mum,06-2014

JUNE 2014

TONY BRENTPage 36

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MAGIC - UNITY - MIGHT Editor

Michael Close

Editor EmeritusDavid Goodsell

Associate Editor W.S. Duncan

Proofreader & Copy EditorLindsay Smith

Art DirectorLisa Close

PublisherSociety of American Magicians,

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4 M-U-M Magazine - June 2014

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June 2014

M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians, 6838 N. Alpine Dr., Parker, CO 80134 . Periodical postage paid at Parker, CO and additional mailing offices. POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80134.

Volume 104 • Number 1

THIS MONTH’S FEATURES28 I Left My Cards at Home • by Steve Marshall30 Hit the Road • by Scott Alexander32 Nielsen Gallery • by Tom Ewing34 Cheats and Deceptions • by Antonio M. Cabral36 COVER STORY • by Christian Painter42 Illusions of Grandeur • David Seebach43 Magic in the Middle East • by Dr. Sanad Rashed44 Messing with your Mind • by Christopher Carter46 Not Just Kid Stuff • by Jim Kleefeld50 The High Road • by Mick Ayres52 For Your Consideration • by George Parker54 Ebook Nook: L.I.N.T. by John Luka58 Informed Opinion • New Product Reviews 67 Tech Tricks • by Bruce Kalver68 Salon de Magie • by Ken Klosterman69 Inside Straight • by Norman Beck70 The Dean’s Diary • by George Schindler70 Basil the Baffling • by Alan Wassilak

MAGAZINEM-U-M

June 2014 - M-u-M Magazine 5

cover story page 36

S.A.M. NEWS

6 From the Editor’s Desk 8 From the President’s Desk11 M-U-M Assembly News21 Good Cheer List22 Broken Wands24 National Council Minutes48 Newsworthy69 Our Advertisers

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Editor’s Desk

The subject of this month’s cover story is Tony Brent, a performer whose name may not be familiar to you. Tony is a very busy professional magician who has a long-running show in Orlando, Florida. Christian Painter brought Tony to my attention, and he wrote the cover story on page 36. (Incidentally, Christian has written quite a few cover stories for M-U-M, and I thank him for all his efforts.)

The I.B.M./S.A.M. combined convention is rapidly approach-ing, and I’m looking forward to it. If you haven’t already regis-tered for it, you may be out of luck, but it would be worth your time to check the website (www.ibmsam.com) to see if any reg-istrations are still available. I’m especially looking forward to seeing the Fat Brothers (Dani DaOrtiz, Christian Engblom, and Miguel Angel Gea) again. The last time I saw all three of them together was quite a few years ago backstage at the Penn & Teller show in Las Vegas. If you have an interest in close-up, card, or coin magic, you will want to spend some time around these three gentlemen. They are world-class performers.

Incidentally, I’ll be around the entire time at St. Louis. If you have comments or suggestions about M-U-M, please come up and talk to me. This is your magazine; your input is appreciated.

Over the years, I’ve attended a lot of magic conventions. After a while, they all start to blur together, but one of them stands out in my memory – the I.B.M. convention in Evansville, Indiana in 1976. This was not only the first large, national magic convention I had ever attended; it was the first one that I worked as a hired performer.

At that time, I was working on my master’s degree at Butler University in Indianapolis. Once a month I’d make the trek up to Lafayette to attend the magic meetings that were held at Ron London’s magic shop. I wasn’t performing magic professionally; in fact, I had no interest in doing that. Most of my time was spent figuring out ways to fool my magic club buddies. I had three routines that seemed to do the job and were entertaining. The first was an All Backs routine that was based on Harry Riser’s The Practice Deck (The Feints and Temps of Harry Riser, pages 77-85). The second routine was an Okito coin box routine that was inspired by Ed Marlo’s S.O.C. routine.

I worked out the third routine with my friend Rick Swaney; it was called The Invisible Thumb Tip. This was a goofy routine that played very well for magicians. (In fact, it was really only good for magicians, since it openly discussed thumb tips.) The idea was that I brought out an old, really beat up, metal thumb tip and touted its quality as a completely invisible thumb tip. This got a laugh, because you could spot this tip a mile away. But when I put it on my thumb, it disappeared; both hands could be shown completely empty. Then I apparently pulled the tip off my thumb and it reappeared. I then used the tip to vanish a silk. Each

time, the tip (and the silk) vanished completely. The kicker was that at the end of the trick I pulled the invisible tip off my thumb and threw it away, whereupon it made a loud clank (even though it was invisible) when it hit the floor. This got a big laugh.

I have two vivid memories of the Evansville convention. The first is of the dealer’s room. I think there were sixty dealers at that convention, and when I walked into the room it was like being six years old again and walking into Stoner’s Magic Shop in Fort Wayne. I was simply overwhelmed; there was just so much...stuff. It was a great feeling. The other thing I vividly remember is that the final close-up show was on Saturday morning. I’m not sure about the time; it was probably at 11 a.m. or so. At 6 a.m. that morning, five of the six close-up performers were still up doing tricks for each other in the lobby of the hotel. Friends of mine who saw my performance that morning said I didn’t have any of my usual “tells.” I guess they were obliterated by fatigue.

(I just took a break from typing to run up to my library to check my notebooks. I started keeping a notebook of tricks back in 1975. The All Backs routine I did is #67, dated 11/3/75. The coin box routine is #79. Unfortunately, I cannot find any notes for the Invisible Thumb Tip routine. It may be lost forever, which probably is not a bad thing.)

Rick Johnsson was one of the other close-up performers. I remember this quite well, because Rick was always working the room next to the one I was in, and the noise that came from that room was overwhelming. At the time, Rick had a great presenta-tion for Nick Trost’s Horse Race (The Card Magic of Nick Trost, pages 99-103). Rick turned this trick into a full-room, shout-at-the-top-of-your-lungs, audience-participation trick. And in case the audience wasn't making enough noise as they cheered for their horse in the race, Rick hopped up on a chair and honked an old horn to goose up the enthusiasm.

In the dealer’s room I met a young man who was working the Hank Lee booth. He had created a number of packet tricks that sold well for Hank. This was none other than Phil Goldstein, soon to become Max Maven. Phil saw my close-up show and was very complimentary about it.

Through my association with Harry Riser, I had been able to meet a number of “name” magicians before I went to the Evans-ville convention, so I had several names to drop as I introduced myself to people. This is one of things that makes going to a con-vention so much fun – the people you meet and the friendships you establish. There’s nothing like it, and the memories will stick with you for a long time.

(There is sort of a P.S. to this story. The I.B.M. went back to Evansville for their 1980 convention. Unfortunately, this conven-tion was plagued with some problems, the worst of which was the fact that Evansville had been soaked with a serious rainstorm that produced a dampness that permeated the hotel. I also performed at this convention, but as a musician. At the time I had a jazz trio in Indianapolis and we accompanied the acts at the cabaret show and played for a cocktail party. My most vivid memory of this convention is of Inez Blackstone Kitchen coming over and yelling at us for playing too loud.)


Michael Close

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Dal Sanders

President’s Desk

Soon I will pass this column, the gavel, and the title of National President to Kenrick “Ice” McDonald and will return to my proper place in the back of the room. When I took over this office and this column eleven issues ago, I had everything planned out. I had already written all of my articles and thought I knew in what direction I would be heading during my year as the president of The Society of American Magicians. Clearly, I was delusional. This year has been an amazing year of activity and I felt the need to share much of it in this column. The good news is that I have twelve inspirational articles already written that will surely show up somewhere else. This last article will also be filled with news, but first I need to say thank you to some people.

It was inspirational to serve behind Past Presidents Mark Weidhaas, Vinny Grosso, and Christopher Bontjes. I learned a lot from these guys that not only helped me through the year but will help me as I move forward and become a PNP. I also want to thank the officers in line behind me, Kenrick McDonald, David Bowers, and Jeff Sikora. The Society of American Magicians is in great hands with these people. I also want to thank Eric Lampert for being a great treasurer with a great sense of humor. Finally, I have to say thank you to the heart and soul of The Society of American Magicians, Manon Rodriguez and Marlene Clark. As National Administrator, Manon keeps all of us on target and focused, and as the National Secretary, Marlene keeps us organized. We all owe a great debt of gratitude and respect to these two women. Without them I’m not sure that the S.A.M. could survive. I know that I haven’t said it often enough or loudly enough but I’ll say it now: thank you for all that you have done.

SCIENCE AND MAGICNow we go on to the news. First of all, I want to thank Chris

Bontjes for putting together the Science behind the Magic booth that The Society of American Magicians had at the USA Science and Engineering Festival in Washington, D.C. PNP Bontjes compiled a special magic book that employed STEM princi-ples; we had over a thousand downloads of this book over the three-day conference. Our display included the demonstration of several of the tricks included in the book; other close-up magic was performed by 1st VP David Bowers, 2nd VP Jeff Sikora, PNP Christopher Bontjes, and me to help gather crowds. This was a fantastic promotion to introduce the S.A.M. and the S.Y.M. to people interested in magic.

LEADERSHIP TRAINING SUMMITYou may have read about a fantastic training experience for

assembly leaders on the horizon; now we have a little more in-formation to share. This November, Las Vegas will host a one of a kind gathering of magicians with a focus on improving your magic club experience, The S.A.M. is working with Stan Allen from MAGIC magazine and Brian Daniel South (formerly

of Creative Magic) to present a summit for assembly leadership. It will be a weekend full of activities, workshops, and keynotes focused on making magic clubs more fun and more effective. We would really like to have your assembly represented.

We would like two representatives from every assembly to attend, but of course, it will not be limited to just two. In fact, this won’t even be limited to S.A.M. members. The goal is to elevate and advance the art of magic, so anyone will be welcome. The S.A.M. is exploring ways to subsidize the cost for two members of each assembly and give other pre-registration opportunities to S.A.M. members.

Similar to a MAGIC Live! convention (after all, Stan is working on this), there will be surprises you definitely won’t want to miss. Due to the unique nature of this summit, there will be a very limited capacity. RVPs will be reaching out to assemblies soon with registration information. In the meantime, if you have any questions you can email Brian at ([email protected]).

AND FINALLY…As you will read in the

Newsworthy section of M-U-M (page 48-49), on April 28, 2014, Congress-man Pete Sessions recog-nized in remarks for the Congressional Record that magic is an “Art.” Since the 1960s the S.A.M. has been trying to get congressional recognition of “The Art of Magic.” With the help and guidance of another S.A.M. member, Mayor Eric Hogue, we were finally able to get congressional recognition of the art of magic.

Why is this important?When considered for grants, magic has been seen as a hobby

or at best, a craft. The S.A.M. has been looking for recognition of the art of magic for more than fifty years. Doug Henning won a grant from the Canadian government to study magic by convinc-ing a panel of government officials that it could be considered an art form.

I encourage all of you go to The Society of American Magicians website and download a copy of the Congressional Record document. Make it a part of your grant requests; post it on your websites and social media sites. Spread the word that (as we all have known all along) magic is an art.

In 1902 the founders of The Society of American Magicians stated that our goal is to elevate and advance the art of magic; this should be the goal of all magicians. We have finally received recognition from the U.S. Congress. It is in the Congressional Record. Anyone can look it up. It is up to all of us to be excellent, to be artists, and to elevate and advance our art. However, we must live up to the high standards that come with this recognition. Otherwise, we will betray ourselves, our audiences, and those who believe that we deserve to be called artists.

Of course, this is just my opinion; I could be wrong.


Dal Sanders & Mayor Eric Hogue

S.A.M. National Officers

Dean: George Schindler, 1735 East 26th St., Brooklyn, NY 11229, (718) 336-0605, Fax (718) 627-1397, [email protected]: Dal Sanders, 3316 Northaven Rd, Dallas, TX 75229 (214) 902-9200, [email protected] President Elect: Kenrick “ICE” McDonald, P.O. Box 341034, Los Angeles, CA 90034, (310) 559-8968, [email protected] Vice President: David Bowers, (717) 414-7574, [email protected] Vice President: Jeffrey Sikora, (402) 339-6726 [email protected]: Marlene Clark, 274 Church Street, #6B, Guilford, CT 06437, (203) 689-5730, Skype: marlene.clark, [email protected] Treasurer: Eric Lampert, (215) 939-5555, [email protected]

Regional Vice Presidents

New England: CT MA RI NH ME VTJoseph Caulfield (603) 654-6022, [email protected] North Atlantic: NY NJ Eric DeCamps, (718) 896-5861, [email protected] Mid Atlantic: PA DE MD VAWV DCPhil Milstead, (703) 481-5271, [email protected] South Atlantic: FL AL GA MS NC SCDebbie Leifer (404) [email protected] Central Plains: KY TN OH IN MISteven A. Spence, (317) 722-0429 [email protected] Midwest: IL MN WI MO ND NE KS SD IAShaun Rivera, (618) 781-8621 [email protected] South Central States: TX AR OK NM LAMichael Tallon, (210) [email protected] Southwest: CA AZ NV HIRon Ishimaru, (808) 428-6019, [email protected] Northwest: WA OR UT ID CO AK WY MTJames Russell, (360) 682-6648 [email protected] Canada: Rod Chow (604) [email protected] Society of Young Magicians Director: Jann Wherry Goodsell, 329 West 1750 North, Orem, Utah 84057 (801) 376-0353. [email protected]

Living Past National Presidents

Bradley M. Jacobs, Richard L. Gustafson, Roy A. Snyder, Bruce W. Fletcher, James E. Zachary, David R. Goodsell, Fr. Cyprian Murray, Michael D. Douglass, George Schindler, Dan Rodriguez, Dan Garrett, Donald F. Oltz Jr., Craig Dickson, Loren C. Lind, Gary D. Hughes, Harry Monti, Jann Wherry Goodsell, Warren J. Kaps, Ed Thomas, Jay Gorham, John Apperson, Richard M. Dooley, Andy Dallas, Maria Ibáñez, Bruce Kalver, Mike Miller, Mark Weidhaas, Vinny Grosso, J. Christopher Bontjes

June 2014 - M-U-M Magazine 9

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ASSEMBLY NEWSSociety of American Magicians Monthly News

June 2014 Volume 104, Number 1

GO TO: WWW.MUM-MAGAZINE.COM and use the easy submission form to file your report

2HONORING BOB KUHN

SAN FRANCISCO, CA— The evening’s performances were dedicated to Bob Kuhn, our 101-year-old dean, who recently has been unable to attend the monthly meetings. Tamaka video recorded the performances and the recoding will be given to Bob for his viewing pleasure. Most of the routines presented were either inspired by Bob or taught by him.Corky LaVallee gave tonight’s

teach-in: thread magic using invisible thread with and without a reel. Utilizing a crumpled dollar bill, he caused it to levitate and move from one hand to the other. After the bill routine, he levitated playing cards and then a spinning quarter. During his demonstra-tion he provided props to inter-ested members for their learning purposes. He commented on the importance of lighting placement. We also found out that a slow movement of the levitating object is more elegant and magical than quick or jerky movements.Hippo Lau began the regular

show with several card sleights Bob loved to do, including bringing the chosen card back to the top of the deck. For his second effect Hippo told a story of a blind magician who liked flowers. Hippo opened a plastic case, showed it empty, and then closed it. When he reopened it, a picture of a rose appeared. Corky returned with several sleights. He dealt four cards face down as the members called out numbers. When the cards were turned over, they were the four Aces. Then, with Cynthia Yee’s assistance, Corky placed the two black Aces face down on Cynthia’s palm; when they were turned up, they had become the two red Aces and Corky now held the black ones.Rich Seguine showed a shallow

wood box with two sections. One held a photo of Houdini and the other a piece of chalk hanging from the top. After asking for a number from the members, Rich placed a silk cloth over the box and, saying some magical words, pulled the cloth away.

Amazingly, the chosen number had been written in chalk on the inside of the box. Adeptly assisted by Corky, John Caris staged Jim Steinmeyer’s Princess in a Crowd, an effect Bob had inspired John to learn. The mage made one change in the routine by using Tarot cards instead of regular playing cards. Terrie Cardoza and Mary Caris participated in vanishing the delicious cake Corky had brought. —John CarisGolden Gate Assembly 2 meets first Wednesday at 7:30 p.m. at Community Room of Taraval Police Station, 2345 24th Avenue, San Francisco. Contact Tamaka [email protected] (415) 531-9332 https://www.facebook.com/groups/249018441875771/ for more details.

4BOB SOLARI LECTURES

PHILADELPHIA, PA— We are saddened to report the recent passing of our friend Ed Berg, who passed away on April 22, 2014, leaving us all too soon at the age of fifty-nine. Ed, who was a former Assembly 4 president, had been a member of the club since the mid 1980s. He loved to perform chil-dren’s magic. When not working as a substitute teacher in the Phila-delphia public school system, he found time to donate his services as a volunteer ambulance driver. He was a gentle soul with a heart of gold; we extend our condolenc-es to his many friends and family.Our April meeting featured an

excellent lecture by Bob Solari.

Prior to the lecture, Peter Cuddihy presented a most informative half hour mini-lecture on the art of children’s magic, during which he discussed the psychology of per-forming for children of different ages and taught some wonderful time-tested effects that he had created over the years. The pre-sentation was further enhanced by commentary from Jane Armstrong, Dick Gustafson, and Donna Horn, among others. Following Peter’s presentation,

we were treated to an extremely entertaining lecture by Bob Solari from northern New Jersey. Bob’s lecture included a wide mix of close-up magic and stand-up magic with cards, coins, paper money, business cards, and matches. Every effect taught was commer-cial in nature and would prove priceless to a “worker.” One of the highlights of the lecture was Ultra Match, in which Bob’s prediction inside a sealed envelope correctly matched the identities of cards that had been freely selected by three different audience members. Another great effect, Business Minded, involved reading the mind of a spectator who had drawn an image on a business card and then buried it in a stack of cards that were rubber-banded together. Bob’s take on the Tossed-out Deck, which he calls the Peek-A-Boo Deck, was worth the price of admission alone. Also, Bob’s Knife through Borrowed Bill, which created the illusion of a bill penetration through a borrowed bill that escaped unscathed, was extremely visual. Bob taught so many excellent effects that everyone in attendance agreed his lecture was well worth the trip. Any assembly looking for a lecture chock-full of practical magic need look no further than Bob Solari. It was a great night of magic for all. —Peter CuddihyJames Wobensmith Assembly 4 meets third Thursday at 7:00 p.m. at the Bustleton Memorial Post, 810 (American Legion) 9151 Old Newtown Road Contact Information: www.sam4.org/ for more details.

6SPRING HAS FINALLY

SPRUNG!

