jeff Brown, 135 W. Second Street, Juneau, Alaska 9980. Email:
[email protected]. Web site: www.alaska.net/~jbrown. Professional Rope Knife by Lanny Kibbey. $150 plus $5 p&h. From One Step Beyond, 9415 Willow Meadow, Houston, TX 77031 Web site: www.magicpress.com. Email:
[email protected]. The Magic of Cox Dixon by Doc Dixon. 8.5 x 11, plastic comb bound. 30 pages. $15 plus $3.20 for p&h. From Doc Dixon, P.O. Box 68, Sutersville, PA 15083. Email:
[email protected]. The Complete Dove Workers Package from Amos Levkovitch. $749.95 postpaid. From Amos Levkovitch, 7928 Rudnick Ave., Canoga Park, CA 91304. Phone: 818-340-4040. Email:
[email protected]. Michael Forbes’ Ring Flight. $295 postpaid. (Foreign orders add $10). From Michael Forbes, 4712 Admiralty Way, PMB 150, Marina Del Rey, CA 90292. Email:
[email protected].
The Science Behind the Ghost by Jim Steinmeyer. 8.5 x 8.5 softcover, spiral bound. 100 pages. $35. From Hahne, 514 South Parrish Place, Burbank, CA 91506 The Looking Glass: Issue #4 from Richard Kaufman. 8.5 x 11 softcover, stapled. 40 pages. $15. (Full set of four issues - $40.) From Richard Kaufman, 4200 Wisconsin Ave. NW, Suite 106-292, Washington, DC 20016 Magic Yellow Pages by Wittus Witt. 6 x 8 softcover, perfect bound. 176 pages. $30 (mention this review and shipping is free). From H&R Magic Books, 3839 Liles Lane, Humble, TX 77396-4088. Fax: 281-540-4443. Email:
[email protected]. Web site: www.magicbookshop.com. Creativity – The Secrets of Invention. $20. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter, EX2 4PA, England. Fax: 01392 435725. Email:
[email protected]. Web site: www.markleveridge.co.uk. The Lie Detector Helmet by Jeffery Smith. $299 plus $10 p&h. From Magical Presentations, 3410 Del Lago Blvd., Suite #300, Escondido, CA 92029. Phone: 877-6255421. Email:
[email protected]. Up in Smoke by Paul Cummins. $35 plus $4 p&h ($10 p&h outside of US). From FASDIU Enterprises, 3703 Foxcroft Road, Jacksonville, FL 32257. Fax: 904-260-9943. Email:
[email protected]. Web site: www.fasdiu.com. Michael Finney: “No Tricks.” CD: $15, Cassette: $10. Add $3.20 for p&h. From Magical Entertainment, P.O. Box 86897, Phoenix, AZ 85080-6897
November 1999 Why Dad Thinks I’m Adopted In the May 1982 issue of Keyboard magazine, there was a 32-measure transcription of Oscar Peterson playing Fats Waller’s “Ain’t Misbehavin’.” In bar 6 on the “and” of beat four, there occurred a thirty-second note septuplet, and for 17 years I have never been able to figure out its relationship to the underlying chord structure. A couple of days ago I finally figured it out. Just thought you’d like to know. Once again we’ve got tons o’ stuff to look, so the reviews will be short and sweet. 21st Century Card Magic By James Swain I have good news and bad news. The bad news is that on January 1, 2000 all the computers in the world will crash, bringing an end to civilization as we know it. The good is that until then, there are some great new magic books to read. This month I want to draw your attention to Jim Swain’s 21st Century Card Magic, a book that will delight anyone who enjoys well-crafted card tricks. As with many other cards books that have been published recently, 21st Century Card Magic focuses on standard card plots. However, there is a big difference, because Jim Swain understands that if you are going to publish a variation of a familiar plot then you must substantially improve the effect, the method, or the presentation. To do this you must understand the creations that precede you and the problems you are trying to fix. Look, for example, at “Metamorphosis,” a handling of Paul Harris’ “Re-Set.” The initial problem for Jim was to clean up the ending of the trick, a process that took 20 years. He writes, “In 1998, I hit upon a solution, one which I believed finally did the trick justice. I began to perform the routine regularly and came to another startling conclusion. Laymen didn’t like Re-Set nearly as much as magicians! So what if the Aces and Jacks switched places? No one cared! Re-Set was a trick desperately looking for a plot.” Jim discovered a presentational hook, and the problems have been solved. You’ll find a wide range of material here, including routines for the strolling performer, routines which require a soft working surface, routines for formal shows, and routines designed to be used in more casual situations. Jim is one of the finest technicians in the country, and several of the routines are challenging. Fortunately, there are also quite a few tricks that require only average technical ability. (And there are a couple of routines that are almost self-working!) The final chapter of the book contains Jim’s handling of Larry Jennings’ Chop Cup routine. Larry’s original routine is terrific, and for some reason has not been reprinted in
any of the Jennings anthologies. Jim’s routine will certain find a place in the repertoires of close-up workers. The recent glut of mediocre card material is overwhelming, and, to be honest, at this point in my life I could really care less about learning a new card trick. However, when I see Jim Swain’s name attached to a trick I sit up and take notice. 21st Century Card Magic is a stimulating book containing excellent routines. If you love card tricks, this book (and Jim’s other two books – Don’t Blink and Card Miracles) should be in your library. Highly recommended. Ellis Stanyon’s Best Card Tricks Edited by Karl Fulves Almost a hundred years ago, Ellis Stayon started his magazine Magic. In the May 1911 issue of that magazine he introduced “A Dictionary of Magical Effects” which was to be “…a description of every trick published in any book or magical magazine.” This was a monumental undertaking, so monumental in fact, that when the magazine ceased publication in June of 1920 Stayon was not even a tenth of the way through the alphabet. In Ellis Stanyon’s Best Card Tricks, Dover Publications has reprinted the card section of Stanyon’s dictionary. There’s a ton of material here, including methods for discovering and revealing chosen cards, simple card tricks, tricks based on calculation, card tricks based on special arrangements, tricks using confederates, tricks using specially printed cards, sleight of hand techniques, and flourishes. The text is accompanied by 160 illustrations by Joseph K. Schmidt, which makes the Dover book much more “reader friendly” than pouring through the original Ellis magazine. In addition, Karl Fulves adds useful and interesting supplementary notes that provide further information. If you are interested in the evolution of card magic, Ellis Stanyon’s Best Card Tricks is certainly a useful and inexpensive resource. The Egg Bag Book By John Novak The Egg Bag is a classic magic trick. In the 1876 American edition of Modern Magic, Professor Hoffmann referred to the Egg Bag as “a very old fashioned trick.” (A version appeared in Clever & Pleasant Inventions in 1584.) Yet, it remains in the repertoires of many contemporary professionals. (For example, Jeff Hobson absolutely kills with his Egg Bag routine.) Why does this trick preserver? Probably for two reasons: the props are simple, and the effect is clear-cut and easy to understand. The egg appears, the egg disappears, the egg comes back. In addition, because of its simplicity, the Egg Bag is the perfect vehicle for allowing a performer’s personality to express itself. In The Egg Bag Book, John Novak has compiled a large amount of useful information about this venerable trick. Mr. Novak discusses the various styles of Egg Bag (giving basic construction patterns), describes the different types of eggs which can be used,
offers several different routines, lists notable performers who have used the prop, and gives a useful Bibliography of books and videos which contain Egg Bag information. I find Mr. Novak’s writing style to be somewhat difficult to read at times, but there is no denying that he has assembled a very useful reference book. If you are serious about constructing an Egg Bag routine of your own, you’ll definitely want to have The Egg Bag Book in your library. (Stevens Magic Emporium has also released The Egg Bag video featuring Martin Lewis, Tom Mullica, Billy McComb, Charlie Miller, and Johnny Thompson. This video contains excellent information from top-notch performers and is certainly worth your consideration. The Egg Bag video is $22.50 postpaid, but you can purchase it and The Egg Bag Book together for $35 postpaid.) Conjurors and Cornfields: Magic on the Indianapolis Stage By Thomas A. Ewing Okay, let’s have a show of hands. How many of you knew that Charlie Miller was born in Indianapolis, Indiana? All right. How many of you knew that Duke Stern managed the Abbott’s Magic Company branch store in Indianapolis? Hmm…And finally, how many of you knew that John Northern Hilliard, author of Greater Magic and advance man for the Howard Thurston show, died in Indianapolis? See what you learn by reading this column? Historians wanting a more complete history of Hoosier magicians (at least more complete than the paragraph above) should take a look at Thomas Ewing’s Conjurors and Cornfields: Magic on the Indianapolis Stage. Mr. Ewing discusses the popular vaudeville venues in Indianapolis and the magicians who performed there, and then provides information on the professional, semi-professional, and amateur magicians who have called Indianapolis home. You’ll find short biographies of J. Elder Blackledge, George Purves, Karl Wagner, Harry Riser, Charlie Miller, Forrest Sample, Margaret and Frank Dailey, Ray Mangel, Bill Shirk, Gene Keeney, and others. Conjurors and Cornfields was an enjoyable read, and is certainly a useful reference book. Glimpses of Goldston By Edwin A. Dawes Reviewed by John Moehring “Goldston never let the truth interfere with a good story” is a line that I’ve probably read somewhere, but I know for sure it’s been uttered on occasion by Jay Marshall. Anyone who has read Sensational Tales of Mystery Men (1929) - or for that matter just about anything published by Will Goldston - soon realizes that the man was much given to the aggrandizement of the art and its practitioners, himself included. Goldston was one of the great magical mythmakers of the century. Eddie Dawes’ Glimpses of Goldston distills the key events and accomplishments of the controversial British magic merchant into a
flowing 12-page timeline monograph. Dawes has painstakingly researched the emergence of Wolf Goldstein as an influential dealer and publisher, as well as his short-lived career as the variety performer, Carl Devo. In the process, many of the Goldston fictions are converted back to facts. Glimpses of Goldston is based on a lecture that Eddie Dawes delivered at the Magic Collectors’ Association Weekend in 1997. Reproduced on the stapled, glossy pages are a couple of line drawings and eight half-tone photographs, including the last known photograph of Goldston, taken at his shop, the famed Aladdin House, in late 1947. The information here is concise and historically accurate. For those who need to know, this booklet is a must. Restless Plots By Mark Edwards Mark Edwards is the Associate Medium of the Houdini Séance Room at the Magic Castle. In Restless Plots he offers 25 routines and numerous essays geared toward séance and spirit magic. As with much of the material in this genre, presentational demands far exceed technical requirements. Some of these routines have previously seen print in such magazines as Séance, Magick, The Altar Flame, and the New Invocation, and others are previously unpublished. Books of séance and spirit routines appear only occasionally. If you’re looking for practical, spooky material, Restless Plots would fit the bill. Garden Path By Tom Allen Tom Allen is a very clever and thoughtful close-up performer. His lecture notes, Garden Path, detail eight routines using cards, coins, and sponge balls. Included are: a visual production of a large coin from a purse frame, a handling for Vernon’s “Triumph,” a card to wallet routine, a Copper/Silver transposition, a very visual sponge ball routine, a gambling routine, and a surprising transposition effect using Queens and Jokers. These are very detailed notes, and at $15 are reasonably priced. If you are unfamiliar with Tom’s work, they are certainly worth a look. Money Maker Machine Manual Supplement By Algonquin McDuff Last year I reviewed Algonquin McDuff’s Money Maker Machine Manual, a veritable warehouse of information on the classic Money Maker trick. Mr. McDuff has released the first supplement to that text, containing more pictures of Money Makers (several by Dai Vernon’s son Derek), more routines (by Ed Marlo, Sid Lorraine, Don Alan, Eric
Lewis and others), and more general silliness. This is a very limited edition, so if you want a copy, don’t hesitate. Dick Williams’ Cups & Balls By Dick Williams Dick Williams has come up with an interesting idea for the venerable Cups and Balls: Let an assisting spectator perform most of the trick. Dick’s routine is designed for the standup performer rather than the close-up worker. The routine is in three phases. The first phase is based on the old puzzle of turning over two cups at a time and ending with all three cups mouth down. In the second phase balls suddenly appear under the cups. In the third phase big loads appear under the cups. I think that approaching the Cups and Balls in this manner is a very interesting idea, and could certainly springboard the creative magician into many other avenues. Dick’s routine requires very little technical ability, but the performer will need some audience management skills. If you have an interest in the subject, Dick Williams’ Cups & Balls is priced very reasonably and will provide stimulating reading. Historical Magic Videos From William McIlhany If you have read MAGIC for any length of time, you’re probably familiar with William McIlhany’s articles on the history of magic on television. Mr. McIlhany is now offering several of these historical programs on videotape. Those videos I found particularly interesting were: The Milbourne Christopher Memorial Volume 1, which features Christopher’s Magic! Magic! Magic! program from 1962; American Pioneers Volume 1, which contains the pilot episode of Mandrake the Magician (starring Coe Norton as Mandrake and Woody Strode as Lothar), Norman Jensen in Mr. Magic and J.J., Fun with Felix starring Felix Greenfield (and the surprise appearance a very young Ricki Dunn), and You Can Do It Too! featuring a spot by George Sands; and The Magic Circle Diamond Jubilee (1965), which has appearances by Jay Marshall, Henk Vermeyden, Billy McComb, Fred Kaps, and Robert Harbin. Other tapes include The Karrell Fox Memorial Volume 1, American Pioneers Volume 2 (featuring Gerry Larsen as the Magic Lady), and The Truth About Houdini, a 1971 BBC production which features appearances by Walter Gibson, Milbourne Christopher, Sidney Radner, and James Randi. All the tapes have been digitally mastered, and they look and sound great. Your choice will, of course, be dictated by the subject matter, and I suggest that you contact Mr. McIlhany for further information. Magic Circus Videos By Mark Wilson
While we’re on the subject of important television magic broadcasts, allow me to draw your attention to the three new Magic Circus videos available from Magic International. Selling the Magic Circus shows to the Pillsbury Company in 1970 was no easy task. Although The Magic Land of Allakazam had aired for 5 years, when Mark Wilson pitched the concept he was told, “Sure your Allakazam kid show had a long run, but magic won’t work on prime time TV. Everyone will think it’s trick photography.” Every effort was made to assure the home viewing audience that no camera trickery was used. Many illusions were performed with the audience on all sides, camera shots over and through the audience were used (verifying the studio audience’s continued presence), and, starting with Magic Circus #3, a large transparent platform was used for many segments. In addition, Pillsbury conducted random telephone surveys after the first show. 93% of home viewers believed there was no camera trickery. The first four Magic Circus shows incorporated circus acts, since Pillsbury was unsure of a “pure magic” show’s ability to hold an audience. Because of the excellent ratings, shows 5 and 6 were all magic. (On the Magic Circus videotapes the circus acts have been edited out.) Each video contains two shows, and many of the illusions performed have not been seen since the shows originally aired in the 1970’s. Of special interest on Volume 3 are appearances by Shimada, Carl Ballentine, Dai Vernon (doing the Cups and Balls and the Linking Rings), and Jay Marshall with Lefty. I remember watching these shows when they first aired, and it was a treat to see them again. Early Ammar Volumes 1-4 By Michael Ammar From the bottomless vault of Hans Zahn’s Videonics Company comes another multivideo set, this one chronicling the early works of Michael Ammar. L&L Publishing has digitally remastered these tapes, and on Volume 3 – Coin Magic two of the Videonic volumes have been combined into one tape. The material on these videos dates back to the early 1980’s, and considering that almost 20 years have gone by, the routines hold up quite well. Of particular interest is Michael’s early performance style; this is Michael Ammar before he was heavily influenced by Infomercial techniques. This is the Michael Ammar from Bluefield, West Virginia. If he were any more laid back, you’d be tempted to check for vital signs. The routines on these videos have appeared in print in many places, including Michael’s big hardback anthology. Michael Ammar fans will probably want to pick up all four volumes. For the rest of you, I suggest you check the ads for the specific routines on each video, and then pick the ones you’re interested in. My suggestion is to start with either Volume 3 (Coins) or Volume 4 (Cards). Both contain excellent explanations of valuable
sleights and techniques. (In particular, check out the in depth discussion of the Side Steal on Volume 4.) Sankey Very Much Sankey 1999 By Jay Sankey Jay Sankey hasn’t been too visible on the magic scene lately. However, he has been very busy in the real world, performing at comedy clubs and on Canadian television, writing and illustrating a line of greeting cards, and performing in two one-man shows. He has not stopped thinking about magic though, and on the two new videos Sankey Very Much and Sankey 1999 he let’s us know what’s been on his mind lately. First off, if you’re looking for videos with great production values then Sankey Very Much and Sankey 1999 are not for you. Both look like they were shot in Jay’s apartment using a single camera. They look like this because they were shot in Jay’s apartment using a single camera. The material is geared for the close-up performer, although there are a few items (including a very clever coin production) that are of use to those who work on stage. There are no assisting spectators (with the exception of David Acer’s hand every now and then), and Jay’s discussions of each effect are casual and freeform. The best way to describe these tapes is this: it’s as if a pal of yours had some cool ideas he wanted to share with you, so he set up his video camera and recorded a bunch of them. This is not a bad thing. The material is typical Sankey: off beat ideas using ordinary objects, with methods that won't bust your chops. And there is a ton of material on these two tapes; Sankey very much runs 1:34 and contains 21 tricks, Sankey 1999 runs 1:30 and contains 25 tricks. Not all the tricks are complete performance pieces; Jay also offers some “works in progress” that could stand further development. These are very enjoyable tapes that are often “laugh out loud” funny. If you’re looking for some fresh, interesting close-up material, Sankey Very Much and Sankey 1999 fit the bill. Recommended. (If you are unfamiliar with Jay Sankey’s approach to magic, you might want check out the cover story on him in the June 1999 issue of Genii.) Party Tricks By Steve Fearson With his company FMVideo Productions, Steve Fearson has joined the ranks of magic video producers. Three videos have recently been released, and all are worthy of your attention. Party Tricks contains seven tricks that you can perform when you have guests over for a party. None of the tricks is difficult, and all utilize commonplace objects. My favorites
were: “Compact Disception,” in which you predict the compact disc freely selected by a spectator; “Mental Directory,” a book test using an ungaffed telephone book; and “Mental Epoch,” a clever no-gaff approach to “Mental Epic.” The production values are good and the tape is fun to watch. Two other tapes from FMVideo Productions feature the card magic of Lee Asher. Lee is one of the finest technicians of his generation, and he creates very visual and flashy effects. Lee is a vital and vibrant member of the Las Vegas magic scene, and at the time of this writing is out on a lecture tour. Well Done: Cooking with Lee Asher – Five Years Later is a remake of a video released five years ago. The original Cooking with Lee Asher looked like it was shot in someone’s kitchen (which it was). The remake has the benefit of a studio setting and excellent camera work. Five items are discussed, including a very effective force, a Matrix routine with an amazing vanish of the last coin, and an explanation of the “Asher Twist,” a very visual handling of “Twisting the Aces.” This last routine produced an enormous amount of buzz some years ago when Lee first demonstrated it. Following the updated performances and explanations is the original Cooking with Lee Asher video, which was somewhat of an underground hit when it was first released. Five Card Stud features more of Lee’s card magic, and it is a very unusual video. Lee portrays Secret Agent 005 who is on the trail of the notorious “Crimp,” a criminal mastermind. During his adventures, Lee encounters numerous bad actors, chews up some scenery himself, and demonstrates six nifty card routines. Because Lee’s routines tend to be short, snappy, and visual, dropping them into these little dramatic vignettes is a perfect idea. The explanation segments are done in flashbacks, and are funny. (Unfortunately, the explanations are also quite terse, so you’ll probably be rewinding the tape to decipher all the details.) Five Card Stud is an offbeat video, and my guess is that you’ll either love it or hate it. I liked it very much. It made me laugh. FMVideo Productions has a money back guarantee on all of its products, so you really have nothing to lose. Party Magic is suitable for magicians of all skill levels, while the two Lee Asher videos are geared toward the card enthusiast with at least intermediate abilities. I liked all three of them. Bill Malone Tips Sam the Bellhop By Bill Malone The history of the story trick known as “Sam the Bellhop” is not completely clear. It perhaps has its origin in a trick called “Sam & Moe” which appeared in Rufus Steele’s The Final Word on Cards. Other story tricks have appeared in The Encyclopedia of Card Tricks and in Scarne on Card Tricks. In the early 1960’s, Frank Everhart, a bartender/magician at the Ivanhoe (a bar on Chicago’s north side), released a slim pamphlet that established the Sam the Bellhop story and the crimped card handling. As performed by most magicians, the routine simply involves taking out the stacked deck and dealing cards off the top while telling the story.
Bill Malone raised “Sam the Bellhop” to a new level by incorporating shuffles, cuts, and flourishy revelations to produce a virtuoso demonstration of otherworldly card skill. Bill’s performance on The World’s Greatest Magic brought the trick to the attention of magic hobbyists, all of whom wore out the slow-motion buttons on their VCRs trying to cop Bill’s routine. All the work on this reputation-making routine is now available on Bill Malone Tips Sam the Bellhop. Bill gives you the story, the set-up, and the all the details on the false shuffles, false cuts, and flourishy revelations he uses. In addition, Bill also discusses the comedic theory that underlies the routine. You should be aware that this routine is best performed seated at a table, and that a soft working surface is preferable. In addition, it will require substantial practice time to execute the various shuffles and cuts as casually and adroitly as Bill does. Even if you don’t intend to ever perform “Sam the Bellhop,” you might want to pick up this tape just for the explanation of the Zarrow shuffle, which is as fine an explanation as I’ve ever seen. Bill Malone has lived with this routine for many, many years, and his personality is infused in it. It will take a serious effort to remove Bill’s fingerprints and make this routine your own. But it is a sensational routine, and a genuine reputation-maker. If you want to add it to your repertoire, Bill Malone Tips Sam the Bellhop will give you everything you need to know. Recommended. Believe it or Knot By Dean Dill Here is a very cute interlude with a piece rope, suitable for the stand-up or strolling performer. (It would also be a good trick for kid show performers.) The routine goes like this: The magician shows a short length of rope. He forms a simple knot, and the knot slides off the rope. Another knot is tied, and this knot unties itself. The magician discusses square knots. He ties a loose knot and as the ends of the rope are pulled the knot actually takes on the shape of a square. This “square knot” is slid off the rope. A spectator is given the rope and ties a loose knot. As the spectator pulls the ends of the rope, he too produces a “square knot.” This knot is slid off the rope and it links onto the square knot that the magician had produced. “Believe it or Knot” is based on routines by Masao Atsukawa and Alan Lambie. Dean’s routine is very simple to learn and very effective. When Dean performed it, the steal of the “square knot” went right by me. The props are very nicely made and should last a long time. I liked this a lot. Recommended. Son of MindScan By Allen Zingg
I reviewed the original “MindScan” (created by Kenton Knepper and Gene Urban) a few years ago. “MindScan” is an impression device; a spectator writes information on a small pad of paper, and the mentalist is able to obtain this information. The principle behind “MindScan” is very clever, and the prop looks completely ordinary. Allen Zingg has taken the “MindScan” prop and has devised some very clever routines. The centerpiece routine, “MandelaScan,” is a marvelous routine for anyone who does private readings. Using five basic shapes, the psychic is able to give a convincing reading and then is able to duplicate a drawing based on the five shapes. (The only drawback to this routine is that Mr. Zingg has typeset the information using an italicized font that is very difficult to read.) Included in the manuscript is information on how to do a reading based on the five shapes. Also included in the manuscript are several design duplication routines, and the original “MindScan” manuscript. You also get a large supply of the necessary props. As with many mentalism items, “Son of MindScan” is priced to deter the merely curious. However, if you do mentalism or psychic readings professionally, I think you’ll find much of value here. Wooly Bully By Mike Bent Here’s a very offbeat idea from the wacky mind of comedian/magician Mike Bent. The magician brings out a children’s toy called Wooly Willy. (We all had one of these as a kid. You use a magnet and iron fillings to put facial hair on the drawing of a man’s face.) On the back of the toy are six drawings suggesting various hair arrangements. The spectator selects one of these drawings. The toy is turned over and the magician shakes the iron fillings over the cartoon. As the shaking stops, the spectators realize that the fillings have formed themselves into the exact arrangement suggested by the chosen drawing. Everything can be examined. You should know that “Wooly Bully” can only be performed for a few people at a time. The trick cannot be repeated, and it is possible to produce only one hair arrangement. “Wooly Bully” is simple to do, but lining up the gaff correctly can be problematic. Mike offers a way to overcome this problem, and I suggest that you follow his suggestion. My only question is this: Who will use this trick? The Wooly Willy board is 7 x 9, which makes it an awkward prop for strolling magic. A restaurant magician could carry it table to table, but the prop will have to sit on the table when it is not being used. My guess is that it will be a fun prop for the hobbyist to take to the next magic meeting, and for someone to keep around the house to perform for any guests who drop by. (And if you have kids, it could be a very natural-looking “impromptu” trick.) Phobia By Jon Allen
Last month I discussed an effect named “Phobia” created by Kevin Wade. At that time I mentioned that there was another effect with the same name which had just hit the market. Well, this is it. Jon Allen’s “Phobia” is almost identical in effect to Kevin Wade’s “Phobia.” The magician removes ten cards from one compartment of a small plastic wallet. In the other compartment of the wallet is a facedown card, which is a prediction. Each of the ten cards bears the name of a phobia. (A nice touch here, is that the phobia cards are cleverly designed, with the typesetting reflecting each phobia.) One of the cards is chosen. The prediction is removed and in a shocking way the prediction is proved correct. Now at this point, unfortunately, I’m going to have to be a little more explicit about what happens at the end of each of the “Phobia” tricks. In Kevin Wade’s “Phobia” the chosen card is Ophidiophobia, the fear of snakes. When the prediction card is removed, the spectator hears the very loud rattle of a rattlesnake. In Jon Allen’s “Phobia” the chosen card is Ligyrophobia, the fear of loud noises. When the prediction card is removed, there is a very loud “bang.” So, the question is which one of these tricks should you purchase? First, let me repeat a comment I made last month. The climax of each of these tricks is a “shock” surprise, like jumping out from behind a door and yelling “Boo.” A trick with a comparable ending is Jim Pace’s “The Web.” I would never perform these tricks for someone I did not know well. You simply have no idea how the spectator is going to react to the shock ending. I prefer the cleverness of the cards in Jon Allen’s trick, but there is a slight chance that the caps (which produce the bang) may not fire, in which case the trick doesn’t have much of an ending. The Kevin Wade trick has a surefire ending. The Allen trick is $5 cheaper. So, if the effect of “Phobia” appeals to you, you’re best bet would be to pick the trick that has the ending you desire: either a bang or a rattle. Séance By Charles Pecor Mr. Pecor is offering a very nice kit for performing spirit writing using miniature slates. You get two oak-framed slates (measuring 3 x 2.5) with the necessary flap, a small eraser, a small carved wood box to hold chalk slivers, an extra piece of chalk, 30 blank business cards, a cloth bag to carry all the props, and Mr. Pecor’s full routine in which the initials of a dead magician appear between the two slates. Mr. Pecor’s routine was inspired by “The Halloween Spirit” in Eugene Burger’s Spirit Theater. Spirit writing always produces a strong reaction in laymen. Mr. Pecor’s props make this effect practical for the close-up performer. It’s Not Magic, But… So, you’re performing an after-dinner show, and all of sudden all the lights in room go off. What do you say? Or, how about this: You’re performing and the fire alarms go off. (Or the hotel sprinkler system suddenly kicks in.) What do you say?
Lily Walters discusses these (and 128 other panic-producing situations) in What to Say When…You’re Dying on the Platform. The book is geared toward public speakers, but the information is just as valuable to magicians. Every now and then something weird is going to happen while you’re performing, and how you handle the situation is going to reflect on your professionalism. Read through this book, let some of the solutions sink into your memory, and you’ll be able to handle anything that comes your way. (My thanks to Tom Ogden for bringing this book to my attention.) Details 21st Century Card Magic by Jim Swain. 8.5 x 11 hardcover with glossy dustjacket. 156 pages. $45 postpaid in US, foreign orders add $7.50 p&h. From Don’t Blink, 18240 Wayne Road, Odessa, FL 33556 Ellis Stanyon’s Best Card Tricks edited by Karl Fulves. 5.5 x 8.5 softcover, perfect bound. 312 pages. $9.95. Published by Dover Books (ISBN 0-486-40530-3). Available from most bookstores. The Egg Bag Book by John Novak. 8.5 x 11, softcover, perfect bound. 105 pages. $21 postpaid. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS 67214. Email:
[email protected]. Web site: http://allmagic.com/stevensmagic. Fax: 316-686-2442 Conjurors and Cornfields by Thomas A. Ewing. 8 x 10 softcover, perfect bound. 186 pages. $30 plus $5 p&h. From Thomas Ewing, 281 Anderson Road, Yardley, PA 19067. Email:
[email protected] Glimpses of Goldston by Edwin A. Dawes. 8.5 x 7 staplebound. 12 pages. $20 plus $3.20 priority mail postage. From 3-D Communications, Inc., 260 Lincoln Avenue, Ridgewood, NJ 07450. Restless Plots by Mark Edwards. 8.5 x 11, hardcover. 181 pages. $49 plus $3.20 p&h in US. (Foreign orders add $6 more.) From Thaumysta Publishing Company, P.O. Box 17174, Minneapolis, MN 55417. Fax: 612-724-3128. Email:
[email protected]. Web site: www.thaumysta.com. Garden Path by Tom Allen. 5.25 x 8.5, softcover, stapled. 38 pages. $15. From Tom Allen, P.O. Box 245655, Sacramento, CA 95824-5665 Money Maker Machine Manual Supplement by Algonquin McDuff. 5.5 x 8.5 softcover, stapled. 48 pages. $30 postpaid. From Jester’s Press, P.O. Box 3442, Spartanburg, SC 29304. Web site: www.furman.edu/~bryson/books.html Dick Williams’ Cups & Balls by Dick Williams. 5.5 x 11 softcover, stapled. 12 pages. $7.50 postpaid in US. From Stevens Magic Emporium, 2520 E. Douglas, Wichita, KS
67214. Email:
[email protected]. Web site: http://allmagic.com/stevensmagic. Fax: 316-6862442 Historical Magic Videos from William McIlhany. Each video $26.95 postpaid in US ($35 for foreign air parcel). From William McIlhany, P.O. Box 7486, Beverly Hills, CA 90212. Fax: 310-205-7952. Email:
[email protected]. Magic Circus Videos Volumes 1-3 by Mark Wilson. Each video $30 postpaid in US. All three for $84.95. From Magic International, P.O. Box 801839, Santa Clara, CA 913801839. Fax: 661-288-2609. Email:
[email protected]. Web site: www.markwilsonmagic.com. Early Ammar Volumes 1-4 by Michael Ammar. Each video $29.95 ($110 for the set of 4). Free p&h in the US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected]. Website: www.allmagic.com/llpub. Sankey Very Much Sankey 1999 by Jay Sankey. Each video $25 plus $3 p&h. From Jay Sankey, 360 Bloor Street West, P.O. Box 68589, Toronto, Ontario, Canada M5S 1X1. Also available from most magic dealers. Party Tricks. $20 postpaid in US. Well Done: Cooking with Lee Asher. $20 postpaid in US. Five Card Stud. $25 postpaid in US. (Foreign orders add $7.50 for p&h.) From Steve Fearson, 1120 Las Vegas Blvd. S, Suite 111, Las Vegas, NV 89104. Phone: 702-3381024. Email:
[email protected]. Web site: www.fmvideo.com. Bill Malone Tips Sam the Bellhop by Bill Malone. $37 postpaid. From BM Enterprises, 11680 Island Lakes Drive, Boca Raton, FL 33498 Believe it or Knot by Dean Dill. $20 plus $1.50 p&h. From Dean Dill, 2130 Fairpark Ave., #110, Los Angeles, CA 90041. Fax: 323-257-7117. Email:
[email protected] Son of MindScan by Allen Zingg. $59.95. From Allen Zingg, 41 Wolf Drive, Hamilton Square, NJ 08610 Wooly Bully by Mike Bent. $17.50. From Hank Lee’s Magic Factory, P.O. Box 789, Medford, MA 02155. Phone: 800-874-7400 Phobia by Jon Allen. $15. Available from most magic dealers. Séance by Charles Pecor. $25 plus $3.20 p&h. (Overseas orders add $6 more.) From Thaumysta Publishing Company, P.O. Box 17174, Minneapolis, MN 55417. Fax: 612724-3128. Email:
[email protected]. Web site: www.thaumysta.com.
What to Say…When You’re Dying on the Platform by Lily Walters. 6 x 9 softcover. 271 pages. $14.95. Published by McGraw-Hill, Inc. (ISBN 0-07-068039-6). Available from your local bookstore or any online bookstore.
December 1999 It’s A Wonderful Life In Frank Capra’s classic movie, Clarence the Angel tells George Bailey, “No man is poor who has friends.” Well, that makes me one of the richest people in the world. To all my friends who have been such a strong support system through two very interesting (in the Chinese curse sense) years, my sincere thanks and appreciation. And to all of the readers of MAGIC, may you have a save and happy holiday season. (And, speaking of It’s a Wonderful Life, Downtown Theatre Classics will be presenting a musical version of this great Christmas story at the Aronoff Center for the Performing Arts in Cincinnati, Ohio. The show runs from November 26 through December 12, and was written by my sister and brother-in-law, Susan and Phillip Kern. Yours truly spent the month of October orchestrating, synthesizing, and recording over ninety minutes of orchestral and big band accompaniment tracks, so if you can make it to the show, the orchestra you will hear is me. Finishing this project under such a tight deadline was an exhausting process, and for that reason the column this month is probably more disjointed than usual.) The Killer Red Caps By Roger Monaco I find myself in an interesting ethical dilemma this month. On the one hand, my commitment to you is to review products honestly and without bias. On the other hand, there are several products this month that are so good that I would just as soon keep all information about them to myself. Ah, well. I don’t recall ever featuring an individual trick as the leadoff item for this column. Roger Monaco’s “Killer Red Caps” deserves that honor, because it is one of the cleverest closeup routines I’ve seen in years. This trick is already in the repertoires of some of the top professionals in the country, and I suspect that the “Killer Red Caps” will be the hot topic of conversation in magic clubs and on the Internet. So, what’s the effect? The magician brings out five small red, plastic caps. These caps resemble the caps you’d find on the top of a spray can of WD-40 oil. The magician also brings out a grape Lifesaver. While the magician’s back is turned, a spectator places the grape Lifesaver under any of the five caps and then mixes the caps around on the tabletop. The magician turns around and immediately tells the spectator which cap the Lifesaver is under. This can be repeated. The magician then brings out a cherry Lifesaver, and again turns his back. The spectator places the cherry Lifesaver under one cap and the grape Lifesaver under another, and again mixes the caps. The magician turns around and correctly identifies the position of each Lifesaver. For the finale, the magician brings out a quarter. The magician turns his back and the spectator is instructed to place one of the
three objects (grape Lifesaver, cherry Lifesaver, or quarter) under any of the caps and then mix the caps around. He is then to pick up the remaining two objects, one in each hand. The magician turns around, correctly identifies which object is under the cap (and where it is) and correctly identifies the locations of the two objects the spectator holds. The “Killer Red Caps” is a routine that demands repetition, and with each repetition it becomes more and more baffling. Intelligent spectators (and those that aren’t so bright) go nuts over this because they can handle the props and there is nothing to discover. When Bob Kohler demonstrated this for me, I was completely fooled. Now, I’ve got good news and bad news. The good news is that absolutely everything can be examined: the caps, the Lifesavers, the quarter – everything. The bad news is that this is not a self-working trick; it is going to take some time and effort to learn to do it correctly every time. The skill that needs to be developed is not one of dexterity, it is more an acquisition of acuity and sensitivity. You’re going to have to live with this trick for a while, and you’re going to have to try it in a variety of performance conditions to gain the confidence to make it work consistently. I’m delighted that this is the case, because a lot of people are going to buy this trick, play with it, get discouraged, throw it in the magic drawer, and move on to something else. Great. (Be sure to read this paragraph again, because I don’t want you to come crying to me when you can’t get this thing to work the very first time you try it.) You are provided with the necessary red caps and an instructional manuscript. Bob Kohler has developed several methods to help you learn how to identify the position of the hidden objects, which should help decrease your learning curve. Also included in the manuscript are several routines, including the one described above (created by Kohler and Seth Kramer) and an excellent cold reading application by Roger Monaco. The “Killer Red Caps” is a great trick. The props fit in your pocket, allowing you to drive people crazy wherever you are. I highly recommend it, and I’m already sorry that I’ve told you about it. Theater of the Mind By Barrie Richardson Although Barrie Richardson lives in the United States and has been contributing material to magic publications for many years, he is probably better known to British magicians than to those here in the States. This is due to the fact that much of his material appeared in British magazines. (A notable exception was his “One-Man Parade” in the February 1997 issue of Linking Ring.) Two things are sure to increase his notoriety: his new column in Genii magazine, and Theater of the Mind, a large, hardbound collection of his published and previously unpublished material. If you’d like to skip the rest of this review and run straight to the magic shop, I’ll tell you that Theater of the Mind is a terrific book, full of marvelous performance pieces suitable for a variety of performance venues. Some of the plots may be standard, but the methods
and the presentations are wonderful. It is rare for me to read a magic book and find any tricks that I want to add to my repertoire. In Theater of the Mind I found dozens. Not only that, but I really wish I had these routines to myself. The book begins with Barrie’s presentation for a trick that (up till now) was relatively unknown: Pat Page’s “Production of a Glass of Water.” This may be the perfect opening trick for a stand-up show, for it not only starts the show with a surprise, but in the process the audience is given some response training. Following this trick is “One in a Half Million,” a prediction effect that uses a very old gimmick in an extremely devious way. Concluding the first chapter is Barrie’s handling for the classic “Bill in Lemon” effect. For you problem solvers out there, figure this out: in Barrie’s method the bill is both signed and a corner with the serial number is torn off. After the bill is retrieved from the lemon, both the serial number and the signature are verified. Oh, and did I mention that the lemon is in the possession of an audience member before the bill is borrowed? I could go on and on about the rest of Barrie’s routines, but part of the fun of a book like Theater of the Mind is the joy of discovery. However, I will mention that in “The Trick That Fooled Einstein,” Barrie has taken an old mathematical puzzle and has turned it into an unfathomable mystery suitable for stand-up and stage performance. (He also offers a close-up version called “Little Jackpot Coins.”) Other highlights include “Do You Want to Continue?” (an unexplainable coincidence effect), “A String and Two Borrowed Rings,” and a full chapter on the Any Card at Any Number effect. A book of this quality and usefulness is rare. Theater of the Mind is one of the best books of the year and I highly recommend it. (And now forget that I ever mentioned it.) Cyber Sessions By Jason Alford Without a doubt, the one development of the 20th Century that will have the greatest impact on the 21st Century is the rise of the Internet. We are now an interconnected global community, and anyone who owns a computer has an equal voice (a situation that is both good and bad). As an informational resource, the Internet is unsurpassed. Type three random words into a search engine and you’ll probably find a dozen or more related web pages. (In preparation for my Farewell Lecture Tour last fall, Lisa and I were trying to track down the little rubber hands that I use for the “Unbelievably Useful Comedy Prop.” They were plentiful when I came up with the idea in the 1980’s, but in 1998 they seemed to be scarce. Lisa found them online, in the warehouse inventory of a wholesale company. As an aside to this, I must mention that you should never type the words “rubber+novelty” into a search engine. If you do, you’re going to find lots of things that you don’t want to put on the end of pencil. But I digress.) One aspect of the Internet that arose early in its development is the news group – a place where people with like-minded interests can meet and discuss their favorite subjects. In June of 1997, Jason Alford created The Second Deal (www.theseconddeal.com), a web site devoted to card magic. It began as a free site, but in November of 1998 it became a
subscription site. Card men from around the world have joined up, and the discussions generated are vital and vibrant. In March of this year the first TSD convention was held in New Orleans. Jason Alford has compiled an anthology of card material from members of The Second Deal. The material covers a wide range of effects and skill levels, and the contributors read like Who’s Who of contemporary card magic: Paul Cummins, Tom Stone, R. Paul Wilson, Peter Duffie, Ken Simmons, Daryl, Doug Conn, Steve Draun, Earl Nelson, David Solomon, Steve Beam, Gary Freed, Chad Long, Andrew Wimhurst, Don England, Kevin Kelly, Joshua Jay, and Marc DeSouza (who offers an excellent non-card item). This is an impressive list, indeed. A book of this nature will appeal mostly to the card enthusiast, and such enthusiasts will find a lot of fodder for further experimentation and development. If you’re a card guy (or gal) who’s looking for new and interesting ideas, Cyber Sessions will certainly fit the bill. Recommended. Of Legierdermaine and Diverse Juggling Knacks By John Braun Magic magazine subscribers tend to sink into a comfortable complacency. The magazine arrives, it’s familiar, we enjoy its contents, and we stick it up on the shelf with all the others. The fact that a magazine arrives month after month tends to diminish the importance of those who contribute regular columns. Let me give you two important contemporary examples. If Jim Steinmeyer’s “Conjuring” columns and Bob Farmer’s “Flim Flam” columns were compiled and released as hardbound books they would immediately become two of the most important books on their respective subjects ever published. John Braun was a president of the International Brotherhood of Magicians, and for many years served as Editor of the Linking Ring magazine. He was a man of grace and warmth. I met him only once, many years ago, and he showed me great kindness and hospitality. From May 1949 through December 1966, Mr. Braun wrote a column titled “Of Legierdermain and Diverse Juggling Knacks…”. Subject matter included the history of magic, the state of present-day magic, and a wide range of other topics. Historical items were reprinted, including material about Robert-Houdin, Harry Kellar, T. Nelson Downs, Dr. James Elliott (he of the 120 times per minute Classic Pass), the Maskelynes, David Devant, and many others. There are detailed programs of famous magicians’ acts and shows, excerpts from classic magic texts, and tricks from Kellar, Henry Hatton, and John Northern Hilliard. William L. Broecker has compiled Mr. Braun’s columns into an impressive book that bears the same title as the columns. The book is handsome indeed, and the wealth of information included will provide hours of enjoyment for anyone interested in the history of magic. A very useful index is also provided.
Of Legierdermaine and Diverse Juggling Knacks is a valuable reference book and a wonderful tribute to a fine human being. I can’t imagine any historian or collector who won’t be delighted by it. Highly recommended. (Note that this is a limited edition of 650 copies, so if you’re interested don’t hesitate.) Tales From The Planet Of Bloom 1-3 By Gaetan Bloom I hate to end the millennium on a downer, but I’ve got some bad news for you. Gaetan Bloom is cleverer than you are. Gaetan Bloom is cleverer than I am. Gaetan Bloom is cleverer than we ever will be. Gaetan Bloom is the cleverest person on the planet, so let’s just deal with it and get on with our lives. The clever Mr. Bloom has not been very visible in the magic world for the past few years, but he has been very busy in the real world, performing at the Crazy Horse Saloon in Paris, and at venues throughout Europe. I had not seen Gaetan since 1990, when we both worked the NYCAN convention in Toronto. This spring he did a lecture tour of the United States, giving us all a chance to have our brains bashed in once again. The three-video series Tales From The Planet Of Bloom showcases many of the effects Gaetan featured in his lecture. The effects utilize a variety of props – cards, cigarettes, Slinkies, grocery bags, paper plates – but all have one thing in common: they are all going to fool you harder than you have been fooled in a long time. I attended Gaetan’s lecture here in Las Vegas, and watched him again when he performed at the Convention at the Capitol. On each occasion he turned a room full of knowledgeable magicians into a bunch of slobbering laymen, myself included. As he performed the final effect of his lecture (a prediction effect called “Quarte,” which I’ll discuss further in a moment) I thought to myself, “If the payoff of this trick isn’t a gag, I’m in real trouble.” The payoff wasn’t a gag, and I was in trouble. My favorite effects on these videos were: “Top Chrono,” in which your wristwatch travels to the center of a knotted rope; “Bleached,” an offbeat card location that has numerous applications; “The News,” a card prediction that seems absolutely impossible; “Fifty-Fifty,” an effect with a gambling theme; “Immortal,” an evocative and memorable card trick; “Lasso,” in which the magician lassoes a selected card in a hat (and the rope is ungaffed!!); and the aforementioned “Quarte.” Here’s the effect of “Quarte.” The magician brings out a slate. The lower portion of the slate is covered with a piece of newspaper, concealing a prediction. The slate is placed into a small stand. The Ace through Nine of Spades are removed from a borrowed deck and thoroughly shuffled by a member of the audience. At any time during the shuffling process another spectator shouts, “Stop.” The top card of the packet is shown. Suppose it is the Nine of Spades. The magician attaches the Nine to the top edge of the slate with a clothespin. Three more cards are selected in a similar manner. At the end of the selection process four cards are pinned to the top of the slate. Assume they are the Nine, the Three, the Two, and the Six. The magician rips away the newspaper strip revealing the prediction. Written on the slate
is 9326. There is no force, no equivoque, no stooges, no pre-show work, and no sleight of hand. Gaetan has an offbeat performing style, and his pace is quite leisurely. (But remember, he is performing in English, which is not his first language.) You will need to adapt these effects to your own style and your own performing conditions. More important than the effects themselves are the underlying principles, which can be utilized in other ways. You should own all three of these tapes. If you buy them, do yourself a favor – don’t watch the explanations right away. Gaetan groups the performances of all the effects at the front of each tape. Watch them several times. Try to guess how the tricks work. You’re probably going to be wrong, and when you finally watch the explanations you’re going to be delighted. I should mention that there seems to be a glitch with the sound on these tapes. The sound level was very low on all three volumes. I hope that this was just a problem with the duplication process and not a flaw in the master tapes. You’ll be able to hear the tapes, but you’ll have to crank your TV volume to the max. Tales From The Planet Of Bloom contains material of otherworldly ingeniousness. Once again, here’s another product that I wish I could just keep to myself. Highly recommended. Commercial Classics of Magic By Johnny Thompson In the world of music, tradition is important. For example, the great classical virtuoso Jorge Bolet studied with a student of Franz Liszt. This connection to the past is vital, because the notes on the page don’t give you all the information you need for an authentic interpretation of the music. The only way to gain this insight is to go to the source, albeit through a degree or two of separation. In the world of magic, especially close-up magic, the great teacher was Dai Vernon. Vernon provided the connection to the past masters that were long gone. Now that Vernon is no longer with us, it is up to his students to provide that connection. The problem, however, is that the study of magic is not as formalized as the study of music, and just because a person spent many years hanging around Vernon, it doesn’t necessarily mean that the lessons sunk in. This means that the number of people qualified to pass these traditions along is woefully small. One person who learned the lessons well is Johnny Thompson. Johnny is best known for his brilliant creation “The Great Tompsoni and Company.” With his wife Pam, John has developed one of the truly classic acts in magic – combining comedy with absolutely flawless technique. But Johnny is also an expert in the fields of close-up and stand-up magic, and he brings to his performances the wisdom of his mentors Dai Vernon, Charlie Miller, and Harry Riser.
On the four-volume video set Commercial Classics of Magic, Johnny Thompson performs and explains much of the classic repertoire of close-up and stand-up magic. This is the magic from The Stars of Magic, The Dai Vernon Book of Magic, Malini and His Magic, and the Card Magic of LePaul. This is the magic of Vernon, Malini, Al Baker, Silent Mora, Nate Leipzig, and Emil Jarrow. You may say, “But I already own these books and I know this material.” But what is important here is Johnny’s historical connection to the material. For example, Johnny learned “Chink-a-Chink” from Charlie Miller, who had learned it from Max Malini. This is the same relationship as the Bolet example I mentioned above. All four videos are worth your serious consideration. By far, the highlight of the series is Johnny’s performance of the Cups and Balls on Volume Four. Johnny’s routine is in four phases, and each of the first three phases is done as a different performer (Max Malini, Pop Krieger, Dai Vernon) complete with a dead-on vocal impression. The final phase of the routine contains one of the great moments ever captured on a magic video. One of the assisting spectators (a fellow named David who has been absolutely baffled by everything Johnny has done up to this point) thinks that he has Thompson over a barrel. The revelation of a final load in a cup that David is convinced is empty is so wonderful that you want to stand up and cheer. And Johnny plays the moment beautifully. Johnny Thompson is one of magic’s living treasures. Although he wasn’t listed among the “100 Who Shaped the Art” list, his career achievements and his dedication to (and respect for) the Art of Magic definitely place him among that group. I highly recommend The Commercial Classics of Magic videos. They are important for several reasons. First, they provide information that does not exist anywhere else. Second, they remind us that in our constant search for something new and different, we can lose track of the fact that the classics are just as effective now as they were 50 years ago. And third, they remind us of the importance of those who carry the history, for when they are gone a vital part of magic disappears as well. Martin Nash: Master Card Magician 1-6 By Martin Nash This six volume video series was originally part of the Videonics library. The tapes have been digitally remastered and released by L&L Publishing. Each video features an entire card act by Mr. Nash. The technical demands range from routines requiring little digital dexterity to some that are extremely demanding. I don’t consider Mr. Nash to be an innovative creator of new plots or techniques. To me his gift lies in the creation of effective routines. He has the ability to assemble the component parts of an act so they build to a very powerful climax. Because each of the acts on the six videos runs about 20 minutes in length, they will be too long for those who perform in standard close-up venues. However, even if you don’t use one of Mr. Nash’s acts in its entirety, there is much to be learned in studying how he puts the acts together.
The easiest of the six acts is titled “The Fun Routine” and it can found on Volume 1. This is the video I would suggest for those with only average card handling ability. If you are more skilled with a deck of cards I would suggest either Volume Four or Volume Six. Volume Four contains routines that involve a variety of false deals (seconds, thirds, bottoms, centers, Greek deals), and Volume Six contains “The Castle Act.” Mr. Nash kept the exact workings of this act a tight secret until the original release of this video. The routine builds to a remarkable climax in which the spectator pairs up every single card in the deck. The deck switch used in this routine is clever and has many other applications. If you enjoy card magic, you’ll find much of value in the Martin Nash: Master Card Magician series. You Asked For It – Magic Related Segments From William H. McIlhany You Asked For It was a pretty goofy show. Viewers would send in requests for certain things, and the producers would try to oblige those requests. Very often, these requests were magic related. Bill McIlhany has collated the magic related segments from You Asked For It and has released these segments on four videotapes. The first volume contains a complete You Asked For It program, allowing the viewer to get a feel for the show. The main act on this full program is Dina Figone who is sealed in a sarcophagus of ice for the duration of the show. Ms. Figone seems a little out of it, and I’m not convinced that she knew what she was getting into. (“An ice casket! I thought you said, ‘A nice casket!’”) The remainder of the first volume and the other three tapes contain the magic segments, with an emphasis on escapes, blindfold vision, and gambling exposes. You’ll see Dante, Senor Frakson (with more smoke than I’ve ever seen come from a cigarette), Kuda Bux (who is on several times), Lee Grabel, Senor Maldo, Harlan Tarbell, George McAthy, Harry Blackstone, Sr., and Arthur Buckley. Contact Mr. McIlhany (
[email protected]) for information on specific tape contents. All the shows have been digitally remastered, and they look very good. If you have an interest in magic on television, I’ll think you’ll find these tapes to be a valuable addition to your library. Palms of Steel By Curtis Kam One thing you can say about Curtis Kam: he doesn’t lack self-confidence. Anybody who titles his videotape Palms of Steel is prepared to be the butt of some easy jokes. (I will not make any jokes, however I will mention that, coincidentally, Palms of Steel was also the title of Cox Dixon’s [see “Marketplace,” October 1999] first video, back in the days
when he was working under the name of Dirk Driveshaft. But I digress.) Curtis is a professional magician in Honolulu, Hawaii, and in Palms of Steel he offers three challenging coin routines suitable for restaurant or strolling venues. “New York Spellbound” is a variation of Scotty York’s “Triple Change Spellbound.” An African coin (with a hole in the center) transforms into an English penny, and then turns into a half-dollar. “The Silver Circle” is an extended routine in which three silver dollars appear, multiply, travel from hand to hand, vanish, reappear, and eventually transform into the magician’s finger ring. “Chinese Silk and Silver” features the production of coins from a silk handkerchief, combined with the Coins Through Silk effect, ending with the production of a giant coin. In addition to the above routines, Curtis discusses two interesting techniques with magician Kainoa Harbottle. The first technique, the Harbottle Rolling Discrepancy, is a method for performing the Steeplechase flourish while holding out several coins. The other technique, Falling to the Fingertips, is method for holding out coins while performing John Cornelius’ “The Coin that Falls Up.” Both these techniques will be of interest to the serious coin magician. Only one camera was used on this video, which was unfortunate, because there were a few instances when an alternate camera angle would have been useful. However, you will be able to learn from Curtis’ explanations. There is certainly nothing wrong with the material in Palms of Steel. The routines are commercial if you are willing to pay the price in practice time. As I mentioned above, these are challenging routines, and will be of most interest to the upper-intermediate and advanced coin handler. If you have the chops to perform these routines, you probably already have your own handlings for these effects, but you may find ideas that you can incorporate into your own routines. If you like to practice, and you like coin magic, Palms of Steel may be just what you’re looking for. Choin By Mark Leveridge The magic hobbyist drives the magic marketplace. Professional magicians (whether they are close-up, stand-up, or stage performers) simply do not demand enough new tricks to sustain the existence of magic shops and magic creators. Most importantly, the requirements of the professional are different from those of the hobbyist, and most of the products offered for sale simply do not meet those demands. One demand of the professional close-up performer is that the objects used be examinable (or least can be switched out for examinable duplicates). For the hobbyist, a prime purchase factor is whether or not the trick is easy to do. “Choin,” from England’s Mark Leveridge will appeal more to the hobbyist than the professional. It is easy to do, but there are serious examinability issues.
The magician removes a small, blue poker chip from a ring box. He also removes a quarter from his pants pocket. Both objects are placed in his left hand. The quarter is removed and placed back in the pocket. It returns to join the poker chip in the left hand. The left hand is closed and the poker chip is removed. The quarter vanishes from the left hand and returns to the previously empty ring box. There’s nothing wrong with a routine of this type, although there is nothing particularly exciting about it either. My problem with “Choin” is that nothing can be examined. The poker chip (which is an unusual looking object) cannot be examined at any stage of the routine. You start dirty, you’re dirty all the way through the routine, and you end dirty. I think that those who work for real people will find this to be an unacceptable situation. The hobbyist, however, will probably appreciate the fact that “Choin” is virtually selfworking. The Invisible Eye By Dennis Marks This little utility device by Dennis Marks is a terrific addition to the card man’s arsenal of sneaky things. Mr. Marks has created a way to use a card cheater’s device in a very natural and unsuspicious way. “The Invisible Eye” allows you to learn the identity of a freely selected card. No skill is required, but you will have to practice to do it smoothly. “The Invisible Eye” is a nifty gimmick, and I recommend it. Errata Department Things really got screwed up in the first paragraph of the November review column. The paragraph should have read “…thirty-two measure transcription…” and “…thirty-second note septuplet…”; but since the joke really wasn’t that funny anyway, the hell with it. A more serious error was my incorrect typing of the price of Dean Dill’s “Believe It Or Knot.” The trick sells for $25, and is worth every penny. It’s Not Magic, But… At the beginning of this column I mentioned the music project that absorbed my complete attention for 33 straight days. During the course of finishing this project I had to learn to use three new software programs and four new pieces of hardware. The only reason I was able to hurdle the learning curves involved is that I can read and understand technical manuals. I promise that this is the last time I’ll mention this in 1999: Learn to read! Instill in others a desire to read! If you don’t, you’re going to fall far behind the pack. To get you in the mood, here are some entertaining non-magic books.
The Twilight Zone Companion by Marc Scott Zicree is a guide to one of most intelligent series in the history of television. Everyone has a favorite episode, whether it is Burgess Meredith breaking his glasses just when he had all the time in the world, or learning that To Serve Man is the name of an alien cookbook. The Twilight Zone Companion is informative and a very fun read. Harry Houdini is a master detective in Daniel Stashower’s The Dime Museum Murders. The great escape artist has to solve the murder of a toy tycoon. If you enjoy mathematical puzzles you’ll enjoy The Man Who Counted by Malba Tahan. Mr. Tahan presents important mathematical concepts in an easy to understand way. Finally, if you know a young person who has yet to catch the reading bug, try giving them a copy of one of the Harry Potter books by J.K. Rowling. Harry Potter (he with the small lightning bolt on his forehead) has been on the covers of most major national magazines, and the three books of the series remain on the New York Times bestseller list. The books are geared toward kids, but my guess is that you’ll enjoy them, too. Details “Killer Red Caps” by Roger Monaco. $19.95 postpaid in US (outside of US add 20% for p&h.) From Bob Kohler Productions, 2657 Windmill Parkway, Box 313, Henderson, NV 89014. Email:
[email protected]. Web site: www.bobkohler.com. Theater of the Mind by Barrie Richardson. 7 x 10 hardcover with glossy dustjacket. 320 pages. $40 postpaid in US (overseas airmail $16). From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email:
[email protected]. Cyber Sessions by Jason Alford. 8.5 x 11, plastic comb bound. 160 pages. $30 postpaid in US and Canada, $35 postpaid overseas. From Jason Alford, 302 Avenue H, Kentwood, LA 70444. Email:
[email protected]. Of Legierdermaine and Diverse Juggling Knacks by John Braun. 8.5 x 11 hardcover. 592 pages. $65 plus $5 p&h in US and Canada ($8 p&h overseas). From Salon de Magie, 6600 Smith Road, Loveland, OH 45140 Tales From The Planet Of Bloom Volumes 1-3 by Gaetan Bloom. Each tape $29.95. All three for $84.95 (postage free in US, Canada, and overseas surface). From A1MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Fax: 916-8527785. Web site: www.A1MagicalMedia.com Commercial Classics of Magic Volumes 1-4 by Johnny Thompson. Each volume $29.95. All four for $110. (Free postage in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected].
Martin Nash: Master Card Magician Volumes 1-6 by Martin Nash. Each video $24.95. $135 for all six. (Free postage in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected]. You Asked For It: Magic Related Segments. [John: you will have to fill in the details here.] Palms of Steel by Curtis Kam. $29.95 plus $3.20 p&h. From Curtis Kam, 7518 Nakalele Street, Honolulu, HI 96825. Fax: 808-394-5119. “Choin” by Mark Leveridge. $30 postpaid. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter EX2 4PA, England. Fax: 01392 435725. Email:
[email protected]. Web site: www.markleveridge.co.uk. “The Invisible Eye” by Dennis Marks. $40 postpaid. From Dennis Marks, Marksman Productions, 3636 Barham Blvd., Suite S-301, Los Angeles, CA 90068 The Twilight Zone Companion by Marc Scott Zicree. 6 x 9 softcover. 465 pages. $15.95. ISBN 1-879505-09-6. From Silmon James Press. The Dime Museum Murders by Daniel Stashower. 4 x 7 paperback. 256 pages. $5.99. ISBN 0-380-800056-8. From Avon Books, Inc. The Man Who Counted by Malba Tahan. 7 x 7 softcover. 244 pages. $14.95 plus $2 p&h. From Wonder Workshops, P.O. Box 153, N. Clarendon, VT 05759. Email:
[email protected]. Web site: www.wonderworkshops.com.
January 2000 Did We Make It? It’s rather odd, sitting here at the end of November, typing a column that will not appear until the first part of January. Was the Y2K problem as serious as everyone thought it might be? Or was it smooth sailing all the way? Are you sitting in front of your fireplace, reading this issue of MAGIC while sipping a cup of tea? Or did the whole world go straight to hell, in which case the fact that I’ve just come up with the ultimate method for Stewart James’ “Fifty-one Faces North” is not really that important after all. I guess I’ll just have to wait and see. Happy New Year. World Class Manipulation Volumes 1-3 By Jeff McBride I am unsure how laymen perceive manipulative magic. If you use the definition that magic is something that has no logical explanation and no rationalized explanation satisfies, then manipulation falls short on both counts. If a magician produces fans of playing cards, or makes billiard balls multiply or change color, the most easily rationalized explanation also makes sense logically – the magician is good with his hands. As with juggling, are laymen suitably impressed with the skill involved, making complete bafflement unnecessary? I don’t know. One reason manipulative routines are easily dismissed as magical juggling is that they so rarely have any meaning. (An exception to this is the Miser’s Dream, in which the production of money certainly resonates with any human being.) An audience member may rightly ask, “Why is the magician manipulating these cigarettes, cards, balls, or thimbles?” An easy (and correct) answer is, “Because they are of a convenient size and shape to be comfortably manipulated.” (“I do this with coins, because I can’t do it with manhole covers.”) Cardini devised a brilliant approach for instilling meaning into a manipulative act: the magician (who is a bit tipsy) is as baffled and frustrated as the audience. The magician isn’t making things happen, things are happening to him. This shift of focus transforms the act, making it into one in which the manipulation is the means, rather than the end. Therefore, if your goal is to produce the sensation of magic (as defined above) you must devise an act in which there is a logical reason to use the props involved, and there is an underlying meaning to the events that occur. How are you going to do this? I have no idea (which is why I don’t do a manip act), and this is a challenge at which few succeed. However, if you want to learn the essential techniques of sleight-of-hand with coins, balls, and thimbles, you will find almost everything you need to know on the threevolume videotape series Jeff McBride’s World Class Manipulation.
Jeff McBride is well qualified to teach this type of material. He has had a lifelong interest in manipulative magic, he has had the benefit of personal contact with some of the finest manipulators of the past 30 years, and he has the chops to perform and explain difficult moves. I was enthusiastic about Jeff’s earlier three-volume set on Card Manipulation, and I am enthusiastic about this new release. Each of the three videos covers manipulative techniques for coins, balls, and thimbles. Volumes One and Two are over 90 minutes in length, and each of the three subjects receives an equal amount of time. Volume Three is about 75 minutes in length, and the thimble section is shorter, only about 12 minutes. Each section of Volume One begins with an examination of the various types of props available. Then follow explanations of a wide variety of flourishes, productions, vanishes, grips, acquitments, changes, and routines. A highlight of Volume One is a simple Miser’s Dream routine that could be incorporated into your act with a minimum of practice. As you progress to Volumes 2 and 3 the material becomes more challenging and will require greater dedication to master. Two highlights were Geoff Latta’s “Onstage Shuttle Pass,” on Volume 2, and the Jumbo Coin Manipulations on Volume 3. Scattered throughout the three volumes are short “verbal essays” in which Jeff discusses such subjects as Rehearsing on Video, Streamlining & Simplicity, Confidence & Practice, Troubleshooting, Goal Setting & Competitions, and Magical Intention. In this last essay Jeff touches on the subject of “meaning,” but he offers no concrete solutions. Some of you may wish that the material on these tapes had been organized differently. If you are only interested in coin magic, you’re going to have to purchase all three tapes to get all the coin information. Had the tapes been arranged with all the coin information on one tape, all the thimble information on another, and all the ball information on a third, you would only need to purchase the tape dedicated to the subject you’re interested in. I can certainly understand the publisher’s reasoning for releasing the tapes organized according to difficulty rather than subject matter. No publisher would want to have a warehouse full of thimble tapes. One more quick note: These tapes (and The Art of Card Manipulation volumes and Daryl’s Encyclopedia of Card Sleights) are prime candidates for release as DVDs. The DVD format is making rapid inroads in the consumer market (even Blockbuster Video has finally introduced a DVD section), and the ability to access instantly the material on these videos would be a great convenience. But magic DVDs will only appear if the market demands it. So, if you’d like to see this material on DVD, I would suggest you contact L&L Publishing and let them know. We are now in a day and age when poor technique is unacceptable. If you are serious about learning to manipulate coins, balls, or thimbles, Jeff McBride’s World Class Manipulation is a fabulous resource. Recommended.
Pros: A huge variety of sleights, stratagems, and routines, organized from easier to more difficult, well-taught by one of the best in the world. Cons: Material could have been organized by subject, so you would not have to purchase three tapes. Pavel’s Cabaret By Pavel Good stand-up material is hard to find. Such material tends to be “prop” oriented, and even if you find a suitable prop and a decent routine, you’re still faced with the challenge of making the performance something other than “an adventure of the props and the hands” (to use an expression from Eugene Burger). In the three volumes of Pavel’s Cabaret (originally released by Videonics) you’ll find a collection of practical parlor magic utilizing ropes, silks, and miscellaneous objects. Volume One contains a wide variety of silk magic. You’ll find an excellent method for vanishing a silk, a method for visually transforming a ball into a silk, a very simple method for performing the 20th Century Silks effect, and two methods for “Blendo.” Of special interest is “Silks from Silk,” an effect you’ve probably seen. The magician holds a silk by one corner and shakes it. Another silk appears tied to the corner of the first silk. The first silk is removed and the second silk is shaken. A third silk appears tied to the second. This is repeated several times. This is a beautiful effect, but the advertising blurb concerning it is not accurate. It states, “If Pavel could get a royalty from every professional magician who is using this method, he would make a fortune.” Unfortunately, the method is not Pavel’s. Pavel states on the video that the method is not his, and he does not know who originated it. (I don’t know either, so if you know, drop me a line and I’ll educate us all.) Volume Two contains rope magic. The highlight of the tape is the first routine, “Krazy Knot.” The routine begins with the magician knotting a rope around his neck. The rope is pulled through the neck, and the knot remains in the rope. More knots are added, until there is a huge wad of knots at the center of the rope. The challenge is for the magician to remove the knots as quickly as possible. This he does. The magician shakes the rope and the wad of knots falls to the floor, leaving a very short piece of rope held between his hands. This is a unique, visual, and absolutely astonishing effect. Also on this video is Pavel’s original “Fantastic Knot,” which was adapted by Daryl and became “The Jumping Knot of Pakistan.” There is also a very funny sight gag where three knots travel from a real rope to an invisible rope. Volume Three is titled Potpourri, and the name says it all. There are tricks with rings and ribbons, rings and silks, and ropes. There is a very clever card divination titled “Clip a Card,” and a version of “Blendo” called “Blendo Full of Holes” that would be perfect for the children’s entertainer. Another fooler is the “Seven Sided Cube,” which has a swindle near the end that completely went by me.
Pavel’s demonstrations and explanations are good, but he does not go into great detail about how to make the necessary props. For instance, he does not completely explain how to construct the rope used in “Krazy Knot.” He explains how the rope is gaffed, but the exact method of construction is up to you. You’re going to have to spend some time experimenting, or find someone who already knows how to gaff the ropes. In fact, the biggest challenge of these tapes will be obtaining the necessary props. Also be aware that Pavel’s presentations are very basic. Most of the time he performs these routines silently, with a musical accompaniment. If you do a talking act, you’ll have to come up with some type of meaningful presentation. For the stand-up performer, Pavel’s Cabaret Volumes 1-3 are a gold mine of interesting and baffling ideas. Be warned, however, that it will take some work (both in finding props and in developing presentations) before these routines will find a place in your act. Recommended. Pros: Interesting, baffling, and easy-to-do stand-up material using a variety of props. Cons: The challenge is finding (or constructing the props) and devising meaningful presentations. (By the way, Louis Falanga just sent his January 2000, L&L Publishing Catalog of Magic. It is the nicest catalog I’ve ever seen. Full color, glossy stock, 104 pages, and perfect bound. Regular L&L customers have probably already received a copy, but if you haven’t, the catalog sells for $10. Contact L&L for more information.) Schulien’s – The Last Night From Al James On January 27, 1999 an icon of close-up magic disappeared forever. On that evening, Schulien’s Restaurant closed its doors. The restaurant, which was established in 1886, was the oldest in Chicago, and for the past 84 years it had featured close-up magic. Matt Schulien had been the chief guru, and his convivial approach to close-up magic helped establish the “Chicago Style.” When Matt died the restaurant was run by his son Charlie, who also did magic, and when Charlie died the restaurant passed on to Charlie’s son. A lot of magicians worked Schulien’s; it was not only a neighborhood-gathering place, it was also a hangout for visiting magicians. Schulien’s – The Last Night captures the final hours of the restaurant. There are reminiscences by patrons, reflections by magicians (Jay Marshall, Steve Draun, and J.B. Brash), and performances by Al James, Bill Pack, Jim Krzak, and Lee Levin. (For James, Schulien’s had been a regular gig for over 20 years.) There are final toasts and sad farewells as everyone says goodbye to a legendary venue. Schulien’s – The Last Night has the look and the cohesion of a wedding reception video. This is a home video touched up with a little editing. Those of you who have visited Schulien’s may find it nostalgic to see it again. I found the magic performances to be
completely underwhelming. There is no attempt to present a history of the restaurant, or to profile its owners. This is a pity, for I fear that those who never visited Schulien’s will simply wonder what all the fuss was about. Historians may want a copy of this video for their records, but be aware that you are purchasing a very rough product. Pros: Once last chance to roam around a legendary magic venue. Cons: Amateur video at best, and no attempt to provide a history of the restaurant or its owners. Candles By Michael P. Lair Another prop greatly favored by stage manipulators is the candle, although I find the use of them to be slightly anachronistic. (I wouldn’t mention this fact to any stage manipulators, though, lest they remove their top hats, cloaks, and white gloves, and beat you to death with their canes.) This popularity is due in part to the fine vanishing and appearing candles manufactured by Fantasio. On the new video, Candles, Michael P. Lair offers a full course in candle techniques. If you own Fantasio candles, and you want to get the most out of them, this tape is invaluable. (Incidentally, Michael has Fantasio’s full permission to explain this material.) Michael begins with a full discussion of candle basics: how to fill the wick holder, what type of lighter fluid to use, how to keep the wick moist, how to properly extend the candle, how to fix the candle should it become unwound, and methods for keeping the candles secure until they are produced. If the video only contained this basic information, it would probably be worth the price. Michael then demonstrates and explains a wide variety of applications and flourishy effects, including “Firefall,” in which the candle vanishes in a shower of sparks, “Candle Rewind,” in which a lit candle changes into a 30 inch ribbon, “Candle to Sword,” and a routine which combines candles and billiard balls. The description of one effect, “Spitfire,” is slightly misleading. It reads, “Spitfire – A candle appears lit at any time during your show.” This gives the impression that you show your hands empty and suddenly the candle appears lit. This is not the case. In order to produce the lit candle you must already have a fire source (a match, or another lit candle) in your hand. “Spitfire” looks good, but it is not as miraculous as the description would lead you to believe. If you’re already using Fantasio candles in your act, or you’re planning on incorporating them, Candles should be in your video collection. It is an excellent resource. Recommended. Pros: Excellent basic information on the care and handling of Fantasio candles, combined with some interesting and flashy routines.
Cons: Do you really want to be doing the same thing every other stage manipulator is doing? Kort By Stephen Minch The term “magic hobbyist” sometimes carries a derogatory connotation, and this should not be the case. Like the model railroader or the stamp collector, the magic hobbyist simply enjoys his pastime without the pressures of trying to make a living from it. The problem occurs when the hobbyist forces his hobby on spectators without sufficient preparation. (Of course, an ill-prepared professional also does the same damage.) The world of magic has been blessed with some extremely talented and creative hobbyists: Ed Marlo, Harry Riser, Alex Elmsley, Martin Gardner, Howard Lyons, and Dai Vernon immediately come to mind. One name that may not be as familiar (especially to younger readers of this magazine) is Milt Kort. Mr. Kort has had a lifelong interest in magic, especially close-up magic, though he made his living as a pharmacist. But he was a skillful performer and a diabolical creator, and his drugstore in Detroit became a haven for people like Dr. Jacob Daley, Charlie Miller, Ed Marlo, Dai Vernon, Richard Cardini, Paul Rosini, and Harry Blackstone. He contributed greatly to Bobo’s New Modern Coin Magic, had material published in many magic journals, and released a few small booklets, including Kort is Now in Session, and Off-color Card Tricks. Kort assembles the best of his material, published and unpublished, and will be a delight for anyone interested in sleight-of-hand magic with small objects. The book is arranged into three large sections – Kort Kards, Kort’s Coins, and Kort’s Assorted – and in each section the material ranges from fairly easy to quite challenging. In addition, there are a wide variety of plots and techniques. Kort Kards begins with three fine routines (“Diminishing Monte,” “Heir to the Throne,” and “Quintemodo”) incorporating the presentational ploy of decreasing the number of cards in play with each phase (apparently making it easier for the spectators to follow what is going on). In addition to being useful performance pieces, these three routines are excellent examples of ingenious routining. There are several routines with a color-change theme (including a version of the 21 Card Trick that I have varied slightly and am using as a magician fooler), a Card to Shoes effect, and a psychic phone test using a standard gaffed deck in a way that would devastate magician or layman. Mr. Kort is known as an expert coin manipulator, and Kort’s Coins contains some of his finest work. Included are the full details of “Kort’s Copper and Silver Transposition” (originally published in New Modern Coin Magic, this version uses only two ungaffed coins), “Cuckoo’s Coin” (an easy variation of Slydini’s “Flyaway Coin Routine”), the famous “Okorto Box Routine,” and “The Rumsey Vanish” (a previously unpublished vanish of a small object using a handkerchief). This last item has many applications, and is used in several other routines in Kort.
Kort’s Assorted contains routines using varied props, including a very welcome section on dice magic. Dice routines are rare in the literature, and there are some fine ones here. (Be aware, however, that most are not particularly easy.) For me, the two highlights of this chapter are “Kortospheres,” (a variation of Dr. Daley’s “Chromo-spheres), and “The Egg and milt” (an Egg Bag routine performed with an egg and a handkerchief). The former routine follows the lines of Silent Mora’s Three Ball Trick, but it uses three different colored balls. The latter routine has a wonderful kicker: after the egg vanishes for the last time it is reproduced piece by piece – first the shell, then the yolk, then the egg white. (And believe it or not, you don’t get messy in the process.) Interspersed among the tricks are short reminiscences by Mr. Kort, and these are delightful. Through the years Mr. Kort has taken great delight in fooling other magicians, and several of these stories recount how he bamboozled some of the best minds in magic. If you’d like to establish a legendary reputation the method is this: analyze your victim, chose your moment carefully, and then never ever tip. And speaking of not tipping, Mr. Kort is apparently still hanging on to some of his secrets. Throughout the book references are made to Mr. Kort’s incredible card locations (including some of the Think-of-a-Card variety) and his work on gambling techniques. Unfortunately, none of that material is included in Kort. I’m delighted that this book is finally out and that Mr. Kort’s name will again be a familiar one. I enjoyed Kort very much, and if you like well-constructed close-up magic, I think you’ll enjoy it, too. Recommended. Pros: Top-notch material, useful techniques, and great stories. Cons: None, really, except that the legendary card locations and gambling techniques remain a secret. Natural Selections, Volume 2 By David Acer David Acer is a professional magician and comedian. His first book, Natural Selections, was full of practical material for the real-world performer. The sequel, Natural Selections Volume 2, is an admirable continuation, full of interesting effects that can be performed in restaurants, hospitality suites, or strolling venues. David offers card magic, coin magic, magic with business cards, and magic with miscellaneous objects. The opening chapter, Walkaround Miracles, will be of particular interest, since it offers five offbeat routines, only one of which uses cards (and with some thought you could turn this into a non-card routine). The routines require only average technical ability, and David provides sample performance scripts – a useful aid for those of you who have trouble constructing entertaining patter. In addition, scattered throughout the book are stories of life in the magic trenches. Several of these are laughout-loud funny.
This is a fine book. If you’re a pro (or a hobbyist) looking to add some new material to your repertoire, I’ll think you’ll find much of value in Natural Selections, Volume 2. Pros: Practical close-up material for the real-world performer. Cons: At least one too many pictures of Acer and Simon Lovell in their boxer shorts. Mind Warp By Richard Mark Richard Mark is a professor of Psychiatry and Behavioral Science, a member of the Psychic Entertainers Association, and a columnist for the PEA’s newsletter. In Mind Warp he offers over forty practical routines that will be of interest to the mentalist and the magician who wants to add a mental effect to his act. Seven of the book’s eight chapters are dedicated to performers and creators who have influenced Dr. Mark. These include Maurice Fogel, Phil Goldstein, Al Koran, Robert Nelson, Stanley Jaks, and Jimmy Grippo. The effects described are standard ones (Pseudo Psychometry, Bank Night, Confabulation, Book Tests, the Koran Medallion, Key-R-Rect, Premonition, Key Bending), but Dr. Mark has developed interesting methods and evocative presentations. As with most mentalism routines, the effects place greater demands on showmanship than digital dexterity. While I was not “blown-away” by the contents of Mind Warp, it is certainly a book of practical and useful mental material. Those who are looking to add a mental effect to their program will find much to choose from in Mind Warp. Pros: Practical routines combining efficient methods with interesting presentations. Cons: Useful but not earth-shattering. The Royal Road to Card Magic By Jean Hugard and Frederick Braue There’s not much I can say about this classic magic text. The Royal Road to Card Magic was one of the very first card books I owned, and I have a great fondness for it. Dover Publications has reprinted this book as part of their ever-growing magic catalog. The source of this reprint is the 1951 World Publishing Company edition. The typeface used is a little less “friendly” than the copy in my library (the Faber and Faber 1949 edition), but all the material is here. Roberto Giobbi’s Card College series contains more contemporary techniques and a stronger pedagogical approach, but The Royal Road to Card Magic is still a valuable beginner’s text. And at $9.95 this is a steal. Pros: One of the classic texts on card magic for the beginner, at a bargain basement price.
Cons: Those wanting a more thorough and contemporary examination of card techniques should opt for the Card College series. Observations & Effects By Charles Reynolds I’m sure most MAGIC readers know who Charles Reynolds is. For almost thirty years Mr. Reynolds has made his fulltime living as a magic director and consultant for theater, television, and motion pictures, including a long-time association with Doug Henning. Observations & Effects is a set of lecture notes prepared for a lecture Mr. Reynolds presented in Germany. The notes are in two parts: Observations – containing six essays on various aspects of the performance of magic; and Effects – eight close-up and mental routines. I very much enjoyed and appreciated the essays in Observation & Effects. The topics covered are: A Definition of Magic, Creating the Magical World, The Theater of the Mind, The Moment of Magic, Surprise and Fulfillment, and Effects, Methods, and Presentations. These are subjects that are important to me, and ones that I have written about. Mr. Reynolds, however, presents the material so articulately that it makes me envious. Rarely is theoretical material discussed so clearly and concisely. Observations & Effects would be worth the price just for the essays, but the tricks are also top-notch. I would especially draw your attention to “Prediction Card in Wallet” (a restructuring of the classic effect that changes the climax from a moment of surprise to a moment of fulfillment), and “Force of Thought” (a method for determining a thought-of playing card). What more can I say? These notes are great, and they’re worth every penny. Pros: Articulate, thoughtful, and easy-to-understand essays combined with practical tricks. Cons: Too short. I want more. The Gardner – Smith Correspondence From H&R Magic Books By now I’m sure you’ve read Richard Hatch’s article “Searching for Erdnase” in the December issue of MAGIC. While no definitive conclusions were drawn, the investigation into the identity of the author of Expert at the Card Table is a fascinating story. If you’d like more information you should pick up a copy of The Gardner – Smith Correspondence. This booklet contains the complete text of the letters to and from Martin Gardner and Marshall D. Smith. Also included are some other illustrations by Smith, a Preface by Martin Gardner, and the text of Mr. Gardner’s notes concerning his meeting with Smith. Only 276 copies are available, so if you’re interested, act now. The booklet is
$20, but you can get a signed copy for $25. (Also, if you mention this review, postage is free.) Pros: Fascinating to read the actual correspondence. Cons: Italicized font used for Smith correspondence is hard to read. Of most interest to historians and collectors. Magazine Department I have two new magazines to tell you about this month. The first, Channel One, is a quarterly whose first issue appeared in September 1999. This issue features tricks from Allan Ackerman, Dean Dill, Joshua Jay, David Acer, Tom Frame, Mike Powers, Gaston Quieto, and Jay Sankey. The focus seems to be card magic, although Editor Anthony Miller writes, “We are not just looking for close-up…but parlor, mentalism, psychic entertainment…whatever strikes a note with our readers. Also we are looking for fresh perspectives on the actual art of performing…” The Tom Frame trick “The 15 Second Memorized Deck” is a highlight of this issue. Tom did this trick for me in Sacramento, and he smoked me with it. If Channel One can maintain this quality of material, close-up magicians will welcome it with open arms. Behind the Smoke and Mirrors bills itself as “a magazine devoted to magical thinking.” The emphasis is on essays rather than tricks. The contents of Volume 2, Number 2 ranged from the excellent (“Celebrating Our Illusions” by Bob Neale) to the moronic (“Magic Magic Everywhere, and Mystery Absolutely Nowhere” by an author who does not give his real name.) This latter essay is so full of misspellings and grammatical errors that it is almost unreadable. Unfortunately, it casts the entire magazine in an unfavorable light, for it appears that Editor David London has simply printed the essay “as is.” (Or even worse, he read through the essay and didn’t catch the mistakes.) Whatever the reason, there is enough good, intelligent reading material out there that I can’t see you spending $20 on a mixed bag like this. The Relentless Ring & String Routine By Bob Miller Effects using finger rings and shoelaces remain popular with close-up magicians. In “The Relentless Ring & String Routine,” Bob Miller has assembled several strong sequences into a nine-phase routine suitable for the restaurant or strolling magician. Don’t let the “nine-phase” part throw you; the routine moves along quite briskly (I timed it at just under 3 minutes), and the nine phases are grouped into three large “hunks.” In the first hunk the magician causes a knot to vanish from the lace. Then the knot reappears, and finally a ring appears in the knot. (This phase is called “The Fisher Ring” and was first published in MAGIC, December 1997.) In the second hunk the ring is pulled off the lace twice and then jumps back onto the lace. (This last phase was created by Raj
Madhok, and really looks great.) Finally, the ring is pulled off the lace again, jumps back onto the lace, and then vanishes, appearing on the magician’s left hand. Bob offers a very nice package with “The Relentless Ring & String Routine.” You get a 14-page book with full instructions, illustrations, and credits. Included with the book is a shoelace. Plus, you receive a videotape that contains two different performances of the routine, plus a full step-by-step explanation. This combination certainly makes the learning process as easy as possible. Bob also offers a bonus routine, “The Invisible Coin Routine,” which I found to be rather uninteresting. I am not a big fan of Ring & String routines, but Bob has compiled effective moves, and he receives a good reaction from the audience on the video. With the exception of Phase Two (“Snapping a Knot on a Lace”) none of the phases are particularly difficult. Should you not want to do Bob’s entire routine you could certainly construct your own routine from the components provided. If this type of routine appeals to you, “The Relentless Ring & String Routine” is certainly worth the money. Pros: An effective combination of moves, taught with both print and video. Cons: Routine may be too long for some. Power-Lev By Markovik Generally speaking, if an ad for a magic trick reads as if it’s too good to be true, you’re probably going to be disappointed when you get it. Markovik’s “Power-Lev” certainly sounds impressive from the ad copy: No threads, no jacket required, no lighting limitations, no anchoring needed, and “[it is] designed to levitate borrowed beer bottles, pop cans, and similar objects.” Well, let’s clear up the ad copy a little. A levitation effect implies that the object floats up from the ground into the air, where it hovers in space. It then floats back to the ground (or, as in the classic Asrah illusion, the floating girl disappears). A suspension effect implies that the object is held above the ground by supports. These supports are removed and the object hovers in space. There is no motion up or down through the air. The supports are then replaced. (Walter Blaney’s Ladder Suspension is an excellent example.) “Power-Lev” is not a levitation, it is a suspension. You hold a bottle in front of your body. You remove your hands and the bottle floats. You grab the bottle and offer it for examination. A jacket is not required, but you will need to wear dark clothing. The floating object is about 4 inches in front of your body. I think that there are serious angle restrictions. “Power-Lev” is designed to be performed for a single spectator who is directly in front of you (let’s refer to this position as 12 o’clock). If your hands are above the floating object (as is shown in the ads for the trick) and a spectator moves to the 11 o’clock or 1 o’clock position, they are going to spot the gaff. You could shade the gaff by keeping your arms closer to the bottom of the floating object, but that is a rather “cozy” position.
So, as a one-on-one trick performed in a dimly lit bar, I could see that “Power-Lev” might be an effective quick trick. (The instructions state that the bottle should not levitate [sic] for more than 5 seconds.) However, there is still the problem of cleaning up. You are wearing the gaff and there is no way to get rid of it. If the spectators make a grab for your belly, you’re going to get nailed. For your $70 you receive the necessary gaff and a 24-page instruction book. At least 10 pages of the book are useless “woo-woo.” An mpeg of the trick can be found at Markovik’s web site (listed in the Details section), but the server was so slow that I was never able to download it. So, what’s the bottom line? The trick looks good in the mirror, but $70 is a lot of money for 5 seconds of magic that can only be performed in extremely restrictive conditions. If you’re looking for a miracle, I think you’re going to have to look elsewhere. Pros: The very real possibility that a woman may say to you, “Are you going to float a bottle, or are you just happy to see me?” Cons: Restrictions on clothing, number of spectators, and performance conditions. NFW! By Gary Freed This little trick has also generated a lot of hype, but fortunately, it mostly lives up to it. The magician removes a packet of four cards from a plastic wallet. A joker shows at the face of the packet. The magician explains that this packet contains four face-up jokers, and they will do a little trick. A magical gesture is made and the packet is counted from hand to hand. One joker has turned face down. This is repeated; another joker turns face down. Finally, all four jokers turn face down. Then, the big surprise: the face-down cards are turned over, showing that the jokers have turned into the four aces. The aces could be tossed onto the table, if desired, but they cannot be examined. “NFW!” is a definite magician killer, and will certainly fool laymen. It is not difficult to do requiring only Elmsley counts. You should be aware of two things, however. You cannot show that the packet actually contains four face-up jokers. (Gary offers a handling that let’s you simulate this, but I think it is very unconvincing.) Second, you will have to manage your audience carefully, so they don’t make a grab for the cards. Because the change to aces is so startling, the first thing spectators are going to do is suspect that the cards are gaffed. So, you’re going to have to figure out a way to get the cards out of play without appearing to be furtive. “NFW!” is a clever trick. I’m sure you’ll have fun with it. Pros: Easy to do and a killer change at the end.
Cons: No way to convincingly show four jokers at the beginning; some suspicion may fall on the cards at the end. Details Jeff McBride’s World Class Manipulation by Jeff McBride. Three volumes, each volume $29.95, all three for $84.95, postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected] Pavel’s Cabaret Volumes 1-3 by Pavel. Three videos, $29.95 each, $84.95 for all three, postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email:
[email protected] Schulien’s – The Last Night. $29.95 plus $3 p&h. From Al James, P.O. Box 597491, Chicago, IL 60659 Candles by Michael P. Lair. $27 postpaid. From Michael P. Lair, 3300 Endfield Avenue NW, Canton, OH 44708. Email:
[email protected]. Kort by Stephen Minch. 10 x 7 hardcover with glossy dustjacket. 376 pages. $43 postpaid. (Overseas airmail $18). From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email:
[email protected]. Natural Selections, Volume 2 by David Acer. 6.5 x 10.75 hardcover with glossy dustjacket. 201 pages. $35. Available from most magic dealers. Mind Warp by Richard Mark. 6 x 9 hardcover with glossy dustjacket. 158 pages. $35. From Richard Mark, 3 Grove Isle, #702, Miami, FL 33133. Email:
[email protected] The Royal Road to Card Magic by Hugard and Braue. 5.5 x 8.5, softcover. 292 pages. $9.95. From Dover Publications. ISBN 0-486-40843-4. Available at most bookstores. Observations & Effects by Charles Reynolds. 8.5 x 11, plastic comb bound. 45 pages. $20 plus $2 p&h. From Magico, P.O. Box 156, New York, NY 10002 The Gardner – Smith Correspondence. 5.5 x 8.5, softcover, stapled. 29 pages. $20. From H&R Magic Books, 3839 Liles Lane, Humble, TX 77396. Email:
[email protected]. Channel One. Edited by Anthony Miller. Published quarterly. Yearly subscription $40 ($55 international). From Channel One/RFA Productions, P.O. Box 477, Powell, OH 43065. Email:
[email protected]. Behind the Smoke and Mirrors. Edited by David London. Published quarterly. Yearly subscription $20. From David London, 8909 Wandering Trail Drive, Potomac, MD 20854-2379. Email:
[email protected].
The Relentless Ring & String Routine by Bob Miller. $30 plus $5 p&h. From Bob Miller Magic, 31 9th Street NE, Rochester, MN 55906 Power-Lev by Markovik. $69.95 plus $5.50 p&h (overseas add $10.50 for p&h). From Empire Trading, 1505-1155 Bough Beeches Blvd., Mississauga, Ontario, Canada L4W 4N2. Web site: http://webhome.idirect.com/~mystery. NFW! by Gary Freed. $15 plus $3 p&h. From Elmwood Magic, 507 Elmwood Avenue, Buffalo, NY 14222. Order phone number: 800-764-2372. Web site: www.elmwoodmagic.com.
February 2000 Ho Hum I had a terrific idea for this month’s column. I waited until December 31st to start writing. My plan was to chronicle all the bizarre and terrible things that happened as cities around the world headed into January 1, 2000. But of course, nothing happened. The world didn’t end. The worst result of this was that I had to finish my column anyway. Ah, well. Maybe 3000 will be more interesting. Servais Le Roy: Monarch of Mystery By Mike Caveney and William Rauscher Guest review by David Charvet Jean Henri Servais Le Roy ranks as one of the greatest creators and performers of magic during the “Golden Age” of 1880 -1930. Born in Spa, Belgium in 1865, Le Roy was in the right place at the right time when magic shifted from the streets and the drawing room to the music hall and vaudeville stages of the world. He traveled the world, first with an act, and later with a full-evening show; all the while inventing tricks and illusions that have become regarded as true classics of magical theater. The list of his creations that are still being performed by present-day magicians is impressive: “The Three Graces” (“Modern Cabinet”), the “Asrah” Levitation (along with the “wedge base” principle), the “Duck Pan,” “Duck Tub,” “Duck Vanish” (plagiarized by Doc Nixon as “Where Do the Ducks Go”), “Stolen Jam” (“Palanquin”), and the “Dress Box” (“Costume Trunk”) - just to mention a few. Author William Rauscher grew up just ten miles from Le Roy’s home in Keansburg, New Jersey. While he never met Le Roy, in 1949, the 17-year-old Rauscher was fortunate to meet Elizabeth Ford, Le Roy’s sister-in-law, who had assisted him around the world. Over the following 21 years, Miss Ford told Rauscher all she knew about Servais Le Roy. From these conversations, Le Roy's private scrapbooks, and notes for an uncompleted autobiography, Rauscher became privy to material never before seen by magicians. This information was assembled as a 66-page monograph, which Rauscher published in 1984. Then in 1992, after continuing his 40-year quest for the full story of Le Roy, Rauscher completed a manuscript for a book. It eventually (and luckily) landed in the lap of Mike Caveney - undoubtedly today’s finest publisher of historical magic books. Mike spent three years of additional research, re-writing and annotating parts of the story, and through a network of friends discovered a host of illustrative material. Caveney has published it all in beautiful form as the eighth volume of his Magical ProFiles series. The result is the definitive portrait of this long-unheralded magical genius.
It is both a great feast for the mind and the eyes. In this large-format, 300-page tome, over 140 rare black-and-white photos and 28 full-color posters (many from the only existing copies) are beautifully reproduced, chronicling Le Roy’s career. Le Roy’s story is both inspiring and, ultimately, tragic. We follow his great successes and creations that made him the admitted envy of Kellar, Thurston, and Houdini (to name only a few); his marriage to Mary Ann Ford and her transformation into “Talma, Queen of Coins” (whom T. Nelson Downs considered his greatest rival); and Le Roy’s realization that in spite of all of his great illusions, to become a theatrical success he needed to add comedy to his act. This came in the form of Leon Bosco (in a total of nine incarnations through the years) and the formation of the legendary “Le Roy,Talma & Bosco” show. Le Roy’s in-depth involvement with the exploitation of “Sawing A Woman in Half” is fully documented for the first time, as are his candid impressions of contemporary performers, and his championing of the anti-exposure committee for the Society of American Magicians during the 1920s. All make interesting reading. In 1930, at age 65, Le Roy was hit by a car while crossing a street. His brilliant career was brought to an abrupt end. The concussion from the accident affected his brain. He spent years convalescing, living in self-imposed seclusion. In 1940, he was wooed out of retirement to present a full-evening of magic at the Heckscher Theater in New York. What should have been Le Roy’s swan song became one of the most tragic nights in the history of magic. Confused and totally unrehearsed, the then 75 year-old Le Roy realized backstage just moments before curtain-time that he could not go on. But it was too late to back out. The full house was awaiting the return of the legendary Servais Le Roy. The events of that evening are painfully documented by eyewitness accounts and heartbreaking photographs showing Le Roy literally experiencing a nervous breakdown on stage. By intermission, much of the audience had left. Twenty minutes into the second act, the curtain closed, as did Le Roy’s life of magic. The next day, a broken master took an axe and destroyed all of his illusions. He told a neighbor “that is the end.” Servais Le Roy never performed again. He died in 1953. Mirroring his theological background, Rauscher’s writing style is of moderation and matter of factual. Caveney’s additions and editing has been restrained to match (unlike his previous tour de force, the often hilarious and eminently readable romp through the life of Charles Carter). The results are rather unemotional, except for the abovementioned account of Le Roy’s final performance. One must read this book carefully, as many choice secrets are squirreled away within the text. Strangely, even in his private notebooks, Le Roy did not divulge the complete modus operandi of his illusions. It took a considerable amount of sleuthing on the part of Rauscher and Caveney to bring many of these secrets to light. While I would have preferred to see a separate section of the book devoted exclusively to a technical dissection of Le Roy’s magic, those items that are explained are done so within the life story, in chronological order of their creation. There are many gems in this book, waiting to be rediscovered and redressed by magicians of the 21st century. Which is perhaps, the ultimate tribute to the enduring genius of Servais Le Roy.
Highly recommended. Magic in Theory By Peter Lamont and Richard Wiseman For the past 10 years I have emphasized the importance of understanding magic theory. If you only understand “how” a trick works you will always be locked into doing someone else’s material. If you understand “why” a trick works you can take that information and apply it to any other trick, original or not. A thorough grounding in the theoretical underpinnings of an art form can allow your own creativity to take wing, and for me, it is this creative freedom that makes magic and music so much fun. But teaching theory is difficult, especially to an audience of magicians whose only concern is learning the latest trick. I have watched some very fine magicians go down in flames attempting to present “theory lectures” because their audience simply lost interest. My own approach is this: fool the crap out the magicians and then touch briefly on the theoretical reasons for the strength of the trick. By dishing out the theory in small dollops the message seems to sink in. If magic theory is too far removed from its practical usage the subject becomes very dry and potentially boring. Which brings me to Magic in Theory by Peter Lamont and Richard Wiseman. Mr. Lamont is a Research Associate at the Koestler Parapsychology Unit at the University of Edinburgh. Dr. Wiseman heads a research unit into deception and the paranormal at the University of Hertfordshire. Both gentlemen are former professional magicians. In the Introduction to Magic in Theory they discuss the goal of their book. “Parapsychologists, psychologists, and magicians have all written about the stratagems that lie behind successful conjuring. Each has approached the topic from somewhat different viewpoints…Unfortunately, most of this literature has been written by, and intended for, these rather specialized audiences. This book is the first attempt to draw together these different theoretical approaches and present them in a way that is accessible to a nontechnical readership [emphasis mine].” The last two words in the above quote sent up a flare for me, and I contacted Stephen Minch at Hermetic Press to ask if Magic in Theory was going to be released as a general public book. He replied that Magic in Theory would not be released to the general public in the United States, but the University of Hertfordshire Press was releasing it as a general public book in Europe. In my view, releasing this book to the general public is a bad idea, although I don’t think it will do much harm (for reasons I will explain later). Although no significant magical effects are exposed in this book, significant theoretical information is disclosed. Will knowledge of this information increase a layman’s enjoyment of a magic show? I don’t think so. It’s very true that studying a book on music appreciation or art appreciation may increase a spectator’s enjoyment of these art forms. Jazz is appreciated more by an educated and informed audience. But magic demands that its techniques be concealed from the audience. The way to produce an enlightened and discerning audience is not through the exposure of methods and theoretical information,
but by an exposure to superior practitioners. A layman will recognize great magic when he sees it, but he sees it far too seldom. Magic in Theory contains five chapters plus a Bibliography and an Appendix. Chapter One discusses magic tricks and how they are done. The authors have divided magical effects into nine categories: Appearance, Vanish, Transposition, Transformation, Penetration, Restoration, Extraordinary Feats (including Mental Feats and Physical Feats), Telekinesis, and Extrasensory Perception (including Clairvoyance, Telepathy, Precognition, and Mental Control). For each of these categories methodological strategies are offered. For example, in the Appearance category the possible methods are: the object was already there but was concealed, the object was secretly put in position, or the object is not actually there but appears to be. (It is interesting how this methodological analysis corresponds to Stewart James’ Assumptive Trinities.) The next two chapters explain how physical and psychological techniques can be used to disguise methods. Physical techniques are used to direct the spectator’s attention toward the effect and away from the method. Psychological techniques are used to reduce or divert the spectator’s suspicions. The authors suggest many possibilities for physical and psychological misdirection, including passive and active diversion, reducing or increasing attention, and reducing or diverting suspicion. In addition, Chapter Three discusses techniques for causing a spectator to “misremember” the events of a trick. Chapter Four discusses the differences between a magician and a pseudo-psychic. These differences include how the performer presents himself, the type of effects performed, how the effects are performed, how the spectators interpret the effect, and how the performer incorporates favorable conditions. Chapter Five discusses the function of conjuring theory and explores some differing viewpoints. The Bibliography is useful, and the Appendix expands on Chapter One by offering methodological devices for accomplishing magical effects. One aspect of the ad copy for Magic in Theory is slightly misleading. The ad states, “In addition, to expand their analysis of this crucial subject, [the authors] have interviewed six of magic’s finest and most thoughtful performers – Lance Burton, Mac King, Max Maven, Darwin Ortiz, Michael Weber, and Tommy Wonder.” This seems as if the book contains long interviews with each of these gentlemen. Actually, only sporadic quotes are included throughout the book. Magic in Theory is a scholarly book, and its seriousness is what the casual reader will find most daunting. Magic theory is a subject I enjoy, and I found the book to be hard going. In fact, it wasn’t until I read through it a second time that I began to appreciate it. It is for this reason that I don’t think that releasing it to the general public will do much harm. I can’t imagine a layman making it past the first 20 pages. For the book to be of value to you, you’ll have to be an active participant. Take copious notes, and then as you analyze the routines in your repertoire ask yourself if you are utilizing the techniques that have been explained.
It is important to understand that theory (whether it is traditional music theory, jazz theory, or magic theory) is only useful once it has been completely internalized. It is then that the creative performer transcends the theory and forms a unique, individual expression. Just because you understand the principles of voice leading doesn’t mean you’re going to be able to write Bach Chorales. John Ramsey and Slydini both understood magic theory. Their genius lay in their ability to apply the theory to their own unique mannerisms. Information on magic theory is spread throughout the literature. Magic in Theory is not a perfect book, but it does make a valiant attempt to collate and codify the main principles. If you are serious about learning why magic works, the time spent with this book will not be wasted. Pros: Magic in Theory offers a scholarly overview of the principles of misdirection. Cons: The book is extremely dry. Very few real life magical examples are given. Casual readers will find Magic in Theory to be a daunting read. The Magic Show By Mark Setteducati and Anne Benkovitz On page 18 of the December issue of MAGIC you’ll find a picture of Mark Setteducati demonstrating The Magic Show book for Jay Marshall, John Carney, and Dr. Gene Matsuura. I just picked up a copy of The Magic Show, and in one word, it’s terrific. The Magic Show is just that, a magic show in a book. As you page through the book you will perform 12 magic tricks by pulling tabs, lifting flaps, moving cards around, and spinning dials. The book does all the work, allowing a lone reader the opportunity to enjoy the mysteries without the need for anyone else to be present. The first trick is on the cover of the book. Six red spheres turn green as a dial is turned. Unfortunately, the alignment of the dial is not quite perfect and tips off the method. (Curiously, I just recently encountered “Houdini’s Magic Dial Candy” which is a candy dispenser that uses the same principle. The construction of the dispenser is quite good, however, and makes the color change hard to figure out.) The inside cover of The Magic Show contains the instructions and a list of credits. The 11 tricks which follow are very clever, and while most will be familiar to you, there are a couple that will give you pause, specifically Trick #8 – The Misplaced Middle, and Trick #11 – The Trunk of Terror. Mark had mentioned that The Misplaced Middle would bother me, and it did. (The Misplaced Middle is the invention of Angelo Carbone and Hiroshi Kando.) Mr. Carbone also devised The Trunk of Terror, and its method is extremely ingenious. In fact, ingenious is the key word here. The Magic Show is one of the cleverest things I’ve encountered in a long time. The book took three years to design and create, and 70 workers were required to assemble the various mechanisms. As an added bonus, the
small booklet that explains how to reset the show also includes some enhancements to make the tricks more effective (and to fool those who have seen the show before). The Magic Show is great. It would make a terrific gift. Pros: The Magic Show is an ingenious, self-working magic show built into a book. The tricks are clever and the design is remarkable. Cons: Only a few tricks are repeatable for the same audience. Darwin Ortiz on Card Cheating By Darwin Ortiz Darwin Ortiz is well known in the magic community. His conjuring texts (Strong Magic!, Darwin Ortiz at the Card Table, Cardshark, and The Annotated Erdnase) are excellent books and should be in your library. Darwin is also a gambling expert and has written two books on the subject (Gambling Scams and Darwin Ortiz on Casino Gambling). Darwin’s new videotape, Darwin Ortiz on Card Cheating, contains demonstrations of 55 different card cheating techniques, grouped into three basic categories. The categories are derived from the timeline of a card game: cheating before the cards are dealt, cheating during the deal, and cheating during the play of the hand. Category One contains false shuffles and cuts, and includes push-through shuffles, false overhand shuffles, various false cuts (including Up-the-Ladder), shifts, various riffle shuffle and overhand shuffle run-ups (including the Double Duke), and the perfect riffle shuffle. Category Two includes the various false deals: the bottom deal, the Greek deal, the one-handed bottom deal, the second deal, and the center deal. Category Three contains various methods for palming and switching cards. Here you’ll find switches for Chemin de Fer, Baccarat, and Blackjack, various shuffle cops, one-handed card switches, and moves for switching in a stacked deck. The video concludes with a performance of Darwin’s routine for Three Card Monte. The production values of Darwin Ortiz on Card Cheating are excellent. Magician and special effects expert Bill Taylor produced the video, and his experience and expertise are obvious. The use of numerous camera angles (including shots from beneath the tabletop) gives a clear picture of each sleight. Darwin’s narration is polished and professional. You should be aware, however, that this tape is geared toward the gaming industry and the serious card player. It is not an instructional video. Darwin demonstrates and exposes the various sleights, but he makes no effort to teach you how to perform them. Judicious use of the rewind and slow-motion buttons on your VCR may help you decipher what’s going on. Is this tape of value to magicians? If you have an interest in gambling techniques and would like to see a skilled performer demonstrate some very difficult moves, then I think you’ll enjoy Darwin Ortiz on Card Cheating. However, I would offer a warning against blindly imitating Darwin’s approach to card handling. To my eyes, I find Darwin’s card
handling to be very precise and tight (as opposed to casual and loose). While this approach produces impressive demonstrations of skill, I think it would run contrary to the goals of the card hustler, who would want his card handling to resemble that of the people he was trying to cheat. Since moving to Las Vegas I have had the good fortune to spend some time with people who made a living separating card players from their money. (Or “stealing” as they refer to it.) When they handle cards they are so casual and natural that they arouse no suspicion whatsoever. This I do not see when Darwin performs. (Be aware, however, that this is a purely subjective opinion, and may have no impact whatsoever on your enjoyment of the tape.) I have one other comment if you intend to purchase this tape as a gift for someone who is a serious card player. Darwin offers no advice on how to protect yourself against these cheating techniques. Even though there are numerous methods for performing the various cheating techniques, there are technical “giveaways” that can alert you to a cheater at work. (For example, in the strike second deal the left thumb fails to lift from the top of the deck as it would in a fair deal. This can be a tip-off.) Darwin offers no protection methods, so if this is important to you, you might want to seek out other videotapes. Pros: Darwin Ortiz on Card Cheating is a very well produced video that covers a wide range of cheating techniques. Cons: The various moves are demonstrated and exposed, but they are not taught. There is no advice on how to protect yourself from these techniques. Ring Leader By Gregory Wilson Gregory Wilson, whose videotape Double Take offered an encyclopedic look at the double lift, is back with Ring Leader, an encyclopedic look at ring and string routines. Ring and string routines remain popular with close-up magicians, and this video provides a ton of information. The tape begins with “Ring Leader,” a 6-phase routine. This routine is very commercial, performable in both restaurant and strolling venues, and is modular, which allows it to be customized to any time length. Of particular interest is the presentation hook Greg employs to introduce the use of the string. His ploy makes the use of the string seem natural and uncontrived. Greg’s performance of this routine is a little odd, for it appears to have been edited together from several individual takes. I have no idea why this was done, but the editing is jarring and undermines the feel of the routine as one long flowing process. Following the explanation of “Ring Leader” are three sections devoted to ring and string moves. The first, Familiar Ring, contains classic moves from Ray Grismer (the Godfather of ring and string routines), Scotty York, Earl Nelson, Jay Scott Berry, and Dan Garrett. The second section, Ring Master, features the creations of David Grippenwaldt. You may be unfamiliar with Mr. Grippenwaldt’s name, but his material is top-notch. Finally, there
is a section called Fraternal Ring that contains the collaborative effects of Wilson and Grippenwaldt. Included with the video are a plush velvet cord, a man’s wedding band, and a small, fourpage insert containing ring gags. The cord and the ring allow you to get started right away without having to track down the necessary props. The ring gags may or may not be useful, depending on your taste and performing style. If you have wanted to add a ring and string routine to your repertoire, you’ll find Ring Leader to be an excellent source of information. Combine this video with Bob Miller’s “Relentless Ring and String Routine” (reviewed last month) and you’ll have the power to exhaust possibilities (and spectators). Pros: Ring Leader contains a very solid 6-phase routine and lots of other moves to play with. It comes with the necessary practice props so you can get started right away. Cons: No cons, really, unless you don’t particularly care for ring and string routines. Making a Living Performing Close-up Magic By Carl Andrews I’ve known Carl Andrews for almost 30 years. In 1988, he and Chris Moore started Illusions, a magic-themed restaurant in Carmel, Indiana. For all the time I’ve known him, Carl has made his living from magic. Carl now makes his home on Maui, and he performs close-up magic at several of the resorts on that beautiful island. On the new videotape Making a Living Performing Close-up Magic, Carl reveals many of the insights he has discovered during his years as a pro. Carl begins by performing and explaining seven routines from his professional repertoire. Included are: “The Jumbo Coin,” a handling of Gregory Wilson’s “Honest Abe”; “Déjà Vu,” a card routine that makes effective use of a Jay Sankey switch; “The World Famous Two Coin Trick,” a no-gaff version of “Hopping Halves”; “Beenie Weenies,” a version of the Harris/Ammar routine; and “You Don’t Know Jack,” a variation of my “Frog Prince” routine. I found Carl’s routines to be less than interesting. There’s nothing particularly wrong with them, but in some cases they are simply personalizations, and fail to advance the plots. For example, “The World Famous Two Coin Trick” does avoid the use of gaffs, but the tradeoff is an excessive tossing of coins from hand to hand. “You Don’t Know Jack” is also a step backward. What makes “The Frog Prince” a memorable and baffling effect is the transformation of a freely selected card into an origami frog. Carl has eliminated the selection of a card (in an attempt, as he states, to produce a card trick that really isn’t a card trick) and in the process loses the strongest aspect of this trick. (Curiously, several years ago Carl showed me a variation of “The Frog Prince” that was a worthwhile variation. Carl had developed a way to perform the trick in strolling venues. Some of the deep mystery of the original was lost, but being able to do the trick without the need of a table, and in less than 60 seconds, was useful. I’m surprised that Carl didn’t include this version on the tape.) I’m not sure why the “Beenie Weenies”
routine was included. It requires that the performer is seated, and I know of few venues that allow the performer the luxury of sitting down. It is the next 25 minutes of information makes Making a Living Performing Close-up Magic worth purchasing. Carl offers advice on the business of performing close-up magic in the real world. The advice is excellent, and is the kind of information that can only be obtained through experience. If your desire is to do restaurant magic, this information is invaluable. In fact, Carl offers one suggestion that was new to me, and which I have immediately incorporated. The production values are good, although only one camera was used. Carl also offers a companion book. Check his web site for more information. Pros: Making a Living Performing Close-up Magic contains valuable and useful information for anyone planning on working restaurants professionally. Cons: The close-up routines are less than earth-shaking. Solid Gold Easy Action Pro Hoodwink! By Ben Harris Australia’s Ben Harris offers two more products designed for the close-up performer. “Solid Gold Easy Action Pro” is a card to envelope effect. The magician removes a small, white envelope from his pocket. The envelope is shown to be empty. The envelope flap is sealed with a sticker that is initialed by the spectator. Another sticker is affixed to the other side of the envelope, and it is also initialed. The envelope is replaced in the magician’s outer breast pocket. A card is now selected (no force), signed, and returned to the deck, face up. The deck is mixed. The cards are now counted, face down. There are only 51 cards, and the face up selection is not among them. The envelope is removed from the magician’s pocket and the flap is opened. The top edge of a face down card shows. The card is slid out of the envelope, it is the selected card. If the above description sounds too good to be true, you’re right. “Solid Gold Easy Action Pro” is based on a clever idea, but there are some handling considerations that I find unappealing. First, the envelope can never be examined. The spectators cannot handle the envelope at any time during the effect. Those of you who perform the Card to Wallet effect (where the card appears in a sealed envelope) know that part of the strength of that effect is that the signed card and the envelope can be given away at the end of the trick. The second problem is that the envelope is exactly the size of a playing card. This is not a coincidence, and, for me, this would lead an astute spectator toward the correct solution. Third and most importantly, the envelope comes into contact with the top of the deck far too often. You bring out the envelope, put it on top of the deck, have the flap signed, turn the envelope over onto the deck, have the back signed, and then put the
envelope back in your pocket. To produce the card you bring the envelope out, put it on top of the deck again, turn it over onto the top of the deck, and then pull out the selection. There is no motivation whatsoever for bringing the envelope into contact with the deck, and the cleanliness of the trick suffers for it. Pros: “Solid Gold Easy Action Pro” offers an offbeat method that eliminates all difficult sleight-of-hand, and you will probably enjoy playing with the props. Cons: The handling is contrived, unconvincing, and far too cozy for my taste. If you are willing to simply invest a little time and effort, there are more convincing methods for accomplishing this effect. “Hoodwink!” is a method for performing the Torn and Restored Card effect. A signed card is folded in half the long way. The card is torn in half. Instantly, the card is snapped open and is seen to be restored. Again, we have a method where ease of handling produces a serious tradeoff. You should know that the card is not completely restored. It looks as if it is restored, but there is still a big tear in it. This means that the card cannot be handed out for examination. Mr. Harris states in his introduction, “…the effect is best performed as a set piece of theatre in a formal setting. It is also ideal for television. Don’t perform it for a difficult crowd. They won’t let you get away with it!” It is up to you to decide whether it’s worth purchasing a routine that has such restrictive conditions. I can think of one situation where “Hoodwink!” may come in handy. Let’s say you’ve just finished doing one of the popular piece-by-piece restorations. You’ve handed out the card for examination. The spectator hands the card back and says, “Do it again.” You could perform “Hoodwink!” (because it only uses one card), and perhaps the surprise of the immediate restoration would overcome the spectator’s desire to examine the card. I don’t know. It’s just a thought. Pros: “Hoodwink!” uses only one card and is fairly easy to perform. Cons: The card is not really restored and cannot be examined at the end of the trick. Completely Torn By Craig Allen Here’s another Torn and Restored Card effect, heavily influenced by the work of Jay Sankey and J. C. Wagner. A card is selected (no force), signed, and torn into four pieces. During the tearing process the signature is seen several times. The magician reaches into his pocket for a cigarette lighter and applies heat to the torn pieces. The pieces are opened. The card is restored. There is a bit more sleight-of-hand involved in “Completely Torn” than is found in “Hoodwink!”. This means you’ll have to invest a bit more practice time, but you will be able to hand out the restored card at the end. “Completely Torn” uses a small gaff, which is destroyed with each performance. You could make up the gaff yourself, or a call to
Haine’s House of Cards will provide you with an adequate (and not too expensive) supply. “Completely Torn” is not a radical new approach to the plot, but it is practical and is not too difficult. Pros: “Completely Torn” is not too difficult to perform, and the restored card can be handed out at the end. Cons: There is nothing radically different here, and you will destroy a gaff with each performance. Graphic Film Kit From Mantle Magic Here’s a nifty idea. Mantle Magic provides you with four 8.5 x 11 sheets of graphic film paper that can be used to make decals. This enables you to make up your own custom gaffed playing cards. You design your master copy using a computer (or the old fashioned paste-up method). This master copy is then copied onto the graphic film using a laser color copier (your favorite copy shop should have several options available). You then cut out the decal and apply it to a playing card. The results are very good. It takes a little practice to get the hang of how to do this, but you are provided with a full set of instructions that should help you avoid most of the pitfalls. Pros: The “Graphic Film Kit” allows you to create your own gaffed playing cards. Cons: The film is a bit pricey. Confusing Crayons By Tom Yurasits Here’s a great prop for the children show performer. The magician shows two large plastic crayons, one red, one yellow. He also has two cardboard tubes. A spectator is given one crayon and a tube. The spectator attempts to follow the magician’s instructions, but always ends up with his crayon upside-down. The magician and the spectator can even trade crayons and the spectator still cannot duplicate the magician’s actions. This is a classic plot, full of laughs and audience involvement. The props that Tom provides are top-notch and should hold up through many performances. A routine is included, but it fails to solve the basic problem of this type of routine: there is no finish. It will also be up to you to construct a routine that takes the onus of failure off the spectator. Far too often this type of routine simply makes the spectator look stupid, and that’s not a good thing. However, if you can solve these problems, and if the effect appeals to you, I think you get a lot of use from the “Confusing Crayons.” Pros: The “Confusing Crayons” provides a well-made set of props that should last for many performances.
Cons: The routine included has no finish and does not address the problem of making the spectator look stupid. The Magic Circular 1000th Issue Edited by Anthony Owen Collectors will want to take note of the 1000th issue of The Magic Circular, the magazine of England’s Magic Circle. The magazine is normally only available to the members of the Magic Circle, but because of the historic nature of the 1000th issue a very limited number of extra copies are being made available to non-Circle magicians. When these copies are gone the special issue will not be reprinted. Magic Poster Reproductions From Nielsen Magic Norm Nielsen is offering some extraordinary poster reproductions. These reproductions are done on canvas. The width is 16 inches, and the length varies depending on the size of the original poster. The reproductions are absolutely gorgeous, and the good news is that Norm can reproduce just about any poster in his extensive collection. I purchased one of these as a Christmas gift and I was absolutely delighted with it. Norm also offers expert framing for those who want it. The price of a reproduction is $150 to $175, depending on the size. Framing is extra. Contact Nielsen Magic for further details. Details Servais Le Roy: Monarch of Mystery by William Rauscher and Mike Caveney. 9.5 x 11 hardcover with glossy dustjacket. $85 postpaid in US and Canada. Foreign surface mail $6. Foreign airmail $24. From Mike Caveney’s Magic Words, 572 Prospect Blvd., Pasadena, CA 91103. Fax: 626-449-8025. Magic in Theory by Lamont and Wiseman. 6 x 9 hardcover with glossy dustjacket. 175 pages. $30 plus $3 p&h ($15 overseas mail). From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email:
[email protected] The Magic Show by Mark Setteducati and Anne Benkovitz. 10 x 10. $18.95. From Workman Publishing. ISBN 0-7611-1595-1. Available at most bookstores. Darwin Ortiz on Card Cheating by Darwin Ortiz. $50 plus $2 p&h ($10 overseas). From Darwin Ortiz, 1234 Eton Court NW, Washington, DC 20007. Fax: 202-333-2029. Email:
[email protected] Ring Leader by Greg Wilson. $40 plus $4 p&h. From The Magicsmith, 64 Seafare, Laguna Niguel, CA 92677. Fax: 949-249-8277. Web site: www.magicsmith.com.
Making a Living Performing Close-up Magic by Carl Andrews. $30 plus $3.50 p&h ($7 p&h on foreign orders). From Carl Andrews, P.O. Box 235, Kihei, HI 96753. Web site: www.maui.net/~carl/video.htm. “Solid Gold Easy Action Pro” by Ben Harris. $25 “Hoodwink!” by Ben Harris. $10. Both available from most magic dealers. “Completely Torn” by Craig Alan. $12 postpaid. From Craig Alan, 15606 Northville Forest Drive, #K128, Plymouth, MI 48170-4939. Web site: www.craigalan.com “The Graphic Film Kit.” $15 plus $2 p&h. From Mantle Magic Mfg., Box 68696, Seattle, WA 98168 “Confusing Crayons” by Tom Yurasits. $35 plus $3.50 p&h in US (international orders add $10.00 for p&h). From Tom Yurasits Productions, 534 E. 5th Street – M, Northampton, PA 18067. Email:
[email protected]. Web site: www.tomyurasitsproductions.com. The Magic Circular 1000th Issue edited by Anthony Owen. 10 pounds Sterling postpaid. Sterling cheques/international money orders (payable to The Magic Circle) or credit card details (Visa or MasterCard) should be sent to Peter Lane, The Magic Circle, 12 Stephenson Way, Euston, London, NW1 2HD. Magic Poster Reproductions from Nielsen Magic. $150. From Nielsen Magic, P.O. Box 34300, Las Vegas, NV 89133. Tel./Fax: 702-656-7674. Email:
[email protected]. Web site: www.nnmagic.com
March 2000 R-E-S-P-E-C-T I just finished up the final few cities in the United States portion of the Never-ending Farewell Lecture Tour. Since I will no longer be performing or lecturing for magicians, I thought I would pass along a few suggestions that would make life easier for those who still work the magic club/magic convention circuit. My suggestions are not directed to the performers or lecturers, they are directed to those of you who sit in the audience. There are five simple things that you can do to make the world a better place for those who stand in front of you. 1. Smile. I can state unequivocally that the grimmest audiences I have ever performed for are audiences composed of magicians. I have no idea why this is so. You’d think that a group of people with a shared hobby would look enthusiastic about the prospect of seeing an established performer. But this is not the case. I remember performing close-up at a national convention. As I was waiting to begin I looked up at the audience and was greeted with the most indifferent and apathetic expressions I have ever seen. I was so overwhelmed by this that I had a friend come in and take a picture of the audience, so I would never forget. My message here is simple: A smile does wonders. Please, let the performer know that you’re happy he or she is there. 2. Respond as cordially as you possibly can. Nothing is tougher than getting an audience of magicians to laugh and applaud. This situation is so bleak that I address it directly before my lecture begins. I realize that not everything you see is going to be hilarious or completely amazing. Just loosen up a bit. And be aware of applause cues and respond to them. 3. If you are attending a close-up show, stand-up show, or stage performance, put away your notebooks. Taking notes is perfectly acceptable at a lecture, but it is not acceptable during a performance. The routines a performer uses in his act are not being offered for your acquisition. To take notes during the show is not only wrong, it’s rude. It is also very distracting to the performer. When you’re at a show, you’re an audience member, so sit back and enjoy the show. 4. Put the cards and coins away. To sit and fiddle with cards and coins while someone is trying to perform or lecture is simply rude. I assume that you’re attending lectures or shows to be educated or entertained. You’re not there to practice. Practice at home. 5. If you feel you can’t abide by the above four suggestions, you should seriously consider staying home. My point is simple: Treat those who perform or lecture with the same respect and courtesy that you would like to receive if you were the one in front of the group.
Are these simple suggestions? You bet. Would they make the world a better place? Absolutely. On behalf of those who will be standing before you, I thank you for your cooperation. Now back to our regularly scheduled program.
Joshua Jay’s Magic Atlas By Joshua Jay 8.5 x 11 hardcover with glossy dustjacket. 161 pages. $35. Available from most magic dealers. What a wonderful age of information we live in. The last fifteen years has seen a boom in the release of magical secrets. The rise of powerful home computers has made quality desktop publishing a reality, increasing the number of magic books published. The number of magic videos has skyrocketed, and their decline in price has made them affordable. The Internet provides a communications resource, resulting in a worldwide networking of magic enthusiasts. There are very few secrets anymore. Information that was unobtainable at any price when I was a kid is now available in books or on videos. Regardless of where you live or how isolated you are, there is no excuse for mediocre technique. Everything you need to know is out there, you just have to use the information intelligently. One result of this information boom is the appearance of some very knowledgeable and accomplished young magicians. Standing tall among this group is Joshua Jay, from Canton, Ohio. It would be comfortable to dismiss someone like Josh by saying that he has it a lot easier than young magicians did thirty years ago, but that would be doing Josh a disservice. Josh’s hard work, focus, and dedication to the craft would have yielded the same results regardless of when he had been born. Consider his accomplishments: awards from most of the major magic conventions, over 50 tricks published in every major magic periodical, and soon an appearance on a Lance Burton television special. And he isn’t even old enough to vote. Now Josh has released his first hardcover book – Joshua Jay’s Magic Atlas. It is an excellent effort, containing over 50 effects for close-up and stand-up, utilizing cards, coins, rope, silks, matches, sand, and a paintbrush. The wide range of plots, methods, and skill requirements should make this an appealing collection to many. The book begins with a chapter of theoretical essays. One could certainly ask, “What does a seventeen year old know about magic theory?” Well, in Josh’s case, quite a bit. While Josh does not break any new ground in these essays, he certainly delineates some valuable information, and in doing so establishes the criteria he uses when creating routines. Most interesting are Josh’s comments about structuring the material so it fits a person of his age. This is a big problem for young performers; attitudes and approaches that fit a middle-aged person simply won’t work for someone in their teens. One of the delightful aspects of Josh’s performing persona is that he has completely addressed the
issue of a young person doing magic. Josh shares this experience with his audiences, and his audiences appreciate the honesty. Chapter Two contains close-up and stand-up routines utilizing a variety of objects. Included are a method for instantly (and visually) stretching a piece of rope, a method for causing your shirt button to grow to three times its size, a pretty coin production using a “Silk Fountain,” a visual production of matches, and an offbeat effect in which the Xeroxed image of four coins becomes four real coins. Josh enjoys card magic, and the next three chapters contain card material. First is a chapter of utility moves, including several false cuts, Josh’s technique for the boomerang card, a fancy flourish used to reveal a card, and a very versatile sleight titled, “A Discreet Displacement.” This latter item is quite a lovely move, allowing you to control a selection, force a card, add extra cards, or transpose two cards. Best of all, it’s easy to do. Also included in this chapter are a visual pen production and a ring and string move. Chapter Four contains card magic. Here you’ll find a version of John Bannon’s “Play it Straight,” a sandwich effect using the four aces, a very visual production of four queens and a selected card, and my favorite trick of this chapter, “Triple Thought-of Card.” Like much of David Hoy’s work, this trick relies on nerve rather than digital dexterity. The following chapter contains card routines that require previous preparation. Included are a version of the “Jennings Revelation” with the added kicker of a visual shrinking of the four kings, a very sneaky version of “Triumph,” a routine with a funny card box, a routine using a journal (which won an award from the Linking Ring), and a clever routine using Jay Sankey’s “#@!” switch. Chapter Six contains routines that make use of your wristwatch. Josh offers suggestions on how to use the watch as holdout, as a vanishing device, and as a production device. The final chapter contains seven fully realized performance pieces. All these routines are excellent and should find favor with those who work in the real world. Here you’ll find Josh’s playing card in TV remote control routine (a highlight of his close-up act), a method for producing sand in a spectator’s hand, a very commercial version of the “Six Card Repeat,” and two really excellent mental effects (a version of “Pseudo Psychometry” and an offbeat book test). Joshua Jay’s Magic Atlas is a terrific first effort from a talented and hard working young magician. The magic is varied, and Josh’s explanations are thoughtful and complete. I’m impressed, and I think you will be too. Recommended. Pros: Clever close-up and stand-up material using a variety of props, thoughtfully explained. The technical demands span a wide range, so Joshua Jay’s Magic Atlas should appeal to wide audience. Cons: None, except this kid is just too damn good.
Arcardia By Roger Crosthwaite 6 x 9 hardcover with glossy dustjacket. 198 pages. $35 plus $3.50 p&h. From H&R Magic Books, 3839 Liles Lane, Humble TX, 77396-4088. Fax: 281-540-4443. Email:
[email protected]. Web site: www.magicbookshop.com The world of the card enthusiast is one of crooked streets, filled with fascinating nooks and crannies. For the enthusiast a great part of the joy of the avocation comes from experimenting with new moves, devising new methods for standard plots, and discovering bits of finesse that bring a sleight closer to that elusive (and unobtainable) goal of perfection. Ed Marlo was probably the ultimate card enthusiast. His published works display his obsession for working out moves and methods. I would place Roger Crosthwaite very much in the Marlo School. He enjoys the creative process and is more than willing to pay the price required to master the most difficult of moves. His new book, Arcardia, contains his latest creations. It is a mixed bag, and will appeal only to those who are passionately obsessive about card magic. Arcardia begins with several essays, including a history of the Think-a-Card trick. Father Crosthwaite discusses several versions of this trick. I am unconvinced that any of these versions improve upon the inspirational source, Vernon’s “Out of Sight – Out of Mind.” In addition, Crosthwaite’s second method uses something called “The Verbal Stop Technique.” As far as I can tell, this is just a fancy name for a spectator peek. Things improve with the next section, a very clever Do-As-I-Do routine that uses a subtle Vernon technique. As part of this routine, Father Crosthwaite explains “The Upjog Switch,” a move that looks very good and has numerous other uses. My guess is that this technique will find great favor with cardmen. Several sleights are covered in detail in Arcardia, including Justin Higham’s work on the Dribble Shift, a Twist Pass by Wesley James, glimpse techniques, a method for dealing the third card, a center deal, a bottom deal, and a method for stealing a peeked card into Longitudinal Tenkai Palm position. I understand that this last technique looks very good in Father Crosthwaite’s hands, but because of the size of my hands, I find it impossible to grip the palmed card correctly. Most of this material is quite difficult, and will be of little interest to anyone but the serious card worker. Other effects in Arcardia include a peeked-prediction effect, several gambling demonstrations, and Michael Vincent’s handling of Ed Marlo’s “Devilish Miracle.” Some of this material is quite challenging. Father Crosthwaite approaches card magic seriously and thoroughly. His explanations are clear and accompanied with extensive footnotes. Unfortunately, the market for this type of book is extremely small, and with the exception of a few effects, I am not convinced that the handlings offered are much of an improvement. Your opinion may differ.
Those of you who enjoyed publications such as the Marlo Magazines may have fun working through the routines in Arcardia. Everyone else should probably save their money. Pros: Detailed explanations with extensive footnotes. Father Crosthwaite’s “Upjog Switch” is a versatile move that has many applications. Cons: Much of the material in Arcardia is too difficult for any but the most serious card student. The M.C. Bit Book By Algonquin McDuff 5.5 x 8.5 plastic comb bound. 52 pages. $5 plus $1 p&h. From Jester’s Press, P.O. Box 3442, Spartansburg, SC 29304 On April 1, 1980 Jester’s Press published its first book – The M.C. Bit Book. This book was the first of the McDuff Trilogy, which has now run to seven volumes. To commemorate this occasion, Jester’s Press has reprinted The M.C. Bit Book, a small book full of gags and bits of business. The function of a Master of Ceremonies, of course, is to maintain audience energy while providing a smooth transition between the acts of a show. A challenging aspect of M.C. work is that the time between the acts may vary; in fact, due to unforeseen circumstances, the M.C. may have to fill more time than was anticipated. For this reason, the M.C. needs material of an extremely modular nature. In this way bits of business can be added or subtracted with ease, seamlessly filling the necessary space. Most of the bits in The M.C. Bit Book are sight gags. There are gags using funny coat hangers, funny newspapers, funny scissors, funny watches, and funny extension cords. There’s a series of gags using the plastic rings that hold a six-pack of beer. The book concludes with a dozen miscellaneous gags. The majority of the gags in The M.C. Bit Book are “funny prop” gags, much like the gags in the acts of Rip Taylor or Carrot Top. If you enjoy that type of humor, you’ll probably enjoy the gags in this book. Unfortunately, this type of humor does absolutely nothing for me, so I won’t be using any of the gags in this book. However, the Jester’s Press is releasing this book at its original price – $5 – which in today’s market is an unbelievable bargain. So, if this style of humor fits you, The M.C. Bit Book is worth checking out. Mental Magic By Martin Gardner 8 x 5.5 softcover. 95 pages. $4.95. From Sterling Publishing Co. ISBN0-8069-2049-1. Available at most bookstores. MAGIC columnist Martin Gardner has put together a great little book of mental tricks, mostly based on math. You follow the instructions, record your results and then check the
back of the book for the predictions made by the famous Professor Picanumba. Most of the time the professor is absolutely correct. The book is geared toward children, but I think you’ll find some interesting ideas to play with. (For example, the very first stunt is a word test based on a principle normally used with playing cards.) Get Your Act Together! Volumes 1-3 By Joanie Spina Each video $35. All three for $90. Add $3 shipping for each tape or $5 for the set. From Magic Direction, 6130 Gowan Road, Las Vegas, NV 89108 The world of the average magician revolves around tricks: what’s the secret, can I perfect the moves, and where do I get more? However, if you want to work in the real world, the emphasis must shift to the presentation of these tricks. How do you perform the tricks in an entertaining, engaging, and theatrically satisfying way? On the three videotape set Get Your Act Together! Joanie Spina addresses the issues that are important to anyone who wants improve the theatricality of their magic. Ms. Spina has impressive credentials. For over 11 years she served as choreographer and artistic consultant to David Copperfield and was lead dancer/assistant to Copperfield for eight of those years. With co-star Becky Blaney, she staged and performed in The Women of Magic in Atlantic City. She is also the director of the Carnival of Wonders show featuring Mark Kalin, Jinger, and Jeff Hobson that is currently playing at the Flamingo Hilton in Reno, Nevada. The first video of the series is titled Who Are You? and, unfortunately, is slightly mistitled. Of the fifteen topics covered, only three directly relate to identifying your personality strengths and defining your stage persona. The other topics discussed are useful, but the don’t directly relate to the subject. One bit of advice Ms. Spina gives is to hire competent directors, choreographers, and consultants, and in this regard mentions people such as Don Wayne, Jim Steinmeyer, and Andre Kole. While I certainly feel that an act will benefit from the hiring of talented people whose expertise lies in fields outside of magic, I can’t imagine the average magician being able to afford the three talented men mentioned above. Near the end of this video Ms. Spina offers some excellent suggestions concerning costuming. The second videotape focuses on staging. Included are suggestions on directing attention, structuring routines, entrances and exits, applause cues, and the use of effective lighting. I found the information on lighting to be slightly lacking. Ms. Spina presents clips from various acts and instructs us to notice how effective their lighting is. Unfortunately, I know nothing about theatrical lighting, and Ms. Spina provided no commentary, consequently I had no idea what it was that I was supposed to be looking for. The third videotape discusses movement and stage presence. The majority of the information presented is geared toward the use of dance in a magic act. It’s important for
an illusionist to move elegantly and gracefully on stage, and Ms. Spina’s suggestions are useful. One point that is emphasized on all three videos is that the choreography must support and enhance the magic, and not dominate it. This is excellent advice, but it is far too seldom heeded. These days a five-minute illusion seems to be composed of three minutes of dancing and two minutes of trick. I’m not sure why this trend started (although I’m sure it has something to do with getting your money’s worth out of an expensive illusion), but I wish it would end. While Ms. Spina knows her way around magic tricks, her greatest strength lies in movement and dance skills, and much of the information on these tapes comes from a dancer’s viewpoint. Scattered throughout these tapes are clips from the acts of Jason Byrne, Jeff Hobson, Mark Kalin and Jinger, Marco Tempest, Ashley Springer, Rocco, and Tim Kole. Ms. Spina uses these clips to emphasize certain points. Unfortunately, there is quite a bit of repetition of clips throughout the three videos. Being a dancer, Ms. Spina has a strong relationship with music, and emphasizes the impact that well chosen music can have on an illusion. She makes one statement however, that I must disagree with. She states that great music can save a bad illusion. I don’t agree. You can gold plate a cow flop, but that doesn’t change what it is. If an illusion is poorly staged and poorly performed, great music won’t make it a great illusion. It will always be a bad illusion. This also applies to movies (see Steven Spielberg’s Hook as an example). (By the way, speaking of music, a while back I mentioned a program for the PC called Acid Music. If you’ve wondered about the music that program produces, listen to the background music that accompanies the video clips. It’s pure Acid.) As talented as Ms. Spina is, extemporaneous speaking is not one of her talents. Often her discourse becomes a bit rambling and repetitious. While not a fatal flaw, the tapes would have sounded a bit more professional had she scripted each tape and used a teleprompter. I feel that the information on these three videos is extremely valuable, especially for anyone planning on performing illusions. The presentation of the material is not perfect, and there is some repetition among the three tapes, but overall there is definite value for the money. If you are serious about making your magic look polished and professional, Get Your Act Together! should be in your video library. (As we go to press I’ve learned the Ms. Spina is including a small manual with her tapes. The manual clarifies and expands on some of the points made in the videos.) Pros: Get Your Act Together! gives valuable information on how to create effective, theatrically satisfying presentations.
Cons: There is some duplication of video clips, and a scripted narration would have tightened up the presentation. Five Minutes with a Pocket Handkerchief By Quentin Reynolds Produced by Trik-a-Tape, distributed by Show-biz Services. $24.95. Available from most magic dealers. To me, there’s nothing more impressive than being able to stand in front of an audience and entertain and baffle them using the simplest of props. If your repertoire contains routines that use ordinary objects, then you’re able to perform even if you’ve left your bag of tricks at home. On Five Minutes with a Pocket Handkerchief, Ireland’s Quentin Reynolds performs and explains a delightful routine using an ordinary handkerchief. The routine combines several effects, including stretching the hank, the stand-up hank, two dissolving knots, the flyaway hank, and the animated mouse. There is nothing new as far as the techniques are concerned, but the routine is well structured and is full of gags and bits of business. Following a performance in front of a group of unbelievably well behaved school children (obviously not from the United States), Quentin thoroughly explains each phase of the routine. This routine comes from a professional’s repertoire, and during the explanation I looked for the small details that only develop from years of experience. I wasn’t disappointed. Quentin’s explanation of how to fold the mouse is very clear, and contains some information that was new to me. (If you want more information on the mouse, check out Martin Gardner’s Encyclopedia of Impromptu Magic, where you’ll learn that the animated mouse was a favorite trick of Lewis Carroll.) A routine like this tends to be dismissed by the guys looking for new and fancy moves. That is, until they see someone else kill a room full of people with it. I’m adding this to my repertoire. What more can I say? Pros: A delightful, impromptu routine that features the animated mouse, one of the great handkerchief folds of all time. Cons: You may already know many of the effects involved. Technicolor Prediction By Martin Lewis and Ali Bongo $40. From Magickraft Studios, 7057 El Viento Way, Buena Park, CA 90602. Fax: 714736-0153. Email:
[email protected] For many years, the original version of this effect was a mainstay in my stand-up show. The effect is by Martin Lewis and the new design is by Ali Bongo. Here’s what happens: The magician shows an acrylic board, 13 inches long and 4 inches wide. Two long elastic
bands run the length of this board. Under the elastics are three envelopes, one green, one red, and one yellow. The magician explains that in each envelope is a prediction. A man and a woman are invited up on stage. They each choose an envelope, and they can change their minds or even swap envelopes. Let’s assume the lady chooses the red envelope and the man chooses the green. The remaining envelope, the yellow, is removed from the board and held by the magician. All three people open their envelopes. From each envelope they remove a slip of paper. The lady (who picked the red envelope) reads her slip out loud. It says, “I predict you will pick the red envelope!” The man (who picked the green envelope) reads his slip. It says, “I predict you will pick the green envelope. Of course, this whole thing looks like a gag until the magician reads his slip. It says, “The lady will pick the red envelope, the man will pick the green envelope, and the yellow envelope will be left with the magician.” Martin’s original method used a Himber wallet, which meant that the slips of paper had to be rather small, and consequently the writing on the prediction was very difficult for the audience to read. I came to the conclusion (which I kept to myself) that the solution was to use envelopes attached to a board. This would allow the slips of paper to be larger. Unbeknownst to me, Ali Bongo had come to the same conclusion, and his board design was much better than mine. Magikraft Studios has now released this trick, and I’m delighted they have. You get the acrylic board, the elastic bands, the envelopes, and the predictions. The construction of the board is clever, and allows you to deliver the correct prediction to whichever envelope remains. I ran into two small problems. The instructions provided are pretty cryptic, so you’ll have to play around with the board until you get the idea of what’s going on. The other problem I had was reloading the board. Slightly thinner paper would probably eliminate the problem. “Technicolor Prediction” is a funny trick with a great kicker. It’s simple to do and the prop should last you forever. It’s going back into my act. Recommended. Pros: A funny trick with a surprise mystery at the end. The prop is well made and should last a long time. Cons: Cryptic instructions and a tough reload of the prediction board. The Compact Disc Manipulation Manual By John T. Sheets 8.5 x 11, plastic comb bound. 20 pages. $25 plus $2 p&h. From John T. Sheets & Co., P.O. Box 1801, Arvada, CO 80001-1801 Here’s a routine for those of you interested in stage manipulation. The magician produces a flash of fire. From the flame he produces a red handkerchief. From the handkerchief he produces a compact disc. He produces three more CDs. The CDs vanish one at a time and
then reappear. Then all four vanish for good. As an optional finish, two fans of jumbo CDs may be produced. All the moves of this routine are thoroughly explained and the text is accompanied by 78 illustrations. You’ll have to track down all the necessary props and (as with any manipulative routine) practice is required. For those willing to put in the time, this could be an effective addition to their repertoires. Indian Poker By Doc Wayne $19.95 plus $2 p&h. From Doc Wayne, P.O. Box 1302, Newport Beach, CA 92659 Doc Wayne offers another of his fully scripted routines. This time around, the routine is a variation of the classic Ten Card Poker Deal. The patter places the routine in the context of a third person story, thereby taking the onus of losing off the assisting spectator. The routine has seven phases, and the final phase involves switching one poker hand for another composed of five jokers. To accomplish this, the deck has to be picked up. Since the deck has not been in play during the preceding six phases, picking it up screams that something funny is about to happen. Doc provides you with all the necessary props (five jokers plus a large card with a picture of a mule on it), a four page manuscript detailing the routine, and an audiocassette of him performing the patter. My main problem with “Indian Poker” is the patter. It is highly stylized. For example, here’s the opening paragraph: “And now a little game of Indian Poker – five card stud – it’s played with ten cards and one stud…[point to yourself with thumb]…Jokers are wild and so’s the dealer…the game was taught to me by an Indian princess name of Minnie Hee Hee from the Running Nose Reservation in Chickenspit, South Carolina…Minnie ran a lottery – asked me once if I wanted to take a chance on an Indian blanket…had a sign on her teepee – said all the bucks stop here…” If you can envision yourself saying the above words, then “Indian Poker” may be of value to you. Otherwise, save your money. (Native American readers may want to contact Doc directly.) The Plus Wallet The Mentalist The Poker Card Case By Jerry O’Connell The Plus Wallet – $135. The Mentalist – $65. The Poker Card Case – $30. From Wizard Craft Magic, P.O. Box 1557, Pleasant Valley, NY 12569. Phone: 1-800-400-1620. Email:
[email protected]
Craig Dickson’s Wizard Craft Magic is now carrying the full line of Jerry O’Connell wallets. Mr. O’Connell does very fine work and his products are worth your serious consideration. Craig sent along three wallets. “The Plus Wallet” is 7 3/8 inches long and almost 4 inches wide. It will allow you to do three effects: card in sealed envelope, card in wallet, and a no-palm card in wallet. Because of the size of the wallet you’ll probably have to construct your own envelopes. A pattern is provided. This wallet is a little big for my taste, but it loads easily. The “slide” used to deliver the card to the inside pocket is cleverly concealed. In addition, side access is also built in, allowing you to load the wallet without palming. “The Mentalist” is a wallet (about 6 x 3 inches) that holds a small pad of paper. A pencil on a string is attached to the wallet. Three or four spectators are invited to write numbers on the pad of paper. You are immediately able to switch the spectator’s numbers for numbers that you prepared earlier. This is a clever idea, and the action of the wallet is quite smooth. “The Poker Card Case” is just that – a black leather case sized to fit a deck of cards. There is a tongue on the back of the case that allows you to clip the case to your belt. In addition, this tongue acts like a leg on an easel, allowing you to set the case vertically on the table. The case is designed to hold the playing cards only, a deck of cards in its cardboard box will not fit. I tend to think that cards should only be taken out of the box they were sold in, as God intended. However, I can see some situations where “The Poker Card Case” would be useful. For the strolling performer pocket space is always at a premium. Using Mr. McConnell’s case would free up a pocket. Also, there are some card routines (for example “Brainwave”) where you don’t want the spectators to know the actual color of the backs of the deck. Again, the McConnell case would be useful. Each wallet comes with instructions, and where necessary, some replacement parts. I wish that the instructions had been illustrated. A few drawings would have made things clearer. All in all, though, the Jerry McConnell wallets are well-made products and worth your consideration. The Houdini Photo Frame The Art of Magic Cloisonne Egg The Houdini Photo Frame – $49.95 plus $6 p&h. The Art of Magic Cloisonne Egg – $15.99 plus $3 p&h. From Facemakers, Inc., 800 Chicago Ave., Savanna, IL 61704. Fax: 815-273-3944. Email:
[email protected]. Web site: www.facemakersincorporated.com. The Houdini Photo Frame is made of cast resin. It measures in at 6.5 x 10 inches, and weighs in at a whopping two pounds. At the top of the frame is a bas-relief bust of Houdini (although to me the bust resembles Grandpa Munster). There is elaborate decoration around the frame, which comes in three different finishes: Aged Ivory, Antique Gold, or Vintage Mahogany. This frame is far too rococo for me, but everyone’s
taste is different, and perhaps it would go perfectly with your picture of Elvis on black velvet. On the other hand, I think The Art of Magic Cloisonne Egg is rather cute. The Cloissone enamel process was brought to China from Constantinople during the 13th century. The process involves soldering thin strips of brass to a hollow copper egg. Each of these strips is shaped by hand to form the designs on the egg. (The designs include stars, streamers, a rabbit, and a magician’s top hat.) These designs are filled with powered, colored glass, and then the egg is fired. It takes three applications to fill the partitions. Lastly, the egg is ground and polished smooth. The Art of Magic Cloisonne Egg is not terribly expensive, and it would make a nice gift.
April 2000 Real World Magic The most fun I have ever had in magic probably occurred from 1972 – 1978. It was in 1972 that I discovered that there were other magicians in my area. Up till then, my study of magic had been a lonely pursuit, with very rare visits to Stoner’s Magic Shop in Fort Wayne or Magic, Inc. in Chicago. But in 1972 I learned that a group of magicians met each month at Ron London’s magic shop in West Lafayette, Indiana, about a 45-minute drive from my parent’s house in Lebanon. (The irony here is that I had spent two years in West Lafayette as an unhappy mathematics major at Purdue University without the knowledge that there was a magic club in town.) The meetings at Ron’s shop were casual and really fun. Each month somebody would do a trick, and the next month we’d try to fool each other with versions of the trick we’d seen the month before. It was a very creative time for me, and the best thing of all was that I didn’t give a hoot whether the tricks I came up with were practical. I’ll give you an example. In 1976 I worked the I.B.M. convention in Evansville, Indiana. I performed my close-up set seated, because I used a lot of lapping. Before I could begin my set I had to attach a small device to the edge of the table and I placed a tin plate on the floor underneath my legs. Obviously, this was an act that could only be performed at a magic convention. Did I care? No. In 1978, everything changed. An Indianapolis magician named Steve Skomp asked if I would like to take over his gig at Max and Erma’s restaurant on the north side of Indy. I thought a very long time about this before I said yes. The reason that this was not an easy decision is that from the age of 17 I had made my living as a musician. During those nine years I had learned that if you love to do something (such as playing the piano), and it becomes your job rather than a pleasant pastime, it is never again as pleasant for you. When you play piano for a living you are no longer able to play just the songs you want to hear; your repertoire is dictated by your audience, and unfortunately, that repertoire includes such masterworks as Proud Mary, Rocky Top, and Feelings. I took the job at Max and Erma’s and, as I expected, my relationship with magic was never the same. Something was definitely lost, but something was gained as well. My first discovery was that almost none of the routines in my repertoire worked in a restaurant environment and had to be discarded. To fill that void I chose from that small body of routines that all table-hoppers perform. As time went on I replaced those routines with original creations designed to fit the performing conditions. My biggest surprise was discovering how few routines in the literature of magic could actually be performed in the real world. What I lost when I decided to perform professionally was the “play” factor I had so much enjoyed. Now when I saw or read a new routine, the first thing I asked was, “Can I use this in the restaurant?” If the answer was “No,” then I immediately dismissed the routine and moved on to something else, regardless of how much fun it would have been to play
with the routine. What I gained from making magic my profession was the thrill that comes from providing a group of strangers a theatrically and emotionally satisfying magical experience. Until you’ve done this, you have no idea what a rush it is. In my recent lectures, I have commented that if you only perform for your family, your friends, or your buddies in the magic club, I don’t really care what you do. You can buy a trick in the morning and perform it that night. This circle of friends, family, and colleagues has a vested interest in your performance. Whether your performance is good, bad, or indifferent, they are going to love you anyway. The problem arises once you step outside that circle and you start performing for people who have no vested interest in you. Then what you do affects me. When you perform for strangers you represent all of magic, and your audience will judge all magicians by what they see you do. This is a pity, but it’s true. If you walk into a bar and there’s a lousy piano player pounding away in corner, you don’t say, “All piano players are lousy.” You say, “That guy’s a lousy piano player.” You have enough opportunities to hear good piano players (either live or on recordings) to know that good piano players exist. Unfortunately, the average spectator only has a live encounter with a close-up or stage magician a few times in his life. When the encounter is negative it is usually so overwhelming negative that the spectator assumes that all magicians share the same negative traits. If I’m the next magician that encounters this spectator, I’m going to have to take some time to counteract this negative impression. The point is this: if you’re going to take your magic outside of your circle of friends, family, and colleagues, you must understand what is required of a magician in the real world. Fortunately, real world magic has been a popular topic with authors in the last decade. People like Eugene Burger, Tommy Wonder, John Carney, Darwin Ortiz, and yours truly have written on the subject. The latest entry is titled Real World Magic, and the author is Jerry MacGregor, who also co-authored The Restaurant Magician’s Handbook, Mind Games, and The Y2K Family Survival Guide (and how many of you would like to get your money back for that book?). Real World Magic is an excellent and useful guide for those wishing to make the jump from hobbyist to professional. Real World Magic is divided into two parts. The first part, “Reasons,” contains nine chapters, each discussing an aspect of professional caliber performance. The second part, “Routines,” contains routines from Mr. MacGregor and 15 other professional magicians. The routines are divided into Openers, Middle Routines, Mental Routines, and Closers. The nine chapters of Part One cover such topics as “Learning to Entertain,” “The Meaning of Your Magic,” “The Magician on Stage,” “Selecting Tricks for the Real World,” “Preparation and Practice,” and “Routining Your Show.” Each chapter contains several numbered subtopics. For example, Chapter One (“Stepping into the Real World”) gives suggestions on establishing a character, methods for involving the audience’s emotions, developing clear endings, and establishing audience rapport. The subtopics are listed at the beginning of each chapter, which is an excellent organizational tool. After reading through the entire book you can go back and easily find those topics you wish to absorb more fully.
If you have spent any time reading works by the other authors listed above, the material in Part One may be familiar to you. However, Mr. MacGregor writes from experience and with a great deal of enthusiasm. He has also organized the material clearly and has offered excellent suggestions. If you want to know what it takes to entertain an audience in the real world, the information is here. If Real World Magic only contained the information in Part One, it would be a good value for the money. Part Two (which is a little more than half the book) contains commercial routines from professionals such as Kirk Charles, Tony Eng, Carey Heim, Steve Mayhew, George Olson, Steve Taylor, and Jim Pace. These routines incorporate a variety of props and none of the routines is particularly difficult. A few of the routines could have used more illustrations, and there are some crediting omissions, but anyone with a little experience in close-up magic should be able to learn from the explanations. I’m surprised that Real World Magic contains no bibliography or suggested reading list. Considering how thorough Mr. MacGregor is in discussing his topics, a bibliography would have been useful for the student who wanted to expand his resources. I cannot impress upon you how important it is to prepare yourself properly. When you step outside of your circle of friends you represent all of magic. We are all judged by what you do and the impression you leave with your audience. If you leave a negative impression, we all suffer. If you leave a positive impression then your spectators will be anxious to see more magic. If you have never considered what is required of you, Real World Magic will set you straight. The information is valuable, well organized, and well written. I definitely recommend it. Pros: A straightforward, no nonsense discussion of what it takes to do magic in real life venues. It may change your relationship to magic. Cons: The trick section is short on credits. No bibliography. Real World Magic by Jerry MacGregor. 5.5 x 8.5 hardcover. 304 pages. $39.95. Available from your favorite dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Fax: 916-853-9494. Email:
[email protected]. Web site: www.murphysmagicsupplies.com. Tricks of My Trade: The Magic of Doug Conn By Paul Cummins. 8.5 x 11 hardcover. 194 pages. $40 plus $5 p&h ($15 international). From FASDIU Enterprises, 3703 Foxcroft Road, Jacksonville, FL 32257. Email:
[email protected]. Web site: www.fasdiu.com. I don’t know Doug Conn, but I can make a couple of guesses about him. I would guess that he is a real world guy, who cares about his audiences and wants to give them an entertaining and baffling experience. I would also guess that he is a serious kick-‘em-inthe-head, mano-a-mano, close-up session kind of guy. Material that would play well in
both of the above situations can be found in Tricks of My Trade, a big book of Mr. Conn’s magic, written by Paul Cummins, himself a first-rate close-up worker. Tricks of My Trade features mostly card and coin magic, and the real world routines are suitable for table-to-table or strolling magic. A few routines require the use of a close-up mat, and a couple will require a fairly spacious working area. For the most part the plots are familiar: sandwich effects, Vernon’s “Triumph,” the Collectors effect, the classic Copper/Silver transposition, Elmsley’s “Diamond Cut Diamond,” Simon’s “Call to the Colors,” the venerable 21 Card Trick, Matrix, and the “Invisible Palm Aces” effect. As is the case with most close-up magic books published these days, creators return to plow familiar fields. Fortunately, Mr. Conn has managed to produce an interesting crop. Although you probably already know more than enough methods for the above effects, I think you’ll find Mr. Conn’s approaches intriguing. For me, the most interesting routines were those that strayed from the well-worn path. For example, a Matrix routine using Scrabble tiles, a coin vanish using your tie, a routine with cards and dice, some great gags with sponge bunnies, a very strange reverse-Matrix effect in which the pips of misprinted card move to the four corners of the card, and a card routine based on Gary Kurtz’s “Artistic License” in which two swatches of color blend into another color. I should mention two other items of note. “Chameleon Sandwich” is sandwich routine with a color-changing deck kicker. The psychology of this routine is very good, and there are enough casual and logically motivated “shows” to make the change of deck color very surprising. Best of all, the routine is not at all difficult to do. The other item I liked very much was “Doug’s Theory Section.” If brevity is the soul of wit, this is hilarious. Mr. Conn has encapsulated his approach to the performance of magic into three sentences, containing a total of six words. Most importantly, if you were to follow his advice you would be a very good performer indeed. The text is well written and accompanied by fabulous artwork by Tony Dunn. This is Paul Cummins’ first full-length book, and he is to be commended on the clarity of his writing. Paul has also tried to be as thorough as possible with his references, and has perhaps gone a bit overboard. Anybody who doesn’t know how to do the Cross-the-Cut Force, the Hindu Shuffle, or the Double-undercut probably shouldn’t be reading this book. I’m not sure that references to these moves are really necessary. On the other hand, all the references are grouped at the end of each trick, so if this type of historical information is of no interest to you, you can easily skip it. There is a very easy way to find out if the material in Tricks of My Trade will appeal to you. Mr. Conn has been very generous in publishing his material in MAGIC. Look up the following issues: May, October, 1994; May, June, 1996; February, 1997; October, 1999. Mr. Conn also had a one-man Parade in the Linking Ring, July, 1997. Tricks of My Trade is a worthwhile book, with routines that should appeal to the close-up performer of intermediate ability. I wish Mr. Conn (and others of his creative ability)
would finally abandon the overworked plots of the past thirty years and take a stroll down the road less traveled, but I seem to be in the minority. I enjoyed Tricks of My Trade, and I think you will, too. Pros: Well written, with excellent illustrations and thorough credits. Tricks of My Trade contains routines that will fool laymen and magicians. Cons: For the most part the routines are variations of the standard plots that we have seen so often in contemporary magic books. Destiny, Chance and Free Will & Other Presentations By Allan Zola Kronzek. 8.5 x 11, stapled. 29 pages. $20 postpaid. From Allan Kronzek, 43 Peninsula Drive, Sag Harbor, NY 11963. Fax: 725-3391. Email:
[email protected]. This little manuscript offers commercial presentations for four familiar close-up plots. “Playing With the Jokers” is a three-phase sandwich routine in which two jokers capture and eventually turn into two selected cards. This routine is well suited for strolling venues, because all the action happens in the hands. “Destiny, Chance and Free Will” is a presentation for Roberto Giobbi’s “The Luck Coin” from Card College Volume 1. (It should be noted that the progenitor of the Giobbi routine is Eddie Field’s “Dropsy Diddle.”) The third routine, “Hypnotizing Ben,” is a really funny presentation for the Kozlowski “$100 Bill Switch.” Not only is the presentation a hoot, but Mr. Kronzek has developed a logical reason why the bill should change twice. Finally, “Faxing the Visitor” is a presentation for Larry Jenning’s “The Visitor.” I liked Mr. Kronzek’s presentations very much. Even though only four routines are discussed, I think that there is practical material here for those who work in the real world. You will need to know basic card handling, and the bill switch is not explained, but none of the routines are technically demanding. (I should also mention that Mr. Kronzek has written a wonderful general public beginner’s magic book called The Secrets of Alkazar. It is well worth checking out.) Look Out World! By Andy Leviss. 8.5x 11, plastic comb bound. 26 pages. $15. From Andy Leviss, Look Out World!, 73 Stratford Road, East Brunswick, NJ 08816. Email:
[email protected]. Web site: http://members.aol.com/lookoutwld. Andy Leviss is 19 years old and lives in New Jersey. He has contributed routines to M-UM, SYZYGY, and The Magic SYMbol. The revised, second edition of his lecture notes, Look Out World!, contains some very fine, offbeat magic. Eight items are explained, including a word prediction using the game Hangman, two versions of Coins Across (one based on Alan Wakeling’s “Coins & Glass”), a method for causing a dollar bill to appear inside a sealed water bottle (the same method is used to cause a bottle of water to turn into a bottle of ice), a psychic spoon-bending routine (you must be seated to perform this), and a strange routine where a chewed piece of gum returns to its pristine, wrapped form.
In addition to the tricks, there are two very useful articles. The first offers suggestions for emergency fixes if props are broken, lost or stolen. (Some of this information comes from Michael Weber’s Lifesavers, a wonderful resource for impromptu magic.) The second article discusses the various types of microphones that a magician will encounter, and the pros and cons of each. Although these are lecture notes, the routines are well described and there are enough illustrations to make everything clear. There’s some clever stuff in Look Out World! I think you’ll enjoy it. (Andy wanted me to mention that anyone who owns the first edition of these notes can receive a free supplement by sending a SASE and a photocopy of the copyright page of the first edition to him.) Lasting Impressions Volumes 1-4 By Aldo Colombini. Four videotapes, $29.95 each, $110 for the set of four. Postage and handling free in US and Canada, overseas surface mail add $7.50. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Phone: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: http://allmagic.com/llpub. There are a substantial number of magicians (both hobbyists and pros) who are looking for material that is not too difficult to do but which packs a good punch. Fortunately for them, Aldo Colombini is around. Aldo has a knack for creating routines that won’t bust your chops but will amaze and entertain a lay audience. This is well demonstrated on the new four volume videotape series Lasting Impressions from L&L Publishing. The focus is on card magic, but there are also rope routines, a Cups and Balls routine, and some gags. Volume One provides a fine example of Aldo’s approach to card magic. The tape opens with a comedy card prediction that would play well in stand-up setting. Of particular interest are “Easy Going,” which is a very easy dual Cards-to-Pocket routine, and “PreDeck-Ability,” which is based on Simon Aronson’s “Shuffle-Bored” and features a funny kicker. Card routines from the other three videos that I found particularly worthwhile were “It’s a Small World” (a version of “Out of This World” that uses only half the pack), “Sherlock Holmes vs. Dr. Moriarty” (based on a Richard Vollmer routine), and “Four Cast” (which fooled me). If you’re looking for non-card material I would suggest you start with Volume 4 which features several rope routines and Aldo’s “Mama Mia Cups and Balls.” (This routine is different from others Aldo has presented on video. It uses three different colored small balls.) On Volume 2 you’ll find “Rope Puzzle” and “Tightrope,” a long routine incorporating fifteen effects. It is possible to end “Rope Puzzle” with a gag finish, but I would advise against it. I don’t think the laugh justifies exposing the method. Volume 3 contains a fine rope/card routine called “Meet Charlie.” Those of you thinking about
buying a snake basket type effect might hold off until you see what Aldo does with an ordinary piece of rope. It’s a very commercial routine. Each of the videotapes contains at least seven routines. (There is an error on the back cover of Volume 2. Three routines are not listed. They are all card routines: “Paramount,” “Dirty Dozen,” and “Twist and Scam.”) In addition to performing and explaining the routines, Aldo chats with Michael Ammar about his (Aldo’s) philosophy of magic. The production values of the videos are excellent. Fans of Aldo’s work will certainly want to add Lasting Impressions to their video collections. If you’re looking for radical new plots or knucklebusting sleights, you won’t find them here. But if you want routines that produce strong impact without using difficult sleight-of-hand, you will certainly want to check out Lasting Impressions. Pros: Practical, real world routines that pack a good punch while requiring minimal technical requirements. Cons: A little top heavy on card tricks. Extreme Close-Up By David Acer. $29.95 plus $3.75 p&h. From The Camirand Academy of Magic, P.O. Box 269, Stn A, Longueuil, Quebec, Canada J4H 3X6. Phone: 1-800-787-6026. Email:
[email protected]. Web site: www.camirandmagic.com. David Acer is a funny guy and a fine close-up magician. In previous columns I have commented favorably on his two books, Natural Selections I and II. Extreme Close-up features a potpourri of effects from these two books, plus some material from David’s new lecture notes. Card magic is featured, but my hunch is that the non-card items will be of most interest to real world magicians looking for unusual material. “Around the World in $80” uses Richard Sanders’ Double Bill Switch to produce a logical triple-change routine. In “Rink,” a borrowed finger ring links itself onto the arm of a borrowed pair of eyeglasses. “Quartermain” was originally marketed by Phil Matlin. Three quarters penetrate a deck of cards and drop into a glass. A special characteristic of Canadian quarters makes this routine possible. Performers in the United States will have to seek out these coins or use gaffed US quarters. “The President’s Message” allows you to magically produce a message on a dollar bill. The gaff is utilitarian and can easily be incorporated into other effects. “Madcap” is a version of David Roth’s “Karate Coin” that uses a bottle cap. The card magic on Extreme Close-up is practical but not particularly exciting. “Hofsinzer’s Delusion” is an approach to the famous “Hofsinzer Card Problem.” David’s handling has elements reminiscent of the Scarne “Two Card Transposition” and requires the use of a duplicate card. (Those looking for the most commercial version of this effect should track down Roy Walton’s “Grown Up Hofzinser,” which uses four jumbo cards.) “The Trinary Cut” is an in-the-hands false cut. It has its roots in Frank Thompson’s “F.T.
False Cut.” Unfortunately, there is a moment in “The Trinary Cut” where a packet of cards is quickly flipped face-up. This produces a flash of white that, to my eyes, sets off a flare that something tricky is going on. My favorite of the card routines is “Cheap Labor,” in which a stick figure man finds a selected card. Scattered throughout the videotape are comedy bits from various television shows. Some of these are laugh-out-loud funny. However, the production of the video is a little disappointing. Although the video was shot with broadcast quality equipment and the picture quality is quite good, no assisting spectators were used. It’s just David Acer standing at a table doing tricks. I think this does David and his material a great disservice. David is a very funny performer and eliminating an audience deprives us from seeing how the routines play in front of real people. David deserves better. If you are unfamiliar with David Acer’s material, Extreme Close-up would be a good introduction. Pros: A good introduction to David Acer’s material. The routines are practical and are designed for real world performance. Cons: No assisting spectators were used. This deprives us of seeing how these routines play in front of a real audience. Kenton Knepper’s Klose-up and Unpublished By Kenton Knepper. $29.95. Available from your favorite dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Fax: 916-853-9494. Email:
[email protected]. Web site: www.murphysmagicsupplies.com. Kenton Knepper is well known as the creator of the Wonder Words series. On this videotape he demonstrates and explains five close-up routines. Three of these are really offbeat, and are probably worth the price of admission. Before I discuss those routines, however, let’s talk about what’s not so great on this tape. Kenton Knepper’s Klose-up and Unpublished is a low budget, zero production value project. Kenton addresses this at the beginning of the tape, and makes no claims that the production values are any more than they are. While other low budget videos have appeared recently, the production quality of this video is really pretty bad. You will be able to understand what is going on, but the quality of the video image would have been improved if the room had been better lit. I found two of the routines on the video to be less than overwhelming – a sponge ball routine, and a card routine in which the deck behaves erratically. The sponge ball routine is a comedy of errors in which sponges constantly appear even though they placed in the pocket. The card routine owes much to Ed Marlo’s “The Trick Deck.” The deck is shown to have backs on both sides. Then faces appear on both sides. Then all the pips disappear. Then the deck vanishes.
Now let’s talk about the good stuff. Kenton discusses two methods for performing the Torn and Restored Card effect. One of the methods is almost identical to Ben Harris’s “Hoodwink!” (This was a case of independent invention.) Kenton has some clever touches that are not in the Harris routine and are worth considering. Kenton also offers another method that allows a signed card to be completely restored. I think this method is worth further study. Also discussed in this segment is a stratagem that allows you to hand out the restored card. Another very interesting routine involves a signed dollar bill. The bill is folded into eighths and then immediately vanishes. The magician opens his hand, revealing an aspirin tin. The tin is wrapped up with rubber bands. The bands are removed and the tin is opened. Inside the tin is the dollar bill, but it is encircled with rubber bands. This is a really clever idea. Finally, there is a routine in which a signed quarter gets sucked into a balloon. This looks great, and the trick looks really weird. The balloon must be ripped apart to free the quarter. (Kenton then goes on to restore the balloon, but I would suggest against this.) I’m enthusiastic enough about the three routines I like to recommend this video to you on the strength of them. You might like the other routines as well (they apparently go over well at Kenton’s lectures) but they are not to my taste. Be aware, however, that the production values are crude. And that’s my final answer. Stage Hypnosis Training From McFall Publishing, Inc. Home curriculum: $477. From McFall Publishing, 409 N. Washington Street, Bismark, ND 58501. Email:
[email protected]. Web site: www.hypnosisconnection.com. It is not unusual for magicians to add stage hypnosis to their repertoires. A stage hypnosis act packs very small, plays very big, and is a very popular form of entertainment, especially on college campuses. In addition, a stage hypnotist can charge substantially more for his show than a stand-up magician can. It is possible to learn stage hypnosis by studying some books on the subject. In fact, I have a friend who booked three hyp shows, then went out and bought Ormond McGill’s books, studied them, and did the shows without any further training. But I think the smartest approach is to take some training with someone who is an experienced hypnotist. Scott McFall is a clinical hypnotist who offers a complete stage hypnosis course. Mr. McFall sent along his course materials, and I was impressed with how thoroughly he covers the subject. Mr. McFall begins with a discussion of the history of hypnosis, followed by the characteristics that define a good hypnotist. He then outlines the stage hypnosis system: the Pretalk, the Call for Volunteers, Orientation of Volunteers, the Induction of Hypnosis, Phenomena to Prove Hypnosis, Group Subject Routines, Individual Subject Routines,
and Post Hypnotic Routines. Each of these categories is covered in detail. In addition, there are discussions of stage safety, heckler and audience control, running gags, necessary equipment, and tips on booking the act. Mr. McFall also touches on information of interest to those entering the field of clinical hypnosis. In listening to the audiotapes of Mr. McFall’s seminars, I was impressed with his professionalism. I was also impressed with his respect and concern for his hypnosis volunteers. In Las Vegas there are a lot of sleazy hypnosis shows (and a lot of sleazy other things as well). Mr. McFall’s goal is for the subjects to feel positive about their participation, and for the show to be funny without being degrading. In this he succeeds. I have spoken to several people who have taken Mr. McFall’s seminars and all were enthusiastic about them. A home study program is offered, and seminars are held around the country. (There is usually at least one each year in Las Vegas.) If you are interested in entering this field, I would recommend Scott McFall’s course. I suggest you visit his web site (listed above) for further information. Intercept Gospell By Harvey A. Berg. Intercept: 8.5 x 11, 25 pages. $20. Gospell: 8.5 x 11, 18 pages. $20. From Charlie’s Electronic Magic Store, 1498-M Reistertown Road, #337, Baltimore, MD 21208. Phone: 1-888-622-7376. Email:
[email protected]. Web site: www.magicstore.net. “Out of Sight – Out of Mind” is one Dai Vernon’s cleverest creations. It is not well known, and I rarely see it performed. My guess is that the small group who does use it learned it from Vernon or someone who hung out with Vernon. The trick was explained in a scant two pages in Dai Vernon’s More Inner Secrets of Card Magic. There were no illustrations and little presentational advice was offered. An alternative handling, “Out of Sight – Out of Mind II,” was published in The Vernon Chronicles Volume 2. The interesting aspect of this variation is a riffle shuffle procedure that effectively positions the required stock of cards. A few years ago, Harvey A. Berg of New York overheard two magicians discussing the Vernon effect. He went home and worked out a handling and a presentation, and later learned the Vernon method from a videotape by Michael Ammar. (As far as research goes, I consider this unacceptable. It would seem to me that if you’re tracking down a Vernon effect, the place to start would be the various Vernon texts. Considering that Mr. Berg counts Dr. Ken Krenzel as one of his associates, I’m surprised he did not immediately go to the above mentioned books.) The effect is this: The spectator removes a group of cards from various locations in the deck. He fans these cards and merely thinks of one of them. The magician shuffles the cards back into the deck. The deck is spread face-up from hand to hand, and the spectator is merely asked to determine that his card is still in the deck. A couple of mostly innocent questions are asked. The magician immediately reveals the mentally selected card.
Mr. Berg has slightly simplified the Vernon handling, and has added a “fishing” technique (pioneered by Maven, Farmer, and Aronson) to determine the card. While Mr. Berg’s presentation is a worthwhile addition, I’m not sure that the “fishing” technique is an improvement over the original Vernon “mental stop” revelation. At $20 “Intercept” is a rather pricey manuscript, especially when you consider that for $15 more you could purchase the Vernon Inner Secret Trilogy and get “Out of Sight – Out of Mind” and whole lot more. “Gospell” is a routine that allows you to produce a freely named card in an effective way. A deck of cards is removed from its case and briefly spread face-up between the hands. The magician comments that the cards are in random order, except for one card – the card that the spectator will name in just a moment. The deck is returned to the card case. The spectator names any card in the deck. The magician removes the deck from the case and spells the name of the card. The named card shows up at the end of the spelling. (In the case of seven specific cards, the revelation is even more dramatic.) Stacking a deck of cards so any card can be spelled to is not a new idea. Stewart James was the godfather of this type of effect. In order to arrive successfully at all the cards, Mr. Berg uses four different methods of spelling. He also incorporates the idea of either using the last card of the spell or the card that falls after the spell is completed. Some cards are spelled with the deck face-up, and in some cases, it is necessary to cut the deck before spelling the name of the card. (To me, having to cut the deck is very weak. Fortunately, Mr. Berg offers an excellent suggestion from Ken Krenzel that eliminates the overt cutting procedure.) If this seems like a lot to remember, you’re right. Each card has its own disclosure procedure. The good news is that no memory work is required; Mr. Berg has coded all the necessary procedures into a small chart that can be glued to the back of the card case. There’s nothing wrong with this type of effect, although I think that turning the deck face-up and spelling to the card is not particularly dramatic or logical. “Gospell” is thoroughly explained, and comes with the stack on a small cue sheet and the necessary chart that codes the procedures. The only question is whether you think the effect is strong enough to warrant carrying around a deck just to do this one trick. (For those willing to put in a little work, I can offer a one sentence, completely practical method. Memorize a deck and learn to do an invisible pass.) Pharoah’s Magic Casino Cards By Barry Govan and Pat-Trick. $20 postpaid. From Barry Govan, P.O. Box 64, Sebastopol, Vic., 3356 Australia. Email:
[email protected]. (Before Max Maven has a chance to yell at me for misspelling “Pharaoh”, I’ll simply say that “Pharoah” is how it’s spelled on the cards and throughout the instructions.)
Barry Govan and Pat-Trick have expanded on Danny Archer’s “Lucky Lotto” cards to produce a “scratch-off” lotto card that allows you to do fifteen different effects. There are six different scratch-off boxes on the face of the card (which measures 2.5 x 3 inches). The upper three boxes contain a 14 of Diamonds, a 3 ½ of Clubs, and a “Tree of Hearts.” The next two long boxes contain “Your Name” and “Correct.” The large box at the bottom contains eight small cards, three Aces of Clubs and five other cards. The other printing on the face and the back of the card allows you to perform other effects. There are also brief instructions on the back of the card. There are various ways you could use this card. You could perform any (or all) of the effects possible and leave the card as a souvenir. You could also simply give the card away and mention the effects on the back. Because of the cost of these cards (you get 25 for $20) you’re not going to want to hand these out to everyone you meet. Barry suggests (and I agree) that you only give one away to those spectators who are prime prospects for future bookings. The card will allow the prospect to do some simple tricks for his friends, and in the process will remember you as well. These cards can also be personalized with your information. Contact Barry for details. I think the “Pharoah’s Magic Casino Cards” are a clever give-away. They’re not cheap, but used correctly they could generate bookings for you. (By the way, in his discussion of the 3 ½ of Clubs trick, Mr. Govan perpetuates the misconception that Milt Kort invented the trick called “MiKo.” The trick is named for Mr. Kort, but he did not invent it.) The Universal Thimble Set By Jeff Scanlon. $29.95 plus $2 p&h. From Jeff Scanlon, 2096 Algonquin Road, #3B, Mount Prospect, IL 60065. Fax: 847-364-1148 A few months ago I reviewed Jeff McBride’s new manipulation videos. On those videos thimble manipulation received a thorough treatment. If you’ve been looking for good manipulation thimbles I would suggest you check out this 11thimble set from Jeff Scanlon. You receive 8 red thimbles, one blue thimble, one yellow thimble, one green thimble, two thimble holders, and an instruction book. The thimbles are made of wood and are about 1 1/16 inches tall, and the diameter of the opening is about ¾ of an inch. The inside of a thimble is rough, which allows it to cling to your finger, but the exterior is a little slick, which cause problems depending on the dryness of your hands. You should also know that these thimbles will not stack. The thimble holders are of a simple design and may or may not fit the size of your hand. The instruction book contains some simple sleights, an eight-thimble production routine, and some resources for other thimble information. Bringing Origami to Life By John Montroll. 8.5 x11, softcover. 120 pages. $10.95. ISBN 0-486-40714-4. Available from most bookstores. From Dover Publications, Inc.
It’s been a while since I’ve mentioned any origami books in this column. Bringing Origami to Life is John Montroll’s new book from Dover Publications. Twenty-five models are explained, including a dog, a cat, a rabbit (all of these are really charming), a wonderful howling coyote, an African elephant, a hippo, and a horse with a rider. While Montroll has explored these subjects before, his intent here is to “emphasize detail while requiring fewer steps.” Many of the models incorporate a seamless, closed back design, which is esthetically pleasing and provides greater stability. In addition, there is a thorough discussion of “wet-folding,” a process that allows for more artistic shaping of the model. I should also mention that most of these models are less complex than standard Montroll fare. Clarification Department In my review of The Magic Show by Mark Setteducati and Anne Benkovitz (February, 2000), I mentioned seeing the front cover, color-changing spheres illusion on a candy dispenser (Houdini’s Magic Dial Candy). What I failed to make clear is that Mr. Setteducati is the inventor of this dandy little illusion, which he licensed to the candy manufacturers. The fact that the candy dispenser is molded plastic makes for precision construction and an excellent illusion. It’s Not Magic, But… In our efforts to master our craft, our greatest enemy is often our own brains. Our practice sessions are sabotaged by our own egos. As Kenny Warner states, “[The ego] guards the door to our inner creativity, tenaciously filtering and blocking any natural, unprocessed ideas. It fills us with the desire for the A-1 certified hipness, the cool sounds, the clever lines. It debilitates us with fear. When we’re practicing, it chides, ‘Come on! You’ve got to hurry! You’ve got to improve by yesterday.’” In his book Effortless Mastery, Mr. Warner discusses approaches to practicing that are not ego driven. By focusing on the moment and enjoying the process, we allow our hands, fingers, and bodies to do what needs to be done, without the constant stress of our brains pointing out our inadequacies. Effortless Mastery is geared toward musicians (Mr. Warner is a monster jazz pianist), but with a little thought his advice can be applied by magicians. There is a spiritual aspect to this advice that some may not care for. But it is a non-denominational spirituality that focuses on the creative abilities of human beings. I have found Mr. Warner’s advice to be enormously helpful. You can find more information on Effortless Mastery on the Jamey Aebersold Jazz website (www.jajazz.com). If you can track down a copy of the March 2000 issue of Keyboard magazine you can read a synopsis of Mr. Warner’s approach.
May 2000 Re: Location The staff of Marketplace (that would be me) is in the process of moving. Everything is packed into boxes, including the magic library. For that reason, references are a little more vague than usual this month. If you already have my phone number, it will be unchanged. If you need to mail something to me personally, the address is 9088 W. Rochelle Ave., Las Vegas, NV 89147. If you need to email me, do so at
[email protected]. With any luck, next month life will proceed normally. The Magic of Dominique Duvivier Volumes 1-3 By Dominique Duvivier. Three videotapes, each $29.95. All three for $84.95. Postage and handling is free for US and Canada; overseas air add $7.50 per video. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Phone: 1-800-8768437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Dominique Duvivier is a unique and idiosyncratic performer. He is an imposing figure – a big man with a distinguished gray beard and long hair tied back in a ponytail. His magic, however, is often whimsical, presenting an interesting contrast to his apparently serious mien. Mr. Duvivier toured the United States last year and performed and lectured at the Convention at the Capitol in Sacramento, California. While in Sacramento he shot The Magic of Dominique Duvivier, a three volume video series from Michael Maxwell’s A-1MagicalMedia. The emphasis is on card magic, although there are a few coin routines, some gags, and an unusual Cups and Balls routine. I found several of the items to be very good, others were not so good, and a few items I found to be incomprehensible. Let’s take a look. If you can only buy one tape of the series, I would suggest you start with Volume One. The opening routine, “The Quickest Card Trick in the World,” is a very practical and commercial card to pocket routine. It is not difficult to do, and would be excellent in a strolling venue (especially cocktail parties where the audience is standing). Two other routines on this tape are interesting and offbeat. “The Chameleon Card” is a Wild Card/Universal Card routine taken to the nth degree. “The Duvivier Coin Box” routine has a remarkable kicker in which the coin box becomes a solid piece of brass. If you don’t know how this works, it’s going to fool you. Unfortunately, each of these two routines requires special props, so you are not going to be able to perform them simply by watching the video. A final choice tidbit of Volume One is the Duvivier False Cut, a simple but very deceptive move. The two items I found most worthwhile on Volume Two were Mr. Duvivier’s “Impromptu Wildcard,” (which uses no gaffs), and his handling of the Zarrow shuffle.
The latter item looks quite good, and if you were to combine Duvivier’s work with Bill Malone’s suggestions from his Sam the Bellhop tape, you’d be able to develop a very deceptive false shuffle. Volume Three begins with a very funny Cut and Restored Rope gag. This gag is not original with Mr. Duvivier, and I have seen many other performers use it. Although this gag now seems to be in the public domain, it was invented by Billy McComb, who never actually published the routine. Billy shared the routine with a few friends, who shared it with a few friends, who performed it at magic conventions, and over time it simply became an anonymous standard bit of business. It’s probably too late to ask you all to stop using it, but at least now you know who to thank. Two other routines on this tape are worthy of your attention: “Up & Down,” a handling of “Triumph” with some subtle and useful touches; and the “Duvivier Cups and Balls,” a routine Mr. Duvivier performs in tandem with his daughter Alexandra. This routine has an “Anything You Can Do I Can Do Better” feel to it, and there is a very surprising final production at the end. (At this point I should mention that Mr. Duvivier performs and explains all the routines in French. Alexandra translates into English, and is to be applauded for her excellent language skills. Because of the need for translation, the performances of the routines are slower paced than would be the case if Mr. Duvivier were performing for an audience in France.) Mr. Duvivier tackles several standard card plots on these videos, and I find these routines to be less than satisfactory. For example, Mr. Duvivier’s handling of the “Reverse Ace Assembly” incorporates a bluff at the exact moment when the spectators want to see all four aces in the leader pile. Handlings for the “Progressive Ace Assembly,” “Cards to Pocket” (a variation of a Jerry Sadowitz effect), and “Toulagli” (an asymmetrical transposition) are less effective and convincing than methods already in print. Finally, there are several routines on these videos that are so idiosyncratic that I fail to see the point in performing them. Primary among these is “Running Gag,” a long routine in which throwing a deck of cards in your lap is the effect. (Now, I grant you that I have seen lots of magicians win magic competitions by doing this very thing, but in those cases it was unintentional.) Mr. Duvivier explains his theory behind this routine, but I honestly couldn’t follow the reasoning. Of primary importance for you is the fact that this routine requires the performer to be seated, a luxurious condition few of us encounter in the real world. “New Wave All Backs” is a remarkably confusing effect with a deck of red/blue double-backers. “Blank Royale” involves four blue-backed blank cards that change into two blue and two red, back to four blue, into four red, then into five blue, then into three blue and two red. It is unconvincing and unimpressive. So, here’s what we’ve got. There is some worthwhile material on The Magic of Dominique Duvivier, but it’s scattered over three tapes. If you’re intrigued by what you’ve read, start with Volume One. If you like what you see, you may want to invest in the other two volumes.
Pros: Some clever material, including Duvivier’s signature trick “The Chameleon Card,” and “The Duvivier Coin Box.” Cons: The few really worthwhile items are scattered over the three videos. You’ll have to buy special props if you want to do the two routines mentioned above. Harry Lorayne Card Videos, Volumes 5-7 By Harry Lorayne. Three videos, each $29.95. All three for $84.95 postpaid in US and Canada. From L&L Publishing, P.O. Box100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. Harry Lorayne knows a lot of card tricks. The first four volumes of this series (whose actual title is Harry Lorayne is probably the BEST teacher of, entertainer with, close-up card magic EVER!) contained some fine material drawn from Mr. Lorayne’s books and from Apocalypse magazine. Mr. Lorayne recorded so much material that more than four videos were required to present it all. Volumes 5-7 feature the same format as before: Mr. Lorayne performs in front of an enthusiastic audience and then thoroughly explains each effect. Sometimes the explanations trigger the memory of other effects, and these are performed (sans audience) and explained as well. One happy addition to these three videos is the inclusion of explicit credits, given on the back of the video box and at the end of each tape. A question that may arise is this: was all the good stuff presented on the first four volumes leaving the less stellar routines for these tapes? Absolutely not. Each of these videos contains several classic routines from the Lorayne repertoire. Volume Five features “Ear It Is,” a great impromptu effect using a pencil, “Aces and Kings,” a spelling effect with a kicker (and a plot which Mr. Lorayne has explored many times), “Going Fishing,” a very flourishy way to produce a card,” and “Spell All,” a routine with an unintuitive method that would be appropriate for casual performances. Volume Six contains some great routines, including Mr. Lorayne’s version of the classic “Ten Card Poker Deal,” “Out of This Universe,” “The Lazy Man’s Card Trick,” “Snappy Flush,” and “Apex Aces.” Mr. Lorayne’s card books were some of the first I purchased when I became interested in close-up magic, and three of the above four routines have been in my repertoire since I was 13 years old. I still perform them, and the reaction they get leaves nothing to be desired. Finally, on Volume Seven you’ll find “Monte Plus Plus” which features Trevor Lewis’ great Monte move, and one of the great routines in card magic, “The Card Shark & The Four Gamblers.” This routine is an extension of Dai Vernon’s “Cutting the Aces.” If you want people to believe that you’re the greatest card handler who’s ever lived, learn this routine. Those of you who purchased the first four videos in this series will certainly want to add these three to your collection. If you have studied Mr. Lorayne’s books, you may not
need these tapes, but it is always fun watching a creator perform his effects, and Mr. Lorayne’s performance persona is distinctive and unique. The production values are up to the usual L&L standards. If you like card tricks, you’ll like these videos. Pros: Some great card tricks, well taught. Cons: If you don’t like card tricks, these aren’t the tapes for you. Very, Very Close Volumes 5 – 7 By Michael Close. Three videos, each $29.95. All three for $84.95 postpaid in US and Canada. From L&L Publishing, P.O. Box100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. Also available from Michael Close at www.bigfoot.com/~magicdude. Guest Review By Gordon Bean I’m sure Gordon Bean is beginning to feel like a character in an Al Pacino movie – just when he thought he was out, he got dragged back in again. After a year in the heat as the video reviewer for Genii magazine, Gordon stepped down to enjoy a cooler climate. He has graciously assented to step back into the kitchen and review these new videos from L&L Publishing, and I thank him for doing so. Michael Close is one of the few magicians who could get me to feed another ugly black box into my VCR. The first four volumes of this series were the first tapes I reviewed for Genii, and when Michael asked if I would guest-review the final three volumes, I welcomed the chance to complete the circle. (Though, ironically, one of the reasons I stopped reviewing was to forestall any appearance of “you pat my back, and I’ll pat yours” arising the marketing of my own effects. Then again, how else am I going to get anyone to buy my lame new packet trick?) If those first four volumes focus on the Close approach to strategizing deception, this final trio shows where that approach came from – the restaurant venue – and how it works there. Michael is among the most academic of all pros, and when he opens the tapes with an entreaty to use them alongside his Workers series of books, it isn’t an empty commercial pitch. He makes a point of how much he studied and worked before he even considered working in a restaurant, and this serious respect for the rigors of the craft is a welcome change from the empty expectations of the Magic-is-Easy school. Michael’s background as a working musician comes through here, as does his experience as a teacher. His message: to be good takes work, but it’s the only way you’ll survive if you want to make a living at this. Volume Five: After opening with a short discussion with Michael Ammar and Eric Mead about the importance of making the experience of fooling and being fooled a shared – rather than divisive – experience, Michael performs and explains “Dr. Strangetrick,” a consummate handling of the “Card Warp” plot, complete with his marvelous restoration kicker. (Restorations being a bit more motivated when there’s a reason for tearing up the card in the first place.) Following this is a modernized handling of Stewart Judah’s
“Straw and Shoelace,” which should once again become a standard impromptu item. Working on ideas from Marlo and Maven, “A Trick for O’Brien” is the sort of personalized card miracle that builds reputations. Next up, “The Imagination Tester” is pure Close: an offbeat effect (an origami figure becoming real), worked out to the last detail. “Tut Tut,” “Myopia,” and “The Birthday Book” are, finally, three very clever uses of the Simon Aronson stacked deck. Volume Six: “Erma La Force” is yet another killer card closer, and the child-targeted “Tamariz Rabbits” provides a nice change of pace. “The Unreality Machine” takes the Close penchant for a perfectly routined oddity to the extreme: a pea can somehow helps turn an examined match folder into a folded piece of paper. The finishing trio here all involve misdirection and objects appearing on the performer’s face: “Close’s Clones” is the marketed item involving Wild Card clowns and the performer’s nose, “Down for the Count” is a paddle trick involving the performer’s mouth, and the self-explanatory “The Card, the Forehead and the Salt Shaker” is nothing less than Close’s signature routine, constituting, as he says, “a post-graduate course in controlling audience attention.” You want screams? Do these routines. Volume Seven: “Red Blue Mama Fooler,” a two-deck mule kick, took me in (and I had read it at least twice before). “The Wishing Trick” is a great way to break in one’s mastery of a memorized deck. A definite highlight of all three tapes, Michael’s handling for the “Haunted Deck” uses a novelty prop to great effect. “Reverse Logic” is a strong four-part routine of card reversals, “The 26 Cent Trick” works off an original and effective coin plot, and “Flying Home” conveys cards to your pocket using an array of very clever moves and touches that mark Close as one of our top card workers. I can’t imagine any performer of close-up magic who wouldn’t enjoy and benefit from Very, Very Close Volumes 5-7. Pros: If you want to become one (a pro, that is), get these videos. Cons: No weak material to let me look objective. Knock ‘Em Dead By Paul Wilson. $29.95 Postage and handling is free for US and Canada; overseas air add $7.50 per video. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Phone: 1-800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. In every generation of magicians there are a handful that stand head-and-shoulders above their colleagues. R. Paul Wilson of Scotland is in that rarified group. Paul combines technique of the highest caliber with a classical creative approach to produce diabolical routines that appear to be without explanation. Paul has done a few lectures in the United States and has made a couple of convention appearances. For most of you, Knock ‘Em Dead: The Close-up Magic of Paul Wilson will be your first chance to see this talented young man in action.
This videotape focuses on close-up magic, with the emphasis on card magic, although there are two coin routines, a spoon bending routine, and a Moving Hole routine. Some of the material is not easy, but there are also routines that require little technical ability. The tape begins with “Crowded Coins,” Paul’s handling of Jonathan Townsend’s “Fingertip Coins Across.” In Paul’s routine three coins are produced from thin air, they travel from hand to hand (one at a time), and they subsequently vanish. Paul’s handling, while not easy, is substantially easier than previously published versions. (You can find “Crowded Coins” in the July 1999 issue of Genii, under the title “Scottish Fly.”) The other coin routine on the tape, “Coins to Purse,” is cleverly constructed and will probably fool you. Three coins are removed from a small coin purse. The coins vanish one at a time and end up back in the purse. Only three coins are used. The card routines include “Collector’s Day,” in which the four aces collect three selections while under a spectator’s hand, “Absolute Zero,” a self-working card location, “Hail Stones,” a spelling routine in which a rather difficult technique is put to good use, “Gypsy Monte,” a very commercial version of Three Card Monte, and “Think Stop & Emergence,” which features a spooky, dead-easy revelation. Paul also explains two very useful card techniques, the Consistent Control and the Underground Add-on. Card enthusiasts will immediately want to add these to their armaments of sleights. The final routine on the video is “Unholy Gathering,” a Matrix-type effect in which four holes move around. A card is selected and signed. Paul punches four holes in the card, one in each corner. Three of the holes are visibly moved to join the fourth hole. At the conclusion, all four holes are in the corner of the card and the signed card is returned to the spectator. Paul has taken a Michael Weber idea and combined it with a clever swindle to produce a very visual effect. I’m sure many of you are wondering if I’m going to replace any Moving Hole tricks in my repertoire with Paul’s trick. No. There are three aspects of Paul’s routine I don’t care for: the deck stays in play the entire time, the signed face of the card is away from the spectators during the moving of the holes, and you have to do a switch before you can hand out the card. However, on the plus side, Paul’s routine places less demands on the performer than other such routines, and for that reason I think that “Unholy Gathering” will become a popular routine for the average close-up worker. The production values of Knock ‘Em Dead are generally good, however there are a few occasions when none of the cameras is able to catch a good shot of what’s going on. An overhead camera shot would have been a big help. I’m also not sure why Michael Maxwell needed to co-host the explanation part of the video. Having spent time with Paul and watched him lecture, I know that he is capable of explaining his material clearly and concisely. I found many of Mr. Maxwell’s comments to be unhelpful and disruptive to the flow of the explanation. This is a terrific video, full of practical (and sometimes challenging) magic. If you are a close-up worker who has above average technical ability, you’ll want Knock ‘Em Dead in your video library. Pros: Top-notch close-routines from one of the best young magicians in the world.