BALTIMORE, MD— The assembly expressed its wishes for a speedy recovery to member Mike Schirmer, convalescing at home. Peter Wood started the magic with a book test he claimed to have performed at a prison, using a huge copy of Shakespeare and three “prisoner” volunteers. Can we really believe him? Re-gardless, he successfully divined all three randomly chosen words. Andy London then demonstrated card “sleight of hand you will all aspire to.” Mentalist Oneil Banks somehow predicted a selected U.S. president’s name, from randomly chosen odd and even digits. Howard Katz amazed us by putting into a cube a wand that was clearly bigger than the cube; the wand then turned into a pencil.Craig Feinstein showed his

vintage three traffic light cards...an oldie but goodie. Guest Jared Raitzyk followed with a nice two-pair card match. Joe Bruno, while looking away, somehow matched drawings made by our four Hopkins guests based on “their personality traits.” Eric Hoffman had hoped to perform Die of Destiny (a Mike Schirmer favorite), but could not locate his props in time, so he substituted Prophesy Pack. Mark Wolfire patiently showed Jeff Eline “how to be a magician,” using a card box. Dennis Hasson made our heads

spin with a “sobriety test” followed by a rope that knotted, unknotted, and finally ended up with a red section. Guest Ronann Carrero showed the tiny wallet he carries, with its even tinier contents. He then performed a card trick learned from the Bill Malone VHS tape he won at last month’s raffle. Guest Ghen Ferguson, Hopkins materials science student, dem-onstrated magic “at the atomic level,” mysteriously linking and unlinking rubber bands. Guest Mike Bledsoe, asking his spectator to “pick not just any card, but a random card,” took a shot at a spelling trick. Guest


Bob Solari teaching the Peek-A-Boo Deck


Assembly News

Les Albert showed a fine face-up reveal (his version of Cheek to Cheek) and his Spectator Cuts to the Aces (using “approximate” cuts); he graciously tipped both. Jay Silverman performed an in-teresting reveal using two specta-tors and two decks of two colors. Finally, Jeff Eline surprised us all by performing two effects, neither involving cards! First he demonstrated making decisions “by gut reaction,” using two bags, one filled with dangerous broken glass. He then divined the small items (cash, coin, candy, or cap) held secretly by four spectators, even after they traded back and forth. —Eric HoffmanThe Kellar/Thurston Assembly 6 meets every first Thursday at 8:00 pm at the Magic Warehouse, 11419 Cronridge Drive suite #10 in Owings Mills, Maryland. 410-561-0777. Contact Andy London [email protected] or www.baltimoresam.com for more details.

8USING THE FORCE

ST. LOUIS, MO— March 27th - Skype2: The first Skype conver-sation was the pure magic of Dal Sanders, our national president. Meet him at the SAM/IBM con-vention here in July! Second, Ricky Lax from Wizard Wars on the SyFy channel taught a two versions of an impromptu effect with a dollar bill and then with a playing card. George Van Dyke taught an effect from our M-U-M and noted a move he gleaned from the book Simon Says by Simon Lovell, who has performed at the Midwest Magic Jubilees.Dan (the Great) Todd used

Mc-Grip’s for card shooting. Andy Leonard caused a ring to end up inside a locked box from his pocket! PNP Harry Monti explained how Bicycle playing cards are made. John Davit gave us a lesson on

great card magic with cards as-sembling with some helper cards. In Columbus Smith’s words, “Chris (Korn) did a four-Jack production from a shuffled deck. Followed by a card vanish using the Jacks. Then he reached in his back pocket to produce the card only it to be the four Jacks and the vanished card in his hand where the Jacks were.”Ron White performed the card

through glass and explained how we can perform this effect. Joseph Lortz came to visit and performed a great, signed card to pocket effect. Joey has expressed interest in joining.April 10th: Use the Force.

Vice President Steve Barcel-lona presided over the meeting

in the absence of the President, Secretary/Treasurer, and the Sergeant at Arms. We saw the Doc Eason’s Profound Influ-ences coming full circle on You Tube. And PNP Harry Monti told a story of touching the lives of others and having a positive impact on those we meet and touch through our performances. Columbus Smith taught us Elbow, Knee, and Neck by Daryl, from the book Spectacle by Stephen Minch, which was an Ebook Nook selection in the February M-U-M. Steve performed and then walked us through his version of the Chicago Opener. Then he did his version of the Devin Knight’s 1972 Flying Kiss effect.Steve taught another force.

Columbus chose an object supplied by the audience after Sandy wrote down her own selection; they matched! Adam Putman, Columbus, Joseph Lortz, and Harry Monti taught their favorite card forces. Rocky, Sandy Weis’s dog, performed. Chad Jacobs performed a card effect and Joey was inspired to produce Elvis shades from an empty newspaper. —Dan ToddAssembly 8 meets at Mount Tabor United Church of Christ located at 6520 Arsenal in Saint Louis, Missouri 63139. Contact Dick Blowers [email protected] (213) 846-8468 http://Assembly8.com for more details.

13FRIENDLY COMPETITION

DALLAS, TX— The April meeting started with voting for 2014 officers. These officers will be installed at the Dallas Magic Clubs banquet in May: Joe Byers (Sgt. at Arms), David Knight (Vice President), Frank Seltzer (President), Dal Sanders (Secretary), and Reade Quinton (Treasurer). Following voting, Dal Sanders presented Frank Seltzer a special certificate from the Society of American Magicians, celebrat-ing Frank’s twenty-five years of membership.The April meeting featured the

Dallas Magic Clubs first Magician of the Year contest. The first

performer was Daryl Howard, who started with a ring and necklace penetration and then a ring and wand penetration. He then produced a magic “gift box,” which started empty but subse-quently produced many items. Derrel Allen performed at a table for John Greene and Jennifer Gracy. Derrel had John remove a deck of cards and select a suit and a value. He then asked him to look

for that card in the deck. When John stated that the card was not in the deck, they discovered it was still in the card box. Then, Derrel showed off his “cheat detector,” which was a small gadget with four lights that indicated card suits. Four cards were arranged in front of the machine (one of each suit) in random sequences, but the lights on the machine always correctly identified the location of each card.

Mike Squires took on a challenge presented to him by Dal Sanders. Dal randomly selected a volume of Tarbell (in this case, Volume 4), and Mike had to perform effects limited to that volume. Mike started with an effect using blocks labeled with the letters D, M, and C representing the Dallas Magic Clubs. He then performed a bottle effect in which the liquid contents of a soda bottle remained in place when the bottle was inverted. He finished with a card effect in which cards were placed into a wine glass and mysteriously trans-formed into selected cards.Joey Byers performed a

mentalism effect in which the club members were asked to organize next year’s big conven-tion. Members chose a location for the convention, the date, the reg-istration cost, and the headlining magician. It was then revealed that a balloon contained a folded piece of paper that predicted correctly each of these decisions.Wrapping up the performances

was Kendal Kane, who performed an energetic act set to music. Effects included silk productions, umbrella productions, and flower productions. The winner of the

competition will be announced at the banquet in May. The Dallas Magic Clubs meet at Crosspointe community center, Theater 166, in Carrollton TX on the third Tuesday of the month at 7:00 PM. Check out www.dallasmagic.org for directions. Contact Reade Quinton [email protected] (972) 400-0195 for more details.

17APRIL FOOLS OF MAGIC

SPRINGFIELD, MA— Comedy was the theme for the evening and Ed Kazar, aka the World’s Worst Magician, began with his comical routine of passing a coin and silk through a solid drinking glass. He surprised us when he asked if we were hungry and he showed us his chicken sandwich (a real chicken in the center). Later he brought out some old photos of famous actors. He had placed a prediction in an envelope and got the volunteers free will choice correct. Bob Carroll, the World’s Most Famous Unknown Magician and Ventriloquist, showed us his take of twisting the Jacks called Shock Twist. Bob always keeps us laughing every meeting. We will miss him when he moves away. Tom Gentile, alias Santa, brought his fortune teller cards. Rick Meyer had to choose a card to see what his future held. He looked at Tom, who was now wearing a red clown nose. The card read, “You will make passionate love to a clown.” Rick was a good sport. However, no kiss for Santa.

Peter Lennis, who is always full of surprises, impressed us with his own card trick called Mind Perception. He took and shuffled a red deck and a blue deck. He then passed out three white envelopes (one to each person). They wrote their names and placed a card from the red deck in a separate brown envelope and placed that inside the white one. He was able to match each of their cards by taking them from the blue deck. He had us all guessing on that one.

Signed Card Through Glass

Dal Sanders presents Frank Seltzer a 25-year S.A.M.

certificate

PJ Pinnsonault receiving Presidential Citation from

Dal Sanders


Assembly News

All too soon the evening ended as usual. If you are in the area, drop in and visit with us for a spell. —Karen GibsonDr. I.R. Calkins Assembly 17 meets the first Friday of every month at 7 pm at RP Magic Shop/Moto X Equipment; 69 East Street; Ludolow MA Contact Rich Gilbert [email protected] (413) 210-5725 www.assembly17.org for more details.

19ERIC ROUMESTAN

LECTURES IN HOUSTON

HOUSTON, TX— April’s meeting date was set aside for a lecture by Eric Roumestan. We had an opportunity to have Eric lecture on this single day, so we took advantage of it. The lecture was free to paid-up members, so we had a good turnout. Our business meeting was very short in order to get directly to the magic. Eric shared some of his fine coin magic. His routines were well thought out and, of course, audience tested. I especially liked the use of his shirt Topit, which was cleverly made and well explained. His Coins Across routine with the use of a drinking glass and a shell was well done and also well received. He finished the evening with his Matrix routine that left us all wondering, but came back and explained it in great detail. Overall it was a very good lecture that you should not miss if you have the op-portunity to catch it.We have Martin Lewis coming

to Houston on May 22, which starts off our new lecture series. —Miles RootAssembly 19 meets the first Monday of every month at the International Alliance of Theatrical State Employees Local 51 Meeting Hall, 3030 North Freeway, Houston, TX. A teaching lecture begins at 7:30 pm with the meeting beginning at 8:00 pm. Contact Miles Root [email protected] (281) 334-7508 houstonmagic.com for more details.

21IMPROMPTU

HARTFORD, CT— The theme for tonight was “Impromptu Magic,” and since our theme captain was out sick, we had to improvise even more than usual. Dan Sclare started by showing a tent card labeled “Iitycidamtfy?” and waited for somebody to ask...(If I tell you, can I do a magic trick for you?) The trick was to borrow a deck and have a card selected

and returned. After a shuffle, he showed the wrong card, saying “Is this your card?” Well, of course it was my card; it came from my deck.Dana Ring did a quick mentalism

with packets of sweetener that are in every restaurant, hiding a duplicate of one of the choices under a plate and using the Ma-gician’s Force to get a selection of the right color. Norman St. Laurent suggested a variation in which seven packets are numbered and eliminating all but the force number (which is the only one numbered on both sides.)Dan asked two people to pick a

number (one odd, one even), and showed them a card with objects listed next to a number. Both his guesses matched the selected objects. He then showed us how to do it, using a special card. Rick St. Pierre, saying cards are the basis of computers, twice found a triple match (color/number/match).Dave Garrity sent a link to Norm’s

cell phone, which resolved to a set of ESP symbols. Norm concentrat-ed on a symbol, and Dave could tell which it was! This reminded Dan of Mind Lister, which he performed for Kat Lovell. Peter Lennis passed out to three specta-tors: a marker, a coin envelope, and a business envelope. Three cards were selected from a red deck. The cards went into the coin envelope, then into the business envelope, signed and sealed. Peter then drew three cards from a blue deck, and all three matched the selections. —Dana T. RingAngelo’s on Main, 289 South Main Street, West Hartford Connecticut meets on second Mondays except December. Contact Dana T. Ring [email protected] (860) 5239888 www.ctmagic.org for more details.

22STAGE & PARLOR MAGIC

COMPETITION

LOS ANGELES, CA— The April 21 business meeting of Assembly 22 included a second reading and unanimous election into mem-bership for David Chen. Con-gratulations, David. It was then time for the scheduled program, competition for several of the assembly trophies available for stage and parlor magic presenta-tions. Producing the program was John Engman, who also emceed the show, presenting his magic between acts.Opening the show was Steve

Jennings, who replicated a magic act he presented fifty years ago for his high school senior talent show. Included were routines with the Die Box and the Chinese

Wands. The second act was Henry Springer with a manipulation act that included the Miser’s Dream, production of a champagne bottle, and a Benson Bowl routine that ended with the production of dozens of large sponge balls from under the bowl. Kent Morgan then produced a bouquet of flowers in an empty flowerpot and presented Andrew Mayne’s torn and restored newspaper and his self-levita-tion while standing on a chair. Harrison Lampert next presented a high-energy card routine using an audience member to play the part of the magician who divined a selected card. Jim Callen was our sixth performer. He presented Martin Lewis’s color changing pencil and a successful predic-tion of the amount of change in the pocket of an audience member. Jim Militello next performed several effects in which selected cards matched his prediction cards from a different deck. Jim finished with a carnival game in which three participants each won a stuffed animal.The seventh performance was a

character act by Brian Regalbuto. He did a great job as Mark Twain, presenting a humorous monologue illustrated by a few magic effects, including the produc-tion of a goblet of burgundy silk and a chewing gum packet that changed into a cigar. Closing the show was Magic Castle performer Bob Bolivar debuting a torn and restored newspaper effect of his own origin. The tabloid-sized dou-ble-page sheet was cleanly torn, restored in a flash, and directly handed out to the audience for in-spection. This was a very surpris-ing effect and had the audience of magicians baffled as to his method. It’s a secret. Another great night of magic in Southern California. —Steven L. JenningsSouthern California Assembly 22 meets the third Monday each month at 8:00 PM, St. Thomas More Parish Hall, 2510 South Fremont Avenue, Alhambra, California. Contact Ed Thomas [email protected] (213) 382 8504 for more details.

23SPRING CLOSE-UP SHOW

WASHINGTON, DC— Noland Montgomery, president of Larry West Assembly 23, opened an annual spring close-up show at the National Press Club in April, performing a sponge balls routine and a slick cut-and-restored rope effect. He is a full-time magician who performs around the Wash-ington area, including the White House. Lars Klores, an award-winning actor and magician,

offered a six-bill money counting routine and a torn-and-restored newspaper using the Washington Post. Arnie Fuoco delivered a die box routine and a Chinese sticks effect.Dwight Redman, a past president

of the assembly, did Aldo Co-lombini’s ring-and-rope routine as well as several popular effects using jumbo cards. Augie Arnstein offered a clever quiz show routine based on a mentalism theme. Larry Lipman, another former assembly leader, incorporated clever sound effects in his act as he did a cards across assembly and several other routines. Jim Flanigan, also a former assembly president, was the evening’s emcee.Assembly 23 meets at the National Press Club, 529 14th Street NW, Washington, DC 20045 Contact Jim Flanigan [email protected] (202) 494-7302 for more details.

30A MILESTONE IN ATLANTA

MAGIC

ATLANTA, GA— Our 900th meeting was held as a celebration of magic at the Georgian Club in Marietta. We enjoyed a buffet dinner and a display from our archives by Bob Stultz. One of the items on display was the wand used by Julian Boehme, one of the founders of the Atlanta Society of Magicians. A brief historical program was

presented by John Miller. Emcee Joe Turner led us on a magical journey with performers Jim Driscoll, Bob Stultz, Martin Baratz, and Mal Simpson. It was a lovely and meaningful evening enjoyed by all.Our 901st meeting was hosted

by emcee Mark Hatfield. Debbie Leifer presented a Professional Development lecture on Silk Magic. Debbie demonstrated how to fold a silk and make a false knot. She performed and explained silk through glass and the use of a hank ball and Palmo ball for pro-ductions. She finished with a silk from apple. She displayed several colorful Rice silks. Merle Harmon performed an

effect using three piles of cards. A predictor card was chosen and with magical dexterity, the top card of each pile was the predictor. Merle performed this for member-ship and was accepted.Dan Garrett used a light bulb to

channel energy and made it light on command. He also removed the glow from the light and put it back into the bulb. Very enlightening. West Evans performed a very nice Cups and Balls routine.Gene Hendrix had three “crook”

cards selected and used his


Assembly News

“ace” detectives to find the cards hidden in the deck. Rick Hinze presented a voodoo card effect. A card was chosen and a sympathy card also. With a flame under the card a burn appeared on the back of the sympathy card. A skeleton card held the chosen card. —Carol GarrettAssembly 30 meets the second Tuesday of the month at Piccadilly Cafeteria, I-85/North Druid Hills Road, Atlanta, Georgia

31IT WAS ALL ABOUT THE

MONEY

INDIANAPOLIS, IN— Our April theme was “Money Magic.” It turned out that the magic for the evening was right on the money! But first we discussed our plan for inviting all clubs within a rea-sonable distance of Indianapolis to join us at our annual Magic Picnic on June 22. It is always a great event with food and magic in a beautiful outdoor setting at one of the largest city parks in the country. Feel free to check our website for details. Our second “on the money” event

was the formal initiation ritual of new member, Doug Jave. We all know Doug as a superb magician and he proved it to us with some astounding money magic later in the evening. We are proud to welcome Doug into our Assembly 31. And then it was time to move

on to multiple miraculous effects with coins and bills. Daniel Lee showed us his take on the Extreme Burn 2.0. President Taylor Martin shared a “Brief History of Money,” including a description of the origin of the picayune. He also did a nice four coins and a card, and taught us the “Taylor Twist,” his method of moving coins through his hand one at a time. Jim Croop asked for a dollar bill,

but it turned out to be counterfeit; using the Scottie York Counterfeit Bill routine he was able to save the owner from embarrassment and jail. However, the owner of the bill clearly imagined it was a dollar and four quarters were produced from the remains of the counterfeit bill, which allowed Jim to move on to the Garrett Thomas Imagina-tion Coins routine. Very long time member Tom

Winterrowd did his version of a half dollar traveling invisibly from one hand to the other which he termed “Very Costly.” With two half dollars in his right hand, he tossed one invisibly to his left hand. Unfortunately, he missed, leaving him with only one half dollar. He commented that he had been working on this effect for

some time and that every time he misses, it costs him fifty cents! Finally, it should be noted that

newly inducted member, Doug Jave, taught us how to transition a borrowed bill into a bill divided into four quarters. To top it off, he used his membership pin box which was presented to him earlier in the evening as the prop for his magic!Assembly 31 meets the first Monday of the month at 7:00 pm. If the first Monday conflicts with a holiday weekend, we postpone the meeting by one week. Unless otherwise announced, the meeting location is the Irvington United Methodist Church, 30 Audubon Road, on the east side of the city. For more information contact Taylor Martin at [email protected] or 317-413-1320

32BRINGING OUT NEW “OLD”

MAGIC

LYNCHBURG, VA— April’s theme was “Magic Out Of The Drawer,” meaning effects and props that have been stored away and are not being used or seldom see the light of day. Lynchburg’s magicians must generally have drawers crowded with magic as all attending had something to offer, many with multiple tricks. Patrick Hubble got things started by magically twisting the end of a key and the shape of the key was transformed. This, like some other tricks to follow, is too good to be tucked away in a drawer for any extended time.Glen Rae performed next and

presented a series of effects, including a premonition effect by Richard Osterlind, Sid Lor-raine’s 1-2-3 card effect, Eye of the Beholder, and a real fooler using ESP cards. He finished with a nicely handled Lazy Man’s Cards. Mike Kinnaird demonstrated a prediction of the future with four queens he had in an envelope and also performed another very clever Tenyo mental effect called The Elite Fortune Sticks.Trevor Albright performed his

version of the 21 cards. John Jennings had a turn and first shared a brass Nut and Bolt prop that was more a puzzle than magic. He also had a comedy Finger in a Box and presented an ESP Box with cards that dated back nearly fifty years.Bob Staton shared an in-

teresting effect using states and discussed variations. This was a meeting with consider-able participation by all, a factor that adds interest and enjoyment anytime these wizards get together. —John JenningsThe Hersy Basham Assembly 32

meets the third Tuesday at 7:00 p.m. at Tharp Funeral Home, 220 Breezewod Drive, Lynchburg, VA. Contact John Jennings [email protected] (434) 851-6240 for more details.