Cons: None, other than the lack of a few overhead shots and explanatory segments that suffer from too many cooks. Routines Quartet By Guy Hollingworth. Routines is $35 plus $5 p&h to the US ($3 within the UK). Quartet is $20 plus $2 p&h to the US (postage free in the UK). International money orders may be sent to Magic Management, Denmark Road Studios, 117 Denmark Road, London, SE5 9LB, England. You can order by credit card at Guy’s web site at www.guyhollingworth.com. Charming and dapper Guy Hollingworth is back, and he has two new products sure to delight card enthusiasts. For those of you who came in late, Guy is the creator of “The Reformation,” a card trick that spawned many imitators and generated tons of correspondence on the Internet. Guy is also the author of Drawing Room Deceptions, one of the best books of the last decade. Guy’s previous video release, The London Collection, utilized a clever format – the card tricks were interspersed with a walking tour of London. Shot in black-and-white with stylish photography, the video was a refreshing change from the normal fare offered in the magic marketplace. Guy’s new videotape, Routines, uses the same travelogue format, but this time the theme is “Here’s a Day in the Life of Guy Hollingworth.” Guy takes us on a tour of locales that have been important in his life, including his home, his high school, and his college, and along the way he performs and explains some excellent card magic. Many of the performances were videotaped during actual shows, giving the viewer a chance to see how this material plays for real people in real venues. The routines offered in Routines are less technically challenging than the material in The London Collection, but there are a few that will require some serious practice. Foremost among these is a terrific gambling demonstration that ends with the entire deck returning to new deck order. If you want to convince laymen (or magicians) that you can do just about anything you want with a deck of cards, this is the routine for you. Also explained on this video are “An Ace Assembly,” which uses a common stationery item in a devious way, a version of “The Travelers” that requires more bluff than skill, and “The Cassandra Quandary,” an amazing prediction effect. For me, the highlight of the tape is “A Card at Any Number,” a parlor trick that completely took me in when I saw Guy perform it here in Las Vegas a few years ago. The effect is this: A spectator selects a card and signs it. The card is returned to the deck and the deck is fairly cut. A number between 1 and 52 is determined using several members of the audience. (This number is not forced in any way.) The magician counts down to the card at the selected number. (This count is completely fair.) The card at the counted number is revealed. It is the spectator’s signed card. Believe me, if you don’t know how this trick works you are going to get fooled. Best of all, very little technical facility is required.
Routines ends with a performance of “The Reformation,” but this effect is not explained. As I have mentioned previously in this column, Guy made a vow to the purchasers of the Reformation video that he would not release any further explanations of this trick on videotape. However, “The Reformation” is explained in Drawing Room Deceptions, and combining that source with the performance on the Routines video will certainly aid the learning process. This is a fine video, filled with great tricks and Guy’s usual panache. And there’s a hilarious out-take at the end. What more could you ask for? Recommended. Mr. Hollingworth also has another product worthy of your attention, a small manuscript titled Quartet. “Quartet” is actually the name of the gaffed card that is included with the manuscript. This gaffed card allows you to perform many different effects, including one that you have probably seen – the version of “Waving the Aces” that Guy performed on The World’s Greatest Magic. In this trick the four Kings turn over one at a time as the cards are held vertically, spread in the left hand. At the end of these reversals the four Kings suddenly turn into the four Aces. This is a remarkable and very deceptive routine, and the use of the Quartet card minimizes the technical demands. Guy applies the Quartet card to nine additional routines, including a version of the Reverse Ace Assembly, a handling for “Dr. Daley’s Last Trick,” and a couple of versions of Paul Harris’ “Reset.” All these routines feature clever constructions and will certainly spur card workers to further investigations. Quartet is well written, and 109 clear photographs accompany the text. If you like card magic you’ll have a lot of fun with this. Recommended. Pros: Superior card magic presented in an entertaining format. Cons: None. Magic Party Video By Mark Leveridge. $29.95 postpaid in US and Canada. From L&L Publishing, P.O. Box100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. Mark Leveridge does it all. He’s a magic dealer, close-up performer, stand-up magician, and children’s show entertainer. As part of his children’s show package, he offers clients something called the Magic Party. Basically, this in an all-inclusive afternoon’s entertainment, featuring games and prizes for the children in addition to the magic show. By offering several versions of the Magic Party, he can provide an entertainment package that fits the client’s budget. (And in many cases he can up-sell a simple magic show into one of the more expensive packages.) On Mark Leveridge’s Magic Party Video, Mr. Leveridge explains all aspects of the Magic Party. This video is a whopping 2 1/2 hours long and features Mr. Leveridge
performing in front of a group of children and then explaining the material in a solo setting. (As an aside, I must mention that these are the best-behaved children I have ever seen.) The tape begins with a discussion of the type of table to use. Mr. Leveridge prefers a rollon table and explains why. He then explains how he establishes control of his audience and how he learns all the children’s names. Following this are explanations of lots of games, activities, and magic routines. Some games require the construction of a few props, but these are reusable. The magic is very simple and direct, and I would imagine that those of you who do kid shows will find several bits that you’ll want to add to your repertoires. Near the end of the video Mr. Leveridge talks about how to book your show, how to sell yourself, and how to negotiate your fee. The business end of magic is always tough (and not too much fun), and Mr. Leveridge offers practical and useful advice. If you do kid’s shows, Mark Leveridge’s Magic Party Video is a valuable resource. The ideas offered will allow you to broaden your markets and increase your fees. Recommended. Pros: Practical and useful ideas for the kid’s show entertainer. Cons: None. Getting Serious…Or What? By Thomas Krantz. $30 plus $8 p&h. From Pegani, Box 218, 8700 Horsens, Denmark. Fax: 45-7562-0488. Email:
[email protected]. Web site: www.pegani.dk Thomas Kranz is a professional magician from Sweden who now makes his home in Denmark. The new video Getting Serious…Or What? contains five table-hopping routines and three stand-up routines from his professional repertoire. The table-hopping routines include a version of Matrix with a jumbo coin kicker, a repeat card to pocket routine, a handling for Coins Across, a three card revelation, and an interesting routine in which the entire deck (with the exception of the selected card) vanishes in a burst of fire. The stand-up routines include a One Coin routine, a version of David Roth’s “Karate Coin,” and a handling for “Spellbound.” I’m at a bit of a loss as to what to say about this tape. Mr. Krantz has developed a few nice touches on these routines. For example, there is an interesting ploy to divert attention away from a very dirty hand during the Matrix routine. He has also added an interesting presentational plot for the repeat card to pocket routine. Unfortunately, the handlings for these routines seem very familiar and unexciting. I see nothing new in the Matrix routine, the repeat card to pocket construction (combining the Francis Carlyle “Homing Card” with David Williamson’s “51 Cards to Pocket,”) has been in print before, and the other routines have little to distinguish them from that which has been published so many times
before. An exception is “Walking on Fire,” the trick where the deck vanishes in flames. This is novel and effective. I’m sure that Mr. Krantz puts these routines to good use in his professional work, and if you are a newcomer to close-up magic you could certainly find these routines to be practical and fun. But if you have any experience in this field and have studied the literature, I’m sure you will already have routines in your repertoire that are as effective as the ones presented here. Punishment By Pat-Trick. $30 plus $5 p&h. International money orders to Maskelyne & Devant Pty Ltd, 23 Whitton Parade Coburg, Victoria Australia 3058. Credit card order via email:
[email protected]. Here’s another video that features a professional performing and explaining routines from his working repertoire. Pat-Trick is an Irishman living in Australia. On Punishment he performs and explains five close-up routines and gives us a little tour of the sights of Melbourne, Australia. The most interesting item on the video is the first routine, “Cardwatch.” The magician removes 10 or 12 cards from the pack. A spectator thinks of one of these cards. One by one, the cards are turned face up, and then they are placed face down on the spectator’s left hand. The challenge is for the spectator to place his hand on the thought-of card before the magician can take it away. The spectator traps his card between his hands. All the cards are examined; the spectator’s card has vanished. It is found in a folded condition underneath the spectator’s watch. This is a very effective routine that would play great in a strolling venue. It combines a Paul Harris idea with the idea of loading an object under the spectator’s watch. (I’m unsure who gets credit for this idea. I know that Steve Bedwell has a routine where he loads a card under his own watch, and Mark Sicher had a routine where a coin goes under a spectator’s watch, but I don’t know who to credit with the card under spectator’s watch idea. Pat-Trick does not give a credit for this idea.) The other routines on this video, unfortunately, are less exciting. There is a Single Cup and Ball routine, a card routine that combines a Jay Sankey switch with Darwin Ortiz’s “Dream Card,” a coin routine that combines the purse frame with Roth’s Wild Coin concept, and a three card routine called “2 Wrongs Don’t Make a Right.” This latter trick is based on the concept of “Let’s see how much mileage we can get out of Double Lifts and the Christ/Annemann Alignment Move.” It did absolutely nothing for me, and didn’t do much more for the two spectators who participate on the video. Special cards are required, and should you want to try it out for yourself, you can get them for $10 plus $2 for postage and handling from the address listed above. If the Card Under Spectator’s Watch idea appeals to you, Punishment may be worth its $30 price tag. The catch is this: if you have the skill to perform that routine, the other routines on the tape will probably be of little interest. The routines are of average difficulty, so they may be of value to avid newcomers.
The Professor’s Rope Symphony By Joachim Solberg. $20 plus $8 p&h. From Pegani, Box 218, 8700 Horsens, Denmark. Fax: 45-7562-0488. Email:
[email protected]. Web site: www.pegani.dk Joachim Solberg is a very popular Danish magician. On this video he explains his handling for “The Professor’s Nightmare.” I’m sure that at this moment you’re thinking, “Do we need another handling for this trick?” In most cases I would say, “No,” but in this case Mr. Solberg has added some very nice moves to the standard arsenal of Equal/Unequal rope techniques. The routine is designed for tableside work, although with some thought it could be adapted to cocktail party conditions. At the beginning the ropes are of equal lengths. Then they suddenly become unequal. They return to their equal condition, and then become one long rope. Other magical things occur, and at the end of the routine the ropes are again three equal lengths. The video is well produced, and Mr. Solberg’s explanation is very clear. If you enjoy this classic plot you may find that The Professor’s Rope Symphony is exactly what you’re looking for. Even if you don’t learn Mr. Solberg’s entire routine, you may find some moves that you can incorporate into your own handling. Magiro’s Fork & Spoon Mystery From El Duco’s Magic. $50 plus $5 p&h. From El Duco’s Magic, Box 31052, 200 49 Malmo, Sweden. Fax: 46 40 217228. Email:
[email protected]. I know what you’re thinking – just what we need, another Fork & Spoon trick. This, however, is a good one. Magiro’s original trick came out a few years ago, and I thought it was a clever thing back then. Sweden’s El Duco has purchased the rights to this trick and is releasing it with all the necessary props and an instructional videotape featuring Joachim Solberg. The basic routine (demonstrated and explained on the video) is this: The magician shows a fork and a large soupspoon. The left hand holds the two utensils with the handles sticking out of the top of the fist. The spoon is removed and is placed into a pocket (Mr. Solberg uses a vest pocket, but a jacket breast pocket could also be used). The handle of the spoon never leaves the spectators’ sight. A magical gesture is made, and the left hand is opened. It now contains the spoon. The fork is removed from the pocket. Everything can be examined. In addition to this basic routine, Mr. Solberg offers a slightly more advanced routine that does not require the use of a pocket. However, it does require a small bit of palming. In trying out Mr. Solberg’s routine I discovered that there was one move that I could not accomplish, due to the size of my hands. Without too much thought I was able to devise a more comfortable handling that accomplished the same function, and you will probably be able to do the same thing.
I think this is an excellent routine for table-hoppers. It uses (apparently) ordinary objects, and everything can be examined at the end. At $50 the price is not cheap, but the props are well made and should last a long time, and the video instruction is very good. Show Off By Brian Tudor. $25 plus $3.50 p&h. From Brian Tudor, 1550 Ashwood Drive, Martinez, CA 94553 The name of this videotape says it all. Brian Tudor explains 10 flourishes, most of which are of the multiple-packet cut variety that are very popular these days. This is a single camera, amateur video quality production, and my guess is that you’ll be hitting the rewind and the slo-mo buttons quite a few times before you figure out everything that’s going on. The video ends with a strange rant in defense of flourishes. It should have been left on the cutting room floor. There’s no need for me to jump into the great flourish debate, I’ve stated my opinion on other occasions. You either like flourishes or you don’t. If you like flourishes, Show Off has some flashy ones. Rich Marotta’s Marked Prediction By Rich Marotta. $15. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Phone: 1-800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. It’s a pity when you find a trick that has the potential for being a practical, commercial routine but also has a fatal flaw. Such is the case with “Rich Marotta’s Marked Prediction,” a new release from A-1 MagicalMedia. The magician removes an envelope that he says contains a prediction. A spectator names any card in the deck. A jumbo card is removed from the envelope. When the card is turned around it is seen to be a 52-on-1 card, showing the indices of all 52 cards. (The indices are arranged in four rows, one for each suit, running ace through king as in a standard 52-on-1 card.) When the audience groans, the magician offers to be more specific. He takes out a marking pen, turns away from the audience, and apparently puts an “X” through one of the cards. Another spectator now names a card. The jumbo card is turned around. There is an X through the named card. “Marked Prediction” uses a clever idea that allows you to put the X through any of the cards. The handling is not difficult, but will require some practice so that it does not look like something sneaky is going on behind the card. But here’s the big flaw: This trick is designed as stand-up trick. The X is not going to pass inspection at close range. The X looks great when it is on top of a red index. But when the X is on top of a black index it blends in and cannot be clearly distinguished. If the spectators cannot immediately tell that there’s an X through the selected card, then there is no effect. A possible solution would be to use an “O” to apparently circle the predicted card. (Enough extra material is provided that you could construct an O.) Unfortunately, the indices are so tightly spaced on the 52-on-1 card that an O cannot cleanly circle an index. Ah, well.
I think that the method of “Marked Prediction” is a clever one and is capable of further exploration. But I fear that anyone purchasing this trick in its present state is going to be very disappointed. Pharoah’s Magic Casino Cards By Barry Govan and Pat-Trick. $20 postpaid. From Barry Govan, P.O. Box 64, Sebastopol, Vic., 3356 Australia. Email:
[email protected]. (Before Max Maven has a chance to yell at me for misspelling “Pharaoh”, I’ll simply say that “Pharoah” is how it’s spelled on the cards and throughout the instructions.) Barry Govan and Pat-Trick have expanded on Danny Archer’s “Lucky Lotto” cards to produce a “scratch-off” lotto card that allows you to do fifteen different effects. There are six different scratch-off boxes on the face of the card (which measures 2.5 x 3 inches). The upper three boxes contain a 14 of Diamonds, a 3 ½ of Clubs, and a “Tree of Hearts.” The next two long boxes contain “Your Name” and “Correct.” The large box at the bottom contains eight small cards, three Aces of Clubs and five other cards. The other printing on the face and the back of the card allows you to perform other effects. There are also brief instructions on the back of the card. There are various ways you could use this card. You could perform any (or all) of the effects possible and leave the card as a souvenir. You could also simply give the card away and mention the effects on the back. Because of the cost of these cards (you get 25 for $20) you’re not going to want to hand these out to everyone you meet. Barry suggests (and I agree) that you only give one away to those spectators who are prime prospects for future bookings. The card will allow the prospect to do some simple tricks for his friends, and in the process will remember you as well. These cards can also be personalized with your information. Contact Barry for details. I think the “Pharoah’s Magic Casino Cards” are a clever give-away. They’re not cheap, but used correctly they could generate bookings for you. (By the way, in his discussion of the 3 ½ of Clubs trick, Mr. Govan perpetuates the misconception that Milt Kort invented the trick called “MiKo.” The trick is named for Mr. Kort, but he did not invent it.) It’s Not Magic, But… If you’re looking to spruce up your fliers, posters, or business cards you might want to check out Fonts from the Magic Castle. These 13 fonts are available in both Macintosh and PC formats and are easily installable. These fonts are fanciful and fun and are designed to be used as bold headline text, rather than body text. I have been using them mostly for ransom notes. (That is, notes I send to Tom Ransom.)
June 2000 He Asked if I Liked Card Tricks… Magicians love card tricks. Each month dozens of them appear in magazines, books, videos, and online. I’m sure that 99% of these tricks are only ever performed for an audience of one – the magician who’s holding the cards. That’s okay, however, because card tricks are like tinker toys, we amuse ourselves by playing with them, seeking new arrangements, varying the moves, constantly seeking the perfect trick. Part of this month’s column was written on Pit Hartling’s laptop computer in the very small village of Steineberg, Germany. I was giving some workshops for young German magicians, and the conference was being held in a youth hostel in Steineberg. It was exactly like going to summer camp. My roommate was Eric Anderson, the talented street magician/corporate performer from Georgia. He was barely able to fit himself into one of the small beds in the room. Eric lectured on a Saturday evening. As I sat in the audience, jet lag overwhelmed me; I couldn’t keep my eyes open. So, at 8:45 I surreptitiously left the lecture room, returned to my room, and immediately fell asleep. I awoke at 2 in the morning. Eric hadn’t returned, so I dressed and walked over to the lecture room. Almost everyone was still awake, gathered around tables doing card tricks. I watched for about an hour and then went back to bed. The session continued till dawn. These marathon card trick sessions happened every night of the conference. We do love our card tricks. This month’s Marketplace features lots of card tricks, most of which are the familiar, friendly tricks we’ve come to expect. One book features material that is not so comfortable. We begin with it. Life, Death, and Other Card Tricks By Robert E. Neale. 6 x 9 hardcover with glossy dustjacket. 414 pages. $40 postpaid in US. From Hermetic Press, 1500 S.W. Trenton Street, Seattle, WA 98106-2468. Fax: 206768-1688. Email:
[email protected] I have often suggested to magicians that the magic tricks they do and the way in which these tricks are presented should be an expression of their lives and not a substitute for them. Adopting this suggestion immediately makes your magic unique. No one else on earth exactly shares your life experiences and your various interests. Incorporating your viewpoints and experiences into your presentations not only allows the spectators a chance to learn about you as a person, it can also provide interesting emotional hooks that allow your magic to be more meaningful. Robert E. Neale is a very interesting person with a wide variety of interests. He is a former professor of Psychiatry and Religion at Union Theological Seminary in New
York, an author of numerous books and essays on psychology and religion, and a prolific author of magic tricks and origami folds. His books Tricks of the Imagination, Folding Money Fooling, and Magic and Meaning (co-authored with Eugene Burger) have been enthusiastically reviewed here in Marketplace. His new book, Life, Death, and Other Card Tricks, is as unusual as its title would suggest, for here are familiar card tricks cloaked in presentations that are designed to evoke a strong emotional response. These presentations express Mr. Neale’s wide range of interests, from ribald jokes to commentaries on the workings of prejudice, from ghost stories to serious considerations of how death shapes our lives. It is hard to imagine a spectator who would come away unaffected by these routines. I can’t imagine a thinking magician who will not have his approach to magic altered by studying this book. There are over 60 routines in Life, Death, and Other Card Tricks, and these routines are divided into seven chapters. The first chapter, Jokes, uses presentations based on some classic jokes. “Fly Sport” is a retelling of an encounter with the greatest samurai in the world using a procedure based on Dai Vernon’s “Twisting the Aces.” (This effect, in fact, gets quite a workout in Life, Death, and Other Card Tricks, being cloaked in several different presentations.) Also in this chapter are presentations based on an atheistic Christmas play (!), a ghost story in which a hapless young man is doomed for eternity by a beautiful woman, and a dirty joke published in Readers Digest. The plots in Chapter Two, titled Chance Destinies, are based on the themes of fate and ritual. There is a charming routine based on the familiar “He loves me/he loves me not” procedure, a routine in which the spectator finds his psychic twin, a routine that uses a playing card that has been folded into an origami die, and a routine in which Death does a card trick. (I can just see the dealer ads now: “Buy Bob Neale’s new book and be the death of the party!) Chapter Three contains presentations based on short stories by authors such as Nathaniel Hawthorne, Edgar Allan Poe, Shirley Jackson, and Albert Camus. Many of these stories are disturbing, and should you choose to perform them you’ll have to carefully pick your audience and your setting. (Included in this chapter is “Fable,” the only card trick I am aware of whose presentation is dedicated to the children who died in the Holocaust.) Gambling tricks are the topic of Chapter Four. Mr. Neale introduces a number of novel conceits here, including a 180-degree restructuring of the classic Ten Card Poker Deal. Here you will also find a version of “The Story of One Card Pete” as performed by W.C. Fields, a presentation for Nick Trost’s “The Horse Race,” and an extraordinary demonstration of control over the laws of probability. Chapter Five, Odd Notions, contains tricks about things that go bump in the night. Monsters, ghosts, and demons are the lead characters here. Curiously, there are also two Gospel magic tricks included in this chapter. Chapter Six features six tricks, several of which have death as the main theme. Of these, two stand out: “The Suicidal King,” which has a Twilight Zone type ending, and “The Kind and Gentle Stranger,” a presentation of Fred Braue’s “Homing Card,” in which four friends repeatedly murder and bury the title character. Finally, Chapter Seven contains
effects based on unusual card stacks. While several of these items are not really performance pieces, they are all intriguing and fun to play with. Life, Death, and Card Tricks is unlike any other book of card tricks you’ve ever read, and because of this I’m sure it will receive a mixed reaction from magicians. Some will love it, some will hate it, some will be outraged by it, and some won’t understand it at all. Because of the subject matter of many of the routines I’m unsure whether they could be successfully performed in normal commercial venues. Whether a spectator’s dining experience will be enhanced by a card trick that discusses the reasons behind ethnic cleansing is a matter of debate. My feeling is that these routines would be most effective in an informal performing situation, where you are already acquainted with your spectators. Would I perform any of the routines in this book? Absolutely, but I would have to spend some time reshaping the patter into words that more suited my style and delivery. But whether or not you actually use any of the routines in Life, Death, and Card Tricks is not the point. The point is for you to understand how one magician has taken some standard card plots and infused them with his own experiences and interests, and in the process has elevated them so they are no longer trivial puzzles. Anyone who watches these routines is going to be affected by the performance; they will remember the tricks and they will remember the person who performed them. And memorability is one of the great goals of any performing art. I found Life, Death, and Card Tricks to be entertaining, enriching, and informative, and I would highly recommend it to you. Even if you never do any of the routines, tracking down and reading the source material sited in the book will make you a more well rounded person. Fans of Robert Neale’s earlier books will certainly want to read this one. If you have not encountered Mr. Neale before, I have a suggestion. Mr. Neale had a monthly column in the Linking Ring that ran from October 1994 through September 1998 . Track down some of these issues and read what he has to say. Several of the routines from Life, Death, and Card Tricks appeared in that column. If you like what you read there, you’ll definitely enjoy this book. Trickery Treats By J.K. Hartman. 8.5 x 11 hardcover. 239 pages. $40 postpaid in US. From Kaufman and Company, 4200 Wisconsin Ave., PMB 106-292, Washington, DC 20016 Those seeking a more traditional approach to card tricks will find comfort in Trickery Treats, the new collection from J.K. Hartman. Mr. Hartman’s name will certainly be familiar to all lovers of card conjuring. He has contributed material to most of the contemporary magic journals, and in recent years has produced two important books – Card Craft (1991), a very large collection of most of his early card creations, and After Craft (1995), the sequel to Card Craft. Trickery Treats continues his tradition of providing variations on a wide range of plots, requiring only average card handling ability.
The 61 items in Trickery Treats are divided into nine chapters. The first, Swap Exchange, features, as its name suggests, routines involving transpositions. In the chapter titled Four Scores you’ll find routines using one or more four-of-a-kinds. Included are variations of the Hofzinser Four Ace Problem, Ken Krenzel’s “Succession Aces,” Reinhard Muller’s “Three Card Catch,” and the classic Four Ace Trick. Other chapters feature gambling themed routines (including a full-blown gambling demonstration that establishes your skill with a deck of cards without requiring knucklebusting moves), mind reading routines, routines in which you find chosen cards in interesting ways (including an excellent multiple-selection routine), prediction effects (including several variations of Karl Fulves’ “Gemini Twins”), and four effects that use gaffed cards. One routine that will certainly generate comment and variation is “A Process of Elimination,” which Mr. Hartman considers a feature item. Elaborating on an idea of Ken Krenzel’s, Mr. Hartman has constructed a script that allows you to equivoque down to one card, which has previously been established as a prediction. Reading from an eightpage script, the magician explains that the playing cards represent 52 passengers on an ill-fated pleasure cruise. A spectator makes choices, and as a result of these choices cards are eliminated until only one card remains. When the prediction is revealed it is seen that the spectator has eliminated all but the predicted card. While the idea of using a script (to avoid the need to memorize all the possible alternative procedures) is a clever idea, I fear that there is a flaw in this approach. For example, at the beginning of the script the spectator is asked to decide which group of cards, the reds or the blacks, runs for the lifeboat of the sinking ship. If the spectator replies, “The blacks,” the magician skips to the appropriate paragraph in the script and reads the following: “So it is the black cards that run like rats for the lifeboat…the lifeboat capsizes, trapping all 26 passengers as it sinks to the bottom.” (This leaves the red cards to be dealt with in further decisions.) To me, this doesn’t sound like equivoque, it sounds as if you knew somehow that the spectator was going to say “black” and wrote the script accordingly. Now, the effect of apparently predicting the spectator’s choices at each point in a series of actions is a good effect (and is the basis of tape recorder tricks like “Animal Safari”), but I don’t think it’s the same effect as having a spectator eliminate cards and ending up with one that was predicted at the beginning. Fortunately, a loose copy of the necessary script is included with the book, so you can immediately try this trick out and come to your own conclusions. Mr. Hartman’s approach is thorough, and he writes in an easy to understand style. As in earlier volumes the tricks are accompanied by many drawings by Joseph K. Schmidt which makes the learning process a pleasure. As I mentioned earlier, magicians seem to have an inexhaustible desire for more card tricks, mostly for the entertainment of themselves and their magic buddies. The material in Trickery Treats certainly fits the bill. Fans of J.K. Hartman’s earlier books will need no
further endorsement from me. If you enjoy card tricks, you’ll certainly enjoy Trickery Treats. PUT THE HOUDINI REVIEW HERE! (Or not, if you don’t want to.) Mysteries for the Mind: Five Mentalism Routines By Ray Rubenstein. 8.5 x 11 softcover. 22 single-sided pages. $20 plus $2 p&h. From Ray Rubenstein, 523 Augusta Drive, Rochester Hills, MI 48309 One consequence of the rise of powerful, affordable home computers is the proliferation of self-published magic manuscripts. It is possible for even a neophyte computer user to design, print, and distribute a publication. Unfortunately, while the computer can make your manuscript look nice, it cannot teach you to write well, and poor writing undermines the quality of the material. In the introduction to Mysteries for the Mind Mr. Rubenstein gives us the following sentences: “These pages of complete routines were taken from the original work portion of the collection and have now become the bases for the material in the following book.” “I try to stay away from long complicated routines as these may loose the audience…” “You need to establish a good repore with the audience early in the performance…” “Don’t loose your audiences attention by having things to show that are too small.” The moral: a spell-checker can’t tell you everything. The five routines that follow are highly derivative and are of little interest. There is a Lie Detector routine that uses a marked deck, a telephone trick that uses a blatantly obvious mathematical principle, an effect where you pick a chosen marker out of a bag (the method requires that you are the last person to touch the marker before it goes in the bag), and a rehashing of the classic effect where a page vanishes from a book and appears in a sealed envelope. For the privilege of wading through this mess, Mr. Rubenstein will charge you the sum of $20. Ouch. Under no circumstances should you go near Mysteries for the Mind. Thoughts on Cards Volumes 1&2 By Larry Jennings. $29.95 postpaid in US. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Phone: 1-800-876-8432. Web site: www.a1magicalmedia.com. There is no denying that Larry Jennings was one of the most influential creators of card magic in the 20th century. Those of us who love card magic are fortunate that much of his creative legacy has been published, and that other books of his material are scheduled to be released in the future. At the end of his life he struggled against serious medical problems, but he still made appearances at conventions and sessioned through the night with his friends. In 1995 Mr. Jennings released Thoughts on Cards, a two-videotape set featuring 12 card routines and the famous Jennings “Single Cup & Ball Routine.” Even though these tapes were quite pricey, it was possible to purchase an even more expensive “deluxe” set that
included work on the Top Card Cover Pass and the Gambler’s Cop. A-1 MagicalMedia has re-released these two volumes on one videotape, including the bonus material from the deluxe set. The tape begins with Mr. Jennings performing at the Magic Castle, and routines from this performance set are scattered throughout the video. You should be aware that none of these routines are explained on the tape. Included are Mr. Jennings’ handling for Dan Garrett’s “Four Card Reiteration,” and the famous “Open Travelers.” There is a conversation with Earl Nelson, and then Mr. Jennings launches into the demonstrations and explanations of the routines. The material offered here is a mixed bag. There are some really excellent effects, including “Oil & Water,” “Card Up Spectator’s Sleeve,” “Outstanding Triumph,” the “LarRoy Reverse,” and the “Single Cup & Ball” routine. (One drawback to the latter routine is that it must be performed seated.) There are some routines that I find unconvincing, such as “Flawed Transposition,” “Deck to Pocket,” and “Cannibal Kings,” and there is one routine, “Aces for Experts,” that probably should have been cut. It is extremely difficult and the construction is such that each sleight screams out for attention. I don’t think it would fool anyone. The work on the Top Card Cover Pass and the Gambler’s Cop is also disappointing. Mr. Jennings offers useful advice, but these segments are very brief and fairly superficial. I was hoping for more. It’s important to remember that at the time these videos were shot Larry Jennings was not well. Consequently Thoughts on Cards does not serve as being representative of either his performing style or his ability with a deck of cards. However, if your ability with cards is intermediate or above, you’ll probably want this tape for your library. Thoughts on Cards has its flaws, but it is very reasonably priced and gives us a chance for one last visit with one of the most creative magicians of our time. Watch Bandit: The Ultimate Watch Steal By Kevin King. $20 plus $3.20 p&h. From Kevin King, Inc., 1317 SE 22nd Avenue., Pompano Beach, FL 33062. Fax: 954-943-1765. Web site: www.kevking.com/reelmagic. Let me admit something up front. Anytime a product has the word “ultimate” in its title I become very wary. Having been in the product reviewer chair for more than five years, and having sifted through a ton of product, it is very rare to find something that lives up to the term “ultimate.” Watch Bandit, the new video from Kevin King bills itself as “The Ultimate Watch Steal.” Is it the ultimate? No. However, Kevin does offer some practical, common sense advice for anyone thinking about adding the watch steal to their act. The tape begins with Kevin performing the watch steal in front of a real live audience in a comedy club setting. Kevin conceals the watch steal within the actions of another routine, and you will be able to appreciate all the lines and the time misdirection that he uses. Next, the scene switches to a studio setting and Kevin explains his philosophy of the watch steal. I won’t go into detail here, for to do so would be to give away too much; as I mentioned above, this is practical common sense advice. (There seems one small
discrepancy, however, in that Kevin dislikes watch steals that involve violent movements of the spectator’s arm to cover the steal. Kevin steals the watch under the cover of a violent, however extremely well motivated, movement of the spectator’s arm.) Kevin then discusses his method for stealing the watch. There is nothing new offered here, and in fact, Kevin’s method is less elegant than the one taught by Chappy Brazil on his watch steal video. Ten years of performing this steal has brought Kevin to an impressive level of speed, but if you’re looking for the best method for stealing a watch, you won’t find it here. Kevin also gives some suggestions on how to practice the steal. Next is the explanation of the covering routine, a very visual card location created by Don Alan. In the course of this explanation, Kevin explains how and when he steals the watch. At the end of the video Kevin answers many questions that many arise when you begin to consider adding a watch steal to your repertoire. There are some funny outtakes at the end of the video. The production values of the video are quite good, and the material is thoroughly explained. The problem here is simply one of implied expectation. If you think you are buying the greatest method in the world for stealing a watch, you’re going to be disappointed. If you want practical advice on presenting the watch steal, you’ll find it here. In all probability, if you simply sat down and thought logically about how to present the watch steal in as magical a way as possible you might come up with many of Kevin’s suggestions. But if you want to save time and get the work from a pro who’s been doing this trick for a long time, then pick up a copy of Watch Bandit. Convention at the Capital: Live ’99 The A-1 All Stars Video Series Volume 5 From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Phone: 1800-876-8432. Web site: www.a1magicalmedia.com. Convention at Capital - $19.95 postpaid in US. A-1 All Stars Volume 5 - $29.95 postpaid in US. We get hit with some serious hype on the front cover of the Convention at the Capitol: Live ’99 video. Written in the lower right corner is the following. “Performances and explanations of the HOTTEST effects by the HOTTEST performers at the HOTTEST event of the year!” I’ve attended many of these conventions and I’ve enjoyed them very much, so I won’t make a big fuss about the “HOTTEST event of the year” hype. But the first part of the above quote is a little misleading. It should say, “Here’s the one trick from their lectures that each of these performers agreed to have videotaped.” Not exactly snazzy, but at least it’s closer to the truth. There are eight effects on this video, one each from Aldo Colombini, Paul Green, Lee Earle, Gregory Wilson, Paul Wilson, Chad Long, Frank Balcerak, and Mark Strivings. The material ranges from the quite good to the less than overwhelming. The highlight of the tape is Chad Long’s “Ninja Coin and Ninja Key” routine. This is a real world, almost impromptu setting for David Roth’s “Karate Coin.” Not only is this a great idea, but Chad’s performance and explanation are very funny and a treat to watch. Not so impressive is Paul Green’s “Tradeshow Transposition.” Paul does say that this trick gets
great reactions from laymen and has garnered him trade show work, but I can’t imagine anyone but a neophyte magician being unfamiliar with it. Consequently, I doubt its effectiveness as a lecture item. The routines from Colombini and the two Wilsons are also very worthwhile, so you’re probably getting value for your dollar here. The most important function of a tape like this, though, is if you are unfamiliar with these performers. Most have videos of their own out, so if a particular performer appeals to you, you can track down more of his material. The A-1 All-Stars Volume Five video features Michael Skinner, Paul Wilson, Jack Carpenter, Martin Nash, Rich Marotta, Martin Lewis, and Allan Ackerman. Card tricks are offered by all the performers except Martin Lewis, who gives some lines and bits of business for the classic Color-Changing Silk routine. The highlight of the tape is Michael Skinner’s “Ten Peeks” routine. The title is somewhat misleading. While it is possible to perform this multiple selection/revelation routine for ten people, using a riffle force technique, what is interesting is Michael’s ploy that allows you to perform this for just a few spectators. The control and the subsequent revelations are not particularly difficult, and I think that many card workers will find this to be a useful addition to their repertoires. And as I mentioned before, if you are unfamiliar with these performers this tape will provide a good introduction. Show Off By Brian Tudor. $25 plus $3.50 p&h. From Brian Tudor, 1550 Ashwood Drive, Martinez, CA 94553 The name of this videotape says it all. Brian Tudor explains 10 flourishes, most of which are of the multiple-packet cut variety that are very popular these days. This is a single camera, amateur video quality production, and my guess is that you’ll be hitting the rewind and the slo-mo buttons quite a few times before you figure out everything that’s going on. The video ends with a strange rant in defense of flourishes. It should have been left on the cutting room floor. There’s no need for me to jump into the great flourish debate, I’ve stated my opinion on other occasions. You either like flourishes or you don’t. If you like flourishes, Show Off has some flashy ones. Pharoah’s Magic Casino Cards By Barry Govan and Pat-Trick. $20 postpaid. From Barry Govan, P.O. Box 64, Sebastopol, Vic., 3356 Australia. Email:
[email protected]. (Before Max Maven has a chance to yell at me for misspelling “Pharaoh”, I’ll simply say that “Pharoah” is how it’s spelled on the cards and throughout the instructions.)
Barry Govan and Pat-Trick have expanded on Danny Archer’s “Lucky Lotto” cards to produce a “scratch-off” lotto card that allows you to do fifteen different effects. There are six different scratch-off boxes on the face of the card (which measures 2.5 x 3 inches). The upper three boxes contain a 14 of Diamonds, a 3 ½ of Clubs, and a “Tree of Hearts.” The next two long boxes contain “Your Name” and “Correct.” The large box at the bottom contains eight small cards, three Aces of Clubs and five other cards. The other printing on the face and the back of the card allows you to perform other effects. There are also brief instructions on the back of the card. There are various ways you could use this card. You could perform any (or all) of the effects possible and leave the card as a souvenir. You could also simply give the card away and mention the effects on the back. Because of the cost of these cards (you get 25 for $20) you’re not going to want to hand these out to everyone you meet. Barry suggests (and I agree) that you only give one away to those spectators who are prime prospects for future bookings. The card will allow the prospect to do some simple tricks for his friends, and in the process will remember you as well. These cards can also be personalized with your information. Contact Barry for details. I think the “Pharoah’s Magic Casino Cards” are a clever give-away. They’re not cheap, but used correctly they could generate bookings for you. (By the way, in his discussion of the 3 ½ of Clubs trick, Mr. Govan perpetuates the misconception that Milt Kort invented the trick called “MiKo.” The trick is named for Mr. Kort, but he did not invent it.) Business Card Production Wallet By Michael Sibbernsen. $16 plus $2 p&h in US ($5 p&h elsewhere). From Michael Sibbernsen, 1503 Hammond Avenue, Waterloo, IA 50702. Email:
[email protected]. The title of this little prop says it all. You remove a small leather wallet in order to hand out one of your business cards. Opening the wallet, you discover that it is empty. You close the wallet and then reach out into the air with your right hand, producing a fan of business cards. The idea behind this wallet was published in Michael Sibbernsen’s One Man Parade in the Linking Ring magazine (November, 1999). You may want to track this down to see if it appeals to you. The steal of the business cards is not particularly difficult, but it is not self-working. There is a moment during the handling that I think is rather awkward looking, and to minimize this unnaturalness you will have to practice so you can make the steal quickly. You will also probably have to treat your business cards with Zinc Stearate so they will fan easily. Most business card stock will not fan. The wallet is well made and with normal use should last you a long time. If the effect appeals to you, the Business Card Production Wallet is worth checking out.
Password By Gordon Bean. $10. Available from most magic dealers. “Password” is a cute, quick trick packet trick using three cards. The magician explains that he is functioning as the doorman of an exclusive club. In order to gain entry to the club you have to know the password, which is either “ace,” “two,” or “three.” A spectator chooses one of those words. The magician spreads the cards and the spectator’s choice turns out to be very different from the other two cards. (For example, if the spectator says, “Ace,” it is seen that the lower two cards are the Two and Three of Clubs, while the upper card bears the word “ACE” on its face.) Gordon has worked out three very logical outs, each of which gives impression that the selected card is very different than the others. The handling is very easy, and the three procedures are easy to remember. At the end of the trick the cards can be instantly reset for the next performance. This is not an earth-shaking trick, but it would function well as an opener. You are provided with the necessary cards and clear instructions. No card handling skill is required. If the effect appeals to you I think you’ll have fun with “Password.” The Oracle By Charles Gauci. $69 postpaid. From Charles Gauci, 10 Stamford Court, Eltham, Victoria, 3095 Australia. Fax: +61 3 9431 2808 Australia’s Charles Gauci offers the following mental effect. The mentalist shows a chart (about 8.5 x 8.5 inches), referred to as the Oracle Board. On the board are several concentric circles containing numbers or designs. The outer circle contains numbers from 11 to 42. The mentalist also brings out a tape recorder and a cassette tape. A spectator moves his finger around the outer circle of the Oracle Board, stopping on any of the numbers, for example, 33. The mentalist takes out a deck of cards and deals off 32 cards, placing the 33rd card aside face down. He then deals the next two cards face up on either side of the face down card, and then deals two rows of three face up cards above and below the first row. There are now nine cards on the table – eight are face up, the middle card of the layout is face down. The cassette is placed into the tape recorder and the recorder is turned on. A voice on the tape names all eight face up cards and then correctly names the face down card. “The Oracle” certainly offers an impressive effect since the spectator’s initial choice of a number is absolutely free. Built into the design of the Oracle Board is all the information you need to perform the trick, so no memory work is required. Unfortunately there is always a price to be paid and in this case the price may be too steep (in more ways than one). The first consideration is this. Where can this trick be performed? For the tablehopper I think this trick is impractical. Years ago I created a tape recorder prediction trick and I never found it to be practical in a restaurant situation. In “The Oracle” you not only have to carry a tape recorder table to table, you also need a lot of room for the layout. In addition, you will also tie up four of your pockets carrying the required props. Although
not mentioned in my description above, when the deck is removed from the pocket it is loose, that is, the deck is not in its case. I think this is weak. Also, the cassette is not placed into the tape recorder until after the cards have been laid out. Normally I wouldn’t tear apart the method of a trick, but Mr. Gauci is charging $69 for “The Oracle.” You receive the Oracle Board, the cassette, and a seven-page instruction manual. Basically, you’re paying for the secret. Would this trick fool you if you saw it? Possibly, but tricks based on alternative procedure are always tough to figure out. If you have a venue where you could actually perform this trick it might be worth the high price tag, but otherwise you are just paying a lot of money for trick that can only be done for your magic buddies and people who visit you at your house. P.S. As I was finishing up this column I learned of the death of Paul Swinford. Most of the younger readers of this magazine will probably be unfamiliar with his name, but Paul was very visible on the magic scene during the 1970’s and 80’s. He wrote two interesting books on the faro shuffle, and served as Parade Editor for the Linking Ring for several years. Most important to me, thirty years ago he showed great kindness and generosity to a young, knowledge-hungry magician from Indiana. Paul Swinford was a funny, creative man, an excellent magician, and a good friend. The world is poorer for his passing. Spelling Department If you had problems tracking down the book Effortless Mastery that I mentioned a couple of months ago, it may be because I misspelled the author’s name throughout the review. His name is Kenny Werner, and his book is still very worthy of your attention. Reminder Department Each month a lot of product gets sent to Marketplace for review. To ensure that your product is reviewed in a timely fashion, please remember the following: Be sure to include all ordering information, including your address, the price, and whatever postage is required. If possible include a fax number, email address, and web site URL. Our foreign readers appreciate that information. Thanks. It’s Not Magic, But… You probably don’t need me to offer ways for you to waste time, but there is a wonderful computer game I’d like to bring to your attention. The game is called Thief, and it comes from Eidos Interactive (www.eidos.com). Where as the goal of most so-called “first person shooters” is to kill everything is sight, the goal of Thief is to get in, do what has to be done, and get out without anybody being the wiser. In this way it seems to parallel the goals of the conjuror. The graphics are gorgeous, you move through a completely interactive 3D world, the puzzles are challenging, and the suspense is palpable. You can find Thief I: The Dark Project at a low price at many discount houses. Thief 2: The Metal
Age has just been released, and it’s as much fun as its predecessor. Pop in the CD, turn off all the lights, and start creeping around. You won’t believe how much time you’ll waste.
July 2000 My Friends Are Slowly Turning Into Books Some months ago a fellow came up and spoke to me after one of my lectures. What he said surprised me. “You sound just like your review column!” I guess I was surprised because I don’t know how else I would sound; it was never my goal to structure these reviews as serious, formal essays. I wanted these reviews to be conversational in tone, and if I have eventually found my “writing voice” I’m delighted. Those who know me personally can probably hear my voice as they read these words. If we haven’t met, all you’re missing is the timbre of my voice and the rhythm I use to deliver the words; the experience of this column would be similar to discussing the tricks while enjoying a cup of coffee. It’s amazing to discover that a writer can sound just like his books. Other than in the world of magic, I am not personally acquainted with anyone who’s written a book. But many of my magic acquaintances have written books, and I have found that over the years I return again and again to those books in which the author’s written voice has captured his true voice. Reading these books is like a visit, and although the conversation is one-sided, the experience is pleasurable. Unfortunately, several of my friends have left for parts unknown, leaving only their words behind. It’s no longer possible to call, or write, or visit with them in person, so when I miss them I walk into my library and take them off the shelf, and we spend a little time together. And this is one of the great gifts that books provide – a chance to once again interact with Stewart James, T. A. Waters, Howard Lyons, Rick Johnsson, Clarke Crandall, or Bruce Elliott. We are separated by time and space, but not really separated at all, for we simply stand on opposite sides of a piece of paper. The words that you’re reading now I saw appear on my computer screen, and when you read the words the connection is made, regardless of how much time may have passed between the writing and the reading. The visit is as real as you choose to make it. I wish my friends were still around in person, but lacking that, I’m glad that they turned into books rather than disappearing completely. Their words keep their spirits alive in our memories, and if you think about it, that’s really where we all live. The James File Compiled and Written by Allan Slaight. Three volumes. 8.5 x 11 hardcover with glossy dustjacket. Over 1700 pages. $165 postpaid in US. From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email:
[email protected].
My main reason for writing the above introduction to this month’s review column is a remarkable book called Stewart James in Print. Published in 1989 it contains 412 tricks and routines created by Mr. James from 1926 to 1975. At the time of its release this was the biggest magic book ever printed. More extraordinary than its size and the quality of material contained within its 1000+ pages is the detailed portrait it paints of the life and times of Stewart James. It is one of my favorite books regardless of subject matter, and it is a book that I return to time and again, and each rereading feels like a visit with an old friend. Weighing in at seven pounds, Stewart James in Print also makes my Top Ten list of magic books that cannot be comfortably read on the toilet. At the time of publication of Stewart James in Print, it was announced that two more volumes would follow – Stewart James in Print: The Next Fifteen Years, and The James File. The former book would contain published creations from 1975 – 1990, the latter volume would contain unpublished material. It took more than ten years before another James book was published, and during that time it was decided to change the format. The best of the tricks from 1975 – 1990 would be combined with the best of the unpublished James material, and added to this large collection would be variations of James routines by other creators. As it turned out, this was a massive amount of material, consisting of 556 tricks by Stewart James and 148 tricks by others. This wealth of material has finally been released in The James File, which consists of two massive hardback books containing the tricks, and a third volume that contains an index of The James File and Stewart James in Print. I have not yet seen the finished product, as the books are due out in July and I am writing this review at the end of May. However, some months ago I asked Allan Slaight to begin to send me the galleys of the books so I could get a head start on reading them. He sent me over 1600 pages. I ran to my trusty binding machine and bound them into four manageable books. Without hardcover binding these books weighed in at nine pounds and were four inches thick. I had my work cut out for me. I’m not going to spend much more time discussing how The James File came into existence. To learn more I suggest you read the cover story in the February 2000 issue of MAGIC. But for those who are unfamiliar with the history of this project I will mention that work on Stewart James in Print started in 1982 with Allan Slaight and Howard Lyons serving as compilers and editors. Stewart James also actively participated. Sadly, Howard died in 1987, two years before the book’s completion. As Allan writes, “Most of the pleasure for Stewart and me was extinguished…” Work then began on The James File, but Stewart made it clear that, while he would make his voluminous files available to Allan, he would take no active part in the creation of the book. Wisely, Allan enlisted the aid of Max Maven. Max writes, “My work has included a fair amount of research, tracking down credits and references, plus a lot of proofreading. But in addition to the drudgery, there have been aspects of this ten-year-plus endeavor that have made it more than worthwhile…here and there I’ve had the chance to dig into an idea of Stewart’s that had not been clearly recorded – an incomplete explanation, an unsolved plot.” Max’s extraordinary problem solving skills have produced methods for effects that would otherwise remain unsolved mysteries (and there are still many of those listed in the
book). Without his contribution The James File would be a very different book. (I should also mention that near the end of the project, Gordon Bean was added to the team.) Unlike Stewart James in Print, in which Stewart’s creations are presented chronologically, the material in The James File is arranged in 86 chapters organized thematically. These chapters are of three types: routines grouped together because of the prop used or the plot explored, variations by Stewart and others of classic James effects, and material that enriches our understanding of Stewart James the man. Stewart’s fascination with all things magical led him to invent tricks in a wide variety of areas. Included in The James File are chapters on prediction effects, effects based on anagrams, poker deals, effects using the Australian (“down and under”) Deal, effects with balls, paper clips, dice, handkerchiefs, and gaffed playing cards. There are linguistic tricks, variations of the Lie Speller plot, routines utilizing the Master Move, mental effects, tricks with money, rope routines, tricks using two decks of cards, four ace effects, number tricks, and effects based on the Magic Square. The scope and variety of this material is overwhelming; it is truly a case where there is something for everyone. For fans of Stewart’s published creations, the chapters that feature variations of his classic tricks will be of particular interest. Here is new information on “Spell of Mystery,” “Further Than That,” “Evolution of a Dream,” “Miraskill,” “Half and Half,” “Sefalaljia,” and “51 Faces North.” Most magicians associate “Sefalaljia” with the effect of a finger ring penetrating a shoelace, and there is a chapter of The James File devoted to variations of this effect. However, the original “Sefalaljia” was a full-blown miniature spirit cabinet routine that originally appeared in The Jinx. Stewart updated and reworked this routine and presented it in 1982 at the Abbott’s Get-Together and at the Ibidem Event in Niagara-on-the-Lake, Ontario. In a chapter titled Silas Deemer and His Incredible Intene Engergizer (named after Stewart’s patter plot) the entire routine for “Sefalaljia #2” is detailed. I was in the audience when Stewart presented this at the Ibidem Event, and I was completely fooled, as was everyone else in the room. (In fact, if you own the audiotape of Stewart performing this routine you will hear my very audible reactions.) Jeff Busby marketed this routine some years ago, but I think it is relatively unknown to magicians. Take the time to construct the necessary props, and you’ll have a parlor routine that is completely out of the ordinary. Before leaving the subject of variations of Stewart’s classic effects, I want to take a moment to discuss “51 Faces North.” As Allan Slaight writes at the beginning of the chapter devoted to this effect, “It is assumed that many who acquire The James File will first refer to the Table of Contents to determine the page number of this chapter and then turn here immediately, hopping against all information to the contrary that Stewart James’ method for this legendary effect will be revealed for the first time. It probably will not.” For those unfamiliar with this trick, I’ll give a little background. Paul Curry suggested a card problem that has become known as the Open Prediction. Simply put the effect is this: The magician writes the name of a card as a prediction. The spectators know the name of this card (in other words, it is an “open” prediction). A spectator is given a deck of cards. He deals through the deck, dealing from the face down deck,
turning each card face up in turn and placing the cards in a pile on the table. At some point in the dealing one card is left face down. The remainder of the deck is dealt face up. The predicted card has not appeared. The face down card is turned over, it is the predicted card. In Ibidem #3 Stewart presented a treatise titled, “Twenty-five Methods for the Open Prediction.” As part of this write-up Stewart offered a super version of the effect. He titled this “51 Faces North,” and he included stringent conditions that made the effect seem impossible. Stewart’s method for this trick was never published, and many of us hoped that his solution would be a part of The James File. Unfortunately, it is not. While unable to provide us with Stewart’s solution, Allan Slaight does offer some interesting approaches to the effect. Allan asked some top-notch creators to work on the problem in an attempt to nail down a “Jamesian” solution. The chapter includes handlings by Steve Beam, Gordon Bean, David Ben, Peter Duffie, J. K. Hartman, Ken Krenzel, Michael Weber, and others. While all the solutions are interesting (the Weber approach is particularly sneaky), you may find them unsatisfying for this reason: they satisfy Stewart’s conditions without satisfying our ideal of how the effect should look. In other words, the spectator doesn’t just deal through the deck, leave a card face down, deal through the remainder, and then turn over the face down card to reveal a successful conclusion. There’s more “stuff” going on. This tends to be the case when doping out the solution to a James problem, for Stewart was an expert at creating an intriguingly honest but deceptive “dealer ad” description of a trick. Fortunately, there is a version of “51 Faces North” included in The James File that almost exactly matches the description given above. It is by Ed Marlo and can be found in the chapter titled Gaff Trick. It is well worth your attention. There are two other “trick” chapters that you may want to read before you tackle the books from cover to cover. The first is Capek Would Be Proud, which details the workings of “The Robot Deck,” a remarkable stacked deck effect. The other chapter is On To Toronto, which details a lecture that Stewart gave to the Hat and Rabbit Club of Toronto in 1952. That Allan Slaight and Howard Lyons were able to reconstruct the effects from this lecture is amazing. Even more amazing, however, is the concept introduced by Stewart in which each card trick in a routine successively arranges cards that are used further down the line. Thus, the deck gets stacked a little at a time. This lecture was a traumatic event for Stewart, for it was not well received. The old adage states that when the student is ready, the teacher will appear. In this case Stewart was really early. Scattered throughout The James File are chapters that round out our knowledge of Stewart James the man. There is information on his family life, love life, opinions on various magicians of that time, creative techniques, organizational methods, imaginary co-creators, and his penchant for puns and wordplay. There is also a recounting of a very strange occurrence when he ran afoul of the law. Combined with the information in Stewart James in Print, we have what is arguably the most complete portrait of a man in the history of magical literature.
A third book is included with The James File, and this is an index that covers both The James File and Stewart James in Print. This index is approximately 110 pages long and contains 15,000 entries. The index was compiled by William Goodwin and is in three sections: Trick Names, People Names, and Miscellaneous references. With the staggering amount of material in these books the index is a godsend. Before I offer my final comments, I’ll offer a word of warning. There are some people who probably won’t care for this book. It is important to remember that for Stewart James the discovery of a new principle or the working out of a new angle or approach to a trick was all-important. Whether the trick was actually entertaining was secondary. Many of his tricks relied on subtleties and mathematical principles rather than sleight-ofhand. In fact, I think Stewart disliked incorporating sleight-of-hand because he considered it “cheating.” With a trick based on mathematics or an ingenious prearrangement of cards the spectator is actually given all the information needed to figure out the solution. The game becomes one of intellect vs. intellect. However, because of this, there are many James routines that cannot by any stretch of the imagination be considered entertaining. This is not to say that they are not intriguing. But if you are considering purchasing these volumes strictly to find repertoire for your close-up or stand-up shows, you may be disappointed at some of the routines you encounter. Having said that, I’ll now say that if you appreciate pure ingenuity, The James File will delight you. If you are a student of magic history you will find here one the most detailed histories of close-up magic that I have ever encountered. The amount of research that has gone into the documenting of the effects in this book is astonishing. If you’re looking for tricks that will completely fool laymen or magicians, you’ll find them here. And if you’re looking to be inspired by the unbelievable creativity of a remarkable man, you’ll find that here as well. I cannot imagine how difficult it must have been to bring The James File to completion. Considering that the slyly sardonic Lyons departed early, and James himself showed no particular enthusiasm for the project, I’m sure there must have been times when Allan Slaight simply wanted to chuck the whole thing. But he didn’t, and the fact that he didn’t shows why he is so successful in the business world. I have the feeling that Stewart never said thank you for all this hard work. But I will. Thank you, Allan. And thank you Max, Bill, and Gordon for making these books possible. The James File is one of the most remarkable publications in the history of magic. It should be in your library. I give it my highest recommendation. Card College Volume 4 By Roberto Giobbi. 7 x 10 hardcover with glossy dustjacket. 315 pages. $38 postpaid in US. From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206768-1688. Email:
[email protected]. The marvelous Card College series comes to a conclusion with the publication of Volume Four. These books are the definitive course for learning the techniques of card
magic. Roberto Giobbi’s explanations are clear and thorough. In addition to the basic explanation of a sleight, Mr. Giobbi also offers Check Points, which give alternate techniques, suggestions for audience management, and psychological tips. Although this is the fourth volume of the series, the techniques explained are generally no more difficult than the material discussed in Volume Three. Here’s some the topics discussed in Volume Four: Force Techniques, Card Switches, Packet Switches, Deck Switches, Estimation, Culling (other than Hofzinser-type spread culls), Stacking (both overhand and riffle), False Deals, Sandwich Techniques, Advanced Pass Techniques, Tilt, Reverses, and Flourishes. Each chapter contains some card tricks that utilize the sleight under discussion. These effects are good, and they’re worth learning. At the end of Card College 4 is a thoughtful essay in which Mr. Giobbi attempts “to identify and organize the major elements on which a magic performance is based.” As his organizational model, Mr. Giobbi uses a pyramid containing seven layers: effect, methods, staging, psychology, communication, history, and intellectual and emotional effects. Analyzing and examining these layers, starting at the bottom of the pyramid and moving toward the top, allows the student to develop a magic trick from its conception to its realization in front of an audience. I applaud Mr. Giobbi’s attempt to codify this information. Card College 4 ends with a cumulative index of all four volumes of the series. Richard Hatch has again provided an elegant and readable translation. The success of the series here in the United States is due in no small part to his excellent efforts. As I have mentioned in earlier reviews of this series, I wish I had had these books when I was a kid. I know of no better resource for someone wishing to develop skill with a deck of cards. As with the previous volumes I highly recommend Card College 4. Apocalypse Volumes 1-5 By Harry Lorayne. 8.5 x 11 hardcover. 720 pages. $79.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Email:
[email protected]. Web site: http://allmagic.com/pub. Apocalypse was the brainchild of Richard Kaufman. He approached Harry Lorayne (for whom he had done the illustrations for Afterthoughts) with the idea of starting a monthly magic newsletter. The two joined forces and the first issue appeared in January 1978. The association only lasted a year, however, and Richard Kaufman left after twelve issues. In the December 1978 issue Kaufman wrote, “Perhaps Harry has what it takes to put out a magazine on a day to day basis – I don’t. The constant deadlines are an enormous pressure…I like my months slow.” In the years to come Richard would start another magazine, Richard’s Almanac, found a book publishing company that was responsible for some of the most important books of the late 20th century, and take over the editing and publishing of Genii magazine, a job he is performing admirably. (More information on the first year of Apocalypse can be found in the introduction to The Collected
Almanac.) Harry Lorayne would continue to publish Apocalypse for 19 more years; a remarkable achievement in a field where magazines appear and disappear in the blink of an eye. L&L Publishing has released a bound volume of the first five years of Apocalypse. Each issue of Apocalypse contained six or seven tricks. Multiply that times 60 months and it ends up being a whole lot of magic. There are 535 items included in this big book, focusing on close-up magic, mostly with cards or coins. Not every routine is a worldbeater, but there is some terrific magic here, from people like Dai Vernon, David Roth, Paul Harris, Max Maven, Larry Jennings, Slydini, and many, many others. During its twenty year run Apocalypse reflected the current state of close-up magic. This bound reprint is a good value for the money and a convenient resource. If you love closeup magic you’ll want Apocalypse Volumes 1-5 in your library. Recommended. Rings in Your Fingers By Dariel Fitzkee. 6 x 9 hardcover. 120 pages. $20. From Lee Jacobs Productions, P.O. Box 362, Pomeroy, OH 45769-0362. Fax: 740-992-0616. Email:
[email protected]. Web site: www.LeeJacobsProductions.com. The Linking Rings is a very old trick, but it still finds a place in the repertoires of professional and amateur magicians. One need only look to the performances of Whit Haydn and Richard Ross (to name two very disparate approaches) to realize the impact that this trick still has on a lay audience. Lee Jacobs Productions has reprinted Dariel Fitzkee’s classic text Rings in Your Fingers. This book is a small encyclopedia of Linking Ring information. Included are chapters on methods of counting the rings, substitutions and exchanges, methods of linking, various figures formed by the rings, and routines with and without the use of a key ring. If you are serious about studying and performing the rings, this book should be in your library. Lee Jacobs is also offering another item that will be of interest to collectors and fans of Doug Henning. Lee has uncovered a limited number of 3.5 inch buttons used to promote Merlin, The Magical Musical that starred Henning and Chita Rivera. The good news is that these buttons are affordably priced at $10. The bad news is that there’s not very many left, so if you are interested get in touch with Lee right away. The Life and Magic of Billy Bishop As told by Billy Bishop with Notes by Glenn Bishop. 8. x 10, softcover. 105 pages. $30 postpaid in US. From David Charvet Studios, P.O. Box 23143, Tigard, OR 97281. Orders: 1-800-888-6423 ext. 221-1705. As Glenn Bishop explains in the Introduction to The Life and Magic of Billy Bishop, the best way to extract information from his father was to engage him in a game of chess. Over the chessboard the elder Bishop would recount stories of his life in magic and the
magicians he had known. Glenn Bishop recorded these stories, and they became the basis for this biography of “Bish the Magish,” a true journeyman magician. The first magician Billy Bishop ever saw was a fellow called Wizardo. His show was tied in to a promotion by the Portland News Telegram newspaper. Billy sold newspaper subscriptions in order to win a ticket to the Wizardo show. By age 17 Billy had sold a five-week show to the Lipman and Wolfe department store. The show had a Wizard of Oz theme, and through the show Billy managed to meet Harry Blackstone, Senior. It is also at this time that Billy created his signature routine, “The Bishop Rope Tie.” This great comedy routine is in the repertoires of many magicians, due in part to a similar routine, “The Slick Tie,” released by Percy Abbott. In all probability, Abbott was influenced by the Bishop routine, since “The Slick Tie” was released shortly after Abbott watched Bishop perform at the 1948 P.C.A.M. convention. “The Bishop Rope Tie” and a dozen other routines are explained in this book. One subject never discussed over the chessboard was Billy Bishop’s involvement in World War II. This seems to be the case with many veterans, who keep their war stories from their families. Billy Bishop flew air reconnaissance missions in the Pacific theater during the war. He attained the rank of Major and received three Presidential Unit Citations as well as many other military honors. Returning from the war he enrolled in the University of Oregon to study business. He met a young singer and dancer named Ann Dawson. They were married in 1949. Billy and his wife developed an act billed as “Billy Bishop An’ Ann.” They relocated to New York and eventually played the top theaters and nightclubs, including The Blue Angel, Billy Rose’s Diamond Horseshoe, and the Palace Theater. As nightclub and theater work declined, a new opportunity arose – television. Another new market, the trade show, began to develop, and Billy became one of the pioneers in trade show work. Eventually, Billy Bishop opened a magic shop. It was fairly successful despite the fact that it did no mail order business. The shop provided an income when shows were not available. The shop was open for 12 years. In 1993 Billy Bishop suffered a stroke. He and Ann moved to Salt Lake City. He died in his sleep on December 26, 1999. The Life and Magic of Billy Bishop is a story of guts, determination, and hard work. It is a valuable lesson in what it takes to make a living as a magician. Billy Bishop did it all, and he did it well. As Don Alan said to Glenn Bishop, “Your Mom and Dad were one hell of a good act.” I enjoyed this book, and I think you will, too. The Exciting World of Magic The Complete Introduction to Coin Magic By Michael Ammar. Available in VHS or DVD format. Videotape: $24.95 each. DVD: $29.95 each. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800626-6572. Email:
[email protected]. Web site: http://allmagic.com/pub.
Many months ago I made the suggestion that magic video producers should seriously consider releasing their products in DVD format. DVDs offer a number of advantages over videotape, the most important for magical learning applications is the ability to instantly access any portion of the disc. No longer is it necessary to fast forward through many minutes of video just to get to the part of the tape you want to watch. Sales of DVDs have skyrocketed. Mainstream video rental stores have large DVD sections. This is a technology that is here to stay, and I’m happy to embrace it. The good news is that magic DVDs have finally arrived. Two new releases from L&L Publishing are available in both VHS (videotape) and DVD formats. The content is exactly the same, but the convenience of DVD makes it (in my opinion) the format of choice. The two new releases from L&L are The Exciting World of Magic and The Complete Introduction to Coin Magic. Both feature Michael Ammar. The Exciting World of Magic is geared toward someone who is just starting out in magic. The material covered is similar to that which would be found in any beginner’s book of magic. There are some stunts with a dinner roll, a few simple coin tricks, the venerable Cut and Restored Twine trick, the coin through dental dam trick, a Linking Headbands trick (based on Dan Harlan’s “Linking Rubberbands”), a coin in matchbook effect, and some simple card flourishes. I question the inclusion of a couple of items. I see no reason to tip a trick like Out of This World when there are other suitable beginner’s card tricks available. I also doubt the usefulness of teaching the Down’s Palm on a beginner’s tape. Interspersed among the tricks are bits of practical advice on buying magic, joining magic clubs, and basic rules of magic. A list of books on card magic is also offered. The Complete Introduction to Coin Magic covers most of the basic techniques that the budding coin magician needs to acquire. Included are discussions of the Classic Palm, the Fingerpalm, the Thumbpalm, the Downs Palm, the Back Clip, several different coin vanishes, and various ways to load a coin into the hand. These techniques are applied to simple tricks including the coin vanish from the trousers, Coins Across, a simple Copper/Silver transposition, and the Thieves and Sheep. There is some deceptive advertising concerning The Exciting World of Magic. It is being advertised as “co-written with Paul Harris.” I received the following email from Paul Harris: “I was hired by L&L to help my buddy Michael with the minor task of structuring the material. As we all know, Michael Ammar is an extremely gifted video producer and this was nothing that Michael couldn’t have done on his own, but there was a time crunch, so I was called in to help with the homework. Since the video had nothing to do with my style of magic or writing or creative viewpoint, it was agreed that my name was not to be used to promote the video because it could easily mislead the customer about the nature of its contents. So while I’m flattered that the good folks at L&L still deemed it appropriate to feature my name in their ads, I’d be even happier if people understood that this honor was undeserved.”
For someone just starting out in magic, The Exciting World of Magic would be a worthwhile purchase, featuring simple, fun tricks and practical advice. The Complete Introduction to Coin Magic is also worthwhile for someone wanting to learn the basics of coin magic. I’m at bit of a loss, however, as to why L&L put out this video, considering that they have already released David Roth’s Expert Coin Magic Made Easy series. Volumes 1-3 of that series cover basic coin techniques extremely effectively, and would have been prime candidates for conversion to the DVD format. These are the first magic DVDs to hit the market, and consequently they make use of only one rudimentary aspect of DVD technology, that being random access scene selection. However, this is a tremendous time saver, so if you own a DVD player and you intend to purchase these products, I would urge you to buy them in the DVD format. Watch Bandit: The Ultimate Watch Steal By Kevin King. $20 plus $3.20 p&h. From Kevin King, Inc., 1317 SE 22nd Avenue, Pompano Beach, FL 33062. Fax: 954-943-1765. Web site: www.kevking.com/reelmagic. Let me admit something up front. Anytime a product has the word “ultimate” in its title I become very wary. Having been in the product reviewer chair for more than five years, and having sifted through a ton of product, it is very rare to find something that lives up to the term “ultimate.” Watch Bandit, the new video from Kevin King bills itself as “The Ultimate Watch Steal.” Is it the ultimate? No. However, Kevin does offer some practical, common sense advice for anyone thinking about adding the watch steal to their act. The tape begins with Kevin performing the watch steal in front of a real live audience in a comedy club setting. Kevin conceals the watch steal within the actions of another routine, and you will be able to appreciate all the lines and the time misdirection that he uses. Next, the scene switches to a studio setting and Kevin explains his philosophy of the watch steal. I won’t go into detail here, for to do so would be to give away too much; as I mentioned above, this is practical common sense advice. (There seems one small discrepancy, however, in that Kevin dislikes watch steals that involve violent movements of the spectator’s arm to cover the steal. Kevin steals the watch under the cover of a violent, however extremely well motivated, movement of the spectator’s arm.) Kevin then discusses his method for stealing the watch. There is nothing new offered here, and in fact, Kevin’s method is less elegant than the one taught by Chappy Brazil on his watch steal video. Ten years of performing this steal has brought Kevin to an impressive level of speed, but if you’re looking for the best method for stealing a watch, you won’t find it here. Kevin also gives some suggestions on how to practice the steal. Next is the explanation of the covering routine, a very visual card location created by Don Alan. In the course of this explanation, Kevin explains how and when he steals the watch. At the end of the video Kevin answers many questions that many arise when you begin to consider adding a watch steal to your repertoire. There are some funny outtakes at the end of the video.
The production values of the video are quite good, and the material is thoroughly explained. The problem here is simply one of implied expectation. If you think you are buying the greatest method in the world for stealing a watch, you’re going to be disappointed. If you want practical advice on presenting the watch steal, you’ll find it here. In all probability, if you simply sat down and thought logically about how to present the watch steal in as magical a way as possible you might come up with many of Kevin’s suggestions. But if you want to save time and get the work from a pro who’s been doing this trick for a long time, then pick up a copy of Watch Bandit. Business Card Production Wallet By Michael Sibbernsen. $16 plus $2 p&h in US ($5 p&h elsewhere). From Michael Sibbernsen, 1503 Hammond Avenue, Waterloo, IA 50702. Email:
[email protected]. The title of this little prop says it all. You remove a small leather wallet in order to hand out one of your business cards. Opening the wallet, you discover that it is empty. You close the wallet and then reach out into the air with your right hand, producing a fan of business cards. The idea behind this wallet was published in Michael Sibbernsen’s One Man Parade in the Linking Ring magazine (November, 1999). You may want to track this down to see if it appeals to you. The steal of the business cards is not particularly difficult, but it is not self-working. There is a moment during the handling that I think is rather awkward looking, and to minimize this unnaturalness you will have to practice so you can make the steal quickly. You will also probably have to treat your business cards with Zinc Stearate so they will fan easily. Most business card stock will not fan. The wallet is well made and with normal use should last you a long time. If the effect appeals to you, the Business Card Production Wallet is worth checking out. Magic Poster Reproductions From Nielsen Magic. Price varies, see text below. Nielsen Magic, P.O. Box 34300, Las Vegas, NV 89133. Tel./Fax: 702-656-7674. Email:
[email protected]. Web site: www.nnmagic.com
Norm Nielsen is offering some extraordinary poster reproductions. These reproductions are done on canvas and are made directly from the original poster. Each reproduction is individually made. The main limited edition series consists of posters that measure 16.5 inches x their proportional height. (Images measuring 16.5 x less than 27inches - $150, 16.5 x 27 to 37 inches - $175, 16.5 x over 37 inches - $200.) Recently, Nielsen Magic purchased new equipment and can now reproduce any poster in their list at the exact size of the original. These are made upon request. The prices are $200 for a half-sheet (roughly 20" x 30"), $300 for a one-sheet poster (30" x 40") and $650 for a three sheet poster reproduction (approximately 40" x 80"). Some of the images available are T. Nelson Downs “Portrait,” Kellar “Walk in the Woods,” Chung Ling Soo “Spellbound,” Thurston “Mantle,” and the Houdini “Water Torture Cell.” The reproductions are absolutely gorgeous, and in many cases look better than the original. I purchased one of
these as a Christmas gift and I was absolutely delighted with it. Norm also offers expert framing for those who want it. Contact Nielsen Magic for further details. Reminder Department Each month a lot of product gets sent to Marketplace for review. To ensure that your product is reviewed in a timely fashion, please remember the following: Include all ordering information, including your address, the price, and whatever postage is required. If possible include a fax number, email address, and web site URL. Our foreign readers appreciate that information. Thanks. It’s Not Magic, But… You probably don’t need me to offer ways for you to waste time, but there is a wonderful computer game I’d like to bring to your attention. The game is called Thief, and it comes from Eidos Interactive (www.eidos.com). Where as the goal of most so-called “first person shooters” is to kill everything is sight, the goal of Thief is to get in, do what has to be done, and get out without anybody being the wiser. In this way it seems to parallel the goals of the conjuror. The graphics are gorgeous, you move through a completely interactive 3D world, the puzzles are challenging, and the suspense is palpable. You can find Thief I: The Dark Project at a low price at many discount houses. Thief 2: The Metal Age has just been released, and it’s as much fun as its predecessor. Pop in the CD, turn off all the lights, and start creeping around. You won’t believe how much time you’ll waste.
August 2000 Rabble-Rouser Pure Effect By Derren Brown. 6 x 8.5 hardcover with glossy dustjacket. 163 pages. $40. From H &R Magic Books, 3839 Liles Lane, Humble, TX 77396-4088. Fax: 281-540-4443. Email:
[email protected]. Web site: www.magicbookshop.com Derren Brown is a rabble-rouser. He wants to stir things up, to shake magicians out of their comfortable complacency. Mr. Brown is a magician/mentalist/hypnotist whose magical paradigm was turned upside down after encountering the magic of Eugene Burger. Mr. Brown writes, “The incident with Eugene Burger made me realize that my magic was missing the experience of wonder. There was no awareness of the emotive potential of magic waiting to happen. No welcoming the spectator into something special…I was not treating my magic with the respect it deserved…” In his book, Pure Effect, Derren Brown offers methods for turning a magic performance into a shared experience – an experience that has meaning for the both the spectators and the magician. In Part One of Pure Effect Mr. Brown offers some general suggestions for raising the level of our performances. He writes, “May I suggest that your aim as a magician is to create and manipulate wonder and astonishment while avoiding confusion and mere puzzle-solving on the part of the spectator. There is an inherent beauty in possibly all effects, something that can be found and brought out. If the audience finds a sense of that beauty, and even artistry, it will be easier for you to help them attach an emotional meaning to the effect.” I have found this to be absolutely true. Treat magic as an art, prepare your material with the dedication of an artist, and your audience will notice the difference. My favorite section of Part One concerns performing effects with an element of risk. The risk here is the risk of failure. Mr. Brown offers several examples of bold handlings for effects such as “Cigarette Through Quarter,” “Ring Flight,” “Stopping the Hands of a Watch,” and a mental effect with matches. Most magicians avoid this type of material, but I will tell you from personal experience that the occasional flop is a small price to pay for effects that to a layman are completely miraculous. Part Two of Pure Effect contains several card effects. These include “Zamiel’s Card,” in which a spectator’s card is visibly produced from an imaginary deck, a very long routine using three selected cards, and a strange routine in which the deck of cards becomes a mobile phone. In addition to these effects there are also some utility card moves described. Part Three discusses Mr. Brown’s approach to mentalism. He notes that mentalism tends to be boring and unconvincing. Mr. Brown writes, “I feel that most mentalists don’t
perform mind reading. They perform instead the act of writing information down on paper that they apparently couldn’t know.” What would actual mindreading look like? Would it be a situation where the spectator is made to feel very comfortable and the mental information is extracted during a moment of rapport? Would the process be more violent – more of a mental intrusion? Whatever approach is adopted, Mr. Brown feels that the audience should be given the chance to experience the act of mindreading. In Mr. Brown’s words, “However you decide that mind reading is achieved, and therefore what it will look like, you should then do this without explaining this supposed ‘method’ to the audience. You should just believe, wholeheartedly and unquestioningly, that this is what you are doing.” There are some remarkable effects explained in Part Three, the most memorable of which is “Smoke,” one of Mr. Brown’s signature effects. Here’s what happens. A deck of cards is spread out on the table. A spectator thinks of one of the cards. The deck is squared and the mentalist begins to read the spectator’s mind. As he does this he removes a cigarette and lights it. The mentalist correctly names the thought-of card. The deck is again spread out on the table. The thought-of card is no longer in the deck. As the impossibility of thes is beginning to register, the mentalist starts to choke on the cigarette smoke. The cigarette is removed from his lips, and the audience suddenly realizes that it is not a cigarette, it is the thought-of card, rolled up into a narrow tube. The card is unrolled and is given to the spectator as a souvenir. If it sounds like I was impressed with Pure Effect, I was. Mr. Brown is a thoughtful magician who wants to challenge (and at times shock us) out of our comfortable patterns. The theoretical essays are excellent and should be studied by anyone who wants to improve their magic. There is a downside to the book, however. Many of the routines require that the performer be seated. In addition, the card magic (which is heavily influenced by the work of Lennart Green) is based on moves that have angle restrictions. Few performers, myself included, have the luxury of such working conditions. In the rare occasion that I actually have a table to work on, I am never in a position to sit down, nor am I able to arrange my spectators so to eliminate a view from the vulnerable left side. The trick “Smoke” not only suffers from the restrictive performance conditions, it requires the performer to light up a cigarette, one of the most politically incorrect acts of the 21st Century. (Except, of course, here in Las Vegas, where the Chamber of Commerce encourages visitors to light up. The new state motto here is “Nevada – California’s Ashtray.”) I fear that few performers will be able to incorporate Mr. Brown’s routines into their repertoires. I would definitely recommend Pure Effect to you. Mr. Brown’s writing style is flowery and idiosyncratic. His is a singular and slyly sinister voice. Be warned, though, that in his quest to startle you out of complacency, Mr. Brown evokes imagery that some will find distasteful. This is not your father’s Magic Book. Pick up a copy of Pure Effect. Read it and think about it. Your perception of what magic is all about may never be the same. Dai Vernon’s Tribute to Nate Leipzig
Written by Lewis Ganson. 6 x 9 hardcover with glossy dustjacket. 207 pages. $40 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: http://allmagic.com/llpub. I have a short list of magicians that I wish I could have seen perform. On the list: RobertHoudin, Hofzinser, Dr. Elliott, Al Baker, Emil Jarrow, Larry Grey, Max Malini, Paul Rosini, and Nate Leipzig. Leipzig in particular fascinates me. His stage act consisted of close-up tricks performed for a committee of audience members. Those who saw him considered him the best magician they had ever seen. More importantly, he had an approach to magic that I find very appealing as I rush headlong toward my half-century mark: he made people feel that they were fooled by a gentleman. Dai Vernon knew Nate Leipzig very well, and took extensive notes of Leipzig’s material. Lewis Ganson drew on Vernon’s knowledge, as well as information from Faucett Ross, Connie Bush, and others, to compile Dai Vernon’s Tribute to Nate Leipzig. The book was originally published by Supreme, a new edition has been released by L&L Publishing. The book contains the entire text of the Supreme edition, plus a new biography of Leipzig by David Goodsell. The book begins with a brief biography of Leipzig, followed by an explanation of Leipzig’s card sleights. Then six chapters detail Leipzig’s stage act. This includes Leipzig’s thimble routine and his famous “Slap Aces” routine. There are routines with coins, handkerchiefs, cigars, canes, matches, dice, and cigarette papers. There is also a large section of card magic. Don’t think that this material is dated; Leipzig’s material has been used by such top-notch performers as Michael Skinner and John Carney. I consider Dai Vernon’s Tribute to Nate Leipzig to be one of the standard texts that should be in the library of every aspiring close-up magician. The material is excellent, and Leipzig’s approach to audience management rewards careful study. Tatu’s Close-up Day By Tatu Tyni. $24.95 plus $3.50 p&h. From Markku Purho Ky, Box 110, 45101 Kouvala, Finland. Fax: 358-5-312-0069. Email:
[email protected]. Web site: www.Markkupurho.fi Tatu Tyni is a young close-up magician from Finland. On this video he offers several routines, focusing on magic with cards and coins. The tape is shot as if Tatu is performing in a park. In the opening routine, he finds a wrapper from a chocolate bar on the ground. The crumpled paper suddenly becomes rigid. Tatu tears the paper open and extracts a chocolate bar. Other routines on the tape are less offbeat. There is a routine in which a coin and a pen vanish, a version of Matrix that concludes with the production of more than a dozen coins, a routine where a thoughtof card reverses itself in the deck while the cards are in the card box, and a one coin routine that bears more than a passing resemblance to routines by Roth and Kurtz. There
is a routine in which four coins become fused to a spoon, a longer routine in which money is transformed several times, and a single cup and ball routine, using a ceramic mug. This routine culminates with the production of three lemons. With the exception of the chocolate bar routine (which has antecedents in a Paul Harris routine from Art of Astonishment), the plots covered on this video are very familiar. With so much of a similar nature already available in books and on video, the first question has to be, are these personalizations different enough to be worth your money? The answer, unfortunately, is no. In fact, in the case of the card reversal routine, better, simpler methods already exist. Another negative factor is that Mr. Tyni’s technical ability is unimpressive. (For example, he completely misunderstands what David Williamson’s “Striking Vanish” is supposed to look like.) If you are seeking out expert models to emulate, there are better videotapes on the market. The production values of Tatu’s Close-Up Day are good, and Mr. Tyni is to commended on his ability to perform and explain in English. However, good production values can’t make up for material that is highly derivative. With so much product flooding the marketplace, there is no reason to spend your money on a videotape that offers so little that is new or interesting. The Party Animal The Office Animal By Simon Lovell. Each tape $19.95. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: http://allmagic.com/llpub. These two tapes were originally released as part of Vic Pinto’s Trik – A – Tape series. On The Party Animal, Simon Lovell demonstrates and explains 50 stunts suitable for amusing your friends at a party or at a bar. There are bar bets, sight gags, little pieces of magic, and some mentalism. These are all stunts that are generally familiar to magicians, and much of this material can be found in general public beginner’s magic books. Simon does offer a few new wrinkles on a couple of the items, but for the most part, these items are “right out of the book.” The material on The Office Animal focuses more on magic than on stunts. Again, if you have been interested in magic for any length of time you’ll probably be familiar with most of these tricks. There are routines using paper clips, business cards, newspapers, matches, rubber bands and blank checks. As with the routines in The Party Animal, none of the routines require any sleight-of-hand ability. The Office Animal begins with Simon making some ridiculous comments about using magic to impress/arouse the boss’s secretary (and if you believe this malarkey contact me for some low cost Nevada swampland), but other than this blatant reinforcement of one magic’s Big Lies, I find little to criticize about these tapes. The production values are good, and there is a lot of material here. Of course, if you’re serious about wanting to add
seemingly impromptu material to your repertoire, I would suggest you go the source and purchase a copy of Martin Gardner’s Encyclopedia of Impromptu Magic. Bowl – A – Rama The Inexhaustible Sponge From Kevin James’ Imagination Unlimited. In 1979 I performed on the Cabaret Show at the I.B.M. Convention in Houston, Texas. It was my first, and not particularly successful attempt to develop an act that combined magic and piano playing. One of high points of the show was the act of Howard Flint. Howard’s opening trick was truly memorable. He walked on stage carrying a thin briefcase. The case was placed on a table and the lid was opened. Reaching into the case, Mr. Flint pulled out a regulation bowling ball, which he proceeded to noisily roll offstage, demonstrating that it was the real thing. Kevin James was impressed with the Flint bowling ball production, but took the concept in a different direction. The resulting routine has been a mainstay in the James repertoire for 15 years. Accompanied by energetic music, Kevin enters the stage carrying a large (18 x 24 inches) sketch pad. Flipping back the cover, Kevin draws a large circle, and underneath labels it with the word, “Ball.” He then darkens in three small circles on the ball, and writes the word “Bowling” above the completed drawing. The drawing now obviously represents a crude picture of a bowling ball. The cover of the pad is flipped back, Kevin grabs the pad at the top and bottom and turns it ninety degrees. Suddenly, the music stops and the audience hears Kevin grunting as if from considerable exertion. From within the pages of the pad drops a regulation bowling ball, which falls to the floor with a resounding thud. The cover of the pad is flipped open. All that is now written on the pad are the words “Bowling Ball,” the picture of the ball has disappeared. It is a stunning opening routine. Rarely does a professional magician release one of the routines from his professional repertoire, but that is exactly what Kevin is doing with “Bowl – A – Rama.” Kevin provides you with everything you need to perform this routine: a completely gimmicked sketch pad, a bowling ball of the necessary size and weight, the correct type of marking pen, an instructional video tape, and a certificate of authenticity that gives the purchaser the rights to perform “Bowl – A – Rama” in live performances, in trade shows, and on television. In addition to complete instructions on how to handle the prop, the video also contains information on how to replace the pad when you run out of paper and professional tips and hints that can only be learned from performing a routine thousands of times. At $750, “Bowl – A – Rama” is a substantial investment, but if you work professionally in stand-up magic venues it would certainly pay for itself as a reputation making effect. Also, because it is expensive it is exclusive. You can add it to your act without worrying that every other magician in the world is going to be doing the same trick. (And as an aside, I would remind you that if you intend to do this effect, do the right thing and buy it from Kevin James.) I highly recommend this.
Kevin’s company, Imagination Unlimited, is also putting out a wonderful sight gag by Gaetan Bloom. Titled “The Inexhaustible Sponge,” this trick was one of the highlights of Gaetan’s lecture. The magician has a tray containing a champagne bucket and a small sponge sitting on a table off to the side of the stage. After a particularly grueling trick, the magician walks over to the table, mops his brow with the sponge, and wrings out a substantial amount of water into the champagne bucket. The sponge is replaced on the tray and the magician continues with his act. At several more points in his show he returns to the tray and repeats the brow mopping. Each time a large amount of water is wrung from the sponge into the bucket. This can be repeated as often as the performer wishes. At the end of the act several options are available. The bucket can be lifted and the water apparently tossed out into the audience. Amazingly, the bucket is empty. (Another option is to toss out a load of confetti, or streamers.) All the water has vanished. “The Inexhaustible Sponge” requires no skill whatsoever. You are provided with a tray and the necessary sponge. You will need to provide the bucket. You will also need to gaff the bucket, but this preparation is minor and requires no handyman skills. This is a wonderful running gag, and the instructions provided offer several different approaches. Even if you don’t do comedy magic, this bit could easily be a memorable part of a standup show. Highly recommended. Notes/Chain for Fast and Loose From The School for Scoundrels. Notes on Fast and Loose: 8.5 x 11, 41 single-sided pages, spiral bound. $30 plus $5 p&h. Chains for Fast and Loose: Gold plated - $70 plus $5 p&h, Nickel plated - $30 plus $5 p&h. The Notes on Fast and Loose can be purchased with any chain for only $10 additional. Gold - $80, Nickel - $40. From The School for Scoundrels, 6213 Sacramento Avenue, Alta Loma, CA 91701. Fax: 909-466-4550. Email:
[email protected] or
[email protected] The last time the School for Scoundrels appeared here in Marketplace, it was in a review of their excellent shells for the “Shell Game.” This time around, the scoundrels (who are actually Whit Haydn and Chef Anton) tackle another classic con game, “Fast and Loose.” As Whit Haydn states in the introduction to the Notes on Fast and Loose, this street swindle, also known as “Pricking the Garter,” is much older than the Shell Game or Three Card Monte, probably dating back to the Renaissance. The game was originally played with a strap of leather (in fact, Simon Lovell teaches this handling on the Party Animal video). The strap is coiled into a concentric circle, at the center of which are two loops. The goal is for the mark to place his finger into the true center loop of the strap. He chooses, and the strap is uncoiled. If his finger is caught in the center (held fast), he wins. If the strap uncoils without trapping his finger (comes loose), he loses. Because the strap can be unwound in one of two different ways, the operator can always control whether the mark wins or loses. The game resurfaced in the 18th or 19th century in a slightly different guise; instead of a strap of leather, the operator used a continuous loop of string. This game was often played on the docks, and became known as “On the Barrelhead.” The string was laid out
in a Figure Eight pattern, and in fact the game is also known as “The Figure Eight.” The Figure Eight layout offers two large areas, one of which (apparently) holds fast, the other of which comes loose. However, once again the operator is in complete control, being able to create a layout in which neither side holds fast. George Blake’s Loopy Loop – A Treatise on the Endless Chain, stimulated magical interest in this game. Blake noted that the method of “The Figure Eight” was published by Ellis Stanyon in New Miscellaneous Tricks, No. 6 in 1900. As a kid, I learned “The Endless Chain” from Lewis Ganson’s The Art of Close-up Magic, and I have used that routine in professional performances since 1978. The School for Scoundrels became interested in how “Fast and Loose” could be played on the streets for money. Whit Haydn writes, “We felt that to take an ancient swindle like “Fast and Loose,” for which most of the methods and variations have been lost to history, and try to develop the ploys, hooks, and come-ons needed to make it work on the street is a great educational experience…What we are looking for here is not necessarily a description of the way the game was played for money, but of a way that would work…knowing these concepts can be useful when challenged by a spectator…” Notes on Fast and Loose is a post-graduate course in this fascinating little game. The scoundrels begin with a discussion of the various types of chains that can be used. They prefer the French rope type of chain for two reasons: the chain runs smoothly and tends not to catch or snarl; and the design of the links of a French rope chain help obscure the details of the layout, making it difficult for a spectator to analyze how the chain is laid out. The next large section of the book contains methods for laying out the chain. Whit and Chef Anton prefer “Half-Table” layouts. This means that half the chain is held in the hands and the other half rests on the table. In addition to the standard Half-Table layout (similar to the one I learned from the aforementioned Ganson book), the scoundrels offer some really sneaky variations, including one that produces four different results: Fast/Fast, Loose/Loose, Fast/Loose, and Loose/Fast. The layouts look almost identical, making life very difficult for the mark. There is also a thorough discussion of the various False Explanations, Come-ons, and Hooks that keep the spectators interested and involved in the game. These are ingenious methods of selling the game’s Big Lie: that one side of the design always holds fast and the other side always comes loose. There is more than enough information in Notes on Fast and Loose for the serious student to devise his own routine. However, for learning purposes, three complete, professional routines are offered, one each from Jules Lenier, Whit Haydn, and Chef Anton. The Lenier routine is lean, mean, and starts off with some good gags. The Haydn routine is a little more elaborate, and the Chef Anton routine is a major performance piece culminating with the surprise production of a bottle of aspirin. All these routines should be studied.
In addition to the Notes on Fast and Loose, the School for Scoundrels also provides suitable chains for the routine. These are five-foot loops of French rope chain and are either 24-caret gold plated or nickel-plated. Whit sent me a gold plated chain, and it looks great and works beautifully. The chains and the book can be purchased individually, but you get an excellent deal if you buy them together. I can vouch for the effectiveness of an Endless Chain routine. It is necessary to use a gentle touch so you don’t rub the spectators’ noses in the fact that they can never win, but performed with charm and good humor it is a memorable routine. And with the information and equipment provided by The School for Scoundrels you can construct a routine that will defy explanation. In fact, you may even want to go out and hustle it on the street. (But do so at your own peril.) Highly recommended. Rainbow Deck II From Randy Wakeman. $20 plus $3 p&h. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Fax: 815-254-2339. Email:
[email protected] A few years ago, Randy Wakeman released his Rainbow Deck, and it was enthusiastically received by close-up magicians. A Rainbow Deck, if you’re unfamiliar with the concept, is a standard 52-card deck in which each card has a different back design. It is possible to assemble such decks in bridge-size cards (although it is expensive, time consuming, and often difficult to find decks with white borders), but it is almost impossible to assemble a poker-sized Rainbow Deck. Randy solved that problem by having the cards specially printed. He has now released Rainbow Deck II, which contains completely different backs from the original Rainbow Deck. The images used for the backs of the cards appear to be from a clip art collection. However, the actual images used are of no consequence, what is important is the kaleidoscopic flash of colors you get when you spread the deck between your hands or on the table. Rainbow Deck II produces this nice flash. Why use a Rainbow Deck? Well, any Color-changing Deck routine is enhanced when the deck changes into a Rainbow Deck. In addition, there are certain prediction tricks (one is included with Rainbow Deck II) where a prediction is thought to be incorrect until it is turned over and shown that the card the spectator selected and the predicted card are the only two cards with a standard Bicycle Rider back. As a kid I performed Derek Dingle’s “Color Triumphant” with a Rainbow Deck and the results left nothing to be desired. I would also imagine that Doug Conn’s “Chameleon Sandwich” (see Tricks of My Trade) would also be enhanced by using a Rainbow Deck. If you’re having a hard time thinking of ways to use a Rainbow Deck, you may want to order The Rainbow Deck book, also available (for $10) from Randy Wakeman. Twelve routines are described from such creators as Ed Marlo, Clarke Crandall, Jon Racherbaumer, Ken Brooke, Gene Castillon, Mike Powers, Ron Bauer, and Randy Wakeman. None of the routines require advanced card handling ability, and all utilize the Rainbow Deck to good effect.
A couple more points before we wrap this up. The Rainbow Deck II arrives wrapped in cellophane (rather than in a card box). You’ll need a spare card case to keep them in. The ink and the pip design do not match the ink and design used in a Bicycle deck. As Randy mentions in the instructions, if you mix Bicycle cards in with the Rainbow Deck they will pass a casual inspection, but if the cards are going to be scrutinized you should only use cards from the Diamonds suit from the Bicycle deck. I also found that the Rainbow Deck II had a slight tendency to warp (and this could be due to the weird heat/humidity of Las Vegas), but keeping the deck in a card clip solved that problem. All in all, this is a very worthwhile prop. I’ve had lots of fun with a Rainbow Deck, and I’m sure that you will, too. Trapped By Rob Bromley and Keith Bennett. $15. From Keith Bennett, 152 Yardley Fields Road, Birmingham, B33 8QU, England. Email:
[email protected] This little trick was the most unusual thing I saw at a recent convention appearance in Brussels. The two jokers are removed from a deck and tabled face up. A card is selected (free choice), and may be signed. The card is placed between the two jokers. Immediately the selected card vanishes, leaving only the two jokers. The deck is spread, the signed card is discovered face up in the spread. The plot of this effect goes back to Alex Elmsley, and there is nothing new as far as effect is concerned. What is new (at least it was new to me) is the gaffed card that allows you to show two jokers when in reality you have only one. The construction of this gaff is very ingenious and would lend itself to other applications. As far as the “Trapped” effect is concerned, only basic card-handling skills are required. The instructions are brief, and no illustrations are provided, but if you have any experience with card magic you should have no trouble understanding what’s going on. More experienced card magicians will certainly develop their own handlings. “Trapped” is a nifty little trick. I think you’ll have fun playing with it. Mind Stress Alida From Media T Marketing. Mind Stress - $20 plus $3 p&h. Alida - $15 plus $3 p&h. From Media T Marketing, P.O. Box 86, Northgate 4013, Queensland, Australia. Fax: 61 7 3266 2635. Email orders:
[email protected]. Without a doubt, the products offered by Ben Harris and Media T Marketing have the sharpest, most stylish packaging I have ever seen. Unfortunately, I was inclined to summarily pan both of these new releases because the instructions contain the tiniest type I have ever encountered. Even with strong reading glasses I was hard pressed to read the instructions. However, I’ll cut them some slack, considering that there are people out there with good eyes, for whom these instructions may not be a problem. But really, I find this to be inexcusable.
“Mind Stress” is a mental routine from Tomas Blomberg. The magician brings out ten little pieces of cardboard (the cards measure about 2 inches square). Marked on each card are forty small cells, four cells across and ten cells down. In ten of the cells are three-digit numbers; the other 30 cells are blank. Each of the ten cards is prepared similarly, except that the numbers on each card are different. The cards are dealt out onto the table. A spectator thinks of one of the numbers on one of the cards. Through a presentational ploy he indicates which card has his number. The cards are gathered, shuffled, and again dealt onto the table. Through another presentational ploy the spectator again indicates which card contains his number. Without asking any other questions, the magician names the number. Mr. Blomberg has updated the venerable “Magic Age Cards” with an interesting method that only requires two questions. Because the cards are gaffed (in a very simple way) the spectators believes that he is touching the same card each time. One drawback is the small size of the cards. If you are going to do this trick in dim lighting conditions you may want to make enlarged copies of the cards. To my way of thinking, a trick like “Mind Stress” is a puzzle at best. The use of the completely unfamiliar-looking cards (whether or not you attempt to excuse them with some contrived patter plot) make this look like something you bought at the magic shop. (Which is exactly what you did.) However, many magicians enjoy this type of trick (whether their spectators do or not), and “Mind Stress” is a clever variation of a familiar war-horse. “Alida” is an “updated” version of a trick called “Floaters” that was released by Ben Harris in the early 1990’s. I had heard of “Floaters” from some of my friends. What I heard was resoundingly negative. I don’t think that purchasers of “Alida” will be any more enthusiastic. The effect is this. The magician discusses form and function, and in particular explains how the shape of an airplane’s wings provides lift. The magician bends down the long edges of a playing card as it rests on the tabletop. Releasing the edges of the card, the card begins to rise off the table. As it rises the card rotates. The magician shows his hand empty, pushes the card back down to the tabletop, and then hands the card for examination. The gaff used in “Alida” is smaller than the gaff in “Floaters.” It is a common object with two end pieces glued on. For this trick to have any impact whatsoever, the spectators must be looking almost straight down on the card as it rises. Those of you who perform at restaurants will be hard pressed to arrange conditions so that all the spectators are looking down on the card. During the time the card is rising, any spectator who bends down and looks under the card will see the gaff. While the rotation of the card looks weird, it also looks as if the card is resting on something (which it is). It does not look as if the card is hovering. In order to clean up you have to steal the gaff while you pick up the card. There
is an enormous amount of heat on the card at this moment. Mr. Harris offers several ways to clean up, but I think all of them are completely unsatisfactory. I think “Alida” is a complete waste of money. The Amazing Jumping Arrow By Mark K. Young. $15. From Meir Yedid Magic, P.O. Box 2566, Fair Lawn, NJ 07410. Email:
[email protected]. Web site: www.mymagic.com. The big problem with paddle tricks is that they look like exactly what they are – something that you bought at the magic shop. The two best paddle tricks in magic use ordinary objects – the Dr. Sach’s Dice routine, and the classic effect with a table knife and small bits of paper (John Carney does this trick to perfection). “The Amazing Jumping Arrow” by Mark K. Young unfortunately falls into the category of blatant magic prop. The magician shows a small (3 x .25 x .125 inch) anodized aluminum rod. The rod is blank on both sides. A small white arrow appears at one end of the rod. Another arrow appears on the other side of the rod. One arrow is slid to the middle of the rod. The arrow on the opposite side of the rod is slid to the middle, but as this happens the arrow on the other side slides back to the end. Finally, each arrow is slid to the middle. As a climax, one of the arrows is split into two, one at each end of the rod. The rod is handed out for examination. There is nothing really wrong with this trick, except for the fact that it looks like a magic prop and the ending is weak. To me, handing out the rod with an arrow on each end on one side and another arrow in the middle of the other side simply gives an intelligent spectator the opportunity to see how the trick works. There is no strong climax. (Compare this to the standard “Jumping Gems” routine that ends with the production of a ruby – a real surprise.) The rod handles very well, and its size makes doing the paddle move a breeze. This type of trick leaves me completely cold, but if you enjoy this type of thing you’ll probably have fun with “The Amazing Jumping Arrow.” A Grave Mistake From Dick Stoner. $20 postpaid in US (International airmail add $3). From Dick Stoner, 712 S. Harrison Street, Fort Wayne, IN 46802. Fax: 219-426-1100. Email:
[email protected]. Corporate magician Dick Stoner has taken an old gag and turned it into a nice bit for the stand-up performer. The magician shows a large (about 25 x 38 inches) sheet of paper with a drawing of an elaborate casket. The magician explains that he was shopping for a casket, but the model offered by the funeral home representative was too expensive. The magician folds back part of the paper eliminating the canopy of the casket. This process continues, as the representative offers cheaper and cheaper models of caskets. At the final fold the casket turns into a garbage can – a model that the magician can afford. When Dick talked to me some time ago about releasing this trick in a stage-size format, he asked if I knew the origin of the casket fold gag. I assumed that it was the creation of
Sid Lorraine. However, Dick checked with Sid’s widow and was told that the gag was not his. Dick checked with Jay Marshall and Phil Willmarth, and neither was able to pinpoint the originator. The gag is a good one, and Dick provides a complete script. In addition, the illustration of the casket is silk-screened on Tyvek, a material that will not tear. Even a full-time pro should be able to use this prop for many performances. “A Grave Mistake” is a funny bit. If it fits your style it could certainly find a place in your stand-up repertoire. Sounds of the Sorcerer By Opus 1 Productions. $29.95 plus $3 p&h. From Opus 1 Productions, 7702 E. 112th Street, Kansas City, MO 64134-2845. Orders: 1-877-OPUS-1-CD. Web site: www.opus1productions.com Here’s another CD with a variety of music suitable for stage magicians and multimedia productions. As with other CD’s reviewed in Marketplace, there is heavy use of synthesizers on these tracks. There are 26 cuts of music, with each piece of music themed for a particular need. For example, there is music for a contemporary illusion presentation, music in a pseudo-classical style for manipulation, sentimental music, music for levitation, and music for escapes. There are also shorter pieces of music to be used when bringing people out of the audience, segueing between tricks, and tagging the ends of tricks. The music is generally well produced, offers a variety of styles, and can be edited to fit your time requirements. There is also a goofy, music spoof tagged on to the end of the last piece on the disc. I can only assume that the producers of the music were amused by this, as no one else will be. However, this bit of musical self-indulgence does not lessen the worth of the other material on the CD. As I’ve mentioned in the reviews of other CD’s, there is no way I can describe music in words. I do think that the music offered on Sounds of the Sorcerer is worthwhile. If you’re looking for music for your act, this CD is worth checking out. Posters from Lee Jacobs Posters vary in price. For a catalog contact Lee Jacobs, P.O. Box 362, Pomeroy, OH 45769-0362. Fax: 740-992-0616. Email:
[email protected]. Lee Jacobs offers a wide variety of magic posters, both originals and reproductions. Lee sent over several of his recent releases, including posters of Ed Alonzo, Fantasio, and escape artist Thomas Solomon. The Alonzo poster ($7.50) is 17.5 x 27 inches, printed on 100 pound enameled paper, and is varnished to protect its color and finish. The back of the poster contains biographical information and ten black and white pictures of Ed (who just won Stage Magician of Year at the Magic Castle) posing with various celebrities. The Fantasio poster ($10) is 17 x 21 inches. A limited collector’s edition signed by Fantasio is available for $25. The Solomon poster (22 x 29 inches) shows Solomon stripped to the waist and shackled with a variety of handcuffs and other restraints. All these posters are colorful, interesting, and would certainly spruce up your magic den.
Last month I mentioned that Lee was offering souvenir buttons from Doug Henning’s Broadway show Merlin. Lee also has some commemorative solid brass tickets from Merlin. These faux tickets are solid brass, measure 3.75 x 1.5 and are engraved with the same information as an opening night ticket (seat number, date, price of the ticket, etc.). They sell for $20 and are in limited supply, so if you’re interested you should contact Lee right away. It’s Not Magic, But… I’m sure that Robert Orben needs no introduction to the readers of this magazine. Mr. Orben has been producing top-notch comedy material for many decades. In his new book, Speaker’s Handbook of Humor ($14.95, Merriam-Webster Inc., ISBN 0-87779629-7), Mr. Orben offers not only useful one-liners, but valuable advice on preparing a speech, rehearsing the speech, dealing with stage fright, assessing and controlling the audience, and the Do’s and Don’ts of getting laughs. While the book is geared for those who will be speaking in the corporate world, Mr. Orben’s sage counsel will benefit magicians as well.
September 2000 Bad Karma Please indulge me, there’s something I’d like to talk to you about. Every year, right after the Academy Awards show, the following segment appears on one of the national morning talk shows. A man sits at a chair, watching the Oscar presentations, and he has a drawing pad and a pencil in his hands. He is sketching the gowns worn by the movie stars. He is drawing these gowns because he (along with his company) is going to produce reasonably priced knock-offs of these gowns for people who want a dress “like the stars wear.” These knock-off artists are interviewed at great length by the friendly talk show hosts. Curiously, one question is never asked. “Do you think that what you are doing is ethically right?” I’d like to hear the answer to that question. As I write this column, matters have come to a head concerning Napster, a web site that allows its users to swap recorded music back and forth across the Internet. Napster says that its service increases the sales of CDs by exposing its users to music they may not have encountered before, and by being exposed to this music they may then want to purchase CDs by these artists. Ha, ha, ha, ha, ha, ha. The record companies (and the artists they represent) say that their intellectual property is being used unfairly. I grant you that it’s hard to feel sympathetic toward the record companies, since I think that prices for CDs are kept artificially high, but certainly this type of copying is going to cut into sales. The court ordered Napster shut down, but they pulled off a last minute appeal, and right now they’re still operating. Here are some horror stories more closely related to our field. I was at a convention with a well-known illusion designer. The organizers of this convention wanted to honor the designer by having an illusionist present one of his best-known illusions on the gala Saturday show. They were unable to find anyone who had a legitimate copy of this illusion. Another friend of mine is an accomplished builder of electronic magic props. A customer asked him to build an intriguing effect. It wasn’t until my friend visited Las Vegas and attended the Penn and Teller show that he realized the customer wanted him to knock-off Teller’s Shadows illusion. My friend declined to build the prop. Another friend of mine, who is one of the best comedy magicians in the world, was working a magic convention. He performed on the close-up show. After the show a man approached him and asked about one of the tricks my friend had performed. My friend replied that the trick was part of his professional act, and he was reluctant to discuss the details of it. The man asked again. My friend replied that since this was a close-up show, and not a lecture, he did not feel that he was required to discuss this effect, and he would not do so. The man asked again. My friend said he was sorry, but he was not going to offer any information on the trick. The other man shrugged and said, “Oh well, I’ll figure it out myself,” and walked away. Who was the other man? He was a Past-President of a major
magician’s organization. Another friend of mine began his stand-up show at a magic convention by saying, “I’m going to do a bunch jokes and gags first, in the hopes that you’ll leave my act alone.” In fact, in this month’s review column there are two tricks that are being offered for sale simply because the inventors were concerned their creations were going to be unethically appropriated by others. At the beginning of most magic videos, right after the FBI warning, there are words to the effect that the video is licensed for private, home viewing only. This means that magic videos are not to be rented out. However, there are a number of magic shops that do just that. What do you think happens to that video when it gets to the renter’s house? Many magic clubs have a library for their members, and this is certainly a plus for the membership, because they have access to a lot of material. But is this fair to the creators whose works are in those libraries and who lose sales because the individuals need not purchase the materials they are making use of? A friend of mine took me to task for suggesting there might be a problem here. Was I against the concept of the public library? No, I think public libraries are a great thing. If I could sell a set of my Workers books to every public library in the United States, I would be a happy camper. (And I would have one of the best selling magic books in history.) But that isn’t the way it works in the magic world. The market is very small, and the sales lost to Xerox copies of manuscripts and bootleg videotapes are not insignificant. Now, to quote Dennis Miller, I don’t mean to go off on a rant here, but the lack of ethics in the world of magic is beginning to get me down. I’m not depressed because of how lousy the situation is, but because absolutely nothing has changed for the past 300 years. Go back to the old books and magazines and you’ll find magicians bitching and moaning over the exact same things we complain about today: exposure of secrets to the general public; magicians stealing other magicians tricks, bits, or entire acts; and magic dealers ripping each other off. As a group we have absolutely no respect for each other or for our craft, and this continues unchanged. Ethics and honor don’t stand a chance against avarice, status, fame, or immediate self-gratification. Now, let me confess a few things. When I was a kid, I was hungry for magical knowledge. Just about every dime I made I spent on magic books. But there were some things that were hard to obtain – manuscripts that were very expensive, or magazines that I could not purchase. So I made photocopies of things. Later, when I got older, I realized that this was wrong, so I threw out the copies and purchased the legitimate items. I have also been in positions where I could have been more true to my beliefs. During my early days of lecturing I would often stay at the home of one of the magic club members who would proudly show me his magic room. Invariably, that room would contain lots of bootleg videos and Xeroxes of magic manuscripts. This, of course, placed me in the same situation as a Christian Scientist with appendicitis – exactly what did I believe? Do I speak up, stand by my ethical beliefs, tell my host that what he is doing is wrong, and deal with the awkwardness that this will produce, or do I keep my mouth shut. Sadly, I always kept my mouth shut. (On the most recent lecture tours I’ve avoided this problem by requesting to stay in hotels.)
The reason I’m going off on the subject of ethics is because the World Alliance of Magicians has put out a book offering legal suggestions on how magicians can protect their secrets. You’ll read about that book a little further down the page. I have some thoughts on how to protect yourself, but I didn’t think they were appropriate to include in the review, so I’m getting them out of the way first. Let’s start with exposure of magic secrets to the general public. There are three good ways to beat this. The first is to be technically beyond the methods that are being exposed. The methods that get tipped on TV and in magazines are usually the simplest methods possible. If these are the methods you use, you need to study your craft a little bit more. Second, don’t do the tricks that are being exposed. If a masked magician can expose the Zig-Zag illusion and ruin the acts of 3000 magicians then maybe too many of us are doing the same tricks. Why do we all do the same tricks? Because we see some other magician getting good results from an effect and we copy him. Third, present your magic in such a way that the secret of the trick is the least important thing to the spectators. If your audience is hooked emotionally, they are less likely to seek answers. How do you keep other magicians from appropriating your material? This is a tough one. The best answer is this: Stay away from magicians. If you can’t stay away from magicians, then don’t show them tricks that you want to keep secret. This was a very hard lesson for me to learn, and I learned it through bitter experience. Now if I attend a magic convention, I leave the props at home. That way my ego doesn’t put me in a position I’ll regret later. Finally, how do we counteract 300 years of bad karma? Simple, decide finally, once and for all, that you are at least going to give honor and ethics a fair shot. Think before you act. Consider whom you may be hurting and whether you are doing the right thing. Get your head out of the sand. Stop ignoring the problem. If you see something wrong going on, speak up about it. You’re going to hurt some feelings; you may cause confrontations. But if you don’t do this, nothing changes. You can shout and complain and whine and mope and write angry letters when a masked magician exposes tricks on TV, but the masked magician is simply a symptom of a greater, more pervasive, more deep-rooted malaise. As a group, we have taken the low road for 300 years. How much longer must we go before we decide to change? The Protection of Magician’s Secrets Edited by Glen Weissenberger. 8.5 x 11, plastic comb bound. 177 pages. $25 postpaid anywhere in the world. From World Alliance of Magicians, P.O. Box 1016, Jonesboro, GA, 30237. Web site: www.magiciansalliance.com This is a big book full of imposing legalese. Unfortunately, I’m not a lawyer, and I have a tough time with legalese. However, I can give you the gist of what’s going on here. The Protection of Magician’s Secrets offers suggestions for legal recourses for protecting the secrets of magic tricks. The first part of the book looks at six possibilities: Patent Protection, Trademark/Trade Dress/Unfair Competition, Copyright Protection, Trade Secret, Right of Publicity, and Contracts and Miscellaneous Theories of Protection. Each
of these six sections is laid out in the same way. There is an overview of the type of legal protection provided, there is a discussion of the type of application that needs to be filed, and there is a discussion of the pros and cons of using the particular protection in the magic industry, including the costs of such a procedure. The pros/cons discussion is particularly useful. Following the discussion of these six stratagems, there are five appendices. The first two appendices detail two law cases: Zacchini v. Scripps-Howard Broadcasting Co. (a human cannonball sued a television network because his act was broadcast in its entirety on a television newscast) and Goldin v. Clarion Photoplays (Horace Goldin sued Clarion to stop them from showing a motion picture that revealed the secret to the “Sawing a Lady in Half” illusion). The third appendix contains sample forms for patents, trademarks, copyrights, and confidentiality agreements. The final two appendices contain two papers. The first, by Mack Ed Swindle, discusses Intellectual Property and Ethics in the Art of Magic. Swindle writes, “There may be a new model called for in the world of magic. This model could be built on the concept that not only are the secrets of magic and the creations and works of other magicians protected by ethics, they are also protected by contractual obligations.” The idea is that magic organizations would change their rules of membership so those who join are contractually obligated to treat the secrets of others with respect. Would this work? As Swindle says, “Serious examination will be needed to ascertain the level of commitment available among the magic community to protect the art form.” The second paper, by Mari L. Worman is titled “I Could Tell You, but Then I’d Have to Kill You: The Protection Of an Ancient Art Form From Extinction in the Information Age.” Ms. Worman discusses many of the protection possibilities discussed in the first section of this book, and offers examples of lawsuits filed by some famous magicians. There are also some telling quotes. Jim Steinmeyer says, “There are many culprits, but the biggest problem is the attitude of [non-professional] magicians. Professional shows are, to them, the new magic catalog.” (See “How Magicians are Strangling Magic,” in the March 1993 issue of MAGIC.) David Copperfield writes, “Today, it is considered normal to steal…” Is The Protection of Magicians’ Secrets a worthwhile book? I think so. Anyone who is going to go through the legal system in order to protect a creation is going to need an attorney and some fairly deep pockets. Knowing what your options are is important, and when you sit down with someone whose hourly fee is more than you make in two shows its smart to be as prepared as possible. Studying this book will at the least enable you to ask intelligent questions. I should also mention that the attorney you use should be a specialist in intellectual property law. Even lawyers find this area of law to be murky and confusing. Exploiting the protection of the legal system is a viable resource, but laws don’t change human behavior. There are laws against killing people, but those laws are not going to stop some punk who has no regard for human life from sticking a gun in your gut and
blowing you away for the cash in your wallet. I believe that change must come from within, and until we convince those that call themselves magicians that a reversal of attitude is crucial, nothing will ever change. Chan Canasta – A Remarkable Man By David Britland. 6 x 9 hardcover. 111 pages. $100. Available from most magic dealers. To call Chan Canasta enigmatic is an understatement. He was one of the most popular performers in England during the 1950’s and 60’s, hosting his own television program in England, and appearing many times on American TV. Magicians were ambivalent about his methods and his performing style, but lay audiences were overwhelmed by him. No Chan Canasta imitators ever appeared. At the height of his popularity he dropped out of the public view to take up painting as a profession. He returned to magic five years later, and made a stunning appearance on The Parkinson Show, a popular British talk show. He continued to perform around the world during the 1970’s and 80’s. He died of a heart attack on April 22, 1999 at the age of 79. In Chan Canasta – A Remarkable Man, David Britland examines the techniques Canasta used to accomplish his amazing effects. Little is known about Canasta’ methods. He published one small card trick “A Miracle Discovery,” and was often surprisingly honest when discussing his methods with laymen. Generally speaking, his effects were accomplished using simple principles: a stacked deck, a virtuoso mastery of the classic force, psychological manipulation of the audience, and monumental nerve. Canasta was not afraid of failure, and very often he did fail. But when a risky trick succeeded, the impact on the audience left absolutely nothing to be desired. In order to reconstruct Canasta’s methods, Mr. Britland examined three recorded performances. The first, The Amazing Mr. Canasta, was a short film produced in 1953. The second analyzed performance is the March 23, 1960 episode of the series Chan Canasta is a Remarkable Man. The final performance examined is the aforementioned appearance on The Parkinson Show. The Amazing Mr. Canasta performance consisted of five card tricks (Canasta preferred to call them “experiments”) and a book test. In the first card experiment, two spectators choose the same card from two different decks. This experiment is followed by having a gentleman remove two cards from one of the packs. He places one of these cards in his right jacket pocket and the other card in his left jacket pocket. A woman selects a card from another deck that is spread face-up by Canasta. The card she chooses matches the card in the man’s left pocket. The woman repeats the process. The second card she chooses matches the card in the man’s right pocket. The third and fourth card effects continue the theme of having one spectator discern another spectator’s selection. The fifth card experiment performed by Canasta is particularly interesting because it involved the audience that was watching the film at the movie theater. Canasta riffled the faces of the cards toward the camera and asked the viewing audience to think of a card as the faces flashed by. An on-screen spectator picked a card out of the deck. It was the card
that the majority of the audience had thought of. (And Canasta had a follow-up for those who had thought of a different card.) Canasta’s book test was truly remarkable. A spectator chooses a thick book from among several that rest on a table. Canasta riffles the pages in front of the spectator and asks that the spectator think of any page he sees. Canasta then asks the spectator to think of the number of one of the lines on the page. (For example, if the book had 35 lines on a page, the spectator might think of the number “19.”) On a piece of paper Canasta openly writes down what he thinks lies at the 19th line on the thought-of page. The spectator announces the page he is thinking of. The book is opened to that page, and the 19th line is counted to. The words on that line match Canasta’s prediction. The effects presented in the other two performances analyzed by Mr. Britland are variations and refinements of the effects discussed above. Of particular interest is the fact that on The Parkinson Show the book test fails, and yet Canasta is able to bring the experiment to a conclusion that the audience finds completely satisfactory. Canasta’s audience management and situational control were magnificent, and these abilities elevated simple methods to the point where they were unfathomable. In addition, Canasta was a master “de-constructionist.” The instant an effect was over, he would begin to demolish the spectators’ ability to reconstruct the method. Few contemporary magicians make use of this very powerful technique. (Juan Tamariz is one of the current masters of exploiting this type of misinformation.) David Britland does a fine job deducing and analyzing Canasta’s methods. In particular, he emphasizes Canasta’s psychological techniques, which are the real secrets. These are techniques that can only be acquired by thousands of performances in front of real people. Canasta also had no fear of failure, and consequently miracles occurred more often than not. I’m sure that one of the reasons that Canasta had no imitators is that few magicians are willing to pay the price to master these types of techniques. Chan Canasta – A Remarkable Man is a fascinating book about a fascinating character. I doubt that many magicians will even give these tricks a try, and that’s a pity, because the routines here are the stuff miracles are made of. Recommended. (By the way, only a limited number of copies of this book were printed. If you have trouble finding a copy you may want to contact Martin Breese at
[email protected].) Pockets Full of Miracles By Diamond Jim Tyler. 8.5 x 11 hardcover. 176 pages. $40 postpaid. From Diamond Jim Productions, P.O. Box 165694, Irving, TX 75016-5694 The first things you notice about Pockets Full of Miracles are its very user-friendly front and back covers. Bright colors, attractive layout, pretty pictures – this is the kind of book that your eyes would be drawn to if it were on the shelf of your local Barnes and Nobles. And on the back cover, near the top, just below the word MAGIC (which is highlighted and surrounded by the four playing card suits) is the phrase, “Used by pros, written for
beginners.” This phrase troubles me, and since this is the only really negative comment I have about this new book by Jim Tyler, I thought I’d get it out of the way first. It is, of course, the god of marketing that speaks the words, “Used by pros, written for beginners,” and I think these words do Mr. Tyler a disservice. First, Pockets Full of Miracles is not a book for beginners. There are some simple stunts, gags, and bar bets that a beginner could do immediately after reading them, but the majority of the routines are not really geared toward someone who is new to magic. Mr. Tyler has provided a glossary that defines some magic terms and explains some basic sleights (such as the Bobo Switch, the Charlier Pass, the Classic Palm, the Click Pass, etc.), but these explanations are rather cursory, and they are accompanied by teeny, tiny photographs. (Incidentally, there is an odd entry that categorizes the Will De Seive gaff as a “breather” card. Unless my understanding of the breather technique is wrong, this categorization is incorrect.) The glossary does make reference to books that cover these sleights in greater detail, but my suggestion is that a beginner first spend a few years with Bobo’s New Modern Coin Magic, the Giobbi Card College, and the Tarbell Course, before tackling the material in Pockets Full of Miracles. My other concern with the “Used by pros, written for beginners” phrase is that it casts an unfavorable light on the material in Pocket Full of Miracles. What exactly is being said here? Is Mr. Tyler making his living as a professional magician using repertoire that is so simple that a beginner can easily learn it? Does this mean that learning a few simple tricks immediately puts you in a position to call yourself a professional magician? I’m sure that Mr. Tyler had none of this in mind when he added that phrase to the back of the book, but nevertheless, I do wish that marketing would occasionally take a back seat to common sense. So much for my quibbles. Let me cheer everyone up by telling you that Pockets Full of Miracles does contain some very commercial, professional caliber routines. Most refreshing is the fact that Mr. Tyler has developed some novel plots that steer clear of the worn out “Collectors/Matrix/Twisting the Aces” variations that clog up many of the recent publications. The first trick in the book, “Gunslinger,” is a good example. The magician shows a card that has a stick figure of a cowboy drawn on the back. The card is given a slight bend and is stood upright on the table. The magician moves a few feet away and, forming his thumb and forefinger into a gun shape, fires an imaginary bullet at the card. The card falls over, as if hit by the bullet. When the card is examined, there is now a hole in it. The hole has missed the stick figure, but has gone right through the heart of the Jack that is on the other side. (Incidentally, the “Vortex move” that causes the card to fall over was the topic of hot discussion at the Desert Magic Seminar a few years ago, when several top-notch magicians slapped themselves silly trying to get the thing to work.) There are quite a few other routines that are off-beat and seem as if they would be great fun to perform: “Baseball Diamond,” a mental effect with a surprise kicker; “Frog Hair,” an ungaffed method for causing a card to turn over on your hand; “Whatever it Takes,” a prediction effect with some funny spectator interaction; and “The Birthday Bill,” an effect in which a personalized message appears punched-out in a dollar bill. There are
also some variations of non-mainstream effects: “Cat and Mouse,” which adds a kicker to an effect recently marketed by Jarle Leirpoll; “Diamond Back,” another approach to the currently popular “scare the poop out of your spectator” effect; and “Soaring Straw,” and “The Animated Cardbox,” both of which have their roots in other well-known thread effects. Mr. Tyler also takes a brief excursion through some familiar territory with “New Age Spellbound,” “Finger Ring and String,” and “Pieces of Eight.” The latter trick is a longish coin routine that ends with (surprise, surprise) the production of several jumbo coins. I am unsure whether you will find these routines to be more effective than similar routines that may already be in your repertoire. All in all, I liked Pockets Full of Miracles. I appreciated reading some material that was off the beaten track, and there are a few routines here that I want to try out. None of the tricks require advanced technical ability, although a few will require some concerted practice. If you’re looking for some fresh ideas, I’ll think you’ll find them in this book. Magic as Interpreted by Reed Michael Lucas By Reed Michael Lucas. $29.95. Available online at www.NewMagicDVD.com or from your favorite magic dealer. Question: What do close-up magicians use for birth control? Answer: Their personalities. This is not a joke, it is the underlying message of a completely vile new DVD titled Magic as Interpreted by Reed Michael Lucas. The DVD begins with Mr. Lucas stating that his purpose is to show how magic can be integrated into a bar or nightclub situation, where the magician is faced with loud music, bad lighting, and less-than-sober spectators. His second goal is to show that it is not necessary to have a lot of money or to dance well to impress women at a nightclub. Mr. Lucas fails at these objectives. Let’s examine why. First, define for yourself the qualities that an effective dance-club magic trick must possess. My list goes like this: the trick should be brief, very visual, require a minimum of thought on the part of the spectator, and require a minimum of talking on the part of the magician. With the exception of one trick, “The Appearing Straw,” the routines Mr. Lucas offers are long, require a lot of spectator involvement, and are accompanied by non-stop patter. I simply cannot imagine that this material is the strongest possible repertoire for a noisy bar situation. As far as Mr. Lucas’ second goal, well-performed magic tricks may certainly impress women (possibly), but not when accompanied by sleazy patter. The patter for the aforementioned “Appearing Straw” makes reference to a slang term for a sexual technique. Mr. Lucas says to a woman during the selection of a card, “As I dribble the cards, just say stop. I know that’s a word that’s not in your vocabulary.” In fact, if the goal of this tape is to show you how to pick up women using magic, Mr. Lucas proves himself to be a poor role model. Consider these two examples. Mr. Lucas begins a trick by saying to two women, “Here’s something my girlfriend showed me.” WHAT??!! Trust me, if you’re trying to pick someone up, references to your girlfriend or wife minimize
your likelihood of success. Example two: Mr. Lucas performs a multi-phased Ambitious Card routine. About two-thirds of the way through the routine the woman who is watching says, “That’s great. Do you want to dance?” Mr. Lucas says, “Sure, but let me finish this first.” HELLO!! What exactly would this woman have had to suggest in order for you to put the damn cards away? For a moment, let’s ignore the fact that Mr. Lucas fails at his two goals and just isolate the magic tricks. Seven routines are explained. Two require that you have an accomplice secretly working with you. The Ambitious Card routine is okay, but there is very little new involved, except that Mr. Lucas prefers a second deal to a double-lift (a choice of techniques that will immediately put this routine beyond the abilities of most viewers). “Ghost Coin” combines a Spellbound Routine with the Coin Cut effect of Larry Jennings. The combination does nothing to enhance either effect. “Mindreading” is a handling for an effect that Derek Dingle made famous. Mr. Lucas does not stray far from the method in Dingle’s Deceptions. Finally, there is a routine that combines three commercially available items. If you want to do this routine, you’re going to have to buy the tricks involved. Fearing that my own judgement of Magic as Interpreted by Reed Michael Lucas was too harsh, I invited some friends over to watch it. None of them were impressed, and in particular, the women who watched it found Mr. Lucas’ presentations to be offensive. Now, I know what you’re thinking, “Why does Close always sugar-coat these reviews? What does he really think?” The advertisements state that this is the first commercially available magic DVD (apparently this DVD came out before the recent Michael Ammar DVDs). What a pity that this honor should be bestowed on such a sleazy piece of work. Perhaps there is some underlying, subtle, tongue-in-cheek humor going on here. If so, I’m missing it completely. My biggest fear is that some young impressionable magician is going to buy this and think that Mr. Lucas’ example is worth following. If so, the negative impression that most people (especially women) have toward close-up magicians will be reinforced. Let me try to keep that from happening by being as clear as I can be. Under no circumstances should you waste you money on this worthless product. Clear enough? Advanced Card Control Video Series Volumes 4-8 By Allan Ackerman. Each video $29.95 postpaid in US and Canada. All five videos for $135. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 1-800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Las Vegas’ Allan Ackerman continues his series of intermediate and advanced card techniques with these five new videos. The format of each of the videos is the same. Allan demonstrates and explains the sleights, and then demonstrates and explains some (the number ranges from four to nine) effects that use the sleights. There is a small bit of overlap as some of the routines use moves that were explained in the first three volumes of the series.
Here are the topics covered: Volume 4 – Flourishes, Double Lifts, and Changes; Volume 5 – Riffle Shuffle Work; Volume 6 – The Faro Shuffle; Volume 7 – False Counts; and Volume 8 – Utility Moves (including ATFUS, Secret Subtraction, the Braue Addition, the D’Amico Spread, Propelled Lapping, Tilt, and the Hofzinser Force). The exact items discussed on each tape are too extensive to list here. I suggest you consult an A-1 MagicalMedia ad, or visit their web site for details. Over 150 sleights and techniques are discussed on these five volumes. The task of preparing this much material must be a daunting one, and certainly no one could be expected to perform all of these moves to perfection. (This is especially true if you consider that there are moves discussed here that Allan does not use on a regular basis.) There are some sleights here that I think Allan executes expertly; there are others that to my eyes appear less beautiful. I mention this not to be critical of Allan’s technical abilities (which are of a very high caliber) but rather to impress upon you the importance of using tapes like these in combination with other text sources. Mastery of sleight-ofhand is not accomplished by watching one video, or by getting just one person’s opinion. Mastery comes from studying many sources and then using intelligence and common sense to develop handlings that work for your hands and your style of performing. In addition, there are a couple of instances where I find Allan’s explanation of a sleight to be lacking. Most prominent of these is his explanation of the Faro Shuffle. I really doubt that anyone will be able to learn to do perfect Faros from watching Allan’s explanation. I say this for several reasons. First, the grip Allan uses is very idiosyncratic. Second, there are several important factors that must be understood before you can make any headway learning the Faro. Allan does not touch on these at all. (There’s also a mistake concerning the number of In Faros it takes to recycle a deck to its original order. Allan states that 26 In Shuffles will do the job. Actually, it takes 52 In Faros to recycle a deck.) These tapes are not designed to be watched from beginning to end in one sitting. The subject matter is dry, and no attempt was made to make them particularly entertaining. They would be prime candidates for transfer to the DVD medium, where instantaneous access to any sleight would be a welcome benefit. The camera work is generally good, although there are times when having a camera shooting down on the action (or over Alan’s shoulder) would have helped. I think that the Advanced Card Control Series will be a big help to anyone trying to master the techniques of advanced card magic. Allan Ackerman is to be commended for taking on the challenge of such a project. Allan has a great love and enthusiasm for the subject matter and this shows through. Combine these tapes with the standard texts (Giobbi’s Card College comes to mind) and you will have a potent learning method. As I said in my review of Allan’s early tapes, I wish this resource had been available when I was a kid. Ultimate 3 Fly
By Bob Kohler. $310 in United States, $350 International (price includes shipping and insurance). From Bob Kohler Productions, 2657 Windmill Parkway, Box 313, Henderson, NV 89104. Phone: 702-263-8234. Email:
[email protected] As I mentioned a few months ago, I look skeptically on any product with the word “ultimate” in its title. Bob Kohler’s “Ultimate 3 Fly” may not be the last word on this very popular coin effect, but it is hard to imagine a cleaner or more magical looking method. I watched “3 Fly” get hammered into existence during my stint at Illusions, the magicthemed restaurant in Carmel, Indiana. Building on Jonathan Townsend’s “Fingertip Coins Across,” Chris Kenner and Homer Liwag honed “Three Fly” through thousands of performances in front of real people in real world conditions. Kenner’s routine became an instant hit, and was published in several different formats. (In fact, I still smile when I think of Michael Weber’s comment in MAGIC when he asked if buying the same routine over and over constituted practice.) The routine invites variation, and most recently we have seen handlings by Daryl and R. Paul Wilson. Kenner’s virtuoso performance of “3 Fly” at Illusions, magic conventions, and later during his travels with David Copperfield generated enormous enthusiasm for this trick. One of the most important aspects of “3 Fly” is that it is performed with the hands held at chest height. This means the effect will play for a large group of people, a rarity in coin magic, where the magic usually happens on the table. Another feature of Kenner’s handling (and the factor that probably stimulated magicians to purchase the same trick several times) was the vanish of the last coin. A problem with any Coins Across routine that uses an extra coin and the one-ahead principle is how do you get rid of the last coin? As Kenner performed it, the coin was given a little toss and vanished completely. Both magicians and laymen were flabbergasted. Kenner (to my knowledge) never tipped his work on the last coin. Consequently, “3 Fly” and all the variant handlings that followed conclude with a bluff vanish of the last coin and the performer is left “dirty” at the end of the trick. Which brings us to Bob Kohler’s “Ultimate 3 Fly.” This routine has been one of Bob’s pet secrets for several years. He has featured it in his trade show work, and in his private party performances. Why would a performer release a routine that is one of the mainstays of his professional repertoire? In Bob’s case it is a matter of self-defense. Over the years many magicians have seen Bob perform this routine, and at least two magicians have decided to appropriate the routine as their own, and have made plans to market it. In order to establish proper credit and to retain some control over his creation, Bob decided to release “Ultimate 3 Fly” as an exclusive, limited edition product. Why is this routine special? First, Bob has incorporated a unique and under-exploited gaffed coin that allows the routine to be performed very slowly. At almost every point along the way, the spectators can clearly see that only three coins are being used. Because the action is so slow and fair looking, the spectators don’t feel that they being bamboozled by speed or blindsided by bulldozer misdirection. Second, the gaffed coin
allows for an unbelievable vanish of the last coin. The spectators see the coin go into the left hand, the hand is opened, the coin is gone and it appears with the other two coins at the tips of the right fingers. Best of all, the spectators clearly see only three coins at the end of the routine. There is nothing to hide. At $310, “Ultimate 3 Fly” is not a cheap routine. You get three Morgan silver dollars, the precision made gaff, and a videotape that explains all the necessary handling. Be aware that even though there is a gaff involved, this is by no means a self-working routine. Some concerted practice will be required before the routine looks as good as it does in the hands of its creator. Why is this such an expensive routine? Bob Kohler writes, “The explosion of information about magic methods in books, on video, on Fox TV, and all over the Internet has created a need the magic community must address. How do we keep what we do a secret? The answer is to go back to the days of Richard Himber and Ken Brooke – limited edition routines that keep the secrets from hobbyists and the lay public. Routines not for the curious.” “Ultimate 3 Fly” is priced for exclusivity. I believe that only 200 sets are available. Registered purchasers are granted all performance rights except national television performance rights. The gaffed coin is beautifully made, and when used with normal care will last you for thousands of performances. The explanatory video is a little rough around the edges, but gives you all the information you need to add this trick to your close-up repertoire. So, do you need this trick? If you are a hobbyist, I would say no. Unless you are a wealthy hobbyist, in which case would you like to adopt me? Professional close-up and trade show magicians will probably want to give this trick their serious consideration. I have read postings on bulletin boards by people who already have a “3 Fly” routine in their repertoires and see no reason to switch to another routine. My guess is that none of these people have seen Bob perform “Ultimate 3 Fly.” If you watched Bob do this routine for a group of laymen and saw the reaction it gets, you’d be ready to slap your money down immediately. I can give “Ultimate 3 Fly” no higher endorsement than to say that I absolutely hate coin tricks, but this is one that I am immediately adding to my repertoire. It’s that good. In Over Your Head By Steve Bedwell. $15 plus $1 p&h. From Steve Bedwell, 497 Sun Lake Circle, #303, Lake Mary, FL 32746. Email:
[email protected]. This stand-up routine from doctor/magician Steve Bedwell is one of the best new things I’ve seen in a long time. Steve has taken the theory of the Slydini “Paper Balls Over the Head,” and applied it to a multi-phased Cut-and-Restored Rope routine. A woman from the audience joins the magician on stage. The magician brings out a five-foot length of rope, which the woman examines. The magician then proceeds to cut and restore the rope
four times. Each time, every person in audience except the woman on stage sees the method for the restoration. Because the woman on stage never catches on, the trick just gets funnier and funnier. Steve has structured this routine beautifully, even solving the problem of the woman looking over her shoulder, seeing pieces of rope, and busting you. The final restoration has a visual quality that absolutely stuns the woman assistant. “In Over Your Head” is brilliant, and is priced at a fraction of its true value. So, you ask, why would anyone put a routine of this caliber on the market? The answer is simple and depressing. Steve made the big mistake (in my opinion) of performing this routine while working a week at a very famous magic venue. It was made very clear to him by several of his colleagues that while he might be returning home to Florida, his routine would certainly be remaining out west, appropriated by magicians who do not have the integrity to leave someone else’s material alone. In self-defense, Steve decided to publish the routine, so he would at least get credit for his own creation. Steve has also been thinking a lot about one of card magic’s most venerable devices – the thick card. Steve has turned this concept every way but loose, and has published his findings in a little booklet called Thick Schtick! I had a chance to watch Steve put a thick card through its paces in a late night session at Buffalo, and his ideas are terrific and will fool you if you are not hip to the work. Best of all, Steve’s ideas can simplify effects that normally require some serious sleight-of-hand, for example the controlling of multiple selections. If you’re a card guy you’ll definitely want to check this out. The booklet costs $21 postpaid, and you can get it from Steve at the address above. Clarifications Department A few months ago, in my review of Punishment, a videotape by Australian magician PatTrick, I asked for information concerning the origin of the “Card Under Spectator’s Watch” effect. This effect is the creation of Norman Beck of Dallas, Texas. Norman’s routine was published in Gordon Bean’s column in the May 1995 issue of Genii magazine (the issue with Penn and Teller on the cover). Norman’s routine is terrific and is well worth the trouble to track down. Also, a few months ago, while visiting Steineberg Germany, I wrote a Marketplace column using Pit Hartling’s laptop computer. Because of my imprecise language I gave many people the impression that Pit lives in Steineberg. This is incorrect. Pit Hartling lives in Frankfort. His laptop lives in Steineberg. It’s Not Magic, But… I’ve always felt that anyone who calls himself a magician should also have mastery of some other arcane skill – like being able to juggle, spin a lariat, do expert origami, shoot pool well, or be a world-class Texas Hold ‘em player. Just so if you were in some weird situation, you could step up, McGiver-like, and take control. For example, you’re sitting with friends in a bar on Burbon Street, and one of the members of the Original Dixieland bands keels over with a heart attack, and you nonchalantly stroll up on stage, pick up his
trombone, and belt out a few choruses of “The Saints” while the paramedics cart the poor guy off to the ER. If you really want to be the guy who knows stuff nobody knows, pick up a copy of The Worst-case Scenario Survival Handbook (Chronicle Books, ISBN 0-8118-2555-8). Included in this gem of a book is such information as How to Escape from Quicksand, How to Hot-wire a Car, How to Wrestle Free from an Alligator, How to Jump from a Building into a Dumpster, How to Deliver a Baby in a Taxicab, How to Make Fire Without Matches, and How to Survive if Your Parachute Fails to Open. I’m not saying that you’re ever going to actually need to put this information to use, but how cool would it be to saunter out of the ocean having just fended off a shark attack and see your friends stunned reactions. “Where did you learn to do that?” they’d ask. “Oh, just something I picked up,” you’d reply, and you’d secretly thank me.
October 2000 How the World Works I’m not going to hop up on a soapbox this month (we have a ton of items to talk about), but I do want to take a moment to discuss the reviewing process here at MAGIC. Lately I have read some mail suggesting that there is a conspiracy afoot in which personal friendship, proximity (that is, West Coast vs. East Coast), or an advertising commitment to this magazine is required in order to have your product reviewed. The truth is far less sinister, and far more mundane. First, I don’t show favoritism to friends. After 5 ½ years of product reviewing, I don’t have any friends. This makes it easier to play fair. I don't show favoritism to the West Coast, because I have no contact with West Coast magicians. In fact, I have almost no contact with magicians at all. I have taken myself out of the magic convention/magic lecture loop, so I very rarely see other magicians. Secondly, simply sending a product to MAGIC magazine (or any other magazine for that matter) does not guarantee that it will be reviewed. When I began my stint as the product reviewer, I cranked out about 4500 words a month. This has grown to between 6000 and 7500 words a month. Each month I receive a ton of products to examine. If the number of pages allotted to Marketplace were doubled, I still wouldn’t have room to write about everything that comes in. As it is, each month I single-handedly review more items than the three reviewers at Genii do collectively. Usually this is between 12 and 15 items. Because of the volume of products, I had to establish some type of “sifting” process to bring the amount down to a manageable number. I don’t know what Genii’s policy is, but here’s how I have been organizing things for the past five years. 1. Items of excellence are assured a review, whether they are being heavily advertised or not. If a product is really good I want people to know about it. This is especially true if the product comes from an “unknown.” 2. I try to make sure to review products that are being advertised heavily. (This does not mean that you have to have an ad in MAGIC to get reviewed.) I don’t care where the ad is running, if a product is being heavily hyped I think it’s important for my readers to learn if it is good, bad, or indifferent. (Note that there are a lot of products that fall in this category that are not reviewed because no sample is sent to us. Unfortunately, we don’t have the budget to purchase every product out there.) 3. Products that are getting a lot of hype and are a rip-off (in my opinion) will definitely get reviewed, just to warn the magicians about them. (Again, this all depends on whether we get a sample to review.)
4. Everything else. This final category tends to include a lot of items that I think are of marginal worth. If I have room, I will write about one or two of the best of these. The problem is that a vast majority of products fall into this category. In many cases, the creators of the products are hoping that my review will serve as a free ad (or that an enthusiastic review will springboard an ad campaign). There is one other situation, and that is a product that arrives without the necessary ordering info (price, postage, mailing address, fax number, email address, or web site). This product goes to the bottom of the pile because I simply don’t have the time to track down the information. We have discovered (and are in the process of rectifying) a couple of glitches in procedure here at the MAGIC office. There have been a few occasions when an item was cut from a review column due to lack of space and this item did not appear in the next month’s column. We will be diligent to make sure this no longer happens. Also, we will be sending out a postcard acknowledging the receipt of your product. Because of the backlog of products, I have no way of letting you know when (or if) your product will be reviewed, but at least you’ll know that it got to us. My goal has always been to produce a column that will be interesting, informative, and helpful to the readers of MAGIC. No great Machiavellian schemes exist. My only loyalty is to the readers. I hope that clears things up. Chan Canasta – A Remarkable Man By David Britland. 6 x 9 hardcover. 111 pages. $100. Available from most magic dealers. To call Chan Canasta enigmatic is an understatement. He was one of the most popular performers in England during the 1950’s and 60’s, hosting his own television program in England, and appearing many times on American TV. Magicians were ambivalent about his methods and his performing style, but lay audiences were overwhelmed by him. No Chan Canasta imitators ever appeared. At the height of his popularity he dropped out of the public view to take up painting as a profession. He returned to magic five years later, and made a stunning appearance on The Parkinson Show, a popular British talk show. He continued to perform around the world during the 1970’s and 80’s. He died of a heart attack on April 22, 1999 at the age of 79. In Chan Canasta – A Remarkable Man, David Britland examines the techniques Canasta used to accomplish his amazing effects. Little is known about Canasta’ methods. He published one small card trick “A Miracle Discovery,” and was often surprisingly honest when discussing his methods with laymen. Generally speaking, his effects were accomplished using simple principles: a stacked deck, a virtuoso mastery of the classic force, psychological manipulation of the audience, and monumental nerve. Canasta was not afraid of failure, and very often he did fail. But when a risky trick succeeded, the impact on the audience left absolutely nothing to be desired.
In order to reconstruct Canasta’s methods, Mr. Britland examined three recorded performances. The first, The Amazing Mr. Canasta, was a short film produced in 1953. The second analyzed performance is the March 23, 1960 episode of the series Chan Canasta is a Remarkable Man. The final performance examined is the aforementioned appearance on The Parkinson Show. The Amazing Mr. Canasta performance consisted of five card tricks (Canasta preferred to call them “experiments”) and a book test. In the first card experiment, two spectators choose the same card from two different decks. This experiment is followed by having a gentleman remove two cards from one of the packs. He places one of these cards in his right jacket pocket and the other card in his left jacket pocket. A woman selects a card from another deck that is spread face-up by Canasta. The card she chooses matches the card in the man’s left pocket. The woman repeats the process. The second card she chooses matches the card in the man’s right pocket. The third and fourth card effects continue the theme of having one spectator discern another spectator’s selection. The fifth card experiment performed by Canasta is particularly interesting because it involved the audience that was watching the film at the movie theater. Canasta riffled the faces of the cards toward the camera and asked the viewing audience to think of a card as the faces flashed by. An on-screen spectator picked a card out of the deck. It was the card that the majority of the audience had thought of. (And Canasta had a follow-up for those who had thought of a different card.) Canasta’s book test was truly remarkable. A spectator chooses a thick book from among several that rest on a table. Canasta riffles the pages in front of the spectator and asks that the spectator think of any page he sees. Canasta then asks the spectator to think of the number of one of the lines on the page. (For example, if the book had 35 lines on a page, the spectator might think of the number “19.”) On a piece of paper Canasta openly writes down what he thinks lies at the 19th line on the thought-of page. The spectator announces the page he is thinking of. The book is opened to that page, and the 19th line is counted to. The words on that line match Canasta’s prediction. The effects presented in the other two performances analyzed by Mr. Britland are variations and refinements of the effects discussed above. Of particular interest is the fact that on The Parkinson Show the book test fails, and yet Canasta is able to bring the experiment to a conclusion that the audience finds completely satisfactory. Canasta’s audience management and situational control were magnificent, and these abilities elevated simple methods to the point where they were unfathomable. In addition, Canasta was a master “de-constructionist.” The instant an effect was over, he would begin to demolish the spectators’ ability to reconstruct the method. Few contemporary magicians make use of this very powerful technique. (Juan Tamariz is one of the current masters of exploiting this type of misinformation.) David Britland does a fine job deducing and analyzing Canasta’s methods. In particular, he emphasizes Canasta’s psychological techniques, which are the real secrets. These are techniques that can only be acquired by thousands of performances in front of real
people. Canasta also had no fear of failure, and consequently miracles occurred more often than not. I’m sure that one of the reasons that Canasta had no imitators is that few magicians are willing to pay the price to master these types of techniques. Chan Canasta – A Remarkable Man is a fascinating book about a fascinating character. I doubt that many magicians will even give these tricks a try, and that’s a pity, because the routines here are the stuff miracles are made of. Recommended. (A number of errors appear in this book, due to a misstep in the printing process. Martin Breese will be offering a free supplement that will address these errors and will include additional photos and information. This supplement will be available in November. By the way, only a limited number of copies of this book were printed. A second limited printing is planned, and the price will stay at $100. For information on the reprint or the supplement you may want to contact Martin Breese at
[email protected].) Neo – Magic Artistry By S. H. Sharpe. 6 x 9 hardcover with dustjacket. 390 pages. $50 plus $5 p&h in US (foreign orders add $15 p&h). From The Miracle Factory, 6113 Roosevelt, Suite 101, Seattle, WA 98115. Phone orders: 877-707-4268. When Todd Karr (the publisher of Neo-Magic Artistry) was 18 he wrote to Sam Sharpe to ask if he could publish Sharpe’s Words of Wonder. The book found a small but enthusiastic audience (including Doug Henning) and marked a resurgence in interest in Sharpe’s books. The four-volume series Conjuror’s Secrets was published, new versions of Salutations to Robert-Houdin and Devant’s Delightful Delusions were released, and his 1937 book Ponsin on Conjuring was reprinted. The Magic Castle awarded Sharpe a Literary Fellowship. This recognition of Sharpe’s work was gratifying, for his publishing ventures had never been particularly successful. Neo Magic (which forms the major part of Neo – Magic Artistry) was originally published in 1932. Sharpe had to pay for the printing. He only broke even on the project. The 500 copies of the first edition sold moderately; the unsold copies were lost during World War II. The second edition of 750 copies was marred by shoddy workmanship and many typographical errors. Sam Sharpe died on July 27, 1992. He had continued to revise and rework his material in the hope that Neo Magic and the three booklets that followed it (Conjured Up, Good Conjuring, and Great Magic) would be published in one volume. He planned this combined edition with Martin Breese, but did not live to see it completed. Todd Karr’s company, The Miracle Factory, has finally realized Sam Sharpe’s dream and has made Neo – Magic Artistry available to a contemporary audience. The book is remarkable, and I could easily spend the entire column discussing it. Unfortunately, I don’t have that luxury, so I can only touch on a few points. Neo – Magic Artistry is not so much a book of theory as it is a book of esthetics. If I could sum up Sam Sharpe’s dissatisfaction with magic performances it would be that so
few of them are magical. In an attempt to offer easily digestible popular entertainment, magicians miss the chance to provide their audiences with a deeper, more meaningful experience. Neo – Magic (Part I of Neo – Magic Artistry) begins with a discussion of conjuring as a fine art. Sharpe then analyzes the various types of conjurors – Originators (those who devise new effects and methods), Inventors (those who devise new technical methods to be used by Originators), Manufacturers, Executive Conjurors (who interpret the effects of others before the public), and Critics (in which category Sharpe places students of magic, magical cognoscenti, and “every attentive member of the audience”). Next, Sharpe discusses the importance of the producer. He writes, “A magician should himself know whether his technique and art have passed the rehearsal stage and become second nature, but the producer is better able to tell him how to dress his production attractively.” Topics covered include advertising, styles of presentation, logic, consistency, choice of apparatus, holding attention, stage fright, emotional appeal, and many others. Sharpe also examines the problems of exposure. Considering the present day furor about this subject, his thoughts should stimulate discussion. Sharpe writes, “I suggest, therefore, that a good conjuring feat may be defined as one that can withstand exposure…The Aerial Mint, Cups and Balls, and Chinese Rings will generally prove among the most popular items in a program if presented by a skilled magician, yet all have been exposed ad nauseam. The reason is simple: their success depends mainly on the performer’s ability as a conjuror…if the conjuror relies upon sleight-of-hand and mental acuteness for his effects, he will have little fear of the exposer; but if he is content to use tricks of the simple order, then he has only himself to blame if he finds some know-alls in the audience.” Part Two of Neo – Magic Artistry contains the three smaller books, Conjured Up, Good Conjuring, and Great Magic. The theoretical discussions begun in Neo Magic are continued here, but unlike Neo Magic, these books also contain fully scripted routines. The emphasis is on stage and parlor magic, mostly utilizing apparatus, but there are also a few close-up routines. It is interesting to see how Sharpe puts his theory into practice, but I fear that few of these routines will be of use to contemporary readers without considerable revision. (But then again, Ricky Jay has had great success using the Exclusive Coterie patter from Expert at the Card Table.) Neo – Magic Artistry is a wonderful book and I recommend it to you. It is a challenging book. Sharpe’s Edwardian prose does not make for easy reading. The magic is dated and would certainly have to be revamped for contemporary presentation. The ideas, though, are golden. I’m delighted that Todd Karr has made these books available to new generations of magicians. Semi-Automatic Card Tricks Volume III Written by Steve Beam. 8.5 x 11 hardcover with dustjacket. 239 pages. $45 postpaid. From Trapdoor Productions, 108 Running Creek Road, Raleigh, NC 27606. Web site: www.mindspring.com/~sbeam
Magicians do love their card tricks. (I’ve said that before, haven’t I?) I’m sure that by now all of you have picked up your copy of The James File and you’ve worked your way through the 600+ card tricks in those two volumes. That means you’re hungry for more card tricks! You’re in luck. Steve Beam has assembled 70 virtually self-working card routines in Semi-Automatic Card Tricks Volume III. Mr. Beam (editor of the very popular close-up magazine The Trapdoor) is a humorous and entertaining writer, who has a keen eye for picking top-notch material. He is also no slouch when it comes to creating routines himself. The list of contributors to SemiAutomatic Card Tricks Volume III is a who’s who of clever magic folk, including Jack Avis, Tom Gagnon, Lewis Jones, Anthony Owen, Doug Canning, Joel Givens, Stewart James, Joe Mogar, Marc Paul, Allan Slaight, Tom Craven, Josh Jay, Lee Asher, Marty Kane, and Gary Plants. The routines are organized thematically. Chapters include Gambling Tricks, Impossible Locations, Face Up/Face Down Shuffles, The Match Game, Cards of Color, Topological Effects, and Multiple Locations. The Cards of Color Chapter contains a fascinating idea by Lewis Jones called “The Pattern Principle.” This idea circulated through the underground (whatever that is) a while back, and it generated a lot of comment. If you enjoy card magic and you’re looking for material that won’t bust your knuckles, you will certainly have fun with Semi-Automatic Card Tricks Volume III. (And you’ll also enjoy the previous volumes in the series.) Personal Magic Volume 1 By Eric Lewis. CD Rom. $30 postpaid. From Magikraft Studios, 11639 Sandpiper Court, Moreno Valley, CA 92557. Fax: 909-247-1666. Email:
[email protected]. Web site: www.magikraft.com Eric Lewis had a lifelong interest in magic. He was a performer, a creator, a craftsman, and an author with over 26 books to his credit. Most unusual among his creations was a set of notebooks called Personal Magic. These were far more than the hastily scribbled (and mostly cryptic) notes that many of us use to log our own inventions and the clever creations we encounter. Eric Lewis typed up the routines chronicled in Personal Magic, and then the effects were illustrated with Mr. Lewis’ own watercolor artwork. The pages were bound in library covers. There is only one copy of each of the three volumes, and these books have been seen by only a select few. In the Introduction to Volume One, Eric Lewis writes, “This book is a four-fold labour of love; of a life-time love of magic, a love of books, a love of writing, and a love of drawing and the daubing of colours. It is unique. There is only this one. It was born of a desire to take the magical impedimenta that one gathers throughout a lifetime of magic; the notes in exercise books, the dealer’s instruction sheets of personal interest, things which have had a particular interest to me in magazines and books which have passed through my hands, tricks given to me by word of mouth or by letter, tricks I have seen indeed, from all sources by which one gains a knowledge of magic. It is truly personal,
because not only are the contents just those which strongly appeal to me, but in many cases there are slight variations or adaptations which bring the originals into line with my personal requirements.” Any attempt to publish the Personal Magic volumes would have been cost prohibitive, so Martin Lewis did the next best thing – he published the book on CD-Rom. You receive a hybrid CD-Rom, usable on both a Mac and a PC. The book itself is in Adobe Acrobat format. The Adobe Acrobat Reader is provided on the disc. In addition to the 359 pages of text, there are also 8 QuickTime movies. In order to play the movies you’ll have to install a QuickTime player, which may involve hopping on the Internet. (Information on free Internet service is provided.) The magic is widely varied, covering cards, close-up, children’s magic, silk effects, general magic, mental effects, and miscellaneous effects. The contributors include Theo Annemann, Stanley Collins, Paul Curry, Cy Endfield, Robert Harbin, Ralph Hull, Stewart James, Charles Jordan, Milt Kort, Ed Marlo, Clayton Rawson, Harlan Tarbell, Edward Victor, and many others. If you have a good library and are a student of magic it is possible that you will have encountered several of these tricks before, but I would guess that for younger magicians this material will be completely unknown. Mr. Lewis’ artwork is charming, and the book is a delight to page through. However, I find it more pleasurable to have a hard copy of any material that I’m going to study. I printed out several pages of Personal Magic, and even using an “economy” setting on my printer the pages turned out quite well. If you are willing to invest in some ink cartridges and some high quality paper, you could make a very handsome book for yourself. There is, however one small irritating glitch. When the pages were scanned the page number on the bottom of each page was cut in half. You can sort of make out the page numbers, but they are not really clear. These means you’ll have to be careful to keep the pages in order when you print them out, and finding any individual trick (there is an index) will be a little cumbersome. I am delighted that Magikraft is releasing this material. CD-Rom may not be the perfect solution, but it beats the alternative (of my never having the chance to experience these books at all). I enjoyed Eric Lewis’ Personal Magic Volume One very much and I think you will, too. The Truth About Trade Show Magic By Eddie Tullock. 2 video set. $59.95 postpaid in US and Canada (overseas surface add $7.50). From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. Eddie Tullock has certainly attained a legendary status in magic, and justifiably so. He was the first trade show magician, a job he performed with skill, enthusiasm, and his own brand of sideshow bravura. Because he avoided magic conventions and rarely associated with other magicians, he was a shadowy figure, praised by those few who were hip to his
work, but otherwise unknown to the magic community. And, he made a very comfortable living using only a force, a top change, a palm, and a simple card control. Mr. Tullock’s magic and thoughts on trade show work were recorded in a book titled Tullock: The Phantom Founder of Trade Show Magic. I don’t know if it’s still available, but it is definitely worth tracking down. Now, thanks to the folks at L&L Publishing, we have a chance to watch Mr. Tullock in action, to see him work a crowd of people, and to hear his words of wisdom concerning trade show work. These tapes are not perfect, but I’m glad that Mr. Tullock was captured on video, so future generations have a chance to see one of magic’s top performers. The Real Truth About Trade Show Magic contains two videotapes. The first contains some of Mr. Tullock’s trade show routines, performed and explained. On this video Mr. Tullock also explains his techniques for the sleights that are the backbone of his work. On the second video Mr. Tullock offers suggestions for anyone interested in pursuing trade show work. On both these tapes Mr. Tullock is joined by Michael Ammar, who acts as a host and interviewer. The performance tape features such routines as “Timely Card to Wallet” (a routine that may cause you to throw away all your fancy gimmicked wallets), “Busted Transpo,” “Blackjack” (a pseudo-gambling demo with a funny ending), “A Psychological Trick” (a very clever two-deck routine that features a bold use of the face-up classic force), and “The Four and a Half Trick,” which has been Mr. Tullock’s closer for many years. In addition to the routines, Mr. Tullock also discusses the Classic Force, the Top Change, some simple card controls, an excellent method for an in-the-hands false riffle shuffle, and offers some good work on the venerable Slop Shuffle. What you will immediately notice is that there is nothing fancy going on here. The plots of the routines are easy to understand, and the methods are simple and direct. (Please note that “simple” does not necessarily mean “easy.”) Because the plots are simple, Mr. Tullock has plenty of opportunities to drop in his commercial messages (in this case he pitches the merits of L&L Publishing), and of course, delivering a company’s sales pitch is the entire reason for the existence of trade show magicians. Some of the topics discussed on the second video include: contacting the decision-maker, clarifying the company’s sales message, the logistics of trade show work, audience management, gathering a crowd, client loyalty, and safety tips. The suggestions Mr. Tullock makes come from years of experience and should be carefully studied by anyone considering entering this field. The Real Truth About Trade Show Magic is not a perfect product. There was no way to capture Mr. Tullock in a real trade show setting, so a group of laymen was brought in and they stand around Mr. Tullock as he works on top of a table on a stand. One problem with this arrangement is that the cameras have problems capturing all the action, since the spectators are spread out. At one point a young man selects a card and goes completely off camera. A giant card is superimposed on the screen so we know what card he took. I understand the need to shoot videos in a studio environment, but we lose the raw energy
of the trade show floor, and a chance to see how a master performer controls an audience in that situation. The biggest problem of these videos is the host, Michael Ammar. Mr. Ammar has certainly achieved favorite son status at L&L Publishing, but I fail to understand why he needs to be on every video they put out. Contrary to the claims of the advertisements, I don’t believe that trades shows are his field of expertise. Certainly there must have been other performers with more experience in this field who could have served as a host. But placing the matter of experience aside for a moment, there is the manner in which Mr. Ammar carries out his role. As a host and interviewer, Mr. Ammar’s job is to draw out responses from the person he is interviewing. This means “talk less, listen more.” Offer short, pointed, intelligent questions that will spur the subject to deliver more information. As you watch these tapes it feels as if half the time is taken up with Mr. Ammar’s comments. I will not judge whether his comments are good, bad, or indifferent, I’ll just state that if I buy a tape by Eddie Tullock, I want to hear what Eddie Tullock has to say, not what Michael Ammar has to say. Are these tapes worth purchasing? Yes. They will be especially valuable if you have a copy of the Tullock book mentioned above. (Seeing the card forcing and top change techniques in action is particularly valuable.) Eddie Tullock is a one-of-kind character. Being able to spend time with him, even in this flawed format, is a pleasure, and it is a pleasure you should afford yourself. Magic as Interpreted by Reed Michael Lucas By Reed Michael Lucas. $29.95. Available online at www.NewMagicDVD.com or from your favorite magic dealer. Question: What do close-up magicians use for birth control? Answer: Their personalities. This is not a joke, it is the underlying message of a completely vile new DVD titled Magic as Interpreted by Reed Michael Lucas. The DVD begins with Mr. Lucas stating that his purpose is to show how magic can be integrated into a bar or nightclub situation, where the magician is faced with loud music, bad lighting, and less-than-sober spectators. His second goal is to show that it is not necessary to have a lot of money or to dance well to impress women at a nightclub. Mr. Lucas fails at these objectives. Let’s examine why. First, define for yourself the qualities that an effective dance-club magic trick must possess. My list goes like this: the trick should be brief, very visual, require a minimum of thought on the part of the spectator, and require a minimum of talking on the part of the magician. With the exception of one trick, “The Appearing Straw,” the routines Mr. Lucas offers are long, require a lot of spectator involvement, and are accompanied by non-stop patter. I simply cannot imagine that this material is the strongest possible repertoire for a noisy bar situation. As far as Mr. Lucas’ second goal, well-performed magic tricks may certainly impress women (possibly), but not when accompanied by sleazy patter. The patter for the aforementioned “Appearing Straw” makes reference to a slang term for a sexual
technique. Mr. Lucas says to a woman during the selection of a card, “As I dribble the cards, just say stop. I know that’s a word that’s not in your vocabulary.” In fact, if the goal of this tape is to show you how to pick up women using magic, Mr. Lucas proves himself to be a poor role model. Consider these two examples. Mr. Lucas begins a trick by saying to two women, “Here’s something my girlfriend showed me.” WHAT??!! Trust me, if you’re trying to pick someone up, references to your girlfriend or wife minimize your likelihood of success. Example two: Mr. Lucas performs a multi-phased Ambitious Card routine. About two-thirds of the way through the routine the woman who is watching says, “That’s great. Do you want to dance?” Mr. Lucas says, “Sure, but let me finish this first.” HELLO!! What exactly would this woman have had to suggest in order for you to put the damn cards away? For a moment, let’s ignore the fact that Mr. Lucas fails at his two goals and just isolate the magic tricks. Seven routines are explained. Two require that you have an accomplice secretly working with you. The Ambitious Card routine is okay, but there is very little new involved, except that Mr. Lucas prefers a second deal to a double-lift (a choice of techniques that will immediately put this routine beyond the abilities of most viewers). “Ghost Coin” combines a Spellbound Routine with the Coin Cut effect of Larry Jennings. The combination does nothing to enhance either effect. “Mindreading” is a handling for an effect that Derek Dingle made famous. Mr. Lucas does not stray far from the method in Dingle’s Deceptions. Finally, there is a routine that combines three commercially available items. If you want to do this routine, you’re going to have to buy the tricks involved. Fearing that my own judgement of Magic as Interpreted by Reed Michael Lucas was too harsh, I invited some friends over to watch it. None of them were impressed, and in particular, the women who watched it found Mr. Lucas’ presentations to be offensive. Now, I know what you’re thinking, “Why does Close always sugar-coat these reviews? What does he really think?” The advertisements state that this is the first commercially available magic DVD (apparently this DVD came out before the recent Michael Ammar DVDs). What a pity that this honor should be bestowed on such a sleazy piece of work. Perhaps there is some underlying, subtle, tongue-in-cheek humor going on here. If so, I’m missing it completely. My biggest fear is that some young, impressionable magician is going to buy this and think that Mr. Lucas’ example is worth following. If so, the negative impression that most people (especially women) have toward close-up magicians will be reinforced. Let me try to keep that from happening by being as clear as I can be. Under no circumstances should you waste you money on this worthless product. Clear enough? Up My Sleeve By Dan Paulus. $24.95 plus $3.50 p&h. From Dan Paulus, 4150 South 6180 West, West Valley City, UT 84128. Email:
[email protected]. Lately, a lot of “homebrew” videos have hit the market. These are low budget, singlecamera, shot-in-my-kitchen, videos that have zero production values. Recent videos by
Jay Sankey and Kenton Knepper immediately come to mind. In my reviews of the Sankey and Knepper videos, I felt that the quality of the material slightly redeemed the amateurish production values. Unfortunately, I cannot be so kind in regard to Up My Sleeve, a close-up magic video by Dan Paulus. Mr. Paulus demonstrates and explains nine close-up routines, focusing on card and coin magic. Of these nine routines I only found two to be of any particular interest, “Blind Luck,” and “Shout.” “Blind Luck,” is based on an unaccredited Ed Marlo routine (the same one that inspired my own routine “A Trick for O’Brien”). Mr. Paulus has expanded the Marlo routine into a two-deck coincidence miracle with a very surprising kicker. “Shout” is a cruel gag trick that plays very funny in the appropriate situation. The remainder of the effects on Up My Sleeve simply left me cold. My lack of enthusiasm was reinforced by Mr. Paulus’ low-key performance style. Such a laid-back approach to performing and teaching may work in real life, but with the barrier of a TV screen between the viewer and the performer, such a performance becomes somnambulistic. In addition, the camera work was simply atrocious. One camera is insufficient to capture the details of close-up magic. There were several instances when it was impossible to tell what was going on. Here’s a tip for all of you who want to produce your own videos. It’s possible to purchase software that allows you to edit video on your PC. If you are only using one camera, then make sure you shoot insert shots so all the action is clear to the viewer. The results won’t look like a three-camera studio shoot, but they’ll look better than unedited “home movie” footage. If you want to know what not to do, pick up a copy of Up My Sleeve. Otherwise, save your money. Tim Wright’s Multiplying Balls By Tim Wright. $25. Available from most magic dealers. Email:
[email protected] Tim Wright’s last video was a mini-seminar on the venerable Zombie. This time around Tim provides useful information on the classic Multiplying Balls effect. The tape is geared toward the novice, but experienced performers may also find a few bits to incorporate in their routines. Tim begins by examining the various types of balls available, discussing the advantages and disadvantages of each type. He then explains various sleights, examines various dropper and holders, and demonstrates and explains a complete multiplying ball routine. This tape is not an encyclopedia of billiard ball moves. Tim’s approach is to base a routine on a couple of vanishes and a couple of productions, rather than clutter up a routine with tons of moves. I would particularly call your attention to an excellent method for showing the shell to be a solid ball and a holder that allows you to immediately produce four single balls between the fingers. (This last bit is a real magician fooler.) Also included on this video is footage of Cardini and Neil Foster performing ball routines, and it was treat to see these great magicians in action again.
Tim’s multiplying ball routine (from his Skilldini act) is structured to fit his comedy character, and thus will not be applicable to everyone’s needs. However, there is more than enough material presented on this tape to allow a thinking magician to construct his own routine. Tim Wright’s Multiplying Balls is an excellent overview of the subject and will be of value to anyone wanting to add this classic trick to his repertoire. Paul Green Presents The Classic Force By Paul Green. $30 plus $3.32 p&h (international add $5). From The Magic Smith, 23192 Alcalde, Suite H, Laguna Hills, CA. Orders: 888-222-2192. Fax: 949-452-0763. Email:
[email protected]. Web site: www.magicsmith.com. The Classic Force is one of those bugaboo moves. The pros use it and swear by it, but it’s a tough move to learn. The problem is that you can’t learn the move by practicing in front of a mirror. You’ve got to go out and do it in front of real people (your friends and family are no good as guinea pigs), you’ve got to do it a thousand times, and you’ve got to blow it 900 times before you get the hang of it. On this new videotape from The Magic Smith, corporate performer Paul Green offers advice on how to master this most useful move. Paul begins by offering two important sources of information on the Classic Force: the Eddie Tullock book (mentioned above), and a small pamphlet by Paul Gertner. I heartily second this endorsement. In fact, it is obvious that Paul Green was very much influenced by Eddie Tullock’s approach. Many of the stratagems used by Paul are pure Tullock. Paul begins by centralizing the force card with a cut, followed by holding a break above the force card. He prefers to have the force card below the break rather than above the break. (The position of the force card tends to be a matter of individual preference.) Paul then demonstrates methods for practicing timing, dealing with obstinate spectators, and ploys to get yourself out of trouble if you miss the force. This is all practical and useful advice. (As an aside, I find it interesting that almost no one seems to use the idea of delaying the force. That is, common practice has the magician cut the force card to the middle and then immediately spread the deck for a selection. A disarming approach is to cut the deck, maintain a break at the force card, form a small step at the break, and table the deck for a moment. Pick up the deck, retake the break, and then force the card. Performed in this manner, there is absolutely no tip-off that a force is going to occur, because it appears as if the magician has no control over any of the cards.) Following his explanation of force techniques, Paul performs and explains several routines that use the Classic Force. These include a card to wallet routine, a handling for the Insurance Policy (with some handling touches that can only be developed through years of experience), a variation of Don Alan’s “Big Deal,” a routine with a jumbo card with a surprise kicker, and a routine where the same is repeatedly forced on a spectator. I’m not sure if the latter routine actually qualifies as “magic,” because it seems obvious (at least to me) that the spectators are busting Paul all the way down the line. For me, the confrontational aspect of a routine of this nature nullifies the entertainment value.
Is this a worthwhile product? Yes, especially when combined with the Tullock and Gertner sources cited above. There is no easy way to learn to classic force playing cards, but Paul Green’s The Classic Force will put you on the right track. Carl Cloutier’s Dream Tear Dominique Duvivier – Printing From A-1 MagicalMedia. Dream Tear - $39.95 postpaid in US, Canada, and overseas surface mail. Printing - $19.95 postpaid in US, Canada, and overseas surface mail. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Carl Cloutier’s “Dream Tear” takes a slightly different approach to the torn-and-restored paper plot. Note that this is not a torn and restored newspaper (as in the Gene Anderson or Alan Shaxon versions). The magician shows a single sheet of paper (Carl uses a page from a magazine). The paper is torn twice and is folded into a small packet. The packet is unfolded and the paper is restored. What Carl has done here (although there is no mention made of this on the instructional videotape) is to take the actions of the $100 Bill Switch and apply them to a bigger piece of paper. You are provided with the necessary gaff (which is not a thumb tip), and a videotape of Carl demonstrating and explaining the trick. Initially, I was less than thrilled with Carl’s demonstration, which seemed to have far too much covert action going on behind the paper. A later demonstration on the video is smoother and more magical looking. Once I learned what the method was, however, it occurred to me that there were techniques available (for example, Roger Klause’s “half move” approach) that would smooth out the handling considerably. If you are familiar with such techniques, be sure to apply them to “Dream Tear.” Because the gaff involved is not a thumb tip, it must be disposed of surreptitiously. Carl offers two methods. The first uses a Topit. The second method is probably more practical for the average performer and utilizes the breast pocket. To this end Carl provides you with a very useful gaff that holds the breast pocket open. I can see this gaff being used in many other applications. Because you are tearing up a single sheet of paper rather than a newspaper, “Dream Tear” is perhaps less spectacular than other torn and restored effects available. However, the preparation time is minimal, and I can see how this effect would be very useful to trade show workers and others who could tie the effect to a message written on the paper. (In fact, you need not tear up the paper. You can just do the effect as a switch of papers.) The method will take practice to do smoothly, but is not technically demanding. If the effect appeals, “Dream Tear” is worth checking out. Also available from A-1MagicalMedia is Dominique Duvivier’s “Printing.” You are provided with an instructional video and all the necessary props. A packet of cards is shown. All the cards are face down. As they are counted from hand to hand one of the cards turns face up. This is continued until four cards have turned face up. They are the
four Tens. The other four cards are shown to have blank faces. Suddenly the cards start acting like a Xerox machine. Faces copy, backs copy, cards are misprinted, one card takes on the color of the close-up mat, and the last card takes on the image of the card case. At the end everything can be examined. This is a very visual routine that is not difficult to do. The only thing you need to know is that one card has a green back. Duvivier uses a green close-up mat, and the green card apparently takes on the color of the mat. If you don’t use a green mat, you’ll have to figure out some other green object to use. (Duvivier offers several suggestions on the videotape.) If you like packet tricks, “Printing” is one of the better ones. Rainbow Deck II From Randy Wakeman. $20 plus $3 p&h. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Fax: 815-254-2339. Email:
[email protected] A few years ago, Randy Wakeman released his Rainbow Deck, and it was enthusiastically received by close-up magicians. A Rainbow Deck, if you’re unfamiliar with the concept, is a standard 52-card deck in which each card has a different back design. It is possible to assemble such decks in bridge-size cards (although it is expensive, time consuming, and often difficult to find decks with white borders), but it is almost impossible to assemble a poker-sized Rainbow Deck. Randy solved that problem by having the cards specially printed. He has now released Rainbow Deck II, which contains completely different backs from the original Rainbow Deck. The images used for the backs of the cards appear to be from a clip art collection. However, the actual images used are of no consequence, what is important is the kaleidoscopic flash of colors you get when you spread the deck between your hands or on the table. Rainbow Deck II produces this nice flash. Why use a Rainbow Deck? Well, any Color-changing Deck routine is enhanced when the deck changes into a Rainbow Deck. In addition, there are certain prediction tricks (one is included with Rainbow Deck II) where a prediction is thought to be incorrect until it is turned over and shown that the card the spectator selected and the predicted card are the only two cards with a standard Bicycle Rider back. As a kid I performed Derek Dingle’s “Color Triumphant” with a Rainbow Deck and the results left nothing to be desired. I would also imagine that Doug Conn’s “Chameleon Sandwich” (see Tricks of My Trade) would also be enhanced by using a Rainbow Deck. If you’re having a hard time thinking of ways to use a Rainbow Deck, you may want to order The Rainbow Deck book, also available (for $10) from Randy Wakeman. Twelve routines are described from such creators as Ed Marlo, Clarke Crandall, Jon Racherbaumer, Ken Brooke, Gene Castillon, Mike Powers, Ron Bauer, and Randy Wakeman. None of the routines require advanced card handling ability, and all utilize the Rainbow Deck to good effect. A couple more points before we wrap this up. The Rainbow Deck II arrives wrapped in cellophane (rather than in a card box). You’ll need a spare card case to keep them in. The
ink and the pip design do not match the ink and design used in a Bicycle deck. As Randy mentions in the instructions, if you mix Bicycle cards in with the Rainbow Deck they will pass a casual inspection, but if the cards are going to be scrutinized you should only use cards from the Diamonds suit from the Bicycle deck. I also found that the Rainbow Deck II had a slight tendency to warp (and this could be due to the weird heat/humidity of Las Vegas), but keeping the deck in a card clip solved that problem. All in all, this is a very worthwhile prop. I’ve had lots of fun with a Rainbow Deck, and I’m sure that you will, too.
November 2000 So Much Stuff A few years ago I predicted that we had reach a high water mark as far as the number of products released each month was concerned. Boy was I wrong. And that’s the extent of the introduction this month. Let’s get on with it. Performing Magic for Children By Uwe Schenk and Michael Sondermeyer. 6 x 9 hardcover. 177 pages. $35 postpaid. From I Saw That!, 35 Candle Liteway, North York, Ontario, M2R 3J5 Canada. Fax: 416665-7377. Web site: www.isawthat.com. No doubt about it, being a children’s entertainer is not an easy job. I’m not a children’s entertainer, I’ve never been a children’s entertainer, and I have no intention of ever being a children’s entertainer, but I have a lot of respect for those who do the job well. The job requires enormous energy, patience, and enthusiasm, in addition to business acumen and excellent interpersonal skills. The job also carries with it a special responsibility, for at every children’s show information is imparted to the audience. Children learn something from every experience, and they will learn something from a magic show. The question is whether the implanting of this information is intentional or unintentional. Has the magician thought about the message he’s imparting? Uwe Schenk and Michael Sondermeyer have thought about this. Both gentlemen are children’s entertainers in Germany, and both are specialists in early childhood education. They have graciously shared their knowledge to the magic fraternity in a book titled Performing Magic for Children. It is a marvelous book, and one of the most thorough books on the subject that I have read. The book begins with a discussion of the magician as pedagogue. Pedagogy is the science of education. As Schenk and Sondermeyer explain it, “Pedagogy is not simply teaching, in the traditional sense of the word. The teacher uses pedagogical methods – exercises, repetition, testing – to help the child reach a certain goal. The pedagogue, on the other hand, creates an environment that supports and guides the child’s development, taking the child’s individual factors into account. Whereas traditional teaching is centered on the educational goal, pedagogy is centered on the child.” Does a magic performance have any inherent pedagogical value? The authors response, “…we quickly come to a bitter realization: the role of an adult who, because of superior knowledge, is in a dominant position vis-à-vis his audience, and exhibits this on stage as entertainment, is of dubious pedagogical value. Concepts such as honesty and dishonesty, selfishness and social competence, trust and mistrust, power and powerlessness, abuse and vanity arise. From a pedagogical point of view, magic has little to offer.”
Can a magician be a role model? Possibly, although the traits of the magician (someone who knows things that others do not and who can accomplish things that others cannot) are often more attractive to adults than children. Children tend to identify with clowns. Why? Because, like a child, a clown battles the challenges of everyday life, succeeding only with effort in accomplishing things that an adult does easily. The magician is often most appealing to children when he has apparently made a mistake, or is unaware of events going on about him. After this fascinating introductory chapter, Schenk and Sondermeyer proceed with the nuts and bolts of the book. They discuss the working environment, lighting and sound, dealing with adults in the audience, seating and visibility, the size of the audience, attention span, interruptions, and assisting spectators. Next are suggestions on how to design an act, including discussions on concept and structure, the role of the performer, and suitable effects for children. The last half of Performing Magic for Children contains a complete description of the acts of Schenk and Sondermeyer. Schenk’s act was designed for audiences of different ages; Sondermeyer’s act was developed specifically for preschoolers. Each of these acts is explained in meticulous detail, with an emphasis on the message being delivered. In addition to complete patter scripts, the authors discuss the “why” as well as the “how” of each routine. While it would certainly be foolish to copy the presentations verbatim, having a complete script is a time-saver, and allows the student to easily modify the patter to fit his personality. The book concludes with a useful bibliography and a helpful index of names and keywords. Ariel Frailich did an excellent job of translating Performing Magic for Children from German into English. His translation is very readable. The book deals with theoretical concepts, but never gets bogged down in theory. I highly recommend Performing Magic for Children to anyone interested in the field of children’s entertainment. Whether you are a novice or a seasoned professional, you’ll find something of interest here. I would also recommend it to those who work strictly for adults. Adults learn something during magic shows as well, and it would behoove all of us to consider what message we are sending when we perform. My Canes and Candles By Fantasio. 8.5 x 11 hardcover with dustjacket. 136 pages. $39.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-6266572. Fax: 530-525 7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. The magic world would have been much different without Ricardo Roucau. Audiences around the world would have never experienced one of magic’s most charming and sophisticated performers. Magic conventioneers would have never known the pleasure of the company of this humorous and gracious man. And the stage contests at magic conventions would all have been at least 30 minutes shorter.
Ricardo Roucau is better known as Fantasio, and in 1967 he discovered a laminated plastic material that could be used to make Vanishing and Appearing Candles and Canes. (Incidentally, should the subject ever come up as a question on Who Wants to be a Millionaire, this same plastic material was used to protect the feet of the Eagle Spacecraft when it landed on the moon.) Fantasio’s Canes and Candles have found their way into the repertoires of many great magicians, including Lance Burton, David Copperfield, Tony Clark, Greg Frewin, Tina Lenert, and Norm Nielsen. Now Fantasio has assembled a reference book on the care and feeding of these venerable props. Titled My Canes and Candles, it is a wonderful resource for the stage magician. The book begins with a discussion of basic care and maintenance. Included here are the do’s and don’ts of cleaning the canes and candles. Fantasio also gives a method for twirling a cane. Next comes an examination of the canes, both the vanishing and appearing types. Fantasio explains the correct handlings for both these props, and then gives several different tricks with each. Included here is a method for making a dancing vanishing cane. This same format is continued for the vanishing/appearing wand and the vanishing/appearing candle. Fantasio then offers cane and candle combinations, more effects for each of the props, and tricks that incorporate feather bouquets. The book has large, clear illustrations by Alan Wassilak, and also includes many photographs of Fantasio performing. Books of value to the stage magician are few and far between. My Canes and Candles is a must-buy for anyone who uses (or is thinking of using) one of the Fantasio products. Son of Simon Says By Simon Lovell. 8.5 x 11, hardcover with dustjacket. 216 pages. $45.00 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800626-6572. Fax: 530-525 7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. The last time I saw Simon Lovell was in the fall of 1998 during the Never-ending Lecture tour. The most recent reports I’ve received tell me that he’s doing better than ever and is knocking ‘em dead at his appearances at Monday Night Magic. This is great news and I’m delighted to hear it. In addition to his performing commitments, Mr. Lovell has been a busy little writer. His new book, Son of Simon Says, contains more than 45 items, and is geared to the requirements of the real world close-up performer. The book begins with Simon offering a few thoughts on the performance of magic. He discusses such topics as how many sleights do you really need to know, adapting your presentations for a variety of audiences, defining your performance character, pocket management, and advice on bar magic. Simon spends a lot of time in the trenches, and his suggestions come from real world experience.
Card magic makes up the largest portion of Son of Simon Says. Familiar plots are reworked, including sandwich effects, “Triumph,” the Collectors plot, the torn and restored card (which includes a rarity – a logical reason for tearing up the card), a version of the Scarne Two Card Transposition using a glass, and Alex Elmsley’s “Point of Departure.” If you already perform versions of these effects it is unlikely that you will switch over to Simon’s methods. However, you may find patter possibilities and bits of business that you can incorporate into your routines. Simon also discusses several sleights, including a flourishy (and difficult) one-handed card fan, one-handed multiple cut, a variation of the Kelly bottom placement, and a flourishy method for setting up Vernon’s “Twisting the Aces.” The non-card material includes several bar bets and gags, a version of Rink’s “Grand Guignol,” a method for producing writing on a business card in a flash of flame (you’ll need to be seated or behind a bar to do this one), several origami tricks (including a great Scottie Dog fold by Robert Neale), a method for folding a rose out a cocktail napkin (one of the best bar/restaurant give-aways ever), and a couple of crazy routines that no one but Simon would ever do. If you’re looking for end-of-the-world, reputation-making miracles, you’ll probably want to look elsewhere. As Simon says in the introduction, the majority of the routines in Son of Simon Says are middle routines, rather than openers or closers. This is not to say, however, that they wouldn’t be effective for a lay audience. Simon gives his entire patter script and he spends a lot of time explaining the “why” of each effect. I can’t imagine anyone but Simon using the patter he gives (in fact, it’s hard to believe that Simon gets away with it), but he has given you all the information you need to adapt each effect to your own personality. Fans of Simon Lovell will certainly want to add Son of Simon Says to their libraries. If you’re unfamiliar with Simon’s work, you may want to check out Simon’s first book, Simon Says, first. The Conservation of Magic By Leo Behnke. 6 x 9 hardcover with dustjacket, mylar jacket protector, and acid-free bookmark. 260 pages. $47.50 postpaid in US. From Book Group, P. O. Box 27716, Las Vegas, NV 89126. Phone: 702-870-0131 From the colorful world of the jazz musician, I learned of the word “Jones.” A Jones is a habit, an addiction. It is used as follows, “Well, Ernie likes pot, but he doesn’t have a Jones or anything.” Jazz musicians who have conquered drug or alcohol addictions sometimes play a humorous version of “Have You Met Miss Jones,” titled, “Do You Miss Your Jones.” Nobody in the world has a worse Jones than the collectors of magic memorabilia. As I write this column, a whole mess of collectors is descending on a town in Pennsylvania to take part in the sale of items from the Egyptian Hall Collection, recently purchased by George Daily and Mike Caveny. I hope someone captured the proceedings on videotape.
I’m not a collector. In fact, at this point in my life I’m the exact opposite of whatever a collector is. But many of you may be collectors, and whether your collection is large or small, you have to answer this question: How do I keep my stuff in good shape so when I drop dead it will look good for the next collector? To your rescue comes Leo Behnke, a man who has had a widely varied career in magic. Mr. Behnke has been a bar magician, an illusionist, a television producer, a set designer, and a stage manager. He has also been a collector and he has served as librarian for the Magic Castle and as the curator of the David Copperfield collection. Mr. Behnke has produced a marvelous book titled The Conservation of Magic in which he details many methods for keeping your collectibles in top-notch shape. Mr. Behnke begins by discussing some general considerations. For example, how is your collection going to be stored, how much room will you need, and how much trouble are you willing to go to in order to preserve your collection? How will you protect your collection against theft? How will you protect your collection against fire (and the water damage that can result from extinguishing a fire)? Will your homeowner’s insurance policy cover the collection? Failure to answer these questions could result in a collection that is lost, damaged, or destroyed completely. Mr. Behnke then devotes more than 50 pages on how to care for books. This includes information on how to properly store books, how to make minor repairs, how to handle books properly, how to mark books for identification, the proper type of bookmark to use, and how to deal with mildew. Following the discussion of books, Mr. Behnke explains how to care for delicate ephemera, including prints, posters, periodicals, photographs, and recordings of various types. The thoroughness of this discussion is then extended on to playing cards, silks, and magic props and gimmicks. A collection is no good if you don’t know what you’ve got and how to find it quickly, so Mr. Behnke explains systems for cataloging your collection. The last chapter is titled The Final Decision. It begins, “There are two critical decisions to be made about your collection and the items therein. One is what to do when you run out of room for more of them, or what to do with them when you run out of enthusiasm, either overall or for some individual items. Your other decision is how your collection/library should be handled as part of your final estate.” Mr. Behnke again offers practical and useful advice. The Conservation of Magic is a wonderful book. It is filled with information, including delightful, esoteric nuggets of knowledge. If you have a collection, you must have this book. If you’re thinking about collecting, you must have this book. Exactly 350 copies of this book will be available. The Conservation of Magic will be introduced on November 8, 2000 at the opening day of Yankee Gathering VIII. My guess is that demand will be sufficient to require a second printing. I hope so. The Conservation of Magic should be a standard reference text. Highest recommendation.
Greater Gospel Magic By Duane Laflin. 8.5 x 11, hardcover with dustjacket. 319 pages. $45 plus $5 p&h. From Duane Laflin, Box 3003, 203 E. Riverside, Troy, Montana, 59935. Fax: 406-295-6076 Quality hardcover books for the Gospel magician are rare. In the Forward to Greater Gospel Magic, Duane Laflin cites only four hardbound books that have been published since 1910. Mr. Laflin is a former International President of the Fellowship of Christian Magicians, and his traveling ministry has visited almost every state in the United States and many foreign countries. He is a well-known magic dealer, and he has published booklets on Gospel magic, silk magic, children’s magic, and comedy magic. I’ve always felt that Gospel magic bore a relationship to trade show magic – in both cases the magic is subservient to the message. If the magic is done poorly it undermines the impact of the message. In Greater Gospel Magic, Mr. Laflin offers both practical and spiritual information in an effort to raise the level of Gospel magic performances. The book begins with 18 essays relating to the nature and performance of Gospel magic. Next is a section with 10 fully scripted Gospel magic routines. Mr. Laflin then offers suggestions on developing a Gospel magic show. There is a very large section of Do’s and Don’ts for Gospel magicians, and a final section containing more ideas for Gospel routines. I am completely unqualified to comment on the spiritual aspect of this book, but the practical advice Mr. Laflin offers is useful and valuable. I have no doubt that Greater Gospel Magic will become a standard reference text for this type of magic. If you have an interest in Gospel magic, this book should be in your library. Joe Karson – Beyond Zombie By Michael E. Rose. 6 x 9 hardcover. 209 pages. $35 plus $3.20 p&h in US. From Michael Rose, P.O. Box 105, Phoenix, MD 21131. Email:
[email protected]. Web site: http://members.home.net/crosewl/karson.html Here’s another man whose impact on the world of magic was immense. If Joe Karson hadn’t lived, stage contests at magic conventions would be two hours shorter. Joe Karson invented the floating ball effect known as Zombie, a trick that has been raised to exquisite heights (Tommy Wonder, Neil Foster, Norm Nielsen), or butchered beyond belief (list deleted due to space restrictions). Joe Karson also created “The World’s Fastest Card Trick” (a great stand-up card routine), “Voodoo” (a one-man floating handkerchief routine), and a slew of other effects. Even though he was a remarkably creative man, younger generations of magicians (if they recognize his name at all) associate Joe Karson only with the Zombie effect. In an effort to correct this, Michael E. Rose has written a detailed but very readable biography titled Joe Karson – Beyond Zombie. The book is in two parts. The first part details Karson’s life, the second part examines his creations. Two useful appendices are included. The first gives an annotated bibliography of magazine articles written by Joe
Karson. The second appendix gives a bibliography of books about the Zombie effect. A general bibliography, full notes for each chapter of the book, and a very useful index are also included. Joe Karson – Beyond Zombie is a well-written and beautifully produced book that will be of great value to both the historian and the collector. The first edition is limited to 500 copies, so don’t hesitate in picking up your copy. Fantastic Balloons and New Balloon Sculptures By Roberto Menafro and Paolo Michelotto. From Troll Libri, Contra Porti 25, 36100 Vincenza, Italy. Email:
[email protected] It’s been a while since we’ve had balloon sculpture books here in Marketplace. These two new ones from Italy’s Troll Libri are absolutely terrific. Fantastic Balloons (8.26 x 11.80, softcover, 48 pages, $12 plus $10 p&h) by Roberto Menafro and Paolo Michelotto contains 44 models including Donald Duck, Daisy Duck, Uncle Scrooge, the Pink Panther, Popeye, and the Road Runner. The models are illustrated with 1000 full-color photos. The text is in Italian and English. New Balloon Sculptures (8.26 x 11.80, softcover, 60 pages, $12 plus $10 p&h) by Paolo Michelotto contains 67 models including Chilly Willy, Mickey Mouse, Pluto, Tweety Bird, Daffy Duck, and many others. There are 938 color photos and the text is in English, Italian, Dutch, and French. Long time readers of Marketplace know that I am not particularly a fan of balloon animals, but the sculptures in these two books are absolutely amazing. If you do balloons you need these books. Virtual Miracles Compiled by Peter Duffie. An electronic publication. $25. Only available online at http://www.tronic.ndo.co.uk Scotland’s Peter Duffie has jumped into the electronic age with both feet. His new booklength compilation Virtual Miracles is only available online and in an electronic format. If you visit his web site at www.tronic.ndo.co.uk and click on the spinning/flashing “New!” button, you’ll be taken a page that describes Virtual Miracles and allows you to order online using a credit card. Once the order is processed you’ll receive a Zip file in your email box. The file is self-extracting. After the file extracts, you click on a file named “open.htm” which immediately opens your web browser and displays the title page. From there you go to the table of contents and you can click either on the name of a contributor or the name of a trick. (I should clarify that even though you are using your web browser to traverse through the “pages” of Virtual Miracles, you do not have to be online. The web browser reads the necessary files from your hard drive.) Navigation is a breeze, and Peter also provides email addresses so you can correspond with the contributors if you wish. The list of contributors to Virtual Miracles is a stellar one indeed: Jason Alford, Steve Beam, David Britland, Aldo Colombini, Paul Cummins, Daryl, Phil Goldstein, Pit Hartling, Gene Maze, Robert Neale, Jon Racherbaumer, Fred Robinson, Allan Slaight,
Roy Walton, Paul Wilson, Andrew Wimhurst, and many others. There is something here to suit the taste and abilities of just about every card magician. I particularly enjoyed the Neale and Robinson items. Peter has many other items for sale, including nine of his earlier manuscripts available in an electronic format. If you’re a card enthusiast you’ll certainly want to check out his site, and you’ll probably want to order a copy of Virtual Miracles. Tools of the Trade By Chuck Smith. 8.5 x 11 softcover. 71 pages. $50. From Chuck Smith, 702 N. Guadalupe Street, Carlsbad, NM 88220 My sources tell me that the legendary Chuck Smith made an appearance at the recent TAOM convention, and he had a new set of notes for sale. I have been enthusiastic about Mr. Smith’s previous sets of notes, What If? and Why Not?, and I’m enthusiastic about these new notes titled Tools of the Trade. Mr. Smith begins with an essay on using visualization techniques to make practice sessions more effective. I do not recall having seen this subject discussed in a magic book, although it does tie in with techniques offered in Kenny Werner’s Effortless Mastery. Card magic is the focus of Tools of the Trade. Mr. Smith offers techniques for the Double Lift, the Fan Force, the Second Deal, and several forms of the Pass. Mr. Smith also explains a very interesting method for associating any given card with a spectator, some great scams for the game of 31, an interesting “fishing” technique in which a spectator does the fishing, a very funny “long distance” card revelation, and a diabolical trick in which the magician predicts two freely selected cards. I have never had the pleasure of meeting Chuck Smith, but I understand that these sleights and effects look marvelous in his hands. At $50, Tools of the Trade is a bit pricey, but the material is of the highest caliber. If you are serious about card magic, all of Chuck Smith’s manuscripts are worth your serious consideration. The Ken Krenzel Video Series Volumes 1-6 By Ken Krenzel. Six Volumes, each video $24.95, all six for $135. Postage free in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800626-6572. Fax: 530-525 7008. Email:
[email protected]. Web site: www.allmagic.com/llpub. Dr. Ken Krenzel is widely known as one of magic’s finest technicians. L&L Publishing has re-released six volumes of Krenzel material from the Videonics library. Card enthusiasts will certainly want to investigate these videos. The first three videos focus on material from The Card Classics of Ken Krenzel, a book written by Harry Lorayne. Highlights include the “Eerie Spinout,” “The Ultimate Tunnel,” Ken’s Natural Double Lift, and the Krenzel Mechanical Reverse (a fabulous utility move). Volume Four, devoted to all forms of the Pass, may be the most useful tape of the series. Ken is a master of the Classic Pass, and he offers many valuable insights
into this most difficult of sleights. Volumes Five and Six offer a variety of effects, including coin magic and an interesting Linking Ring move. There’s a ton of information on these videos. Ken is not really an entertainer, consequently the material comes across as a bit dry, and sometimes the camera is at a less than favorable angle. But for fans of Dr. Krenzel’s work, this video series is a valuable resource. Because there is so much material presented, I suggest that you consult an L&L Publishing ad to see which tapes contain the effects that interest you. Intimate Impossibilities Video Ed Marlo Confidential From Randy Wakeman. Intimate Impossibilities: $35 plus $3.20 p&h. Ed Marlo Confidential: $30 plus $3.20 p&h. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Email:
[email protected] Randy Wakeman has the dubious distinction of having the most heavily borrowed, uncredited trick of recent times: his “The Spectator Cuts To and Turns Over the Aces” has popped up all over the place (most recently in this very magazine). Mr. Wakeman has authored several books, and recently released a new version of “The Rainbow Deck” (see October’s Marketplace.) His newest releases are Randy Wakemans’ Intimate Impossibilities Video (featuring card magic) and Ed Marlo Confidential (featuring rare movie and video footage of the legendary Chicago card man). Ten items are demonstrated and explained on the Intimate Impossibilities Video. For the most part these are variations of familiar plots. You’ll find handlings for the Stop Trick (actually more of a prediction in Wakeman’s presentation), Cards Across, Ed Marlo’s “Invisible Toss,” a small packet version of “Triumph,” Bruce Cervon’s small packet Ambitious Card effect, Larry Jenning’s “Visitor” effect, and a routine using the Wakeman Rainbow Deck. Many, many versions of these effects have been published, and unfortunately, I find little in Mr. Wakeman’s approaches that move these routines forward in terms of presentation, method, or effect. My main criticism is that I find these handlings to be cozy and somewhat contrived. (I have discussed the distinctions of “cozy” vs. “open” and “contrived” vs. “natural” in previous columns. If the terms mean nothing to you, this tape is too advanced for you.) Of course, the determination of “cozy” or “contrived” is completely subjective; your approach to card magic and your ideal image of what magic should look like may be completely different. However, I think that superior methods for these effects already exist. Mr. Wakeman does present two offbeat items, both creations of Tom Gagnon. The first, “LBD Aces,” uses an unorthodox method for the bottom deal. Mr. Wakeman does the move well, but I can tell you from personal viewing that in the hands of Mr. Gagnon the move is otherworldly. Advanced card magicians will want to add this move to their repertoires. The other Gagnon item is a strange method for performing the Haunted Deck effect. This can be performed with a borrowed deck, but other restrictions unfortunately limit the usefulness of this handling. However, it would be great for fooling your buddies at the next magic meeting.