35MIND GAMES

POUGHKEEPSIE, NY— Our meeting this evening began with a broken wand ceremony for long-time member, Mr. George Post, who first joined the club when Dwight Eisenhower was president. Mr. Post loved giving shows for children, many times doing several shows in the same day. He even graced the cover of M-U-M in March of 1966. A video of him performing was shown, so that newer members could get but a glimpse of what the older members vividly remember.Afterwards we had a presentation

of mentalism effects by our own Harvey Berg. A card was selected; several permeations were made, with the card to be revealed by a phone call to Mrs. Berg who was at home. The effect ended with an unexpected result.Another effect demonstrated

was titled Possible Impossibil-ity. Mr. Berg was assisted by Gayle Alexander, “Dr. Platypus,” Rebeckah Curry, and John McMorrow. The cards were cut several times, each person being dealt thirteen cards. Yet every time a card was called out from Ace to King to be put onto the table, each person turned out to have exactly an Ace through King each time. This was repeated several times with the exact same result.Mr. Berg went on to tell us a story

of someone that he knew in school years ago, someone who inspired him to seek to better himself. This friend eventually became a U.S. Supreme Court justice. Mr. Berg performed a few times for the justices. Were they able to figure out how he did his effects? Ap-parently the jury’s still out on that one. —Darryl BielskiAssembly 35 meetings are held at Milanese Restaurant in Poughkeepsie, NY. Typically, meetings are held every 2nd Tuesday of each month. Meetings begin at 7:30 pm. Contact Joel Zaritsky [email protected] (845) 546-1559 www.sam35.com for more details.

37AUSTRALIAN MAGICIAN

TIM ELLIS TAKES DENVER BY STORM!

DENVER, CO— April in the Mile High City was magic! Thanks to past president and

devoted member Chad Wonder, Jeff McBride was in town and provided a stellar mini-camp to our membership for a minimal fee. He then was featured in a public show at one of Denver’s hot cabaret-style theaters. A week later we hosted a magic flea market to provide our member-ship with an opportunity to sell their excess magic wares and to provide an opportunity for magic enthusiasts from around the state to buy magic items at a discounted price. Several members were on hand to sell, including Larry Betz, Mark Strivings, Chris Manos, and Denver’s own creative coin master Dave Neighbors. Buyers were not only from the Denver metro area but our neighboring clubs to the north (Ft. Collins and Greeley) and to our south (Colorado Springs), not to mention our local clown cousins. We also had a couple brave souls make a 100-mile trek up from Pueblo, Colorado. A couple who are one of our

club’s greatest assists Bruce and Kitty Spangler celebrated their fiftieth wedding anniversary with a lavish party thrown at their television celebrity son Steve Spangler’s family home. They are celebrating in grand fashion their upcoming cover story for M-U-M magazine.

The month then ended in down-under fashion with a fun and educational lecture from come-dy-magic icon Tim Ellis. Tim is an artistic and creative soul who deeply cares about others, espe-cially his audience. His lecture was centered on making people care about magic. What better way to start the caring then to eat a few razor blades in tune with a nifty ditty. Then Kitty Spangler got to play chicken with a rat trap or two. Andrew Bates received a photograph of his palm holding the chosen card inside and Lewis Peacock’s Seven of Hearts spelled out the word C A R E.Colorado’s magic-storyteller

Autumn Morning Star helped Tim

Tim Ellis and Autumn Morning Star pose after

Tim’s brilliant lecture


Assembly News

out with an ambitious card trick done to a charming music box melody. Delightful club member Glenn Prouix offered his ring for a brilliant rubber band trick while member Mike Townsend looked on. Tim’s best was saved for last as our group of a lucky thirty-five was treated to Tim’s awesome signature piece, Run around Sue. He later joined Theatre of Dreams hosts Joe and Carol Givan for two back-to-back sold-out shows the next evening. Tim is brilliant! —Connie ElstunAssembly 37 meets at the Riverpointe Senior Center in Littleton Colorado. Contact Connie Elstun [email protected] (303) 933-4118 www.milehighmagicians.com for more details.

38A VARIETY OF MAGIC

KANSAS, MO— Assembly 38 met on March 25, 2015, and, following a repost of the board of directors, launched into a multital-ented and multifaceted evening of magic. It was led off by member and regional vice president, Shaun Rivera, who regaled us with several of his usual fine card effects. He was followed by Bob Goodin, a regular at several Kansas City res-taurants, who, assisted by Leatha La Guardia, also provided us with his customary blend of skill and entertainment. John Hicks, another card aficionado, included a version of Triumph in his pre-sentation.Then it was time for Daniel

Jackson to entertain us with some of the material that has insured him a spot among the top of the city’s street performers. Ropes, Cups and Balls, borrowed bill in kiwi (use a kiwi; it makes the bill so messy that the spectator who loaned it will usually not want it back), and the production of a bowling ball from his floppy hat. Surprised the heck out of everybody!Dr. Bill King, did some work

with a Stripper deck that was also marked, showing us how when

used properly, such devices can me most effective in producing real magic. Korso (stage name) did a portion of his act, which included the discovery of a chosen card stuck on the back wall. Israel Rivera did a portion of his stage act, including pouring color-changing liquid into and out of a folded newspaper which somehow managed to remain perfectly dry. Neat!Don Becker showed us a 1950s

model of Forgetful Freddie, a trick which many of the younger members had never heard of. He also treated the members to a dem-onstration of an apparently 1930s model of a “Forgetful King Kong,” a steel (and really noisy) version of the lost and rediscovered head guy.And Laremy Schulze proved that

his lucky matchbox was really lucky (fortunately for the owner of the bill that was stashed in it).Good evening with lots of

magic. Good time at the local af-terhours hash house, too, where a local pool player showed us a “card trick” and asked if it was a good one. Creative hemming and hawing followed. All in all, a great evening! —Don BeckerAssembly meets at The Improve Coffee House and Theater, 4010 Pennsylvania Ave., Kansas City, MO on the 3rd Tuesday of every month. Contact Don Becker [email protected] (816) 886-6780 for more details.

47NOMINATIONS &

CLOSE-UP CONTEST PT. 1

ROCHESTER, NY— Our April meeting brought on the close-up contest as well as nominations for officers for the coming year. Nom-inations for officers are: JP Lacey and Mike Ihrig for President, Nick Young for Vice President, Joel Greenwich for Secretary, and Jeff Blood for Treasurer.The close-up contest was a huge

success, due to the tremendous work of JP Lacey. Eight members performed for $175 in prizes. Dan Grayson performed literally for the first time in a group environ-ment and was well received. He took a borrowed ring, vanished it, and made it reappear inside of three silk handkerchiefs rubber banded together. A nice card rev-elation followed; he ended with a gypsy thread routine using dental floss.Mike Ihrig did a tribute to his

four-month-old granddaughter, Ondine by performing a Hello Kitty magic show using not only the tricks exclusive to Toys R Us, but also his own innovations. It was well received.

Joel Greenwich used cards to tell the story of his life and dreams so far. Numbers picked always produced a Queen. Basically, his mantra was to pursue your dreams and stay true to yourself and you will find the treasure in your life. The routine and ma-nipulation were flawless.Professor Rem

used his origami skills and added a magic touch. A paper was cut into a heart, which changed into two squares, which became separate, but linked! Another favorite of mine was a wandering hole routine on a piece of card with my neighborhood drawn on it. Rem of course, added his well known quips and jokes. A fun ride.JP Lacey stunned the crowd

with a piece of paper that, when lit, burst into flame to reveal a silver dollar. Two more appeared, vanished, and switched hands. This was pleasingly masterful magic that had to be seen. He then made the coins pass one at a time through a transparent silk; the last one done in a spectator’s closed fist! As he left, he produced a glass of water! Beautiful to watch and admire! —Mike IhrigAssembly 47 meets the third Tuesday September thru May at St. Joseph’s School, 39 Gebhardt Rd, Penfield, NY 14526 Contact Mike Ihrig [email protected] (585) 377-1566 www.sam47.com for more details.

51APRIL IS ALIVE WITH

MAGIC IN PEORIA!

PEORIA, IL— Our March meeting was called to order by President Rodney Nordstrom. There were thirteen members in attendance. The topic was “Present your favorite magic trick or discuss your favorite magician.” It was interesting to get feedback on the most popular tricks and favorite magicians. We will be doing twenty per-

formances at the Heart of Illinois fair in July. Also in July will be a performance at the Riverfront Museum, in conjunction with their exhibit theme of “Believe it or Not.” In the same area of town, every other Saturday throughout the summer, we will have a tent at the Riverfront Farmer’s Market, where we will perform close-up. We are also planning a “Tribute to Houdini” for October and will be

performing at the men’s Bradley University basketball game later this year in front of over six thousand people! On April 5, we had our annual

shows at Expo Gardens Opera House, with two shows that day, an hour long matinee and a full evening show that night. Stage performers included emcee Jay Zentko, C.J. Diamond, D’Nordo, Jerry Tupper, Yort, J-Mysterio, Grant Golden, Kyle Bassett, Mr. Illusion, and Michael Baker. Close-up performers included Michael Couri, Brock Cassidy, D’Nordo, Yort, and Mr. Illusion. Our apologies, if any performers were overlooked.Regis Kormick did a fine job

handling our ticket booth, while Mr. & Mrs. Peacock served as greeters. Thanks to Steve Spain at The Costume Trunk for helping with advance ticket sales. Thanks also to all who contributed to the planning and execution of this event in any manner. The shows were considered a success!April began our new incentive

program. Any member who attends three consecutive meetings in any calendar quarter will be entered into a drawing for a $50 cash prize.Our theme for the evening was

on the topic of “patter.” Partici-pants included Regis Kormick, Troy Keefer, Rodney Nordstrom, Jerry Tupper, Dr. Ron Sumner, Grant Golden, Michael Baker, and Betty Giacobazzi. There was more discussion

following the meeting, and several of us looked over and purchased some books and other items from Gordon Snow’s estate. —Michael BakerAssembly 51 meets the third Monday of the month, beginning at 7:00pm at Schnucks Grocery in the Metro Center, University and Glen. Contact Michael Baker [email protected] (205)612-3696 http://peoriamagicians.com for more details.Bob Gooden does magic for

Leatha La Guardia

Front row: C.J. Diamond, J-Mysterio, Yort, Maralyn Keefer Back row: Grant Golden, Kyle

Bassett, Michael Baker, Jerry Tupper, Jay Zentko, D’Nordo, Mrs. & Mr. Peacock


Assembly News

52PAYING YOUR

TAXES

SAN ANTONIO, TX— April 3, 2014, Brother John Hamman Assembly 52 held its monthly meeting at La Madeleine Res-taurant. We had a great turnout tonight with fifteen in atten-dance, including members and wives. With April being tax month, tonight’s suggested theme: currency, bills, coins, or even an effect that is particularly “Taxing!”President Don Moravits started

off the open performances by doing a rope trick to music. Ray Adams told a great story while doing the Hundy 500, and Doug Gorman told a story about the Tax Code Simplification Act using an Okito coin box and five coins. Joe Libby did a hilarious vent act using a puppet representing his brain. Michael Tallon entertained us with Misled and Paul Mims performed Pen through Bill and Traveling Cash. Ed Solomon presented a wonderful mini-lec-ture on storytelling. Ed spoke about why you become a storytell-er; which comes first, the magic or the story; the importance of perception; and told a wonderful story as an example of the points he previously made. His talk was followed by an extensive question and answer period. The number of questions and their insightful-ness served to illustrate just how very much we all appreciated Ed’s efforts. We were all privi-leged, indeed, to hear these gems of wisdom from a genuine inter-nationally revered master of the art. Door Prize winners were Ray Adams, who won Tom Craven’s Blue Collar Aces; Joe Libby, who won Daryl’s lecture notes, 4FXII and Sponge Egg; and Michael Tallon, who won David Stone’s Rewind 2.0. Brother John Hamman Assembly 52 meets at 7:30 p.m. on the first Thursday of the month at La Madeleine Restaurant, located at 722 N.W. Loop 410. The restaurant is inside Loop 410 on the access road between Blanco Rd. and San Pedro. For more information, contact [email protected].

56APRIL MEETING

DAYTON, OH— Our April meeting was well attended. Compeer Scott Miller called Compeer Bill Alexander who now lives in Louisville, Kentucky via FaceTime so everyone could say hello and wish Bill well. Our Theme of “Rope Magic” was

brought to us by Carl Day. Carl started us off followed by Dave Davis, Paul Burnham, Jo Ann Kinder, Scott Miller, John Love, Fred Witwer, Millie Witwer, and Oran Dent. A great time was had by all. —Matthew David StanleyAssembly 56 meets at various Locations Contact Paul Burnham [email protected] for more details.

59LEO HAGLUND’S CARD CONTEST

PORTLAND, OR— Greetings compeers. My name is Andy Turner and I am your new Assembly 59 secretary. This is the first of many club reports that I will be writing. I look forward to the many challenges that I will conquer in my new position.April’s meeting title was “Leo

Haglund’s Most Entertaining Card Trick Contest” and was sponsored by Dave’s Killer Magic Shop. It was a dark and rainy April night – a night that all who attended will remember in the future. The meeting was kicked off by our new president Mel Anderson, covering a few issues of business and then we went into this much anticipated annual contest.The contestants who wowed

the crowd were: Bob Eaton, Tom Waldrop, Jay Fredericks, Randy Stumman, Mel Anderson, Larry Seymore, John Edsall, and finally Jorjan Plimmer. The grand winner for this year’s contest was none other than our own Randy Stumman. It was a great night of magic shared by all! We had several guests for the contest, including Jack Buchalter, Jorjan Plimmer, and returning visitor Frank Dudgeon. Everyone who attended was amazed, entertained, and baffled by all the great acts of the night. We then were addressed by President Mel Anderson with a few old business notes followed by new business, which included a shout-out from Art Manning recruiting stage assistants for the upcoming show for the Elks Lodge on May 24. It was noted that this show, which will include at least six members performing, is going to be another great show put on by the club for the purpose of paying our rent to the Elks. Upon ad-journing, off into the rainy night we went. —Andy Turner

Assembly 59 meets at the Beaverton Elks Lodge 3500 SW 104th,Beaverton, Oregon 97005. Contact Andy Turner [email protected] (503) 975-6139 sam59portland.org for more details.

61NEW OFFICERS ELECTED

AND A FUN NIGHT OF COIN MAGIC!

MILWAUKEE, WI— Assembly 61 elected new officials at the February meeting and the March get-together went off with a fun and educational night of coins! Newly elected president Mark Martinez set the stage for the March meeting by declaring it coin night. Members, each with

a unique coin effect, gathered and shared their art. We were educated on a non-gaffed Coins Across routine from Mark that sent everyone home with practice material for a month! VP Mario Gayoso dazzled with a Matrix effect, and Treasurer Robert Rath supplied a flurry of sleight of hand that kept us all guessing. We saw coin productions and vanishes and even had a coin appear in a sealed sugar packet from an effect created by new secretary Jeremy Scheifflee. Magic is alive and well in the

Brew City! With a great group of magicians already on board, we are looking forward to growing and sharing great magic in 2014! —Jeremy ScheiffleeAssembly 61 meets at Dicken’s 9646 W Greenfield Ave., Milwaukee, WI 53214. Contact Jeremy Scheifflee [email protected] (991) 3003 www.sam61.com for more details.

88SILK MAGIC

ANN ARBOR, MI— Coming out of a brutal winter, we kicked off spring with a fantastic April meeting! The theme this month was silk magic and our members came prepared. A standing-room-only crowd was mesmerized as nine members performed feats of silken sorcery. After welcoming three guests (Tim Miller, Shabier Raffee, and Jeff Boyer), the fun began.Jim Placido kicked things off

with a smooth rendition of Silkola.

Magic Joe (Fusco) followed as one of three colored boxes was freely selected by a spectator. She also randomly selected a playing card. After some comical byplay, the selected card was found inside the box previously chosen. Jim Folkl penetrated a silk hank with a sword, then produced two (very small) “rabbits” from a “tube of mystery/genii tube,” culminat-ing with the appearance of a large Rabbit in the Hat silk.President Bill Brang pulled out

all the stops. In rapid succes-sion, Bill magically rearranged numerals on a silk streamer, trans-formed red/white/blue silks into an American flag, produced an Olympic flag, did a funny bit with a “UNIQUE” silk, presented the classic effect “Blendo silks,” and concluded with the appearance of a 36” THE END silk.George Honer proceeded to

transform the colors of various silks in a mysterious bag. The kicker came with the change of the bag’s color from black to multi-color! After showing a green silk with a white rectangular center, Marvin Mathena had a freely selected card vanished and its denomination appeared within the center of the silk to audiences’ amazement. Jim Ruth demonstrated one his

restaurant routines employing the thumb tip: the appearance and subsequent disappearance of a yellow silk from within a blue silk. The trick was simple and direct with maximum impact, ideal for dining venues. Always comical, Scott Kindschy recounted his frequent globetrotting vacations while producing the flags of many nations. His patter lead to the con-clusion of being happy to be back in the USA, as an American flag was produced! Scott handled his magical adventures with aplomb to the merriment of the group.

Tim Miller closed the show by performing an effect previously demonstrated and with a prop that was used repeatedly throughout the night – the Change Bag. What made the trick hilarious was his impromptu patter regarding the duplication of the trick itself and its principal gimmick. It is the

SAM 61 Coin Night

Jim Placido performing Silkola


Assembly News

mark of a skilled performer to present an entertaining routine on the fly and Tim did just that! —Jim FolklAssembly 88 meets the second Wednesday of every month, 7pm, at Faith Luthern Church, 1255 E Forest Ave, Ypsilanti, MI. Contact Jim Folkl [email protected] (248) 8514839 http://www.aamagic.org/index2.html for more details.