Simon Lovell joins Mr. Wakeman throughout the video. Most of the time Simon is the off-screen spectator who selects cards. Sometimes Simon works little puppets that pop up here and there throughout the video. (Yes, you read that last sentence correctly.) Whether you find this funny or not depends on how much you like puppets. Simon also performs (but does not explain) “The Murder Mystery” from Son of Simon Says. As a bonus item, Mr. Wakeman offers some previously unreleased footage of Heba Haba Al performing the Sugar Cube effect at Schulien’s bar. For those who have never heard the name before, Heba Haba Al was one of the great Chicago bar magicians, and his performance of the Sugar Cube was one of the highlights of his set. Unfortunately, this video captures Al near the end of his life, and his performance is very subdued. It’s great to see Al again (some of the happiest moments of my life were spent with Jay Marshall at the New York Lounge watching Al work), but I fear that a younger generation will watch this video and wonder what the fuss was all about. Believe, in his prime Heba Haba Al created a near riot with his handling of the Sugar Cube trick. Ed Marlo Confidential contains some very rare footage of the prolific and reclusive card magician. Ed demonstrates a lot of material (no explanations are given), including various false deals, the perfect faro-riffle shuffle, several card changes, four ace tricks, and a Cards to Pocket routine. The most interesting segment was shot at the Magic Castle. Ed Marlo is joined on stage by Charlie Miller and Dai Vernon. Seeing these three giants of card magic together is probably worth the price of the video. Because the footage on Ed Marlo Confidential came from a variety of sources the quality ranges from fair to atrocious. Even with this limitation, Ed Marlo Confidential will appeal to card enthusiasts and historians. The Impossible Close-up Rising Card The Magnetized Cards By Gary Plants. The Impossible Close-up Rising Card: $50 plus $3.20 p&h. The Magnetized Cards: $25 plus $3.20 p&h. (Texas residents add 8.25% for sales tax.) From The Card Plant, 2212 Bay Haven Way, League City, TX 77573. Phone: 281-538-4682. Email:
[email protected] About five years ago Gary Plants and I were sitting in an airport waiting for our respective planes home. Gary took out a deck of cards and nonchalantly proceeded to knock me on my rear end with an unbelievable Rising Card effect. I have lusted after this trick ever since then, and Gary is finally releasing it. This latest version is even better than what I saw at the airport. My great regret is that I have to tell all of you about it. Here’s what happens. Two spectators each select a card by dividing a pile of cards into two smaller piles and looking at the top card of each pile. (Gary offers a non-sleight-ofhand method for this card selection process, but knowledgeable card magicians will want to substitute more sophisticated methods.) Each spectator shuffles his card into the respective small packets and the two packets are assembled into one packet. (The spectators can check to make sure that neither selection is near the top or bottom of this
packet.) One of the spectators places the pile of cards into the card box. The magician holds the card box and asks which spectator should go first. Whoever decides to go first, that spectator’s card rises out of the card box. The spectator does not have to name his card before it rises out of the box. The first spectator removes his card (still in an upjogged condition) from the card box. The second spectator’s card then rises from the box. At this point the second spectator takes all the cards from the box, and the box is handed for examination. Everything can be examined. This is a fabulous trick on every level. You have to be a bit careful of your angles (someone standing behind you is going to be very wise), but otherwise you can do this trick anywhere. The trick is expensive to keep it exclusive and because Gary has to make everything by hand. This is not a self-working trick; you will have to practice, but the results are more than worth it. I wish I were the only one who knew about this. Gary has also revived “The Magnetized Cards,” an effect that was a favorite of Nate Leipzig. You’re probably familiar with the effect. The magician forms a “rosette” of cards on the palm of his hand. The hand is turned over, the cards mysteriously cling to the palm. At the whim of a spectator the cards drop to the tabletop. Gary’s method for this is ingenious and completely practical. The spectators can examine your hand before and after the magnetization. Gary’s handling also gives the spectators the impression that they have examined all the cards involved. I have been using this for the past two weeks and I love it. The effect is unusual and it plays very big. Best of all, you’ll be able to perform this with just a little bit of practice. I give both of these items my highest recommendation. (By the way, Gary is also offering some excellent daub. It’s silver daub and it costs $15 plus $3.20 p&h. If you’re looking for good daub, Gary’s is worth your consideration.) Dominique Duvivier – Printing Printing - $19.95 postpaid in US, Canada, and overseas surface mail. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-8768437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Available from A-1MagicalMedia is Dominique Duvivier’s “Printing.” You are provided with an instructional video and all the necessary props. A packet of cards is shown. All the cards are face down. As they are counted from hand to hand one of the cards turns face up. This is continued until four cards have turned face up. They are the four Tens. The other four cards are shown to have blank faces. Suddenly the cards start acting like a Xerox machine. Faces copy, backs copy, cards are misprinted, one card takes on the color of the close-up mat, and the last card takes on the image of the card case. At the end everything can be examined. This is a very visual routine that is not difficult to do. The only thing you need to know is that one card has a green back. Duvivier uses a green close-up mat, and the green card apparently takes on the color of the mat. If you don’t use a green mat, you’ll have to
figure out some other green object to use. (Duvivier offers several suggestions on the videotape.) If you like packet tricks, “Printing” is one of the better ones. It’s Not Magic, But… Not much makes me laugh these days, but one thing that can consistently make me howl out loud is the satirical newspaper The Onion. You can sometimes find a hardcopy version of The Onion at a good bookstore, but the easiest way to experience it is to visit it online at www.theonion.com. A new issue comes out each week, and there is always at least one article that cracks me up. The Onion is sometimes cruel, biting, vulgar, or tasteless, but it is always funny. Check it out on those days when you need a good laugh.
December 2000 You’re a Green One, Mr. Minch The above title means absolutely nothing, but I’ve always wanted to place it underneath a green-tinted photograph of the jovial CEO of Hermetic Press. Unfortunately, I’m the only one who finds the spoonerism funny, so the heck with it. However, this does offer me the perfect lead in to wish Stephen Minch and all the rest of you a happy, safe, and magical holiday season. I have a question for you. The year 2000 showed little decrease in the number of products available. The flood of magic information continues unabated. I’m wondering if it is possible for the average magician to read (or watch, in the case of video) and learn even a small percentage of it. So, consider this scenario. I’m holding a dinner party with 12 guests in attendance. I’d like you to come to my house and do some magic for them. What five tricks are you going to perform? You can consider the party as a strolling gig or you can put my guests around the large dinning room table and do your show at one end of the table. (By the way, I’d like to know the specific routine you’re using. For example, instead of saying “Chop Cup,” say Larry Jennings’ Chop Cup routine.) Email your five tricks to me at
[email protected]. I’ll tally the results and give you a rundown in a future column. Finally, for those of you figuring out your holiday shopping list let me give you my top five products for the year 2000. First on my list is the massive, three volume set of The James File (Marketplace July 2000). This magnificent tribute to the genius of Stewart James succeeds on every level. There is information for the performer, the hobbyist, the problem-solver, and the historian. These are books that you will return to again and again and each time you’ll find something new. Only a Grinch wouldn’t be delighted to find these books under the Christmas tree. Buy a set for each of your imaginary friends. Next on my list are Gary Plants’ two new card tricks, “The Impossible Close-up Rising Card,” and “The Magnetized Cards” (Marketplace November 2000). I’ve been having a ball with these two tricks, performing them in the Houdini Lounge in the Monte Carlo Resort. The audience reaction leaves nothing to be desired. In fact, when I visited the Magic Castle one evening in late October, I discovered that stories about my performance of these two tricks had preceded me. I had several requests to perform these at the Castle. These are the best two card tricks of 2000. Nothing else even comes close. The best coin trick of 2000 is Bob Kohler’s “Ultimate 3 Fly” (Marketplace September 2000). The price tag keeps this out of the hands of the dilettante, and the fact that it does require some practice means that many will buy it then toss it in their magic drawer. That suits me just fine. You’d be hard pressed to find a cleaner or more magical handling of this popular coin effect.
For that special someone, consider one of the magic poster reproductions from Nielsen Magic (Marketplace July 2000). The posters are reproduced on canvas, and the results are simply gorgeous. Norm now has the capability of doing larger images as well. Finally, if you’re looking for a gift for someone just getting interested in magic, pick up a copy of The Magic Show by Mark Setteducati and Anne Benkovitz (February 2000). Easily the most ingenious book of 2000, this brilliantly designed tome allows the reader to be both performer and spectator. You simply follow instructions, pulling tabs, turning flaps, and spinning dials. The book does all the work. Even an experienced magician is going to get fooled a couple of times. A wonderful item to leave out on your coffee table. And if you’re looking for some stocking-stuffers, read on. We have a slew of stuff to check out this month. Card Concepts By Arthur F. MacTier. 8 x11.5 hardcover. 301 pages. 27 pounds Sterling airmail to US (21 pounds Sterling by sea mail.) Visa, MasterCard, and American Express accepted. From Davenports, 5, 6, & 7 Charing Cross, Underground Arcade, The Strand, London, WC2N 4HZ, England. Fax: 20-7379 8828 So, you’re telling me that you’ve gone through every card trick in The James File, the two bound editions of Apocalypse, all three volumes of Semi-Automatic Card Tricks, and the electronic book Virtual Miracles and you still want more card tricks. Well, why don’t you make up some yourself? You can do just that if you study the information in Card Concepts by Arthur F. MacTier. Subtitled An Anthology of Numerical & Sequential Principles within Card Magic, this big book examines the underlying principles of mathematically oriented card tricks. If you’ve ever wondered why Elmsley’s Penelope’s Principle works (and if you haven’t, shame on you) you’ll find a discussion of it here. Card Concepts contains 31 chapters, each devoted to a different mathematical principle. Included are such topics as the Parity Principle, Stewart James’ AAG Principle, the Kruskal Principle, High Card Distributions Probability, George Sands’ Prime Number Principle, Matrixing, C.S. Pierce’s First and Second Principles, the Cancellation Combination, the CATO Principle, Gene Finnell’s Free Cut Principle, Rusduck’s Staystack Principle, James’ Miraskill Principle, and perhaps the most famous mathematical principles in magic – Norman Gilbreath’s First and Second Principles. The format of each chapter is the same. Mr. MacTier discusses the principle at hand and examines the mathematics behind it. He then offers a card trick that utilizes that principle. For the most part, these are not totally original tricks. Rather, they are re-workings of established routines. Each chapter ends with some further notes and a section of credits. Card Concepts is an impressive and useful reference volume. It is not meant to be read cover to cover in one sitting. (At least, not by me. Attempting to do so proved to be more effective than Melatonin.) Because each chapter is devoted to just one principle, it is easy to scan the Table of Contents to find the topic you want to read about. Mr. MacTier
referenced over 500 books and 1000 magazines in writing this book. A small number of these books and magazines are listed in the Bibliography. Mr. MacTier also includes a page of Magician References. I’m unclear what the function of this page is, because he merely lists 66 magicians in alphabetical order. There is no referencing of magicians to page numbers in the book. Generally speaking, mathematically based card tricks get a bad rap. To a certain extent this is justified, because many mathematical card tricks look like they are based on mathematics. You know the drill: Think of a number from 5 to 15. Count off that many cards from the top of the deck. Put those cards in your pocket. Transfer the same number of cards from the bottom of the deck to the top. Now deal the deck into four piles. Turn over the top card of each pile. Add the values of the four cards together. Remember that number. Reassemble the deck. Add the number you created by addition to the number of cards that are in your pocket. Count down that number into the deck. The card at that position matches a card that has been in a sealed envelope since the beginning of time. And so on and so forth. In the same way that digital technique should be invisible to the spectators, mathematical principles should not be obviously apparent. The best mathematical card tricks (such as Stewart James’ “Miraskill”) produce results that cannot be obtained by any other method. The fact that they are based on mathematical principles is well concealed. These tricks can be made entertaining and can be extremely effective in the right situations. For those of you who have a desire to work out your own card effects, Card Concepts will be a valuable resource. And those of you who teach mathematics will find lots of interesting topics to spice up your math classes. Apocalypse Volumes 6 – 10 By Harry Lorayne. 8.5 x 11 hardcover. 744 pages. $79.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com L&L Publishing has just released the second volume in its hardbound reprint of Harry Lorayne’s Apocalypse. This book covers Apocalypse Volumes 6-10 (January 1983 to December 1987). As with the first bound volume of Apocalypse, there is a ton of material here. The emphasis is on card and coin magic (totaling 385 effects), but there are also over 100 miscellaneous effects. The list of contributors is stellar: Ed Marlo, J.K. Hartman, Michael Ammar, Ken Krenzel, Larry Jennings, Juan Tamariz, David Ben, Gaetan Bloom, Scotty York, Steve Draun – the list goes on and on. For the close-up enthusiast who just can’t get enough magic, these reprints of Apocalypse are ideal. Whether you’re looking for professional caliber material to put into your restaurant/strolling repertoire or you just want to fool your magic buddies with a sneaky variation of a standard effect, you’ll find what you seek in Apocalypse. Misdirection for Close-up Magicians
By Tom Crone. 8.5 x 11 softcover. 67 single-sided pages. $19.95 plus $4 p&h in US ($5 p&h to Canada). From Crone Communication, 3300 Louisiana Ave. S., Dept. 421, Minneapolis, MN 55426. Web site: www.ReallySideas.com. Misdirection continues to be a hot topic among magic theorists. The term “misdirection” is, of course, somewhat imprecise. What we are talking about is the controlling of the audience’s attention. I may have mentioned this before, but Alex Elmsley offered concise advice on audience management. His two suggestions: 1. Misdirect always. 2. Misdirect away from the possibility of having done something [sneaky]. The definitive work on misdirection has yet to be written. Tom Crone offers an interesting analysis and some useful suggestions in Misdirection for Close-up Magicians. Mr. Crone makes an excellent suggestion for analyzing existing routines in your repertoire. As you examine the routine, ask these two questions: 1. What must not be seen? 2. What might be presumed? Once these questions have been answered thoroughly (that is, you examine each step of the routine), you can begin to develop solutions. Mr. Crone then discusses various types of misdirection and how they can be applied. He explains several routines from his repertoire, and he describes how he has applied misdirective techniques throughout. He also offers a “Misdirection/Presentation Planner” – a worksheet that allows you to plot out both your presentation and your audience management resources. There were times when I found myself disagreeing with Mr. Crone’s assertions (for example, I think his definition of a “subtlety” is incorrect), but there are many ways of looking at this subject, and no one has a claim on “the truth.” Several of the photographs are atrocious. Mr. Crone has attempted to fix them by outlining the cards, hands, etc. in black. This did not help. The average magician has a tough time with a magic theory book. The best way to drive home the theoretical points is to include routines that incorporate the theory and are real foolers. I’m not convinced that the routines in Misdirection for Close-up Magicians are going to inspire magicians to apply themselves to the further study of the subject. (You can read one of Mr. Crone’s routines in the September 1999 issue of MAGIC.) However, I do think that Mr. Crone does present information that is of value, even if only as supplement to your study of other theoretical texts. If you have an interest in the subject, Misdirection for Close-up Magicians is worth adding to your library. The Little Egypt Gazette By Steve Bryant. Available on CD-ROM. $24 postpaid. From Steve Bryant, 1639 Sycamore Court, Bloomington, IN 47401 Steve Bryant’s Little Egypt Gazette was a monthly Internet magazine for magicians that ran from August 1995 to October 1997. The best way to describe it is to quote Steve’s own description, “In all, there were 24 issues, containing over 700 pages, 32 magic tricks, 9 interviews, 22 book and video reviews, 20 convention and show reviews, 22 feature articles, 4 poems, 17 staff adventures, and much, much more. All the above was
conceived to be entertaining as well as informative, and it often hit the mark.” Steve is absolutely correct in his last comment, The Little Egypt Gazette was entertaining and informative, and it presented a refreshing, independent viewpoint on the world of magic. It was also an enormously ambitious undertaking. Steve is now making available all the issues of The Little Egypt Gazette on a CD-ROM. Here is how it works. You can copy all the files on the CD-ROM into a folder on your hard drive, or you can simply read everything off the CD-ROM drive. (Steve prefers copying the files, but I was able to navigate quickly from the disc. Copying to the hard drive will eat up 8 Megs.) Regardless of how you choose to run the program, you click on a file called magic.html. This will launch your Internet Browser and will bring up the main page. (I tried this with both Internet Explorer and Netscape.) For those of you who still find computers to be a little intimidating, I suggest you click on the words “How to Use This CD.” Everybody else will just want to start clicking around on everything available. And there is a lot of information here. You can either navigate through The Little Egypt Gazette issue by issue, or you can explore the contents by subject matter. In the trick section you’ll find routines by Steve Bryant, Steven Youell, Peter Duffie, Paul Harris, Simon Lovell, Danny Dew, Ken Krenzel, Eddie Fields, and Harry Riser. The interviews include conversations with Bonnie Saxe, Danny Orleans (discussing the Eddie Fields Code), Doc Eason, Eddie Fields, Erika Larsen, Peter Duffie, Simon Lovell, Mac King, and Kreskin. The reviews include not only product reviews, but reviews of conventions, Vegas shows, and television programs. I enjoyed The Little Egypt Gazette very much. I used to read it online during the years when it was regularly published, and I’m very glad to have it today in such a convenient format. And for $24 for 700 pages of content, this is a real steal. Recommended. (One quick personal comment. Magic publications released in a digital format are easy to copy and distribute illegally. Please be fair to the people who publish in this medium. Don’t make copies for your friends. Please.) Mindbogglers Volumes 1-4 By Dan Harlan. Each volume $29.95. All four for $110. Postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com A few months ago, in my review of The Worst Case Scenario Handbook, I mentioned that anyone who does magic should also have skills in ancillary arts. One of those ancillary arts is the art of the Short Con. It’s comforting to know that if the restaurant gigs in your town dry up you can always walk into a bar and make a few bucks by conning the patrons and the bartender with some sneaky bar bets. I am, of course, being facetious. No one here at MAGIC magazine would suggest that you actually defraud your fellow man. (Nudge, nudge, wink, wink.) However, knowledge of a
few clever bar bets, puzzles, and games can certainly liven up things at a bar, a restaurant, or a party. There are lots of these stunts scattered throughout the literature of magic. If you’d like to save yourself the time and trouble of tracking them down, pick up Mindbogglers, the four volume video series by Dan Harlan. Dan has assembled 120 bar bets, puzzles, cons, and scams, and he presents them in the environments where they would be most effective. The four videos are titled Bar Betchas, Party Puzzlers, Party Games, and Restaurant Riddles. Volume 1 (Bar Betchas) establishes the format of the series. Dan walks into a bar, orders a drink and immediately short changes the bartender (a jovial Jerry Camaro). Dan then scams the fellow sitting next to him with a bunch of bets, most of which involve drinking glasses. Dan then moves to the pool table, where he demonstrates some sneaky pool table hustles. Returning to the bar, Dan demonstrates several more stunts, including the legendary “Signed Bill in the Cash Register” scam. In all, 39 items are demonstrated. The information is presented in a very loose, “you are there,” format that gives the viewer a good idea of how the material would play in real life. The other three videos are similar in the way the material is presented. Dan Harlan does a fine job presenting and explaining these stunts. Most of the items on these videos will be familiar to the well-read magician, but Dan does add some twists and touches of his own. It is certainly convenient to have all the material available in one place. However, because of the large number of items included, these tapes would be prime candidates for conversion to the DVD format. Instant access to any item would be a big help. If you were simply curious about the Mindbogglers series, I would suggest that you start with Volumes 1 or 4. (If you can shoot a cue ball with any accuracy at all, I would definitely start with Volume 1.) Those with an interest in the subject will certainly want to get all four volumes, and I’m sure that they will find much to satisfy them. (I would be remiss if I didn’t also mention that long-time subscribers to MAGIC have at their disposal one of the greatest resources of ingenious and little-known scams available – Bob Farmer’s marvelous Flim-Flam column. Combine Bob’s column with Dan’s tapes and you could probably put your kids through college.) Secret Sessions Volumes 1 – 3 From A-1 MagicalMedia. $29.95 postpaid in US, Canada, and overseas surface mail. Overseas air add $7.50. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 1-800-876-8437. Web site: www.a1magicalmedia.com. Bob Kohler and Daryl produced the original Secret Sessions videos, and they represent some of the earliest “homebrew” magic videos. Bob and Daryl would take a camera and some lights to a magic convention. They’d round up the cleverest guys available, and they’d video them demonstrating and explaining one trick. The production values were minimal, but the material was outstanding. A-1 MagicalMedia has combined the three Secret Session videos into a 2-½ hour extravaganza. Performers include Juan Tamariz,
Paul Gertner, Dan Garrett (performing his superb “Four Card Reiteration”), Hiro Sakai, Yuji Wada, Lennart Green, Simon Aronson (with a great quadruple Spellbound routine), Michael Weber, Dan Harlan, and Bill Kalush (who sets the record straight on his fabulous “Fidgetity Card/Inversion” routine). One of the best aspects of the Secret Sessions video is that it familiarizes you with a lot of different performers. Most of the guys on this tape have released other material in both video and print mediums. If you like what you see here you can track down their other products. Despite their less than stellar production values, the original Secret Sessions videos were great. Having all of them available on one video is a real bargain. Definitely recommended for the close-up enthusiast. Treasures Volume 3 By Alexander DeCova. $25. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 1-800-853-7403. Fax: 916-853-9494. Email:
[email protected]. Web site: www.murphysmagicsupplies.com A while back, I was very enthusiastic about Alexander DeCova’s Treasures Volumes One and Two. A third volume has been released, and like its predecessors it contains clever and practical material. Only one stand-up routine is offered on Treasures Volume 3, but it’s clever method causing a cane to turn into a silk. What Mr. DeCova offers here is a utility device that allows the performer to ditch the cane (after it has vanished) and then retrieve it later for permanent disposal. The other nine routines on Treasures Volume 3 are designed for the close-up worker. The emphasis is on card and coin magic (although there is a funny gag to use with a ballpoint pen). My favorites were: “Hangman Plus,” in which a stick-figure vanishes from a pad of paper and appears on the back of a signed playing card; “Ordered Surprise,” a trick for the more advanced card magician; and “Slot Machine,” a very clever method for Dr. Sawa’s famous effect. Unlike Sawa’s method, DeCova relies on some sneaky gaffs rather than difficult sleight of hand. I’m impressed with Alexander DeCova’s thinking; his routines contain clever twists that make reconstruction (by laymen or magicians) difficult. Although Mr. DeCova is German, his English is excellent and his explanations are clear. The routines presented on Treasures Volume 3 could certainly become a part of anyone’s repertoire. Marketing Your Magic in the Real World By Scott Davis. $39.95. To order call 1-888-877-7249. Discover, Visa, and MasterCard accepted. If you are like me, you have enough books, videos, and tricks to last you through several lifetimes. What you may not have is information on how to market your talents. Scott
Davis has experience as both a magician and a marketer. On the new videotape Marketing Your Magic in the Real World Scott offers practical and useful suggestions on how to generate more work for yourself. Scott presents a logical and down-to-earth method for getting your message out to prospective clients. He discusses press kits, photographs, press releases, and direct mail marketing. In addition, he offers useful resources for color postcards, media packaging, and much more. Whether you are a novice in the field of marketing or you are experienced in the subject, you will find much of value here. For someone who actually wants to make a living as a magician, Marketing Your Magic in the Real World may be the best Christmas gift you could give them. Recommended. Undivided By Martin Lewis. $20 plus $2 p&h in US. From Magikraft, 11639 Sandpiper Court, Moreno Valley, CA. Fax: 909-247-1666 Email:
[email protected]. Web site: www.magikraft.com As far as magic effects are concerned, it is most often the case that simpler is better. A trick with a clear-cut effect using a recognizable prop can produce a greater reaction than a convoluted, multi-phased routine. Such a clear-cut effect is the venerable Torn and Restored Cigarette Paper. It was a favorite of such great performers as Nate Leipzig and Ross Bertram. Martin Lewis has studied the various methods for this trick and has produced a handling that is remarkable in its cleanliness and effectiveness. Titled Undivided: The Magical Restoration, this effect has been part of Martin’s professional repertoire for 24 years. David Copperfield also used this method on one his national television specials. Martin Lewis now offers you the chance to add this routine to your own repertoire. The effect is familiar, but Martin has added some presentational touches that clarify the effect to the audience. An audience member removes a cigarette paper from a package of papers. He hands the paper to the magician, who clearly shows his hands empty, except for the single sheet of paper. The magician tears the paper into quarters. The magician opens both hands, starfish fashion. A quarter of the paper sticks to the thumb and forefinger of each hand. Holding the hands in this open position achieves three things: it clearly demonstrates that the paper has been torn; it demonstrates that nothing else is concealed in the hands; and it pleasantly frames the performer’s face. The pieces are gathered and crumbled into a small ball. Instantly, the ball is unrolled into a completely restored piece of paper. The paper is laid flat on the right hand and the left hand flicks it into the air, where it flutters gently to the floor. The magician’s hands are undeniably empty. Martin’s method combines techniques from several sources. I will testify from personal experience that if you don’t know the method you’re going to get fooled. Martin’s explanation of the effect is very thorough. He discusses very aspect of his handling, including the proper cigarette papers to use. This depth of detail only comes from having
performed an effect thousands of times. The trick is not difficult, but it will require practice before you will be able to perform it with the gracefulness of the originator. Undivided will play for 2 people or 200 people. It is elegant, easy to understand, and completely mystifying. I highly recommend it. Dean’s Box By Dean Dill. $250 plus $8 p&h in US ($15 p&h overseas). From Dean Dill, 2130 Fairpark Avenue, #110, Los Angeles, CA 90041. Fax: 323-257-7117. Email:
[email protected]. Web site: www.deandill.com You may remember Dean Dill’s name from a card trick called “Blizzard” (Marketplace, January 1997). “Blizzard” was a trick that completely fooled everyone, and I have had a lot of fun performing it. Dean has a new trick out, and for the past five months he has been frying magicians and laymen with it. It is called “Dean’s Box,” and you can add my name to the list of people who have been fooled by it. Dean performed this effect for me at the Magic Castle, and I’m glad I saw him do it, because a description does not do this trick justice. Dean brought a beautiful cherrywood box, measuring 7 inches on a side. The entire front surface of the box is a hinged door that can be opened, allowing a complete view of the interior of the box. On either side of the box are two circular openings. Each of these openings is covered with a little curtain that opens in the middle. This allows objects to be inserted into the box, but does not allow spectators to look into the box from the side. On top of the box is a small, circular trapdoor. On either side of this little door are two notches. These notches allow loops of rope to protrude from the top of the box. Now that you have a general idea of how the box looks, here’s what happens. Dean brings out two pieces of rope – a white rope and a red rope. The ropes and the box can be thoroughly examined. The box is closed. Dean makes a loop in each of the ropes and holds a rope in each hand. The hands enter the box through the side holes. The ends of the ropes are in view the entire time. Dean pokes open the trapdoor in the top and then removes his right hand from the box. His right hand grabs the loops of rope and brings them up through the trapdoor. The trapdoor is closed. The ropes are trapped in the notches and the centers of the ropes are concealed within Dean’s right hand. Even though the ends of the ropes were in full view the entire time, when Dean opens his hand it is seen that the ropes are now linked together. Grabbing a rope in each hand, the ropes are withdrawn through the top of the box. The ropes are genuinely linked together and can be examined. In phase two of the routine the ropes link a second time, under even more impossible conditions. In phase three of the routine a 2-inch diameter ring links itself to a rope, even though the ends of the rope are in view the entire time. (This final phase has an added auditory aspect. Dean shows the ring in his right hand. The hand briefly enters the box through the right hand hole. You hear the ring hit the inside of the box. The box is immediately opened and the ring is on the rope.)
As I mentioned at the beginning of this review, a description does not begin to do justice to how baffling this trick is. I knew how the first phase worked (it’s based on a routine of Paul Curry’s) but phases two and three completely nailed me. When you add in the fact that all the props can be thoroughly examined before and after the trick, you have a routine that is going to bother people for a very long time. Now, let’s talk about the downside of “Dean’s Box.” This is not a cheap routine. With a price tag of $250, the merely curious need not apply. Table-hoppers would have to carry the box from table to table, which would be a minor hassle, but fortunately, only a small performance area on the tabletop is required. (I have been doing it at the Houdini Lounge, but I have the advantage of being able to store props behind the grand piano. Also, since I’m working a bar and not a restaurant, I don’t have to worry about the table being too cluttered.) I would imagine that this trick would be of most use to those who entertain guests in their home. The box is very elegant, and would fit in with your other magic collectibles. The trick is not difficult to do – an added bonus for those who do not perform on a regular basis. Those expecting an intricate piece of apparatus will be disappointed. The box is nearly ungaffed. There is one small sneaky thing about the box, but this preparation will never be discovered, even under extensive scrutiny. For your $250 you get the box, all the necessary props, and a videotape of Dean performing and explaining the routine. (Since making this video Dean has altered the handling of the second phase. He is going to include his new work in a supplemental instruction sheet.) You will have to run through the routine a few times to get comfortable with it. (And please, don’t perform this without sufficient practice. It’s too good to ruin through lack of preparation.) I think “Dean’s Box” is terrific. It is rare for me to be fooled by a trick, and this trick completely fooled me twice. Even if performed with a pedestrian presentation it would be an amazing mystery. Cloak this trick with a dramatic presentation and you’ve got something that people will remember for a long time. “Dean’s Box” is my pick of the month. Highly recommended. The Big Finish By Jay Sankey and Paul Richards. $19.95 plus $3 p&h. From Elmwood Magic, 507 Elmwood Avenue, Buffalo, NY 14222. Orders: 1-800-764-2372. Fax: 716-882-0279. Web site: www.elmwoodmagic.com. This new release from Elmwood Magic is actually two different card tricks. In the first trick (created by Jay Sankey) a card is selected. The magician attempts to find it but can only narrow it down to four cards. These four cards are turned face up and placed on the table. They form a jumbo image of the selected card. The second effect (by Paul Richards) has an effect similar to Phil Goldstein’s “B’Wave.” The magician holds a packet of four cards and tells the spectators that they are the four
kings. A spectator now decides on one of the kings. When the four cards are turned over and dealt face-up on the table, they form a jumbo image of the designated king. There’s nothing wrong with the Sankey effect (although I have the feeling that this is not a new idea, but I can’t quote a previous source), but I have been performing the Richard’s version with a great deal of success. I would suggest that you use Paul’s “afterthought” suggestion and incorporate a half-pass rather than the non-manipulative technique described in the basic instructions. You receive all the necessary cards to perform both tricks. “The Big Finish” is a nice quick trick whose effect is way out of proportion to the work involved. Re-Print Copy Cards By John H. Zander. Each trick is $8. From Magic Smith, 23192 Alcalde, Suite H, Laguna Hills, CA 92653. Fax: 949-452-0763. Web site: www.magicsmith.com Way back in the early 1970’s, packet tricks surged in popularity. Everybody and his brother worked out ways to get as much mileage as possible out of every conceivable group of gaffed cards. I loved packet tricks back then. I love them less now. Today, if I’m going to do a trick with a small group of cards, I’ll remove those cards from the deck proper, and return them to the deck when I’m done. My days of carrying around little plastic wallets filled with packet tricks are pretty much gone. I still perform a packet trick or two. (For example, “The Big Finish,” reviewed above is sort of a packet trick. When I do it, I remove four legitimate cards from the deck, switch them for the gaffed set, and then do the trick.) I like “The Big Finish” for the same reason I like “B’Wave.” The effect is very direct and easy to understand. I’m not as enthusiastic about “Re-Print” and “Copy Cards.” Both effects involve the printing of a selected card onto a group of blank cards. I would detail the effect of each trick, but that would take up too much space, and this is part of the problem. On the front cover of the “Re-Print” instructions the effect is described and this description takes up about 150 words. That’s a lot of words just to explain what happens. There’s nothing really wrong with either of these tricks. Mr. Zander claims he uses both to great effect, and I don’t dispute that. But to my mind, there are better card tricks out there, tricks that don’t require you to carry around packets of cards, and tricks that are more convincing and less convoluted. On the plus side, neither of these tricks requires difficult sleights. All the cards can be examined at the finish of each routine. I suggest you visit the Magic Smith web site and read a full description of these two tricks. If the effects appeal to you, it may be worth it for you to risk $8 apiece on them. Unfortunately, I can think of better ways to spend $16. Obie O’Brien’s Jumbo Version of Passing the Buck
From Kee-West Promotions. $25. Available from Obie O’Brien, 50079 Smith Lane, Redwood, NY 13679. Fax: 315-482-9068. Email:
[email protected] Larry West performed his wonderful money trick “Passing the Buck” for me in Washington, DC in 1979. The trick was later published in The Linking Ring. The magician shows four one-dollar bills. In the process of explaining a swindle, the bills are counted as $8 (by counting them front and back). Then the bills suddenly turn into $18 – a one-dollar bill, a two-dollar bill, a five-dollar bill, and a ten-dollar bill. As wonderful as Larry’s trick is, I felt it suffered from one big drawback – people really wanted to examine the bills. This they could not do. Consequently, as much as I liked the trick I never performed it in a close-up situation. However, it occurred to me that if I used jumbo bills the trick would be perfect for a stand-up show, a situation where the audience rarely examines the magician’s props. I found jumbo bills, and the trick has been a part of my stand-up show for many years. (My patter and handling can be found in Workers #3.) Magicians who have wanted to add this trick to their stand-up repertoires have had difficulty finding the jumbo bills. (Apparently, the jumbo bills were easy to find when I started doing the trick years ago; today they are scarce.) Now Obie O’Brien is offering “Passing the Buck” in both Canadian and American jumbo currency. I have only seen the Canadian version, and the bills Obie provides are 9.25 inches long and 4 inches tall. Each bill is laminated. Because of the method of lamination, it may be necessary to clean the bills before performing. Also, it may be necessary to use some talcum powder on the bills to facilitate some of the moves. Included are two routines, Obie O’Brien’s presentation, and the original Larry West version. The original West routine used 1, 2, 5, and 10-dollar bills. The bills Obie provides you are 10, 20, 50 and 100-dollar bills. For those of you who have been looking for bills for this trick and are now jumping up and down with excitement, I’m afraid I’m going to have to throw a bucket of water on the festivities. First, if the intent is to use this routine as part of a stand-up show, the bills Obie provides are way too small. The bills I use are 13 inches long and 5.75 inches tall, and even at this size there is sometimes a visibility problem when performing for a big audience. If you are planning to use the Canadian currency version of the trick, you’ll have to be very careful with the handling, since Canadian money is multi-colored and does not have a white border. If you are planning to use these bills in a close-up situation you may have some audience management problems. When using real money there is a great deal of heat on the bills; people want to examine the money. If you are using jumbo bills there is even a greater suspicion, since the bills are obviously a magician’s prop. So, here’s the problem. “Passing the Buck” is a great trick, but the bills Obie is providing are way too small for stand-up work. You could use them close-up, but they are going to attract so much heat that you’d be better off making up the trick with real money. I wish I could be more enthusiastic, but I’m afraid that purchasers of this product are going to be disappointed. CD Rainbow
By Jeff Brown. $12.95 postpaid in US. From Jeff Brown, 135 W. Second Street, Juneau, Alaska 99801. Web site: www.alaska.net/~jbrown. Recently, CDs have become a popular prop for the stage manipulator. If you are already using CDs in your act, “CD Rainbow” by Jeff Brown may serve as a useful, brief interlude during your manipulations. The effect is this. The magician shows a CD. Turning so the light catches the surface of the CD, the magician comments on the rainbow of light that reflects from the shiny side of the CD. Reaching into the hole of the CD the magician produces a rainbow streamer (about 34 inches long). The streamer is pushed back into the hole and it immediately vanishes. The CD is shown front and back. Mr. Brown provides the CD, the rainbow streamer, and some brief instructions. There is one other gaff that is necessary, but since this is a standard device, the odds are that you already have one in your possession. I have no doubt that “CD Rainbow” would be a pretty effect in a routine of CD effects, but I have one big problem with the trick as it is sold. In the instructions, Mr. Brown suggests that you place the CD on top of the closed left fist. You then reach into the hole (and of course, into the well formed by your left fist) and extract the streamer. I do not think that this is a particularly effect way to do this trick. Placing the CD flat on top of your fist puts the edge of the CD toward the audience, making it difficult for them to appreciate what’s happening. It would be more effective if the left hand held the CD at the fingertips so the CD was facing the audience. Unfortunately, you will have to figure out your own way to accomplish this. (I improvised a satisfactory solution in about 30 seconds.) If you are already using CDs in your act, “CD Rainbow” could easily be added to your show. Just be aware that you will probably have to rework the handling. Dominique Duvivier – Printing Printing - $19.95 postpaid in US, Canada, and overseas surface mail. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-8768437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Available from A-1MagicalMedia is Dominique Duvivier’s “Printing.” You are provided with an instructional video and all the necessary props. A packet of cards is shown. All the cards are face down. As they are counted from hand to hand one of the cards turns face up. This is continued until four cards have turned face up. They are the four Tens. The other four cards are shown to have blank faces. Suddenly the cards start acting like a Xerox machine. Faces copy, backs copy, cards are misprinted, one card takes on the color of the close-up mat, and the last card takes on the image of the card case. At the end everything can be examined. This is a very visual routine that is not difficult to do. The only thing you need to know is that one card has a green back. Duvivier uses a green close-up mat, and the green card apparently takes on the color of the mat. If you don’t use a green mat, you’ll have to
figure out some other green object to use. (Duvivier offers several suggestions on the videotape.) If you like packet tricks, “Printing” is one of the better ones. Important Information Department In my review of Personal Magic Volume 1, Eric Lewis’ notebook on CD-ROM (Marketplace October, 2000), I mentioned that in attempting to print out pages from the notebook the page numbers were cut off on the bottom. Martin Lewis emailed me, “I should have mentioned in the “Read Me” File that the page numbers are cut off by the default preferences of Adobe Acrobat Reader – my mistake. This can be changed within the Reader by opening the general preference dialog window, (File --> Preferences --> General) and checking the box marked ‘Display page to edge.’ Everything should print correctly then.” This information removes my only quibble from this fine product. It’s Not Magic, But… I usually find one or two new Origami books a year. Dover Publications has just released a new book that magicians should find quite useful. Dollar Bill Animals in Origami by John Montroll (ISBN 0-486-41157-5) contains 32 amazing dollar bill folds. Included are a starfish, a seahorse, an owl, a parrot, a penguin, a sitting cat, a turtle, a triceratops, a rabbit, a unicorn, a rhinoceros, and many more. Many of Montroll’s models are not for the faint of heart; his complex models can be very challenging. My suggestion is to practice the folds with large sheets of paper (cut to dollar bill proportions) before you attempt them with a real bill. If you enjoy origami, I know you’ll find this book to be a welcome addition to your library.
January 2001 Melt Down On Friday, November 24th my PC self-destructed. I’m still unsure what caused the problems, but the problems were major and could not be repaired. All of a sudden, I was unable to send or receive email, or to surf the Internet. The reason: Outlook (the Microsoft email program) and Internet Explorer (the Microsoft Web Browser) could no longer contact my Internet provider. I had just switched to a cable modem, but everything had been working fine. I checked the status of the cable modem, and discovered that the drivers were no longer installed. Then, other programs began crashing. Outlook would no longer print out email. When I tried to close the program error messages began to pop up. The program wouldn’t close (even with the failsafe “Control+Alt+Delete”). Then other programs began to crash. I put a Zip disk in the Zip drive and made an attempt to back up some data. The Zip disk locked up. The green activity light would not go off. I shut down the computer and rebooted. Now the computer no longer recognized that I even had a Zip Drive. To quote a famous military term, the situation was FUBAR. Normally, a crash of this magnitude would be devastating, but I was unperturbed. Why? Because I had installed on my system a program called GoBack, from the Wildfire Company. GoBack logs all the activity of your hard drive and allows you to revert your hard drive back to the state it was in at some previous point in time. I simply told the program to restore my hard drive to the state it was in on Thursday, November 23 at 8:00 a.m. GoBack did this, the computer rebooted and everything worked normally. I lost some email in the process but that was all. (In fact, anything that I had saved to the hard drive between Thursday morning and Friday when the system crashed would have been lost, since I could not back up anything onto the Zip drive. This emphasizes the importance of constantly backing up your data to floppies or CD-ROM.) My guess is that I opened an email that contained a virus. That email disappeared when I reverted the system to the earlier time. I have experienced no further problems. GoBack is for PCs only. It is a fabulous safety net, especially in the world of Windows, where system crashes are a way of life. There is a price to be paid, however. GoBack takes 10% of your hard drive space to use for back-up purposes. Since GoBack is constantly monitoring your disk activity there is a small hit to your overall computer speed. If you are going to use your computer for disk intensive activities (such as video capture, music recording, or game playing) you will probably have to disable GoBack, do the work you have to do, and then re-enable the program. To my way of thinking, this is a small price to pay for the peace of mind that comes from knowing that you can recover from almost any disaster. You can find GoBack at most of the computer retailers (such as CompUSA), or online. I’m placing the information on GoBack here at the top of the column (rather than in “It’s Not Magic, But…” at the end) because our main topic of discussion this month is the
release of The Linking Ring Magazine on CD-ROM. I’m going to spend a lot of words discussing this product because it is very different, it is a harbinger of things to come, and because I have some information that I think will be invaluable to those of you who purchase the product. Following my review of The Linking Ring on CD-ROM are four short reviews that got bumped from the December 2000 issue. I have a large backlog of items waiting to appear here, so I’ve put in a requisition for extra pages next month. Look for the biggest Marketplace ever in February. I’ll be discussing products from Jeff McBride, Lennart Green, Carl Cloutier, Eugene Burger, Doc Eason, Paul Cummins, and many others. The Linking Ring On CD-ROM. From Digital Publishing, Inc. Three Volumes, each volume $125. Any two volumes $210. All three volumes $300. See the end of this review for complete ordering information. I have spent most of my life trying to get out from under the avalanche of paper that I live with. I am a collector of information, and most of that information comes to me through books and magazines. Because of this I find myself buried under stacks of paper. When I was younger I enjoyed having rooms filled with books, magazines, and file cabinets. I’m now at a point in my life when I want fewer things, not more things. How do you thin out the collection? I used an approach that I had often seen my father use. I went through my stacks of magazines and I cut them up, extracting the information I needed and discarding the rest. The information when into file folders, the discards went into the trash. One of the first magazines that fell prey to this desecration was The Linking Ring, the house organ of the International Brotherhood of Magicians. I extracted Parades, favorite columns (such as Rick Johnsson’s “Come a Little Closer”) and tossed the rest of the magazine. I felt bad having to do this, but I was simply running out of space. As I was chopping up the magazines it occurred to me that it would be great if the magazine could be transferred to an electronic medium. This would not only reduce the storage requirements, it would make it a breeze to find any information I might be looking for. This was 15 years ago. Lo and behold, technology has caught up with my wishful thinking; the entire file of The Linking Ring from 1923 to 1999 has been released on CDROM. Stacks and stacks of magazines have been replaced by a stack of disks less than 6 inches tall. Unfortunately, this is not a perfect product. Having all this material accessible on disk is an enormous convenience, but there are serious flaws in the tools that allow you to search for information. Let’s take a look at what you get. Digital Publishing has divided the magazine into three sets of disks: Set One (6 disks) covers 1923 – 1949, Set Two (10 disks) covers 1950 – 1974, and Set Three (11 disks) covers 1975 – 1999. You can purchase a single set of disks, or any combination of the three. In addition to the magazine disks, you also receive an installation disk. (I should mention that at this point in time the program is only available for the PC. Mac and DVD versions will be available sometime in the future.) The installation program offers several options. You can do a minimal install (which requires 30 Megs of hard drive space) or the maximum install that will eat up 300 Megs. With a minimal install you will only be
able to search the magazines for Title, Author, and Summary information. (More on this later.) With the maximum install you can also search the entire text of every article ever written in the LR. For this program to have any value whatsoever, you’re going to want to do the maximum install. My original intent was to install the program on my laptop. As I began the installation process, the program told me that certain system files on my computer were outdated and needed to be replaced with newer versions. These words filled my heart with dread. I did not have GoBack (see the introduction to this column) installed on my laptop, so I aborted the install. Instead, I began to install the program on my desktop computer. Again, I received the message that certain files needed to be updated. (I found this very curious, since I was running Windows 98 SE.) I told the program to proceed. After a short period of time I was told to reboot the computer and restart the installation process. This I did. As the installation began, the program encountered a file that was “write protected.” Did I want to ignore this file or abort the installation procedure? I told the program to ignore the file. The installation completed without further incident and the program worked just fine. (I still am not sure why a necessary file was write protected.) The installation disk also provides you with the opportunity to install Adobe Acrobat Reader. If you don’t already have this program installed on your computer I would suggest you install it first. You can then read the Help files on the installation disk. When you run the Digital Publishing Archive program you are presented with two windows. The first is the viewing window in which the scanned images from the magazine will appear. This window can be minimized to any size or can be expanded to the full size of your monitor. The second window contains all the tools that allow you to access and manipulate the information in the magazines. Let’s look at this window in detail. (NOTE TO JOHN: PLACE GRAPHIC OF MAIN WINDOW NEAR HERE.) Four drop-down menus are available at the top of the window: File, View, Image, and Help. For the most part the commands available here are duplicated by a row of Toolbar buttons that lie underneath the drop-down menus. (You can adjust the size of the buttons in the View menu.) The buttons allow you to exit the program, print either the page you are viewing or an entire article, view an article summary (more about this in a moment), call up the Navigation Remote (more about this in a moment), change the size of the magazine image, or rotate the image. Underneath the buttons are the tools that allow you to access the magazines. These tools are arranged in a “tabbed” format. The tabs are labeled Search, Results, Details, and Browse Volumes. The Browse Volumes tab is the simplest, so let’s examine it first. (NOTE TO JOHN: PLACE BROWSE WINDOW GRAPHIC NEAR HERE.) Clicking on the Browse Volume tab allows you to choose an individual issue of The Linking Ring and then step through it page by page. You are presented with a drop down list of all issues that have been archived. You scroll down to the issue you want and then double-click on it. The computer prompts you to insert the required CD. After the computer recognizes the CD, the image of the front cover of the issue appears in the
viewing window. The Navigation Remote also appears. The Navigation Remote allows you to move forward and backward through the issue. You can move one page at time, five pages at a time, or you can immediately jump to the front or back of the magazine. One important control that is missing is the ability to type in a page number and to jump to that page. It’s surprising that this control was not implemented. When the image appears in the view window it can be resized as needed. First, you will want to maximize the view window so it fills your entire monitor. When you do this the Navigation Remote remains on the screen, but the window with the other tools gets covered up. (It is easy to bring this window up again when it is needed.) There are three options for altering the size of the magazine image in the view window. The image can fit the width of the window, the image can fit the height of the window, or the image can be displayed at its actual size. The latter option means that the image will be displayed at the actual resolution (in dots per inch) that it was scanned. For all practical purposes, you will use the latter display size. If you fit the image to the height of the window it is just a little too small to read the text comfortably. When the image fits the width of the window, the image is huge, and you can only see a small portion of the page. When displaying the image at actual resolution, the size of the portion of the page you will see depends on the size of your monitor. I have two monitors connected to my desktop computer. On the 21inch monitor I can see three-quarters of a page. On my 15-inch monitor I can see a little more than one-half of a page. To read all the information on a page it will be necessary to scroll up and down. When a page image is in the viewing window you can read the page, or you can print out the page. It is not possible to highlight text within the page and copy that text for placement into another document. I was informed by Digital Publishing that this was done due to plagiarism concerns, but it certainly would have been convenient for a researcher to paste relevant information into a Word document. Speaking of researchers, we now come to the heart of this review, using The Linking Ring on CD-ROM as a research tool. One of the important reasons to convert this magazine to an electronic format is the ability to search the magazine for whatever information may be required. It is here that this product becomes less than perfect. However, I have discovered some information that may save you many hours of frustration. First, throw away the jewel boxes that come with the product and file the disks in a CD notebook. (My thanks to Phil Willmarth for this excellent tip.) When you begin to search The Linking Ring you’ll be doing a lot of disk swapping, and trying to get the disks out of the jewel box is a pain in the butt. Having the disks in a notebook saves a lot of time. There are two basic search options: you can do a simple search or an advanced search. Let’s begin with the simple search. The first step is to type in the words you are looking for. For example, I typed in Michael Close. (Yes, I am that vain.) There is a slight difference between this search engine and an Internet search engine (such as Mamma.com, or Google.com). If I type Michael Close into an Internet search engine, I will get at least one hit for a site talking about the movie Fatal Attraction, featuring
Michael Douglas and Glenn Close. If I want to eliminate those sites, I would have to type “Michael Close” into the search engine. With the Digital Publishing search engine, the quotation marks are unnecessary. The search engine searches on text strings; that is, the program searches for the exact words you type in (capitalization is ignored). After you type in the words you want to search for, you dictate where the program should search. You have four options: Title, Author, Summary, or Article. Any or all of these four areas can be searched. (Note: If you did a minimal install then you cannot search Articles.) I clicked on the Article box. You can also choose whether to search the entire file of LR or limit the search to specific years. In the lower left corner of the Tools window is a box labeled “Select All.” If you click on this box it becomes “Select None.” This clears the window that contains the volume selection boxes. You can then choose whatever volumes of the LR you want to search. You can also indicate whether the search results should be listed in chronological or reverse chronological order. I chose “Select All” and then began the search. The length of time the search takes depends on the speed of your processor. I have a Pentium III and the search was not quick. (NOTE TO JOHN: PLACE THE RESULTS WINDOW GRAPHIC NEAR HERE.) When the search is done a window pops up telling you to insert a specific disk. This disk will contain the information of the first article found in the search. You need not insert a disk at this time. Simply close the window and click on the tab labeled Results. You will now see a list of all the articles in LR that contain the search words you requested. In the left hand column are the titles of the articles, in the middle column are the authors, and in the right hand column are the first few words of the summary. You can now scroll down the list, looking for a specific article. If you find one that interests you, click on it. A pop up window tells you which disk to insert. (Again, you can just close this window for the time being.) With the appropriate listing highlighted, click on the Details tab. This tab shows title and author information, and the entire summary is shown. If this turns out to be an article you’d like to look at, just click on the Results tab, double-click on the article, insert the correct CD and the article will appear in the view window. This procedure is quite simple, but I immediately noticed a snag. What Digital Publishing refers to as a summary is not really a summary; it is just the first paragraph of the article. What you read in the summary section may or may not be of any usefulness whatsoever, depending on whether the author used the first paragraph to provide a brief overview of the article that follows. In the case of some authors (such as Rick Johnsson), the first paragraph has absolutely nothing to do with the rest of the article. My point is this: It is worthless to search on the Summary area, so don’t even waste your time checking that box. (NOTE TO JOHN: PLACE SUMMARY WINDOW GRAPHIC HERE.) Let me digress for a quick moment to explain the concept of “article” as it refers to this program. For the purposes of indexing, the folks at Digital Publishing considered anything that receives a separate listing in the Table of Contents of the magazine as an article. This means that each Linking Ring Parade is an article. The section of the magazine that contains the various Ring Reports is an article. The Obituary Column is an article. Here’s why it’s important to understand this. As part of my search on Michael Close, several Ring Reports were found. I clicked on one of them, inserted the proper
disk, and the first page of the Ring Report section showed up. This particular article was 54 pages long. I now looked for the controls that would allow me to search the article for the words “Michael Close.” There were none! In other words, I cannot search an article for a text string. If I wanted to see where my name appeared in this particular Ring Report I would have to step through 54 pages, looking carefully at every page. Ouch. The folks at Digital Publishing told me that the ability to search articles may be implemented in future versions of the product, but it seems to me that is a vital tool that should have been available right now. In looking over the results of my Michael Close search I noticed that a trick I had contributed to Rick Johnsson’s column did not show up. This puzzled me. But then I did another search, this time using Mike Close, and many other articles showed up, including the column that contained my trick. I now did a search for Charles M. Hudson’s “Card Corner” columns. I typed in the search string Charles M. Hudson and I clicked the Author box. I started the search and was completely amazed when the program informed me that no matching results were found. What’s going on here? I then typed in Card Corner and checked the Title box. 389 articles were found. As I examined the results I discovered what the problem was. Digital Publishing has listed authors with only their first initials and their last names. Thus, Charles M. Hudson was listed as C.M. Hudson. John Bannon was listed as J. Bannon. The lesson here: if you are searching for an author, only type in the author’s last name. Continuing my experiments, I typed in Booth and checked the Author box. (John Booth has been contributing articles to the LR for many years.) The program listed 303 articles authored by J. Booth. If that last sentence set off some alarms in your head, congratulations – you’re now an official Junior Detective. There is something very wrong here. I browsed the December 1999 issue of LR for Rev. Booth’s “Memoirs of a Magician’s Ghost.” This issue contained installment number 342. How could the search program only list 303 entries for Booth when his memoirs alone contain 342 articles? I discovered the answer by carefully looking at the first page of the December 1999 article. The top of the page reads, “Memoirs of a Magician’s Ghost, The Autobiography of John Booth.” But no where does it say “By John Booth.” Because of this, in many of the listings of the Memoirs, the Author field has been left blank. This would lead you to believe that way to find all of these articles would be to search on Memoirs of a Magician’s Ghost. If you try this, the program will tell you that there are 0 results. What? The problem is that the search engine can’t handle apostrophes. Type in just Memoirs and the program will find all of Rev. Booth’s columns. So far, we have only discussed simple searches. It is possible (by simply checking a box) to do a more advanced search. In the advanced search you can narrow the focus of your search by using Boolean operators. (This program uses only “and” and “or.”) You can enter up to four different search strings, each string can be searched on a different field (title, author, summary, or article), and each string can be connected with a different Boolean operator. We’ll come back to the Advanced Search in a moment.
Are we having fun yet? It gets better. One way to test a search engine is to pick a page at random, find a text string on the page and then see if the search engine will find the page that you’re looking it. I did just that: I picked a random issue, found a random page, and picked the name Virgil Mulkey from among the many names that appeared on the page. I then entered the name Virgil Mulkey into the search engine. The program returned 11 articles, none of which included the page I had been looking at! I was really stumped. Then I looked carefully the page I had chosen at random, and I noticed that Virgil Mulkey was hyphenated. “Virgil Mul-” occurred at the end of a line of text and “key” was at the beginning of the next line. The hyphen had fooled the search engine. Using the Advanced search function I searched for Virgil Mulkey or Virgil Mul. The program returned 12 articles, including the one I had chosen at random. What does this mean? It means that whatever the text you’re searching for, you must use the advanced search and you must include all possible hyphenation combinations. Is this really important? You bet it is. I searched on Jay Marshall and found 1286 articles. I then searched on Jay Marshall or Jay Mar and turned up 1351 articles. If you ignore the hyphenation problem you may miss out on some information. (As I typed this I realized that I should also add gil Mulkey to my advanced search. I tried this, but still found just 12 articles.) Here’s some other important search information. The program does not search the text of advertisements. John Moehring was interested in this, because researchers often try to find out when a trick was first marketed. Captions underneath pictures are not searched. This is too bad. Scholars would certainly have appreciated the ability to locate a picture by its caption. So, what’s the bottom line? Is The Linking Ring on CD-ROM worth owning? Yes it is, even with its idiosyncrasies, weaknesses, and inadequacies. There is an enormous amount of information here, whether you are a historian looking for facts or a hobbyist looking for good tricks (and there are some great tricks here). I hope that the information I’ve given will allow you to work around some of the program’s shortcomings. If you purchase the program the first thing you should do is raise holy hell with Digital Publishing until they fix some of the problems I’ve mentioned. Putting the LR on disk is a brave step, and all those involved should be commended for taking a chance and putting this product on the market. I would love to see other magazines come out in an electronic format. If the LR project succeeds commercially, others will be less reluctant to produce similar products. Now, how do go about purchasing this product? First, you must be a member of the I.B.M. You can contact Digital Publishing at 888-344-4782. Outside the United States call 703-737-3379 or fax them at 703-737-7699. You can also email them an order at
[email protected]. You will need to give the following information: your name, your I.B.M. membership number, your shipping address, your telephone number, your credit card information (including expiration date), the volumes you wish to order and your preferred method of shipping. Digital Publishing’s hours of operation are 9:00 a.m. to 6:00 p.m. Eastern Standard Time.
Card Concepts By Arthur F. MacTier. 8 x11.5 hardcover. 301 pages. 27 pounds Sterling airmail to US (21 pounds Sterling by sea mail.) Visa, MasterCard, and American Express accepted. From Davenports, 5, 6, & 7 Charing Cross, Underground Arcade, The Strand, London, WC2N 4HZ, England. Fax: 20-7379 8828 So, you’re telling me that you’ve gone through every card trick in The James File, the two bound editions of Apocalypse, all three volumes of Semi-Automatic Card Tricks, and the electronic book Virtual Miracles and you still want more card tricks. Well, why don’t you make up some yourself? You can do just that if you study the information in Card Concepts by Arthur F. MacTier. Subtitled An Anthology of Numerical & Sequential Principles within Card Magic, this big book examines the underlying principles of mathematically oriented card tricks. If you’ve ever wondered why Elmsley’s Penelope’s Principle works (and if you haven’t, shame on you) you’ll find a discussion of it here. Card Concepts contains 31 chapters, each devoted to a different mathematical principle. Included are such topics as the Parity Principle, Stewart James’ AAG Principle, the Kruskal Principle, High Card Distributions Probability, George Sands’ Prime Number Principle, Matrixing, C.S. Pierce’s First and Second Principles, the Cancellation Combination, the CATO Principle, Gene Finnell’s Free Cut Principle, Rusduck’s Staystack Principle, James’ Miraskill Principle, and perhaps the most famous mathematical principles in magic – Norman Gilbreath’s First and Second Principles. The format of each chapter is the same. Mr. MacTier discusses the principle at hand and examines the mathematics behind it. He then offers a card trick that utilizes that principle. For the most part, these are not totally original tricks. Rather, they are re-workings of established routines. Each chapter ends with some further notes and a section of credits. Card Concepts is an impressive and useful reference volume. It is not meant to be read cover to cover in one sitting. (At least, not by me. Attempting to do so proved to be more effective than Melatonin.) Because each chapter is devoted to just one principle, it is easy to scan the Table of Contents to find the topic you want to read about. Mr. MacTier referenced over 500 books and 1000 magazines in writing this book. A small number of these books and magazines are listed in the Bibliography. Mr. MacTier also includes a page of Magician References. I’m unclear what the function of this page is, because he merely lists 66 magicians in alphabetical order. There is no referencing of magicians to page numbers in the book. Generally speaking, mathematically based card tricks get a bad rap. To a certain extent this is justified, because many mathematical card tricks look like they are based on mathematics. You know the drill: Think of a number from 5 to 15. Count off that many cards from the top of the deck. Put those cards in your pocket. Transfer the same number of cards from the bottom of the deck to the top. Now deal the deck into four piles. Turn over the top card of each pile. Add the values of the four cards together. Remember that number. Reassemble the deck. Add the number you created by addition to the number of
cards that are in your pocket. Count down that number into the deck. The card at that position matches a card that has been in a sealed envelope since the beginning of time. And so on and so forth. In the same way that digital technique should be invisible to the spectators, mathematical principles should not be obviously apparent. The best mathematical card tricks (such as Stewart James’ “Miraskill”) produce results that cannot be obtained by any other method. The fact that they are based on mathematical principles is well concealed. These tricks can be made entertaining and can be extremely effective in the right situations. For those of you who have a desire to work out your own card effects, Card Concepts will be a valuable resource. And those of you who teach mathematics will find lots of interesting topics to spice up your math classes. Virtual Deck By Iain Girdwood. $25. Available only at www.virtualdeck.freeserve.co.uk. If you’re considering purchasing the Card Concepts book, you’ll also want to take a look at this fun computer simulation tool from Scotland’s Iain Girdwood. “Virtual Deck” allows you to designate the order of a deck of cards and then manipulate those cards with various mixing procedures. You can then view the results of your manipulation. With “Virtual Deck” you can perform Faro Shuffles (In and Out as well as normal or reverse), Down and Under Deals, Under and Down Deals, Klondike Shuffles, legitimate riffle and overhand shuffles, cuts, and dealing sequences. The computer keeps a list of the manipulations performed, and you can observe how the order of the deck changes. The program is extremely intuitive and easy to use. In fact, I played with the program for only an hour and discovered that it is possible to go from New Deck Order to the Aronson Stack with only 5 run shuffles, three controlled cuts, and four Faro Shuffles. (Actually, that last sentence was a lie, but I bet there were at least 12 guys who almost broke their legs running to their computers.) If you enjoy mathematical card tricks, you’ll have a lot fun with “Virtual Deck.” The program is only available for the PC, so you Mac guys are out of luck. (Nyah, nyah, nyah.) Re-Print Copy Cards By John H. Zander. Each trick is $8. From Magic Smith, 23192 Alcalde, Suite H, Laguna Hills, CA 92653. Fax: 949-452-0763. Web site: www.magicsmith.com Way back in the early 1970’s, packet tricks surged in popularity. Everybody and his brother worked out ways to get as much mileage as possible out of every conceivable group of gaffed cards. I loved packet tricks back then. I love them less now. Today, if I’m going to do a trick with a small group of cards, I’ll remove those cards from the deck proper, and return them to the deck when I’m done. My days of carrying around little plastic wallets filled with packet tricks are pretty much gone.
I still perform a packet trick or two. (For example, “The Big Finish,” reviewed above is sort of a packet trick. When I do it, I remove four legitimate cards from the deck, switch them for the gaffed set, and then do the trick.) I like “The Big Finish” for the same reason I like “B’Wave.” The effect is very direct and easy to understand. I’m not as enthusiastic about “Re-Print” and “Copy Cards.” Both effects involve the printing of a selected card onto a group of blank cards. I would detail the effect of each trick, but that would take up too much space, and this is part of the problem. On the front cover of the “Re-Print” instructions the effect is described and this description takes up about 150 words. That’s a lot of words just to explain what happens. There’s nothing really wrong with either of these tricks. Mr. Zander claims he uses both to great effect, and I don’t dispute that. But to my mind, there are better card tricks out there, tricks that don’t require you to carry around packets of cards, and tricks that are more convincing and less convoluted. On the plus side, neither of these tricks requires difficult sleights. All the cards can be examined at the finish of each routine. I suggest you visit the Magic Smith web site and read a full description of these two tricks. If the effects appeal to you, it may be worth it for you to risk $8 apiece on them. Unfortunately, I can think of better ways to spend $16. CD Rainbow By Jeff Brown. $12.95 postpaid in US. From Jeff Brown, 135 W. Second Street, Juneau, Alaska 99801. Web site: www.alaska.net/~jbrown. Recently, CDs have become a popular prop for the stage manipulator. If you are already using CDs in your act, “CD Rainbow” by Jeff Brown may serve as a useful, brief interlude during your manipulations. The effect is this. The magician shows a CD. Turning so the light catches the surface of the CD, the magician comments on the rainbow of light that reflects from the shiny side of the CD. Reaching into the hole of the CD the magician produces a rainbow streamer (about 34 inches long). The streamer is pushed back into the hole and it immediately vanishes. The CD is shown front and back. Mr. Brown provides the CD, the rainbow streamer, and some brief instructions. There is one other gaff that is necessary, but since this is a standard device, the odds are that you already have one in your possession. I have no doubt that “CD Rainbow” would be a pretty effect in a routine of CD effects, but I have one big problem with the trick as it is sold. In the instructions, Mr. Brown suggests that you place the CD on top of the closed left fist. You then reach into the hole (and of course, into the well formed by your left fist) and extract the streamer. I do not think that this is a particularly effect way to do this trick. Placing the CD flat on top of your fist puts the edge of the CD toward the audience, making it difficult for them to appreciate what’s happening. It would be more effective if the left hand held the CD at the fingertips so the CD was facing the audience.
Unfortunately, you will have to figure out your own way to accomplish this. (I improvised a satisfactory solution in about 30 seconds.) If you are already using CDs in your act, “CD Rainbow” could easily be added to your show. Just be aware that you will probably have to rework the handling.
February 2001 Hidden Contest I received a substantial amount of mail in the past month. Everyone who contacted me wondered if there was some type of contest hidden in the January Marketplace. Indeed there was. A careful inspection of the first page of the column reveals that all the paragraph indentation has been removed! So here is the contest. Read page 41 carefully, determine how many paragraphs should actually be there, and send me your answer on a postcard. All entries must be postmarked by January 31, 2001. The winner will receive a copy of my new book, Grammar? I Don’t Need No Stinking Grammar! (Incidentally, the space saved by removing the paragraph indentations has been donated to the Salvation Army.) Only a handful of people responded to my request for the five tricks that they would perform for 12 guests at a dinner party. Consequently, I have no results to give you. My main reason for asking the question was to find out if any of the material that has been flooding the marketplace in recent years is actually finding a place in the average magician’s repertoire. As it stands now, we’ll never know. Mastering the Art of Magic By Eugene Burger. 8.5 x 11 hardcover with dustjacket. 228 pages. Published by Richard Kaufman. $45.00. Available from most magic dealers. As we plunge boldly into the 21st century, Eugene Burger has firmly established himself as magic’s premier guru. Any list of the most influential magicians of the late 20th century certainly includes Eugene’s name, and he is still much in demand as a lecturer throughout the world. Eugene’s early reputation was established by a series of small booklets published from 1982 to 1984. These booklets challenged magicians to think seriously about their magic, to create evocative and engrossing presentations, and to decide what (if anything) was the message in their magic. Richard Kaufman has republished these early manuscripts in a new book titled Mastering the Art of Magic. Included are Secrets and Mysteries for the Close-up Entertainer, Audience Involvement, The Secrets of Restaurant Magic, On Matt Schulien’s Fabulous Card Discoveries, Intimate Power, The Craft of Magic and Other Writings, and Rediscoveries (published in 1994). Having all these booklets together under one cover is wonderful, for several reasons. First, many of these early publications are out of print and hard to find. Second, Eugene offers commentary on each booklet, and it is very interesting to see how Eugene evaluates each booklet from the perspective of almost 20 years more experience. Third, Jay Marshall once quipped that Eugene Burger had written the same book six times. We now have an easy to find out if he was correct.
The highlights of this collection are Eugene’s essays, which range from dealing with hecklers to a hellish conversation between a professional magician, an amateur, and a prostitute. Eugene asked us to treat magic as an Art, and his words reached many. Others had written about this subject before, but few generated the enthusiasm that Eugene did. Mastering the Art of Magic also contains some excellent magic, including Brain-Waived, Matt Schulien’s Card Under the Tablecloth, A Voodoo Ritual (a routine I use all the time), and Dracula and the Sorority Girls. In addition, Eugene and David Parr have devised a new method for the Grant Slow Motion Bill Transposition. This is good news, because the change in U.S. currency has made the old method unworkable. Mastering the Art of Magic is a wonderful collection, and it certainly should be studied by anyone who is seriously interested in the performance of magic. The advice Eugene offers is solid, the tricks are excellent, and Eugene’s commentary is fascinating. Highly recommended. Fusillade By Paul W. Cummins and Doc Eason. 8.5 x 11 softcover, stapled. $20 plus $3 p&h in the US (foreign orders add $9). From Rocky Mountain Magic, 524 Park Circle, Basalt, CO 81621. Phone: 970-937-3197. Web site: www.doceason.com. Email:
[email protected]. Also available from FASDIU Press, 3703 Foxcroft Road, Jacksonville, FL 32257. Phone: 904-260-9943. Web site: www.fasdiu.com. Email:
[email protected] Here’s a rarity in the world of magic publications: two professionals discussing a reputation-making routine that is part of their working repertoires. Doc Eason is the head honcho magic bartender at the Tower Bar in Snowmass, Colorado. Paul Cummins is a full-time professional with experience in both restaurant and bar magic. For many years both of these gentlemen have featured the Multiple Selection Card Routine in their acts. In Fusillade, both Doc and Paul explain how they handle this routine. The result is a postgraduate course in the construction of professional-caliber material. Fusillade is comprised of three sections: Doc Eason’s routine, Paul Cummins’ routine, and concluding remarks from both gentlemen. The premise of any multiple selection routine is simple: a lot of spectators take playing cards and the magician finds them one at a time, usually by dramatic or flourishy methods. A routine of this nature is not only a spectacular demonstration from the spectator’s point of view, it also allows the creative performer a chance to indulge in “jazz magic,” improvising and rearranging revelations to suit the circumstances. Doc Eason’s approach to the Multiple Selection routine is less technical than Paul Cummins’ approach. Doc offers a simple method for controlling the cards and several methods for revealing them. The strong aspect of Doc’s routine is that as the cards are selected he memorizes the spectators’ names. As each card is produced Doc calls the spectator by name. Since Doc regularly performs this with 20+ spectators, the memorization of the names becomes as impressive as the revelations of the cards. Doc
offers some simple suggestions to aid in the memorization process, but anyone who really wants to incorporate the name memorization should invest in memory aid book. Paul Cummins gives a much more thorough and technically complete structuring of the Multiple Selection routine. Paul uses a more demanding control technique, and he outlines a multitude of revelatory techniques. Paul breaks the revelation of the cards into three sections: the initial discoveries, the flexible middle, and the closers. The initial discoveries are a set series of revelations for the first three cards. These are beautifully thought out and start out the routine with a bang. The flexible middle is the jazz part of the routine. Paul offers many suggestions here, including revelations that can be combined into what he refers to as doublets and triplets. Finally, there are the revelations that close the routine. These should be the strongest possible revelations. Paul gives two options. Following the outline of both routines there is a very useful section called Outs, Opportunities, and Challenges. Paul and Doc discuss what to do if something goes wrong. They also discuss how to take advantage of lucky breaks. The book concludes with two appendices that list credits, references, and further reading. Fusillade is one of the most valuable card books that I’ve read in a long time, and I know several people who wish that Paul and Doc hadn’t tipped their mitts on this routine. The different styles of the two authors compliment each other nicely. My guess is that most readers will find Paul’s information to be most useful. Doc offers excellent presentational information, but his style and venue are unique. Doc says he often has 20 or more cards selected. It would be difficult for the average performer to maintain both a dramatic arch and audience interest through that many revelations. Paul’s routine is geared toward the revelation of 12-15 cards. To me this seems like a satisfactory number. The Multiple Card Selection Routine has been a mainstay in the repertoires of such luminaries as Eddie Fechter, Michael Skinner, and Ricky Jay. The combination of (apparently) superhuman skill with the personal touch of remembering everyone’s name produces a performance piece that will be remembered by even the most jaded audience. If you are interested in adding this routine to your repertoire, Fusillade is the book to own. Highly recommended. Magic Magazines of the Second Millennium By Father Stephen A. Fernandes. 8.5 x 11, hardcover with dustjacket. 448 pages. $75 plus $5 p&h in US. From Father Stephen A. Fernandes, 347 South Street, Hyannis, MA 02601. Historians and collectors will immediately want to pick up a copy of this marvelous book by Father Stephen Fernandes. Father Fernandes has updated A Bibliography of Conjuring Periodicals in English: 1791-1983 by James B. Alfredson and George L. Daily, Jr. This book contained information on almost 1500 periodicals and was a groundbreaking reference work. In Magic Magazines of the Second Millennium, Father Fernandes has added 400 new titles published in the last 16 years, plus 200 titles that were not included
in the Alfredson/Daily book. Information for each magazine includes title, editor, place of publication, affiliation (in the case of magazines associated with clubs or magic dealers), frequency of publication, method of reproduction, size, file run, total issues, category, and scarcity. It is important to remember that this new book works in conjunction with the Alfredson/Daily book. For example, the entry for Jean Hugard’s Magical Magazine reads “No change to data.” In addition to the listing of the magazines, there are 11 useful appendices. Magic Magazines of the Second Millennium is an enormously useful reference book for both collectors and historians. A Deluxe Edition (limited to 50 copies) is available for $150 plus $5 p&h. The Practitioner: Journeys into Grey By Eugene Poinc. 8.5 x 11 hardcover with dustjacket. 115 pages. $39.00. From Thaumysta Publishing Co., P.O. Box 17174, Minneapolis, MN 55417. Orders: 877-4566716. Fax: 800-682-6143. Web site: www.thaumysta.com Practitioners of Bizarre Magick will enjoy this new book from Thaumysta Publishing. Eugene Poinc has taken some very basic magic tricks (the Grandmother’s Necklace, the Afghan Bands, the Professor’s Nightmare, the Buddah Papers) and has cloaked them in very evocative presentations based on a character called The Practitioner, a shadowy figure who dresses in gray and who travels the world telling weird stories. I have no idea where material of this type is performed (if it is actually performed anywhere). But the stories in The Practitioner are cool and would certainly make for a dramatic and memorable show. For those who like this kind of stuff, this is the kind of stuff those folks would like. Fell’s Official Know-It-All Guide: Advanced Magic By Walter B. Gibson. The Everything Magic Book By Greg Davidson. (See end of review for price information.) There seems to be no end to the people who feel they have enough knowledge to write a beginner’s magic book. Here are two books that recently appeared in the marketplace. Fell’s Official Know-It-All Guide: Advanced Magic (Frederick Fell Publishers, ISBN 088391-017-9, $16.95) was originally a book written by Walter B. Gibson. Mr. Gibson was one of magic’s most prolific authors and he certainly had experience writing magic books for the general public. I don’t recognize the content of this book, so I can’t tell which Gibson book was cannibalized to create this present volume. Some one named Elia Chesnoff is listed as Contributing Editor. We are told that Mr. Chesnoff has been doing magic for a whopping 11 years. This apparently gives Mr. Chesnoff the right to tip material that he did not create such as Glorpy the Haunted Handkerchief, The Invisible Deck, and Bob Hummer’s Card on Window.
The Everything Magic Book (Adams Media, ISBN 1-58062-418-9, $12.95) was written by someone named Greg Davidson, who, apparently, is a student of Dean Dill’s. (At least Davidson mentions that Dill was his teacher and Dean contributes a coin vanish.) The layout of this book is rather ugly, with green-tinted photographs that are not particularly clear. If this is supposed to be a beginner’s book then Mr. Davidson makes some remarkably thoughtless choices, including explanations of the Elmsley Count, the Jordan Count, the Shuttle Pass, the Center Tear, and a method for swallowing razor blades. It also appears as if Mr. Davidson has never read an advanced book of magic since he makes reference to the “Farrow” shuffle. The descriptions of the Classic Force and the Double Lift are moronic. There is a chapter titled Marketing, Selling, and Performing Your Magic Show. That’s what a beginner needs to know – how to market his show. A book like this is the reason I tell people I play piano for a living. As long as there are publishers who are willing to bring these books to market and authors who are willing to strip mine magic for a profit, these beginner books will continue to appear. These books expose tricks without providing any information as to what is really involved in the study of magic. If you want to buy a book for a beginner, I would suggest Tom Ogden’s Idiot’s Guide to Magic or Allan Kronzek’s The Secrets of Alkazar. Both these books describe simple tricks and attempt to instill a sense of respect for the craft. Magic and Showmanship By Henning Nelms. 5 x 8 paperbound. 322 pages. $9.95. From Dover Publications. ISBN 0-486-41087-0. Available from most book stores. I believe that the 1969 edition of this classic text has been out of print for many years. Magic and Showmanship should be read and studied by any serious student of magic. The theoretical information is excellent, and the book is only marred by the fact that the magic examples are pretty lame. Regardless, Magic and Showmanship is a valuable text and should be in your library. Hollywood Illusion: Magic Castle By Milt Larsen. 6.75 x 9.75. 219 pages. Paperback $25. Hardbound $45. From Brookledge Corp., 7011 Franklin Avenue, Hollywood, CA 90028. Also available from Amazon.com. For many magicians Hollywood’s Magic Castle remains the Mecca of magic in the United States. A visit to the West Coast is not complete without spending at least one evening wandering through the labyrinth of the Castle’s Victorian style rooms, listening to Irma play the piano, and hobnobbing with whatever magic luminaries that happen to be in attendance. If you’ve ever wondered how the Magic Castle came to be, you should pick up a copy of Hollywood Illusion: Magic Castle by Milt Larsen. Milt, of course, was one of the chief architects of the Castle, and for many years wrote stories of the Castle that appeared as part of the menus of the Friday lunches. These stories comprise the bulk of Hollywood
Illusion: Magic Castle. You’ll learn how the Castle was started, and you’ll learn of the many celebrities and legendary magicians who helped establish it as the premier place for magic in the world. Hollywood Illusion: Magic Castle is an easy and fun read. Magic Castle fans will certainly want to add it to their libraries. Green Magic Volumes 1-3 By Lennart Green. Each videotape $29.95. All three for $84.95. Postage and handling free for US, Canada, and overseas surface mail. Overseas airmail add $7.50. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-8768437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Lennart Green is the only person on the planet who can make me laugh just by shuffling a deck of cards. Lennart is one of the true characters in magic, and his approach to card magic is the most unique since Jerry Andrus. Green Magic, a new three-volume video set from A-1 MagicalMedia, gives you a chance to experience some of the classic Green repertoire. The card enthusiast will find material that will delight. Volume One features Lennart’s award-winning F.I.S.M. act, which includes the famous Laser Deal and the blindfolded ace through king production. It is important to know, however, that the exact details of this act are not explained. However, if the material on all three tapes were studied it would be possible to reconstruct parts of the act. Following the F.I.S.M. act, Lennart explains many of his card techniques, including false shuffles, false cuts, the Lateral Center Steal, the Lateral Palm, the Top Shot move, the Angle Separation, and more. One problem is that this material was previously released on a video titled Green Magic Volume 1: Card Technique by Lennart Green. I purchased my copy at one of Lennart’s lectures some years ago. If you already own this video you may want to think twice about purchasing volume one of the A-1 series, since the F.I.S.M. act is not explained and the second half of the tape duplicates the material in the previously released tape. (I think it’s worth owning the first volume just to watch Lennart perform the F.I.S.M. act.) Volume Two contains five items, including “The Temple of Shiva,” an amazing routine in which a shuffled deck is magically sorted, and “Deceptive Perception,” which features a terrific move called the Mirror Count. Also on this volume is an explanation of Lennart’s One-Two Separation. The highlight of Volume Three is Lennart’s “Fractal Harmony” routine. Using a patter scheme based on Chaos Theory, Lennart shows how a shuffled deck of cards can arrange itself into weird and wonderful patterns. This is not a routine for table-hoppers, but would be perfect in casual performing situations. Also on this volume is a trademark Green effect: the production of a weird object from a deck of cards. Curiously, the explanation for this effect appears on Volume One.
If you enjoy card magic, I think you will be delighted with all three volumes of Green Magic. Lennart Green is one of magic’s most brilliant eccentrics and I never tire of watching him perform. My guess is that these are videotapes that you will return to again and again. Jeff Hobson Live! By Jeff Hobson. $29.95. Postage and handling free for US, Canada, and overseas surface mail. Overseas airmail add $7.50. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Jeff Hobson also makes me laugh. Jeff has long been a part of the Las Vegas magic scene, and he is now working in Reno with Mark Kalin and Jinger. Jeff Hobson Live!, captures Jeff performing at the Convention at the Capitol, in front of an audience of magicians. You’ll see Jeff perform Fire Eating, the Silk in Apple, Card to Mouth, the Rope routine, the Egg Bag, and the fabulous multiple watch steal. After the performance segment, Jeff explains the Silk in Apple, the Vanishing Wand, the Balloon Bag (a great trick for kid show performers), some cigarette tricks, and the watch steal. While much of what is explained here isn’t particularly new, it is always enlightening to listen to a professional explain the material he has made a living with. Hobson’s style is obviously his own, and it would be a mistake to attempt to copy it. But there is much practical, worthwhile information here, especially to the stand-up performer. If you’ve never seen Hobson live, this tape is an adequate substitute, although he has tamed down his act slightly (if you can believe it) to accommodate an audience of magicians. Jeff Hobson Live! is an enjoyable and informative video. I liked it and I think you will, too. McBride: Magic on Stage By Jeff McBride. Each videotape $29.95. All three for $84.95. Free postage in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-6266572. Fax: 530-525-7008. Email:
[email protected]. Some years ago, Jeff McBride had a revelation. If he really wanted to perform professionally, he needed an act that could be done in any venue. Inspired by Penn Jillette and Jeff Sheridan, Jeff McBride created the Commando Act, a stand-up act that could be performed on the street or in Radio City Music Hall. This Commando Act has been a mainstay of the McBride repertoire for many years. Jeff McBride now explains this act on Volume One of a new three-volume videotape series titled McBride: Magic on Stage. Jeff McBride has released a lot of valuable information in the past few years, but these new tapes will be especially useful to stage and stand-up magicians. The Commando Act consists of the following effects: A flash silk production, cane to ribbon, the comedy production of a rope, a cut and restored rope routine, a ring and rope routine, a Linking Ring routine, a mouth-coil production, and the production of a bottle of champagne. Jeff performs the Commando Act and then spends the next 2 hours explaining all the details of the act. As I have mentioned before in this column, when a
professional magician tips the details of material he has used to make a living, I sit up and take notice. I was not disappointed. In addition to the workings of the various effects, Jeff also discusses the small details that can only be learned through thousands of performances. Anyone looking for a practical, real-world stand-up act will be delighted with what is offered here. Of course, it will be necessary to adapt the material to your own stage persona, but Jeff has already done most of the hard work. Volume Two of the McBride: Magic on Stage series is titled Exotic Mysteries. Among the routines performed and explained are the Cornucopia of Flowers Production, Snowstorm in China, Self-knotting Silks, Blendo, Egg on Fan, and the Chen Lee Water Suspension. In addition to these basic effects, Jeff also discusses many variations and alternate techniques. Information on the care and handling of the props and the construction of the props is also included. Classics of magic are discussed on Volume Three. Included are routines for the Dancing Cane, the Fountain of Silks, Gloves to Flowers, the Zombie, and the 20th Century Silks. As in the previous two tapes, much auxiliary information is presented in addition to the basic routines. There is a ton of information offered on these three videos, and I have only scratched the surface in this brief review. For complete details of the contents of each tape I suggest you consult the L&L Publishing ads. If you can only afford one tape, I would suggest Volume One (the Commando Act). This is one of the best tapes on stage/stand-up magic I’ve seen. All the tapes are worthwhile, however, depending on what routines interest you. If you do stage magic, McBride: Magic on Stage should be in your video library. Terry Seabrooke’s Magic is Entertainment Johnny Thompson’s Magic Made Easy From L&L Publishing. Each videotape $29.95. Postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-6572. Fax: 530-5257008. Email:
[email protected]. Here are two more videotapes from L&L Publishing. The first, Terry Seabrook’s Magic is Entertainment is a reissue of a tape originally released through Vic Pinto’s Trik-a-Tape Company. England’s Terry Seabrooke is one of magic’s great stand-up performers. His goal is to provide maximum entertainment through his magic performance, and in this video his explains some techniques for doing this. Included are performances and explanations of the Paper Balls Over the Head, the Linking Rings, the Torn and Restored Newspaper, and his famous Burnt Bill Routine (a routine that has found its way into the repertoires of many stand-up magicians). As with the McBride Commando Act, we are watching a professional explain the routines that he makes a living with. This is practical and valuable information for anyone wanting to elevate the level of his or her performances. Johnny Thompson’s Magic Made Easy is a collection of 20 simple tricks for the beginning magician. The tricks are good ones, and Johnny performs and explains them
well. In addition to the tricks, Johnny also offers some practical advice for beginners. There are several interview segments in which Michael Ammar joins Johnny. In one rather odd moment, Michael (who has apparently forgotten the audience for which this tape was geared) makes a casual reference to Dai Vernon, a name that would be completely unfamiliar to a novice magician. Johnny recovers the fumble by explaining who Vernon was and his importance in magic. Small quibbles aside, if you are looking for a tape for a young magician, Johnny Thompson’s Magic Made Easy is worth checking out. Third-hand Magic World-class Magic By Carl Cloutier. Each video $29.95. Both for $54.95. Postage and handling free for US, Canada, and overseas surface mail. Overseas airmail add $7.50. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-8768437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com. Here are two more videotapes from Carl Cloutier, a man who has won many awards in the world of magic. Third-hand Magic deals with techniques for utilizing the sleeves and the Topit to vanish and reproduce items. World-class Magic features a number of routines that use the sleeves and the Topit as their methods. When I began writing the Marketplace column (with Mac King) six years ago, one of the first products reviewed were two videos from Mr. Cloutier. I was less than enthusiastic with those tapes, and I’m afraid I am not particularly enthusiastic about these two new releases. My main problem is that Mr. Cloutier and I have different philosophical viewpoints on what magic should look like. Others share my viewpoint. In the Winter 1996 issue of The Looking Glass, David Ben described two sleeving techniques of Emil Jarrow and Ross Bertram. In the introduction to that article Mr. Ben wrote, “With the resurgent interest in the art of sleeving due to the presence of magicians like Rocco and Carl Cloutier, I am pleased to describe two previously unpublished sleeving techniques…Both Ross’ and Jarrow’s approaches, unlike those practiced by the aforementioned proponents, illustrate how sleeving should be a technique and not an effect.” I mention this philosophical difference up front because it is a purely subjective opinion. Your opinion may be completely different. It is important that you factor this into what you are about to read. Third-hand Magic contains the various techniques that Mr. Cloutier uses to vanish objects, switch objects, and retrieve objects from the sleeves and the Topit. Mr. Cloutier also explains the construction of his Topit. This is valuable information, because Mr. Cloutier’s design allows for a larger area in which to toss the object. In addition, the object may be tossed from a lower hand position. Unfortunately, no actual pattern is shown, but if you have any experience at all with a Topit I think you’ll be able to understand the construction of the Cloutier Topit. Mr. Cloutier also offers suggestions on how the sleeves may be altered. Mr. Cloutier demonstrates several methods for tossing an object into the Topit. I find that most of these methods look completely unnatural. In all cases, Mr. Cloutier’s hand goes inside his jacket when the object is tossed. Mr. Cloutier also states that he does not
“break” his wrist when he sleeves objects. A viewing of the videotape proves this is not the case. Another factor that is never discussed is this: if you throw a heavy object (deck of cards, jumbo coin) into your coat, the coat will react. The coat jumps when the object hits. This happens over and over on the video. Are we to assume that no one notices this? A very embarrassing moment occurs when Mr. Cloutier vanishes a pack of cigarettes. The pack is tossed into the coat, and apparently into the Topit. Unfortunately, Mr. Cloutier has missed the Topit, and the pack of cigarettes is simply trapped between the coat and the body. After about 30 seconds the cigarettes drop out of the bottom of the coat and fall to the floor. Mr. Cloutier is talking and does not notice this. And apparently nobody associated with the production of the video noticed either! Everyone makes mistakes, but why in the world was this allowed to remain in the final edit? The second video, World-class Magic contains nine routines from Mr. Cloutier’s repertoire. All these routines make extensive use of the sleeves and the Topit. Of these, I found “To Bounce or Not to Bounce” to be the most useful for the average magician. The premise is funny, and the sleeves are used just once. The other routines simply look cumbersome. For example, why use the sleeves to accomplish the effect of the $100 Bill Switch? The effect is not improved at all. Other effects include a method for Pencil Through Coin, a routine in which a golf ball transforms into a miniature baseball, basketball, and soccer ball, a version of the Lit Cigarette in Coat, and a Single Cup and Balls routine. This latter routine simply requires more balls than I possess. (I should probably re-write that last sentence. Nah.) At one point on these tapes, Mr. Cloutier mentions that it is possible to be a great magician and never use your sleeves or a Topit. To this I say, “Right on.” I saw nothing on either of these tapes that would motivate me to spend the money to alter my coats or to invest the time and energy to learn the techniques. You may feel differently. Ed Marlo: Private Studies By Ed Marlo. $39.95. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Email:
[email protected] Randy Wakeman has released another video of previously unseen footage of legendary card man Ed Marlo. This video contains Ed demonstrating and explaining over 25 moves and routines. Included are a version of Spectator Cuts the Aces, a Retention of Vision Change, the Bottop Change, a handling of the Throw Change (this is quite good), several deck switches, Card from Card Case, the Ace of Spades Trick, and handlings for the Zarrow and the Shank shuffles. Ed Marlo was very reclusive, and few magicians ever had a chance to see him work. For the card enthusiast this video provides a chance to see Ed in action. Considering the source material, the video quality is decent, and you will be able to follow what is going on. Ed Marlo: Private Studies and the other Ed Marlo video reviewed a few months ago are valuable pieces of memorabilia and I’m delighted that Randy has released them to a wider audience. If you are a student of card magic I’m sure you’ll want to invest in these.
Double Dribble By Stephen Knowles, Cliff James, and Tom Vorjohan. $37 for one basketball, $65 for two. (Plus $6 p&h in US.) From RCDepot, P.O. Box 52122, Knoxville, TN 37950. Orders: 800-982-1523 (use access code #11 when prompted.) Web site: www.rubberchickendepot.com. Email:
[email protected]. Sometime in the late 1970’s I performed on the Cabaret Show at the I.B.M. convention in Houston, Texas. Howard Flint was also on that show. Howard’s opening trick was a killer. He walked out on stage carrying a thin executive-style briefcase. He placed the briefcase on a table, opened it, and removed a regulation size bowling ball. He rolled the ball off stage. The bowling ball was real. Kevin James adapted the Flint method for his trick Bowl-a-rama. Stephen Knowles, Cliff James, and Tom Vorjohan have used a different method for Double Dribble. In this effect, the magician walks on stage carrying an ungaffed briefcase. The case is placed on a table. The case is opened and the magician removes one (or two) full-sized Rawlings All-Star basketballs. The method for Double Dribble is clever and allows you to use any briefcase. The effect is completely self-working. However, I see a big problem that you need to consider before you invest in this effect. For a moment let’s talk about the production of a large object from a small container. My friend Mac King does this type of production near the end of his act. Mac takes off his shoe and turns the opening of the shoe toward the audience revealing an enormous rock that completely fills the shoe. The audience response is subdued. He tilts the shoe, allowing the rock to hit the floor with a resounding thud. The audience explodes. Why the delayed reaction? Until the rock hits the floor the audience is not convinced that it is a real rock. We prove the solidity of a rock (or a bowling ball) by allowing it to hit the floor. The sound of that impact establishes the fact that the rock is real. So, how do you establish that a basketball is real? You bounce it. This is the big problem with Double Dribble – you cannot bounce the basketballs. You can spin them, you can roll them, but you can’t bounce them, and to me this makes the production a gag rather than a truly amazing magic effect. You should also be aware that you’re not going to be able to get much else in your briefcase after you’ve stuffed two basketballs in it. This means that you’ll be bringing out a case just to do this one effect. Double Dribble is clever and easy to do, but I would suggest you seriously evaluate the drawbacks before you purchase. Wizard Words
By Rodney Whitlock and Cliff James. $79 plus $6 p&h in US. From RCDepot, P.O. Box 52122, Knoxville, TN 37950. Orders: 800-982-1523 (use access code #11 when prompted.) Web site: www.rubberchickendepot.com. Email:
[email protected]. Wizard Words is a book test using a copy of J.K. Rowlings’ Harry Potter and the Goblet of Fire, a very popular children’s book. The mentalist brings out a copy of the book and three large dice. The dice are placed into a large box (you’ll have to provide the box), and a spectator shakes the box. The box is opened and the numbers on the upper surfaces of the three dice are used to form a three-digit number. (The spectator can arrange the three numbers in whatever order he prefers.) The spectator then opens the book to the page indicated by the three-digit number. He then scans the page, concentrating on words or phrases that catch his eye. The mentalist reveals the words the spectator is thinking of. Wizard Words is a very expensive trick, and the instructions claim that the method of forcing the page numbers is new. I am always very reluctant to reveal any aspect of the method of a product I’m reviewing, but in this case I think I must discuss how this trick works so potential buyers won’t be disappointed. First, let’s discuss book tests in general. Why use a book? If the effect is to have the spectator think of a word and then to divine that word, then a book is extraneous. The first hurdle of any book test is to explain away the use of the book. If you can justify the use of a book, then the spectator should simply open the book to a page, think of a word, and the mentalist divines it. Using dice, playing cards, or any other objects to determine the page or the word is weak. Why use them? Wizard Words uses dice to determine the page. Two of the dice are gaffed. This produces 30 possible combinations of pages. The mentalist uses a cue sheet to learn the words that the spectator may be thinking of. The dice are not sure fire. It is possible that the spectator may have to re-shake the box several times before the correct numbers come up. (And it just occurred to me, if you are going to use gaffed dice, why not gaff all three dice and cut the number of possibilities down to six?) The cue sheet provides a list of the phrases that are the most distinctive on each of the possible pages. However, it will take some performance experience to guide the spectator to those phrases. The instructions provide no insight on how to do this. I’m not an expert on mentalism methods, but I can’t believe that using gaffed dice and a cue sheet is a new method. To me, using dice to determine the page number is contrived. If you could really read minds would you use dice? No way. In addition, any audience member whose IQ is bigger than his belt size is going to realize that three dice do not give you every possible page number. The audience management skills required to pull off an effect of this nature places Wizard Words beyond the skills of a novice. Those experienced in mentalism will already know of superior book tests. The best thing about Wizard Words is that you get a copy of Goblet of Fire, but $79 is a lot to pay for a book you can get for $13 at Costco.
Fifty-two Thoughts By Cody Fisher. $20 postpaid in US. From Meir Yedid Magic, P.O. Box 2566, Fair Lawn, NJ 07410. Phone: 201-703-1171. Fax: 201-703-8872. Web site: www.mymagic.com. Email:
[email protected]. M-U-M columnist Cody Fisher has created a clever mental effect using an amalgam of standard gags and a simple fishing system. The magician attempts some feats of mentalism. He holds a folded sheet of paper marked “Prediction.” The magician then performs four standard gag prediction effects, each time unfolding the paper to reveal the next prediction. This sequence ends with the paper being completely unfolded, revealing all 52 cards printed on the sheet. The magician then tears the paper in half, and the spectator takes either half. The spectator tears the sheet into small pieces. He chooses one of these pieces and remembers one of the cards on the piece of paper. The magician reveals the card that the spectator is thinking of. Fifty-two Thoughts is simple to do and requires only a small amount of mental effort on the part of the performer. Some rehearsal will be required so that the fishing can be done without your thought process being apparent to the spectator. One sheet is destroyed with each performance, but you receive more than 50 sheets for your 20 bucks. Fifty-two Thoughts is certainly a practical and commercial effect and is worth checking out Super Frog Silly Billy’s Magic Party Picture From SPS Publications. Super Frog $20 plus $4 p&h in US. Silly Billy’s Magic Party Picture $20 plus $4 p&h in US. From SPS Publications, P.O. Box 787, Eustis, FL 32727. Orders: 352-365-7262. Fax: 352-357-7166. Web site: www.spsmagic.com. Email:
[email protected]. Here are two excellent items for kid show performers. Here’s the effect of Super Frog. The magician shows a 6 x 9 piece of cardboard bearing the picture of Super Frog (a frog wearing a red cape). The picture is placed into an envelope that is given to an assisting child. Another child is given an empty envelope. The object is to make Super Frog travel from one envelope to the other. The first envelope is opened. Super Frog has vanished. (The piece of cardboard bears a cutout where Super Frog used to be.) The second envelope is opened but all that is inside is a red silk – Super Frog’s cape. The magician makes the silk disappear, and Super Frog reappears – on the back of the second helper. Super Frog packs small and plays very big. It’s simple to do, and you are provided with all the props (with the exception of a Thumb Tip to vanish the silk) and complete, fully scripted instructions. Silly Billy’s Magic Birthday Party Picture is the creation of MAGIC columnist David Kaye. The magician shows a black and white drawing of a room ready for a birthday
party – except there are no balloons, no decorations, no presents, and the cake has no candles. The birthday child writes his name across the cake, adds the requisite number of candles, and personalizes other areas of the picture using crayons. The child holds the picture while the other children say magic words. When the picture is turned around, balloons, presents, and decorations have appeared in full color – all on the picture that the child has drawn on. The child keeps the drawing as a souvenir. What we’ve got here is a stand-up sized version of the venerable “Out to Lunch” principle. The handling is very simple and offers a lot of opportunities for humorous interaction with the assisting child. You get everything you need, including crayons and enough sheets for 20 performances. Both Super Frog and Silly Billy’s Magic Birthday Party Picture are excellent routines. If you are a children’s performer they are worth your serious consideration. GI Bill By John T. Sheets. $16 postpaid in US. From Danny Archer Magic, 303 S. Broadway, B235, Denver, CO 80209. Phone: 303-321-6267. Fax: 303-355-2013. Web site: www.dannyarcher.com. Email:
[email protected] Here is a simple stand-up effect from Danny Archer Magic. The magician shows a fourinch tall, plastic paratrooper. The toy is tossed into the audience. A bill is borrowed, signed, and destroyed. The spectator who holds the paratrooper brings it onstage. The borrowed bill is found inside the backpack that is on the back of the toy paratrooper. What you get with GI Bill is the toy paratrooper with a custom-made cloth backpack that is of a size to hold a bill folded into sixteenths. The toy is ungaffed. Danny also provides you with instructions on how to perform the Marked Bill in Impossible Location effect. These methods are not new, and they include using a Thumb Tip, switching Torn Corners, and using bills with altered serial numbers. You will have to decide on which method is right for you. Since no new methods for this effect are offered, you are basically purchasing the toy paratrooper. A presentational idea that occurred to me was to purchase several of these paratroopers (in various colors if possible) and hand them to a man in the audience before the show starts. You borrow a bill and destroy it. You then ask for the gentleman in the audience who has the small Privates to come up on stage. (I assume you can take it from there…) GI Bill is certainly a practical and offbeat effect. Whether it is of any use to you will depend on whether the idea of the toy paratrooper appeals. Quarterly Returns By David Eldridge. $19.95. From Brad Burt’s Magic Shop, 4204 Convoy Street, San Diego, CA 92111. Orders: 800-748-5759. Web site: www.magicshop.com. Email:
[email protected]
Magicians continue to fiddle and fuss with the Torn and Restored Card effect. This version by David Eldridge will appeal to many because it is fairly easy to do and has an interesting show of the torn pieces. As in other versions, a card is signed. The card is torn into fourths. Each of these pieces is placed between a finger of the left hand. (This display is similar to the way four billiard balls are held.) The pieces are gathered and held in a bunch. Instantly, the card is opened and shown to be completely restored. The card is handed out as a souvenir. Note that this is not a piece-by-piece restoration. The card is completely restored in a flashy manner. There is very little new in Mr. Eldridge’s method. The adding on of the duplicate card (and the nature of this duplicate) owe much to J.C. Wagner. One downside of this method is that the back of the card is always toward the spectators during the tearing process. The billiard ball type display is clever, and certainly establishes that the card has been torn into four pieces. The restoration is magical, although to my eyes the clean-up screamed “ditch.” In my opinion, no one has surpassed the Hollingworth method for tearing and restoring a card. Of course, Guy’s method is difficult and requires serious practice time. Mr. Eldridge’s method is fairly simple and can be learned with a modicum of practice. If you’re looking for an easy, flashy method for performing the Torn and Restored Card, Quarterly Returns may just fit the bill. Deck Switcher By Fantasio. $30 postpaid in US. (Foreign orders add $5.) From Fantasio Magic Products, Ricardo Fantasio Roucau, 1002 Country Club Prado, Coral Gables, FL 33134. Phone: 305-264-3321. Fax: 305-262-6010. Web site: www.fantasio.com. Email:
[email protected]. Because of the nature of the card tricks I perform, I am intensely interested in deck switches. Fantasio (he of cane and candle fame) has come up with an interesting and easy method for switching a deck of cards. You are provided with a small box with a flip open lid. The box holds two decks of playing cards (a red and a blue). The box is similar to the gift boxes sold by the U.S. Playing Card Company. You remove the red deck from the box and perform a few card tricks with that deck. The red deck is then re-cased and the deck is placed back into the box. You do some other tricks. You then open the box, remove the red deck again, and perform a few more effects with it. The red deck has actually been switched, thus allowing you to perform a stacked deck miracle. The Fantasio Deck Switcher works like a charm and is quite deceptive. Unfortunately for me, it does not suit the way I work. If you are only going to do magic with one deck of cards (the blue deck cannot be removed from the switching box) why are you carrying around two decks? It is more natural for me to simply bring a deck out of my jacket pocket. The box cannot be examined, so you will have to make sure you handle it nonchalantly. I think the box would appear less suspicious in a more formal show, perhaps even a stand-up show. However, if you can in some way motivate the use of the
box, and it feels natural to you, you will not be disappointed. The Deck Switcher does its job and it does it well. Wild Mona Russian Roulette by Terry LaGerould and Don Bradfas. Each trick $10. Available from your favorite magic dealer. On hand are two new packet tricks from Terry LaGerould (he of Tahoe File fame) and Don Bradfas. Wild Mona is a Wild Card type effect in which four empty picture frames are transformed into copies of the Mona Lisa. Russian Roulette uses five double-blank cards and a card with a picture of a bullet on it. As the magician tells the story of a gold miner playing Russian Roulette against three claim jumpers, an assisting spectator always picks the card that bears the picture of the bullet. At the end of the trick bullets appear on the faces and backs of five of the cards. I am no longer as enamored with packet tricks as I was when I was a kid, especially when the cards used are obviously magic props. However, these two routines are simple to perform, commercial, and (to use a normally pejorative term) “cute.” You’ll have to exercise some audience management because the cards cannot be examined in either trick. If the effects appeal to you, Wild Mona and Russian Roulette are worth checking out. Crumbs By Nicholas Einhorn. $13. Available from Nicholas Einhorn, 75 Millwell Crescent, Chigwell, Essex, IG7 5HX, U.K. Fax: 020 8518 0924. Web site: www.einhorn.co.uk. Email:
[email protected]. Some years ago I wrote an enthusiastic review about Nicholas Einhorn’s haunted deck effect, Spooky. I wish I could be enthusiast about his new release Crumbs, but this prop baffles me (and not in a good way). You receive a plastic chocolate-chip cookie that has been gaffed so you can apparently take a bite out of it. After you take a bite, the upper third of the cookie is shown to be missing. You make a spitting gesture toward the cookie and the missing portion magically reappears. Crumbs was obviously inspired by David Blaine’s Biting the Quarter effect that he performed on his first special. The use of a cookie is logical, but the gaff is unusable except as gag. The portion of the cookie that is apparently bit off has been cut straight across. No one in the world would bite off a piece of cookie and leave a straight edge across the top. This looks phony as hell and completely unconvincing. In a note to me, Nicholas suggested that Crumbs would be a useful prop for a ventriloquist. The dummy bites off a piece of cookie and then spits it back on. This could be a useful idea, since there is no reason for a vent dummy to leave a realistic bite mark.
If you do vent or you are looking for a silly throw-away gag, Crumbs might be worth the money. Otherwise, forget it. (By the way, you can see a Quicktime Movie of Nicholas performing Crumbs on his web site. Go to the magicians only area.) It’s Not Magic, But… I remember reading about the Turk when I was a kid. As you may know, the Turk was a chess-playing automaton that was build by Baron Wolfgang von Kempelen. The Turk created a sensation and held the world spellbound for 85 years beginning in 1770. In actuality, the Turk was a fraud – there was a man hiding in the box, moving the chess pieces, rolling the eyes, nodding the head, and working the mechanism that spoke the word “Echee.” Chess expert and columnist Gerald M. Levitt has written a fascinating book on this most ingenious of scams. Titled The Turk, Chess Automaton, the book contains a detailed discussion of the sizable body of literature surrounding the Turk, along with an extensive analysis of its hidden operation. A collection of published chess games by the Turk, many unknown for 200 years, is also included, along with numerous other chess games known to have been played elsewhere by the Turk’s hidden directors. I enjoyed this book very much. I think you will, too. (8.5 x 11 hardcover, 258 pages. $54 postpaid in US. From McFarland & Company, Inc., P.O. Box 611, Jefferson, NC 28640. Orders: 800-253-2187. Fax: 336-246-5018. Web site: www.mcfarlandpub.com.)
March 2001 Faded Pages I used to keep a magic notebook. Actually, I filled up five notebooks – small, blue books with sturdy cardboard covers, originally designed as college lab notebooks. Through many hundreds of entries I kept track of the tricks I had invented (mostly lousy) and the tricks that had been shown to me (lots of them really great). I’m not sure why, but I stopped logging items in the notebooks in 1983. I should probably start writing in them again. In the first of the notebooks is entry #97, dated August 1976. It is Brother John Hamman’s Pinochle Trick. I had learned the trick at a convention at Kansas City in July of 1976. John Carney remembers this convention, and mentioned it in last month’s MAGIC. There were some great magicians in attendance, and I recall sitting in a close-up room watching Bro. John perform his Flash Poker routine. I felt like I’d been kicked in the head. During the course of that convention I learned that routine and a few others. Back then, if you knew the work of an unpublished Bro. John routine you were really “inside.” I used this fact as a psychological weapon in a routine designed to wipe out smug magicians. The routine (first published as Wild Underground Transposition and later renamed Dancers at the End of Time) worked because smart magicians felt an inward sense of pride that they were hip enough to know the Bro. John routine that they thought I was doing, while all the time I was leading them down the garden path. (I eventually had a chance to perform this for Bro. John in St. Louis. The look on his face helped make up for all the times he’d beat me up over the years.) Bro. John’s death hit me hard, and I don’t know if the sadness I felt was for the loss of a great human being, or the realization of the passing of a time when secrets were really important – a time when people would uproot their lives and move West to acquire knowledge that was unobtainable any other way. It is so different now. We have all (myself included) sold out. Slowly but surely the master magicians are leaving us. The young turks I grew up with are now middle-aged business men, hungrily on the prowl for new secrets to sell to a growing group of magic consumers that apparently cannot be satiated. Luckily, there are still a few people around who treasure good ideas and who value secrecy over profit. Bob White is like that. Bob is a very low-key Texan, whose only product offering so far has been a small (but very valuable) set of lecture notes. You’ll find out more about one of Bob’s great ideas later on in this column. Bob doesn’t attend many magic conventions, but if you ever have a chance to meet him you’ll enjoy the experience. As Don Ameche said in a wonderful David Mamet movie, “Things change.” Now that the product floodgates have opened, I can’t imagine that we’ll ever go back to a time
when secrets are jealously guarded. Now we hide our secrets in plain sight. The routines that I would have killed for 30 years ago are available to anyone who can read a book. Ah, but there’s the catch – so few are willing (or able) to do that. Do yourself a favor. Get a copy of The Secrets of Brother John Hamman. Learn a couple of the tricks. Do them for your magic buddies. When their jaws drop and when they ask you where you learned those tricks, smile enigmatically and put the cards away. Let ‘em suffer. So long, Brother John. Thanks for bashing my brains in. I needed it. Concertos for Pasteboards Edited by Oliver Ehrens. 6 x 9 hardcover with dustjacket. 246 pages. $38 postpaid in US. From Hermetic Press, 1500 SW Trenton Street, Seattle, WA 98106-248. Fax: 206-7681688. Email:
[email protected]. Those of us who live in English speaking countries are certainly fortunate that there is a vast library of magic information available in English. Greater Magic, the Tarbell Course, Expert at the Card Table, the magic of Dai Vernon, and the many excellent contemporary texts – all these are readily accessible and easily understood. How difficult must be the task for those for whom English is their second language. Some important texts have been translated into other languages, but for many non-English speaking magicians, the task of learning magic is a daunting one. Of course, English is fast becoming a common second language, and in my visits to Europe I have been very impressed with the language skills of the magicians I’ve met. Because of the huge number of English magic texts available, American publishers rarely bother to go to the trouble to have foreign texts translated, and this is a pity, because there are some very important books that are completely unknown to English speaking readers. Thanks to the excellent work of Richard Hatch and Ariel Frailich important German texts such as Roberto Giobbi’s Card College series and Performing Magic for Children are now available. But there are still books by Ascanio and Tamariz that have yet to be translated, a situation that we all hope will be corrected in the near future. Because the English language texts dominate the marketplace, it is easy to overlook the advancements that are being made in other countries. Last year I wrote a Marketplace column while attending a convention in Steineberg, Germany. In that column I commented on how intensely passionate the young German magicians were about card tricks. Because of age and jet lag I simply couldn’t keep up with them. I’d go back to my room, wake up in the middle of the night, go back to the common gathering area, and there they would be – dozens and dozens of magicians, sitting around tables, doing card tricks. And this happened night after night. Fortunately for those of us who don’t read German, Ariel Frailich has translated a large body of German card work into English. These routines were compiled and edited by Oliver Ehrens and were originally published in two German books: Inside CardMagic Volume I (1995) and Inside CardMagic Volume II (1996). The best of the material from these two books is offered in Concertos for Pasteboards, from Hermetic Press.
Although there are several sleight-free routines offered, Concertos for Pasteboards is geared for the magician with some experience in card magic. In fact, throughout the books there are many references made to the Giobbi Card College series. The Card College books comprise the most complete contemporary course in card magic available, and if you don’t have them in your library, it would behoove you to purchase and study them. Having these books will certainly clear up any sleight-of-hand questions you may encounter in Concertos for Pasteboards. Oliver Ehrens has chosen to grade each effect with a difficulty rating. This ranges from “low” to “high.” Obviously, such a rating system is purely subjective, but if you are just skimming through the book looking for possible routines to work on, the ratings give you some insight as to the technical requirements. (A thought: It might have been a nice idea to provide an index that lists the tricks according to their difficulty rating.) The first routine in the book, My Name Is…? by Andreas Affeldt, is an offbeat effect that requires no sleight-of-hand whatsoever. A spectator shuffles a deck of cards. When the cards are spread face-up they are seen to be blank-faced. Among the cards are several alphabet cards that, despite the shuffling, correctly spell the magician’s name. This is a trick that a trade show worker could put to excellent use. Other effects that require little technical ability are Manfred Bacia’s Perfect Harmony (an effective restructuring of Three in a Million from Frank Garcia’s Million Dollar Card Secrets), Christoph Borer’s Cutting Corners (a strange effect in which all the cards in the deck lose a corner), and Gerry’s Shaker Uprising (a rising card effect uses double-stick tape in an unintuitive way). Also of note is the Light-Reft Spread Pass by Piet Forton and Wolff von Keyserlingk. (Forton, of course, is Swiss, but since he speaks German he sneaks into this book by a technicality). The Spread Pass is normally a demanding sleight, but the easy handling offered here produces a strange optical illusion that allows the performer to secretly cut the deck (which, of course, is all that a pass does). Those seeking an easy method of card control will be well advised to spend a little time learning this move. Three members of the great Flicking Fingers group are represented with routines that are of only medium difficulty. Pit Hartling offers Jolly Jumper, a routine in which a selected card jumps from one packet of cards to another and then travels to an impossible location. Pit’s has cleverly combined several different methods to produce an effect that would be difficult to reconstruct. Helge Thun, whose show Beauty and the Beast (with partner Heiner Kondschak) is a laugh-riot, contributes two routines. In the first, Captain Hook’s Card Trick, a selected card appears folded up on the tip of the left forefinger, even though the left hand has been placed in the left trouser pocket during the entire trick. Helge offers two methods for this effect, and the second method incorporates one of the most intelligent uses of a Topit I’ve encountered. In Helge’s second effect, Bulkoki, a bill disappears and is found inside a card case, wrapped around a previously selected signed card. Finally, Jorg Alexander Weber offers Feminine Intuition, a thorough examination of The Stop Fan Discovery from George Kaplan’s The Fine Art of Magic. Jorg’s work on this trick should popularize this forgotten classic.
Those looking for challenging effects will find several in Concertos for Pasteboards. Roberto Giobbi’s A Case for Premonition is a one-deck version of Eddie Joseph’s classic effect Premonition. The magician places a cased deck of cards on the table. A spectator names any card. The magician removes the cards from the case and deals the cards faceup onto the table. Only 51 cards are counted. The named card does not appear. Using only his fingertips, the magician removes a card from his trouser pocket. It is the spectator’s named card. Giobbi’s method is daunting (I used a similar idea in Full Deck Passover in Workers #5), but if you have the chops, A Case for Premonition is a stunning trick. (By the way, Giobbi is also Swiss, but since his books are written in German Oliver Ehrens has decreed him an honorary German subject.) Another effect with a “high” difficulty rating is Peter Grandt’s Blackout. This Torn-and-Restored Card routine is worthy of serious study. It can be performed with any deck (as long as you don’t mind ruining two cards.) A card is selected. Two spectators sign it on the front and the back. The card is torn to pieces and a corner is given to one of the spectators for later verification. The card is restored, except for the missing corner, which matches it perfectly. The corner is then magically reattached to the card, completing the restoration. The card can be given out as a souvenir. Grandt’s method is very clever, and the only aspect I don’t like is the timing of the ditching of the torn pieces. Reattaching the torn corner at the conclusion is a bonus; it is visually appealing and completes the circle of magic. The actual torn-and-restored phase is not too difficult. It is the card-signing phase that will require some technical ability. Finally, for those of you who toil in the trenches of real-world performing venues, I would draw your attention to Tablehopper’s Holy P.O.D. by Christian Knudsen. Mr. Knudsen has united elements from Richard Kaufman, Ken Krenzel, Derek Dingle, and Ed Marlo to produce an extremely visual and memorable routine that is designed for the strolling performer. Ariel Frailich has again provided a clear and readable translation. The illustrations by Frank Rosenberg and Kelly Lyles are excellent. The card enthusiast seeking fresh ideas for play and performance will certainly find much of interest in Concertos for Pasteboards. Recommended. Making Magic By Martin Lewis. $30 postpaid in US. From Magikraft Studios, 11639 Sandpiper Court, Moreno Valley, CA 92557. Fax/Phone: 909-247-1666. Email:
[email protected]. Web site: http://magikraft.com. Quality stand-up routines are hard to find. Since the stand-up performer is working for a larger audience, the props utilized must be large enough to be seen from a distance, and the routines must be engrossing and mysterious. Martin Lewis is a master of stand-up magic. On Making Magic: The Stand-up Creations of Martin Lewis the always-amusing Mr. Lewis performs and explains six top-notch stand-up routines. As a bonus, Martin also thoroughly explains how to construct each prop. If you’re not a do-it-yourselfer, don’t
despair. All these effects are designed to be easily constructed, using simple tools. In fact, you can make most of them on your kitchen table. The tape begins with Big Switch, a card trick with a good gag and a surprise finish. This would be an excellent bit for an MC. Snacks Alive is a handling for the vanishing Coke bottle (tell Norm and Lupe I said “Hi”). Martin adds a mild sucker finish that delays the actual vanish, thus disguising the method. The Come-Back Card is a charming parlor effect devised by Martin’s father Eric Lewis. A playing card continually jumps to the face of the pack while the pack is isolated in a glass. This effect is easy to do and is very visual. Technicolor Prediction is one of my favorite Martin Lewis effects. Martin has placed this effect on the market, and some months ago I gave it an enthusiastic review. Technicolor Prediction is a comedy mental effect, and is the perfect lead-in to a series of increasingly impossible predictions. I used the original Lewis method using a Himber Wallet in my stand-up shows at Illusions. Martin’s new prop (suggested by Ali Bongo) allows the trick to be performed for larger audiences. Ripstix is a handling of the classic Chinese Sticks effect. There is a surprising kicker, however, when the sticks are torn apart (they are made of Christmas wrapping paper) and tossed into the audience. I remember Michael Weber using this to great effect at the Norfolk I.B.M. convention in 1984. (Incidentally, there is a small bit of construction information omitted on the tape. I contacted Martin about this, and he has posted the missing info on his web site. Be sure to check there if you get confused as you construct the sticks.) Making Magic concludes with one of Martin’s finest effects, Cardiographic. A playing card is selected. The magician picks up a drawing pad and attempts to draw a picture of the selected card. The card he draws is not the selection. Attempting to salvage the situation, the magician explains that the card he has drawn is actually the face card of a deck of cards. Adding a few lines, the magician turns the card on the pad into a threedimensional representation of a deck. He asks the spectator for the name of his card. Suddenly, the named card rises out of the deck on the pad of paper. The card emerges to half its length and then stops. The magician tears off the sheet of paper and hands it to the spectator as a souvenir. Cardiographic is a sensational effect, visually stunning and extremely mystifying. It is in the repertoires of many fine magicians. Martin gives a complete explanation of how to construct the gaffed pad and he discusses all the details of the handling, making it possible for you to put this reputation-making effect in your act. Considering that Magikraft offers for sale many of the individual effects on this tape, revealing their construction and allowing you to make them for yourself is a generous gift. For the stand-up performer Making Magic is a must buy and a real bargain. Recommended. Convention at the Capitol 2000 From A-1 MagicalMedia. $29.95 postpaid for US, Canada, and overseas surface mail. Overseas airmail add $7.50. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com
Each year A-1 MagicalMedia releases a tape featuring material from performers at Convention at the Capitol. In the past these tapes have been a mixed bag. After all, look at it from the performer’s point of view. As a requirement for working the convention you have to allow Mike Maxwell to videotape a trick from your lecture. Are you going to give him your best stuff? Maybe yes, maybe no. Be that as it may, the performers on the Convention at the Capitol 2000 video were exceptionally generous. The routines offered are uniformly excellent, and this tape may well be the best of the series. The tape begins with Lennart Green performing Xirtam (that’s Matrix spelled backwards). This is the type of magical gag that only Lennart can pull off. I’m not going to spoil it by telling you what happens. This routine is not explained, but that’s okay because Lennart is only guy in the world who can get away with this kind of thing. (Xirtam is the only item on the tape that is not explained.) Jerry Andrus performs his famous Miser’s Miracle. Although almost 50 years old, this production of four silver dollars is unquestionably the finest of its kind. Its appearance on this tape should revitalize interest in a younger generation of close-up magicians. Whit Haydn discusses a method for turning a spectator into an impromptu stooge. This is the method that Whit used to allow a blind spectator to identify the identities of playing cards. Johnny Thompson explains Vernon’s Variant, a Do-As-I-Do effect with a surprise finish. The scene shifts to Mike Maxwell’s house for a routine from Paul Wilson. Bottom’s Up is a funny and deceptive method for apparently dealing off the bottom of the deck. Mike Caveny tips his impromptu method for the Linking Coat Hangers. Martin Lewis and Joshua Jay discuss card tricks, and Gregory Wilson offers an excellent three-coin routine with lots of extra options and information. Finally, Carl Cloutier explains his Cards to Slimfast Can routine. Carl has won contests with this routine, so I’m sure the explanation will be of interest, although I don’t know how many magicians will actually find this to be a routine of practical value. As part of this routine, Carl explains his version of Travelers, with the final card appearing in his sock. Carl shares an interesting similarity with Mac King: should either gentlemen be unable to make it to a gig they can always just send their suits. The tape ends with some type of stupid skit. I immediately hit the Fast Forward button. I think you will too. Discounting this last bit of wasted tape, I think you’ll find The Convention at the Capitol 2000 to be an excellent collection of practical material from some top-notch performers. Jay Sankey’s Non-Stop Magic Party By Jay Sankey. $24.95. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Phone: 800-853-7403. Web site: www.murphysmagicsupplies.com Jay Sankey is back with another collection of close-up magic. As with the previous Sankey releases, this is a low-budget affair, a one-camera shoot with Jay standing at a
card table in his apartment. And as in previous videos, the quality of the material makes up for the lack of production values. Eighteen items are demonstrated and explained (some of these items are gags rather than magic tricks), and included are tricks with cards, coins, dollar bills, thumb tips, match books, pencils, flash paper, cigarettes, paperclips, and rubber bands. None of the routines require difficult sleight-of-hand. Jay’s material suits him perfectly, although I find some of his techniques to be contrived and less than convincing. However, there is a lot of material here, and I’m sure that the close-up enthusiast will find several things to have fun with. Sankey fans will certainly want to add this video to their collections, and for everyone else Jay Sankey’s Non-Stop Magic Party is worth a look. Mark Wilson on Illusions Volume 1 By Mark Wilson. $30 plus $4 p&h. From Magic International, P.O. Box 801839, Santa Clarita, CA 91380. Orders: 800-367-8749. Fax: 661-288-2609. Email:
[email protected]. Web site: www.markwilsonmagic.com Through his many years of appearing on television, Mark Wilson has performed hundreds of illusions. Some of these were expensive technological marvels; others were simpler in design and construction. Mark has decided to share his expertise in a series of videotapes. The first in the series, Mark Wilson on Illusions: Inexpensive Illusions, has just been released. It is a valuable resource. The tape begins with Mark giving a general overview of the many illusions he has performed. His partner, Nani Darnell Wilson, has probably emerged from more different illusions than anyone else in history. We see video clips of Nani jumping out of 31 different illusions. Mark then pays tribute to two great illusion creators, Robert Harbin and Alan Wakeling. Following this longish introduction we get to the meat of the tape. The effect of all the illusions discussed is the production of a human being. Seven illusions are performed and explained. First off is the venerable U.F. Grant Victory Carton Illusion. This very effective illusion can be constructed from cardboard boxes. Of particular interest is how the forced perspective of the television camera can be used to enhance the mystery of this production. The Moving Screen production is explained next. Again, the illusion can be constructed very simply, or can be made more elaborate, depending on your budget. Because the method is simple, this is an effective way to magically produce a CEO or a corporate speaker. A variation of the Moving Screen principle leads to the Mystery of Three, a production involving three panels. Mark combined this production with a simple force to magically produce Nani as Little Red Riding Hood on the Magic Land of Allakazam show. This basic method is also used in the Circus Screen illusion. Another adaptation of the screen principle creates both Mike’s Clubhouse and the Invisible Train. The first illusion is a production, the second is a disappearance. Both require that the
assistant be of small stature. The secret of these two illusions is being revealed for the first time. Finally, Mark explains how the principles of parlor magic can be adapted to stage illusions. Fishing in a Barrel uses the method of the Square Circle. This principle allows for the production of several large items plus a human being. As with the other illusions, this one need not be expensive to be effective. With the increased interest in corporate magic, many magicians who would not normally perform illusions find themselves in a situation where they have to add a big trick to their show. As I mentioned above, most often the situation involves magically producing a corporate bigwig. With the information on this tape you can add an illusion to your show without having to spend a fortune. In the magic marketplace the emphasis is on close-up and stand-up magic. Only rarely is information on illusions offered for sale. Because of its emphasis on inexpensive illusions, I think the first volume of Mark Wilson on Illusions will be of enormous value to the budding stage illusionist. I look forward to further volumes in the series. Recommended. Basic Coin Magic Volumes 1 and 2 By David Stone. Each video $29.95. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Phone: 800-853-7403. Web site: www.murphysmagicsupplies.com David Stone is a French magician who has won several awards including the Diavol Award in the 1995 French Championship. The title of his two-volume video set Basic Coin Magic says it all; here are the techniques that are the cornerstones of coin magic and several routines that utilize these techniques. All the fundamentals are here: Classic Palm, Finger Palm, Thumb Palm, Back Clip, Tenkai/Goshman Pinch, Han Ping Chien move, Retention Vanishes, and so forth. The effects include productions, vanishes, Coins Across, Copper/Silver routines, one-coin routines (ala Flurry), and others. The tapes were produced in French, but an English soundtrack has been dubbed in. Mr. Stone is a competent coin handler, and the sleights and routines are performed and explained well. I was a little disappointed that there was very little original material here. A viewing of the final credits shows that almost all the routines were created by other people. However, since the purpose of the tape is to teach basic coin magic and not to showcase the originality of Mr. Stone this is understandable. If there were no other tapes on basic coin magic available I would have no problem recommending these tapes. Unfortunately, there are other tapes available, and in my opinion the Stone videotapes do not rise to the level of the David Roth basic coin magic videos. If you’re a coin magic junky you’ll probably find material to interest you on
David Stone’s Basic Coin Magic. If you are new to coin magic I would suggest that you seek out the Roth tapes. Whisper By Roger Klause. $39.95. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Phone: 800-853-7403. Web site: www.murphysmagicsupplies.com The Cap and Pence is a classic effect. Many great magicians including Nate Leipzig, Dai Vernon, Don Alan, Scotty York, and Harry Riser have included this effect in their repertoires. Now Roger Klause has released his most recent handling in Whisper, produced by Reel Magic and distributed by Murphy’s Magic Supplies. The package includes Roger’s complete routine, carefully explained and beautifully illustrated, and a nicely made gaff. The effect of the Cap and Pence is simple. Six coins (usually quarters) are stacked on the back of a spectator’s hand. The coins are covered with a cone. (Sometimes the cone is made of leather; sometimes it is formed from a dollar bill.) The coins penetrate through the spectator’s hand. That’s it – simple, quick, effective. Through the years, small additions have been made to the basic effect. In one version when the cone is lifted there is a small stack of pennies on the back of the spectator’s hand. In other versions a small object is placed on top of the stack of quarters. (In Don Alan’s handling this was a small die. In Scotty York’s handing it was a Lifesaver.) In Whisper a penny is placed on top of the stack of quarters. A cone made from a dollar bill is placed over the coins. After the quarters penetrate the spectator’s hand the cone is lifted revealing the penny resting on the back of the hand. The fact that the penny remains after the quarters penetrate provides an additional puzzling aspect. Whisper is a very excellent product, and this is due to two factors. Roger’s handling is beautifully worked out. The coins are switched for the gaff under the cover of natural actions, Roger’s method for releasing the coins into the spectator’s other hand allows for almost no extraneous finger motion, and the gaff is stolen and ditched on the off beat. (In this handling the cone is squeezed flat after the coins penetrate. Roger mentions that this technique comes from Nate Leipzig. Other experts, such as Charlie Miller, did not believe that Leipzig used this technique.) Performed properly, this handling will take in even experienced magicians. The other factor that makes Whisper a real fooler is the gaffed stack. Although not credited, this stack is the design of Bob White. Bob designed his stack in the early 1970’s, inspired by a solid stack shown to him by Chuck Smith. Bob showed the stack to several friends, including Pressley Guitar and the late Lewis Zafran. This gaff has weight; when it rests on the back of the spectator’s hand it feels like the real thing. In addition, when the gaff is placed on the spectator’s hand you can hear a small “clink” noise, just as you would hear if real coins were placed on the hand. These two subtle additions help to sell the effect.
A version of Whisper was sold in 1995 by Stevens Magic Emporium. This was a limited release and I don’t believe that it received a lot of attention. (I was unaware of its existence, as was Bob White.) This new version is an excellent production all the way around. The instructions are thorough, the illustrations are great, there is an extensive Bibliography for further research, and the gaff is a delight. If you have ever wanted to add a version of the Cap and Pence to your close-up repertoire, now’s the time to do it. Ob-Ser-Vo By Eugene Burger. $20 postpaid in US. Foreign orders add $4. From Eugene Burger, 1260 N. Dearborn Ave., Chicago, IL 60610 There is an interesting category of tricks in which various spectators see different things even though they are viewing the same thing. (For a trick of this nature check out the very first issue of The Jinx.) Ob-Ser-Vo by Eugene Burger is this type of observation test. Two spectators are used. The magician shows the first spectator a few cards. He is asked to remember how many cards he sees and the number of red cards in the group. The magician turns to the second spectator and repeats this process. When spectator number one is queried he reports that he saw four cards, two of which were red. The second spectator reports that he saw five cards, three of which were red. Again the cards are displayed to the first spectator. This time he sees five cards, but three of them are black. To settle the discrepancy, the magician shows everyone the cards. There are five. Two are black; two are red. The fifth card is revealed – it is the Joker. The hobbyist will certainly find Ob-Ser-Vo to be a user-friendly trick. There is absolutely no sleight-of-hand involved. A gaffed card and the judicious use of a secret substance do all the work for you. Trade show workers may also find Ob-Ser-Vo to be useful, since instead of a Joker you can produce a card that bears a company logo. Beyond this, though, I have several reservations about Ob-Ser-Vo. First, the impact of this trick strikes me as “So far, so what?” What happens? One card changes color and an extra card shows up. An effect of this nature is so easily accomplished by low level sleight-of-hand that the use of gaffed cards seems unnecessary. In fact, Eugene based his trick on Robert Neale’s Seeing What Seems from Life, Death, & Other Card Tricks. Neale’s routine is very easy, requiring only a few Elmsley counts. Performed competently, I don’t believe that a lay audience would notice any difference between the Burger routine and the Neale routine. Second, if I’m going to carry around gaffed cards, I’d better get some bang for my buck. Anytime you use gaffs you have to take into consideration how you will bring the gaffs into play and how you will get rid of them. Ob-Ser-Vo is an opening routine (I can’t see that it’s strong enough to be placed anywhere else), so I can have the gaffs set when I begin. I will then have to palm them off, or put them and the deck away. Contrast this with Gary Plants’ gaff for the Magnetized Cards (Marketplace, November 2000). I can leave that gaff in the deck; perform a whole set of card tricks, and then do the Magnetized Cards at any time I wish. And for the price of carrying the gaffed card I can do an effect
that I cannot easily accomplish with sleight-of-hand. Plus, there is substantial bang for the buck. Finally, if you’re going to do an effect where the cards change, do one where there is a real surprise at the end. An excellent example is Larry Jennings’ wonderful (and little known) Look an Illusion. This trick can be presented in the same manner as Ob-Ser-Vo. The magician shows five cards. One spectator sees four Jokers and an Ace of Spades. A second spectator sees four Aces of Spades and a Joker. The cards are displayed singly and placed on the table. They are the four kings. This is accomplished with ungaffed cards and only intermediate sleight-of-hand. If the effect appeals and you have no technical ability whatsoever, Ob-Ser-Vo may be the trick for you. Everyone else should think seriously about it before dropping $20.
April 2001 Don Alan’s Big Deal? A few months ago, the magazine ads heralded the arrival of “The most eagerly anticipated book of the New Millennium” – a book on the magic of Don Alan. Many, myself included, thought this book would never appear. The story behind this book is as complex and contradictory as the man whose life and magic it details. It is a fascinating tale, but you’re not going read it in this column. For the past two weeks I have read through piles of faxes and emails, and I have spent hours on the telephone. After sifting through all the information, I have no idea exactly what the truth is. Ultimately, I decided that the history of this book (whatever it may actually be) had no bearing on my review of the book. I cannot base a review on what a book might have been. I can only examine the merits of the product that is offered to you, the magic consumer. So, is the Don Alan book really a big deal? Read on. In a Class by Himself: The Legacy of Don Alan By Jon Racherbaumer. 8.5 x 11 hardcover, with dustjacket. 309 pages. $49.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800626-5. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com. I cannot truly appreciate Don Alan, in the same way that I cannot truly appreciate the fact that gravity holds us to the earth’s surface. For me, Don Alan has always been there, and I cannot imagine what close-up magic was like before he appeared on the scene. I never met Don Alan, but I saw him on television, and the memory of these television performances is vibrantly clear. When I was in Junior High school I decided that sleightof-hand, close-up magic would be my area of focus. Unfortunately, we lived in a little town in central Indiana, and I had no contact with any other magicians. It was the magic that I saw on TV (what there was of it) that sustained me. I saw Don Alan perform his signature effects, the Chop Cup, the Bowl Routine, the Fez Routine, and I thought to myself (as did almost every other close-up performer who saw Don Alan), “I want to do those tricks the way that guy does them.” My parents took me back to Fort Wayne (where we had lived previously) for a visit to Stoner’s Magic Shop. I asked Dick Stoner if he knew a trick with a cup and a ball where the magician produced large balls at the end. Dick performed the trick for me, and again I was blown away. I returned from that trip with a Chop Cup set and a small, 50-cent booklet that read, “Don Alan’s Professional Presentation of the Chop Cup.” I no longer have the Chop Cup, but I still have the booklet, and I continue to marvel over the price. Has anyone ever offered a more valuable routine for less money? Don Alan was born on February 22, 1926 in Norwood, Ohio. He served as a cadet in the U.S. Air Force and later (using the G.I. Bill) attended and graduated from the Chavez College of Magic in Hollywood. After graduation Don teamed up with Billy Phillips,
performing a two-man comedy magic act that, unfortunately, failed to gain entrance into the big time. When the duo split up, Don began working as a magician-bartender in Chicago, the Mecca for the difficult and distinctive performance art known as Magic Bar. In the 1950’s Chicago was home to a superlative group of magicians who defined a style of magic that was not found anywhere else in the country. Johnny Paul, Johnny Platt, Clarke Crandall, Jim Ryan, and Matt Schulien established the salient characteristics of Chicago Bar Magic – tricks that were fun, easy to understand, laced with a dose of edgy attitude that could keep inebriated customers in line. Bert Allerton infused the style with class and at the same time established the concept of the magician as “guest” – the clever and charming visitor who sat down at the table and became one of the party. Don Alan absorbed all these influences, and in the hot forge of real world performance shaped an approach that appealed to both laymen and magicians. Laymen loved the routines; magicians wanted the routines, and Don Alan became (in the words of Mike Rogers) “the most copied professional close-up magician in history.” Don Alan achieved success in his chosen field. He appeared on national television many times and he was a top trade show and corporate performer. Unfortunately, he also carried with him a great deal of bitterness and anger toward the world of magicians, whom he felt had not treated him with respect. His health began to decline, and he moved to Las Vegas in 1990. He later moved to a nursing home in Escondido, California, where he died on April 15, 1999, a victim of Alzheimer’s Disease. Way back in 1989, L&L Publishing and Jon Racherbaumer signed a deal for a Don Alan book project. As conceived by Ron Bauer (who instigated the project), this was to be a two-volume set. The project languished in development limbo for years. Don Alan, at first enthusiastic about the project, lost interest and chose not to be an active participant. There was some question whether the book would ever see print. After more than 10 years, the Don Alan book has finally appeared, accompanied by great fanfare and hoopla. It is titled In a Class by Himself: The Legacy of Don Alan. Does this book do justice to the memory of one of the most influential performers in the history of magic? To answer that question, we’ll have to take a look at the book in some detail. In a Class by Himself begins with two heartfelt introductory pieces written by Eugene Burger and Ron Bauer. As Eugene writes in his Foreword, if there had been no Don Alan, there would not be a “Eugene Burger, Professional Close-up Magician.” As a youngster, Eugene appeared with Don Alan on Bud Bowman’s show Magic. Eugene’s parents would take Eugene to Schulien’s restaurant, where Don would spend time with him performing and discussing magic. These were great lessons in (to use Eugene’s words) “presentational choreography” – a precise marrying of actions with words, that produces a routine with no wasted motions or verbiage. Ron Bauer’s association with Don Alan also goes back to the 1950’s. As Ron recounts in his Preface, his initial encounters with Don Alan focused on magic, and later (after Ron had established himself in the advertising industry) shifted to discussions of ways to reach “account executivetypes.” In this Preface Ron also tells the story of how a chance remark by comedian Robert Klein hurt Don Alan’s chances of breaking into the big time.
Next is a brief biographical sketch of Don Alan. While this biography touches on the highlights of Don’s life and career, I can’t help but wish that this was a more in-depth biography, giving me a chance to understand the man behind the magic. Following the biography is a Prologue that discusses Don’s approach to close-up magic. There is valuable information here, especially if the reader uses the suggestions as advice and inspiration, rather than imitation. (A portion of this Prologue appeared as “The Matt Factors” in the January 2001 issue of MAGIC.) We now get to the main portion of the book, the discussion of Don Alan’s magic. There are three sections: The Pretty Sneaky Act, Just Good Fun, and More Sneaky Stuff. The Pretty Sneaky Act is a 32-minute close-up act that contains Don’s most familiar routines. Included are: Lean-Mean Chop Cup, Devilish Devano Rise, Knickle Head (the Chuck Smith nail/nickel gag), Burning Sensations (Cigarette Through Quarter), Invisible Deck, Benson Bowl Over, Fanciful Flight (a Ring Flight routine), Micro-Macro Intro, Big Deal, Bagged Stab, Scotch and Soda Coda, Ranch Bird Deluxe, and Darker Side of Malini (Chinatown Dollar with the production of a giant nut.) The Just Good Fun section includes several favorites from the Magic Ranch television series, including Stanley (the monkey in the basket routine), Worm’s Turn, and Las Vegas Fairy Tale (a combination of Coins Across and the Cap and Pence). Also in this section are Clyde, Pretty Sneaky Nudist Deck, Invisible Card to Wallet, Sneakily Stacked in Your Favor (a terrific Dice Stacking routine), and Tweaking Marlo’s Twee. The More Sneaky Stuff section contains some material that will be of interest to stand-up magicians, including Disappearing Cane Using a Top Hat, Flying Medal, Hat Levitator, Production of a Dove from a Borrowed Purse, Production of Flowers and Cards, Floating and Rising Billiard Ball, Funny Birdcage Vanish (a great idea), and the Cereal Bowls (which wowed an audience of magicians at the 1949 I.B.M. convention in Chicago). In addition to the trick sections, there are two transcripts. The first transcript is the first part of a lecture Don Alan gave in July 1975. Read this transcript and you’ll discover a man that desperately loves magic, but who also loathes what the world of magic has become. The second transcript is of a session at the home of Earle Christenberry in which Don Alan explains some things to Earle and Jon Racherbaumer. In a Class by Himself concludes with some advice from Don, an analytical breakdown of the routines in the Pretty Sneaky Act, a Capsule Chronology, and a Bibliography & Filmography. To the casual observer, this listing of the contents may make In a Class by Himself appear to be an impressive book. Unfortunately, I believe this book has some serious problems, and I must address each of these problems so you can make an intelligent buying decision. It appears that from the very beginning of the project Jon Racherbaumer intended to use the existing video and film footage of Don Alan as the basis for his descriptions of the routines. The Pretty Sneaky Act is a word-for-word transcription of Don Alan’s performance on the Stevens Magic Emporium Don Alan video (The Greater Magic Video
Library Volume 28). Routines from the Just Good Fun section are transcribed from Magic Ranch performances and some other (unnamed) video sources. Using a single videotaped performance as the basis for what is supposed to be a definitive description of a routine is a flawed approach. Jon Racherbaumer seems to make the claim that Don Alan performed a routine the same way every time, but I find this claim to be spurious at best. Don Alan was a funny man who was tuned in to capitalize on any situations that might occur during a performance. I am sure that he was ready, willing, and able to “riff” on any situation that might occur. What we have on the Stevens video is simply one performance out of the many thousands Don gave during his lifetime. For the trick descriptions that appear in In a Class by Himself to have real value, they should be descriptions of idealized performances – descriptions that discuss both those aspects of a routine that form the core (unchangeable) elements and those elements that may fluctuate from performance to performance. (I should clarify this a bit for those of you who have never had your performances videotaped and sold to other magicians. Magic videos are produced on a budget and shot in a hurry. If the performance that is released on video comes anywhere near being an idealized performance you are very, very lucky.) In order to achieve this idealized description the cooperation of the artist/performer is essential. Who knows these routines better than the man who created them and performed them for forty years? Unfortunately, by the time Don Alan moved to Las Vegas, it appears he had become disenchanted with the book and had lost interest in participating. Both Louis Falanga and Jon Racherbaumer have reported that it was impossible to get Don to meet with them. So now all author Racherbaumer has to go on are the notes he had taken in sessions with Don and whatever can be deduced by watching Don’s performances on videotape and film. Don Alan’s abandonment of this project produced another big problem – how is this material going to be illustrated? As far back as 1999 the decision was made to use “frame captures” from the Stevens video and the other video sources. All the routines in the Pretty Sneaky Act and most of the routines in the Just Good Fun section are illustrated with these frame captures, which means that the publisher has taken a frame from the videotape and used it as a still picture. Jon Racherbaumer comments that these video frame captures “possess a historical-documentary appearance, both charming and authentic-looking. More important, the stop-action shots or ‘slivers of frozen time’ are ‘reminders’ and ‘surrogates’ of pure performance.” This may be true, but these frame captures are nearly useless as learning aids. Magic illustrations are meant to clarify the text, to show us actions from the magician’s viewpoint, and to highlight salient details. The frame captures (especially in the Pretty Sneaky Act) are murky, unenlightening, and only show us what the audience sees. For anyone actually trying to learn these routines, they will be of little benefit. For a moment, let’s examine Jon Racherbaumer’s approach to explaining Don Alan’s material. (Those of you who have a file of The Looking Glass may want to look up “Thickening a Plot” in the Summer 1996 issue. This is Jon’s write-up of Bagged Stab, and it exemplifies Jon’s approach.) In each routine description, Jon spends an enormous amount of time telling us what Don Alan says, when he says it, what he means, and what
effect his words have on his audience. Jon then gives us a statistical analysis of Don’s verbal approach: how many seconds a routine lasted, how many words were uttered, how many laughs were evoked, how many effects occurred. This type of empirical analysis certainly pads out a book and gives you the impression that you are actually learning “the work,” but what do you (as someone who’s trying to learn these routines) really learn from this information? I think that Jon could have saved time (and at least 100 pages) had he simply stated the following: Don Alan attempted to remove all dead time from a routine. When dead time could not be removed he engaged the audience’s attention with questions and jokes. Every sentence was important. (As an aside, I fear that Jon has placed way too much emphasis on jokes, as if jokes are the only method for sustaining interest. Don Alan used jokes because he was a funny man who was as interested in comedy as he was in magic. Telling jokes was a part of his personality. If you are not a funny person, don’t rely on jokes. Simply remember that during “dead moments” in a routine the audience’s attention must be engaged. Somehow.) What I find most disturbing about Jon’s explanations of Don Alan’s routines is that in several cases they are incomplete, unclear, or simply wrong. At the beginning of In a Class by Himself six well-known and highly regarded gentlemen are credited with copyediting the book. It is embarrassing how poorly they did their job. Since it is possible that many of you have already purchased this book, perhaps it would be useful if I pointed out some of these errors, so you could make annotations in your copy. In Lean-Mean Chop Cup, the method for loading the big balls is incomplete. In a 1991 letter to Louis Falanga (published in Facsimile #4) Racherbaumer wrote, “I purposely omitted explanations of the final loads. These must be explained by Don.” Well, by 1999 Don Alan was dead. The book would not be published for another two years. Don gave the information on the final loads for the Chop Cup on the Stevens videotape. Joe Stevens did not make any restrictions on the use of his videotape. (I asked Joe about this.) So my question is, why wasn’t this information included in the book? There is an error in the Devilish Devano Rise (I found this 20 minutes after I got the book.) On page 18 in the second paragraph it reads, “Have each spectator return his or her selections in the 4-2-1-3 order from the top.” In Don’s handling, only three spectators take cards. The order should be 4-1-3. There is a very nebulous sentence at the beginning of Fanciful Flight, the Ring Flight routine. Racherbaumer writes, “Set-up: Secure the key-case and reel at the left side under your coat for easy access.” I defy anyone to tell me what that instruction means. Are we to use some sort of clip? Where is the case placed? It turns out that the answer is very simple, and you can find it on the Stevens tape. Jon has also left out a very important step just before the key case is brought into view. Again, this information is on the Stevens tape. The description of Big Deal is a real mess. This is a pity, because Big Deal is one of the tricks in Don’s repertoire that can be performed standing, and it is both easy and effect. The first problem is that the cards are incorrectly described. On the Stevens video Don used a jumbo Four of Hearts and a jumbo Three-and-a-half of Clubs. Don stated that it was important that the two cards contrast in color. Jon’s explanation of the corner-short
card is wrong. You must corner short an indifferent card and place it above the Seven of Clubs (which is the card you will force in the second phase of the routine) in the lower third of the deck. In Jon’s description it is impossible to riffle force the corner short card in the manner described. Again, all this information is on the Stevens video. It is very strange that none of the copy-editors caught this mistake. Even stranger since no framecaptures are used to illustrate the second phase when the Three-and-a-half of Clubs is revealed. Someone must have seen that the cards Jon described did not match what was on the video. There is a very confusing frame-capture at the bottom of page 165. Frame 17 seems to show a stack of dice sitting on top of a jar lid that sits on top of a table. Actually, the lid is screwed onto the top of a jar, but there are lines of video static at the bottom of the frame capture that obscure the jar and make it appear as if the lid sits on the table. These are the mistakes I found on just a cursory comparison of the book and the Stevens video. (By the way, if you don’t own In a Class by Himself, or you have no intention of buying it, I’m sorry to have wasted you time during the last paragraphs.) While it is surprising that Jon did not make use of the information on the Stevens video, it is even more surprising that he failed to incorporate some of the information given to him by Don in private sessions. We can prove this, because we have a transcript of one of these sessions included in the back of the book. The transcript of the session at Earle Christenberry’s house is very confusing to read, mainly because the participants are making reference to objects (props and gaffs) that we cannot see. Don describes his key case for Ring Flight and the manner in which he hooks it up. He describes several gaffs he uses for Micro-Macro. He describes his version of the Allerton Aspirin tin. It is very hard to understand this information because we can’t see what Don is talking about. We weren’t there. But Jon Racherbaumer was there, and since he was planning on writing a book about this material is it not logical that he would have taken notes, made sketches, etc? Why was none of this information incorporated into the write-ups of the routines? Any professional who performs the same routines over many years is going to learn things about a trick that you can only learn from experience. When a pro tips his material I seek out these nuggets of information. Sadly, there is precious little of it in In a Class by Himself. When Don dropped out of the project, a great resource was lost. However, there is information of this type on the Stevens video. For example, when Don did the Chop Cup he always banged the cup on the edge of the table before he loaded it. Wouldn’t you like to know why? Don used a short wand for the Benson Bowl routine. Wouldn’t you like to know why? (Answers to these questions appear on the Stevens video.) Don basically did the same trick three times in show (Chop Cup, Bowl Routine, Big Nut from hat). Why? I actually have a theory about this last one. I think these routines are an example of a “call back,” a term from stand-up comedy. A comedian sets up a punch line, and then refers back to it at unexpected times later in his routine. The repeated production of large objects throughout the Pretty Sneaky Act is a perfect example of a magical call back.
Anyone who carefully studies In a Class by Himself will discover that, tragically, the one person missing from the book is Don Alan. Precious little of the knowledge that comes from 40 years of experience actually appears in the book. Nor are there reminiscences, stories, or anecdotes from Don or anyone else. However, we do get a healthy dose of Jon Racherbaumer’s opinions. At least one of these irked me considerably. Don Alan sat down when he performed. Racherbaumer writes, “Sitting down was one of his [Don’s] cardinal rules. Many close-up workers today perform standing, conforming to motifs used at magic conventions today and in places such as the parlor at the Magic Castle.” This is baloney (and believe me, baloney was not my first choice of words). Don Alan sat at the table because he came from the Chicago school of close-up magic. In the 1950s and 60s restaurants were more generous with their space. It was easier to pull up a chair and join the party. But as restaurants became more profit oriented, tables became smaller and were spaced closer together. Those of us who work in the real world perform standing because most of the time the conditions of the venue will not allow us to sit down. (If we try to sit down we infringe on the comfort zone of the patrons and we impede the traffic flow of the servers.) To make the statement that we stand up because we learned to do so by performing at magic conventions and the artificially luxurious conditions of the Magic Castle is both ludicrous and insulting. Most hobbyists perform sitting down. It affords them the ability to lap and to produce objects from underneath the table. It is only when you enter the realm of real world venues that you discover that precious little of the magic you’ve spent so long to learn is actually practical. In fact, there are only three professional magicians that I know who prefer to perform seated – Eugene Burger Bill Malone, and Terry Veckey, all of whom come from the Chicago school. So, what’s the bottom line? If you are unfamiliar with Don Alan and his material, and you want routines to add to your repertoire, you will certainly find tricks that have stood the test of time. However, you will also find write-ups that are somewhat daunting, routines that have performance restrictions (you must be seated), and repertoire that has been done to death by hundreds of Don Alan clones. If you are looking for innovative techniques or tricks to puzzle your magic buddies, you’ll be disappointed. Don Alan was not interested in fooling magicians, he was interested in entertaining laymen. The tricks he performed were standard, the methods well known to the average magician. His gift was in routining. Consequently, if you want to learn one man’s approach to the construction of professional caliber material, you will certainly find much to study and absorb. If you are looking for “the real work,” the gems of information that come from years of performing, you’re going to be disappointed. If you are a historian looking for insight into an extremely complex human being, you’re going to be disappointed. If you really want to get a feel for who Don Alan was and the kind of magic he performed (and I don’t think I’ve ever made a recommendation like this before) you should forget about this book and invest in the Stevens Tape (available for $32.50 postpaid – call 316-683-9582 or check at www.stevensmagic.com) and the Bill McIlhany Magic Ranch Videos (310-275-3194 or email
[email protected]). Those who already own the book will probably want the videos to clarify information in the book.
In a Class by Himself has been advertised as a big deal. My guess is that those who loved Don Alan and who wished for a true preservation of his legacy will find that this book falls far short of the mark. Larry Jenning’s Neoclassics By Stephen Minch. 5.5 x 8.5 softcover, stapled. 40 pages. $12 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-5. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com. This little booklet containing three Larry Jennings card effects has been out of print for several years. The three routines (meticulously described by Stephen Minch) exemplify the Jennings approach to card magic – streamlined construction, naturalness in handling, and a reliance on chutzpah that causes most of us to quake in our shoes. The first routine is a variation on the classic Card in Orange plot. The big difference is that the trick is designed to be done standing, without a table, and the deck of cards visually changes into the orange. The second routine is a coincidence effect that will fool magicians and laymen. No advanced sleight-of-hand is required. In the third routine, a thought-of card travels from one packet to another. The technical requirements for this routine are challenging, consequently few will attempt it. However, this is the type of routine that looks like real magic in the hands of an expert performer. Fans of Larry Jennings will certainly want to add Neoclassics to their libraries. Lovers of elegant card magic will also delight in these routines. This booklet is reasonably priced and I’m glad it’s back in print. MentCode By Lee Woodside. $59.95 plus $3.50 p&h. From Lee Woodside, 4513 Northwest 29th Street, Oklahoma City, OK 73127. Phone: 405-946-1436. Email:
[email protected]. One need only watch the performances of Simon and Ginny Aronson, Danny and Jan Orleans, or the Levasons to realize how entertaining and baffling a two-person mental act can be. A daunting aspect of learning such an act is practicing the coding of information. Lee Woodside provides a complete learning package with his product MentCode: Develop Your Own Two-Person Mental Act. Mr. Woodside provides a 30 page, plastic comb bound manuscript and a CD-ROM. The first step in the learning process is to learn the words used to code numbers. Following this Mr. Woodside explains how to code colors, money, personal objects, etc. There is also information on pre-show work and performing in the real world. The nice aspect of the system Mr. Woodside presents is that it is completely customizable; you can use his code, or you can develop code words that more closely match your manner of speech. The CD-ROM that is included contains a Windows program. (This means that MentCode is only useful for PC users.) The main function of the program is to allow you to practice the code. You can practice the basic code (those words that cue the numbers 1-100), or
you can practice the coding/receiving of actual objects. You can practice as the sender or the receiver. The program is completely customizable, so if you change code words or their associated objects you can simply enter that data into the program. The program was simple to install and easy to understand. (And for those of you entering the world of memorized deck, I see no reason why you couldn’t use this program to speed up the process of learning a stack.) MentCode is a useful product. It is not cheap, but the market is small, and Mr. Woodside has obviously invested some time in developing the program. I would hope that if this product were successful Mr. Woodside would add a few enhancements, such as the ability to practice coding specific items. If a two-person mental act is in your future, MentCode is worth your serious consideration. (As with any product released in an electronic medium I would ask that you respect the creator and not make illegal copies for your friends.) Magician’s Music Kit Volume 4 From Richard Wayne Productions. $31.95. From Richard Wayne Productions, Inc., P.O. Box 335, Boiling Springs, PA 17007-0335. Phone: 800-624-4271. Fax: 717-258-6051. Email:
[email protected] Here’s another compact disc with original music designed for magicians. As with other CDs of this type, there is a wide variety of music, reflecting various moods, tempos, and styles. One nice aspect of this compilation is that most of pieces have internal edit points. The music comes to a logical cessation, and then resumes. These pauses are brief enough that they do not jar the ear when they occur, and they are clean edit points (that is, there’s no reverberation hanging over). This means that you can adjust the length of a piece to suit your individual needs, or you can edit together various pieces to create a longer musical accompaniment. Mr. Wayne includes suggestions on how to edit this material. I found these to be effective, well-produced pieces of music, although I think the orchestral simulations are not particularly convincing. (Understand that this is an area that I have spent a great deal of time studying, consequently I am very critical of this. To your ears these pieces may sound just fine.) If you are in the market for music for your act, it would certainly be worth your time to contact Mr. Wayne and find out more about his products. Ultimate Ambition Improved Bounce Across Dicey Dots By Daryl. See review for individual prices. From Fooler Doolers Dept. L, P.O. Box 13821, Las Vegas, NV 89112. Fax: 702-435-7227. Web site: www.Daryl.net Daryl, the magician’s magician, and his lovely wife Alison have finally returned to Las Vegas having spent two years traveling the world lecturing at every magic club on the face of the earth. Apparently it has been a bit difficult for Daryl to adjust to life at home, since each morning he wakes up, picks up his phone and orders room service, loads
everything he owns into his van, drives around Vegas for five hours, checks into his own home, and sets up a product display booth on his driveway. If for some reason you missed Daryl on this tour, he will come to your house and lecture for you personally. No, just kidding. But there are some nifty things that Daryl is offering that you should be aware of. At the top of the list is Daryl’s Ultimate Ambition Improved. In this killer finish to Daryl’s Ambitious Card routine the deck is wrapped with rope, a signed card is placed into the middle of the deck, and it still rises to the top. Daryl has improved both the gaff and the routine. The gaff is thinner and the switch happens at a more opportune time. I think this is really terrific. ($29.95) Bounce Across is an unusual effect that was one of Dai Vernon’s favorites. The “bounce” leaves a rubber ball and is transferred to a lump of clay. The clay now bounces and the ball doesn’t. This is a memorable effect and it’s not difficult to do. ($24.95) Dicey Dots is a version of Slip Off Spots. Dots vanish from a die and appear on a plastic rod. A cute and simple trick to carry in your pocket. ($9.95) Daryl has lots of other stuff for sale. It would be worth your time to visit his web site. Erratum and Omission Department In the contact information section of my review of Fusillade (Marketplace, February 2001) the phone number for Doc Eason was listed incorrectly. His phone number is 970927-3197. Also, the contact information for Paul Cummins was inadvertently omitted. Fusillade can be obtained from Paul at FASDIU Press, 3703 Foxcroft Road, Jacksonville, FL 32257. Phone: 904-260-9943. Web site: www.fasdiu.com. Email:
[email protected] It’s Not Magic, But… Dale Salwak is well known in the world of magic for his elegant stage manipulation act and his association with the Chavez Studio of Magic. He is also a professor of English at Southern California’s Citrus College, and he has a terrific son named Ryan whom I enjoy hanging out with backstage at I.B.M. conventions. Dale has a new book out titled Faith and the Family (New World Library, $14.95, ISBN 1-57731-160-4). It is an exploration of the challenges facing the family unit and the ways in which the family unit can be strengthened. Of particular interest to magicians are the stories of Jack Browne (Past President of the I.B.M) and Neil and Jeanne Foster. This book presents an overt Christian message, which may or may not appeal. I know that readers of this column have enjoyed the other Salwak books that I have mentioned (A Passion for Books, The Wonders of Solitude), so I wanted to bring this one to your attention.
May 2001 Seven Year Itch It seemed like a good idea at the time… I don’t exactly remember the circumstances that prompted Mac King and I to offer our services as product reviewers for MAGIC magazine. Our plan was to do the reviews ala Siskel and Ebert, with a lot of back and forth banter about each product. At the time I was in Indiana and Mac was in Las Vegas. This meant doing the reviews via a computer hook-up. I was still using a funky Atari computer with limited Internet accessibility, so Mac would call me, my computer would answer, and we’d try to communicate through this crude text link-up. The two-man idea was never really as successful as we’d hoped it would be, and after 12 months Mac decided to bow out. Curiously, I eventually ended up in Las Vegas, which meant that Mac and I could actually do the type of review column we had envisioned, but Mac is adamant about not returning to the reviewing arena. (The reviewing job must have traumatized him, because to this day he won’t even comment on things like the weather, or how his food tastes.) I forged on, and 72 columns and 400,000 words later, I’m beginning my 7th year as product reviewer. Whew. From the beginning my goal was to produce a column that would a) help magicians make intelligent purchasing decisions, and b) be entertaining to read. I think I’ve succeeded more with the first goal than the second, although every now and then I write something that makes me smile. (And there is a whole bunch of hilarious stuff that for one reason or another never made it into print. Some day, way down the road, I’ll write a book.) I continue to receive encouraging words from readers who find the column to be useful. My thanks to all those who offer moral support. My main fear is overstaying my welcome. For now I’ll continue on. There are lots of products to look at and friends that I haven’t yet alienated. Welcome to Year Seven. Secret Seminars of Magic Volumes 1-11 By Patrick Page. Each video $19.95. Three for $55. All 11 for $199. Free postage in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-6265. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com. Watching videos takes up a substantial part of the time that goes into producing a Marketplace column. The thought of sitting through 11 videos from one performer would normally fill me with dread. However, this time the performer is Patrick Page, one of magic’s living treasures. Mr. Page is not only a terrific performer he is also a member of a small group of magicians (including Billy McComb, Jay Marshall, Johnny Thompson, and Ali Bongo) who provide us with a connection to the magic of the past. Mr. Page has been a magic demonstrator/dealer, a close-up magician, a stand-up performer, a
children’s entertainer, and a consultant on all things magical. Some years ago I had the opportunity to spend a week with Pat while shooting a television show in Sweden. The experience was delightful, memorable, and educational; it remains one of my fondest magical memories. The 11 videos released by L&L Publishing as the Secret Seminars of Magic series were originally produced and released by Vic Pinto’s Trik-a-Tape Company. Some of the routines were included as part of a video magazine series. The videos can be divided into three categories: prop specific, routine specific, and miscellaneous. In the prop specific category are videotapes covering Sponge Balls, Topit Techniques, Rope Magic, Thumb Tips, and Magic with Paper. Routine specific videos include Reveal-a-Card Discoveries, The Three Shell Game, and Card in Wallet. Videos that cover miscellaneous magic include the London Stage Lecture, Funny Business for Kids’ Shows, and 25 Super Tricks. Before I go into a bit of detail about each tape I should mention that the material on these tapes is geared toward the magician who works for real people. There are no convoluted routines or flashy sleights that will intrigue your buddies at the magic club. The effects, moves, and bits of business that Pat Page offers are simple, direct, and practical, and as such, will be very useful to the magician of average ability. Even though I am very well read on the subjects covered on these videos, as I watched them I found myself smiling and thinking, “Now there’s a good idea.” In fact, there was at least one item on each tape that has been added to my list of tricks to learn. Now let’s take a brief look at each tape. If you only wanted to purchase one tape to get a feel for Pat Page’s style, I would suggest the 25 Super Tricks video. The tape leads off with a wonderful utility item, The Auto Force Deck. If you are performing a routine that demands a sure-fire, completely convincing force, this one fits the bill. In addition to card tricks, this video features magic with coins, handkerchiefs, thimbles, and ropes. Be sure to check out The Everlasting Cut & Restored Rope Trick. It is a serious fooler. The London Stage Lecture video covers magic with billiard balls, thimbles, coins, and the Topit. The opening trick is the barehanded production of feather flowers. To be honest, I don’t think that I would ever be in a situation where I’d want to produce a feather bouquet, but if for some reason (like losing a bet) I had to do this, I’d use Pat’s method. It takes what is normally a lame trick and makes it very magical. Another highlight of this tape is Pat’s Miser’s Dream routine. (I should mention that the production qualities of The London Lecture tape are fairly low. It was shot live at one of Pat’s lectures, consequently the lighting and camera angle is not the greatest. But you will be able to understand everything, and additional material was shot in a studio setting.) Finally, if you do kid shows, Funny Business for Kids’ Shows is a worthwhile investment. To me, the opening bit with a bag and a rabbit puppet is worth the price of the tape. For someone just getting started in magic, the five prop specific videos would be a smart investment. (And as I mentioned above, even knowledgeable magicians will learn a thing or two.) Sponge Balls have long been a favorite prop of the close-up worker, and on Pat’s Sponge Balls video you’ll learn practical sleights and some fine routines (including The Patrick Page Professional Sponge Ball Routine and the Benson Bowl routine). A
highlight of the Thumb Tips video is the Diminishing Handkerchief Routine, a great bit for the kid show performer. Magic with Paper features several excellent routines, including Patrick Page’s Easy Money (a favorite of Fred Kaps), a fine handling of the Torn and Restored Cigarette Paper, Clippo, and Trouble-Wit. The Rope Magic video is a mini-encyclopedia of methods and routines, but my favorite is the Everlasting Cut & Restored Rope, which is performed but not explained. Finally, Topit Techniques provides information from the man who first popularized the Topit. Although I personally find little use for this device, I think that Pat’s approach to using the Topit is deceptive, and more importantly, utilizes the Topit as a secret device. The final three videos of the series focus on specific routines. Reveal-a-Card Discoveries gives you two dozen methods for producing a selected card. Highlights include Pat’s method for the Card Under the Drink and a sure-fire method for the Drop Turnover revelation. In addition to the revelations, Pat discusses some methods for controlling selected cards. The Card in Wallet video covers one of the classic effects of card magic. A bonus of this video is that Pat’s method does not require that you purchase an expensive “magic prop” wallet. In addition to various methods for performing this routine, Pat provides information on palming, and some “real work” hints and tips. The Three Shell Game video suffers slightly in comparison to recent videos by Phil Cass and Bob Kohler, but as a primer for anyone looking for basic information about this classic gambling routine, Pat’s tape can’t be beat. Pat offers a strong, commercial routine and lots of additional moves and bits of business. I recently spoke to an experienced trade show magician about these 11 videotapes. He was amazed at the wealth of material contained within, and I concur with his assessment. They are all excellent. If you can’t afford the whole set, I suggest you find a tape that deals with a subject you are interested in. I’m sure you won’t be disappointed. Recommended. George Johnstone Talks By George Johnstone. $18.50 plus $4.50 p&h. From The Idea Machine, Inc., 26137 S. Ridgeland Ave., Monee, IL 60449. Phone: 708-534-2331. George Johnstone is another of magic’s living treasures. He began his career by performing in amateur shows and then became an assistant with the Blackstone show. With the decline of vaudeville, George formed an act with his wife Betty, who had also been a member of the Blackstone troupe. The act focused on comedy magic, and George and Betty had a very successful career in nightclubs, trade shows, and conventions. They performed at The Palace, on The Ed Sullivan Show, and they opened for Elvis Presley. George Johnstone Talks gives us a chance to visit with this charming and fascinating man. Mr. Johnstone talks about his early amateur show experiences (including faking a limp in order to win audience sympathy), his days with the Blackstone show, and his encounters with the various and sundry characters that inhabit the world of show business. No tricks are explained, but this videotape is not about tricks, it’s about a life spent as a variety artist. It is a videotape about loyalty, dedication, and perseverance. It is
a videotape about love of the craft and respect for the people who devote their lives to it. I found one anecdote to be particularly telling. Mr. Johnstone relates a story about an illusion in the Blackstone show in which a woman vanished from within a horizontal stack of truck tires. The illusion must have been a good one, for it fooled Jay Marshall over and over. (And the persistent Mr. Marshall had sat in various parts of the theater trying to decipher the workings of the illusion.) As Mr. Johnstone tells the story he starts to discuss the method of the illusion, then stops, and chooses not to reveal the method. How’s that for loyalty and respect? The name of the videotape is George Johnstone Talks. I listened, and I had a very fine time. I think you will, too. Ron Bauer’s Private Studies Series By Ron Bauer. Each booket $10. Available from E-Gads, P.O. Box 80906, Rochester, MI 48308-0906. Phone: 248-723-0160. Email:
[email protected]. Web site: www.thinklikeaconjuror.ocm A few years ago I reviewed Ron Bauer’s Private Studies Series. The series consisted of a number of booklets, each one devoted to a single trick. The Private Studies Series has been re-released by E-Gads, and each booklet has been substantially revised. The most obvious improvement is that the production values have been upgraded considerably. The covers have been printed on glossy stock and feature full-color pictures. For many of the booklets the illustrations have been redrawn and all the illustrations have been placed within the body of the text (rather than on a separate sheet at the end of the booklet). Not having to flip to the back of the booklet to check an illustration makes the learning process much easier. Finally, and perhaps most importantly, the text has been revised with additional information from Ron Bauer. In some cases this added information nearly doubles the number of pages in the booklet. E-Gad sent along seven of these revised booklets: Gadabout Coins Revisited (a “two in the hand, one in the pocket” coin routine), Sudden Death Gypsy Curse, Horn-swoggled Again (a handling of the classic short-change routine), Owed to Poker Dan (a small packet All Backs routine with a surprise kicker), The Cursed Ring (a handling of Ring on the Wand), Paul Chosse’s Bar Bill Stunt (a handling of the $100 Bill Switch/Mismade Dollar Bill), and Xerox Money (a handling of the famous Polaroid Money trick). Each of the routines is described in complete detail, including patter, subtext, management techniques, hints, and tips. These are fully worked-out, top-notch routines. In many cases the necessary props are included with the booklets. I was very impressed with this series when I first reviewed it, and I’m even more enthusiastic now that the production values have been improved. Ron Bauer thinks deeply about his magic, and this thoughtfulness is apparent in every routine. $10 per routine is a reasonable (actually cheap) price for professional caliber material. Because they are offered as individual pamphlets, you can invest only in the routines that appeal to you. At the time of this writing the web site listed above was still under construction. I
suggest you contact E-gad for a full listing of the routines in the series. They are all worth your serious consideration. Dreams, Schemes, Nightmares, and Illusions By Card Mondor. CD-ROM Hybrid format (useable on both PCs and Macs.) $63.95 (Australian dollars) plus $10 airmail postage. From Aladdin’s Magic Shop, GPO Box 471, Hobart, Tasmania, Australia. Fax: 61 (0)3 62343884. Email:
[email protected]. Web site: www.aladdin.com.au. Card Mondor’s life encompassed all facets of show business. Born in Seattle, Washington on October 1, 1922, he saw the Blackstone show when he was twelve and he was hooked. While in grade school, he and a friend terrorized a school assembly program with an all too real seeming version of “The Knife in the Head Magic Skit,” a routine learned from a 50-cent booklet. In 1941 Mr. Mondor became an assistant with The Great Virgil’s full-evening show, leaving in 1942 to do USO shows during World War II. At the end of the war Mr. Mondor created a cabaret act that played top nightclubs and supper clubs in the United States and South America. In the late 1940’s, Card Mondor was hired by advertising genius Edward “Kroger” Babb to take out the first unit of a midnight spook show titled Dr. Ogre Banshee’s Chasm of Spasms. This led to a tour of Mondor’s own spook show, Dr. Dracula’s Living Nightmares. Taking a break from the spook show tour, Mondor was asked to be the advance man for Virgil & Julie’s first world tour. This brought Card Mondor to Australia. In Australia, Mondor promoted exploitation films for Kroger Babb, produced a national Bozo the Clown television series, and eventually became the owner of the Aladdin Magic Shop. Card Mondor died January 8, 2001 in Tasmania, Australia. Dreams, Schemes, Nightmares, and Illusions is Card Mondor’s recounting of his fascinating life in show business. The book is in Adobe Acrobat format, and the CDROM is a hybrid that can be used on either a PC or a Mac. When the disc is inserted in the CD-ROM drive the program autoplays, bringing up a menu offering several options. If you do not have Adobe Acrobat installed, you can do so from this menu. Clicking on the “Read the Book” option brings up the Adobe Acrobat Reader. On the left side of the screen are the chapters of the book, on the right side of the screen are the pages. There are several viewing options, including Fit in Window, Actual Size, Fit Width, and Fit Visible. If you use the Fit in Window option you will not need to scroll down to read the text; an entire page of text is displayed in the right hand window. This makes the text smaller, but I had no problem reading it (using my reading glasses). Arrows allow you to go from page to page. You can simply read the book from front to back using this method. You can also navigate to any chapter by clicking on the appropriate chapter in the left-hand window. (Acrobat Reader also has a Find function, so you can search the entire book for any text you may be looking for.) In addition to the autobiographical information, there are also several magic routines explained including The Hip Hypnotism Routine (a pseudo hypnotism routine using spectators that are stooged on stage), The Do It Yourself Spook Show, Sawing a Rabbit
in Half, The Man Who Walks Away from His Shadow, Sticky Stuff (magic using rubber cement), and The Golem Illusion. The layout of the book is serviceable, but not particularly beautiful. There are thumbnail photographs included in the body of the text, and clicking on these thumbnails brings up a full-size picture. (Note: If you want to get back to the text after you have viewed a fullsize picture you need to click on the “Go to Previous View Arrow,” and not the “Previous Page” arrow.) The text of Dreams, Schemes, Nightmares, and Illusions is 267 pages long. Following the text are several pages containing the full-sized photos. The CD-ROM also contains Card Mondor’s first book, Orgy of Evil, an analysis of a spook show presented by Mel Welles and Richard Lewellen. It is also possible (through options on the autoplay menu) to preview the pictures that appear in the Dreams book, explore the CD-ROM, read the Read Me file, or go to the Aladdin Magic Shop web site (in order to do this you must be connected to the web). I enjoyed Dreams, Schemes, Nightmares, and Illusions, which is remarkable in its detail. Card Mondor was a connection to a time in show business the likes of which we will never see again. At the time of this writing the price of $64 Australian translates into about $32 US, which is very reasonable. The only problem I see is that most of us don’t have our computer rooms set up for comfortable reading. It is a bit tiring to read large amounts of text on the computer screen. However, you can print out pages from Adobe Acrobat, so you can relax in a comfortable chair while you read about the life of an amazing showman. The Illusion Show Business By Stan Kramien. 8.5 x 11, spiral bound. 148 pages. $100 postpaid. From Stan Kramien, 4525 SW 99th Avenue, Suite 102, Beaverton, OR 97005. Phone: 503-277-2478. Email:
[email protected]. Web site: www.geocities.com/stankramien. Curiously, it was also the Blackstone show that instilled in a nine-year old Stan Kramien the desire to be a professional magician. Stan has had an amazing career, in and out of show business. He created and toured with four different illusion shows: Magicapades, Magicazam, The Mad World of Magic, and Shazam. He did club dates, trade shows, and fairs. He worked on a touring girlie show, a five-in-one, and a spook show. He toured with his own circus. In addition to performing, he had success as a radio personality, a booker/promoter, and as a supplier of exotic pets. Last year Stan was in a devastating car accident, but happily he is on the mend. In The Illusion Show Business Stan Kramien discusses some of the things you need to know if you want to tour with your own illusion show. The book is in two parts. The first part is autobiographical in nature. Stan recounts his life in show business and details the myriad ways he has made a living. The second part of the book, subtitled “The Nitty Gritty,” gets into the meat of the subject. Stan begins with a discussion of backdrops and frames and then offers information on lighting, sound, the length of the show, and the choosing of a name for the show. Following this is a long examination of illusions that
can be incorporated in a show, including The Doll House, The Canvas Covered Box, various levitations, the Super-X Suspension, The Guillotine, Zig Zag, various sawing effects, and many more. Concluding this section of the book is information on crates, assistants, costumes, transportation, advertising, concessions, and animals. The book concludes with a list of illusion builders. Scattered throughout the book are many photographs, promotional pieces, advertisements, and posters that chronicle the many different shows Stan Kramien has produced over the years. While I have no doubt that the information Mr. Kramien gives in this book will be valuable to someone considering mounting their own illusion show, I have some reservations about the price of the book. Of the 148 pages in The Illusion Show Business, 66 are taken up with photographs or pictures of memorabilia. This leaves 35 pages of text in Part One and 33 pages of text in Part Two. (The remaining 14 pages include the Foreword, and some full page illustrations, blank pages, title pages, and full page ads at the back of the book.) I’m sure that the budding illusionist will find Mr. Kramien’s biography to be inspiring and enlightening, but I fear that purchasers who discover that they have paid $100 for only 33 pages of nuts-and-bolts information will be disappointed. Most importantly, one vital aspect of the business of doing an illusion show has been omitted from this book: how the hell do you sell the show? The answer to this question is available in another book from Mr. Kramien: Professional Secrets of Kramien: A Complete Course in the Fine Art of Booking and Promoting a Show. This 99+ page book sells for $150 and in it you will learn the telephone promotion system of selling tickets. Mr. Kramien spells out this system in great detail, providing forms, telephone scripts, office guidelines, and other important information that would certainly enable someone with drive, dedication, and desire to successfully sell and promote a show in this manner. The book you receive is not as massive as it appears, however, since the pages are single-sided. (In other words, it looks like you’ve received a 300-page book.) Still, $150 may well be a fair price for information that Mr. Kramien had to learn the hard way through years of experience. (For those who are deeply into the idea of selling a show by telephone solicitation, Mr. Kramien offers a third book titled Show Me the Money: The Real Secrets of the Fundraising and Promotion Business. It sells for $200.) What’s the bottom line? I believe that Mr. Kramien has valuable information to offer, but I fear that purchasers may be upset when they see what they’ve received for their money. I see two solutions. One would be for Mr. Kramien to offer a money-back guarantee if the purchasers are not completely delighted with the books. The other solution would be to combine The Illusion Show Business and The Professional Secrets of Kramien into one book. This book could sell for $150 and would certainly be worth the price. For more information about any of these books contact Mr. Kramien. How to Become Your Area’s Top Children’s Entertainer!
By Eric Paul. 200 page manual in three-ring binder, plus floppy disc. $99.00. From Eric Paul, 42 Manavon Street, Phoenixville, PA 19460. Fax: 610-917-9351. Email:
[email protected]. Web site: www.epmagic.com. Here is another course on the business side of professional entertainment. In this case, Eric Paul offers information on how to promote and sell your services as a children’s entertainer. This is a very complete package of information, including discussions on advertising, booking the show, preparing for the show, stage, sound, and set-up information, personalizing the show, post-show information, and information on taxes and insurance. Mr. Paul provides numerous examples of promotional materials, give-aways, forms, phone scripts, and much more. Mr. Paul is obviously a student of the Dave Dee school, as many of the ideas that are found here can also be found in the course Dave Dee sells. There’s nothing wrong with this, as much of Dave Dee’s approach can be found in the works of other marketing gurus. Mr. Paul has adapted this information to meet the specific needs of the children’s entertainer, and I have no doubt that if someone was diligent about following the advice the result would be an increase in the amount of shows they do. Best of all, Mr. Paul offers a 90-day money back guarantee. If you’re not happy, send everything back and Mr. Paul will refund your money. I don’t see how you can go wrong. If you are a children’s entertainer who is looking to increase your business How to Become Your Area’s Top Children’s Entertainer is worth your serious consideration. The Book of Haunted Magick By Rick Maue. 8.5 x 11, softcover, plastic comb bound. 181 pages. $35 plus $4.00 p&h in US. From Deceptions Unlimited, 549 Lucia Road, Pittsburgh, PA 15221-3965. Phone: 412-823-4323. Web site: www.deceptionsunlimited.com Those with an interest in Bizarre Magick will certainly want to take a look at The Book of Haunted Magick by Rick Maue. Mr. Maue offers 50 items, each accompanied with an intriguing patter plot. Happily, the methods that accomplish these effects are more sophisticated than the average Bizarre Magick fare. A wide variety of props are utilized, although Tarot cards are featured in several effects. (My guess is that Mr. Maue comes to the Bizarre field from a sleight-of-hand background. I don’t believe that I’ve previously encountered a Bizarre Magick book that offers a handling of the Classic Pass False Cut.) If you have ever wanted to incorporate Bizarre Magick into a haunted house scenario, be sure to take a look at the section of the book titled The Haunted Chamber. This is a complete series of routines designed to be performed in a haunted house. Mr. Maue writes, “The ‘magic’ that occurs in the The Chamber is not designed to ‘fool’ the patrons, but instead to enhance the overall atmosphere. But if done properly, the routines are absolutely baffling, partially because the atmosphere acts as the most powerful misdirection that I have ever witnessed. The word most often used by the patrons to describe the effects is ‘intense.’”
One refreshing aspect of this book is that magicians other than Bizarre Magic practitioners can perform several of the effects. For example, take a look at Terasabos, a routine in which the magician finds an object hidden under one of five heavy, opaque goblets. The method is not for the faint of heart, but performed with confidence, this routine would be a stunner. The Book of Haunted Magick is reasonably priced and has enough variety to appeal to a wide audience. If you enjoy reading about Bizarre Magick this book is worth your serious consideration. Games You Can’t Lose By Harry Anderson and Turk Pipkin. 5.5 x 8, softcover. 160 pages. $12.95. From Burford Books, Inc. ISBN 1-58080-086-6. Available from most bookstores. First published in 1989, this “Guide for Suckers” is back in print. Easy to read and full of simple stunts, Games You Can’t Lose is the perfect book for someone looking for a few scams to pull on their friends and relatives. The book is divided into two sections: Games You Can’t Lose, and Games You Can’t Win. In the first section are simple bar bets, sneaky trivia questions, and games such as Nim. The second section offers basic advice for casino gambling, track betting, carnival games, and street hustles. There’s nothing in this book that will threaten any magician’s livelihood, and if you have no experience with these types of games you may actually learn something. As a gift for a laymen friend who has an interest in cons and scams, Games You Can’t Lose would be a good choice. Crayon Magic By Jeff Brown. 5.5 x 8.5, softcover, stapled. 60 pages. $10 plus $3.50 p&h. From Jeff Brown, 135 W. Second Street, Juneau, AK 99801. Phone: 907-586-1670. Email:
[email protected] For an audience of children, crayons are a natural prop. Jeff Brown has assembled a miniencyclopedia of crayon magic. There is a variety of magic offered here, although many of these routines are simply tricks that would normally be performed with cigarettes or pencils. Included are ideas from Ron Dayton, Martin Gardner, James Swoger, and Billy McComb. Crayon Magic is a worthwhile collection, especially for the kids’ show performer. The Yankee Magic Collector #9 Edited by Ed Hill and Bob Schoof. 5.5 x 8.5, softcover. 144 pages. $40 postpaid in US. (Orders outside of North America add $5.) From NEMCA, c/o Alan Wassilak, 137 Spring Street, Watertown, MA 02472 Historians and collectors will want to pick up a copy of The Yankee Magic Collector #9. Included in this collection are articles about Cesareo Pelaez, Valentine Vox, the first three magic books published in Australia, Professor Thomas Kenney, ALGI, the
Congenial Robot, and much more. The Yankee Magic Collector #9 is a signed, numbered edition limited to 175 copies, so if you are interested be sure to get your copy right away. MentCode By Lee Woodside. $59.95 plus $3.50 p&h. From Lee Woodside, 4513 Northwest 29th Street, Oklahoma City, OK 73127. Phone: 405-946-1436. Email:
[email protected]. One need only watch the performances of Simon and Ginny Aronson, Danny and Jan Orleans, or the Levasons to realize how entertaining and baffling a two-person mental act can be. A daunting aspect of learning such an act is practicing the coding of information. Lee Woodside provides a complete learning package with his product MentCode: Develop Your Own Two-Person Mental Act. Mr. Woodside provides a 30 page, plastic comb bound manuscript and a CD-ROM. The first step in the learning process is to learn the words used to code numbers. Following this Mr. Woodside explains how to code colors, money, personal objects, etc. There is also information on pre-show work and performing in the real world. The nice aspect of the system Mr. Woodside presents is that it is completely customizable; you can use his code, or you can develop code words that more closely match your manner of speech. The CD-ROM that is included contains a Windows program. (This means that MentCode is only useful for PC users.) The main function of the program is to allow you to practice the code. You can practice the basic code (those words that cue the numbers 1-100), or you can practice the coding/receiving of actual objects. You can practice as the sender or the receiver. The program is completely customizable, so if you change code words or their associated objects you can simply enter that data into the program. The program was simple to install and easy to understand. (And for those of you entering the world of memorized deck, I see no reason why you couldn’t use this program to speed up the process of learning a stack.) MentCode is a useful product. It is not cheap, but the market is small, and Mr. Woodside has obviously invested some time in developing the program. I would hope that if this product were successful Mr. Woodside would add a few enhancements, such as the ability to practice coding specific items. If a two-person mental act is in your future, MentCode is worth your serious consideration. (As with any product released in an electronic medium I would ask that you respect the creator and not make illegal copies for your friends.) Pull-eez By Barry Price. $20. From Barry Price, 5339 Ben Avenue, Suite 3, Valley Village, CA 91607. Email:
[email protected] Barry Price has come up with a nifty gimmick to vanish a coin or any small, flat object (playing card, currency, credit card). The gimmick is a variation on our old friend the elastic pull, but the clip that actually holds the object is unusual and provides a very firm grip. It takes only a second to change the object in the clip, so the Pull-eez could be used
for a variety of routines. The object to be vanished is held in the sleeve, and it is a simple matter to drop the arm, obtain the clip (with the object attached) and then vanish it. The Pull-eez gimmick is not really designed to allow you to secretly hook up an object in front of your audience. However, I can think of a few ways that you could get hooked up without attracting a lot of suspicion. Pull-eez is a nifty gimmick that the imaginative close-up worker could put to use in many ways. Oops Department In my review of Concertos for Pasteboard I managed to consistently misspell the name of the book’s editor Oliver Erens. Dr. Erens has been a driving force in bringing English language books to German speaking magicians. Most recently he translated Joshua Jay’s Magic Atlas into German.
June 2001 Almost Famous A twenty-year-old picture of me with three other magicians recently appeared as part of an auction on eBay. In the picture I was identified as “A Little Known Piano Player.” Some may wonder if this was intended as an insult, but to me the anonymity was a blessing in disguise. Back then I really looked like a geek. Lots to look at this month. Let’s get right into it. The Annotated Magic of Slydini By Lewis Ganson. Annotations by Slydini as dictated to Dr. Gene Matsuura. 7 x 10 hardcover with glossy dustjacket. 297 pages. $59.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530525-7008. Email:
[email protected]. Web site: www.llpub.com. Slydini’s magic first came to the attention of magicians in Series 8 of the Stars of Magic. Three tricks were featured: Slydini’s Cigarette Miracle, Flight of the Paper Balls (more popularly known as the Paper Balls Over the Head), and the Flyaway Coin Routine (a fabulous routine that is rarely performed). There was an addition lesson, The Art of Using the Lap as a Servante, which was to have been the first in a series of lessons, compiled by Dr. Jacob Daley. Due to the untimely death of Dr. Daley, only the first lesson was published under the Stars of Magic banner. In 1958 Slydini lectured throughout England. One result of this tour was the decision to produce a book on Slydini’s magic. Lewis Ganson (who had previously written books about the magic of Dai Vernon) was the author, and the book, The Magic of Slydini, became one of the seminal treatises on the art of misdirection. L&L Publishing has reprinted this classic text in a new edition titled The Annotated Magic of Slydini. The annotations come from Dr. Gene Matsuura, who spent many hours with Slydini discussing Slydini’s classic routines, and making notes on the information Slydini imparted. Dr. Matsuura recorded these notes in his personal copy of The Magic of Slydini. These notes became the basis for the annotations incorporated into the present volume. As Dr. Matsuura writes in his Introduction, “The thinking reflected by the annotations in this new edition originated solely from Slydini. I was simply the transcriber. Though the words and phrases are mine, the content of each note resulted from discussions with Slydini himself…these notes are not in any way my versions or opinions or thinking about Slydini’s material.” The routines presented in the original The Magic of Slydini book are, of course, classics. Included are two lessons on The Art of Using the Lap as a Servante, The Paper Balls in the Hat, three routines using cigarettes, the Coins Through the Table, The Flight of the Paper Balls, The Helicopter Card, and Slydini’s Knotted Silks. A major layout change
has been made to the new edition – the photographs have been placed next to the appropriate text. This certainly makes it easier to learn these routines. Dr. Matsuura’s annotations are incorporated using blue text. Brackets have been used to delineate information that is incorrect. In some cases this information should simply be ignored. In most cases Dr. Matsuura provides corrected information. I’m sure that at this moment you are asking the question, “How much new information is included in the annotations?” The answer is, “A lot.” I’ve known Dr. Matsuura for more than twenty years, and he is one of magicdom’s most conscientious note-takers. We can all thank him for his conscientiousness. There is an impressive amount of new information here. For example, the explanation of Slydini’s Knotted Silks almost doubles in length due to the addition of the Matsuura annotations. A few routines have no annotations, but most have been annotated extensively. Do you need this book if you already own the original? I think so. The corrections, clarifications, and supplemental information render the old book obsolete. Of course, there are two problems with Slydini’s magic. Much of it requires that the performer be seated, and all of it is tied to gestures and actions that were natural for Slydini, but will likely appear unnatural for almost anyone else. Fortunately, careful study of The Magic of Slydini will reap great benefits, whether or not any of the routines are actually performed. Also, one of the best routines in the book, Slydini’s Knotted Silks, can be performed standing. (This routine was a favorite of the late Michael Skinner, who performed it to perfection.) I extend my personal thanks to Gene Matsuura and L&L Publishing for making this text available. The Annotated Magic of Slydini is highly recommended to any serious student of magic. Ibidem 2 Edited by P. Howard Lyons. 8.5 x 11 hardcover with glossy dustjacket. 380 pages. $65 postpaid in US. From Hermetic Press, Inc., 1500 SW Trenton St., Seattle, WA 981062468. Fax: 206-768-1688. Email:
[email protected] I miss Howard Lyons. I only spent time with him on a couple of occasions, but his sardonic wit and razor-sharp intelligence made every encounter a memorable experience. Howard was the editor and publisher of Ibidem, a magazine devoted to close-up magic that enjoyed a sporadic publishing schedule from 1955 to 1979. The magazine was hip, funny, and contained some of the best card magic ever published. Original issues of Ibidem are very hard to find, and when they are offered for sale they fetch a high price. In 1993 Kaufman and Greenberg published a hardbound edition of the first 16 issues of Ibidem. The plan was to issue two more volumes that would contain the remainder of the issues of Ibidem plus the content of Aziz, a magazine that Howard never got around to publishing. Time passed, but the subsequent two volumes did not appear. Many of us feared that they would never appear. Fortunately, Stephen Minch’s Hermetic Press took over the project, and Ibidem 2 is now available.