94NOW AND AT THE HOUR,

CLOSE-UP AND PERSONAL

SILICON VALLEY, CA— The topic of our April meeting was Strolling, Walk-Around, and/or Table-Side Magic, inspired by our members’ continuing par-ticipation in Monday Night Magic at Morocco’s Restaurant. Carl Thomsen performed a multi-phase Further Than That card routine. Guillermo Perez showed us a Matrix effect with four coins and four cards that he often performs on barstools. Stephen Sebeny shared his presentation of Unshuf-fled. Ken Gielow mysteriously and accurately predicted the results of a spectator’s attempts to divine (or guess) the designs on a series of Zener cards. Manfredi Corradino performed a Ring and String routine in three phases. Finally, Kim Silverman gave us the pre-sentation he had recently given at Magicon.On April 23, San Francisco

magician, writer, and storyteller Christian Cagigal gave a special performance of his critically acclaimed solo show, Now and at the Hour, for Silicon Valley Assembly members and guests. This was followed by a magicians-only lecture and discussion on the structure and development of the show. He shared the ups and downs of creating a new, original, and personal work and discussed his thoughts on mixing magic and theatre, his choice of effects, and even tipped a couple of effects from the show. This was not a lecture of tricks and their secrets. It was a show and discussion about pushing one’s love of magic beyond what’s been already done in hopes of creating something unique and new. Christian discussed how he arrived at the premise of the show, the choices and commitments he made to keep the magic consis-tent with its premise, and turning intensely personal and potentially upsetting memories into a mysti-fying and entertaining hour-long show.To cap off the month, members

Phil Ackerly, who has been voted Top Performer of the Year by Bay Area Parents magazine

more times than I can remember, and Assembly President Kim Silverman, whose magic speaks to your heart and can leave you in awe, were joined by David Gerard, a talented local performer of mind-blowing mental magic, to present a very special show accompanied by a delicious Moroccan dinner for the patrons of Morroco’s res-taurant on April 27. —Joe CaffallWe do not currently have a permanent meeting location. Please email Joe Caffall at [email protected] for meeting information. We meet on the second Monday of each month. Contact Joe Caffall [email protected] (408) 375-1905 for more details.

95I MADE IT MYSELF

VANCOUVER, CANADA— The April 2014 meeting was held at the recreation room of Juan Garcia’s condo. After some nice snacks, the evening started off with Rod Chow showing a video of his latest money act for critique by the members. The theme for this evening was “I Made it Myself,” and all of the effects in Rod’s act were made by him. Starting off the live portion was Jens Henriksen with a prediction effect utilizing the math skills of Tony Chris. Next was Trevor Watters, who performed a very intriguing card effect. Rick Mearns followed with some of his unique commercial magic. Ray Roch showed a silk that he made up that was able to penetrate through any fixed object.Dave Watters brought along

a special homemade comedy mentalism apparatus prop that he had used to win a Vancouver Magic Circle comedy award in the past. Dave went through his entire comedy routine, which had the members in stitches. Henry Tom performed a dental prediction with a folded piece of mouth art that he made himself. Following was host Juan Garcia with a colorful card-prediction stand that he had

built. Dennis Hewson showed a beautiful steel flip-down magic table that he had built; he then performed a mind reading card effect with the aid of a homemade paper bag. Closing the show was Tony Chris with his marketed effect Test Drive using his own design of very sleek automobile cards. —Rod ChowThe Carl Hemeon Assembly No. 95 meets the first Tuesday of each month at members’ homes. Contact Rod Chow [email protected] (604) 669-7777 www.sam95.com for more details.

99STATE MAGIC CONVENTION

COMING SOON

ORLANDO, FL— Mark intro-duced the board of directors: Craig Fennessy, VP; Bev Bergeron, Treasurer; Chris Dunn, Sgt. at Arms; Craig Schwarz, Web Designer; and Phil Schwartz, Historian.President Mark Fitzgerald

opened the meeting welcoming visitors to our meeting. Ryan Schlutz did a wonderful lecture on Self Working card magic on April 13. Ryan covered some of the effects in his book Making The Cut.Our 2014 flea market raised

enough money for our club budget. Everyone agreed that the new location was great. Craig Fennessy reported that we received a refund on our reservation and put the money towards next year’s event. There was a long discussion on how we could possibly improve the auction portion of the flea market. The silent auction did not draw enough bids to satisfy the sellers. The general consensus was we need to find better time to do the auction, which would draw the attention of all the attendees.Phil Schwartz presented Magic

History Moment #57. Phil started his presentation with a quote from an obituary: “He was virtually the last of the old school magicians – a man who raised the art to its highest pinnacle and kept I there whenever he appeared as its exponent.” – Adam Hull ShirkThe magician who is the subject

of this Magic History Moment was Born July 11, 1849 in Erie, PA. and died March 10, 1922 in Los Angeles. His name was Heinrich Keller. We all know him as Harry Keller. Phil presented the highlights of Harry Keller’s life. You can read all the details of this wonderful presentation on our website at www.sam99.com. Thank you Phil for our continuing education.Bev Bergeron did the poker deal

he saw Ricky Jay do on Jimmy

Fallon. Mark Fitzgerald performed an effect from Paul Gordon. Greg Solomon did a card effect from his restaurant work. Dan Stapleton did a BINGO Card effect in which all the selected numbers add up to his prediction. Josh Aroyo did a couple of card effects very well and found the cards both times. Keith Kong and Christian Soroundo (guest) did a second-sight mind reading routine. Until next time, let there be magic

everywhere you go. —CraigAssembly 99 meets the 3rd Wed. at 7:30 pm at the IHOP restaurant, 5203 South Kirkman Road, Orlando, FL 32819 Contact [email protected] (407) 433-0216 www.sam99.com for more details.

104THE MAN BEHIND THE DOUBLE LUNG SWITCH

VISITS SALEM

WITCH CITY, SALEM, MA— The Wednesday, April 2 meeting of Assembly 104 was called to order at 7:40 p.m., following Len Lazar’s teaching at the Bill Towne School of Magic. Getting right down to business, the subject of our 2014 SAMCON convention was tackled and ideas, including the date and new venue possibilities were discussed. (A few days after the meeting, producer Evan Buso-Jar-nis communicated the good news on both fronts: SAMCON will be held at the DoubleTree Hilton Hotel, In Danvers, Massachusetts, on Saturday, November 15, 2014.) We also learned that our S.Y.M. 124 kids had recently enjoyed a great lecture by local legend David Oliver. Our own good news for the night came in the form of a lecture all our own delivered by Mr. Oliver, magic’s medical Come Back Kid himself. It was one we would remember for quite a while.David endured years of misdi-

agnosis and half-right diagnosis only to finally face an epic, eleventh hour, double lung transplant, complications, and colossal expenses as well as a long recovery. It might seem too much for anyone’s optimism to survive. But the historic financial and moral support David Oliver found himself receiving from magicians and friends across the country seems to have brought him to an inspiring gratitude and calm. It became clear that David is breathing well and in a good place. He brought his rejuvenated humor and talents this night to our place for an eager crowd. After detailing his medical experiences, to quell any questions, David began sharing a volley of fine ideas and handlings for some familiar effects. These included the

David Watters with his crazy homemade mind reading

apparatus with Henry Tom assisting


Assembly News

Tossed-out Deck, Sponge Balls, and the Invisible Deck. The latter was an eye-opener for many of us when the Oliver Touch eliminated a need for any counting. Goodbye, 13! An Oliver Linking Ring routine, using three rings, offered a subtlety in which a finger’s cover renders the linking invisible and more magical. A light moment was enjoyed when Compeer Burch Stokes assisted in a notepad pre-diction effect, doing something David had never seen before. David smoothly regrouped, the effect was reworked and blushing Birch returned to thoughts about his impending second-time fa-therhood. The Oliver Touch was also on display in presenting Silk to Egg, again with the same high quality thinking that enriched the whole evening. David Oliver is definitely back, regaining strength and skill. His grace, however, will never be in short supply. —Bob ForrestAssembly 104 meets the first Wednesday of each month, September-June, 7 p.m., at the First Baptist Church of Salem, 292 Lafayette Street, Salem, Massachusetts. Contact Bob Forrest [email protected] (339) 227-0797 www.sam104.com for more details.

110AFTER MEETING

HARRISBURG, PA— The after-meeting activities for April were two separate contests, The Ducky Waterman and an open event. The Ducky Waterman contest is named after a 1950s member who came up with the idea that a contest should be held with just the winners of the previous year’s contests entered, “A best to the best” contest if you will. Many think that the contests are only about who is the best magician, when, to a great extent they are about what effects and presen-tations are able to impress and entertain such a “jaded” group. Two previous contest winners did not participate in this year’s Ducky Waterman; consequently,

there were but three contestants. Izzy Schwab was the first to

appear with the story of his uncle Harry who had traveled to New York and found himself in a three card Monty game. Jack Ritter brought his homemade Chinese candle clock, which, according to Jack’s patter, separated each day into three sections, a time to work, a time to be with family and a time to rest. Joe Noll was the final performer, assisted by Tom Narin, who, having selected a card and keeping its identity known only to himself, tried to project the cards identity to the onlookers. Since Tom was not successful on his own Joe offered the use of the patented, twin turbo, Grandpa Bumbles thought projecting device.The group voted Izzy Schwab the

winner of the Ducky Waterman Trophy. Well done Izzy!!There were four contestants for

the “open” contest. Lou Abbotiello balanced a quarter on a dollar bill, Tom Narin gave us Gemini twins, Almar stabbed a pen through a dollar bill and the bill healed its wound, and John Sergott gave us an impromptu prediction using loose change gathered from audience members using Vic Oriolla to assist him.The group selected Tom Narin as

first place, John Sergott as second place, and Almar as the third place.Joe Homecheck, SAM Assembly 110, meets 2nd Thursdays, 7:00pm, at John’s Diner, 146 Sheraton Dr., New Cumberland, PA 17070. Email: [email protected]

112THREADING A NEW

ROUTINE

PLEASANT HILL, CA— Our March meeting started with a great teaching presentation by Ric Ewing, who demonstrated the Gypsy Thread effect using dental floss. Ric then explained the trick and used his iPad to show videos of performances by several well-known magicians. Patter can vary from comic to emotionally moving with this effect.Within minutes, everyone was

practicing and performing the Gypsy Thread with a partner. Larry Wright even performed for us his version of the effect. There was also discussion over the ad-vantages or disadvantages of dental floss over regular thread.Following a short break, President

Larry Wright announced that our assembly is planning to produce a fund-raising dinner show at the Elks Club on or about Saturday, August 9, 2014.Bob Holdridge began the open

performance portion of the

evening with a presentation of his Indestructible Rope effect, in which a rope running through the center of two blocks of wood is cut and then restored. Bob makes many of his own props for the effects he performs, and he does really great work.Next up was Zappo, who

managed to make a chosen card disappear from the deck and to appear in the wallet of a spectator. Ric Ewing followed Zappo with an excellent routine of Coins Across. Eddie Carson, a protégé of Ric’s, then came up to demonstrate his version of Two-card Monte. Then Roy Porfido, with the help of Erich Biggs, performed a unique card trick he calls the Bullet Card.Afterwards, Roy encouraged

Erich to demonstrate his coin routine known as Three Fly. Erich has developed one or two moves that can mystify even his fellow magicians and he graciously shared the moves with us. He also demonstrated the muscle pass.

Following Erich, Michael McGriff showed the group how to perform another coffee shop type of trick in which the magician allows a spectator to break a wooden stirring stick inside a small paper bag, only to have it reappear in one piece.Finally, Ric returned to discuss

a performance technique useful to restaurant workers and others. Dividing your close-up tricks into sets of three with each ending trick leading into the first trick of the next set is a great way to organize your act and entertain a large number of people without a lot of repetition.Members continue to be

impressed by the new format of our fun and informative meetings. —Bill MarquardtDiablo Assembly 112 meets on the third Wednesday of every month at the VFW building in Pleasant Hill, California Contact Larry Wright Zapppo@zappothemag ician .com (925) 685-5129 http://www.sam112.com/ for more details.

118GRANITE STATE

CONJURORS

NASHUA, NH— The Granite State Conjurors have had a busy month. We performed our annual charity show for the Merrimack Crimeline. We also hosted a lecture by Sandy Rhodes at Black Sword Estate. We have an upcoming show in May at Camp Sargent. In June, we will host a lecture by Craig Browning. Contact us for more information about any of these events.

Assembly 118 meets on the third Wednesday of each month at 7:00 p.m. at Black Sword Estate, 126 Perham Corner Rd. Lyndeborough, NH 03082 Our venue rotates, so contact us first. Contact Robert Granville [email protected] (603) 505 8749 http://sam118.com for more details.

131MAGIC WITH EGGS

DANBURY, CT— The club discussed and passed a Danbury Top Hatters Magician of the Year Award to be presented to a selected member at our annual Christmas banquet. Magic Marty was mentioned concerning his involvement in stand-up comedy. Best wishes to President Mo, healing up after foot surgery and Walter Burrows re-cooperating after a fall. Tony Spiro performed

the classic Adams Egg Bag with some comedy to go with it. Really “egg-ser-lent.” Our own Des then presented us with the comedy Troublewit, a fantastic paper fold routine. Des will perform comedy magic routines for the aged at a facility in PA. We were his sounding board and loved it.Magic Marty produced an egg

from a flash, opened the egg and produced four coins. He could then go into a Matrix routine or a four-coin roll-out routine.

David Oliver shares his joy and his magic

Bob Holdridge cuts thin rope before showing that it is actually indestructible

Sandy Ehodes levitates Nancy Frankel at his lecture for the

Granite State Conjurors


Assembly News

Tom Demouth, our newest member, performed Twisting the Aces with some original patter and instructions, handling etc. Tom then performed a Three Card Monte routine, with added comments by our members as to it being one of the best cons. Bubbles the Clown performed

a wonderful Easter effect with an original P and L Change bag. As her assistant dropped a blue and pink plastic egg in the bag it fell through the bottom and broke. The Change Bag was then zippered closed on the bottom and the egg was dropped in again. The egg was taken out and opened to reveal a pink and yellow chirping toy chick. Bubbles really did a cute effect. This was an interesting meeting because we exchanged creative ways to produce an egg, a true learning experience for young and old. —Magic Marty SteinbergAssembly 131 meets the third Monday of each Month at The Methodist Church #5 Clapboard Ridge Rd., Danbury CT. Contact Martin Steinberg [email protected] (845) 797-8363 for more details.

148SEEING DOUBLE

ELMHURST, IL— In addition to this month’s theme (favorite close-up and walk-around magic), we presented a semi-regular feature of Assembly148: member conducted workshops. Don Dvorak (our sergeant at arms) unavoidably missed the previous meeting where he was scheduled to present, so we had a double workshop. Don demonstrated and taught a brilliant-four card routine in which Aces reversed themselves, changed color, and finally turned into Kings. Tony Noice (president) executed and explained a variety of approaches to a truly fundamental sleight, the double lift, including Vernon’s, Lorayne’s, Daley’s, and Dingle’s versions.Then the members at large took

over and “Put on a Show.” Bob Syrup performed an Al Leech stunner in which the Ace of Spades

ever-so-cleanly located a freely selected card. Rudy Alfano repeat-edly tossed a solid ring onto an ungimmicked bracelet, and then pulled a silk through the bottom of a solid glass bottle, although the bottle’s only opening was stuffed with a different colored silk. Gorden Gluff did a great routine of penetrations using a solid bracelet and a long shoestring. Tom Tremont, returning after a long absence from the club, did an impromptu card location that fooled everyone. Tom LoCasio arrived at the meeting to a surprise. The national office of the S.A.M. tracked him down so he could be presented with his thirty-five-year certificate for his contributions to the society. Of course, his fellow members insisted on an anniver-sary effect and Tom obliged by performing and explaining a card trick in which the spectators do all the work. Next month, we’ll have a magical presentations from the members of the nearby Mazda Magic Club in Elgin, IL. See you then. —Tony NoiceAssembly 148 meets every third Monday at the Evangelical Lutheran Church (downstairs) on the s.w corner of Spring Road and Vallette in Elmhurst. Contact Tony Noice [email protected] (630) 993-3740 www. SAM148 for more details.

157LOSS OF VALUED FRIEND

BEAVER, PA— The Mystic Magicians of Beaver Valley (Assembly 157) cancelled their regular meeting because of the passing of our valued friend and treasurer, Rich Howard. He was a mainstay of the club, performing many functions. In recent years, he did not do as much perform-ing, but very little magic went on in the Greater Pittsburgh area that he was not in the audience or backstage helping out. He was a great promoter of everything magic. He was treasurer for many years, ran the monthly raffles, sold our logo pins and patches, did the monthly newsletter, handled our holiday banquet, got plaques for our annual awards, got the park permits, and handled the food and drinks for our picnic and the GPMN picnic. This list does not contain all of the things he did or the support he gave. The members of the club and many magicians from the Pittsburgh area helped with the Broken Wand Ceremony at his calling hours, which was on our regular meeting night.The Mystics meeting was held

two weeks later. Ray Lucas appointed Bob Mullins to the treasurer’s position for the rest of the year. For the picnic in

June, Ray Lucas is going to take over the cooking and bringing the meat, buns, condiments, and paper supplies. Eric Davis and Bob Mullins are going to bring coolers, ice, soda, and water. Judy Steed needs to be contacted with number coming and what bringing as a side dish. As you can see, it is taking four of us to do Rich’s job. Ray announced this picnic will be known as the Rich Howard Memorial Picnic from now on.

Promoter Keith Simmerer was at the meeting and has requested an application to join the club. The Nathan Kranzo Lecture will be June 5. In place of our Teach and Learn session, Jack Greenberg did a mini-lecture on the Magic Touch, a card trick he has perfected. He performed the trick, and then proceeded to lecture on how it is done, step-by-step.Only three members performed,

with Ray being emcee. Eric Davis did the card trick, Four Card Monte. Don Moody did a novelty trick with specially made dollar bills and some soda. Ray had a slate with six cards in which a card was chosen and it was the same as written on back of slate. —Judy SteedThe Mystic Magicians of Beaver Valley (157) meet the second Thursday of every month at the Towne Square Restaurant in Beaver, PA. Contact Judy Steed [email protected] (330) 525-5389 for more details.

181LECTURE IN APRIL

HIGHTSTOWN, NJ— Our April meeting was headlined by a Duane Laflin lecture, and it was a standing-room-only event. We literally ran out of seats for the attendees. Among magicians, Duane is well known for his showmanship, stagecraft, and creativity. He has invented tricks, routines, and illusions that are used by performers around the world. Assisted by his wife, Mary, the Laflins have performed on five continents, in eighteen countries, and in forty-seven of our fifty states.

During his lecture, Duane takes several of the old classics and breathes new life in to them. Ball and Vase, which we all know and has been relegated to the chil-dren’s magic sets, now becomes a card and silk trick. Duane also has some very clever handlings for the thumb tip, a gimmick, that when handled correctly, should never be seen.All of his routines reflect his

philosophy of keeping the magic simple, being clear with the message you are trying to deliver, and being original.The Laflins have developed the

new “Grand Magic Show” and taken it to South Dakota. Now they perform near Mount Rushmore and the Crazy Horse monument. The beautiful Black Hills of South Dakota appear to be the perfect place for their “Vegas quality yet always family friendly” style of performance.

With the speed at which Assembly 181 is growing, members have decided to hold an additional meeting on the fourth Thursday beginning in May. For this second monthly meeting, we choose a different venue, Tommy’s Inn at Millstone. This different venue will give a different feel to the meeting and does not affect our regularly scheduled meeting on the first Thursday of the month. So now, as a member of Assembly 181, you get two meetings to attend every month. Maybe this month, you can stop in and see us. —David ZborayAssembly 181 meets the first Thursday of every month, September thru June at the First United Methodist Church , 187 Stockton Street, Hightstown, NJ 08520. Doors open at 7:00PM Contact Stephan Sloan [email protected] (732) 757-5337 http://www.magicsam181.com/ for more details.