This second volume contains issues 17-28. The emphasis is on card magic and the contributors include Ed Marlo, Ken Beale, Stewart James, Norman Houghton, Bill Simon, Lin Searles, Neal Elias, Sam Randlett, Francis Haxton, Jack Avis, Bill Miesel, Harry Riser, Ross Bertram, James Randi, Martin Gardner, and Howard Lyons. Included in the book are full color reproductions of the original Ibidem covers. These were designed by Pat Lyons, and are hilarious. (My favorite being issue #26 with the Swami who “Sees All – Knows All.”) Card enthusiasts will encounter enough material to keep them busy for many months. I will mention two issues that warrant extra attention. Issue #19 (known as “Marlo’s Revenge”) contains some excellent routines using gaffed decks. Issue #28 contains a treatise by Ronald Wohl (known as Ravelli) on delaying the set-up deck. Anyone interested in memorized deck magic will find that a study of this treatise will pay big dividends. I am absolutely delighted that Ibidem 2 has finally been published, and I highly recommend it to anyone interested in card magic. Best of Friends Volume 1 By Harry Lorayne. 6 x 9 hardcover with glossy dustjacket. 559 pages. $59.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com. Card junkies looking for a 500+ page fix will find much to play with in Best of Friends Volume 1. BoF was (I believe) one of the biggest magic books ever published at the time it came out in 1982. The contributors include some of the best creators in magic: Larry Jennings, Ed Marlo, Phil Goldstein, Herb Zarrow, Allan Ackerman, Paul Gertner, J.K. Hartman, Jeff Altman, Tom Mullica, Jim Swain, Jon Racherbaumer, Bob Farmer, Harry Lorayne, and many, many more. (I bought this book when it came out in 1982, and I probably tried every single trick in it. I still occasionally use one of the tricks Jeff Altman contributed. It’s a real gem.) Over 120 items are included, and all are described in the inimitable Lorayne style. Harry Lorayne reprinted the book five times, but it has not been available for many years. For the card nut, this book is manna from heaven. Rovi: The Story of a Man and His Magic By Richard Owen. 7 x 10 hardcover. 173 pages. $40. From H&R Magic Books, 3839 Liles Lane, Humble, TX 77369. Phone: 281-540-7229. Fax: 281-540-4443. Web site: www.magicbookshop.com. Ifor Perry was born on November 29, 1919 in Caernarfon, Wales. Ifor became fascinated by magic at a young age, and in particular loved magic with playing cards. He joined the Royal Corps of Signals during World War II, and often entertained his comrades with card magic. After the war he worked as a printer and began to perform magic as a parttime pro. He used the English spelling of his name (“Ivor”) to produce his stage name,
“Rovi,” and became known throughout his native country and the magic world as Rovi the Welsh Wizard. Rovi died in 1996. Rovi: The Story of a Man and His Magic contains a biography of Ifor Perry, reminiscences from his friends, and information on Rovi’s card techniques and routines. Be aware, however, that there is very little that is new or innovative here. Rovi used timetested techniques, and his variations on these techniques were minor. In addition, it is documented by many different people throughout this book that it was Rovi’s personality that endeared him to his audiences, and it was his personality that made his tricks so effective. Because of this, anyone planning on adding any of these routines to their repertoires will have to plan on spending a lot of time reworking the presentations to fit their own personalities. Rovi: The Story of a Man and His Magic is a heartfelt tribute to a man who was obviously loved and respected by his friends and peers. Unfortunately, the writing style is very dry, and the trick descriptions do not in any way evoke a sense of Rovi the performer. Those who knew Rovi will certainly want a copy of this book. The biographical information will be of interest to historians, and those seeking simple card techniques and audience tested card routines may find Rovi’s material to be useful. The Joys of Magic By Emil Loew. 8.5 x 11, plastic comb bound. 98 pages. $22.50 postpaid in the US. From Emil Loew, 1120 99th Street, #403, Bay Harbor Islands, FL 33154 Emil Loew has had a long love affair with magic. He was born in the Netherlands in 1910. He was forced to flee his homeland during World War II, and eventually ended up in New York City. He worked a variety of jobs and became acquainted with many of the magicians in New York. Mr. Loew was successful in the business world and he performed magic as a part-time pro. In 1967 he started the Magicians Lecturing Service that brought more than 60 magicians to the United States from overseas. In The Joys of Magic, Mr. Loew recounts stories from his life in magic. At the age of 91 he retains both an enthusiasm for magic, and a fondness for the many friends he has made. Historians will certainly want to add this book to their collections. The book is unfortunately marred by very poor production values. Desktop publishing allows even self-published books to have a professional appearance. Sadly, few of these resources seem to have been used in the production of The Joys of Magic. New Self-Working Card Tricks By Karl Fulves. 6 x 9 softcover. 144 pages. $5.95. ISBN 0-486-41371-3. From Dover Publications, Inc. Available from most bookstores. Web site: www.doverpublications.com. Karl Fulves continues his series of “Self-Working” magic tricks with this new book of easy-to-do card tricks. The 95 tricks are divided into categories such as Impromptu Card
Tricks, Tests for ESP, Die-Ceptions With Cards, Tricks With Aces, Rouge Et Noir, and Games of Chance. Joseph K. Schmidt has provided over 100 illustrations. As with his previous books for Dover, Fulves has provided the beginning magician with some excellent material. In addition to his own creations, Fulves has adapted tricks from such luminaries as Martin Gardner, Stewart James, Jack Avis, J.K. Hartman, Walter Gibson, John Scarne, Joseph Dunninger, Sam Schwartz, and Frank Garcia. The book itself is gaffed to allow you to perform a book test. I own all of the books that Fulves has released through Dover Publications, and I recommend them all. The beginner will find some excellent tricks that require little technical facility, and the most experienced magician will find a wealth of ideas that can be tweaked with the addition of a little “muscle magic.” At $5.95, New Self-Working Card Tricks is an enormous bargain, and should find a place on your bookshelf. Side Show By Howard Bone with Daniel Waldron. 6 x 9 softcover. 137 pages.$12.95. ISBN 0941543-28-5. From Sun Dog Press. Available from most bookstores. Howard Bone joined a carnival during World War II. He had served in the Armed Forces, but received a disability discharge. Because of the war, Howard assumed that able-bodied men would be in short supply and the odds were good that he would be able to find employment. He got a job selling tickets for the Ferris Wheel. The job lasted only two hours (Bone was fired for taking a swing at a customer), but Bone’s life in the world of the Carney lasted 40 years. Side Show, subtitled My Life with Geeks, Freaks, & Vagabonds in the Carney Trade, is a fascinating story of a life spent in the subculture of the carnival worker. It is a world that few of us have any experience with, and for the most part, it is a world that no longer exists. Howard Bone was a side show magician, but he also worked as a “Talker” on ballyhoo platforms, fought local tough guys in the Athletic Shows, sold tickets on the midway, labored as a Canvasman putting up and tearing down tents, and was an all-around carny hand. After leaving the road he became friends with Robert and Elaine Lund (of the American Museum of Magic in Marshall, Michigan) and Penn and Teller. (Teller wrote a profile of him for The Atlantic Monthly.) Bone retired to his hometown of Evansville, Indiana, and died in 1997 at a Veterans Administration Hospital. Bone authored several published books, including Hurry…Hurry…Hurry!, which revealed the methods for traditional side show stunts. He also began and destroyed many other manuscripts. Fortunately, one manuscript, titled To Dance Onstage, survived and it is from this manuscript that editor Daniel Waldron has shaped Side Show. The book is an easy read, and it presents a fascinating story. I know that many readers of MAGIC have an interest in the world of Side Shows and carnies, so I wanted to bring Side Show to your attention. I enjoyed it and I think you will, too. How to Become Your Area’s Top Children’s Entertainer!
By Eric Paul. 200 page manual in three-ring binder, plus floppy disc. $99.00. From Eric Paul, 42 Manavon Street, Phoenixville, PA 19460. Fax: 610-917-9351. Email:
[email protected]. Web site: www.epmagic.com. Here is another course on the business side of professional entertainment. In this case, Eric Paul offers information on how to promote and sell your services as a children’s entertainer. This is a very complete package of information, including discussions on advertising, booking the show, preparing for the show, stage, sound, and set-up information, personalizing the show, post-show information, and information on taxes and insurance. Mr. Paul provides numerous examples of promotional materials, give-aways, forms, phone scripts, and much more. Mr. Paul is obviously a student of the Dave Dee school, as many of the ideas that are found here can also be found in the course Dave Dee sells. There’s nothing wrong with this, as much of Dave Dee’s approach can be found in the works of other marketing gurus. Mr. Paul has adapted this information to meet the specific needs of the children’s entertainer, and I have no doubt that if someone was diligent about following the advice the result would be an increase in the amount of shows they do. Best of all, Mr. Paul offers a 90-day money back guarantee. If you’re not happy, send everything back and Mr. Paul will refund your money. I don’t see how you can go wrong. If you are a children’s entertainer who is looking to increase your business How to Become Your Area’s Top Children’s Entertainer is worth your serious consideration. Crayon Magic By Jeff Brown. 5.5 x 8.5, softcover, stapled. 60 pages. $10 plus $3.50 p&h. From Jeff Brown, 135 W. Second Street, Juneau, AK 99801. Phone: 907-586-1670. Email:
[email protected] For an audience of children, crayons are a natural prop. Jeff Brown has assembled a miniencyclopedia of crayon magic. There is a variety of magic offered here, although many of these routines are simply tricks that would normally be performed with cigarettes or pencils. Included are ideas from Ron Dayton, Martin Gardner, James Swoger, and Billy McComb. Crayon Magic is a worthwhile collection, especially for the kids’ show performer. Lecture Note Department I want to bring to your attention a couple of new lecture notes that have arrived at the review desk. Andrew Wimhurst, the talented Australian card man, has been lecturing in Europe and the United States throughout the month of May. If you didn’t get a chance to see him you can pick up his new notes directly from him. He has two manuscripts available. Something Wicked ($10) contains two false shuffles designed for the close-up magician. Jiggery Pokery ($15) contains some previously unpublished effects, plus some updated handlings of routines previously published in Down Under Deals and Low Down Dirty Tricks. Andrew is a magician who uses both his hands and his head. His routines are well constructed and designed for the real world. You can get both manuscripts for
$20 plus $2 p&h. Contact him at Andrew Wimhurst, 1 Beech Place, Jerrabomberra NSW, 2619 Australia. (Email:
[email protected].) Barrie Richardson, author of the marvelous Theatre of the Mind, has a new set of lecture notes out. Titled Concepts & Deceptions, the notes contain some added information for routines from Theatre of the Mind, some routines published in the magazine Club 71 (a magazine that is little known here in the United States), and some previously unpublished material. Of particular interest to me was a very offbeat deck switch. As with all of Barrie’s material, everything is completely worked out and very ingenious. The notes sell for $20 and you can get them from H&R Magic Books (see the Rovi book above for the address). CAB 2000 By Dustin Marks. Mac/PC hybrid CD-ROM. $49.95 postpaid when ordered from directly from www.dustinmarks.com. Also available from your favorite magic shop. Dustin Marks is the author of Cheating at Blackjack and Cheating at Blackjack Squared. CAB 2000 contains material from both books, plus new and updated information. You receive a hybrid CD-ROM that is playable on a Mac or a PC. When you put the disc in your CD-ROM drive it autoplays, bringing up an introductory menu. This menu allows you to install a codec that is needed to play the video clips. (Make sure you install this codec, it has no negative effects on your system.) After installing the codec, click on the “Skip Intro” option. You’re not going to miss anything. This brings you to the main menu, offering two choices, Moves and Mockery. The Moves section will be of most interest to magicians. Included are methods of getting cards out of play, hand mucking moves, methods for stacking cards, hole card moves, methods for ringing in coolers, methods for returning cards to play, and miscellaneous moves. The information is presented in Adobe Acrobat format, which provides both text and photographic illustrations. In addition, many of the moves have video clips, so you can actually see the moves in action. The combination of text, illustrations, and video clips makes it easy to understand what’s happening with the moves. (Be aware, however, that this is not really a teaching tape. The moves are demonstrated, but they are not thoroughly explained. Anyone with any card handling ability will be able to figure out what’s going on.) By the way, when you are presented with the main screen, there is a Help File option. Click this before you do anything else. Navigating around CAB 2000 is not particularly intuitive, and the help file will aid you, especially when you try to navigate back to the main screen. The second half of CAB 2000, titled Mockery, contains interviews, articles, photos, and “stuff.” This is very much a mixed bag of information about gambling and the casino industry. All in all, I found CAB 2000 to be informative and entertaining. If you have an interest in the methods of the casino card cheat, I’m sure you will find this CD-ROM to be of value.
The Magic of David Regal Volumes 1-3 By David Regal. Available on videotape or DVD. Each volume $29.95, all three for $84.95 postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 1-800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com. Slyly encoded beneath the 1’s and 0’s of the DVD version of this new release from L&L Publishing is a subtle subliminal message: David Regal is the man. At least, that’s the message that I got. David Regal writes for television and is the author of the recently released magic book Close-up and Personal. The majority of the material on these three DVDs comes from that book and from Star Quality, written by Harry Lorayne. The emphasis is on card magic, although there are a number of tricks that use miscellaneous props. Volume One, titled Tricks!, presents a variety of magic, and would be a good choice if you can only afford to purchase one volume of the series. The DVD begins with a series of six tricks arranged into a performance set. This is often the set that David performs when he works at the Magic Castle. My favorite tricks of this set are Clearly Impossible (a coins through table routine), Pasteboard Massacre (in which a portion of the deck is magically cut in two), and There & Back (an impossible transposition of a borrowed ring). Other offbeat tricks on this volume include The Half Deal (in which the spots are dealt off a card), All Strung Out (a prediction effect using different colored strings and wooden beads), and Deep Guilt Aces (a frighteningly fair method for allowing a spectator to cut to and turn over the four aces). Highlights of Volume Two, titled More Tricks!, include Illegal Collections (an amazing solution for the Collectors plot), The Joker Works Overtime (a wonderful variation of the Chicago Opener), and Cups & Balls & Cups & Balls (a routine with a great call back and a very sneaky method). David often uses this latter routine to close his formal close-up shows. Volume Three, titled Enough with the Tricks Already!, features card magic that can be performed impromptu. Be sure to pay attention to Primate (an ungaffed version of Bill Goldman’s Monkey in the Middle), The World’s First Card Trick (an impossible prediction), Dave’s Move a Card, and Four the Hard Way. These DVDs succeed on many levels. David Regal is a fine performer, and his presentations are very entertaining. He is also a very sneaky creator. I guarantee that you are going to get fooled more than once. Best of all, most of his creations are not difficult to perform. Any magician of average ability should have no trouble learning these routines. And don’t forget: David Regal is the man. The David Regal series is the first release from L&L Publishing that is appearing in both videotape and DVD formats. All future releases from L&L will be in both formats. To this I say, “Hurray.” The instant accessibility of any segment of the DVD allows you to
avoid the fast-forward frustrations that accompany the viewing of a magic videotape. The DVDs have a system of menus that allow you to immediately access any of the performances, explanations, or supplemental material on the disc. At the present time the DVD version of the Regal series can only be ordered from L&L Publishing. If you have a DVD player it would behoove you to invest in this format. The Magic of David Regal Volumes 1-3 are some of most enjoyable videos I’ve ever watched. Whether you’re looking for material to add to your repertoire, or you just want to be entertained (and fooled), I think you’re going to get more than your money’s worth. Recommended. (By the way, if you’d like a set of videos autographed by David Regal, you can order them from him at David Regal, 825 Bethany Rd., Burbank, CA 91504. The price is $84.95 postpaid.) Get Real Volumes 1-3 By Todd Lamanske. Each video $30. All three for $80 plus $6 p&h. From Moonbeam Magic, 1609 Park Lane, Kearney, MO 64060. Phone: 816-628-4147. Fax: 816-628-4421. The most important aspect of my development as a magician was my association with Harry Riser. Although we spent hours talking about technique, theory, and naturalness, the most important thing that Harry did for me was to help me develop my internal editor. He helped me understand why certain methods were good while others were no good (NG, in Harry’s terminology). The development of this internal editor was a painful process, and mostly came about by my showing Harry something I had created and Harry saying, “That’s really NG, Mike.” Over time, I learned the difference between a true methodological improvement and a mere cosmetic variation. My time with Harry caused me to set high standards for myself, and to hold others to these same standards. Without having gone through this process it would be difficult for me to evaluate my own creations. Which brings me to this series of three tapes by Todd Lamanske. They have been heavily advertised with full-page ads in this magazine. Recently, Mr. Lamanske has sent tapes to well-known magicians asking for criticism and quotes. Unfortunately, this is something he should have done before putting these tapes on the market. Had he done so, he might have avoided having to read the bad news here. Mr. Lamanske explains that the routines on these videos are ones that he has used professionally for many years, and I have no doubt that this is true. However, what he presents to us are mild personalizations of standard plots, pedestrian presentations that rarely go beyond “the adventures of the props and the hands” (to use Eugene Burger’s phrase), and technique (especially coin technique) that at times caused me to cringe. Volume One begins with Nothing Up My Sleeve, an inferior version of Mark Prines’ Tonight Show Silks, which appeared in Dean Dill’s Intimate Miracles. (Dean performed this trick on the Tonight Show). Mr. Lamanske makes no mention of Prines’ routine. The
technique Mr. Lamanske uses to vanish a silk with a thumb tip is atrocious. Next is Fresh Prints, a variation of Dai Vernon’s Fingerprint Trick. Not only is the Lamanske method a step backward (losing one of the most important features of the Vernon method), but Mr. Lamanske also makes no mention of Vernon. 2-Na Sandwich is an inferior version of Bro. John Hamman’s Signed Card. Dream On is actually Carl Andrew’s Déjà Vu routine. No credit is given to Carl. It just gets worse as we move to other two volumes. Mr. Lamanske’s Chop Cup routine is the Don Alan Chop Cup routine, with additional loads. No mention is made of Don Alan. Hard Eight is John Bannon’s production of an eight ball from a card case. Mr. Lamanske defends his variation by stating that he (Lamanske) vanishes the ball at the end of the trick. This he does by heaving it into a Topit. I’m sorry, but simply ditching the ball at the end does not make this a meaningful variation of John’s trick. Mr. Lamanske also performs the Card Under the Drink and the Card on the Forehead. As I have stated at other times in this column, anybody who can palm a card can get a card under an object once. What makes the trick interesting is trying to do it more than once. Mr. Lamanske offers nothing that is better than previously published information. To be fair, I will mention two routines that I thought had some merit. Mini-Morphosis is a signed coin in Lippencott box routine. It’s clever, but it demands that you use a Topit. Flying Aces is an Ace Assembly that requires a bunch of gaffed cards. It would certainly fool laymen, and might possibly fool magicians. If you are a beginner to close-up magic, it is possible that the material offered here might be of some use, although it would be a big mistake to emulate Mr. Lamanske’s performance style. However, if you are new to close-up there are far better ways to spend your money. You should invest in books that bear the names of Vernon, Bobo, Roth, Giobbi, Wonder, Carney, Burger, and Jennings. Get Real Volumes 1-3 are a waste of your time and money. They are not recommended. Jerry Camaro on the Bottom Deal The Card Magic of Martin A. Nash Volumes 4-5 From A-1 MagicalMedia. Camero Video $29.95. Nash videos $29.95 each, both for $54.95. Postage and handling free in US, Canada, and overseas air. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-8767785. Fax: 916-852-7785. Web site: www.a1magicalmedia.com Curiously, a number of videos explaining methods of false dealing arrived at roughly the same time. Jerry Camaro on the Bottom Deal focuses on only one move. Volume 5 of the Martin Nash series contains information on several different false deals. The Ed Marlo video Seconds, Centers, and Bottoms (reviewed next) also explains many different false deals. Before we look at the videos from A-1, I’d like to offer a gentle and respectful suggestion to anyone out there who is considering doing a videotape on the bottom deal. Be very careful how you use the phrase “absolutely no finger flash.” You might want to actually
videotape yourself doing the deals to see if your left fingers are flip-flopping around. Both the Camaro and the Nash bottom deals display noticeable finger flash. The ad for Jerry Camaro on the Bottom Deal states, “Complete Expert Instruction on the Camaro Bottom Deal.” On the video this consists of exactly three minutes of explanation. Now, to be fair, Jerry does tell you just about everything you need to know in order to do this bottom deal. However, I don’t think that the move should be called “the Camaro Bottom Deal.” Basically, Jerry does a strike bottom deal using Ed Marlo’s Master Grip, a technique that has certainly been around for a long time. Jerry explains how to grip the deck, how to extract the bottom card, how to achieve a rhythmical deal, and how to minimize noise. One important fact he does not mention is this: your success at mastering this type of deal is going to depend on the size of your hand. My hand is too small to grip the deck in the manner explained. If you have very dry hands (as I do), you may experience problems trying to extract the bottom card. Jerry explains 10 effects using the bottom deal. Unfortunately, many of these are simply variations of a basic Stop Effect. (You deal cards, the spectator says stop, and you bottom deal on the last card.) There are some poker deals explained, but I’m not sure that holding out a bunch of cards and then doing deceptive bottoms during the first round of dealing enhances the Marlo-Gardner Poker Deal. Jerry Camaro on the Bottom Deal does deliver information on one type of bottom deal, but you might want to investigate other sources of information before you shell out your $30. Martin Nash explains a wide variety of false deals, multiple shifts, and false shuffles on Volume 5 of his video series from A-1. There is a lot of information presented here, and I think the would-be card expert will find much to work on. Volume Four of the series contains eight card items, including information on the Infinity card and the tabled faro shuffle. Mr. Nash’s mastery of the latter move is otherworldly, and it may be possible to learn it from the video. Of particular interest is a center dealing demonstration that uses the Infinity card. If you wanted people to believe that you were the greatest card handler on earth, this routine would fit the bill. Be aware, that the material on these two videos is for the serious card student only. Edward Marlo: Seconds, Centers, and Bottoms By Ed Marlo. $39.95. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Email:
[email protected] Seconds, Centers, and Bottoms is the name of one of the books of Ed Marlo’s Revolutionary Card Series. (I think these books are still available from Magic, Inc. They are a tremendous value.) On this videotape of the same name we get a chance to see legendary card man Ed Marlo perform many different false deals and passes. The video is a transfer of what looks like home movie-type footage, and the video quality can only be categorized as average. However, the image is clear enough that you can see and understand everything Ed is doing. Be aware that this is not really a teaching tape. Ed demonstrates and in most cases gives a brief explanation of what he is doing, but this tape will be of most value if you already have Ed’s books in your library. Fans of Ed Marlo,
will find this tape to be a real treat and a valuable addition to their video libraries. Of the Ed Marlo tapes that Randy Wakeman has released recently, I found Seconds, Centers, and Bottoms to be the most interesting. The Ultimate Levitation From Splashes Creative Services. $11,000 plus shipping. Email:
[email protected]. Web site: www.splashescreative.com I don’t often get the chance to review an illusion in this column. Bob Kohler suggested that I visit Bob North at Splashes Creative Services and take a look at his Ultimate Levitation. I’m glad I did. This is a seriously clever piece of machinery. You can see a picture of the levitation on page 5 of the January 2001 issue of MAGIC. Unfortunately, the picture does not do justice to the illusion. The levitation is performed on a stage built on a triangular framework. This stage stands 21 inches high and is 78 inches across. The illusion does not need a black backdrop, nor are there special lighting considerations. You can also perform it well in front of the backdrop. The ad copy is slightly deceptive, but I’m not going to tell you why, because that would tip the method. Let me just tell you that it seems impossible that the assistant would rise to height she does, since you can see underneath the illusion and the base stands 22 inches off the floor. Several things about Bob North’s company impressed me on my visit. First was the ingenuity of the design. Second was the commitment to quality control. Each of the levitation units is tested hundreds of times before the illusion leaves the shop. Third, Bob can do custom work, and can modify this illusion to fit your needs. Obviously, this is not cheap, but no quality illusion ever is. If this is a prop you think you can use, you will not be disappointed in The Ultimate Levitation. Contact Bob via email for more information. Say Cheese By Mike Bent. $22.50 plus $2 p&h. From Mike Bent, P.O. Box 79080, Belmont, MA 02479. Email:
[email protected] Here is a wonderfully goofy trick from the wonderfully goofy Mike Bent. The effect is based on Michael Kaznetsis’ Polageist in which an image of a selected card magically appears on a Polaroid photograph. Say Cheese uses the Polaroid Joy Cam compact instant camera. Mike provides you with a variety of images, including playing cards, cheese, UFOs, and pentagrams. It is a simple matter to gaff the camera with one of the images. You then position the spectator in the viewfinder, snap a picture, and when the picture develops there is an extra, eerie image on the photograph. Because of the design of the images you’ll want to steer toward a lighthearted presentation rather than a serious demonstration of psychic ability. (Visualize Uri Geller performing in Toontown.) Simple to do, simple to set-up, and the gaffs are reusable. If the effect appeals, Say Cheese is worth checking out.
The Gambler’s Marked Deck Stealth Linking Pins From Houdini’s Magic Shop. Gambler’s Marked Deck $14.95 plus $3 p&h. Stealth Linking Pins $20 plus $3 p&h. From Houdini’s Magic Shop, 6455 South Industrial Road, Suite L, Las Vegas, NV 89118. Web site: www.houdini.com Here are two items from Geno Munari’s Houdini’s Magic Shop. The Gambler’s Marked Deck is a deck that is marked, stripped, and has a one-way back. The instructions provided explain a simple system for stacking the deck. Two methods are offered for determining the position of any card: a small chart and Walter Gibson’s Card Dial. 100 easy magic tricks are also explained. The Gambler’s Marked Deck is of a decent quality, and the marks are fairly easy to read once you understand the system. However, since the back design does not match any familiar back style, I think this is just a trick for the novice. If you’re in front of real people and you pull this deck out I fear you’ll be greeted with the proverbial, “Are those trick cards?” The Stealth Linking Pins is an all-in-one Linking Pin kit. You get five 3-inch pins, two small black pins, and two bronze pins. The instructions consist of various routines by Han van Senus (which originally appeared in Apocalypse), Karl Norman, Dan Garrett, Jim Hunter, L.V. Lyons, Gerald Kosky, Jim Klayder, and Geno Munari. It is Munari’s routine that gives the trick its name. Apparently, there is a black art principle that can be used with the black pins, although the instructions are not exactly clear about how this works. If you have never done a Linking Pin routine, The Stealth Linking Pins may be a worthwhile investment, since you get all the necessary props, plus a variety of routines to play with. It’s Not Magic, But… I recently picked up a Verve compact disc re-release of an Oscar Peterson album titled On the Town. In the liner notes to the CD, Neil Tesser mentioned “a thirty-something, conservatory-trained, Las Vegas-based pianist with the decidedly non-monomial handle of Mike Jones …[who] has quietly established himself as the logical successor to the stultifying virtuosity of Oscar Peterson…” “Wait a minute,” I thought. “I live in Las Vegas, Mike Jones lives in Las Vegas…I should track this guy down.” I did just that. Mike Jones is superb piano player with a jaw-dropping facility on the instrument. He has three CDs on the Chiaroscuro label. You can find them online at www.chiaroscurojazz.com/catalog.php3. The discs are titled Oh! Look at Me Now, Runnin’ Wild, and Live at Steinway Hall. All are terrific, but you might want to start with the Steinway Hall disc. Mike’s style combines elements of Oscar Peterson and Dave McKenna, and he swings really hard. At the present time Mike plays at the restaurant in the Eiffel Tower in the Paris Hotel. Unfortunately, the piano is not placed for optimal listening pleasure, but it’s worth a visit if you come to Vegas.
(By the way, also in the Chiaroscuro catalog are four CDs by John Costa, who was the piano player on the Mr. Roger’s Neighborhood program. Costa was one of the best jazz piano players who has ever lived, and his discs are a delight.)
July 2001 Dilemma One of the challenges I face when writing the Marketplace column is deciding how much space to allot to any given item. I think that in-depth reviews (such as the reviews of The Linking Ring on CD-ROM or the Don Alan book) can provide valuable information for consumers, but doing these reviews limits the number of products that can appear each month. I’m going to try a compromise: This month you’ll find short reviews of lots of products that have been backlogged. Next month you’ll find longer reviews of several new books, including Jim Steinmeyer’s new edition of The Complete Jarrett, Simon Aronson’s Try the Impossible, several new books of interest to the mentalist, and Punx’s Once Upon a Time. The Joys of Magic By Emil Loew. 8.5 x 11, plastic comb bound. 98 pages. $22.50 postpaid in the US. From Emil Loew, 1120 99th Street, #403, Bay Harbor Islands, FL 33154 Emil Loew has had a long love affair with magic. He was born in the Netherlands in 1910. He was forced to flee his homeland during World War II, and eventually ended up in New York City. He worked a variety of jobs and became acquainted with many of the magicians in New York. Mr. Loew was successful in the business world and he performed magic as a part-time pro. In 1967 he started the Magicians Lecturing Service that brought more than 60 magicians to the United States from overseas. In The Joys of Magic, Mr. Loew recounts stories from his life in magic. At the age of 91 he retains both an enthusiasm for magic, and a fondness for the many friends he has made. Historians will certainly want to add this book to their collections. The book is unfortunately marred by very poor production values. Desktop publishing allows even self-published books to have a professional appearance. Sadly, few of these resources seem to have been used in the production of The Joys of Magic. New Self-Working Card Tricks By Karl Fulves. 6 x 9 softcover. 144 pages. $5.95. ISBN 0-486-41371-3. From Dover Publications, Inc. Available from most bookstores. Web site: www.doverpublications.com. Karl Fulves continues his series of “Self-Working” magic tricks with this new book of easy-to-do card tricks. The 95 tricks are divided into categories such as Impromptu Card Tricks, Tests for ESP, Die-Ceptions With Cards, Tricks With Aces, Rouge Et Noir, and Games of Chance. Joseph K. Schmidt has provided over 100 illustrations. As with his previous books for Dover, Fulves has provided the beginning magician with some excellent material. In addition to his own creations, Fulves has adapted tricks from
such luminaries as Martin Gardner, Stewart James, Jack Avis, J.K. Hartman, Walter Gibson, John Scarne, Joseph Dunninger, Sam Schwartz, and Frank Garcia. The book itself is gaffed to allow you to perform a book test. I own all of the books that Fulves has released through Dover Publications, and I recommend them all. The beginner will find some excellent tricks that require little technical facility, and the more experienced magician will find a wealth of ideas that can be tweaked with the addition of a little “muscle magic.” At $5.95, New Self-Working Card Tricks is an enormous bargain, and should find a place on your bookshelf. CAB 2000 By Dustin Marks. Mac/PC hybrid CD-ROM. $49.95 postpaid when ordered from directly from www.dustinmarks.com. Also available from your favorite magic shop. Dustin Marks is the author of Cheating at Blackjack and Cheating at Blackjack Squared. CAB 2000 contains material from both books, plus new and updated information. You receive a hybrid CD-ROM that is playable on a Mac or a PC. When you put the disc in your CD-ROM drive it autoplays, bringing up an introductory menu. This menu allows you to install a codec that is needed to play the video clips. (Make sure you install this codec, it has no negative effects on your system.) After installing the codec, click on the “Skip Intro” option. You’re not going to miss anything. This brings you to the main menu, offering two choices, Moves and Mockery. The Moves section will be of most interest to magicians. Included are methods of getting cards out of play, hand mucking moves, methods for stacking cards, hole card moves, methods for ringing in coolers, methods for returning cards to play, and miscellaneous moves. The information is presented in Adobe Acrobat format, which provides both text and photographic illustrations. In addition, many of the moves have video clips, so you can actually see the moves in action. The combination of text, illustrations, and video clips makes it easy to understand what’s happening with the moves. (Be aware, however, that this is not really a teaching tape. The moves are demonstrated, but they are not thoroughly explained. Anyone with any card handling ability will be able to figure out what’s going on.) By the way, when you are presented with the main screen, there is a Help File option. Click this before you do anything else. Navigating around CAB 2000 is not particularly intuitive, and the Help File will aid you, especially when you try to navigate back to the main screen. The second half of CAB 2000, titled Mockery, contains interviews, articles, photos, and “stuff.” This is very much a mixed bag of information about gambling and the casino industry. All in all, I found CAB 2000 to be informative and entertaining. If you have an interest in the methods of the casino card cheat, I’m sure you will find this CD-ROM to be of value. The Best of Randy Wakeman Ed Marlo: Thirty-five Years Later
Michael Gallo: The Dynasty Continues From Randy Wakeman. See below for individual prices. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Fax: 815-254-2339. Email:
[email protected]. Here are three more videotapes from Randy Wakeman. The first, titled The Best of Randy Wakeman: Miracles with the Audience in Mind ($29.95 plus $3.50 p&h) contains ten card effects. These are variations of familiar card plots, including Spectator Cuts the Aces, the Jennings Revelation, Devilish Miracle, Card in Wallet (using the Mullica Wallet), Twisting the Aces, The Dream Card, the Clock Effect, and a Multiple Selection/Revelation routine. There are thousands of variations of these plots in print. Should you learn the ones Randy has to offer? Well, that’s a hard question to answer. Randy’s version of the Spectator Cuts the Aces, titled Spectator on Stage, is one of the best versions available. In fact, this method has been published several times in the recent past, and unfortunately Randy has not received the credit he deserved. Randy’s version of the Jennings Revelation is also a little easier than the original. Otherwise, I’m afraid that I don’t consider any of the rest of the material to be improvements, just personalizations. One big problem is that Randy really isn’t a performer. The performances are pedestrian, infused with trite patter lines (example: “I say ‘shiffle’ because I can’t say ‘shuffle”). If you are a fan of Wakeman’s work you may want to add this tape to your collection, but if you have enough skill to perform Randy’s effects you probably already have acceptable versions of these effects in your repertoire. Ed Marlo: Thirty-five Years Later ($35 postpaid) is a videotape of a lecture that Ed gave in St. Louis in 1986. Marlo had not lectured in 35 years, hence the title of the video. The video is one hour long, and can best be considered amateur video. The video quality is acceptable, but there are no close-ups; this was a single, stationary camera shoot. The sound quality is rather poor, the worst thing being that there was a party going on in the room next to the lecture room. You can hear the music pounding through the walls as Ed lectures. This is an all-card-trick lecture, and there are some clever routines, including a sneaky version of the Stop Trick, The Money Sandwich (a version of Elmsley’s Between Your Palms), and Female, a very commercial version of the Fred Trick. In this latter trick a female spectator (let’s call her Mary) is asked to name any card in the deck. The card she names is removed from the deck. The other 51 cards are shown to have names written on their backs. All the names are male names. The card Mary chose is turned over. Not only is it the only card with a female name, it has the name Mary on it. While this version is amazing and memorable, it has a serious drawback. The spectators cannot examine the card with Mary on its back. You should be aware that a few of the effects Ed demonstrates are not explained. (Ed did provide notes for this lecture. They are titled Thirty-five Years Later and you can probably track down a copy.) Ed seemed to be relaxed and in very good spirits during this lecture. (I especially enjoyed the reminiscences of pranks played on customers of the Treasure Chest magic shop.) Fans of Marlo who never had a chance to see him in action will certainly enjoy this tape.
You may be familiar with Michael Gallo through his contributions to such magazines as Richard’s Almanac and Apocalypse. He is a very skillful close-up magician whose coin work is especially good. Michael Gallo: The Dynasty Continues ($29.95 plus $3.50 p&h) presents eight routines that will delight the upper-intermediate close-up worker. Six coin routines are presented. They include Presto Change-o Mike-o (coins change from silver to copper and back with a Chinese coin kicker), Jumpback (a Coins Across routine with a backfire kicker), Splitting the Silver (a silver dollars splits into two halves, then into four quarters), and Backfire Coins Through the Table (the name says it all). Non-coin items include Silent Mike, Mora Mike (a handling of the Balls in the Net, sans net) and Cutting the Aces Plus. Michael Gallo’s material is well constructed, and he performs the routines beautifully. The biggest problem with this video is that the performances were shot in a noisy bar using a single camera. The bar noise almost drowns out Michael’s voice. The explanations were shot in more subdued setting, and you will be able to learn the routines from Michael’s explanations. Michael Gallo: The Dynasty Continues contains material that will certainly appeal to the coin worker. Be aware, however, that some of these routines will require some work. It is a pity, however, that the production values are so poor. Material of this caliber deserves a more professional presentation. Show Off II By Brian Tudor. $25. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 800-853-7403. Fax: 916-853-9494. Web site: www.murphysmagicsupplies.com. Those of you who enjoy flourishes (and who don’t mind some serious practice) will want to take a look at Brian Tudor’s Show Off II, a sequel to Brian’s first flourish tape. The production values have increased, and the material will again bust your knuckles. A problem with this video, however, is that five of the eight items are variations of flourishes that appeared on the first video. However, those that love the flourishy stuff are always looking for new ways to spin those cards around, and Show Off II will certainly fit the bill. The Ultimate Levitation From Splashes Creative Services. $11,000 plus shipping. Email:
[email protected]. Web site: www.splashescreative.com I don’t often get the chance to review an illusion in this column. Bob Kohler suggested that I visit Bob North at Splashes Creative Services and take a look at his Ultimate Levitation. I’m glad I did. This is a seriously clever piece of machinery. You can see a picture of the levitation on page 5 of the January 2001 issue of MAGIC. Unfortunately, the picture does not do justice to the illusion. The levitation is performed on a stage built on a triangular framework. This stage stands 21 inches high and is 78 inches across. The illusion does not need a black backdrop, nor are there special lighting considerations. You can also perform it well in front of the backdrop. The ad copy is
slightly deceptive, but I’m not going to tell you why, because that would tip the method. Let me just tell you that it seems impossible that the assistant would rise to the height she does, since you can see underneath the illusion and the base stands 22 inches off the floor. Several things about Bob North’s company impressed me on my visit. First was the ingenuity of the design. Second was the commitment to quality control. Each of the levitation units is tested hundreds of times before the illusion leaves the shop. Third, Bob can do custom work, and can modify this illusion to fit your needs. Obviously, this is not cheap, but no quality illusion ever is. If this is a prop you think you can use, you will not be disappointed in The Ultimate Levitation. Contact Bob via email for more information. Say Cheese By Mike Bent. $22.50 plus $2 p&h. From Mike Bent, P.O. Box 79080, Belmont, MA 02479. Email:
[email protected] Here is a wonderfully goofy trick from the wonderfully goofy Mike Bent. The effect is based on Michael Kaznetsis’ Polageist in which an image of a selected card magically appears on a Polaroid photograph. Say Cheese uses the Polaroid Joy Cam compact instant camera. Mike provides you with a variety of images, including playing cards, cheese, UFOs, and pentagrams. It is a simple matter to gaff the camera with one of the images. You then position the spectator in the viewfinder, snap a picture, and when the picture develops there is an extra, eerie image on the photograph. Because of the design of the images you’ll want to steer toward a lighthearted presentation rather than a serious demonstration of psychic ability. (Visualize Uri Geller performing in Toontown.) Simple to do, simple to set-up, and the gaffs are reusable. If the effect appeals, Say Cheese is worth checking out. Ricochet! By R. Paul Wilson. $15.00. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 800-853-7403. Fax: 916-853-9494. Web site: www.murphysmagicsupplies.com. For the past couple of months Scotland’s R. Paul Wilson has been visiting the United States. He performed and lectured at the Convention at the Capitol and at the Magic Castle. He lectured here in Las Vegas and also made a mini-tour down the East Coast. If you are attending the I.B.M. convention in Orlando, you’ll have a chance to visit with Paul, as he’ll be dropping by that get together. If you’ve had the chance to watch Paul work during this tour, then you already know about Ricochet, one of the most eyepopping tricks you’ll ever see. Unfortunately, words really don’t do justice to how amazing this trick is.
Here’s what happens. The magician brings out an opaque handkerchief and asks two spectators to hold it by the corners, forming an impromptu platform. The magician removes the aces and the kings from a deck of cards. Only these eight cards are used. The kings are placed face down onto the handkerchief. The magician holds the aces face up. One at a time each ace turns into the king of the corresponding suit. This continues until the magician holds four face up kings. The magician reaches for the four face down cards that rest on the handkerchief and says, “If these are now the kings, then these must be the…” He flips over the face down cards with his right hand. They are the kings! By the time the spectator looks back at the cards in the magician’s left hand they have changed back into the aces. The cards are tossed to the spectators. They can be examined. Ricochet is a variation of Paul Harris’ very popular trick Reset. Paul Wilson offers two different handlings. One handling requires intermediate level sleight-of-hand. The second handling is sleight free. Curiously, both handlings play equally well for a lay audience. This means that regardless of your skill level you can perform this very strong piece of magic. In addition, the clean up is very simple and very deceptive. The spectators have eight genuine cards in their hands at the end, leaving no possibility that the method will be discovered. Ricochet is a really fine trick. It is a fooler for both laymen and magicians. It will require some planning to incorporate it into a series of tricks, but this is always the case when you perform a trick that uses gaffed cards. I had the opportunity to watch Paul perform this on several occasions, and the reaction left nothing to be desired. Ricochet gets my vote as one of the hot card tricks of 2001. Highly recommended. Triple Vision Deja Vu Deck Deep Guilt Aces By David Regal. See below for individual prices. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 800-853-7403. Fax: 916-853-9494. Web site: www.murphysmagicsupplies.com. Three of the strongest tricks in the recent David Regal videotapes (reviewed in last month’s Marketplace) required the use of gaffed decks. Many magicians are reluctant to put in the time and effort to make up such decks. If you fall into that group you’ll be delighted to know that Murphy’s Magic Supplies is now selling Triple Vision, Deja Vu Deck, and Deep Guilt Aces. All three tricks come with the necessary gaffs and complete, well-illustrated instructions. Here are the effects of the three tricks. In Triple Vision ($19.95), the magician realizes that the blue-backed deck he is using is short three cards. The spectators remove three cards from a red-backed deck. These cards are placed into the blue-backed deck. Suddenly, the magician discovers that the three missing blue-backed cards have been in his pocket all the time. These blue-backed cards
are turned face up. They match the three red-backed cards that were selected by the spectators. Absolutely no sleight-of-hand is required. In the Deja Vu Deck ($19.95), a spectator names any of the 52 cards. The magician removes a deck and shows that all the faces are blank. One of the blank-faced cards is removed and placed between the spectator’s hands. The blank card changes into the named selection. Deep Guilt Aces ($15.00) is my favorite effect of the three. A spectator cuts the deck into four piles. The top card of each pile is placed face down in front of each pile. The top cards of the four piles are turned over as the magician discusses what would have happened had the spectator cut one card deeper. The four cards on top of the piles are indifferent cards. The four cards in front of the piles are turned over. They are the four aces. This was one of the tricks on the Regal videos that caused me to instantly hit the rewind button. It fooled me, and it would probably fool you. The deck involved is gaffed to the hilt, so you’re going to have to figure out some type of deck switch if you want to incorporate this trick into a series of card routines. It’s worth the effort though, because the trick looks extremely clean and is a deep mystery. If you own the Regal videos you may want to take a second look at these tricks and decide if you want to go to the trouble to make them up yourself. My guess is that you’ll come to the conclusion that it’s easier just to pick them up from your favorite magic dealer. The three tricks are reasonably priced, they are real foolers, and all are worth your serious consideration. The Ring in the Card Case By Gary Plants. $25 plus $4 p&h. From Gary Plants, 2212 Bay Haven Way, League City, TX 77573. Email:
[email protected]. Web site: http://home.att.net/~cardman1/. Here’s another beautifully made gaff from Gary Plants. Gary has expanded on a Peter Kane idea to allow you to do the following effect. A finger ring is borrowed from a spectator. It vanishes. The magician picks up an empty playing card box that has been sitting on the table since before the trick began. He shakes the box. Something inside the box rattles. The box is cleanly shown on all sides. There are no openings that would allow anything to enter the box. The flap of the box is opened. The borrowed ring is dumped out. In the original Peter Kane idea there was a hole cut in the bottom of the box. A small coin (like a dime) is taped to the inside of the box. This produced a “rattle” noise when the box was shaken. The use of this “rattle gaff” allowed the ring to be loaded into the box after the spectators thought that there was already something in it. (In Erdnase’s words we have changed the moment.) In Gary’s version there is no rattle gimmick, but the box can be cleanly shown on all sides and no opening is visible. Because of the strength of this, Gary believes that no rattle gaff is necessary. If you prefer the pre-load rattle aspect it is easy to tape a coin into Gary’s gaffed box.
Some sleight-of-hand is necessary, in particular you will need a convincing “put” or “take” vanish. I have not yet incorporated this trick into my Houdini Lounge repertoire, but I will tell you that Gary makes very sturdy gaffs, so the card box should function effectively for many performances. (As an aside I should tell you that I am still using the original Magnetized Cards gaff that Gary sent me in October of last year.) Gary provides you with a basic routine, but this is the type of trick that you will want to adapt to your personal mannerisms. The Ring in the Card Box is a beautifully made prop and I recommend it. (Two important notes: Gary can modify the card box to accommodate a left-handed performer. If you do not specifically request a left-handed model you will get one designed for a right-handed person. Also, Gary can only accept checks or money orders. Please do not send him a credit card order.) The Intricate Web of Distraction By Whit Haydn. See below for individual prices. From Tricks of the Trade, Inc., 6213 Sacramento Ave., Alta Loma, CA 91701. Fax: 909-466-4550. Website: www.chefanton.com. The Color-Changing Knives has long been a favorite trick for the close-up magician. The props are familiar to an audience, and can be conveniently carried in a pocket. However, there is a weakness in most Color-Changing Knives routines. As Whit Haydn states, “When you make the knives change color, the audience immediately wants to re-examine them. They suspect that there must be something tricky about those knives. In order to evade the inevitable, ‘Let me see the knife!’ a routine must be carefully constructed to develop either enough momentum, or enough distractions, or both, so that the spectators do not have time to make or even think of such an annoying and logical request.” Whit Haydn developed his knife routine, titled The Intricate Web of Distraction, in the late 1970s. He has performed it hundreds of times in every possible performance venue, from the trade show floor to the Close-up Gallery of the Magic Castle. The routine was originally released to the magic community in 1989. It has now been revised and updated. Whit’s routine is simple and direct. A white knife is removed from the left pants pocket. The spectators examine it. The knife vanishes and reappears in the pocket. The magician now claims that he can make the knife vanish from his right hand. This he does by creating an Intricate Web of Distraction. The knife changes from white to black. The white knife appears in the left hand. The knives change places several times. Finally, the magician does as promised and the white knife vanishes from the right hand. Whit offers this routine in two formats: manuscript form ($10 plus $5 p&h) or video format ($30 plus $5 p&h). In either case you’ll get the complete details, including all the patter and an analysis of the psychology involved. Whit also sells a set of three knives made by Joe Mogar ($75 plus $5 p&h). The knives are well made and handle beautifully.
I like this routine because it is simple to follow, is practical under a variety of conditions, and needs no reset time. It has been honed under fire for more than 20 years. If you are looking for a Color-Changing Knife routine, The Intricate Web of Distraction certainly fits the bill and is worth your serious consideration. Recommended. Pre-View A Bic Too Far Table Hopper’s Coin in Bottle Pass the Parcel By Mark Leveridge. See below for individual prices. From Mark Leveridge Magic, 13A Lyndhurst Road, Exeter EX2 4PA, England. Fax: 01392 435725. Email:
[email protected]. Web site: www.markleveridge.co.uk. England’s Mark Leveridge sent along several new items from his catalog. Pre-View ($20 postpaid) is a card trick with an interesting twist. A spectator removes a card from the deck (free choice). This card is kept face down and is placed into a small envelope. Another card is now selected and noted by the spectator. The magician makes a magical gesture. The deck is spread face up. The card noted by the spectator is no longer in the deck. The envelope is now opened and the card that had been previously placed there is removed. It is the card that vanished from the deck. Pre-View uses a couple of simple gaffs to accomplish its effect. The routine is easy to do and would certainly play well for laymen. Two possible drawbacks are that the selected card is not signed (although the selection process is pretty fair) and that the envelope is in contact with the deck when the first card is placed into it. This effect previously appeared in Mark’s book Forever Flapping ($40 postpaid). The Table Hopper’s Coin into Bottle ($40 postpaid) was designed to overcome some of the problems inherent in performing Coin in Bottle in strolling venues. Mark’s version does not use a beverage bottle, nor does it use a folding coin. The magician brings out a small (2 inches high – 1.5 inches in diameter) pill bottle with a screw-on lid. Opening the bottle he dumps out some coins (a few nickels and dimes and one quarter). The nickels and dimes are replaced in the bottle and the top is screwed on. The quarter is placed in the left hand. The right hand picks up the bottle and strikes it against the left palm. The quarter vanishes. The bottle is opened and the coins are dumped out. The quarter has penetrated the bottle. All the coins are replaced in the bottle, which is capped and put away. (Those who stroll for a living will be happy to know that you are now reset for the next performance.) I understand Mark’s desire to eliminate the use of a large bottle and to avoid the use of a folding coin (which might possibly break in performance), but my vote goes to the more traditional method for Coin in Bottle. Mark’s routine replaces the use of a common item (a beer bottle) for an item that no layman has ever seen (a pill bottle with a weird label on the outside). Some clarity is lost because Mark’s version requires that there be other coins in the bottle. There is also a visual element lost because the spectators do not see the coin enter the bottle. The Table Hopper’s Coin into Bottle may be useful for the strolling magician, but my choice would be to use the traditional method and relegate the trick to those occasions when it is natural to grab an empty bottle off the bar and perform a situationally motivated effect.
A Bic Too Far ($30 postpaid) is an easy manipulation routine in which a miniature Bic lighter appears in a handkerchief. The lighter is placed in a pocket, but reappears in the hank. Another lighter appears. A matchbox appears. One of the lighters appears in the matchbox. Finally, a full-sized Bic lighter appears. Routines of this type are often performed with coins, and the use of the lighters is a novelty. The routine is not difficult but will require some practice to perform smoothly. The routine can be done in close-up or stand-up venues, but because of the small size of the props I think A Bic Too Far would not be suitable for large audiences. If you are looking for a stand-up routine with comedic possibilities, A Bic Too Far would be worth your consideration. Finally, Pass the Parcel ($30 postpaid) is a stage routine for children or adults. Using a series of instructions printed in a plastic-comb bound book, a pre-determined result is arrived at, although it would appear that the results were out of the magician’s control. (The effect is more involved than this, and is much like one of Max Maven’s Mind Games.) This is one of those effects that packs small but plays very big, and it incorporates a lot of audience involvement. Kid show performers should definitely check out Pass the Parcel. For more info on it check out Mark’s web site. Mark also has a new set of lecture notes out called The Serial Thriller Lecture Book. ($16 postpaid.) Most of the material appeared in Goodliffe’s Abracadabra Magazine. The notes contain practical and commercial stand-up and close-up magic. Cupid’s Arrow Liberty Vanish Ashes to Ashes From Amberg Entertainment. See below for individual prices. From Amberg Entertainment, P.O. Box 4663, Springfield, MO 65808. Orders: 417-886-2442. Web site: www.amberentertainment.com. On hand are three new tricks from Amberg Entertainment. Cupid’s Arrow ($19.95 plus $4 p&h) is a trick designed to perform for a couple. The female spectator picks a card and signs the face. The card is replaced in the deck. The top card of the deck is shown to be an indifferent card. The card is turned face down and the male spectator signs the back of it. This card is lost in the deck. Now the magician brings out a small (7 inches long) wooden arrow. One of the spectators inserts the arrow into the front end of the deck. (The action here is similar to finding a card by sliding a butter knife into the deck.) The deck is separated at that point. The cards above and below the arrow are shown. Neither is one of the signed cards. The magician removes the arrow from the deck. Impaled on the end is the card that the woman signed. Turning the card over reveals that the man’s signature is now on the other side. The card is given away as a souvenir. There are other tricks in the literature that involve two signatures coming together. (The best of these is Anniversary Waltz.) Cupid’s Arrow can be performed with ordinary cards, but there are some drawbacks. The handling Mr. Amberg offers is rather cozy, but if you experiment you could probably work out more casual-looking alternatives.
However, there is no way to disguise the fact that the arrow is going a playing card. Every time I tried it I heard a very loud “ripping” noise as the arrow penetrated the card. Finally, when the pierced card is revealed it is obvious that it has been bent in half. The instructions suggest that the card be straightened out before it is displayed to the spectators, but there is no way to completely straighten out a card that has been bent in half. If you are looking for a romantically themed trick, I think there are better alternatives than Cupid’s Arrow. Liberty Vanish ($19.95 plus $4 p&h) is a close-up version of David Copperfield’s vanish of the Statue of Liberty. A 3-inch tall model of the statue is placed between two playing cards. The top of the statue pokes out from above the two cards. The magician removes a small flashlight and shines it on the statue. The cards are removed; the statue is gone. You will need to perform this on a close-up pad, and I have some concerns about angle problems. This trick will require practice. My main objection to Liberty Vanish is that you start dirty and you end dirty. The spectators cannot examine the two cards used to cover the statue, and the handling used to display the cards is furtive and unconvincing. My fear is that if you purchase this trick the Statue of Liberty will end up vanishing into the bottom of your magic drawer. I got off to a bad start with Ted Amberg’s Ashes to Ashes ($27.95 plus $4 p&h). One of props is an Altoids-style metal box that has been painted black. As I examined the box and tried to open it I realized that my hands were turning black. The paint was rubbing off. The effect of Ashes to Ashes is this. A spectator selects a card (forced). She writes the name of the card on a piece of paper. The paper is folded up, placed in an ashtray, and burned. The spectator holds her hands over the smoke that rises from the burning paper. An image of the card appears on the back of one of her hands. There are so many things wrong with Ashes to Ashes that I’m unsure where to begin. The idea of producing an image of a playing card on the back of the spectator’ hand is not Mr. Amberg’s. Michael Weber performed this effect (which I believe was the creation of a Japanese magician) for me in 1984. In that version ashes were rubbed on the spectator’s hand to produce the image. The black box (the one that soiled my hands) contains the rubber stamp and other necessary gimmicks. It is supposed to be some type of matchbox. Not only does it look nothing like a matchbox, it doesn’t look like the type of box anyone would ever carry matches in. The rubber stamp provided was made by shoving a pushpin into a rubber stamp. The instructions tell you to grip this in fingerpalm position. Unless you do this near the base of the fingers, the pushpin is going to show between your fingers. You are supposed to get everything ready while your back is turned and the spectator is writing the name of the card on the paper. In the instructional videotape the camera kindly looks away from the magician while this is going on. (Incidentally, the instructional video is another of those “shot it in my basement with my camcorder” productions that are becoming more prevalent these days.) Considering the fact that you’re going to have to throw away the metal box and remake the rubber stamp so it can be clipped near the tips of the fingers, you’d be better off just
tossing Ashes to Ashes in the fireplace without opening it. Or, better still, just spend your money somewhere else.
August 2001 Brilliance This issue marks the end of Volume Ten of MAGIC magazine. In preparation for the big get-together later this month (and a brief retrospective that will lead off September’s Marketplace column) I have re-read ten years’ worth of review columns. (Those wishing to offer comments concerning my desperate need to get a life may stand in line.) Amid this universe of magic merchandise are a handful of items (mostly books) that shine brilliantly in the firmament. The reason for this luster is intelligence. I’m a sucker for any product that offers proof of an intelligent mind at work. Nothing pleases me more than reading something and then muttering to myself, “Damn, I would never have thought of that.” This month’s column features two brilliant books. They were a pleasure to read and it was a pleasure to write about them. The Complete Jarrett By Guy E. Jarrett and Jim Steinmeyer. 8.5 x 11 horizontal format. Hardbound with silver stamped cover. 288 pages. $65 postpaid in US. (Overseas orders add $10 for postage.) No credit card orders. From Hahne, 514 South Parish Place, Burbank, CA 91506 In a craft that sports more than its share of eccentrics, Guy Jarrett was a five-star character. Jarrett was born in 1881to a long established Virginia family. (Guy’s grandfather fought and died in the Civil War.) As a boy, Guy was attracted to magic, an interest that was probably sparked by seeing Harry Kellar’s show. Guy was also a good student, and he studied exercise and acrobatics. The family moved west. Guy graduated from high school in Holton, Kansas, and the family eventually settled in Ashland, Oregon. In Oregon, Guy joined the Order of Telegraphers and worked as a railroad telegraph operator. The family again relocated, this time to San Francisco (just six months after the San Francisco earthquake). Guy continued his job as a telegrapher, working for several different railroads. It was during this time in San Francisco that Guy Jarrett began his work in magic as a pitchman in a tent illusion show. Guy apparently had magnificent abilities on the bally platform, and during this time he created the prototypes of several of his famous illusions (such as the Bangkok Bungalow). Vaudeville was in its heyday, and many popular magicians played the West Coast theaters. Jarrett met Manuel “The Master of the Mighty Dollar” and Alfred Benzon. He also began an association with T. Nelson Downs, designing several illusions for the well-known coin manipulator. Jarrett served as Downs’ assistant, since several of the illusions were designed to complement Jarrett’s athletic abilities.
Through his connection with Downs, Jarrett was introduced to East Coast magicians, in particular Howard Thurston, who at that time was America’s most respected magician. In the summer of 1912, Jarrett worked at Thurston’s summer home in Cos Cob, Connecticut, building illusions for the upcoming season. Among the illusions suggested by Jarrett were a nine-person production cabinet, titled The Siamese Cabinet, and a sequence of vanishes and productions titled The Bangkok Bungalow. Jarrett only worked one 40-week season with Thurston, and the experience left Jarrett with little respect for “The Greatest Magician the World Has Ever Known.” Jarrett moved to New York, where his work at Clyde Powers’ magic shop allowed him contact with such famous magicians as Dr. Samuel Hooker, Ching Ling Foo, David Devant, and Harry Kellar. Jarrett married Margaretha Gertz Van Dorn, an escape artist who had a successful career as “Minerva, American Queen of Mystery.” The Jarretts moved to California, subsidizing the trip by testing automobile tires. For a few years he made a living by driving a milk truck through the hills of San Leandro. Unfortunately, his relationship with Margaretha disintegrated. They divorced, and Guy returned to New York City. Jarrett’s work in New York City during the early 1920s constituted what he called his “prosperity period.” Jarrett was called upon to produce magical special effects for Broadway stage productions. Guy created the spectacular vanish of Dracula (played by Bela Lugosi) for the production of the same name. This vanish was hailed as one of the great theatrical surprises of the decade. Jarrett also continued producing illusions for magicians, including a version of Sawing Through a Woman for Joseph Dunninger and a Vanishing Automobile for sleight-of-hand magician Manuel. Unfortunately, the popularity of New York theater declined at the end of the 1920s. The Depression and the increased appeal of radio and talking pictures conspired against the legitimate stage and Vaudeville. It was time for Jarrett to move again. This time Jarrett turned up in Chicago. He set up his workshop in a gray stone building at 431 Clark Street, a building that also housed the Ireland Magic Company and Ed Miller’s metalcraft workshop. Jarrett weathered the Depression in his room on Clark Street, making paper mache props and painstakingly handcrafted brass nameplates. He also published his first book, Puttin Tacks on Your Chair, which reflected Jarrett’s ongoing concerns about the Depression. The 1933 Century of Progress Exhibition, celebrating 100 years of Chicago history, also engaged Jarrett’s talents. Jarrett build a peep show for one exhibitor, a mirror effect titled Streets of Paris. In late 1933 Jarrett returned to New York City, once again working as a special effects expert for Broadway shows. There is evidence to suggest that as early as 1928 Guy Jarrett had considered writing a magic book. At that time the book was to be geared toward the general public. Jarrett did not actually start on his book until 1936 and by that time Jarrett had become cynical, with a very negative opinion of magicians. The actual title of Jarrett’s book is a little nebulous. The spine of the book bears the title Jarrett Magic. The title page places the name Jarrett in large bold letters with the title Magic and Stage Craft beneath. Many magicians simply
refer to it as The Jarrett Book. Regardless of the actual title, Jarrett (the titled adopted by annotator Jim Steinmeyer) is one of the most unusual books ever published. Jarrett had purchased a 5 by 8 inch Kelsey cast iron desktop printing press. This type of press was generally designated as a “toy” or “hobbyist” press. As Jim Steinmeyer writes, “[T]he Kelsey press was not far removed from Gutenberg’s original invention. By pulling a handle at one end of the press, two rubber rollers crossed the plate, inking it. The plate then swung against a piece of paper, making the impression.” Kelsey presses were used to print business cards or announcements; Jarrett intended to print his book on this tiny press. This meant printing one page at a time. Because he had a limited amount of lead type, Jarrett planned to write the book as he typeset it. Unbelievably, this is exactly what he did. Steinmeyer describes the process: “First he would fold a number of sixteen page signatures and stack them in his shop. He would then sit down and compose the first page of the book, deciding what he wanted to say, assembling the letters on a stick and then locking them into the press. Stripping away the first sheet from each signature, he would place the folded sheet in place, and print page one 400 times. Then he would break apart the type, clean the ink off it, sort it back into the type case, and begin work on composing page two.” What a mind-bogglingly tedious process! Jarrett worked on his book for the better part of a year. By his own reckoning he handled 582,489 pieces of type to produce 106 pages of text. He added some pages of illustrations and bound the books himself. Copies were ready for sale by the end of 1936. It is not known exactly how many copies of The Jarrett Book were completed and distributed. It is probable that the number did not exceed 200. The book was priced at five dollars, a very high price for the time. Reviews were mixed, and even those reviews that were laudatory left Jarrett unsatisfied. The highest praise came from David Bamberg (Fu Manchu), son of Theo Bamberg (Okito). He wrote, “I realized what a lot of horse sense that man has. His book may be badly written and vulgar; but it is one of the greatest books on illusions ever to be published.” Guy continued to propose illusions for shows and to write political tracts. He moved around the country, eventually moving to Oakland, where, for a while, he lived with his mother and sister. Because of his propensity for dropping out of sight, many thought Jarrett had died. By 1955 Jarrett was living in Hollywood, where he frequented Joe Berg’s shop and spent time with Charlie Miller. He was 74 years old, but still possessed a keen interest in fitness and exercise. A tradition was a photograph taken each year on his birthday showing Jarrett standing on his head among the top branches of a tree. In September of 1969 Jarrett moved to the Brookside Sanitarium in Santa Monica. He died there on May 20, 1972. In 1979, Jim Steinmeyer and Jay Marshall discussed The Jarrett Book in the back of Magic Inc. Jay had expressed a desire to republish the book, and Steinmeyer offered to work on the new edition. Jay’s plan was to completely copy-edit the book, eliminating Jarrett’s misspellings and abbreviations and making the text easily understandable.
Additional material based on Steinmeyer’s research was added. After two years of work, Magic Inc published Jarrett. Which brings us up to the present. The Magic Inc. edition of Jarrett has been out of print for several years. Reflecting on this 1981 edition Steinmeyer writes, “…I felt a bit of guilt; it was as if, for a generation, we had kidnapped Guy Jarrett. We’d dressed him in a rented suit, scrubbed him clean and done our best to make him presentable and accessible for his readers.” For the 2001 edition of the book Steinmeyer felt that a different perspective was needed. Again, in Steinmeyer’s words, “My hope is that there is no longer any doubt about the value of Jarrett’s ideas or the importance of his book…For this reason I have reproduced his book in facsimile (maddening mistakes and all), confining my notes and corrections to the margins. With this edition Guy Jarrett stands before you in his work clothes – the comfortable, individualistic dressing that he originally chose – and The Complete Jarrett is once again, now and forever Guy’s book.” So much for the history lesson, let’s talk about The Complete Jarrett. It is, in a word, magnificent. Since the 1981 edition of Jarrett’s book, a great deal of new information has surfaced, which has allowed Steinmeyer to correct some mistakes, check on some rumors, and attempt to solve a few mysteries. Of particular importance is the fact that some years ago Steinmeyer was contacted by Marilee Anderson, the grandniece of Guy Jarrett. Ms. Anderson graciously shared family archives, allowing Steinmeyer to flesh out the private life of Guy Jarrett. Comparing The Complete Jarrett with the 1981 edition, the amount of supplementary material has doubled. The Complete Jarrett begins with Ten Lessons From Jarrett, ten pearls of wisdom gleaned from the text of Guy’s book. They set the tone for what is to come. Following this are seven biographical chapters that take us from Guy’s birth to 1936 when he composed his book. Next is the Jarrett book itself. The original pages of the book are reproduced (one per page) on either side of the spine of the book. (Remember that The Complete Jarrett is laid out in a horizontal format.) In the margins on either side of these pages are the annotations, and they are extensive and informative. I am completely at a loss when it comes to descriptions of things mechanical. Guy’s text is terse and his original illustrations are almost incomprehensible. Steinmeyer illuminates this information with crystal-clear illustrations and succinct explanations. This supplemental information does not just expand upon Guy’s illusions. For example, a mention of Amac’s Three Card Monte Illusion generates two full pages of historical information, including an illustration of the method and a photograph of Carter the Great performing the illusion. This in-depth annotation continues throughout the book. So, what did Guy Jarrett discuss in his book? You’ll find explanations of such famous illusions as the Twenty-one People Cabinet Production, Sawing a Woman in Two, Sawing an Egg, The Bangkok Bungalow, the Easel – Pedestal, Creo, Walking Out of a Rope Tie, The Water Barrel Escape, The Whirling Tire, The Dracula Vanish, the Vanishing Automobile, The Vanishing Elephant, The Levitation, and the Fishbowl Table. (This latter item is really clever, since the bowl produced is larger than the table it sits on.) Guy’s knowledge of the human body and his desire to produce ordinary looking
props that seemed too small to allow any secret contortions make these illusions marvels of ingenuity. In addition to the illusions Guy also discusses life on the midway and his experience with various “freak show” attractions. He offers his reasons for the decline of Vaudeville, poses some brainteaser puzzles, and even explains some close-up tricks. Of particular interest to me were the stratagems he used for card magic. These could easily befuddle contemporary audiences. When The Jarrett Book originally appeared it generated quite a bit of controversy, mainly because of Guy’s caustic appraisal of magicians, whether famous or non-famous. His criticism of Howard Thurston was particularly harsh. A psychologist would have a field day analyzing the Jarrett/Thurston relationship; Guy seemed to be constantly seeking approval from Thurston, and then complaining bitterly when this approval was not forthcoming. In any case, Jarrett’s opinion of Thurston has to be taken with a grain of salt. Following the text of The Jarrett Book are eight more biographical chapters. (There is actually a small error here. In the body of the book the chapters skip from Chapter Nine to Chapter Eleven, giving the appearance of 16 chapters. There are actually 15 chapters, which are correctly listed in the Table of Contents.) Following this are two very valuable Appendices. The first details Jarrett’s possible sources of inspiration. The second Appendix gives extremely thorough Notes and a useful Bibliography. Every magician should study The Complete Jarrett. As you read through the book, two important messages come through – guiding thoughts that Jarrett applied to all his creations. 1) Magicians should never underestimate the intelligence of their audiences. 2) This intelligence should not be insulted. Failure to heed these guidelines has produced the perception that magic is a performance art suitable only for children. Audiences that encounter a magic show that actually contains intelligence, genuine wit, and a meaningful context are often shocked by the experience. As Jarrett said, “Smart people know it’s hokum: they appreciate good hokum.” The Complete Jarrett is a delight on every level. Not only does Jarrett’s original book offer us marvels of ingenuity, Jim Steinmeyer’s masterful and scholarly annotations flesh out the world of early 20th Century illusions. The Complete Jarrett is a book that I will return to again and again. I give it my highest recommendation. (Two more notes: For more information about Guy Jarrett and his book, read Jim Steinmeyer’s article in the December 2000 issue of MAGIC. Jim would be happy to autograph this book for you. Please so indicate when you order from him at the address above.)
Try the Impossible By Simon Aronson. 8.5 x 11 hardcover with dustjacket. 290 pages. $40 postpaid in US. From Simon Aronson, 2500 North Lakeview, Chicago, IL 60614. Email:
[email protected]. Web site: www.simonaronson.com The Postscript to Simon Aronson’s book The Aronson Approach (1990) contains an insightful analysis of the conditions required to produce in our spectators the sensation of having seen real magic. Here are a couple of important points: “The essence of magic is ‘doing the impossible.’ The ‘doing’ is accomplished by the performer, but the ‘impossible’ must ultimately be supplied by the audience…That one has witnessed the impossible is a conclusion, a judgment, a determination that must be reached by each spectator – and this requires the active participation of a spectator’s senses and his mind…A spectator must first be convinced that he is aware of all that has happened…If the spectator feels he’s missed something, or that you’re ‘quicker than his eye,’ or that something was confusing, then he will not reach the certainty, the absolute conviction, that he knows what happened…There is a world of difference between a spectator’s not knowing how something’s done versus his knowing that it can’t be done.” Simon Aronson is a man after my own heart – he wants to fool people to their bones. He is willing to go to whatever lengths are necessary to accomplish that goal. The methods Simon uses include cleverly concealed mathematical principles, offbeat gaffed cards, sleight-of-hand, intricate stacks, memorized decks, and nimbleness of mind combined with the ability to think on your feet. His routines are designed to bamboozle the most discriminating and intelligent of spectators. It has been six years since we’ve been treated to a large collection of Simon’s material. That’s a long wait, but it was worth it, because his new book Try the Impossible is at hand and it is superb. If you are a fan of Simon’s work you will need no further endorsement from me, in all probability you’ve already purchased the book. For everyone else, I’ll give a detailed rundown of what to expect. Try the Impossible is actually three books in one. There are three large sections, each devoted to a different subject. The focus is card magic, but there is one very fine non-card item in the Postscript of the book. The three main sections are titled UnDo Influence, Eccen-tricks, and Unpacking the Aronson Stack. Let’s take a look at each. UnDo Influence is a procedure that allows the magician to “undo” a series of freely performed spectator actions and then control the spectators’ selected cards to predetermined positions. Simon has explored this type of “cancellation” before in his effect Shuffle-bored, but the UnDo Influence is much more flexible and allows for tricks that require a minimal amount of set-up. In addition, the mathematical underpinnings are well hidden. More importantly, the effects produced do not look like mathematical tricks. Here’s one of the effects possible with the UnDo Influence. Two spectators each cut off a packet of cards and remember the cards on the face of the packets. They replace the packets. During this process the magician never touches the deck. The magician makes a
magical gesture and then spreads the deck across the table. The two Jokers are seen to be face-up in the spread. The magician explains that the Jokers will tell him where the selections are located. He holds both Jokers to his ear and announces that one Joker has whispered the number 18 to him while the other has whispered the number 43. The magician counts down in the deck, removing the 18th and the 43rd cards. They are the two selections. As a kicker, the magician turns over the Jokers. Written on the back of one is a large number 18 and written on the back of the other is a large number 43. The trick just described, titled Prior Commitment, is a simple example of the UnDo Influence concept. The trick is almost completely self-working. At one point the magician handles the cards, but the actions required do not fall under the category of sleight-of-hand. In fact, when you try this trick you’ll probably fool yourself. It does not seem possible that the simple actions involved could control two freely selected cards. Simon discusses seven different effects using Undo Influence, including a remarkable coincidence effect (Divide and Conquer) and Twice as Hard, an effect that requires both a memorized deck and a nimble mind. This latter trick is the kind of thing that most magicians run screaming from, but when I saw Simon perform it I was completely at a loss to explain how it could be accomplished (and I assumed that he was using a memorized deck). Those with the fortitude to tackle this effect will be rewarded with a trick that cannot be reconstructed by either laymen or magicians. Simon devotes a substantial number of pages explaining why the Undo Influence Principle works. Creative people will use this information to devise their own miracles. A smorgasbord of card routines is offered in the Eccen-tricks section. Head Over Heels is a sleight that allows you to bring a card from the middle of the deck to a face-up position second from the top. The move is not difficult and has a variety of applications. O’Aronson Aces (a variation of the O’Henry Aces) and Nosnora Aces (a Reverse Ace Assembly) utilize gaffed cards. I realize that the world probably doesn’t need any more ace assemblies, but Simon’s routines are very sneaky and the gaffs allow for a clean, almost sleight-free handling. In addition, Simon provides patter suggestions that would certainly make these entertaining routines for laymen. (Important note: If you purchase Try the Impossible directly from Simon and mention the “Ace Special Deal,” you will receive a set of the gaffed cards free of charge.) The spelling of the names of playing cards comes under scrutiny in three effects. Simon’s Flash Speller is a simple mnemonic device that enables you to quickly calculate the number of letters in a playing card’s name. This is a great tool for those of us who like to improvise with a deck of cards. Spell It Out combines Simon’s Flash Speller with a simple sleight to produce an effect in which a spectator finds her own card. Breathing Spell is a more elaborate spelling effect, one that would certainly stump your magic pals. Simon offers several two-deck mysteries. My favorite is Two Deck Canasta, a routine that Simon used for many years in his mental act. It elaborates on the Chan Canasta notion of identifying cards that a spectator has placed in his pants pockets. The Aronson version generates a reaction way out of proportion to the work involved. Also in this chapter are two memorized deck routines, Two Beginnings and The Invisible Card. These
routines are stack independent, that is, you can use any memorized stack you are familiar with. Both routines are excellent and both leave the order of the stack intact. (These routines appeared in Simon’s 1999 lecture notes Memories are Made of This.) The Eccen-tricks chapter concludes with two unusual items. The first, Oddly Enough, is a betting game with a completely counter-intuitive method. The second item, Rap-Aceious, offers a reason why so few middle-aged, white, Jewish, attorneys make it big as Rap Artists. Unpacking the Aronson Stack was my favorite section of Try the Impossible, but then again, I have a special interest in this type of material. I have been using the Aronson Stack in my professional work since 1990. I have a great admiration for the memorized deck routines that Simon has published in his previous books, but since most of them destroy all or part of the stack I rarely perform them in the course of an evening’s work. If I have the choice between a routine that keeps the stack intact (or disarranges a minimum number of cards) and a routine that will require restacking the entire deck, I’m going to do the trick with the shortest reset time. Fortunately for all of us, Simon has taken a deeper interest in this “keep the stack intact” branch of memorized deck magic. In addition, he has discovered some amazing properties that were buried in the Aronson Stack itself. While these discoveries will delight those who already use the Aronson Stack, the really good news is that none of the tricks in this section require that you memorize the stack. All that is required is that the deck be arranged in Aronson order. For those of you who have been reluctant to memorize a stack, playing with these tricks may just be the incentive you need. The information in Unpacking the Aronson Stack falls into three categories: Four-of-aKind Productions, Lie Speller Effects, and Odds and Ends. With the cards in Aronson order you can produce the Aces, the Fours, the Jacks, the Sixes, the Nines, the Sevens, the Twos, the Kings, or the Threes. Each production leaves the stack intact. Of course, you would not want to do more than two of these productions during a set. But to me this is the type of information that allows for impressive “jazzing” with a memorized deck. Rather than using these routines as set pieces, I would file them in my memory banks, to be used when a favorable condition arises. This is also the type of information that leads to further exploration and discovery. In Truth-Sayer, Simon has discovered that certain cards of the stack lie in positions that allow you to perform a Lie Speller effect. In other words, a card is selected and returned. The spectator is asked questions about the identity of her card. She may lie or tell the truth in response to these questions, and the magician deals cards off the top of the deck, spelling her answers. In every case the card that falls at the end of the spelling proves whether the spectator was honest or not. At the end of the spelling procedure the selection itself is produced. Two items that fall under the Odd and Ends category are of particular interest. Simon has discovered a method of easily restoring stack order after performing his five-hand poker deal. (If you are unaware of the properties of the Aronson Stack, you should know that there are three sequential poker deals built into the stack. One of these is a five-handed draw poker demonstration in which each player gets a successively stronger hand with
the magician winning with a Royal Flush.) I have never used the draw poker deal built into Simon’s stack for the simple reason that I didn’t want to have to restack 25 cards. With Simon’s method (worked out with Bill Malone) the cards are restacked as you display the hands. By the time the deck goes back in the card case it is in memorized order. The other item that I found of great value is Triple Trick Tip, a method for openly mixing the cards and yet retaining stack order. Try the Impossible concludes with Ringleader, Simon’s excellent handling of Bill Kalush’s Rubber Ringer, and an interview with John Bannon. Unfortunately, Simon is left-handed, and has written up Ringleader as he performs it, making this a bit of challenge for right-handed readers. Try the Impossible is a wonderful book. There are routines that professionals will use (I have already added several of Simon’s tricks to my Houdini Lounge show), there are routines that will fool your buddies at the magic club, and there are routines that will inspire further investigation. Simon Aronson is an excellent writer who has the ability to present complex ideas in a clear, readable way. Simon treats both his subject and his readers with intelligence and respect, and I appreciate that. I should mention a couple of other points before I conclude. Simon has greatly upgraded his production values for Try the Impossible. He has used heavy, glossy paper that reproduces the photographs beautifully. The end papers feature photos of Simon through the years. As Simon wrote to me, “They’re a lighter, more personal touch, certainly amusing, and a reminder not to take myself too seriously.” I also want to mention three people who were very important to the creation of this book: Simon’s friends John Bannon and Dave Solomon, and Simon’s wife Ginny Aronson. These three are not just creative partners, they are honest (and sometimes brutal) critics, and because of their input only the A-material made it into Try the Impossible, which made my job very easy. Time and again I find myself returning to Simon Aronson’s books, and each time I find something clever that I had overlooked (or forgotten about). Try the Impossible is a delight, and I highly recommend it to everyone who enjoys intelligent, diabolically constructed card magic. (Simon accepts checks and money orders, and can also accept PayPal payments through his web site.) Cupid’s Arrow Liberty Vanish Ashes to Ashes From Amberg Entertainment. See below for individual prices. From Amberg Entertainment, P.O. Box 4663, Springfield, MO 65808. Orders: 417-886-2442. Web site: www.ambergentertainment.com. On hand are three new tricks from Amberg Entertainment. Cupid’s Arrow ($19.95 plus $4 p&h) is a trick designed to perform for a couple. The female spectator picks a card and
signs the face. The card is replaced in the deck. The top card of the deck is shown to be an indifferent card. The card is turned face down and the male spectator signs the back of it. This card is lost in the deck. Now the magician brings out a small (7 inches long) wooden arrow. One of the spectators inserts the arrow into the front end of the deck. (The action here is similar to finding a card by sliding a butter knife into the deck.) The deck is separated at that point. The cards above and below the arrow are shown. Neither is one of the signed cards. The magician removes the arrow from the deck. Impaled on the end is the card that the woman signed. Turning the card over reveals that the man’s signature is now on the other side. The card is given away as a souvenir. There are other tricks in the literature that involve two signatures coming together. (The best of these is Anniversary Waltz.) Cupid’s Arrow can be performed with ordinary cards, but there are some drawbacks. The handling Mr. Amberg offers is rather cozy, but if you experiment you could probably work out more casual-looking alternatives. However, there is no way to disguise the fact that the arrow is going through a playing card. Every time I tried it I heard a very loud “ripping” noise as the arrow penetrated the card. Finally, when the pierced card is revealed it is obvious that it has been bent in half. The instructions suggest that the card be straightened out before it is displayed to the spectators, but there is no way to completely straighten out a card that has been bent in half. If you are looking for a romantically themed trick, I think there are better alternatives than Cupid’s Arrow. Liberty Vanish ($19.95 plus $4 p&h) is a close-up version of David Copperfield’s vanish of the Statue of Liberty. A 3-inch tall model of the statue is placed between two playing cards. The top of the statue pokes out from above the two cards. The magician brings out a small flashlight and shines it on the statue. The cards are removed; the statue is gone. You will need to perform this on a close-up pad, and I have some concerns about angle problems. This trick will require practice. My main objection to Liberty Vanish is that you start dirty and you end dirty. The spectators cannot examine the two cards used to cover the statue, and the handling used to display the cards is furtive and unconvincing. My fear is that if you purchase this trick, the Statue of Liberty will end up vanishing into the bottom of your magic drawer. I got off to a bad start with Ted Amberg’s Ashes to Ashes ($27.95 plus $4 p&h). One of props is an Altoids-style metal box that has been painted black. As I examined the box and tried to open it I realized that my hands were turning black. The paint was rubbing off. The effect of Ashes to Ashes is this. A spectator selects a card (forced). She writes the name of the card on a piece of paper. The paper is folded up, placed in an ashtray, and burned. The spectator holds her hands over the smoke that rises from the burning paper. An image of the card appears on the back of one of her hands. There are so many things wrong with Ashes to Ashes that I’m unsure where to begin. The idea of producing an image of a playing card on the back of the spectator’s hand is not Mr. Amberg’s. Michael Weber performed this effect (which I believe was the creation of a Japanese magician) for me in 1984. In that version ashes were rubbed on the spectator’s hand to produce the image. The black box (the one that soiled my hands) contains the
rubber stamp and other necessary gimmicks. It is supposed to be some type of matchbox. Not only does it not look like a matchbox, it doesn’t look like the type of box anyone would ever carry matches in. The rubber stamp provided was made by shoving a pushpin into a rubber stamp. The instructions tell you to grip this in fingerpalm position. Unless you do this near the base of the fingers, the pushpin is going to show between your fingers. You are supposed to get everything ready while your back is turned and the spectator is writing the name of the card on the paper. In the instructional videotape the camera kindly looks away from the magician while this is going on. (Incidentally, the instructional video is another of those “shot it in my basement with my camcorder” productions that are becoming more prevalent these days.) Considering the fact that you’re going to have to throw away the metal box and remake the rubber stamp so it can be clipped near the tips of the fingers, you’d be better off just tossing Ashes to Ashes in the fireplace without opening it. Or, better still, just spend your money somewhere else. It's Not Magic, But… I recently picked up a Verve compact disc re-release of an Oscar Peterson album titled On the Town. In the liner notes to the CD, Neil Tesser mentions “a thirty-something, conservatory-trained, Las Vegas-based pianist with the decidedly non-monomial handle of Mike Jones …[who] has quietly established himself as the logical successor to the stultifying virtuosity of Oscar Peterson…” “Wait a minute,” I thought. “I live in Las Vegas, Mike Jones lives in Las Vegas…I should track this guy down.” I did just that. Mike Jones is a superb piano player with a jaw-dropping facility on the instrument. His newest release is titled Mike Jones in Las Vegas. I had the pleasure of attending one of the recording sessions for this disc, and the music was an absolute delight. Also in attendance at that session was Penn Jillette, who wrote the liner notes for the new CD. (Incidentally, the “jazz friend” mentioned in those notes is me.) Mike Jones has three other CDs on the Chiaroscuro label. You can find all of them online at www.chiaroscurojazz.com/catalog.php3. The discs are titled Oh! Look at Me Now, Runnin’ Wild, and Live at Steinway Hall. All are terrific. Mike’s style combines elements of Oscar Peterson and Dave McKenna, and he swings hard. At the present time Mike plays at the restaurant in the Eiffel Tower in the Paris Hotel. Unfortunately, the piano is not placed for optimal listening pleasure, but it’s worth a visit if you come to Vegas. (By the way, also in the Chiaroscuro catalog are four CDs by John Costa, who was the piano player on the Mr. Roger’s Neighborhood program. Costa was one of the best jazz piano players who has ever lived, and his discs are marvelous.)
September 2001 In the Beginning In the beginning there was Inside Magic, a monthly newsletter published by boyentrepreneur Stan Allen. Each issue of Inside Magic featured a short (about 750 - 1000 words) review column written by Michael Weber. Although the focus of the review column was books, Michael occasionally reviewed videotapes and often offered news of upcoming publications. Michael Weber’s reviews began with the first issue of Inside Magic (January 1985) and continued until the final issue in August of 1991. At that time Inside Magic ceased publication in order to make way for MAGIC magazine, a larger and more elaborate undertaking. The first issue of MAGIC appeared in September of 1991. I was one of the initial subscribers, having been made aware of the magazine by Michael Weber. Michael Weber continued as product reviewer. In that premier issue Weber reviewed Hell Bent, The Sealed Deck, Knotty Knot, The Shiner, Carneycopia, and Smoke and Mirrors. He also cleared up some misinformation concerning a trick called Sign of the Dragon. The first letter to the editor concerning a product review appeared in the second issue of MAGIC. Eugene Burger criticized Weber for being too soft in his review of one of the previous month’s products. In the third issue of MAGIC there was letter from the creator of this trick, who was not too happy with either Weber or Burger. And so it began. Weber’s last column as product reviewer appeared in the July 1993 issue (Volume 2, #11). This was an interesting column, for instead of focusing on current products, Michael offered a selection of some of his favorite magic books. Michael is responsible for two of my favorite lines from MAGIC. In commenting on a highly derivative trick Michael wrote, “There may be some scientific principle behind the basic fact that tricks created in an intellectual vacuum tend to suck.” In a year-end retrospective Michael commented on the fact that Chris Kenner’s trick Three-Fly had been offered for sale in at least three different formats. Weber wrote, “Does buying something over and over again constitute practice?” From August 1993 through November 1993 the product reviews were handled by committee. Offering their opinions were Mac King, Charles Reynolds, Chuck Fayne, Michael Weber, Lance Pierce, Stephen Hobbs, Peter Studebaker, Eugene Burger, Stephen Minch, and Max Maven. In December 1999 two people took over the reviewing chores, Stephen Hobbs and Chuck Fayne. The format was this: either Hobbs or Fayne would write the primary review of the product and then the other would offer a secondary review, thus giving the reader two fairly thorough opinions. In the September 1994 issue a new feature was added. At the end of the review column there was a side bar that contained capsule reviews of products that had appeared in the previous months. Hobbs and Fayne continued as product reviewers until January of 1995. No reviews appeared
from February to April 1995. (For trivia buffs, there was also no review column in the January 1993 issue.) In May of 1995 Mac King and I took over as the product reviewers. The idea was to continue the two-man evaluations begun by Hobbs and Fayne, but to increase the “give and take” of the reviews, ala Siskel and Ebert. We reviewed a whopping four items in that first column, including Roberto Giobbi’s Card College Volume 1 and Burger and Neale’s Magic and Meaning. The first column also placed Mac and me in a very hard position, because we had to give a negative review to Karrell Fox’s book Much Ado About Something. As was to be expected, we received a lot of angry mail concerning this review, and my relationship with Karrell became the first casualty of my life as a reviewer. As I have mentioned in previous columns, the two-man reviewing process was never really successful. Mac bowed out after twelve columns, and I took over the job by myself. There have been several guest reviewers during the past six and a half years. From the start I knew that I was unqualified to review historical books. There was also the question of who would review products that had my name attached to them. My thanks to Elizabeth Warlock, David Charvet, Mac King, Jon Racherbaumer, John Moehring, Cushing Strout, Stephen Hobbs, Brian McCullagh, and Gordon Bean for helping out when necessary. In November of 1996 I introduced the “It’s Not Magic, But…” department, which allowed me to discuss products outside of the world of magic. This is one of my favorite parts of Marketplace, and I continue to receive suggestions from readers. In September of 1997 I started a department called “From the Horse’s Mouth,” in which the authors of books would offer their favorite tricks. In January of 2000 I began listing a summary of each review using a “Pros and Cons” format. Both From the Horse’s Mouth and the Pros and Cons sections faded into oblivion without anyone (myself included) actually noticing, so I doubt that they will be revived. In the past 120 issues of MAGIC the product reviewers have offered opinions on over 1500 books, videotapes, tricks, lecture notes, and miscellaneous items. As staggering as this number is, it is more remarkable to reflect on the fact that this represents only a small portion of the products that were made available to the magic community during that time period. I’m proud to be part of the MAGIC magazine staff, and to share a history with my illustrious predecessors. Regardless of who was doing the reviewing, the goal of Marketplace has always been to provide you with honest and entertaining reviews that will help you make intelligent buying decisions. Once Upon a Time… By Punx. 6 x 9 hardcover. 114 pages. $38 postpaid in US. From I Saw That!, 35 Candle Liteway, North York, Ontario, M2R 3J5, Canada. Fax: 416-665-7377. Web site: www.isawthat.com
Punx was the stage name of Ludwig Hanemann, a German magician whose unique style combined magic with evocative storytelling. As Ariel Frailich writes, “Punx created a new genre: theatrical magic. His performances were highly acclaimed by theatrical critics and he has been equally compared to Mozart and to Hofzinser. He influenced a whole generation of German magicians, including Siegfried and Roy, who quoted his famous line, ‘Don’t call us magicians or conjurors – storytellers would be just right,’ in their souvenir program.” Punx recorded seventeen of his presentations in a book titled Magical Adventures and Fairytales. This book has been long out of print. Ariel Frailich has republished this book under the title Once Upon a Time… Bill Palmer has made a new translation of the original Punx book, and there is addition material, including two routines originally published in Magie, historical material from Palmer and Richard Hatch, and a Foreword by Ted Lesley. Punx fashions fanciful stories to accompany familiar effects: a four ace assembly, the haunted key, the six card repeat, the Chinese compass, a glass penetration, a paddle trick, Dai Vernon’s Cutting the Aces, and others. Although the majority of the routines are geared for close-up performance, there is also material for the stand-up performer. In addition to the fanciful stories, Punx also used interesting and unusual props. Several of these props may have to be specially manufactured if you plan on adding the routines to your repertoire. Following Punx’s original description of each effect are useful notes from Bill Palmer. Since Punx’s style will probably be unfamiliar to younger readers of this magazine, I will mention that his approach is similar to that of Robert Neale. Routines of this nature place unique demands on the performer. I am also unsure whether these routines would play in contemporary close-up venues (such as restaurants, bars, and hospitality suites.) Because of this, the material may be of limited usefulness to the average close-up magician. However, this is not to say that a study of this book will not pay dividends. I’m a firm believer in cloaking my effects with presentations that will engage both the emotions and the intellects of my audience. However, I find that my stories are grounded in reality rather than laced with fantasy. But keep in mind that many approaches are possible, and the one that is best for you is the one that fits your personality, your style, your venue, and your audience. For those seeking out a more theatrical approach to magic, Once Upon a Time… is a valuable resource, and I’m delighted that it is back in print. Peek Performances By Richard Busch. 7 x 10 hardcover with dust jacket. 209 pages. $65 plus $4 p&h in US. (Foreign orders add $6.00). From Magic Inspirations, 3613 W. Clay Street, Houston, TX 77019-3705. Phone: 713-524-0147. Web site: http://members.aol.com/swells4691/index.html
In a marketplace that is dominated by books devoted to card tricks and close-up magic, it is a refreshing change to receive a large, hardcover book devoted to mentalism. Scott Wells’ company Magic Inspirations has released Peek Performances by Richard Busch, a hypnotherapist and psychic entertainer. Experienced mentalists will certainly find much to stimulate their imaginations. Mr. Busch’s focus is the surreptitious gaining of information. This information may be a phrase written on a billet, words on a page of a book, or the identity of a playing card. (Incidentally, the use of the word peek in a magical context can be a little misleading, since it can be used in diametrically opposite situations. In card magic a spectator peeks at a card as the deck is held at the magician’s fingertips. Later the magician can then glimpse the card that the spectator peeked at. In Peek Performances the words peek and glimpse are used interchangeably). Mr. Busch offers several methods for peeking information on billets, including methods that incorporate unusual billet folds. Several book tests are explained, including an intriguing test that uses unprepared books. Mr. Busch also discusses several methods for glimpsing playing cards and a method for peeking the time on a pocket watch. In addition to the peek related material, there are many other mental routines explained, including variations of Ned Rutledge’s File Box, T.A. Water’s No/No, Mark Striving’s Predic-a-Date, and Bruce Bernstein’s Picture Duplication. As I mentioned above, the material in Peek Performances will be most useful to the experienced mentalist. Unfortunately, the value of Mr. Busch’s book is undermined by four factors. First, the layout of the book is horrendous. The extensive use of words (and complete sentences) typed in all capital letters, words underlined for emphasis, and the liberal use of bold-faced type make the book look like a 209-page ransom note. The layout of a book is (to use a computer term) its user interface. The interface of Peek Performances is as unfriendly as it gets. Second, the text would have benefited from judicious editing. Third, more photographs are required. The book uses large photographs to capture the moment of obtaining the peek. But peeks are context sensitive; what happens before and after is extremely important. It would have been more beneficial had we been presented with a series of photographs enabling us to see the actions that surround the actual peek. (There are a few photographs that actually look like jokes, including the worst example of fingerpalming an object that I have ever seen and a fingertip peek technique in which the performer’s forefinger is inserted into the deck up to the middle joint.) Finally, there are some items in the book that are questionable as explained. For example, in Ned Rutledge Hangs Out the wording of the prediction is completely unnatural. (The prediction reads, “I am thinking of the word Richard Busch [word goes here].”) Fortunately, many of these problems can be corrected with a little thought. At $65 Peek Performances is a little pricey in today’s book market. With the flaws mentioned above I am reluctant to give the book an unreserved recommendation. If you are an experienced mentalist who is looking for new ideas it would be in your best interest to use the Internet to seek out a second and third opinion before investing.
Dunninger’s Brain Busters By Joseph Atmore Between Two Minds Too By Walter Pharr and Ned Rutledge. See the review for price information. From H&R Magic Books, 3839 Liles Lane, Humble, TX 77396. Fax: 281-540-4443. Email:
[email protected] or
[email protected]. Web site: www.magicbookshop.com Also of interest to the mentalist are these two new books from H&R Magic Books. The first, Dunninger’s Brain Busters [6 x 9 hardcover with glossy dustjacket, 110 pages, $39 postpaid in US] details more than a dozen of the sensational stunts that Dunninger used to keep his listening audience riveted to their radios. Although author Joseph Atmore was able to obtain actual scripts for the brain busters, the methods used by Dunninger remain unknown. However, offering conjectures as to possible methods are some of the best minds in mentalism, including Max Maven, Banachek, Lee Earle, and Al Mann. Of particular interest is the story of the involvement of David J. Lustig who was not only Dunninger’s promoter, but also his invisible man – an accomplice whose presence was completely ignored but whose covert activities helped Dunninger accomplish miracles. Some may wish that Dunninger’s true methods were revealed in this book, but the real lesson here is how skillful marketing can keep a performer in the limelight for decades. Ned Rutledge was one of mentalism’s premier thinkers. He co-authored two books with J.G. Thompson, Card Party and Between Two Minds. Rutledge’s friend Walter Pharr has released a collection of 13 effects on which he and Rutledge collaborated. The book titled Between Two Minds Too [5.5 x 8.5 softcover, stapled, 51 pages, $19 postpaid in US] focuses on card routines, but there is also a coin trick, an envelope divination, a method for Pseudo-Psychometry, and a rope tie. There’s very clever stuff here. In fact, I modified one of the card items and am using it regularly in the Houdini Lounge. If you have interest in mentalism, both these books are worth your consideration. The Art of Modern Conjuring Mulholland’s Book of Magic The Amazing Dad. All three books available from your local bookstore or amazon.com. See review for price information. At hand are three new magic books geared toward the general public. The first, The Art of Modern Conjuring [5 x 7, 206 pages, $20, ISBN 0-609-60829-0], is a reprint of Professor Henri Garenne’s 1886 text. The book is a charming glimpse into the world of magic as it was performed at the turn of the last century. The promotional material for this book hypes it as if it is a manual for the amateur magician. This it most certainly is not. You probably won’t find anything here that will go into your next show, but you may find it fun to read through it and admire the quaint props.
Mulholland’s Book of Magic [6 x 9, 352 pages, $9.95, ISBN 0-486-41772-7] by John Mulholland is an excellent book for the amateur magician, and I remember it fondly from my youth. There are simple stunts, impromptu magic tricks, card tricks, mental effects, and some terrific effects that require special props. Most of these prop tricks are completely unknown to contemporary magicians and would certainly be worth the effort to construct. At $10 this book is a steal. Finally, The Amazing Dad [7.5 x 7.5, 212 pages, $12.95, ISBN 0-399-52696-X] by Giovanni Livera and Ken Preuss is a handbook of stunts, games, activities, and magic tricks geared to help fathers look like superheroes to their kids. The material in this book seemed like so much fun that I sent a copy to my father. He wrote me out of the will. I guess you can’t go home again. Kid Show Magician’s Notebook By Tony Daniels More Shows! More Money! By C.J. Johnson. See review for ordering information. Books on the business side of magic are appearing more frequently. Here are two more that arrived recently. Kid Show Magician’s Notebook by Tony Daniels contains a wealth of ideas for those who want to make more money as a children’s entertainer. Mr. Daniels discusses marketing, venues, press kits, promotional packages, bookkeeping concerns, and much more. The material is nicely organized and there are many flyers, forms, and give-aways that can be customized to fit your personal needs. The book is reasonably priced and certainly provides information of value. [8.5 x 11, plastic comb bound, 88 pages. $24.95 plus $3.50 p&h. From Tony Daniels, 6525 Hayvenhurst Ave., Van Nuys, CA 91460. Fax: 818-908-9097. Email:
[email protected]] The cover of C.J. Johnson’s More Shows! More Money! states, “This book will pay for itself in 30 days or your money back.” Putting the money-back guarantee on the front cover certainly assuages any trepidation on the part of the potential customer, and Mr. Johnson assures me that the guarantee is real with no questions asked. Topics covered include Positioning Yourself in the Market, Advertising, Copywriting, Direct Mail & Mailing Lists, The Birthday Party Market, Restaurants, School Shows, Fundraisers, and Back of the Room Sales. Mr. Johnson offers practical and useful advice, and with the money-back guarantee I don’t see how you could go wrong. [8.5 x 11, plastic comb bound, 154 single-sided pages. $69.95. From C.J. Johnson, 2555 County Road 281, Leander, TX 78641. Phone: 800-462-4424. Email:
[email protected]. Web site: www.MoreShowsMoreMoney.com.] Child Prestidigitators By Gabe Fajuri Under the Southern Cross: Australian Published Magic Books 1858-2000 By Brian McCullagh. See review for ordering information.