226INSTALLATION OF

OFFICERS

WILLIAMSBURG, VA— Well it took a few months, but we have a

Magic Marty to be involved in New SYM in Poughkeepsie

In Memory of Rich

Duane Laflin


Assembly News

new slate of officers in the Baker-Temple Assembly 226 for 2014. In the attached picture are (from left to right): Ron Grossman, President; Alexander Goldberg, Vice-President; Michael Heck-enberger, Secretary; Howard Karnes, Treasurer; and Watt Hyer, Sergeant at Arms. After the installation ceremony it

was time for some silk magic! We had not had silk magic as a theme for some time so everyone brought something to perform and teach if there was interest. Watt Hyer did Chameleon Silks,

Rainbow Streamers, and Troy Hoosier’s A Charming Chinese Challenge. Ron Grossman inserted three different colored silks into a clear plastic tube, blew at one end, and the three silks were tied together! Then he took a colored scarf and sawed it through a rope. William Baber performed a Silk King Studio effect called Meet the Missus from The Encyclope-dia of Silk Magic. Vice President Alexander Goldberg stated his campaign promises to “not let the assembly get tied up in red tape and not allow currency to vanish without a trace.” He tied a knot in silks, the knot vanished, and then a second coin appeared and vanished. Michael Heckenberger did a coin penetration through a silk and then taught the assembly members.

In April, the Baker Temple Assembly did something we rarely ever do – host a lecture! Our assembly is small (member-ship in the low teens) but we have saved money over the years and we decided to spend some of that money and have a lecture that was free to our members! The magician was Henry Evans from Argentina and he was spectacu-lar. I have to admit it that it wasn’t until after we had this arranged that I realized Henry Evans will be the first lecturer at the 2014 I.B.M./S.A.M. convention in St. Louis! Since most members will not be attending the conven-tion they got to see a class act up close and personal (and free). Henry’s magic is very visual, very commercial, and very enter-taining. Henry performed many card tricks, a few coin tricks, and everyone was amazed. No wonder

Henry won 2000 FISM for Card Magic. —Michael HeckenbergerAssembly 226 meets the fourth Wednesday of the month (except August and December) at the Williamsburg Library, Room B, 515 Scotland Street, Williamsburg, VA. Meetings start at 7:00PM Contact Michael Heckenberger [email protected] (757) 812-3299 http/sites.google.com/site/samassembly226gmail.com for more details.

274MR. A’S MAGIC SHOP

DEMONSTRATION

BOCA RATON, FL— Since this is the first reporting of the current year, we would like to express our gratitude to the members who have continued to support our club during a very difficult year of transition. If anyone near or far away would like to remain on our email list, to keep up-to-date with upcoming themes and lectures, and you are not currently receiving emails, please contact our new President, Harold Greenbaum by email ([email protected]).April 7, 2014: Our business

meeting was brief to allow adequate time for Richard Adler (Mr. A), magician, member of our assembly, and owner of Mr. A’s Magic Shop in Palm Beach,

F l o r i d a , to present, highlight, and demonst ra te merchandise from his magic shop. Mr. A and his sales a s s o c i a t e , S e l i m , s k i l l f u l l y p r e s e n t e d s p e c i a l i z e d

items in groupings that would allow a magical transition. “Kid’s Stuff” using a balloon penetration through a canister, floating glass, and a collapsible foot by foot die, as well as a blooming bouquet that separated into two colorful bouquet of flowers, would intrigue both young and old. Other items were a specialized

Scotch and Soda and Wiregram, which when heated, worked as a predictor, available in several card symbols were amazing. Once cooled and straightened, the memory wire can be used over and over again. Mr. A transitioned to a vanishing rainbow ribbon using a very flexible Japanese type thumb tip, both sold separately. Both Mr. A and Selim presented each item seamlessly. Time was given following the presentation for pur-chasing and receiving additional instruction, as needed by those

who requested or required further assistance. Mr. A’s Magic Shop is open every Saturday from noon to 4 p.m.The Sam Schwartz Assembly 274 meet, from 7:00 – 9:30 P.M, the first Monday of each month, at the Adolph and Rose Levis JCC, 21050 95th Avenue, S., Boca Raton, Florida 33428. 561/558-2500. For further information contact Harold Greenbaum ([email protected]) or by phone at (954)549-8296.

277IT’S STORY TIME

STROUDSBURG, PA— The Pocono Mountains Magic Club held their April meeting; it included a lot of great informa-tion and a lot of great magic. By performing some close-up magic before the business portion of our meetings, then the theme perfor-mances after, we’ve seen some great magic in recent months.Our close-up performers

included Jay Kraft, who shared his version of the memorized deck. Jay slimmed down the pre-sentation and showed just how powerful the magic could be with just a simple deck setup and a false shuffle. Next up was Odes Odhner who

told a scary story about spiders that culminated with a surprise of a spider on the back of the spec-tator’s hand. This is, of course, Jim Pace’s classic effect The Web. Ryne Gade showed a great effect he picked up a bit ago, Oz Pearl-man’s I Curveball. S. Patrick was up last and

performed two close-up routines, including Jim Sisti’s Mixed Symbols and Cidentaquin by Howard Adams. The theme performances then

began after the business meeting in the main room. The theme for the night was “Story Magic.” The goal was to create or relate a story while you performed your effect.Our guest emcee for the night

was Fred Kraft, who did a great job and even vanished the list of performers he was reading off of at the end of the performances. S. Patrick was up first and to

everyone’s surprise he came into the room dressed as “Merlin The Magician,” which S. performs professionally as well for special shows. S. shared his Book of Spells, which was a leather-bound book closed with a lock. The lock had several keys but only one opened the lock. The book was protected by a spell that stated that when the one key gets lost or stolen it will always find its way back to the rightful owner. After mixing the keys, the one left for

Merlin did indeed open the lock. This is the classic Seven Keys to Baldpate with a clever storyline twist.

Jordan Benoit was up next and shared his Time Machine story while performing his version of the Ambitious Card. Great job!Ryne Gade was our next

performer and he told the classic story of Kate and Edith with his own young-person charm and comedy. It works well for him. Odes Odhner was our last performer and he shared his great version of the Three Card Monte, which told the story of how Odes beat the devil with his own game. —S. PatrickAssembly 277 meets each 3rd Friday at the “Art Space Gallery” (18 N. 7th St. Stroudsburg PA. 18360). Also on each 1st Monday at the Hughes Library (route 611 Stroudsburg PA. 18360). www.pmmc.webs.com Contact S. Patrick [email protected] (570) 242-6821 www.pmmc.webs.com for more details.

291MAGICIAN TAXMAN

LOS ANGELES, CA— This month we welcomed our newest Assembly 291 member – Heather. She received her pin and cre-dentials. Welcome to our magic family! This was followed by an S.Y.M. member – Satori – telling us about his experience at the McBride School of Magic; he thanked the assembly for helping the experience happen. Then began our theme – Money

Magic. Keep in mind we are playing with money during crunch time for taxes and April 15th right around the corner when the govern-ment can become the magician by either producing money or making it vanish. The performances began with Bill performing his rendition of Extreme Burn II – talk about burning money. Next, to hide his assets, Frank did the Teleporting

Assembly 226 - New Officers for 2014

S. Patrick as Merlin The Magician!

Good Cheer List

Please take a minute to spread a few words of cheer with a card or note to one of our less fortunate members. Send additions, changes, or deletions to: Anthony Antonelly, Chairman, Sick and Convalescent Committee, (215) 820-3192 ext. 1512. [email protected]

Daniel Cudennec “Dany Trick”225, Stang-ar-Veil-d’an-Traon, Mellac-29300, Quimperle, France

Dan A. Dorsey98 Woodvalley Dr. Fayetteville, GA 30215

Charlie Gross16745 Gertrude Street, Omaha, NE 60136-3023

Roy Horn c/o Siegfried & Roy1639 N Valley Drive, Las Vegas, NV 89108

Bob King304 Suburban Court, Rochester, NY 14620

Stanley R. Kramien11205 SW Summerfield Dr. Apt 161Tigard, OR 97224-3391

Richard Laneau4020 55th St. N.St. Petersburg, FL 33709

George Gilbert Lott 1725 Great Hill Rd.Guilford, CT 06437

Frank J. McNaughton, Sr1926 Apple Street, Williamsport, PA 17701

James J. Morrisey24 Grove St.Wayland, MA 01788

Anthony Murphy11 Angel Rd., North Reading, MA 01864

Nahmen NissenPO Box 1856 Colfax, CA 95713-1856

Allen Okawa2101 Nuuanu Ave., Tower 1,#2203Honolulu, HI 96817

Jim Relyea241 W. Lakeshore Rockaway, NJ 07866

Harry Riser11755 N. Michigan Rd #313Zionsville, IN 46077

Pat Ryan43 Fairbanks Rd.Churchville, NY 14428

Matt SavinP.O. Box 7693Alhambra, CA 91802-7533

Mario Susi6 Bristol Rd.W. Peabody, MA 01960

Jack White4288 Arguello St.San Diego, CA 92103

Jim Zachary2801 South Creek DriveMulberry, FL 33860


Assembly News

Coin. Then, Rafeal balanced his money by Balancing the Money Bill. Unlucky Les had to resort to Printing Money. Phil dealt with his tax issues by Condens-ing Money. Marty showed us the problems of Money Inflation. As a result, he was able to also show us that you can go through a bill with a fifty-cent coin piece – this goes to show that metal currency is still more secure than printed money. To make your money disappear, Christopher shared the trick of Coin Through the Handkerchief and a poker demonstration – no casino required to loose your money. This goes to show you that not only the taxman can play with your money during tax season. —William Dow Jr. Assembly 291 meets the second Tuesday of every month at OPICA Adult Day Care Facility, 11759 Missouri Avenue, Los Angeles, CA 90025. *This is subject to change.* Contact Les Cooper [email protected] (310) 473-1820

www.westsidewizards.org for more details.

292NEW MARK STRIVINGS

LECTURE

GREELEY, CO— Jim Pope ran April’s business meeting during lunch. Teagan Brown, Autumn Morning Star, and Lloyd Worley reported on Jeff McBride’s workshop, and Lew Wymisner on Jeff’s show at the Mercury Café. For having five years in S.A.M., we gave Ed “Mr. Magic” Hurtubis a big hand. We welcomed three new members: James Dinnebeck, Autumn Morning Star, and Doug Zimmerman. Paul Noffsinger introduced

Mark Strivings. Mark gives four hundred shows a year and is a prolific writer. Mark presented the assembly a funny framed certifi-cate for being “Gluttons for Pun-ishment,” because we had booked him more often than any other magic group. This was his fourth lecture for us.Mark’s latest lecture combines

magic and mentalism (with sources credited). The effects presented need not be detailed below, because they are fully described in his catalogue (email [email protected]). Most of his ingenious effects could be

played as either mentalism or magic. His amusing and polished routines are real workers for non-mentalist magicians. Mark’s program opened with his

new Frederick the Great (card-matching with names and a double climax), using as volunteers Autumn Morning Star and Teagan Brown. We thank both of them for continuing to be helpful by volun-teering for a number of routines. A Work of Art II is an improved version of the design duplication in his book Mental Mix. James Dinnebeck volunteered for Hyp-no-Voque using close-up disks. Impossible Threesome is a new and stunning card-matching trick. Mark’s new booklet Fifty/Fifty (50/50) includes an effect using a transparent bag full of cards folded in quarters for Crimped Coincidence. Sensational Intuition is a new and memorable padlock

routine using five boxes with emotion-laden contents. After intermission, Mark

performed his updated Symbol Minded, an easy de-sign-duplication that can be done strolling. Synchronicity is his locked-chest routine with a “brain crusher” climax. We were the first group of

magicians to see It’s Hip To Be Square. This is Mark’s brilliantly inventive way to

quickly draw a magic square, for any requested number between 50 and 150, which will add up some twenty-three ways! (Don’t panic; there are gimmicks.) James Lopez assisted in an impressive new Psychic Influence II, created by using two decks of Card Shark’s thin cards. Mark closed with It’s Hammer Time, a funny seven-keys routine with Gary Hickox and his at-risk eyeglasses. We recommend Mark’s new

lecture as a highly entertaining and worthwhile program for any assembly. —Ron DuttonThe Dr. Ronald P. Dutton Assembly 292 usually meets at Kenney’s Steak House, 3502 West 10th Street (corner of 35th Avenue) at 11:00 A.M. (lunch optional), on the second Saturday of the month. Contact Jim Pope [email protected] (970) 339-3277 www.SAM292.com for more details.

Heather

Ed Hurtubis (rear center) getting a big hand

EDDIE LEE ROBINETTE

Eddie Lee Robinette, sev-enty-five, of Fallston, Maryland, and Tucson, Arizona, died

March 26, 2014. Born in Ap-palachia, Virginia, Eddie taught elementary school for thirty years prior to retiring. He was very active in his county and state teachers’ associations.

Eddie became interested in magic while in high school and it became a lifelong passion for him. He held I.B.M. number

24766M since 1972 and was a member of the Order of Merlin Shield (forty-two years of continuous member-ship). He also held member number 7977 in The Society of American Magicians for forty-six consecutive years and was active in Assembly 6 in Maryland and the John E. Alexander Assembly in Tucson, Arizona.

Eddie enjoyed performing in myriad venues including birthday parties, farm fairs, school shows, adult parties, and programs for the Boy Scouts. He was renowned for his Linking Rings routine and had a trick known as Clowndini published in magic magazines. He was equally adept at performing sleight-of-hand tricks as well as performing with illusions. Eddie thrived on entertaining people through his magic and was eager to perform for any type of crowd.

He is survived by his wife of fifty-three years, Patricia, and his son, Michael. – Joseph Bruno

ROBERT H. CREER

Robert H. Creer, eighty-four, of Saginaw, Michigan, died April 6, 2014. He was a long-time member of S.A.M, I.B.M., and the Saginaw Valley Mystics. By profession, Bob was a fork-lift operator for General Motors. As a part-time pro, “Bob Creer and his Enchanting Family of Magic” (wife Lorine and

children Catherine, Helen, and Michael) performed for clubs and social organizations in the mid-Michigan area for almost thirty years. Lorine predeceased Bob in 2001. He remarried Lillan Ormsby, and she and his children survive him. Our club members often said that we knew of no one – no one! – who loved magic more than Bob. It was fun to watch him, because sometimes Bob’s tricks turned out in ways that even surprised him, as well as any magicians present. Regardless of the outcome, we all knew we had witnessed something unique and special. – Gene Anderson

RICH HOWARD

The Mystic Magicians of Beaver Valley, Assembly 157, lost a revered member of their club on April 7, 2014. Richard “Rich” Allen Howard, sixty-three, of Beaver Falls passed away suddenly.

Rich was the treasurer of the Mystics for twenty-five years, as well as the editor of the club’s newslet-ter, general of the raffles, grand master of the picnics, manager of the Greater Pittsburgh Magic Network (a non-profit website, assisted by Nick Carifo to promote everything magic in and around Pittsburgh), and helper and enthusiast of magic wherever he was needed. Every magician performing a public show or holding a lecture, convention, banquet, or magic picnic anywhere near Pittsburgh knew Rich would be in that audience supporting and cheering them on. His face was well known at the S.A.M. and I.B.M. Conventions, Canton’s Battle of Magicians, Gatlinburg’s Winter Carnival of Magic, The Cuckoo’s Nest Pittsburgh Conventions, and thirty-six years of attending his favorite – the MagiFest in Columbus, Ohio. In 2013, Rich received the Order of Merlin of the I.B.M. Before the Mystics, he was a member of the former Sorcerers of the Realm magic club in Butler, Pennsylvania.

In recent years, Rich had retired from actively per-forming, but in the 1970s and 1980s Rich was half of the comedy magic team known as the “The Hayseed Brothers.” Rich and his partner, Jay Brenner, of Ellwood City, Pennsylvania, performed as two good-natured, albeit dim-witted, country brothers attempting to perform magic, actually fooling everyone – and them-selves –in the process. It was Hee-Haw meets Laurel and Hardy with a bit of Doug Henning thrown into the mix. Jay passed away a few months ago.

Rich and Jay met while working as steelworkers at B&W Steel in the final years of the Pittsburgh steel industry. After leaving B&W, Rich performed as a Hayseed brother and opened his own auto mechanic business, Magic Auto Service, in Beaver Falls, Pennsylva-nia. In recent years Rich moved on to sales management for Advance Auto in New Brighton, Pennsylvania.

Rich is survived by his wife Sandra, three children (Richard, Kathy, and John), and a magic hat full of grand-children and great-grandchildren. Rich was a very young and proud great- grandfather. He loved magic, entertain-ment, and everything in between. He loved to laugh and make others laugh. As an avid Disney aficionado, he loved taking his children, grandchildren, and great-grand-children to experience the magic of Disney World every summer where he held a timeshare in Orlando. – Judy Steed


Broken Wands

http://www.ibmsam.com


NATIONAL COUNCIL MEETING MARCH 8, 2014 TUCSON, ARIZONA (DRAFT)

SOCIETY OF AMERICAN MAGICIANS

Call to order:Most Illustrious Dal Sanders called the

regular meeting of the National Council of The Society of American Magicians to order according to ritual at 9: 09 a.m.

Later in the meeting, MI Sanders welcomed Past Presidents David Goodsell, Jann Goodsell, Brad Jacobs, Mark Weidhaas, John Apperson, Vinny Grosso and Ed Thomas. He also thanked members of S.A.M. Assembly 136 in Tucson for their hospitality and acknowledged Bill Black, John Redmon and Michael DeSchalit for organizing rides between the hotel and airport.

Approve Minutes of November 9, 2013, National Council Meeting:

Request from RVP and Houdini Gravesite Curator Eric DeCamps to correct the minutes of the Nov. 9, 2013, meeting:

1. That the discussion and vote on the Houdini Gravesite be corrected to reflect that there are 10 graves occupied at the gravesite, not 12; and that the cemetery is located in Glendale, NY, in Queens County, NY; not in Queens, Long Island.

2. That his live report covered the charitable events many North Atlantic Assemblies are involved in, and to find out more, he recommended that they read the newsletter to get the details; not that he mentioned his region’s newsletter and encouraged members to read it.

Motion: PNP Ed Thomas moved the minutes be approved as corrected.

Vote: Motion passed.

REPORTS

Note: full reports are in the Blue Book except those listed as live reports. The Blue Book is available electronically from National Secretary Marlene Clark, as hard copy from National Administrator Manon Rodriguez, or online in the member-only section at www.magicsam.com.

NATIONAL OFFICERS (all present with reports in the Blue Book)

Most Illustrious Dal Sanders updated

his Blue Book report by stating that Ronnie Reckseit was the emcee for the show at The Club at Boca Pointe in Boca Raton Florida that National Council members took part in and that raised $860 for the Magic Endowment Fund.

President-elect Kenrick “Ice” McDonald encouraged all NC members to reconnect with their local assemblies; often, assemblies feel they are “out there” by themselves.

First VP Dave Bowers highlighted his Blue Book report. He will interview a Houdini relative, Sarabelle November of Richmond Virginia. If anyone has questions about Houdini they’d like to have answered, please email Dave at [email protected]

Second VP Jeff Sikora asked Council members to ask their assemblies to place an ad in the Combined Convention program book. He also mentioned that MI Sanders visited Alex, the Omaha Nebraska SYM member, who will receive a stem cell transplant on March 27, as an example of how caring the S.A.M. is. National Secretary Marlene Clark discussed requests to include activity reports submitted after deadline in current Blue Books. Elec-tronic delivery means that deadlines are later than when the secretary had to mail the Blue Books, but deadlines are necessary so the secretary can compile the books and get them to National Council members and committee chairmen 5 days before the council meeting, as outlined in the secretary’s duties. They are part of the official record of each National Council meeting

Late reports don’t make the record, but to accommodate them, National Secretary Clark will create a Late Reports section in the following Blue Book and publish them there.

National Treasurer Eric Lampert referred to his Blue Book report. As of January 31, 2014, income and receipts exceeded expendi-tures by $12,701. He noted that surpluses or deficits change during the year, as the report is prepared on a cash basis, which reflects only the funds received and items paid during the period.

ADMINISTRATIVE

Absent – report in the Blue Book: Chaplain Michael Douglass, Gifts & Insignia – Craig Schwarz; Investment Committee Richard Dooley, SYMbol Editor Michael Raymer;

Media Library Curator Mark Jensen.Absent – no report in the Blue Book: Legal

Counsel Stuart Schneider; M-U-M Editor Michael Close.

National Administrator Manon Rodriguez referred to her Blue Book report. She noted the increase in new members was a result of all the work being done with social media

Roles & Responsibility – Dick Bowman said he was readying a draft of the Roles and Responsibilities document for review by National Council. He added that he was honored to have been nominated for Second Vice President and is soliciting support so that he can continue to serve the S.A.M.

Insurance Committee Joseph Caulfield referred to his Blue Book report.

REGIONAL VICE PRESIDENTS

Absent – report in the Blue Book: Eric DeCamps – North Atlantic; Phil Milstead – Mid Atlantic; Michael Tallon – South Atlantic.

Absent – no report in the Blue Book: Debbie Leifer – South Atlantic.

New England – Joseph Caulfield encour-aged all to attend Oceanside magic invitational April 10-13 and added that President-elect Ice MacDonald will perform.

Central Plains – Steve Spence thanked members of Assembly 136 for transportation.

Midwest – Shaun Rivera referred to his Blue Book report.

Northwestern – JR Russell – referred to his Blue Book report. He announced a mem-bership campaign for the Northwest, the prize being an “Anything Possible” bottle.

Southwest States – Ron Ishimaru welcomed all to the Southwest and reported that Michael DeSchalit is the deputy for Arizona.

Canada – Rod Chow referred to his Blue Book report. President-elect MacDonald acknowledged Chow for putting together the guide for membership retention that Assembly# 95 has been using.

COMMITTEES

Absent – report in the Blue Book: Dean George Schindler – International


Deputy Coordinator, Houdini Fund, Publicity; Eric DeCamps – FaceBook, Houdini Gravesite Curator; Anthony Antonelly – Good and Welfare; John Engman – Hall of Fame & Magic Museum Inc.; Bill Gleason – Heroism & Patriots; Dan Sclare – Life Mem-bership; Kelly Peron – Membership (Marketing); Tom Ewing – National Historian; Charles Siebert – Paranormal Investigation Committee; Bruce Kalver – SAMtalk, Technology.Absent – no Blue Book report: Kyle

Peron – Assembly Contact Coordina-tor; Simon Carmel – Deaf Magicians Deputy; Marc DeSouza – Ethics; Trudy Monti – Magic for Special Education; Steve Marshall – Member Promotion; Clem Kinnicutt – Deputy-at-Large; Bob Carroll – Sharing Awareness Mentoring; Les Cooper – New Assembly Coordina-tor; Chris Bontjes – Veterans Program.

Ambassador of Magic, FISM Liaison (no report), Magic Endowment Fund (live report) Bradley Jacobs:

(Ambassador of Magic) PNP Jacobs said he and his counterparts in the IBM have been discussing exchanging conventions in the years between joint conventions. There are too many hurdles to overcome to begin in 2017, but they will continue to have discussions.

(Magic Endowment Fund) PNP Jacobs reported that as of March 1, the value of the M.E.F. had reached $1 million, thanks to the hard work and diligence of many and the generosity of Life Members. He acknowledged the efforts of early leaders: Jim Zachary and Warren Kaps, the late Bill Andrews and Cesareo Palez; and the significant effort of Clem Kinnicutt, whose work is being continued by Dan Sclare.

Hall of Fame and Magic Museum: (live report by PNP Ed Thomas) the temporary exhibit at the Whittier Museum society will close at the end of July. The hall of fame continues to seek donated space for its collections.

Magic Center Foundation – Dan Rodriguez reported that the Magic Center continues to host magic shows at its Parker Colorado location, which it is outgrowing. The Town of Parker no longer wants to sell the building. The Magic Center Foundation is seeking board members. Those interested may contact Dan at [email protected].

Marketing – Brian South referred to his Blue Book report. He added that marketing should be more important and visible in the S.A.M., with a greater emphasis on attracting younger members, having fun and supporting one another. He will expend most of his efforts into the Magic Advantage Pack (MAP) and is working on a magic club start-up kit and a leadership training program for presidents or delegates. The committee also is looking to produce videos of archived tricks from M-U-M.

National Magic Week – Jeff Sikora reported that Lance Burton will receive this year’s S.A.M. Humanitarian Award.

Paranormal Investigation Committee – Charles Siebert discussed an increased presence in the S.A.M. via articles in M-U-M and a blog on the S.A.M. website.

Spotlight Program – Barbara Dallas (live report by National Secretary Marlene Clark) continues to seek Spotlight recipients. This wonderful recognition program has been a positive addition for the S.A.M. Send nomina-tions and a clear photo directly to Barbara at [email protected]. She thanked all who have taken the time to send spotlight nomina-tions.

Young Member Program Jann Goodsell reported that 89 members have received Joshua Jay’s book. She reported a new Facebook page for S.Y.M. members. It will be a private group page that will be monitored. She proposed the following members to the S.Y.M. Board: Marlene Clark, Bruce Kalver, Andy Dallas, Ed Thomas, Mike Miller (3 years); Arlen Solomon and Julie Bontjes (one year); and David Oliver and Kayla Drescher (one year).

IBM/SAM Combined Convention – Mark Weidhaas (live report) urged those who were planning to enter a contest to submit their ap-plication as soon as possible. Special events before the actual convention, which runs July 1-5, include a special youth event June 29 and 30 with Lance Burton and others and lecture for all registrants by Henry Evans on June 30. Registration is getting close to the 1,400 cut-off number.

Conference Executive John Apperson announced he was resigning this position, effective March 8. He said he was resigning as of the council meeting so the new chairman would have time to work on the 2015 S.A.M. Convention in Philadelphia, July 1-4. Following the announcement, MI Sanders led the council in a Battery for PNP Apperson – a special honor conferred upon members. MI Sanders sought approval for Mark Weidhaas as

Conference Executive. Motion: PNP Apperson moved to approve

Weidhaas as Conference Executive. Discus-sion: none. Vote: motion passed.

Weidhaas acknowledged Apperson’s work in helping the S.A.M. get the convention running in the black. He then named some of his committee: Mike Miller – talent show producer; John Apperson –site selection; Dal Sanders – communications director; Anne Weidhaas – registrar; Dan Rodriguez – dealer chair; Manon Rodriguez – food and beverage; Jann Goodsell – young member activities.

Recess: MI Sanders called for a break at 10:15

a.m. to no objections. MI Sanders called the meeting back to order at 10:33 a.m.

Old business:1. Cyber bullying resolution: Dean

George Schindler requested that the S.A.M. include an official vote of thanks to Todd Karr and PNP Warren Kaps for bringing the issue of cyber bullying to the attention of the S.A.M.

2. Motion: PNP Jacobs moved that we approve Dean Schindler’s request for an official vote of thanks to Todd Karr and Warren Kaps. Discussion: none. Vote: motion passed.

Society Business (Items from caucus) 1. BE TV: Ariann Black has approached

the S.A.M. to get involved in a new Internet television network whose first launch is the “BE Amazed” Channel – an all-magic channel that will highlight magic in general and specifically, the S.A.M. Motion: Marlene Clark moved to move forward with a mutually ben-eficial relationship with Be TV and that we request a contract for consideration.

2. Discussion: none. Vote: motion passed. Motion: PNP Apperson moved that all archived films, tapes and other items belonging to the film and tape library – including those that are copyrighted and that are in storage for one reason or the other – be immediately transferred to Media Library Curator Mark Jensen in preparation of working with the BE TV Network. Discussion: none. Vote: motion passed.

3. Contest Awards: Motion: PNP Vinny Grosso moved that for the combined convention, the S.A.M. increase the following awards


SOCIETY OF AMERICAN MAGICIANSin both close-up and stage: First Place from $1,000.00 to $2,000.00; and Gold Medal Award of Honor from $1,000.00 to $3,000.00. Discussion: none. Vote: Motion passed.

4. Increase in postal rates: National Administrator Manon Rodriguez explained that until recently, mailing M-U-M to Canada and Mexico involved a surcharge of $10; the surcharge to other countries was $20. Now all are $20, including Canada and Mexico. Motion: Canada RVP Rod Chow moved that the S.A.M. approve a $20 surcharge to mail M-U-M to all international members. Discussion: none. Vote: motion passed.

5. Membership management software: Ms. Rodriguez explained that the S.A.M. website continues to have problems because the membership management program does not meet our needs. She suggested that the S.A.M. obtain a software program that does. Motion: PNP Apperson moved

that the S.A.M. allow the National Administrator to upgrade or replace the membership management software as necessary. Discussion: none. Vote: motion passed.

6. Convention Registration: Conven-tion Chairman John Apperson moved that the S.A.M. approve up to $10,000 in additional convention expenses to cover those whose registrations will be paid for at the IBM/SAM combined convention. Discussion: none. Vote: motion passed.

Society business (other):None

Good & Welfare:1. First Vice President Dave Bowers

reported that he got a letter from Dick Brookz and Dorothy Dietrich of the Houdini Museum in Scranton Pennsyl-vania thanking the S.A.M. for taking over the care and maintenance of the Houdini gravesite.

2. The 2015 S.A.M. Convention will take place over 4th of July in Philadelphia and will most likely be busy in the city; people should get their hotel reserva-tions in early.

3. MI Sanders reported that former S.A.M. Insurance Committee Chairman Michael Piacente and others have passed on since the fall council meeting. He asked for a moment of silence to think of those departed members.

Benediction: PNP Jann Goodsell gave the benediction.

Adjourn: Meeting adjourned according to ritual at

10:52 a.m.

Respectfully submitted,

Marlene Clark,National Secretary

http://www.nnmagic.com

http://www.themagicbakery.com


By Steve Marshall

I Left My Cards at Home

ROBERT BENEDICT

Robert was born in the sunny town of Winter Haven, Florida. His interest in magic began in the popular way that most of us started, with the gift of a magic set for his birthday. One definite advantage he had, though, was an understanding grand-mother who hand sewed a magician’s cape for him to perform in.

He also had his own custom-built theater. “My Mom put up a new shed in our backyard, but for some reason she never got around to moving the stuff out of the old one, so a friend (who was also interested in magic) and I started using the new shed as a covered place to put on magic shows. We would charge a quarter a piece to the neighborhood kids to see our shows.”

The TV magicians of the day were Doug Henning and David Copperfield; young Robert would eagerly await their yearly magic specials. “I remember my dad telling me when the magic specials were going to be on,” Robert said. “And I would be really good for the time leading up to them, because I didn’t want to risk the chance of my TV privileges being taken away. I didn’t even pick on my sister!”

When Robert was in high school, his father was transferred and the family moved to Ohio. It was there that Robert lost his interest in magic due to a new interest, girls!

When he was nineteen, he worked at a Meijer discount store; one of the security guards happened to be part-time magician whose father was a professional magician. “I had never really seen anyone with his skill level do magic up close before. He did the Hot Rod trick for me. After he made the gems change color and then go back, he handed the plastic rod to me. I stood there shaking and twisting it trying to figure it out. I was totally astounded. I remember thinking, ‘I want to be able to make people feel this way, too.’” However, it would be another ten years before Robert got back into magic again.

“By the time I was twenty-nine, I had moved back to Florida to get away from the cold Ohio winters. I was working in a shop in Old Town in Kissimmee; one day, while walking around the complex, I saw a magic shop, walked in, and described the little plastic rod with the different colored gems. The guy said they had that trick and sold me one. When I got home and learned the secret, I thought they had sold me a different, inferior trick to the one I had seen. I didn’t think this ‘paddle move’ would fool anyone. But I tried it and fooled myself! So I put it in my pocket, took it everywhere, and showed it to anyone who would stand still long enough to watch it! To this day I always carry a paddle trick with me, or have one close by.”

Now that he had discovered a magic shop, he started the magic-buying process. As Robert put it, “I started buying self-working tricks and then moved on to more expensive self-working tricks. Jason Wethington, my roommate and a great magician, tried to teach me some card tricks, but I just couldn’t master sleight of hand with cards. Have you ever heard of a bad dancer having ‘two left feet?’ Well I have two left hands! I did discover coin magic, though, and really took to that. I enjoy doing sleight of hand with coins

and really old coins in particular since they have something tangible, a history to them.”

These days Robert can be found living in Orlando, Florida. By day he works as a software security framework developer and manager as well as doing strolling gigs around town. Since 2009, Robert has also been a regular at Erick Olson’s Wizardz Magic Theater in Kissimmee, Florida. He even has his own seat, which is front row on the far left end from the performer’s view.

The position of his seat wasn’t purely coincidence. “Back in early 2009 I was helping Erick and Kim set up for their new place and, as a thank-you for my help, Erick told me to pick out a seat that would be my regular place. When I said I wasn’t sure, Erick immediately pointed to the chair I always sit in now. He said that this chair had the worst angle for the perform-ers and he knew that if I was sitting there I wouldn’t give the performer a hard time if I happened to catch a flash of anything that I shouldn’t.”

Having performed there a few times I can tell you that it’s always nice to see Robert’s smiling face just to my left. If you’re ever in Florida, stop by Wizardz Magic Theater on a Monday night and say hi to Robert. You know where he’ll be sitting!

TWO-BIT COIN VANISHBY ROBERT BENEDICT

Here’s a cool way to gimmick your iPhone case so you are always ready to do a quick coin vanish for anyone who says, “Hey magic boy (or girl), show me a trick!”

To make this up you will need an iPhone case (one with a dark, solid color works best) some Super Glue, and a quarter. In case he wants to make it reappear somewhere later, Robert prefers to use one of the fifty-states quarters, since it doesn’t have a date on the front.

Glue the quarter, heads up, to the iPhone case, gluing it a bit off center. (Photo 1 shows the quarter glued onto a

photo by Peter Gould


clear iPhone case because that’s the case I had!) Let the glue dry, place the phone into the case, put everything in your pocket, and you are ready to go.

When you’re ready to perform, bring out your phone, holding it with the screen facing up in the position shown in Photo 2. Note how one of the long edges of the phone is partway over the outstretched fingers; the tip of the thumb is just under the other long edge. This position will be important in a moment.

At this time say, “Mobile phones are great, but I remember back when there were only pay phones; it would cost me a quarter to make a call. In fact, strangely enough, it still costs me a quarter. Let me show you what I mean.”

Reach into your pocket with your other hand and start jingling your change around as if you are searching for a quarter. Bring your hand out of your pocket with the backs of your fingertips toward the audience and your thumb underneath your fingers, as if you are holding a coin.

Bring the hand that is supposedly holding the coin toward the phone and begin flipping the phone over by pushing up with your thumb, while at the same time curling in your fingers. Time this so that

the hand that is supposedly holding the coin covers the coin that is glued onto the case without flashing the coin. (Photos 3 to 5 show this sequence of moves. Note that the quarter is exposed in Photo 4, but in real time this will not happen.)

Act as if you are steadying the coin, and then move your hand away to show it resting on the back of the phone (Photo 6). Transfer the phone to the other hand and hold it by the long edges between the thumb and fingertips (Photo 7).

Act as if you are dumping the coin from the back of the phone into your other hand by turning the phone over and “catching” the coin in the other hand, while at the same time closing that hand into a fist (Photos 8 and 9). As you do this, let the phone naturally flip over so the back of the phone is now resting on your fingertips. Note how the back of the phone can now be displayed with the fingers covering the coin. Wave the phone over the closed hand, place the phone back into your pocket, and open your hand to show the quarter has vanished, as you say, “This must be a two-bit phone.”

Robert says that, to help the illusion of a coin actually falling into his hand, he lets the hand that is supposedly catching

the coin go down a bit as if some weight is falling into his hand. Obviously, a quarter wouldn’t be heavy enough to do this, but he has found that it helps to sell the illusion. Also, if he knows he’s going to be doing this trick, he will hide another quarter somewhere else, like under a saltshaker or in a napkin, and have it reappear there. This is where the fifty-states quarters come in handy, since there is no date on the front and no one ever sees the back of the coin on your phone.

STEVE’S STUFF:

I really like this; it is a way to gimmick something that you carry with you all the time without taking away any of the func-tionality of the item being gimmicked. I think if you make this up you’ll find yourself having a lot of fun with it in quick, improvisational, situations. By the way, this trick showed up in my email box totally unsolicited. Thanks, Robert, I wish more people would do that. (Hint, hint, hint!) Contact me at ([email protected]).

Photo 1 Photo 2

Photo 6 Photo 7 Photo 8 Photo 9

Photo 3 Photo 4

Photo 5

EASE ON DOWN THE ROAD

GETTING THERE EARLY

Ninety percent of success in life is just showing up on time. I think you can up those odds by showing up early. I always try to get to a gig at least two hours early if I am just doing stand-up magic, and a good three or four hours early if I am doing illusions. If you are driving to the gig, I suggest arriving at least an extra hour earlier than you think you will need to set up. This accomplishes a few things. First, it gives you peace of mind so you’re not rushing around; your head is clear and you are in a calm and relaxed state, ready to do a good show. Second, it shows the client that you are a pro. They are paying their good, hard-earned money to have you show up and entertain their guests; showing up early demonstrates that you value their investment in you and your talents. And finally it also gives you a chance to fix any mishaps that may occur.

I remember once getting to the gig and putting the Kub Zag illusion together and discovering that one of the plastic pin hinges for the prop was broken. Since I got there and started setting up early, I had time to run to the drugstore to buy some Super Glue. I was able to fix the prop without having to rush around, or worse, try to perform the prop with a broken and wobbly door. That could have spelled disaster.