Here are two manuscripts that will be of interest to collectors and historians. Gabe Fajuri explores the world of the prodigy in Child Prestidigitators. Included is information on Chucky Koontz, Roberta Byron, David Bamberg, Baby Yvonne, and Betty Jane Kolar. (An autographed picture of Betty Jane is tipped into the front of the manuscript.) Whether or not any of these performers could actually be classified as prodigies is a matter of conjecture. As Mr. Fajuri writes, “In the world of magic there have been many truly prolific, talented and professional child performers. None of these ‘prodigies,’ however, won lasting fame. Most of them, in fact, dropped out of magic before adulthood. Any fame was fleeting, lasting barely into their teen years, let alone beyond their lifetimes.” Certainly, the accomplishments of these young performers pale in comparison to the child prodigies in the fields of music, mathematics, and chess. However, their stories are fascinating, and they are to be applauded for what they achieved. [8.5 x 11 softcover, stapled. 18 pages. $20 plus $3.50 p&h. Available from H&R books. Address listed above.] Brian McCullagh has assembled a bibliography of magic books published in Australia from 1858 – 2000. Titled Under the Southern Cross, the bibliography encompasses John Henry Anderson’s Magical Grammer (the first book on magic published in Australia) through contemporary authors such as Barry Govan and Ben Harris. As Kent Blackmore writes in the Foreword, “For the casual reader, Under the Southern Cross will appeal because of the commentary and the range of illustrations…For experienced foreign readers, this book will also be of interest because it adds to the existing record of English language publications and makes corrections to some errors in the standard works.” Certainly collectors and historians will find this volume to be a useful addition to their libraries. [8.25 x 11.75 softcover. 103 pages. $45 postpaid in US. From Byron Walker, P.O. Box 3186, San Leandro, CA 94578) Daryl’s Card Revelations Volumes 1-5 By Daryl. VHS: $29.95 each, $135 for the set. DVD: $34.95 each, $150 for the set. Postpaid in US and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com It has been said that if you know 100 ways to control a playing card but only one way to reveal it, then to your spectators it appears as if you know only one card trick. However, if you know one way to control a card and 100 ways to reveal it, then you’ve probably worn out your welcome at every party you’ve ever been invited to. Daryl, the Magician’s Magician, has compiled more than 140 ways to reveal a selected card and has assembled this information on five videotapes (or DVDs). Titled Daryl’s Card Revelations, this material consists of some of the best card tricks of the past 50 years. Included are such classics as Chicago Opener, Skullocation, The Bullet Trick, Dunbury Delusion, Card in the Card Box, The Fingerprint Trick, Triumph, The Gymnastic Aces, Card on the Forehead, Card on the Seat, Rising Cards from Envelope, Card Under the Tablecloth, and Coin Cut. The creators of these fine effects include Frank Everhart,
Richard Himber, Al Baker, Stuart Judah, Harry Lorayne, Bill Simon, Audley Walsh, Larry Jennings, Paul Rosini, Derek Dingle, Peter Kane, Ken Krenzel, Charlie Miller, Dai Vernon, Ronald Wohl, Cy Endfield, Eddie Fechter, Karrell Fox, Ed Marlo, Pete Biro, Bill Severn, Matt Schulien, and Bruce Cervon. (Apparently Bruce got a promotion, for on the video his name appears as Bruce Chevron.) There is an overwhelming amount of high quality material explained in this series. (Three of the items are part of my working repertoire.) Daryl’s demonstrations and explanations are absolutely top-notch, and the production values are up to L&L’s usual high standards. Be aware, however, that the title of this series is not Easy Card Revelations. Although there are a substantial number of effects that require little manipulative ability, there are some tricks that are pretty tough. (For example, Charlie Miller’s Dunbury Delusion requires sequential second deals.) Novice card magicians will find that, once again, someone has made life very easy for them, having spared them the trouble (and the joy) of seeking these tricks out for themselves. Experienced card handlers will probably be familiar with most of the material presented, although you may be reminded (as I was) of some gems that you’ve forgotten. Because of the sheer number of tricks presented in each volume, I suggest that you purchase the DVD version of Daryl’s Card Revelations. Having the ability to instantly skip to whatever trick interests you is a convenience that becomes a comfortable habit. In fact, if you don’t have a DVD player go out and buy one. Right now. I’m not kidding. Just put down the magazine, get in your car, and do it right now. You’ll thank me later. They say a little knowledge is a dangerous thing. Well, Daryl’s Card Revelations series provides you with a lot of knowledge. Please promise that you’ll use your newly acquired powers only for good. Simon Lovell: Man of Danger Volumes 1-3 Simon Lovell Live: The Lemming Unleashed By Simon Lovell. Each video $29.95. From Randy Wakeman, 12362 S. Oxford Lane, Plainfield, IL 60544. Fax: 815-254-2339. Email:
[email protected] Simon Lovell is a wild-and-crazy Englishman who now makes his home in New York. Simon is also a talented performer who is equally comfortable working stand-up or in the trenches of real-world close-up magic. These four videotapes from Randy Wakeman showcase Simon in both the stand-up and close-up arenas. Simon Lovell: Man of Danger is a three-volume videotape series that features Simon behind a bar performing for real people. The emphasis is on card magic. Volume One contains Fingered Number Three (a card transposition), Card to Wallet, The Lemming Ace Exchange, and The Wobbly Wombat (a multiple selection routine that ends with all the selections appearing in Simon’s wallet). Volume Two includes Heartless (an offbeat effect in which the entire centers of the cards disappears), Another Departed Point (a version of Elmsley’s classic Point of Departure), Sleight-of-Tongue, and Paper Roses. Volume Three contains Lovey Dovey Sandwich, Elmsley Cut Elmsley (a version of
Diamond Cut Diamond), The Packed Wallet (a clever idea that allows for a very subtle deck switch), and Who Killed Lilly Longlegs (a story trick ala Sam the Bellhop). Following the performances of each of these sets, Simon explains the routines and then engages in a question and answer session with cameraman Randy Wakeman. During these sessions Simon offers much practical advice on performing magic in the real world. Simon Lovell Live: The Lemming Unleashed features Simon performing a stand-up show at New York City’s Monday Night Magic. The set includes a Cards Across routine, a version of Card in Mouth, a very funny Torn and Not Restored Divorce Decree, and Simon’s hilarious Straightjacket Escape. In addition to the magic there are lots of comedy bits and gags. Simon does not specifically explain the routines performed in this set, rather (in a long interview segment) he discusses the thinking behind the routines. Topics include audience management, pocket management, and routining. As with the close-up tapes, the information here is valuable and well worth considering. Simon has placed no restrictions on how the viewer may use the material presented in these videotapes. This is extraordinary, since this is the material that Simon uses to make a living. However, Simon’s presentations are so carefully melded to his off-the-wall performance character that I cannot imagine anyone else successfully using them. Consequently, it is the thinking behind the routines that will be of most benefit. The routines are certainly strong and commercial, but it will require some serious “retooling” to adapt them to your own performance style. Before moving on, I must mention that these videos were shot with a single camera, in what can most generously be termed “home movie” style. There is a very noticeable high-pitched hum that runs through all four videos. This hum was produced by the video camera and is not a flaw in the duplication process. (I know this because the hum drops out during the opening titles and segues.) Whether this hum bothers you will depend on how sensitive you are to such things. You should also be aware that all four videos were shot in real world settings, so there is some background noise to contend with. Simon Lovell is a pro, and when a pro talks I listen. Those seeking practical advice will certainly find much of value on these videos. Charlie Frye’s Eccentricks By Charlie Frye. $29.95 plus $3.50 p&h. From Charlie Frye, 2712 N. Green Valley Parkway, Suite 246, Henderson, NV 89014. Web site: www.charliefrye.com Charlie Frye is an eclectic performer. He is a juggler, a comedian, and a magician. (As an aside, I should mention that jugglers make the most dangerous type of magician, because they are not afraid to practice. Charlie can nonchalantly toss off some flourishes that make experienced magicians weep.) On Charlie Frye’s Eccentricks Charlie presents some magic tricks, juggling stunts, and sight gags that will be of use to jugglers, stand-up comic, emcees, and magicians. Included are tricks with cards, coins, and billiard balls, a complete Cups and Balls Routine, a Dice Stacking routine, Spoon Bending, and much more. Some of the material will require practice, other bits can be done right away.
Charlie has made every effort to credit the sources of the material he explains. Charlie’s performances and explanations are excellent, and the video is fun to watch. If you want some wacky things to add to your act, Charlie Frye’s Eccentricks may be just what you’re looking for. The Intercessor By Gaetan Bloom. $45 plus $4 p&h in US (foreign orders add $10 p&h). From Imagination Unlimited, 3580 South Polaris, #7, Las Vegas, NV 89103. Orders: 877-9469784. Fax: 702-889-0537. Web site: www.kjmagic.com One of the real downsides of the reviewer job is that every now and then I have to tell you about something that I would really rather keep to myself. Such an item is Gaetan Bloom’s The Intercessor. This gaff allows you to perform the following effect. A card is selected (forced). A corner of the card is torn off and given to the spectator. The remainder of the card is vanished (or destroyed). The card appears in a completely impossible location, limited only by your imagination. The corner held by the spectator is fitted to the card. It matches perfectly. There is no switch of the torn corner. The corner that is torn off the original card absolutely matches the card that is found in the impossible location. Gaetan has been demonstrating and selling The Intercessor at his lectures, but the trick is still relatively unknown to magicians. I got one years ago and kept very quiet about it. You get the gaff plus a manuscript that includes ideas from Juan Tamariz and Michael Weber. Also included is Gaetan’s pet routine. As with almost everything that Gaetan comes up with, The Intercessor is a brilliant idea. Get one before Blaine does it on his next TV special. And now, just forget that I said anything about this. Move along to the next item, there’s nothing to see here. Just move along now. The Wizard By Steve Fearson. $9.95. Available as a download from http://www.downloadmagic.com Here’s a very clever idea from Steve Fearson. The scenario is this. A friend is visiting your house. Your computer is on. Suddenly, a Microsoft Instant Message appears on your computer screen. The message is from The Wizard, and he offers to do a card trick. Your friend selects any playing card (no force). The Wizard instantly names it. The trick can be repeated. This trick is a real fooler and requires no skill on the part of the magician. Included is a great idea from Lee Asher that allows the spectator to do all the work. Steve Fearson markets this trick exclusively through his web site www.downloadmagic.com. You pay for the program with a credit card and immediately download it. The instructions are clear and it ran on my system without a hitch. (You may have to change your screen resolution, but this is a minor and easily restored alteration.) I don’t have any friends, so I haven’t had the chance to try this on anyone, but I think it would play great. Steve has
lowered the price of this item, and for $10 it’s a real bargain. (As with all products provided a digital format, please respect the creators and do not make illegal copies.) Chocolate Surprise! By Dick Bowman. $25 postpaid in US. From Professor’s Higgins’ Magic, 445 Brandywine Drive, Colorado Springs, CO 80906-4848. Email:
[email protected] Here is fun kid’s show trick. The magician shows an empty brown paper bag. He pretends to produce two chocolate bars. He tosses the invisible bars toward the bag. The bars magically arrive in the bag with a corresponding “plunk.” Four more chocolate bars are produced. A child attempts to produce a bar, but the errant bar arrives stuck to the magician’s backside. Finally, two large chocolate bars are produced from the bag. I like the idea of doing a Miser’s Dream type effect with chocolate bars. The thought of producing chocolate at will is certainly one that would appeal to an audience of children. You are provided with all the necessary props and complete instructions. If you are a kid’s show performer Chocolate Surprise! is definitely worth checking out. Bogus Bubble Gum Coils By David Alan. $12 per dozen. From Studio of Magic, 1771 (Rear) Silas Deane Hwy., Rocky Hill, CT 06067. Phone: 860-529-3483. Email:
[email protected] Here’s another cute kid’s show item. The magician invites a group of children on stage and gives each a piece of bubble gum. The magician also takes a piece of gum and all begin chewing. The magician challenges the children to see who can stretch out the gum the farthest. The magician begins to pull on the end of his gum and more than 20 feet of “gum” is pulled out of his mouth. What you’re getting here is a pink mouth coil that is disguised as a piece of gum. The instructions offer suggestions as to the type of gum to distribute to the children. The gaffed gum would certainly pass casual inspection, and the sight of the magician pulling the long strand of gum out of his mouth is very funny. It’s Not Magic, But… If you have problems learning origami from a book you might want to take a look at a new CD-ROM titled Money Folding with Paul Ingram. Mr. Ingram is an experienced paper folder and close-up magician. He teaches 10 money folds, including a shirt, ring, peacock, elephant, duck, church, butterfly, bow tie, boot, and Robert Neale’s Bunny Bill. When you place the CD-ROM into your disc drive the program autoplays, bringing up a menu that allows you to install a video codec (do this first) or play the program. The program itself offers some folding hints and a menu of the various objects. Clicking on the name of an object brings up a video of Mr. Ingram explaining the folding process. It is easy to pause the video as you fold along with the instructions. I believe that the program is only for the PC, but you can contact Mr. Ingram for further information. [25
pounds Sterling. From Paul Ingram, 32 Brynhyfryd Avenue, Rhyl, Denbighshire, North Wales, U.K., LL18 2DB. Email:
[email protected]]
October 2001 The Big Bash The MAGIC Live! convention has come and gone, and for those of us who were both attendees and presenters the effects of severe sleep deprivation linger on. I am sure that you’ll find complete convention coverage elsewhere in this magazine, but I’ll briefly mention aspects of the convention that I found particularly special. The Attendees: About 20 years ago, at one of Joe Stevens’ early Desert Magic Seminars, a group of magicians were discussing a trick. “I’m not sure that this trick really looks good,” mentioned one of the group. “Why don’t we just go over and ask the inventor to do it for us?” I suggested. So we did. And this identical situation occurred several times. Pick a book (or trick) that had been published in the last ten years, and the creator was there. This same scenario occurred at the MAGIC Live! convention. If you had had the foresight to bring The Art of Astonishment volumes with you, you could have had the author, the co-author, and the publisher sign the books. Someone said to me, “I have a question about the Aronson Stack.” I said, Why don’t you just ask Simon, he’s standing right over there.” In one two-hour period of time Mac King, Penn Jillette, Robin Leach, Bill Malone, Jim Steinmeyer, Richard Kaufman, Lance Burton, and Channing Pollock addressed the conventioneers. Stan arranged for a remarkable talent line-up, which enticed a stellar group of magicians to attend the convention. From Aronson to Zarrow, the assembled multitude was a who’s who of magic, and just being in their midst was a rush. Lance and Channing: One of the most memorable moments of the convention was the Lance Burton/Channing Pollock interview segment. Channing was charming, modest, and fascinating, and Lance did a terrific job interviewing him. Finding out the story behind Channing’s cool and aloof stage persona was worth the price of admission. The Museum: Production Assistant Lisa Moore created a charming and astonishing little museum inside the Orleans Hotel. On display were some remarkable items, including Harry Eng’s Impossi-Bottles, the Martin Gardner Domino Portrait, Robert Houdin’s Light and Heavy Chest, and Tim Felix’s incredible Toothpick Art magic tricks. The museum was a small oasis, and many of us spent a lot of time there. Tuesday Night at the Houdini Lounge: This wasn’t actually part of the convention, but a lot of magicians stopped by the Houdini Lounge during their time in Vegas. Tuesday night was special because über-pianist Mike Jones stopped by after his gig at the Restaurant in the Eiffel Tower. Jones plays great all the time, but on this evening he really dug in. Nothing gave me greater pleasure than seeing Bob Kohler, Seth Kramer, and Chris Korn (themselves no slouches when it comes to technical mastery of a craft) watching slack-jawed as Jones tossed off some pianistic pyrotechnics. It was a great night.
I have been to a lot of conventions in the past 24 years, but only a handful stand out. The MAGIC Live! convention was one of the best I’ve ever attended. I’m delighted I was there, and I’m pleased as punch that Stan is going to hold another one next year. (Just kidding.) And now for something completely different. As I examined my Marketplace columns in preparation for the talk I gave at the convention I noticed that I have emphasized reviews of books and videos over reviews of individual tricks. This is probably due to my own prejudice towards books and my belief that books and videos provide more bang for the buck. As a belated mea culpa, this month’s column focuses only on tricks. The Chicago Surprise By Whit Haydn. 8.5 x 11, plastic comb bound. 35 single-sided pages. $20 plus $5 p&h. From Tricks of the Trade, 6213 Sacramento Ave., Alto Loma, CA 91701. Web site: www.chefanton.com. I have long been impressed by Whit Haydn’s abilities as a performer. In recent years I have become impressed by his skills as a writer and a magical theorist. Whit uses all these abilities to fine effect in The Chicago Surprise, a treatise on Whit’s handling of The Chicago Opener. Jim Ryan and Frank Everhart popularized the original trick (hence its name), and Frank Garcia published it in Million Dollar Card Secrets (1972). Because The Chicago Opener packs a wallop and requires only average card handling ability it became an immediate favorite with both professionals and hobbyists. Whit Haydn has turned this trick every way but loose. Whit has not only strengthened the “sell” of this trick, he has added a very important “out,” which I’ll discuss in a moment. The addition of this alternative procedure means that the trick comes to a strong, satisfying, and baffling conclusion no matter what actions the assisting spectator takes. Any of you who have shied away from The Chicago Opener because of a fear of failure will delight in Whit’s handling. For those of you unfamiliar with the trick, here’s what happens. A card is selected from a red-backed deck. The card is returned to the deck. The magician spreads through the deck and a blue-backed card appears. The spectator names his card, the blue-backed card is turned over, and it is the same card. The blue-backed card is placed face down under a salt shaker. Another red-backed card is selected. The blue-backed card is turned over. The face of the card has changed to match the face of the second selection. Whit’s major addition relates to the second phase of the routine, where the blue-backed card changes to match the second selection. That second selection must be forced, and to be completely convincing the card should be forced in the Classic manner. What happens if you miss the force? In the original routine a missed force meant disaster. In Whit’s routine a missed force simply leads to an alternative ending, one that is almost (if not just as) strong as the original ending. Knowing that regardless of the success of the force the
trick will end satisfactorily eliminates all anxiety, and in fact increases the probably that the force will be successful. Whit has not only provided a thorough write-up of his routine, including all the patter and the psychology behind each moment, he has also used The Chicago Surprise as a vehicle to discuss several interesting theoretical points, including essays on The Suspension of Disbelief, Humor, Theater, and Acting, and Patter and Misdirection. I don’t immediately agree with some of Whit’s points, but his essays did what they were meant to do: they started me thinking. Regardless of whether I come around to his point of view, I have begun to evaluate my own approach to magical performance in light of the suggestions he has offered. Even if you never perform The Chicago Surprise you will get your money’s worth from the theoretical information. Whit has also included a bonus routine, his patter for the classic Dai Vernon effect the Brainwave Deck. The Chicago Surprise meets all my criteria for what a superior magic product should be: 1) an audience-tested, professional caliber routine, 2) well written, 3) both handling and theoretical information (in other words, both the “how” and the “why”) is included. Many professionals use Whit’s routine. I’m sure you’re going to want to as well. Red See Passover Ad-Jacent By Simon Aronson. See review for individual prices. Available from Simon Aronson, 2500 N. Lakeview, Chicago, IL 60614. Email:
[email protected]. Web site: www.simonaronson.com. Also available from A-1 MagicalMedia (www.a1magicalmedia.com) or your favorite dealer. Simon Aronson is well known for his four books of high quality card magic. Most magicians associate Simon with the card arrangement that bears his name and for ingeniously constructed card routines that use a normal deck of cards. Less well known are the routines that make use of gaffed cards. Simon has created quite a few of these, and, happily, two of the routines are now available with cards printed by the U.S. Playing Card Company, making them affordable for all. Red See Passover ($20 postpaid in U.S.) is a trick that I have been associated with for more than 20 years. I read it in The Card Ideas of Simon Aronson (1978), had the cards constructed for me, and proceeded to fry both laymen and magicians for several years. Eventually, the cards became soiled and I did not go to the trouble to have another set made. Consequently, it was with great delight that I learned from Simon that the trick was going to be released commercially. Performing it again (it is in my regular rotation at the Houdini Lounge) is like spending time with an old friend. And I’m glad to say that the trick has lost none of its punch; it is a major fooler. The magician brings out two decks of cards – one red-backed, the other blue-backed. The decks are shuffled and 12 blue-backed cards are counted face down onto the table. Twelve red-backed cards are counted onto these. (A spectator can do the counting if so desired.) The red-backed cards are fanned with the faces toward a spectator. The
spectator thinks of one of the red-backed cards. The fan is closed and the cards are placed to the right side of the table. The blue-backed cards are spread, then they are squared and placed to the left side of the table. The magician states that the card that the spectator is thinking of will move from the red cards over to the blue pile. The red cards are picked up and counted. There are only eleven. The cards are fanned in front of the spectator. The card the spectator thought of is no longer there. The pile of blue-backed cards is spread. In the center of the pile is one red-backed card. It is turned face up. It is the thought-of card. For the sake of secrecy I have glossed over a couple of small details, but the effect as described above is exactly the way the spectators will remember the effect. More importantly, the methodological procedure closely simulates the actions of the Magic Ideal. That is, if you could really do the trick (because you have powers of a real magician) it would not look much different from the actions required by Simon’s method. Any trick that accomplishes this correlation is going to be a strong one, because the spectators are going to say to themselves, “How could that possibly happen? He didn’t do anything!” To be fair, I will tell you that I have changed a few aspects of Simon’s handling, and the most important of these changes deals with the turning over of the red-backed card in the blue pile. To achieve a more natural and fluid handling I came up with a move I called the MC Spread Double Lift. This move was published in Workers #2. I will not take up space here detailing exactly how the move is applied. Anyone who is interested can easily figure out the required handling. I should also mention that Simon has updated the handling of Red See Passover. Included in the instructions is a method for cleaning up that allows you to continue using the blue deck for other tricks. I may be unduly prejudiced (since this trick helped to make my reputation) but I think Red See Passover is a terrific trick. Another of Simon’s ultra-sneaky gaffed card effects is Ad-Jacent ($7 postpaid in U.S.), a trick that fooled Dai Vernon. The magician brings out a deck of cards, removes it from the case and tosses aside the advertising card. Two spectators select cards (free choice). The cards are returned to the deck and the deck is shuffled. The deck is ribbon spread face down on the table. One of the spectators is given the advertising card and she inserts it into the deck wherever she desires. The deck is flipped face up. The two cards on either side of the advertising card are the two selections. The method of Ad-Jacent is very clever and makes excellent use of the Theory of Unconscious Assumptions (basically you let the spectators fool themselves). I have not performed Ad-Jacent very often, because the method requires that you perform on a surface that will allow you to cleanly perform a ribbon spread turnover, and I don’t use a close-up pad. However, if that restriction is not a problem for you you’ll find that AdJacent is an easy-to-do, effective fooler. This, That, and the Other
By Brent Braun. $15 plus $1 p&h. From Danny Archer Magic, 303 S. Broadway, B 392, Denver, CO 80209-1511. Fax: 303-355-2013. Email:
[email protected]. Here’s a simple packet trick with a cute plot. The magician displays the four Fours from a blue-backed deck. A spectator picks one of the fours (say the Four of Diamonds). “Okay,” says the magician, “you picked this one.” The cards are counted face down, and the word THIS appears on the back of one of the cards. It is the Four of Diamonds. Pointing to the Four of Hearts, the magician says, “Of course, you could have picked that one.” The cards are counted face down and the word THAT appears on the back of the Four of Diamonds. Similarly, the word OTHER appears on the back of the Four of Clubs. Finally, the magician asks, “Do you know how often people choose the Four Spades? Never.” The Four of Spades is turned over and has the word NEVER on its back. All four cards are turned over, revealing the words on the back of each. The blue backs of the cards have disappeared. This, That, and the Other is easy to do, requiring only an Elmsley Count. Some verbal manipulation is required, since the spectator cannot really nominate any card at the beginning. At the conclusion of the trick the cards can be tossed onto the table but they cannot be examined. If the effect appeals you may find that This, That, and the Other provides a humorous interlude between “heavier” routines. Pat Page’s Three Card Trick By Pat Page. $19.95 postpaid U.S. and Canada. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com Readers with good memories may remember this trick as the Kitson Miracle. Pat Page’s routine is an improved version of a Three Card Monte trick called The Dutch Looper. Over the years Pat has sold thousands of sets of cards. Some years ago Vic Pinto’s Tricka-Tape Company put out an instructional video with a complete explanation of Pat Page’s routine. L&L Publishing has re-released this video, and has included the necessary cards. The routine begins with the magician showing three cards, two black cards and the Queen of Hearts (the cards you receive may differ from these). The Queen is in the middle. The cards are turned face down and a spectator is asked to find the Queen. He picks the middle card and is wrong. This is repeated. The Queen then visibly turns into one of the black cards. A pseudo-explanation is given (this is one of the best moments of the routine). Finally, the Queen vanishes for good, and all three cards are shown front and back. This is a fine routine and a real fooler for both magicians and laymen. It requires very little card handling ability, and thus would be an excellent trick for the novice magician. Pat explains each step very carefully, and the cards provided are well made. There are other gimmicked Three Card Monte routines on the market, but Patrick Page’s Three Card Trick is sneaky and has some very nice moments. It’s worth checking out.
Sharky By Jeff Case. $20 plus $3.50 p&h. From MIM Productions, 9001 Forest Leaf Road, Willow Springs, NC 27592. Orders: 919-639-9837. Fax: 919-639-6850. Email:
[email protected]. Magicians are always on the lookout for new ways to reveal selected cards. Jeff Case’s Sharky not only provides a novel revelation, the spectator is also left with an interesting souvenir. The magician has a card selected from a red-backed deck (forced). The spectator signs the card. The card is lost in the deck. The magician then removes from his pocket a bluebacked card. Affixed to the back of this card is a sticker portraying a cartoon shark holding a fan of cards. The card suddenly changes to a red-backed card; the blue-backed shark card has vanished. Spreading out the deck, the magician discovers the blue-backed shark card in the center. This card has a large “bite” mark in the corner (that is, a portion of the corner is gone, as if it had been bitten off). The blue card is turned over, it bears the spectator’s signature and is given to the spectator as a souvenir. Sharky requires average card handling ability. You are provided with the necessary bluebacked gaff and 36 shark stickers. You will use up a sticker with each performance. Replacement stickers are available. Unlike many effects in which a signed card is altered in some way (burnt, stapled, etc.), Mr. Case’s handling is fairly open and natural in appearance. You are left with a gaffed card in the deck, but this could easily be palmed off if you want to perform more effects. Once you prepare the “bitten” cards (which will take a bit of work, since you have to cut off a corner of each card that will be forced) the trick resets quickly, a factor that will appeal to strolling performers. Action By Justin Hanes. $15 postpaid in U.S. Overseas orders add $5 p&h. From Justin Hanes, P.O. Box 8316, University Station, Portland, OR 97207. Phone: 503-671-9974. The Ambitious Card is a classic routine, one that is in the repertoires of both professionals and hobbyists. If you’re looking for some jazzy new moves to incorporate into your present routine, pick up a copy of Action, a small booklet by Justin Hanes. There are seven nifty sequences offered, and these phases come from Mr. Hanes professional routine. Mr. Hanes writes in a Racherbaumer influenced style, but the instructions are clear and can be followed by anyone with intermediate card handling skills. The card enthusiast will certainly find much of interest in Action. X Oteric Forces The Crazy Man’s Marked Deck From Murphy’s Magic Supplies. See review for individual prices. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 800-853-7403. Fax: 916-853-9494. Email:
[email protected]. Web site: www.murphysmagicsupplies.com.
On hand are two card effects from Murphy’s Magic Supplies. The first, X Oteric Forces by Basil Smith ($15) provides a high tech solution to an old card effect. The magician writes a prediction on a piece of paper. The paper is folded and placed on the table. (While not mentioned in the instructions, I think it would be useful to mark the word “Prediction” on the outside of the folded paper.) The spectator is given the deck. She holds it face down behind her back. She cuts the deck several times. Then she is given the pen that the magician used to write his prediction. (The pen is of the felt-tip marker variety.) The spectator marks a large X onto the back of the top card. She returns the pen to the magician and then cuts the deck several times. The deck is brought forward and is ribbon spread on the table. Pushing through the cards the magician locates the card with the X on its back. The identity of this card matches the prediction that the magician made earlier. Card tricks of this nature are very old, and most often were accomplished by using a pen that had run dry. This meant that the pens had to be switched. With Basil Smith’s method no switch of the pens is necessary, consequently the handling appears very fair and above board. I think X Oteric Forces is clever and the prop provided can be used in other effects. I’m not quite as enthusiastic about Sean Taylor’s The Crazy Man’s Marked Deck ($15). There’s nothing wrong with the trick, but it feels as if it is merely a cosmetic change to an effect that we have seen many times before. The magician brings out a deck, holds it face up, and explains that it is marked using a system invented by an old riverboat gambler. The marks are subtle, but can instantly reveal the value of a card. So saying, the magician cuts the deck several times. Squinting at the face card, the magician announces its identity. This is repeated, and in fact, several spectators read the marks. (Obviously, this whole procedure is played with tongue firmly in cheek, since the magician is looking at the faces rather than the backs of the cards.) Sensing that the spectators are unimpressed, the magician explains that he has made some improvements to the system by adding extra markings to certain cards. The deck is held with the faces toward a spectator and he thinks of any card he sees. He names the card. The card is removed from the deck. When the card is turned over it is discovered that there is a big black value and suit marking on its red back. As a kicker the deck is spread face down. All the cards are blue backed. The patter plot of The Crazy Man’s Marked Deck seems a bit convoluted for my taste, and as I mentioned above the idea of a spectator picking out the only odd-backed card in a deck has been done many times before (often using the same gaffed deck principle as Mr. Taylor uses). However, the deck is nicely made and the trick is completely selfworking, so if the effect appeals it may be worth checking out. Beyond Okito By Bob Solari and Howard Baltus. $55 plus $5 p&h in U.S. (foreign orders add $10 for p&h). From Definitive Magic, P.O. Box 4071, Wayne, NJ 07474-4651. Fax: 877MAGIC-92. Web site: www.definitivemagic.com.
This little item has already generated quite a bit of buzz on the Internet. Basically, Beyond Okito is an Okito Box with an unusual difference. Imagine this: You put four half-dollars in an Okito Box. You do the usual turnover move and steal away the coins. At this point if you wanted to show the box empty you would have to do another turnover move. With the Beyond Okito box you simply lift the lid and the spectators can look down into an empty box. You receive the specially gaffed Beyond Okito box with lid and a normal Okito Box with lid. The lids are interchangeable. The instructions provide you with a variety of moves and two short routines, one with the normal Okito Box, the other with the Beyond Okito box. You should be aware that because of the nature of the construction of the Beyond Okito box the coins are going to rattle slightly as the turnover move is performed. I don’t think this is a big problem, because most magicians give the box a little shake after the move is done to cover any noise. Obviously, the Beyond Okito box cannot be handed out for examination, so you will need to figure out a way to switch boxes if you work for grabby spectators. For the average magician Beyond Okito may be overkill, but I have the feeling that the creative coin guys out there are going to have lots of fun creating new routines with this clever prop. Taste’s Like Chicken Tin Can Telefax Bionic Mnemonic From RC Depot, Inc. See review for individual prices. RC Depot, Inc., P.O. Box 52122, Knoxville, TN 37950. Orders: 800-982-1523. Email:
[email protected]. Web site: www.rubberchickendepot.com. Here are three zany items from the wild and crazy guys at the Rubber Chicken Depot. Steve Hart’s Tastes Like Chicken ($24 plus $5 p&h) lets you do geek magic without offending the folks at PETA. The magician offers to demonstrate the geek magic that was featured at old carnival sideshows. “For your entertainment pleasure,” he announces, “I will now bite the head off a chicken.” As the audience reacts, the magician brings out a rubber chicken and apparently rips the head off it with his teeth. Before the audience can lynch the magician for unusual cruelty to a novelty item the magician quickly reattaches the head, returning the chicken to its pristine state. Obviously, a trick of this nature is not going to be everyone’s cup of tea, but it is a funny gag and in the right hands could generate big laughs. In addition, you can purchase Tastes Like Chicken with an added kicker gag by Cliff James ($29.95 plus $5 p&h). After putting the head back on the chicken the magician states that he had a run-in with the Humane Society. They demanded that the chicken be restored to its original condition. The magician attempts to comply and takes the chicken out of sight behind an open briefcase. A number of grotesque stuffing actions ensue. The magician brings out a white chicken egg. Protruding from a hole in the bottom of the egg are two large rubber chicken legs. This looks hilarious. Tastes Like Chicken comes with all the necessary props and instructions that include other performance possibilities with a rubber chicken.
Professor Putter’s Tin-Can Telefax ($49 plus $5 p&h) is a goofy routine that would play for both adults and children. The magician discusses the tin-can telephones that we made as children. He brings out a set and some by-play ensues. The magician then introduces the latest technology, the Tin-Can Telefax. Rather than being connected by a length of string, each of these cans has an antenna. The magician demonstrates how the cans work by causing a thought-of-card to appear among a group of blank cards. Again, the effectiveness of a trick like this depends on your performing persona. I could never get away with something like this. However, I’m sure that many magicians could, and if the effect appeals you’ll find that the props are well made and the instructions are clear. (For a more detailed description of the effect you might want to track down a copy of the May 1999 issue of The Linking Ring. See pages 92-94.) The final item from RC Depot is not a wacky thing at all, rather it is clever and useful method for verbally coding playing cards. This is, in effect, a two-person code, and can be utilized in many ways, including the classic Call the Wizard trick. The coding method devised by Tom Vorjohan is simple to learn, although it will take practice to perform without your thinking showing. In addition, the coding method can be applied to objects other than playing cards. If you’ve been looking for code system, Bionic Mnemonic ($13 postpaid) is worth your serious consideration. The One with the Trivial Pursuit™ Cards By Mark Elsdon. $30 plus $7.50 p&h. (Use an international money order.) From Mark Elsdon, 28 Ffordd Tudno, Llandudno, Conwy, LL30 1ET, U.K. Mark Elsdon has developed a mental effect that uses familiar objects and is a real fooler. The performer brings out a stack of cards used in the game Trivial Pursuit™. The performer turns his back and the spectator cuts into the stack of cards and takes one out. The spectator looks over the questions on the card and decides on one. The mentalist performs a preliminary test concerning the color of the mentally selected question. He then writes something on a piece of paper. (This is all done with the mentalist turned away from the spectator.) The spectator reads aloud his mentally selected question and the corresponding answer. The paper is opened. The mentalist has written the exact same answer. The cards are handed to another person who cuts and removes another card. He too chooses a question. This time the performer writes nothing down, he simply announces both the category and the answer to the mentally selected question. Mark performed this for me, and he fooled me with it. I have glossed over a few small details in the above description (for the sake of secrecy), but what I have written above is exactly what the spectators are going to remember. The procedure for choosing the cards is very fair, and the two spectators each get a different card. There is some memorization required of the performer, and while the method is not difficult I think it is geared for someone with intermediate experience in mentalism. (I should also mention that even if you guess the method, there is no way that you’re going to make this up for yourself.) If you’re looking for an offbeat and baffling mental effect, The One with the Trivial Pursuit Cards™ fits the bill.
Mark also offers two sets of lecture notes (Eye-popping Magic and Gripping Magic) on a CD-Rom. The notes feature close-up magic with cards, coins, and other objects, and a few mentalism effects. My favorite trick involves a dollar bill and a paperclip that transform themselves into an origami shirt and a tiny clothes hanger. The notes are in Adobe Acrobat format. They are $15 postpaid, and are a bargain at that price. Magic Zone! Party Banner Tape By Jeff Brown. 100 foot roll - $12.95. 500 foot roll - $29.95. 1,000 foot roll - $34.95. From Jeff Brown, 135 W. Second Street, Juneau, AK 99801. Email
[email protected] Here is a terrific idea for the kid’s show performer. Jeff Brown has designed a 3-inch tall, bright yellow, plastic tape that says, “MAGIC ZONE! DO NOT CROSS!” This looks exactly like the tape policemen put up to mark off crime scenes. Many magicians use masking tape or duct tape placed on the floor to delineate where the stage starts when doing children’s parties in the home. Jeff Brown’s tape is not only funny, but it really gets the message across. This is a clever idea and is reasonably priced. Recommended. Terri Rogers’ Top of the Bill The Amazing Hill’s Envelope From Martin Breeze. See review for individual prices. Available from your favorite magic dealer. On hand are two new items from England’s Martin Breeze. Top of the Bill ($17.50) is a routine that was featured in Terri Rogers’ book Top Secrets. The trick is based on the venerable boomerang optical illusion. In Terri’s effect the magician shows two sets of signs. In each set one sign bears the name of Oliver Hardy, the other bears the name of Stan Laurel. The signs change size, depending on whom is getting “top billing.” Eventually, the spectator is left with two signs that are radically different in size. Topological tricks rarely have strong magical kickers, but this trick does. It is also very easy to do. Although the instructions suggest that this effect be performed while seated across from a spectator, no lapping is involved. The trick can be done standing, and the props can be easily carried in a pocket. Top of the Bill is worthwhile for both the strolling pro and the hobbyist. The Amazing Hill’s Envelope ($17.50) is a small pay envelope that allows you to gain secret access to hidden information. For example, if a playing card is placed into the envelope you can immediately ascertain its identity. The envelope can also be used for the classic message reading effect. The spectators can examine the envelope. The trick is a bit pricey, but the envelope can be reused (if you seal it with a small sticker), and it is not something that you are likely to make up yourself. For the working mentalist, The Amazing Hill’s Envelope is worth checking out.
November 2001 Shock Wave I’m writing this column just a few weeks after the tragic events in New York City and Washington, DC. While we were all shocked and outraged, what surprised me the most was how quickly a terrorist act on the East Coast affected the lives of people 3000 miles away. I worked at the Houdini Lounge on Tuesday night, September 11. My plan was to keep a low profile and just play some soft background music. I didn’t even put out table tents. The lounge was full of people who were stuck in Vegas. To my surprise, at least six groups of people came into the lounge and asked for magic. My guess is that they needed something to take their minds off the events of the day, and I was happy to provide that. On Saturday, September 15, the casinos began laying off employees. Nobody wanted to fly, people were canceling room reservations, corporations were canceling conventions. More than 10,000 people were laid off, including some of the bar staff and musicians who are my friends. It was a tense and scary time. Happily, as I write this at the end of September, it appears as if we are returning to business as usual. People are getting back on airplanes, room reservations are increasing, and conventions are rebooking. An enormous number of lives have been affected by these senseless acts. I hope that your days are becoming a bit more peaceful. On a completely different note, this month we catch up on the videos that have been released recently. Next month we’ll finish the year by checking out the books that have been piling up. Herb Zarrow on the Zarrow Shuffle By Herb Zarrow. $34.95 for DVD, $29.95 for videotape. Postpaid in US. From Meir Yedid Magic, P.O. Box 2566, Fair Lawn, NJ 07410. Fax: 201-703-8872. Email:
[email protected]. Website: www.mymagic.com On the back page of issue #346 of The New Phoenix magazine (published by Jay Marshall) was an unassuming sleight titled “Full Deck Control by a Riffle Shuffle.” The sleight was described in a few hundred words, accompanied by four illustrations. In a remarkable moment of understatement, Herb Zarrow, the creator of the shuffle wrote, “The following is a sleight which I developed after considerable work and which I think will be of interest to card men.” The shuffle, which became known as the Zarrow Shuffle, proved to be of considerable interest to both magicians and card hustlers. In his introduction to Dai Vernon’s Revelations, Persi Diaconis wrote, “Zarrow’s shuffle may very well be the single most important practical card move invented since Erdnase.”
Since its appearance in The New Phoenix, many descriptions of the Zarrow Shuffle have appeared in print and on video. Dai Vernon’s handling was described in More Inner Secrets of Card Magic, Karl Fulves published an issue of Epilogue devoted to the shuffle, Roberto Giobbi devotes several pages to the shuffle in Card College Volume 3, and recently video explanations have been offered by both Bill Malone and Dominique Duvivier. One person who has remained taciturn on the subject, is Herb Zarrow, who has published nothing beyond his original explanation of the sleight. (I should mention, however, that Herb has always been extremely gracious when asked for personal help on the shuffle. I remember watching him perform the shuffle at a magic convention in the late 1970s. His execution of the shuffle was otherworldly.) Fortunately for all of us, Herb has succumbed to the persuasive abilities of Meir Yedid, and has recorded his techniques and applications on a DVD titled Herb Zarrow on the Zarrow Shuffle (also available on videotape). In addition to a thorough explanation of the shuffle itself, Herb has tipped techniques and applications that have been held tight for more than 40 years. On the DVD Herb is joined by long-time friends John Mintz and Ronald Wohl. Herb’s teaching method is loose and free form, rather than tightly structured. There is nothing wrong with this, but every now and then important information is given out of order. Because of this you will want to watch this DVD several times. It will also behoove you to take some notes, so you will remember the essential factors that make the shuffle deceptive. As he explains the original shuffle, Herb offers information on speed, cover cards, simulating resistance, cutting sequences, the importance of double hand movements, and one and two shuffle sequences. Herb offers several suggestions that increase the deceptiveness of the shuffle if your audience is watching from a distance. (The front side of the deck is vulnerable when the audience views the shuffle from a distance.) The various shuffle combinations, especially the double cover and two-shuffles and cut sequences, look very good. In addition to the shuffle techniques, Herb demonstrates and explains several effects that incorporate the Zarrow Shuffle. Of particular interest to me were the Cull Stack, in which the performer can both cull cards and stack them in a single operation, and Attraction, a routine that appears to require enormous skill, but is really fairly easy to do. The production values of this DVD are quite good, and the menu system allows you to easily find any of the techniques or the routines. One small quibble, near the beginning of the DVD there is some very loud coughing by one of the participants. This could have easily been muted in the editing process, and I’m a little surprised that it wasn’t. As Herb mentions at the beginning of the DVD, from the standpoint of expert execution it would have been better if this material had been recorded 25 years ago. However, even if Herb’s fingers sometimes fail to move as adroitly as they once did, the information
offered shines through. For anyone who is serious about learning this most valuable of card techniques, Herb Zarrow on the Zarrow Shuffle is a must have DVD. (Incidentally, if you order directly from Meir and indicate that you read about the DVD in MAGIC, you’ll receive a free autographed Herb Zarrow Commemorative FFFF postcard.) The Restaurant Act Twists of Fate By Paul Wilson. Each video $29.95. Both for $54.95. Free postage in US and Canada. From A-1 MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Orders: 800-876-8437. Fax: 916-852-7785. Web site: www.a1magicalmedia.com One thing I admire about Mac King’s act is that it is an act. It has a beginning, a middle, and an end. Its various parts are tied together thematically and there are a huge number of callbacks. As a close-up performer, I’ve never really had an act. I have repertoire that can be combined into various configurations, usually incorporating three routines, that provide a satisfactory opener, middle routine, and closer, but I’ve never sat down and tried to work out an act. Paul Wilson, however, has. Inspired by a lecture given by Steve Hamilton, Paul has taken four effects and structured them into an effective and cohesive close-up act, suitable for restaurants or other strolling venues. On The Restaurant Act, a new video from A-1 MagicalMedia, Paul explains every nuance of this practical and commercial act. Paul’s restaurant act consists of four routines: a vanishing handkerchief routine, a sponge ball routine, an Ambitious Card routine with a Card in Wallet finish, and a Chop Cup routine. The act has several features that will appeal to the strolling performer. At the conclusion of the performance the act is completely reset. You can immediately walk to another table and begin again. The amount of table space required is minimal. In fact, all that is needed is enough space to put down the Chop Cup. If you eliminate the Chop Cup routine the act can be done without a table. This is important for those who work cocktail parties where most of the audience is standing. The act can easily be shortened or lengthened. In fact, Paul offers alternative tricks that he carries with him just in case something goes wrong with one of the four routines that make up the act. Considering the fact that the routines that make up the act are standard ones, you might assume that this video is geared toward the novice close-up performer. Beginners will certainly find much of value here, but experienced performers will also learn a thing or two. Paul’s handlings for these effects are excellent, and his tips, hints, and suggestions can be adapted to your own act. Even if you never perform any of these routines, it is useful to see how a pro works out every detail. (For example, there is a reason behind the color of the sponge balls Paul uses. As an exercise, you might want to figure out the reason before he explains it.) In addition to the restaurant act, Paul also offers valuable suggestions on performing close-up magic in the real world. The only downside of The Restaurant Act is that Paul performs for a group of “laymen” who have obviously seen a lot of magic. How bad is it? At one point Paul brings out his
wallet. An assisting spectator asks, “Does it have a zippered compartment?” I understand that footage was shot in a real restaurant, but for one reason or another this footage was not usable. It is the responsibility of the producer to provide an environment that shows off the artist to his best advantage, and in this case Mike Maxwell really dropped the ball. As I viewed the video it was clear to me that Paul was dismayed that material that usually played very well was getting a lackluster reaction. This is a pity. Both Paul and the purchasers of this video deserved better. A-1 has also released another video of Paul Wilson material titled Twists of Fate. The routines presented here will fool both laymen and magicians. The emphasis is on card and coin magic, although there are two excellent miscellaneous items. Among the card routines are Stealing Second (a second deal demonstration with a double duke kicker), Three Cards Found (a routine that incorporates Paul’s excellent Tabled Double), and Randall Flag (a self-working routine that is a real magician fooler.) The coin routines include Penihook (influenced by Larry Jennings and John Ramsay) and Coin Popper (a visually arresting method for making a coin pop into existence). I’m partial to the two miscellaneous routines. A Darkness Rises is a method for making spirit writing appear. Happily it does not use flaps or the Out-to-Lunch principle. Hot Zone is a dark twist on the standard Torn and Restored Cigarette Paper. Instead of being torn, the cigarette paper becomes the repository for the dreaded Ebola virus. Even though the presentation is played with tongue firmly in cheek, you’ll want to choose your audience carefully for this one. As usual, Paul’s performance and explanations are top-notch, but sometimes the camera fails to capture all the action. In particular, Hot Zone suffers from a camera that is simply too far away. Despite the production limitations, I recommend both these videos. There is information of value to both the novice and the experienced close-up performer. (Some may wonder why I recommend The Restaurant Act video when I have recently responded negatively to videos that also feature standard routines and familiar plots. There are three reasons why I find The Restaurant Act to be worthwhile. 1) Although the plots and props are standard, Paul’s handlings are clever and interesting. 2) Paul has thought deeply about these routines, and the “why” behind each routine is valuable. 3) Paul is one of the finest technicians in magic. You will not go wrong if you choose to emulate what you see.) The Revolutionary Coin Magic of Jay Sankey By Jay Sankey. $30 plus $1.50 p&h. From Jay Sankey, 360-A Bloor Street West, P.O. Box 68589, Toronto, Ontario, Canada M5S 1X1. Email:
[email protected]. Web site: www.jaysankey.com Way back in 1982, Richard Kaufman received a letter from Jay Sankey. Sankey wrote, “I am writing you to see if you are working on any venture at present in which you might be interested in publishing some original and (in my opinion) revolutionary coin concepts
along with some very practical and unique applications.” Kaufman hooked up with Sankey at a Close-up Encounters convention in Rochester, New York. Sankey made a believer of Kaufman, and Richard published a Jay Sankey issue of Richard’s Almanac in 1983. A lot of Sankey material appeared in the Almanac, and Jay and Richard produced several books together. Jay Sankey had a big influence on the close-up magic of the 1980s, but then he faded away, concentrating on his stand-up comedy career. In the last few years, however, he has resurfaced with a vengeance, producing “homebrew” videotapes and several individually marketed effects. His latest effort is an extensive (one hour, fifty minutes) videotape featuring a wide variety of coin magic. Sankey fans will enjoy having all this material available on one tape. Those who are unfamiliar with Sankey’s brand of offbeat magic will find much to keep them amused. There are 38 titled items on The Revolutionary Coin Magic of Jay Sankey. Some of the items are just explanations of coin sleights, but most of the time Jay explains a sleight and then demonstrates a routine that utilizes the sleight. There are some old favorites here, including Cartesian Coins, Pyramid (here titled One by One), Royal Rivet, Slick Splits, and H.P.C. – C.P.H. that originally appeared in Richard’s Almanac. Some items such as the Flying Shuttle Pass, Mexican Jumping Coins, No Jacket Required, and The Messiah Coin Vanish have appeared on recent Sankey videos. (I don’t have copies of the Sankey books, so I can’t check on which routines appear there.) Those worried about repurchasing material they already own should check the Sankey web site for a complete list of the effects on the video. Jay offers a wide variety of material on this video. Some of the routines are quite simple, while others will require some serious practice. There are some tricks that I thought were absolutely great, while others left me cold. Whatever your taste in coin magic, there should be something here that appeals to you. Be sure to take a look at Cartesian Coins, Slick Splits, Plastic Surgery (use a quarter instead of a half dollar and you’ll have a great impromptu-looking routine), Nest Egg, Silver Lining, One by One, Under Wraps (another excellent impromptu trick), Mr. Clean Coins Across, and Ups and Downs. The format of The Revolutionary Coin Magic of Jay Sankey is similar to his other recent videos – a one camera, home-movie shoot, recorded in his apartment. Jay is a wild and crazy guy, and the demonstrations and explanations are often very funny. However, I should warn young readers of this magazine that if they are watching the video in the same room as their parents they should turn the sound down at the beginning of the tape. In his introduction to the video Sankey uses two words that I have never heard on a magic video. There’s nothing wrong with this, but youngsters probably don’t want their parents to be shocked. Although much of this material has appeared in other books or videos, having it assembled in one place is convenient and gives an excellent overview of Jay’s approach to coin magic. As Richard Kaufman wrote in The Collected Almanac, “Jay’s magic
uniquely embodies the necessity of seeing the ideas performed before judging them.” The Revolutionary Coin Magic of Jay Sankey gives you that chance. Recommended. (By the way, because of the large number of items presented, this video would be a prime candidate for conversion to DVD. Hint, hint.) On the Spot By Gregory Wilson. $50 plus $4 p&h. From MagicSmith, 23192 Alcalde, Suite H, Laguna Hills, CA 92653. Fax: 949-452-0763. Email:
[email protected]. Web site: www.magicsmith.com Gregory Wilson is a hot commodity these days. He performed at the MAGIC Live! convention in August, and then 30 days later returned to Vegas to perform at a close-up convention hosted by Danny Archer and Robert Allen. Gregory’s latest offering is On the Spot, a two-video set focusing on impromptu magic, a subject he has explored on an earlier video, Off the Cuff. For those of you who are newcomers to the magic scene I should explain that impromptu magic means that the magician performs his tricks with whatever objects are available. No sponge balls, Okito Boxes, or Chop Cups are allowed. Of course, it is possible to carry gaffs that resemble common objects, thus producing more impossible-seeming effects, but impromptu aficionados prefer to work with just the objects at hand. (Remember, please, that impromptu does not mean unrehearsed. These tricks take just as much practice as the routines that comprise your formal close-up set.) There are two ways to utilize impromptu material. One way is to use these effects when friends ask to see a trick and you are not carrying any magic props. (This has never happened to me, but then again, I have no friends.) The other approach is to incorporate these effects into your formal strolling repertoire, utilizing the objects that you find in your performing venue. This is a very disarming and organic approach, because it appears to the spectators as if you can do magic with anything. Thirteen items are explained on the two On the Spot videos. Gregory begins with ¾ Across, in which three quarters travel from the right hand to the left. (Curiously, this routine is almost identical to Jay Sankey’s Mr. Clean Coins Across.) Ring Fright uses an ancient child’s trick to set up a spectator for the apparent mutilation of her ring. A Questionable Trick is an ungaffed copper/silver transposition. Florida Keys shows you how to magically link and unlink your house key from your key ring. (This trick is not totally impromptu.) Quick Silver is a multi-phased routine in which a coin vanishes and reappears in the magician’s eye, on the spectator’s shoulder, and under the spectator’s watch. While Gregory credits Apollo Robbins for one phase of the routine, he fails to mention that Apollo has been performing a very similarly structured routine for many years. Apollo’s routine, however, is much more thoughtfully constructed than the simple routine Greg presents. The first tape concludes with Glossy Finish (a version of the Ash Trick performed with lipstick) and Head Trip (Greg’s personalization of the Slydini Paper Balls Over the Head).
On the second video you will find Sponge Napkins (a sponge ball routine done with balled up paper napkins), Toll Free (a multiplying coin routine using the Sylvester Pitch), 99 Cents (a vanish of four quarters with a surprise kicker), Recap Revisiting (a reworking of an effect from Off the Cuff), and two pickpocket routines, Playful Pickpocketing and Ticker Taker. On the Spot contains practical, commercial magic, although some of the effects are hardly masterpieces of creativity. (How much imagination does it take to do a sponge ball routine with napkins rather than sponge balls?) The format of the tapes is this: Gregory performs the routines out on the street, for real people in real life locations. He then performs the routine again in a studio setting and then explains the routine. Following this, there is another real life performance of the routine. This is a one-camera production, but the explanations are clear and you will be able to learn from the videos. In the course of the videos Greg explains two utility moves, The All-Around Vanish and The Pitch and Ditch. (These moves were also explained on the Off the Cuff video.) In several routines Greg uses the Pitch and Ditch to clean up after the routine has ended. For this purpose the move works quite well. In one routine he tries to use the move to vanish a coin and he gets busted. I believe there is a lesson here. I would also like to make a quick comment on the pickpocket material explained on these videos. Watch steals are very popular these days. Greg explains how to steal a watch and also explains how to snatch other objects off a spectator. What is not addressed are the implications and consequences of performing this type of “intrusive” material. There is a big difference between performing a pickpocket act on stage and performing one closeup. I am very weary of approaching a table, announcing that I am a magician, and having one of the spectators say, “Keep an eye on your watch and your wallet.” Is the term “magician” now synonymous with “thief”? What is the relationship you want to establish with your audience? Remember, just because you give the watch back doesn’t mean that you didn’t steal it. One more thought: what are you going to say when you return the watch and the spectator tells you, “That’s not my watch. That’s a knockoff. My watch was a genuine Rolex.” I’m not saying that pickpocket effects are good, bad, or indifferent. I’m just asking that you give some thought to what is involved before you add such an effect to your repertoire. So what’s the bottom line? On the Spot contains useful material that is within the abilities of the intermediate close-up performer. Learn a few of these routines and you’ll never be at a loss when someone says, “Hey, you’re a magician. Show us a trick.” Johnny Ace Palmer Trilogy of Magic By Johnny Ace Palmer. Each video $30. From MagicSmith, 23192 Alcalde, Suite H, Laguna Hills, CA 92653. Fax: 949-452-0763. Email:
[email protected]. Web site: www.magicsmith.com
Johnny Ace Palmer has won a lot of awards. He won the Magic Castle’s Close-up Magician of the Year award two years in a row. He won the I.B.M.’s Gold Cups award and the S.A.M.’s Gold Medal award. And he is the only close-up magician who has won the Grand Prix at FISM. He has now released a three-video set titled Johnny Ace Palmer’s Trilogy of Magic. Whether these videos are useful to you will depend on your expectations. Considering Johnny’s success in winning contests and his reputation in the magic world, I was surprised at how little information was actually here. Volume 1 is titled Expressions of a World Champion Magician. If you are planning on entering a magic contest, the information offered on this tape may be of use to you. The tape begins with Johnny performing his award-winning act, which includes the famous Cups and Balls/Baby Chicks routine and the Doves from Lap finale. Johnny then offers advice on how to develop an award-winning act. Of most value here is the recounting of Johnny’s journey to the Grand Prix. He had a goal, he never lost sight of that goal, and he didn’t give up when he didn’t immediately achieve that goal. This dedication and perseverance is admirable and inspirational. Johnny then discusses Style, Material, Timing, Standing Ovation Techniques, and Practice Techniques. The section on Practice Techniques contains some very strange information. In preparing the FISM act, Johnny was obsessed with concluding the production of the Coke bottle (his first effect) at exactly 18 seconds into his act. He never explains why this was important to him, and more importantly, he never explains why this should be important to us. Johnny also suggests practicing the act backwards and practicing the act blindfolded, but he offers these suggestions as if they were something he once read in book. He gives no rationale why these practice methods would be useful. Under the heading of Principles and Concepts Johnny discusses Misdirection, The Rule of Three, Respect, Salad Bar Magic (Improvisation), Multiple Methods, Audience Participation, The Camouflage Principle, and the One Ahead Principle. The discussion of these topics is extremely superficial. The tape concludes with the performance and explanation of several effects: a completely standard Egg Bag routine, several routines that utilize a card force, a routine with three handkerchiefs (for some reason this trick has recently shown up on a lot videos), and a gag you can do with your car horn. Volume 2, titled Magic for Fun and Entertainment, contains ten routines, most of which are completely uninteresting. Five of the routines (Vanishing Bobby Pin, Hocus Pocus Pocket, Mysterious Key, Scotch and Soda, and Travelling Match) are beginner’s tricks that will only be of interest to the novice. Of more interest are three routines that Johnny uses in restaurant situations. For some reason there is no mention of these tricks on the video box. These include a multi-phased coin routine (incorporating various flourishes, a transformation into a finger ring, and a ring and string sequence), a card transposition combined with Card in Shoe (this is explained on the third video), and a Cups and Balls routine. The Cups and Balls routine is very good, and may well be the best item of the three tapes. The routine is direct and to the point, and it has lots of spectator interaction. Seven routines are explained on the third video. Included are: an Invisible Deck routine, Coin Under Watch, Card in Shoe (this is the routine that was performed on the second
video), Coins Through the Table, Card on the Ceiling, Crazy Man’s Handcuffs, and the production of a miniature 7-Up bottle. There is nothing wrong with any of these routines, but then again, there is nothing extraordinary either. With the exception of the Card in the Shoe and the 7-Up Bottle Production these are routines that have been explained many times over in both print and video mediums. Why sell them to us one more time? I think that Johnny Ace Palmer is a good person with a sincere desire to impart information to magicians. Unfortunately, much of the information he offers is superficial and has been presented far more thoroughly by others. If you are thinking about competing in magic contests you may find Volume One to be inspirational. If you are looking for a commercial Cups and Balls routine, Volume Two may be worthwhile. I’m not sure why MagicSmith decided to produce three tapes. There is simply not enough original material to justify the Johnny Ace Palmer Trilogy of Magic. Martin Lewis’ Card Creations By Martin Lewis. $30 plus $3.50 p&h. From Magikraft Studios, 11639 Sandpiper Court, Moreno Valley, CA 92557. Fax: 909-247-1666. Email:
[email protected]. Web site: www.magikraft.com. Martin Lewis offers six card routines and a Chop Cup routine on this new video. With the exception of the first item, The One Hand Boomerang, the card tricks require very little technical ability. The One Hand Boomerang, however, will require some work. A card is selected and returned to the deck. The deck is held in the right hand. The top card of the deck spins up into the air, spirals back down, and is caught in the middle of the deck. The cards above the boomerang card are lifted. The bottom card of this half is the selected card. Other card tricks include a clever method for the Whispering Joker, Eye Opener (a prediction effect with a surprise kicker), Magician’s Poker (a routine that incorporates Martin’s marketed effect Ghost Deal), and Little Switch (a close-up version of Big Switch, in which the wrong card is changed into the right card by means of a light switch). The Chop Cup routine uses a can of peas. Martin explains how to construct the props. The routine is fairly standard, but the prop provides opportunities for comedy. The tricks on Martin Lewis’ Card Creations are not particularly earth shaking, but they are practical and for the most part easy to do. Martin also has a new trick out called the Ghostwriter ($35 plus $3.50 p&h). You take a bar napkin and draw a circle on it with a ballpoint pen. You ball up the napkin and place it on the point of the pen. A spectator holds the pen with the napkin on its tip. A card is selected (forced). The napkin is unfolded. Written within the circle is the name of the selected card.
The pen Martin provides does all the work, and it is a lot of fun to play with. You’ll have to spend some time getting comfortable with the handling, and you’ll need to perform this on a table or a bar. Ghostwriter is a nifty little trick. Working Alone By Danny Archer. $30 plus $3.50 p&h. From Danny Archer Magic, 303 S. Broadway, B 392, Denver, CO 80209-1511. Fax: 303-355-2013. Email:
[email protected]. Danny Archer is a professional magician, a magic dealer, founder of The Magician’s Lecture Network, and one of the organizers of a close-up convention recently held in Las Vegas. Working Alone is a videotape that was shot live at one of Danny’s lectures. The lecture includes five stand-up routines, three close-up routines, and an explanation of the Archer Shuffle (a false in-the-hands riffle shuffle that appeared in MAGIC a few years ago). The stand-up routines include: Balls, a simple manipulative routine in which balls appear, vanish, and change color; Triple Threat, a no-gaff version of Mental Epic; Par for the Course, a prediction effect using a golf scorecard; Magic Jeopardy, an easy (and inexpensive) version of Key-rect; and Outfoxed, a version of the Paul Fox Miracle Gimmick. The close-up routines include: Play it by Ear, a variation on an ancient coin vanish; Lost & Smelled, a funny card discovery; and Barrel of Fun, in which a marked coin is found in a nest of barrels (of the plastic, child’s toy variety). While none of these routines are radically new, they are solid variations that are well within the abilities of the average magician. Danny has also given some thought to the presentations, making it easier for viewers to add these routines to their repertoires. Although the video was shot live, the camera work is good and you will be able to learn from this tape. Pasteboard Animations By Dan and Dave Buck. $30 plus $5 p&h. From Dan and Dave Buck, 16620 S. Creekside Drive, Sonora, CA 95370. Email:
[email protected]. Web site: www.geocities.com/pasteboardanimations/index.html Dan and Dave Buck were part of the close-up show at the MAGIC Live! convention, and they wowed everybody with their card flourishes. These young men do some serious card juggling. Those of you who enjoy flourishes (and flourishy magic) should immediately pick up a copy of Pasteboard Animations. On this video the Buck brothers tip 12 snazzy items, including the legendary Leno Cut that requires the use of both hands and your chin. The tape is a homebrew production and is only 20 minutes long, which makes it a bit pricey in today’s video market. I think that in this case you are definitely paying for information. Dan and Dave have a book (which is currently unavailable) that describes these moves, but in comparing the two I think that video is a better medium when trying to explain the movements of packets of cards through three-dimensional space. Be aware, however, that this is tough stuff and will require serious practice.
The Mystic Craig Video Collection Volumes 1-4 From William McIlhany. $103 postpaid, NTSC only. From William H. McIlhany, P.O. Box 7486, Beverly Hills, CA 90212. Fax: 310-205-7952. Email:
[email protected]. Attendees at the MAGIC Live! convention had a chance to see a lot of movie clips from Bill McIlhany’s collection. (My favorite was a pompous magician performing in front of a group of completely indifferent children.) Bill has now released a four-videotape set of magic filmed by Mystic Craig (William Vagell). This footage was shot in the early 1950s through the mid 1960s and features performances by Bro. John Hamman, Jack Miller, Edward Victor, Peter Warlock, Jack Miller, Clarke Crandall, U.F. Grant, and Kalanag. These are not really teaching tapes, although you can certainly learn from these tapes. What is fascinating is getting the chance to see a performer that you had only read about. My favorite moments include: a very nervous Bro. John Hamman, who, despite his nerves, fooled me at least twice; Clarke Crandall performing his Six Card Repeat Routine from Tarbell; Vernon performing the Coins and Champagne Glass and the Cards to Pocket; and Jack Miller lecturing, who was completely different from how I had imagined him. Having a chance to watch these performers is a great gift, and I know that historians and collectors will find these videos to be a valuable resource. Students of the craft will also enjoy watching young incarnations of their heroes. My thanks to Bill McIlhany for making The Mystic Craig Video Collection available.
December 2001 The Big Stack We wrap up 2001 with a look at books. And I mean a big pile of books. A stack of books more than a foot high. Next month the review column will return to its normal format with a mixture of books, videos, and tricks. By the way, at the end of this month’s column are a few non-book items that were cut from earlier columns. Personal Collection By Harry Lorayne. 6 x 9 hardcover with slipcase. 644 pages. $150 plus $6 p&h in US. From Harry Lorayne, 62 Jane Street, New York, NY 10014 Harry Lorayne’s name is certainly well known in the magic community. His first magic book, Close-up Card Magic was published almost 40 years ago, and it was followed with a succession of books, some featuring Harry’s routines (Deck-sterity, Reputation Makers, Rim Shots, Afterthoughts) others focusing on the magic of other magicians (The Card Classics of Ken Krenzel, Star Quality, Doug Edwards Packs a Wallop). The Magic Book, geared toward the general public, is one of the best beginning magic books available. For twenty years Mr. Lorayne edited and published Apocalypse, a monthly magazine devoted to close-up magic. During this time he also established himself as a memory expert, and he published many books on this subject. At 75, Mr. Lorayne continues to go strong, and his latest book, Personal Collection is a testament to his work ethic. It is a staggering 644 pages long, and sells for a whopping $150. (As Bob Farmer pointed out, that’s $2,000 Canadian.) At the time of this writing there has been considerable buzz on the Internet about Personal Collection, and it is probably on many magicians’ Christmas wish list. Is it worth the dough? That’s a difficult question – one that I will fail to provide a completely satisfactory answer to. In the ads for Personal Collection Mr. Lorayne states that about 200 items are explained, either as titled routines or variations that are discussed in his now famous Afterthoughts sections, which act as postludes to each trick. Harry prefers routines that can be performed with a borrowed deck; consequently you will not need to track down any exotic gaffed cards. However, you will need a deck of cards that is in good condition, because there are several routines that require the use of a faro shuffle, a sleight that is difficult with cards that are not in good shape. Other than the faro shuffle, the technical requirements are not stringent; the intermediate card magician should find little difficulty mastering these routines. Mr. Lorayne’s writing style is well known by now. He conveys technical information clearly, and he is especially good at explaining tricks that are procedurally complex. You should have no problem learning the material from the explanations. I worked through every single routine in Personal Collection with a deck of cards in hand. As I did so I kept a rough tally of the types of effects offered. About 50 of the tricks were card
locations or revelations. Also well represented were four ace revelations and routines that concluded with the production of a Royal Flush. In addition you will find sandwich effects, gambling routines, mental effects, four ace tricks, an Oil and Water routine, and several sleights. (Be aware that my categorization of these effects is loose and not allinclusive. Some routines fall into more than one category – for example, a card location that ends with a Royal Flush production kicker.) With 200+ items described in Personal Collection even a cursory description of the material is impossible. Harry has grouped the routines into chapters, but with chapter titles such as Novel Card Mysteries, Miracle Card Routines, Unique Card Effects, and Incredible Card Stuff, this grouping seems to be completely arbitrary. It might have been more helpful (especially for a reader who is trying to track down a specific type of effect) to have arranged the chapters along thematic lines. As I worked through the routines in Personal Collection, I jotted down the names of routines that I found particularly interesting – a list that encompassed 16 items. Of these 16 tricks there was one that I thought could be immediately added to my performing repertoire. Out of 200 items, this is a disappointingly short list. At the beginning of one effect Harry writes, “I don’t get overly excited over card effects too often. Not anymore. I guess I’ve been around too long, seen too much.” Maybe I’m in the same boat. Most of these routines are variations of tricks from earlier Lorayne books or from Apocalypse. Are these actual improvements? In most cases, I simply wasn’t convinced that the original effect had been improved. Sometimes, the variation was a big step backwards. For example, “Can It Be?” is a variation of Dan Garrett’s “Four Card Reiteration.” (Incidentally, my name is listed in the credits for this trick. It shouldn’t be there. The original trick belongs to Dan Garrett, not me.) I have performed Garrett’s trick for many years and continue to do so. Its effect is pure, uncluttered, and devastating for magicians and laymen. Harry has varied the trick by adding a card revelation and a Royal Flush production kicker. Is this an improvement? I don’t think so. There are several “impossible location” effects that begin with the spectator thinking of a small number, dealing off that many cards, pocketing them, then remembering the card that now lies that number down from the top of the deck. While the subsequent discovery may be puzzling, I think any intelligent spectator is going to suspect that the trick is accomplished by mathematical means. Mr. Lorayne does credit his inspirational sources, although sometimes these sources are a bit vague. There are a couple a credit omissions that I should mention. “Incredibly Sweet Four-Card Change” is similar to Ken Krenzel’s “Slide Under Switch” (Epilogue Special #2), but Krenzel’s move is more natural in appearance. “Swivel, Kick, Push-Up” is Bruce Elliott’s “A Lesson in Magic” (Phoenix #277) with an extra cut. Does adding an extra cut qualify as an improvement? “Two Ambitious” is very similar to Dai Vernon’s “The Trick that Cannot be Reconstructed” (The Vernon Chronicles Volume 2), but the Vernon handling is more elegant. The ads for Personal Collection mention a trick called “What a M-E-S!” – a routine that Harry had planned on marketing separately for $100. Is this trick worth $100? It is based
on Ed Marlo’s “Mexican Solitare” from Ibidem #8. The deck is shuffled and a card is selected (forced). This card is placed aside without revealing its face. The magician deals the deck into four face-up piles. The dealing is done in a haphazardly manner. At the conclusion of the dealing the magician points to one of the piles and announces that he has failed to account for a three and a diamond. The face down card is turned over. It is the Three of Diamonds. The magician then sorts each of the four piles and, surprisingly, each pile contains one card of each value, although the suits are mixed. The deck is assembled, held face down, and again dealt out randomly into four piles. The piles are spread face-up. Each pile contains all thirteen cards of a suit. The deck is assembled and cut by the spectator. The magician names the card that lies fourth from the top of the deck. This is repeated. The deck is given a shuffle (a perfect faro shuffle). Again the magician is able to name the card that lies fourth from the top. The deck is shuffle one more time (another perfect faro shuffle) and the magician shows that he has controlled all four cards of each value together. This is certainly an impressive routine, although one that requires a relaxed venue and an attentive and intelligent audience. Is it worth $100 to you? Possibly, but I honestly don’t foresee many magicians using “What a M-E-S” because it requires both nimbleness of mind and perfect faro shuffles, two things that cause magicians to run screaming into the night. The biggest problem with Personal Collection is the price tag. Back in 1983, Best of Friends Volume 2 (567 pages) sold for $50. Accounting for inflation that book would sell for about $90 today. Personal Collection is 80 pages longer and comes with a slipcase. (By the way, I have not seen the finished product, I’m reviewing the signatures of the book.) Based purely on physical size does this make it worth $150? Possibly, until you consider what else you could purchase for $150 (a list that includes The James File, the complete Card College series, or even two bound volumes of Mr. Lorayne’s own Apocalypse magazine.) I should also mention that Mr. Lorayne has announced that only 750 copies of Personal Collection were printed. There is the possibility that this book will achieve “collector’s item” status and have value on the secondary market.
By the way, before you run to your computer to send an angry letter to the editor, let me mention that I’m a fan of Harry Lorayne’s and I have a fondness for his early books. I really wanted to be knocked out by this new book, and I’m sorry that I wasn’t. $150 is a lot of money for a book of card tricks, and this high price puts pressure on the quality of the material. In a perfect world the marginal material in Personal Collection would have been edited out, leaving a lean, mean, 50+ items that could have sold for $50. (Incidentally, Harry himself admits that several of the items are less than earthshaking.) If you enjoy constructing your own variations you’ll find lots of things to play with. Those seeking real world, performance caliber material will probably find a few routines they can use. But is Personal Collection worth $150 to you? I don’t know. If I had I paid $150 for it I would be disappointed. My suggestion is to be a smart consumer. Use the Internet to get several other opinions. Most importantly, get opinions from magicians who are at the same level of experience that you are. Extending Magic Beyond Credibility By John Booth. 6 x 9 hardcover with dustjacket. 257 pages. $39.95 postpaid in US and Canada (add $7.50 for overseas surface postage). From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com Even a summary recounting of Dr. Booth’s long and multifaceted career would exceed Marketplace’s available space. He is a prolific author whose magical titles include Super Magic Miracles, Magical Mentalism, Marvels of Mystery, Forging Ahead in Magic, Creative World of Conjuring, and Conjurians’ Discoveries. After a very successful career as a nightclub and lecture platform magician Dr. Booth left show business to enter seminary. In 1942 he became an ordained Unitarian minister. In addition to his preaching duties he has written extensively in this field. Dr. Booth was listed in Who’s Who in America, was awarded the Magic Circle’s first John Neville Maskelyne Literary Award (1987), and this year was presented with the Academy of Magical Arts Masters Fellowship. Members of the International Brotherhood of Magicians will certainly be familiar with Dr. Booth’s Memoirs of a Magician’s Ghost column that ran in The Linking Ring for a remarkable 36 years and 9 months. Dr. Booth’s latest (and perhaps final book, if one is to believe the ads) is titled Extending Magic Beyond Credibility. It is a potpourri of new material and essays previously published in The Linking Ring, MAGIC, Genii, and The Yankee Magic Collector. The book covers a wide variety of topics, including pieces on Richiardi, Jr., Kevin James, Todd Robbins, Sylvester the Jester, Howard Thurston, Jay Marshall, and Dai Vernon. There are investigative articles on Houdini’s Hollywood estate and the mythic Indian Rope Trick. Dr. Booth also traces the history of magic with birds, charts the evolution of ventriloquism, offers a brief look at automata, and takes a shot at book reviewers. For me, the most interesting part of this book was learning that Max Malini played the violin…poorly. As Booth writes, “He really hadn’t mastered the fundamental techniques and the results were unhappy. But he either didn’t seem to realize this or did not mind. I felt that he was at an age when further self-discipline to improve any skill was now an
unwelcome hardship. Since life was drawing to a close, why not just enjoy scraping the strings?” Those who have enjoyed Dr. Booth’s earlier works will certainly enjoy this book. It is an easy read and the wide variety of topics make it likely that one or more essays will coincide with your magical interests. I will offer three small quibbles. The first is the use of the term “conjurian,” coined by Dr. Booth some years ago. As a reviewinator, I don’t see the need to invent a new word when a perfectly acceptable word (conjuror) already exists. Second, I’m not sure what the title Extending Magic Beyond Credibility means. A definition for credibility is “the capacity for belief.” Very often a spectator will express his amazement by saying, “I don’t believe it!” (or the more colloquial “No way!”). Is Dr. Booth suggesting that we bring our spectators beyond the point where they are able to believe what they are seeing? How do we accomplish this, and what are the ramifications? We’ll never know, because (and this is the third quibble) the title of the book has nothing to do with any of the essays included. Perhaps a more relevant title would have been less confusing. These minor points aside, Extending Magic Beyond Credibility will certainly appeal to those who enjoy essays on the history of magic and its performers. Destroyers By Joshua Jay. 8.5 x 11 hardcover. 167 pages. $35. Available from your favorite magic dealer. Dealers should contact Murphy’s Magic Supplies, 2689 Citrus Road, Suite B, Rancho Cordova, CA 95742. Orders: 800-853-7403. Fax: 916-853-9494. Email:
[email protected]. Web site: www.murphysmagicsupplies.com What hath Troy Hooser wrought? More than 11 years ago Chris Kenner began performing Troy’s “Ultimate Illogical Cut” at Illusions restaurant. (Chris published a variation called “Five Faces of Sybil” in Out of Control.) Chris’ expert execution of this flashy, multi-packet, flourish cut dazzled impressionable card magicians, and years later has spawned a generation of young card jugglers, the most notable being the Buck brothers. Troy Hooser has been a well-kept secret in magic. The good guys know who he is, and his material has floated around the magic underground (whatever that is). Happily, Troy has emerged, and with the publication of Destroyers: The Superlative Magic of Troy Hooser his well-crafted routines are available to a much wider audience. Know this up front, however: Troy has some serious chops. It will take concerted practice to get the routines in Destroyers to look as good as they do in the hands of their creator. Destroyers begins with a brief discussion of the stylistic elements of Troy Hooser’s magic. Such an examination is worthwhile, because the way Troy handles props, his “touch” if you will, is important to understand if you are going to learn these routines. Troy has a light touch; he handles objects delicately and effortlessly. Achieving such a touch is difficult. As Wendy Carlos once wrote, “If you find that a worthwhile task requires much more work to do really well than you ever dreamed, you’re probably doing it correctly. If you make it look it easy, you’re definitely doing it correctly.” Troy Hooser does it correctly.
Troy’s coin handling is exceptional, and coin magic enthusiasts will find much to keep them busy. There is an interesting reworking of the Coins Across plot in which the action is directed vertically rather than horizontally (the coins travel down the arm rather than across the body). Troy offers several intriguing routines that use a Flipper Coin, a cleverly gaffed coin that is not well known. Of particular interest is a stand-up version of Coins Through the Table, a trick that usually requires that the performer be seated. Those of you who are just beginning your exploration of coin magic will be delighted with “Coinfusion,” a gaffed coin that allows you to duplicate effects that normally require advanced technique. The coin chapter concludes with “Three Fly Simplify,” a handling of the popular “Three Fly” effect. (This trick appeared in MAGIC a few months ago.) The card magic section of Destroyers contains some flourishy routines, including “Cool as Ace” (a four ace revelation), “Weigh Your Turn” (a variation of Bob King’s “I’ll Guess Your Weight”), “The Zombie Change” (a three-way color change), “Winged Card” (an alternative to Daryl’s “Hot Shot Cut”), and the aforementioned “Ultimate Illogical Cut.” Also discussed are variations of The Open Prediction, The Reverse Ace Assembly, Torn and Restored, Card to Card Box, and Triumph. The final chapter, titled Curiosities, features an offbeat routine in which a tiny mask mysteriously appears and vanishes, a wine bottle production, a choreographed method for ditching objects in your jacket pocket, a kicker for a linking rubber band routine, and several novel sponge ball moves. Tony Dunn did the illustrations, and, as usual, his work is superb. Several people are listed as having proofread the book, but unfortunately a few slipups fell through the cracks, including some text references to non-existent illustrations. I think that Joshua Jay is still finding his “voice” as a writer of technical material; a bit of judicious editing might have tightened up the writing a bit. All in all, this is wonderful compilation of material from a gentleman who is finally going to get the recognition he deserves. Lovers of challenging close-up magic will have a ball with Destroyers. Recommended. Paul Curry’s Worlds Beyond By Paul Curry. 7 x 10 hardcover with dustjacket. 382 pages. $40 plus $4 p&h in US. From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206768-1688. Web Site: www.hermeticpress.com What you’re about read sounds like it is off the subject, but it’s not. Dean Dill’s Box (a very popular trick these days) begins with the magician handing out two ropes for examination. The ropes are doubled, and the magician holds the centers of each rope, one in each hand. The ropes are placed into a wooden box. The ropes go in from opposite sides and the ends of the ropes remain in view on the tabletop. The centers of the ropes are poked through a small trapdoor in the top of the box. As they come into view it is
discovered that they are now linked together. The ropes are removed through the top of the box. They are genuinely linked, and may be completely examined by the spectators. The linking described above is completely baffling and stops laymen dead in their tracks. I can attest from personal experience that there is no applause, there is no laughter – there is simply a stunned silence. The procedure that makes this linking work was devised by Paul Curry. It is a counterintuitive method that defies explanation. Paul Curry is also responsible for “Out of This World,” one of the best card tricks ever invented. It, too, has a method that defeats the most analytical spectator. Mr. Curry created a remarkable body of work, some of it published in his books Something Borrowed, Something New, Paul Curry Presents and Special Effects, some of it scattered throughout the literature of magic. Now the best of this material has been brought together in Paul Curry’s Worlds Beyond. I have always had a penchant for Mr. Curry’s effects, consequently reading through this book was a like a visit with old friends. Most of the effects are card tricks, and many (like “Out of this World”) conclude with the spectator having accomplished something that is highly improbable. Here are some examples. In “A Swindle of Sorts” the spectator manages to arrange a packet of thirteen cards into the exact same order as a prediction packet that had been placed aside earlier. In “The Power of Thought” the spectator chooses the one card from a red-backed deck that happens to lie in the exact same position (from the top) as its duplicate in a blue-backed deck. “Probability Zero” uses blank business cards that have been numbered from one to nine. The are mixed and placed number-side down in a row on the table. The spectator points to any card. A number “1” is written on its upper surface. This is repeated for the other eight cards. The card marked with a 1 is turned over. There is a 1 on the other side. This is repeated with the other eight cards. Somehow the spectator has managed to number all nine cards correctly. One of Mr. Curry’s most famous “improbable” effects is “The Open Prediction,” a card plot that led to Stewart James’ legendary “51 Faces North,” and one that continues to inspire variations. You’ll find Mr. Curry’s solution here. In addition to effects with a mental flair you’ll also discover wonderful handlings for the Haunted Deck, a great routine for The Chinese Compass, several very practical and disarming sleights, a great trick with flash paper called “IOU,” and a very commercial routine based on the old Ten Magicians in Nine Hotel Rooms logic puzzle. The book concludes with several spectacular rope routines, including the aforementioned “Linked” and two methods for The Sliding Knot. Doug Henning used a version of this effect. (By the way, if you do Dean Dill’s Box you might want to take a careful look at this chapter. I think one of the routines here would make an interesting addition to the existing routine.) There are 77 items in Paul Curry’s Worlds Beyond, and I have only touched on a few of them. (In fact, I forgot to mention “Touch,” another great coincidence effect. And yes, I am the Sultan of Segues.) Knowledgeable readers may be familiar with this material. However, Paul Curry Presents and Special Effects have been out of print for years, and most of the other routines have been carefully hidden in old books and magazines. Consequently, I would imagine that there are several generations of magicians that are
completely unfamiliar with Paul Curry’s creations. Having all these tricks assembled in one book is a convenience and a delight. As I have mentioned in other columns, nothing pleases me more than reading a trick and thinking to myself, “I would have never thought of that.” This thought crossed my mind over and over as I read this book. Paul Curry’s Worlds Beyond is a fine tribute to one of magic’s greatest creators. It should be in your library. The School for Scoundrels Notes on Three Card Monte Written by Whit Haydn. 8.5 x 11, spiral bound. 150 pages. $35 plus $5 p&h. From Tricks of the Trade, 6213 Sacramento Ave., Alto Loma, CA 91701. Web site: www.chefanton.com. The Notes on Three Card Monte is the second of three manuscripts based on courses taught by the School for Scoundrels (namely Whit Haydn and Chef Anton) at the Magic Castle. While the overt focus of these courses was an examination of three famous shortcon swindles, Fast and Loose, Three Card Monte, and The Three Shell Game, the underlying purpose was to study the psychology of the con artist. The importance of this study is explained in the Preface to the Notes. “The street-swindler offer us a much better model for the performance of magic than the card mechanic. The operator of these scams has to know how to reel a crowd in and hold its attention. He must disarm the natural defenses of its members. He uses hooks and come-ons to keep them interested. He baits them psychologically…In short, the con artist of the streets is a performer, an actor, and an entertainer who hides the sword of his purpose behind a cape of geniality, humor, and character.” I’ll make this review short and sweet. The Notes on Three Card Monte is the best resource for information on this con that I have ever read. You’ll find fascinating historical information (including Gazzo descriptions of the London Monte Mobs, discussions of Monte and the Law, and Ronald Wohl’s photographs of Monte mobs in action), a complete description of the various sleights involved, various Tosses and Patterns, and some brilliant Hooks and Come-ons, including Gazzo’s “Creased Lightning” and Bob Kohler’s “Knifed.” (Bob must be getting very generous in his old age. I have no idea why he gave this away.) There is much, much more here. The book is well written, and clear photographs accompany the text. Whit and Chef Anton have produced something amazing – a technical manual that is enormously entertaining to read. For lovers of gambling routines and close-up magic The Notes on Three Card Monte is a must-buy, and I highly recommend it. The Magic Menu Years 6-10 Harry Lorayne’s Apocalypse Volumes 11-15 See the review for individual prices. From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Orders: 800-626-6572. Fax: 530-525-7008. Email:
[email protected]. Web site: www.llpub.com
L&L Publishing has released two big hardback reprints of magazines that will be of interest to the close-up performer. The Magic Menu (edited and published by Jim Sisti) bills itself as The International Journal for Professional Restaurant and Bar Magicians. The reprint covers issues 31 through 60 (September 1995 through August 2000). Jim’s magazine has always been an excellent forum for guys who work in the real world. Regular columnists include Gregory Wilson, Simon Lovell, Paul Green, Al the Only, and Chris Hurlbert. Contributors include people like Acer, Close, Cloutier, Colombini, Harkey, Jay, Klause, Mullica, Racherbaumer, Ryan, Sankey, Skinner, Wonder, and many more. If you are currently working as a restaurant or bar magician you’ll find The Magic Menu Years 6 –10 to be a valuable resource. It (and the previous bound volume, which is still available) should be in your library. (8.5 x 11 hardcover with dustjacket. 400 pages. $85 postpaid in US.) L&L’s other release is Volumes 11-15 of Apocalypse magazine (January1988 through December 1992). Written, edited, and published by Harry Lorayne, Apocalypse contained terrific magic by the top creators of the time. There is more material within these pages than the average magician could master in several lifetimes. I noticed in one of the issues that Harry was selling a complete volume of back issues for $51, which means that five volumes would have cost you $250. So the $80 price tag makes this reprint a real steal. The emphasis is on cards and coins, but there are some terrific items that use other props. These bound editions of Apocalypse are “must-buys” for the close-up enthusiast. (8.5 x 11 hardcover. 740 pages. $79.95 postpaid in US.) Jay’s Journal of Anomalies By Ricky Jay. 8.5 x 11 hardcover with dustjacket. 202 pages. $40. Published by Farrar, Straus and Giroux. ISBN 0-374-17867-4. Available from most bookstores. It has been said that those who cannot remember the past are condemned to review books about history. Fortunately, when the history book is by Ricky Jay and the subject matter concerns the weird and wonderful performers of the past, the reviewing process is a delight. In the spring of 1994 Mr. Jay launched Jay’s Journal of Anomalies, a publication devoted to the history of “bizarre entertainments.” Each volume of the journal contained four issues, although the number of issues published per year changed with the start of the fourth volume. The magazine was a beautiful thing, with tipped in illustrations, and was designed to appeal to both the historian and the collector. All the issues of Jay’s Journal of Anomalies have been reprinted in a handsome book from publishers Farrar, Straus and Giroux. A chapter of supplementary material and a very useful index have been added. The subject matter runs the gamut from magicians and their effects (including nose amputations, suspensions, and dental magic) to dog acts (and their imitators), flea circuses, ceiling walkers, and automata. As usual, Mr. Jay treats his subjects with scholarship, humor, and a great deal of affection. At the time of its publication, Jay’s Journal of Anomalies was priced at $90 for four issues, making this current compilation a huge bargain. The book is beautiful to look at and fun to read. I enjoyed it immensely, and I think you will, too.
The Full Facts Book of Cold Reading By Ian Rowland. 6 x 9 softcover, spiral bound. 214 pages. 40 pounds Sterling (about $58 US). Available at www.ian-rowland.com This fabulous book deserves a long review, but I simply don’t have the space and I don’t wish to further delay bringing it to your attention. Ian Rowland’s The Full Facts Book of Cold Reading is one of the best books on the subject that I have ever read. The book is designed to protect people from “psychics,” but the information presented will certainly teach you how to do cold readings. The material is thoughtfully organized and includes two readings (an improvised tarot reading and a prepared astrological reading). If you have an interest in this subject, you need to read this book. Highly recommended. (You’ll need to go to Ian’s web site to order this book. The ordering process is simple and secure.) Digital Pentagram From Martin Breese. $30. Available from your favorite magic dealer. Another magic magazine has made the transfer to the digital domain. Pentagram was an English magazine edited by Peter Warlock. It appeared from 1946 to 1959 and featured tricks from some of the top creators of the time, including Alex Elmsley, Robert Harbin, Fred Kaps, Stewart James, Gus Southall, Roy Walton, Ed Marlo, and many others. There is a slant toward mentalism, but all types of magic are represented here, and the quality is very high. The entire file of Pentagram has been converted to Adobe Acrobat format. This means it is viewable by both PCs and Macs. There are more than 1300 pages. Martin Breese has provided an index of all the tricks, and this index is linked to the corresponding page in the magazine. That is, you click on the trick in the index and you are immediately taken to the correct page. In addition, you can use the “Find” function to search for individual keywords. For example, you could search the entire file for “Dai Vernon,” which I did. (Actually, I started by searching on “Vernon,” but it turns out that Eric Lewis’ Magikraft Studios were located on Vernon Street, and I was taken to his ad in each issue.) Having a “clickable” index and a searchable document makes this very useful for researchers. At $30, Digital Pentagram is another great bargain, and a useful addition to your electronic library. Find the Stuff that’s You By Chris Carey. 6 x 9 hardcover. 320 pages. $40. From Lee Jacobs Productions, P.O. Box 362, Pomeroy OH 45769-0362. Fax: 740-992-0616. Email:
[email protected]. Web site: www.LeeJacobsProductions.com Chris Carey’s Find the Stuff that’s You has been reprinted and updated with 50 new pages of material added. Chris’ book received high praise when it was originally released in 1989. The book focuses less on tricks and more on how to discover who you are as a person and how you can express your personality through your magic. Also included is
valuable information on the business side of magic. In this new edition the material has been revised to reflect technological advances, including the Internet and digital recording. Find the Stuff that’s You is a valuable book for those of you for whom magic is more than a hobby. The Mystic Craig Video Collection Volumes 1-4 From William McIlhany. $103 postpaid, NTSC only. From William H. McIlhany, P.O. Box 7486, Beverly Hills, CA 90212. Fax: 310-205-7952. Email:
[email protected]. Attendees at the MAGIC Live! convention had a chance to see a lot of movie clips from Bill McIlhany’s collection. (My favorite was a pompous magician performing in front of a group of completely indifferent children.) Bill has now released a four-videotape set of magic filmed by Mystic Craig (William Vagell). This footage was shot in the early 1950s through the mid 1960s and features performances by Bro. John Hamman, Jack Miller, Edward Victor, Peter Warlock, Jack Miller, Clarke Crandall, U.F. Grant, and Kalanag. These are not really teaching tapes, although you can certainly learn from these tapes. What is fascinating is getting the chance to see a performer that you had only read about. My favorite moments include: a very nervous Bro. John Hamman, who, despite his nerves, fooled me at least twice; Clarke Crandall performing his Six Card Repeat Routine from Tarbell; Vernon performing the Coins and Champagne Glass and the Cards to Pocket; and Jack Miller lecturing, who was completely different from how I had imagined him. Having a chance to watch these performers is a great gift, and I know that historians and collectors will find these videos to be a valuable resource. Students of the craft will also enjoy watching young incarnations of their heroes. My thanks to Bill McIlhany for making The Mystic Craig Video Collection available. Working Alone By Danny Archer. $30 plus $3.50 p&h. From Danny Archer Magic, 303 S. Broadway, B 392, Denver, CO 80209-1511. Fax: 303-355-2013. Email:
[email protected]. Danny Archer is a professional magician, a magic dealer, founder of The Magician’s Lecture Network, and one of the organizers of a close-up convention recently held in Las Vegas. Working Alone is a videotape that was shot live at one of Danny’s lectures. The lecture includes five stand-up routines, three close-up routines, and an explanation of the Archer Shuffle (a false in-the-hands riffle shuffle that appeared in MAGIC a few years ago). The stand-up routines include: Balls, a simple manipulative routine in which balls appear, vanish, and change color; Triple Threat, a no-gaff version of Mental Epic; Par for the Course, a prediction effect using a golf scorecard; Magic Jeopardy, an easy (and inexpensive) version of Key-rect; and Outfoxed, a version of the Paul Fox Miracle Gimmick. The close-up routines include: Play it by Ear, a variation on an ancient coin
vanish; Lost & Smelled, a funny card discovery; and Barrel of Fun, in which a marked coin is found in a nest of barrels (of the plastic, child’s toy variety). While none of these routines are radically new, they are solid variations that are well within the abilities of the average magician. Danny has also given some thought to the presentations, making it easier for viewers to add these routines to their repertoires. Although the video was shot live, the camera work is good and you will be able to learn from this tape. Terri Rogers’ Top of the Bill The Amazing Hill’s Envelope From Martin Breeze. See review for individual prices. Available from your favorite magic dealer. On hand are two new items from England’s Martin Breeze. Top of the Bill ($17.50) is a routine that was featured in Terri Rogers’ book Top Secrets. The trick is based on the venerable boomerang optical illusion. In Terri’s effect the magician shows two sets of signs. In each set one sign bears the name of Oliver Hardy, the other bears the name of Stan Laurel. The signs change size, depending on whom is getting “top billing.” Eventually, the spectator is left with two signs that are radically different in size. Topological tricks rarely have strong magical kickers, but this trick does. It is also very easy to do. Although the instructions suggest that this effect be performed while seated across from a spectator, no lapping is involved. The trick can be done standing, and the props can be easily carried in a pocket. Top of the Bill is worthwhile for both the strolling pro and the hobbyist. The Amazing Hill’s Envelope ($17.50) is a small pay envelope that allows you to gain secret access to hidden information. For example, if a playing card is placed into the envelope you can immediately ascertain its identity. The envelope can also be used for the classic message reading effect. The spectators can examine the envelope. The trick is a bit pricey, but the envelope can be reused (if you seal it with a small sticker), and it is not something that you are likely to make up yourself. For the working mentalist, The Amazing Hill’s Envelope is worth checking out. Magic Zone! Party Banner Tape By Jeff Brown. 100 foot roll - $12.95. 500 foot roll - $29.95. 1,000 foot roll - $34.95. From Jeff Brown, 135 W. Second Street, Juneau, AK 99801. Email
[email protected] Here is a terrific idea for the kid’s show performer. Jeff Brown has designed a 3-inch tall, bright yellow, plastic tape that says, “MAGIC ZONE! DO NOT CROSS!” This looks exactly like the tape policemen put up to mark off crime scenes. Many magicians use masking tape or duct tape placed on the floor to delineate where the stage starts when doing children’s parties in the home. Jeff Brown’s tape is not only funny, but it really gets the message across. This is a clever idea and is reasonably priced. Recommended.