ADAM ACE ON THE ROAD

My friend Adam Ace drives to about seventy percent of the gigs he does. He is a very successful college entertainer. He was voted College Comedian of the Year three times by the Association for the Promotion

of Campus Activities. He has this “driving to the gig thing” down to a science. I’ve traveled with him to several gigs that we worked together in his “Toaster.” He nicknamed his car “The Toaster” because his Honda Element is a boxy car that looks like a square, rolling toaster. He carries a lot of gear; the Element is the biggest type of regular vehicle that can accommodate his gear without jumping up to the next stage, which is a panel van. The back of the Toaster has several shelves Adam had custom built to hold the various duffle bags and road cases that store different parts of his act. Adam used to just cram all his stuff into a few bags, load everything into the venue, unpack, and then figure out which stuff to use once he got inside. He soon realized that he was wasting a lot of manpower because he didn’t end up using everything he loaded in. So rather than schlep everything into the venue, he segmented his act into chunks and dedicated a bag to each segment. These bags are on the shelves in the back of the Toaster and this way he can determine the type of show he wants to do once he sees the venue. He can mix and match his routines, and only load in the appropri-ate bags for the program he plans to do that evening. What a time saver! Being organized and having your cases split up into different length shows or different style shows can make loading into the venue a piece of cake.

SULU, YOU HAVE THE CON

The console and dashboard of Adam’s Toaster looks like the command center of the Starship Enterprise. There are all kinds of gadgets and gizmos rigged up to make his drive to the gig as easy, comfortable, and smooth as possible. Hooked to the dashboard is a GPS system. This is a must. He also has a Satellite Radio hooked up for entertainment purposes. It’s hard to get bored with a thousand radio stations. He also has a mount for his iPhone and iPad so he can stop and check emails and such.

You never know when that next gig email will come through. He also always has a small cooler filled with cans of ice cold Coke. If you have a particularly long drive of three hours or more, it doesn’t hurt to pack a few light snacks to take with you in case you get “the hungrys,” so you don’t have to stop for food.

The most important of these little things is the GPS system. I remember driving to gigs back in the day. I asked the client for directions and scrawled them down on a piece of paper, and then followed them like some kind of treasure map hoping to find the X. Then I graduated to Googling the directions on the Internet when that tech-nology became available. Now, I have a tiny lady, in a little black box, who tells me exactly where to go step by step. How did I ever live without this?

If you don’t have a GPS, I highly recommend you get one. Most smart phones also have a mapping system like this, but I would recommend using the standalone GPS as your main navigating tool; if it goes down, you always have your smart phone as a backup. Make sure to have a copy of your contract with the client’s mobile number and the number of the venue where you will be performing just in case you run into any travel difficulties such as traffic, a flat tire, weather issues, or any other unforeseen circumstances that could make you late to the show. This way you will be in contact to let them know. I also suggest you call the client the day before the gig and let them know you will see them tomorrow. This instills confidence even before you show up. It demonstrates preparedness and professionalism.

WEATHER OR NOT?

The following advice is huge if you are working in places that have actual seasons, unlike southern California or Vegas. Adam had to drive to a gig in Minnesota once; it was an ten-hour haul. He left sunny Virginia and began driving west. As he passed through Pennsylvania, the skies got a little darker. This darkening


With Scott Alexander, Puck, Jenny Alexander, and Adam Ace

Hit The Road

continued through Ohio. Once he got to Minnesota, it began to snow. The further he got, the more snow fell. He managed to trudge through the snow and arrive at the gig on time. He went into the venue only to find no one there. Apparently, they had cancelled the gig and neglected to contact him. Just because the weather is good where you are leaving from, doesn’t necessarily mean it will be good where you’re going. Different parts of the

country deal with weather differently. The South shuts down if even a snowflake falls, but the Midwest tends to trudge on through the rough weather because they are used to it. We just went through the worst winter in a hundred years; Adam had to resched-ule seven different shows. He now always checks the weather and calls ahead to double check before making the trip.

Like a Boy Scout, whose credo is “Be Prepared,” making simple preparations

before driving to the gig can save you lots of hassles. Make sure you are comfort-able and connected, hydrated and fed, give yourself ample opportunity to show up on time, and have your stuff organized for an easy load-in. This way you will deliver the best possible show you can, whether you are driving around the block or across the country.

NEED TO WRITE AN ASSEMBLY REPORT? We Made Your Job a Little Easier

Go to www.mum-magazine.com and click on “Easy Report Submission.” You’ll be taken to a page with a form that makes submitting your assembly report a breeze. Simply fill in the required fields and paste in your report from your word processor. Upload a photo and a caption if are submitting one. Then hit “Submit Form.” You’re done, and your report comes to us in format that makes our job a lot easier, too.


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The Nielsen GalleryDimensions: One-sheet: 27.5" x 42" • Lithographer: Goes Litho • Date: 1905 • Nielsen Rating: Rare

The Astral Hand

This month’s beautiful poster dates to 1905 and promotes the show of Charles Carter, who began his magic career at the age of ten as “Master Charles Carter the Original Boy Magician.” By the time of his death in 1936, he had toured the world seven times; he carried tons of illusions and presented a show that grew with each consecutive tour. And, while he offered many large-scale illusions, a perennial favorite was his entertaining Astral Hand, which served him well throughout his career.

Carter was born in New Castle, Pennsylvania, on June 14, 1874. Just ten years later he offered his first public show in Baltimore. He continued to tour as a magician, and in 1894, met a woman named Corrine, whom he married and made part of his show. In 1900, he moved to Chicago and opened his own theat-rical agency and started a theatrical trade magazine called The Chicago Footlights.

His first world tour began in 1907 when, billed as Carter the Mysterious, he set sail for Australia with tons of equipment and assistants. The tour took him through New Zealand, India, China, Sri Lanka, Egypt, Italy, and other countries. The tour lasted until 1909, and included five or six hundred performances. Six other tours followed over the years.

Magician and magic historian Mike Caveney, writing in his wonderful book, Carter the Great, noted that:

“He certainly did not exhibit the egomaniacal drive of his friend Harry Houdini. He never mastered the manipulative skills that propelled Cardini to fame or the creative abilities of P.T. Selbit or Bautier DeKolta. Nor did he possess the mysterious appear-ance of a Herrmann or Dante. What he did have was the ability to thoroughly entertain an audience of lay people, which he did on a nearly nightly basis during seven lengthy trips around the world.”

His illusion show included such effects as Sawing a Woman in Half, vanishing a live elephant, a version of Kellar’s Levitation of the Princess Karnac, the Torture Cell of Spikes, the Million Dollar Mystery, and other effects requiring considerable prepara-tion, set-up, and special stage settings. Such was not the case with the Astral Hand. All that was required was a replica human hand made of wood, a pane of glass, and two straight-backed chairs.

The illusion is more commonly known as the Spirit Rapping Hand; it answered questions posed by the audience by rapping out answers where one rap meant “no,” two raps meant “yes,” and three meant “I do not know.” As Caveney notes, many in his audiences believed that effects like the Spirit Cabinet and Astral Hand were accomplished by supernatural means. Carter assured audiences saying:

“I would not have you suspect, however, that I am about to ridicule Spiritualism. On the contrary, you are at liberty to infer whatever you please after having seen the deception, if it may be called so. If you so desire to designate it as Spiritualism, you may do so, or hypnotism, mesmerism, magnetism, mechanism, or rheumatism.”

He then placed two chairs center stage, back to back, and placed a pane of glass between them. He used glass to prove the absence of electricity as a source of activating the hand. He also told the audience he used glass so that, “you may see through the trick.”

Carter described it as a piece of wood, “carved, painted, and made to represent, as nearly as possible, a lady’s hand.” He claimed, “It will tell you how old you are, where you were born, how much money you have in your pockets, where you are going, your age, in fact anything that you care to know.” He then went into the audience where he offered to allow the audience to shake hands with it. Returning to the stage, the hand was placed upon the glass pane and answered questions posed.

Carter prided himself on his ability to deliver his show in the native language of whatever country he was performing in. This proved challenging on the opening night of his tour of Ireland when he presented the Astral Hand. One question from the back of the audience was delivered with such a thick Northern Irish accent that Carter (and the spirit) were unable to determine what it was. He asked for the question to be repeated. It was. He asked again and it was. Finally in frustration the hand simply answered “yes”; the audience laughed, knowing that the magician had no idea what questions had been asked.

In 1922, archeologist Howard Carter discovered the lost tomb of King Tutankhamen and news of the discovery set off a global interest in all things Egyptian. Charles Carter hopped on the bandwagon and soon audiences witnessed an Egyptian sarcopha-gus on stage. From a wooden box Carter removed a mummified hand that he claimed was taken from a princess who died four thousand years ago. He even commissioned an elaborate poster featuring him sitting upon a camel in front of the Sphinx.

Carter had many harrowing experiences including onstage accidents, natural disasters, thievery, financial failures, and in one case, a narrow escape. At the end of the second world tour, he tried to book passage on a new ocean liner but was unable to due to the large contingent of wealthy passengers. That ship was the RMS Titanic.

This month’s poster is very desirable and difficult to obtain. However, during his third world tour from 1920-22, he ordered nearly thirteen thousand lithographs featuring his illusions (including 2,035 of the Astral Hand) for which he paid $183.15.

Carter died on February 13, 1936, of a heart attack while in India. His body was embalmed and returned to the United States, where he was buried in Calvary Cemetery in Queens, New York.

Content of this column came from Carter the Great, written by Mike Caveney, copyright 1995, and published by Mike Caveney’s Magic Words.

—Tom Ewing

MEMORIZED DECK MAGIC MADE SLIGHTLY EASIER

The memorized deck is one of the most powerful tools in a card magician’s arsenal. Thanks to the work of Simon Aronson, Michael Close, and Juan Tamariz, memorized decks have enjoyed renewed awareness among card workers over the past couple of decades. And yet, it still seems like there are a lot of card workers who don’t know where to go or even where to begin with a memorized deck.

Memorized deck work can seem very intimidating at first. There’s the ever-present question of which is the absolute best stack to learn – the one that will give you the most miracles for your effort. Then there’s the apparent daunting task of getting a whole sequence of fifty-two cards in your head when you have a hard enough time remembering your email password. And there’s always the nagging question of, “What are the absolute best tricks that you should be doing with your stack?”

The best stack, plain and simple, is the one you actually use. It’s often suggested to aspiring memorized deck workers that rather than fret over which published stack to use, they simply shuffle a deck and memorize it. Michael Close, in Closely Guarded Secrets, calls it stupid to memorize a stack with no built-in features and likens it to buying a power screw-driver and never putting batteries in it. While he’s certainly not wrong, I say it’s better to actually use the screwdriver than to get hung up as to whether Duracell or Energizer will do a better job of getting the shelves up. I’m not saying a stack shouldn’t have any built-in features, but in terms of actual utility, the person with a featureless stack in his head is in better shape than someone who’s still pondering which set of poker deals and spelling tricks he likes best.

Of course, that assumes the person has

actually committed the stack to memory. Historically (at least in the USA), the standard advice has been to first learn the Major System of mnemonics. First you learn a series of peg words for the numbers 1-52, then the peg words for all fifty-two cards in the deck, and then you create word pairs for each number in the stack. This system has stood the test of time; if you take the time to get it down, it will prove useful beyond merely learning your stack. Where it becomes problematic for the beginning memorized deck worker is that it’s a whole separate subject to absorb before getting to the real prize: having an arrangement of cards in your head.

The Major System is so tied to memorized deck work in this country (from H. Adrian Smith to Nicola up through Simon Aronson) that it took reading Juan Tamariz’s Mnemonica to remind me that they’re two separate things. I realized that if I wanted to start doing memorized deck magic, I just had to memorize the stack and get it in my skull however I could manage it. Mnemonica offers a number of alter-native suggestions for memorizing your stack, many of them colorful and creative rote methods. In the end, I used Tamariz’s suggestion of making up a training deck with the stack numbers drawn colorfully on the face of each card. Again, it was more important to me to get the stack in my head and start using it than to worry about how it got there.

Once you actually have a stack in your mind, it turns out that many of the strongest possible effects with a memorized deck are many of the simplest: divining an unknown card, naming the card at any position in the deck, naming the position of any card, “weighing the cards,” and getting any named or seemingly unknown card instantly under control with estima-tion (what Simon Aronson calls the Open Index). These are all very direct applica-tions of the fact that you know the numeric position of each card in the deck and you know the playing card for each position in the deck. There are some beautifully devious effects possible with a little extra

effort or a certain amount of secret mental math, but that’s the deep end of the pool. If you pass over these simpler, more direct effects because they’re “basic” or because magicians will recognize them, you’re missing out. These are the tricks that will get you really comfortable with your stack and come across as miracles to audiences of normal people. And there’s no shame in these apparently “simple” tricks. The first effect in Mnemonica is the simple divination of a card, and Juan advises at that point that you put the book down and just work on that. Rene Lavand actually closes his formal act by false shuffling and simply reciting his stack in order as he blindly deals through the deck. (Okay, there’s a little more involved, but still you don’t need an advanced calculus degree to pull it off.)

The following routine is a favorite memorized deck routine of my own, based on Jon Armstrong’s My Opening Act (Jon Armstrong – Card Magic Vol. 2). Arm-strong’s original routine is done from a shuffled deck, and well worth checking out. Using the memorized stack, however, gives the effect a different structure and a different flavor.

TUNE UP

Begin with a deck in memorized stack order and a Balducci-style card-loading wallet in your inner jacket pocket. Bring out the card box and place it in front of one of your participants. “Did you ever take piano lessons as a kid? I did. And I’ve still got a pretty good ear. Believe it or not, it comes in handy when I’m performing card tricks. I’ll show you.”

Give the deck a false shuffle and a legit-imate cut. I use the Erdnase Blind Shuffle Retaining Entire Order, First Method, which does both at once. You want the cut to be more or less halfway, to facilitate what’s coming up.

Spread the deck face down between your hands and ask someone to touch the back of any card. The selection is free, but you want the card touched somewhere


By Antonio M. Cabral

Cheats & Deceptions(For Entertainment Purposes Only)

around the middle of the deck. Once she has made her selection, separate the spread and place the card very fairly next to the card box. “Now, obviously, I don’t get to see what this card is, but I don’t want you to see it, either. Without looking at it or showing it to anyone else, place it in the card box and close the flap.” As she does this, reassemble the deck by placing the original top portion of the deck under the original bottom portion; in other words, you’ve cut the deck at the point where the selection was removed.

At this point, no one knows what the card in the box is, but the card on the bottom of the deck will tell you (it is one card higher in your stack, of course). Moreover, by cutting the deck first, and then having the card removed near the middle and cutting again, the deck should now be set such that the start and end points of your stack are either very close to the top or very close to the bottom. In other words, the stack is very nearly back in full sequence.

“If I were to ask you right now what card is in the box, you couldn’t tell me. And you might not be surprised if I could tell you. You might be surprised to learn how I know, though – just by listening I can tell which card is missing from the deck! It’s easier than you think, actually. Tell you what: I’m going to gently riffle the cards near your ear. Just clear your mind, listen, and name the first card that pops into your head.”

Gently riffle the cards at your partici-pant, and get her to name a card. Say she names the Two of Hearts. You’re going to get that card under your control thanks to Simon Aronson’s Open Index concept, using a “moveless” approach of Darwin Ortiz. In my stack, the Two of Hearts is the thirty-third card. I pull down with

my pinky, estimating around thirty-three cards. Because the deck isn’t actually in 1-52 order, the thirty-third card won’t actually be at thirty-three. But it’ll be around thirty-three, and that’s all you need.

Once you’ve opened a break, kick the card above the break out under cover of your other hand. Tilt the deck forward as you gesture towards the side of the deck, and glimpse the side-jogged card. “The Two of Hearts! Excellent choice, however, it’s not the Two of Hearts. But that was a really good guess, and I’ll tell you why in a moment.” Once you’ve glimpsed the card, you’ll know whether you need to count above it or below it to get to the Two of Hearts (assuming the estimation was accurate). If the Two of Hearts is above the break, I’ll spread the cards and do a quick spread-count of the cards above my break to get to it. If it’s below, I’ll pinky count to it (although a spread-count works here, too). After whatever quick adjustment I need to do, I side steal the named card to the top of the deck.

“Let me take a quick listen.” Lift the deck to your own ear and pretend to listen as you riffle the cards. What you actually do is glimpse the bottom card; this tells you which card is in the box. (You can also take a moment here to glimpse the top card as you riffle, to make sure you got the right one.) Name the card in the box, and have your participant open the card box and remove the card.

As the cased card is being revealed, palm the Two of Hearts off the top of the deck and reach for your wallet, loading the card as you do. “Let me explain how I knew it wasn’t the Two of Hearts. Before I came out here I took a different card out of the deck and placed it in my wallet. Don’t ask me why. If this card turns out to

be your Two of Hearts, you’re a musical genius!” Remove your wallet, unzip the compartment, pull the card part way out of the wallet, and have the participant remove it to confirm.

In terms of practicing and getting com-fortable with using the deck as an Open Index, I find it helps to picture the deck divided into quarters, i.e. 1-13, 14-26, 27-39, and 40-52. (This is particularly easy if you initially memorized the whole stack a quarter at a time, as I did.) Since each grouping is only thirteen cards, aiming for the top, middle, or bottom of any given group should put you in a comfortable position (one to five cards off, up or down).

The use of a slightly off-set sequence for the Open Index part of the trick means you don’t have to spend a lot of time cutting and adjusting just to get the deck set before you get the named card under control. Since you’re likely to have to make some adjustments during your estimation anyway, those adjustments cancel out the ones you’d make to reset the deck, much the same as cutting the deck to remove the selection cancels out the cut right before the selection is made. I agree with Darwin Ortiz: the less fiddling you have to do to get a named card under control, the more baffling the effect will be when you produce it. If this approach appeals to you, I wholeheartedly recommend Darwin’s ap-proaches to the Open Index in his book, Lessons in Card Mastery.

If you’re looking for possibly the best primer on memorized deck work, I strongly recommend Simon Aronson’s Memories Are Made of This manuscript. It’s free and available on Simon’s site (simonaronson.com) and also at Vanishing Inc. Good luck.


http://www.thegreatmagichall.com/auditions

http://www.joemogar.com


Tony Brent and the Outta Control Magic ShowBy Christian Painter


As Katalina and I tour across the country, we try to see as many magic shows as possible. One show that kept popping up on our radar

was the Outta Control Magic Comedy Dinner Show, located in Orlando, Florida. We tried to see it many times, but our schedule never seemed to permit it. I asked around to many of my magic friends to see if any of them had seen it. Many responded with overwhelming enthusiasm. Steve Marshall out of Japan told us, “You have to see Tony Brent. He is not only a wonderful magician, he’s a fantastic entertainer.”

Tony Brent is the star of the Outta Control Magic Comedy Dinner Show. It has been running at the Wonderworks amusement park for the last fourteen years. Wonderworks is a building that, as you walk up to it, looks like it was thrown from its foundation and landed upside down due to some sort of cataclysmic event. Inside is an amalgam of interactive activities and museum-like displays. There is also a 125-seat dinner theater where Tony Brent presents his highly rated Outta Control Magic Comedy Dinner Show.

Over time, I reached out and was able to get an introduction to Tony Brent. I found him warm, intelligent, and very friendly. We have talked for hours on the phone about performing, audiences, tricks, philosophy, and the business of entertainment. There are very few magicians who can establish a running magic show. There are even fewer who can claim a ten-year-plus run. I think you will find the story of Tony Brent interesting.

Tony was born in 1961 in Camden, Tennessee, located about half way between Nashville and Memphis. It is a bit of synchronicity that this area of Tennessee is called “Magic Valley.” The first five years of Tony’s life were spent in a house with no indoor plumbing. His family had an outhouse and drew water from a well. His father was a farmer, complete with cows, pigs, corn fields, and cotton fields. Tony was an only child and spent most of his time around adults. He lived so far out in the country that there were no phone lines; he didn’t have a phone until he was twelve years old.

Tony’s first experience with magic came every other Sunday, when he and his parents visited his grandmother in the nearby town of Huntingdon. His grandmother’s television was able to pick up channels from Memphis that included a

show called Dick Williams’ Magicland. Dick was a local legend in west Tennessee; his show is the longest running television magic show in the world. It ran from 1966 until he retired in 1989.

Another influence for Tony was a gentleman by the name of Cowboy Louie Mitchell. He performed at Tony’s school each year with an early “Don’t Do Drugs” program. This sparked Tony’s passion for all things magic. He devoured the public library’s inventory of magic books, and by the age of twelve he was doing birthday party shows for other children. Already showing the entrepreneurial spirit that would make him a success later in life, he convinced his parents to let him advertise in the local newspaper.

As he got older and started high school, he became fascinated by comedy. He studied the careers of Bob Hope, each member of the Rat Pack, Jonathan Winters, Steve Martin, Steve Allen, Victor Borge, and many more. Acting, theatre, and comedy began to take center stage and magic took a back seat. He was now writing comedy routines and practicing impressions of people like Clint Eastwood and Johnny Carson.

(For the up-and-coming entertainer, Tony recommends Steve Martin’s Born Standing Up, The Charisma Myth by Olivia Fox Cabane, The Comedy Bible by Judy Carter, Make’em Laugh by Laurence Malson and Michael Kantor, and Benson by Starlight by Todd Karr and Levent. Benson by Starlight is his favorite.)

Unfortunately, Tennessee was not a hotbed of entertainment opportunities and after high school he found work at a local factory. After a year of constructing walk-in coolers, Tony fully understood that this was not the life he wanted to live. He realized that to get ahead in life you needed an education. He enrolled in the University of Tennessee and began studying theatre and communications. For the next four years he concentrated on stagecraft, comedy, and acting. He performed in as many theatrical productions as he could. Magic was a distant memory.

After four years, he graduated with a degree in theatre and communications; he also married his college sweetheart, Mitzi. They moved near Nashville and for several years he worked a variety of sales jobs. However, the call of the theatre was too strong and Tony decided that he


would try his hand at stage management at the Opryland USA theme park in Nashville. With his college degree in theatre and a little bit of luck, he was hired as an entry-level producer.

Over the four years he worked there, Tony learned as much as he could about the profession of producing, hiring, and managing shows. He had worked his way up to the position of hiring a great many of the entertainers who came through the park. One observation that made an impact on him was the hiring of magicians. He noted that so many of them looked the same and did the same tricks. Magicians didn’t seem to be very creative.

Opryland loved Tony; he wound up working there for four years. During that time his love of magic began to resurface; he began performing as a street magician at the outdoor complex called Fountain Square. With his performing fires reignited, he also found work doing commercials and films, and he even performed as an actor at a small dinner theater. Opryland also began hiring him for corporate events at the Opryland Hotel in Nashville.

After four intense years at Opryland, Tony decided to move on and try his hand at acting. Tony moved the family to Memphis and began flying back and forth to Los Angeles. To keep the money flowing, Tony performed bar magic at a hotel in Memphis. Even with all his passion and talent, Tony’s acting career did not come to fruition. Disappointed, he gave up on his showbiz aspirations and settled in for a normal job and life. He began working with a small company that sold Italian restaurant equipment and eventually went into business with them. Together they opened up gourmet coffee shops in the Memphis area. For several years, the business grew. However, on a personal level, the income was not what Tony had hoped for.

In 1994, Tony answered an ad to audition for a new Circus Circus Casino that was opening in Tunica, Mississippi. He was offered the job and for the next two years he was the Circus Circus magician. The casino had three different

restaurants and Tony was the walk-around magician for all three of them.

He worked this job for the next two years. Then in 1996, Circus Circus rebranded as the Gold Strike Casino. They subsequently fired all the performers. Tony was out of a job once again.

With his show business fires still burning, Tony threw himself into performing. He began doing birthday parties, churches, comedy clubs, corporate shows, and even some high school and college hypnosis shows. He also produced and performed shows for the Libertyland theme park in Memphis during the 1997 and 1998 seasons.

In 1999, he was hired to be the host and emcee of a touring show for the FOX Family Channel, now known as the ABC Family Channel. He toured nationally and performed at major fairs and festivals across the United States. Although this was a great experience, he and his wife had two young daughters and this was too much time away from the family. Tony had to find a better way to balance his career and his personal life.

As luck would have it, one of his best friends, Danny Devaney, contacted him with an idea. He had known Danny from his days working at Circus Circus. The idea was to audition for Disney’s Orlando Park as a two-person act. Tony took time off from the tour to fly to Orlando and audition. Tony was surprised and happy when Disney offered them a one-year contract. Shortly thereafter, Tony moved his family to Orlando, where he and Danny performed six nights a week. He was doing street performing and the pre-show for the laser light show, Fantasmic.

A year later, Tony was approached and asked to help start a new dinner show, Night of Wonder. This would be inside Wonderworks on International Drive near the Orlando Convention Center. The Night of Wonder show was to be a musical comedy show with magic and a charming story. They had a workable idea but they needed a performer, preferably someone who also understood producing. Enter

Tony Brent. Once they learned of Tony, the producers

went to Disney to watch him work. Impressed with his ability to entertain, they sat down for a talk. Tony quickly won their confidence with his rich resume of acting, producing, and performing credits. He was hired to take over the Night of Wonder show as a performer and a producer.

Tony just couldn’t keep up with performing at both the Disney show and the new Night of Wonder show. He would have to let one of them go. With a bit of trepidation, he decided to go with the Night of Wonder show. Disney was not happy, but Tony saw more potential with the other production.

Tony quickly noted that Night of Wonder would need to be more comedic and interactive if Wonderworks wanted to get repeat business and compete with all the Danny Devaney and Tony at Disney Orlando


entertainment options available in Orlando. He started morphing the show to include more comedy and interaction. After a couple of years, Danny Devaney came over to the theater to join in the show. Tony was delighted to again work with his old friend.

Tony knew that it was time to change the name to a more interesting and market-worthy title. Because Tony and Danny were such a handful, the owner once remarked during a meeting that you guys are “out of control.” Tony immediately jumped on the phrase, and the Outta Control Comedy Magic Dinner Show was born.

Tony has been performing and producing the show for the past fourteen years. To keep the show fresh and alive, he is constantly changing the material. He plays the guitar, uses prop comedy, sings, does impressions (remember those from his high school days?), and, of course, magic. He learned that the more ways you reach out to entertain and tickle the audience, the better your relationships will be. “Not everyone loves magic,” he says. “If you hit them with many different types of entertainment, perhaps in the end they will enjoy the overall show and love the entertainer.”

A quick look at two reviews of Tony’s show tells the story:“The performer, Tony Brent, exceeded my expectations

with respect to his magic and his comedy. We took our two sons, seven and nine. Our older son has been interested in magic tricks for a while, so I’ve seen more than my share of magic shows. Tony Brent’s illusions were just great; I had more than a couple of ‘Whoa!’ moments. Plus he is hysterical.”

“This was my second time at this show. The first time was just with my wife; we absolutely loved it. The magic is great and the humor is second to none, especially for such a reasonable price compared to some of the other shows in Orlando.”

Tony has hundreds of reviews online. You can’t hide from these reviews; if people feel that you or your show is bad, it will come out. As of this writing, Tony was listed

thirty-second on a list of 191 attractions in Orlando. This is impressive when you consider what kinds of attractions he is up against in Orlando. When asked about his glowing reviews, Tony just shrugs his shoulders and says that he doesn’t pay too much attention to them. Many shows have come and gone in the fourteen years he has played in Orlando.

This does not mean that Tony does not take his reviews seriously. He just states that you can’t get too enamored with your own reviews, because everything can change in an instant. Sometimes Tony will go on vacation, get a corporate gig, or fall ill. During these times he will need someone to fill in for him at the show. He has learned to be very careful about whom he selects to take his stage. After all, it is his reputation and his show at stake.

Tony’s show is a family-friendly show, which means “clean.” Tony always makes sure to explain to the fill-in entertainer that it is a squeaky-clean show. Yet, even with that warning, some performers crossed the line and received complaints about using inappropriate language or innuendo. Tony has learned over the years to have a no-tolerance policy regarding this. So, if you don’t follow his instructions, you will not be asked back.

Tony has this to say about using blue material: “I don’t perform any blue material of any kind. There was a period in the late ‘80s and early ‘90s when I would resort to blue material if I was working comedy clubs and the laughs were not coming. Everybody who does comedy for a living knows that blue material can merely be a crutch for those who can’t legitimately get laughs. That doesn’t mean that some comedians cannot use it correctly. It might come from their personality or lifestyle. Since it’s not part of my personality, if I resort to it, it would be merely a crutch for me to lean on in my show. And, of course, if you use blue material you have severely limited the number of shows you will get to perform.”

The performance is an hour long. Tony has also found that many performers do not have an hour-long show. They have

an hour of material, but not an hour show. They are also unaware of their performance abilities. More than once Tony has observed a performer who could not relate to the crowd or entertain them and who walk off the stage thinking that they killed when in fact, they died.

Having run the show for fourteen years, Tony has now found his list of competent fill-in performers and no longer has to worry about this, but it was an issue in the past.

The Outta Control Comedy Magic Dinner Show is a ninety-minute experience. The first thirty minutes is the meal, consisting of unlimited fresh hand-tossed cheese-and-pepperoni pizza, salad, popcorn, and unlimited beer, wine, soda, and dessert. Then the audience gets to sit back and enjoy Tony’s sixty-minute show. The price is $24.99 for adults and $19.99 for kids and seniors.

A typical audience comes from all parts of the world, and rarely consists of only people from Florida. Tony might have people from Kenya, France, China, Afghanistan, Kentucky, and New York City in the same show. Non-English-speaking guests can sometimes be a challenge, but Tony has included pieces in the show that will appeal to them as well. “I don’t normally change the effects I include in the show for different audiences; I just change up my attitude. That can change the script and tone of the performance and cause it to relate better to that particular audience.”

Some of the bigger challenges, however, have come not with language but from audience make up. Imagine a show in which ninety percent of the audience is drunken business men from the same company and the other ten percent is families with young children. This could be a disaster, but Tony chuckles about it. “You learn to be fast on your feet; you need to reach out and connect with each of these groups and at the same time keep the businessmen under control so they don’t ruin it for the families. After fourteen years, you realize that you can’t assume anything. You never know what you’ll be walking into. I’ve had seasoned performers show up and falter under the pressure of a bizarre Orlando tourist audience. It can be a bit of a pressure cooker.”

Despite the challenges of a variegated audience, having a show as a home base is a delight for Tony. Life on the road can be rough. Sleeping in different beds each night can take a toll on you. So, being able to sleep in his own bed at night and see his family each day is fantastic.

Tony also mentioned to me that there is another benefit to constant performing in the same venue: “I also have had the ability to analyze my material to the smallest of details. When you get to perform material over and over again in the same environment, you really get to know what works and what doesn’t. Since you are performing the same show night after night, you can make small changes and see what effect it has on the audience. Then you can make another change and compare the two. It really is an amazing laboratory.

“But there is a flip side to that. Performing the same show night after night can become extremely tedious for my type of personality. I therefore have to alter the show in order to keep it fresh for myself. Changing out tricks, bits of business, or impressions keeps me on my toes and makes it fun and challenging for me.”

This year Tony made the decision to cut back to performing five nights a week. Prior to that, he performed six nights a week for thirteen years. Many of those days included multiple shows a day. That’s a pace that can burn you out. Now, he performs Tuesday through Saturday unless he has an outside gig. If that sounds like a blistering pace, you’re right. Although the number of shows changes throughout the year, Tony generally performed two shows nightly, seven days a week. How many shows was that? Tony stopped counting at 9,500.

This enormous amount of “flight time” has also given Tony some insights into how an audience reacts to a show. “I don’t agree with the adage that there are no bad audiences. Anyone who has done enough shows will realize that you can do the exact same show for two different audiences and


get completely different reactions. Audiences have their own ‘personalities’ based upon age, gender ratio, demographics, and so forth. Every year a group of physicists from all over the world comes to my show. They are a terrible audience, sitting and staring as if they are analyzing molecules. I once asked the organizer, ‘Why does this group insist on coming back to my show when they seem to hate it?’ He replied that the opposite was true; they absolutely love the show. This tells me not to judge a crowd based upon their reaction.”

In constructing a show for the public, Tony likes to consider the layman’s point of view. He asks the question, “What would they want to see in a show like this?” Although he wants to create a show that appeals to as many different kinds of people as he can (young, old, those who don’t care for magic, families, and adults) he had to keep in mind that the bottom line is: will this show make money? After all, this is a business. He also wants his act constructed in such a way that it showcases him, not his props or tricks.

Tony has been married to his wife Mitzi for twenty-eight years. He realizes that her support has been of paramount importance. “It’s incredibly important that your spouse or significant other understand (or at least have a healthy respect for) what you do. Without that understanding, you will almost always have problems somewhere down the line. I’ve seen it many times with friends who are in this business. In my case, Mitzi has not only been supportive, she has encouraged me to do things that I might not have tried otherwise. She instinctively knows when I’m getting burned out or feeling down, and she’ll suggest that we get away for a few days or maybe she’ll just lift me up with kind words. Without a doubt, I wouldn’t be where I am without her love and support.”

In addition to all his performing, Tony also writes children’s books in his spare time. His first, Tales of the Triangle, is currently on sale at Amazon.com. I asked Tony what goals he had set and where he saw himself in the next ten years. “Personally, I would like to spend more time traveling the world with my family. Professionally, I feel like I’ve only just begun. I would like to get back into acting, possibly doing voice acting work in addition to TV and film. I’ve always dreamed of doing a large theater show on a regular basis, perhaps on Broadway. I want to finish my next book and get it published. There really is a lot I would like to do.

“If things continue as they are, I could probably do the dinner show until I retire. However, I do have other plans. I’m in the process of rebranding myself almost completely as ‘Uncle Tony.’ For many years I portrayed many characters in the show, such as a Tommy Cooper-type character, a plumber, a hippie, a doctor, and more. Last year I made the decision to

drop most of the characters and focus more on my own personality. I love performing and producing the Outta Control Comedy Magic Dinner Show and I can’t think of a future in which I will not be associated with it in some way. Yet, I am always excited to see what the future will hold.”

Tony is a busy and creative worker. Spending time with him on the phone over the last couple of years always brings a smile to my face and has me thinking about some sort of new project. If you ever get to the Orlando area, I would highly suggest you take in his show. The website is: www.wonderworksonline.com/orlando/ experience/outta-control-magic-comedy-dinner-show.


I Wish I Knew For SureIf you’ve been in the field of magic for more than a few years,

you have certainly met fellow magicians who have earned your respect. You likely enjoy their onstage performances and their offstage friendship. Perhaps they have lots of wisdom and may be someone you can turn to with questions or when you need advice.

Over my life I’ve met quite a few people I could describe like that. One of them is Todd Robbins. He’s a very enjoyable fellow to share a conversation with, he has a wealth of knowledge and experience, and he is a very engaging entertainer onstage.

I guess I’d say that “when Todd talks, I listen.” Earlier this year he posted a comment on Facebook that couldn’t have come with any better timing.

Todd posted that he felt the Mini Kub Zag (pronounced “Mini Cube Zag”), the invention of German illusionist Gunter Puchinger, was not a good illusion and all performers should stop using it. He did not think anyone was fooled by it. His comment elicited a chorus who agreed with him…and some who did not.

If you have read my book, So You Want to be an Illusionist, you know that I have never performed this illusion. I felt every one of these props that I had seen looked cheap. I had no quarrel with the effect; I just thought the props themselves were unat-tractive and flimsy.

Just before Todd’s comment was posted I had the opportunity to attend a matinee performance by fellow Wisconsin magician Glen Gerard. I took my twin eleven-and-a-half-year-old daughters with me to see Glen’s show. The outing was fun because I realized that I had never sat with the girls for a magic show. Glen started a Color-Changing Silks routine and Autumn said, “Oh, I’ve only seen this about five hundred times!” She wasn’t criticizing Glen; she was remembering all the times she’s seen me do my version over the years. And, when Amber spotted Glen’s Sub Trunk, she commented, “He doesn’t have travel stickers on it like you do.”

We all had a great time and they laughed and clapped and were amazed by Glen’s antics and surprises. He even had Autumn onstage to assist with his Color-Changing Plumes routine.

His repertoire included multiple illusions: a Crystal Casket, a Chopper Guillotine, a Broom Suspension, a Sword Cabinet, and a Blade Box. But the illusion that the girls could not stop talking about was his Mini Kub Zag. Of course, it and the Blade Box were the only two they had never seen before. However, I also couldn’t help but notice that the Mini Kub Zag received the most gasps and applause from the lay family audience.

So, is it a good illusion, or does it deserve scorn? It certainly has wonderful attributes: no bad angles, just one assistant, fairly compact, no special lighting or staging, and so forth. It’s afford-able, too. Still, you likely won’t see it in any magic superstar’s repertoire.

Is there really something bad about it? I do not think so. The public is not wrong. It’s a fooler. I do not think people can determine how the assistant is “in there.” The problem, I am now convinced, is that we magicians have seen it often – perhaps too often. And most performers seem to just go through the motions of having the assistant step into it, inserting the shapes, sliding the section over, and then finally bringing her out. It’s like a really baffling special effect from a motion picture except without any

story, plot, or characters to care about or hold real interest.So, it’s a puzzle.Glen often suggests the curious prop is a “love shack” and

features the song of the same name by the B-52s. He has his as-sistants execute a few dance moves, though he is wiser than most magicians in not trying his turn at Terpsichore. Leave that to Rick Thomas! It adds some spice and makes the illusion unique in his hands.

Smoky Mountain Magic now makes very nice looking versions of this illusion in many different designs and motifs. I think the magician ought to choose carefully and then use the prop’s look as a springboard to create something original.

We magicians have seen this act again and again. The public has not. I believe, though, that when it’s possible to explain/justify why the illusionist is placing a lovely assistant into an odd con-traption that you ought to do that. You’ve got a great trick; now give us a great show!

Glen also performs the act without the dancing and uses the illusion as a sort of musical interlude between routines full of patter. For pacing in a stage show, that’s sometimes a good idea. Not every illusion needs to be “justified” in a show with multiple big acts.

Certainly friends can disagree. I think Todd was wrong about castigating all performances of the Mini Kub Zag. But if your per-formance of the act doesn’t offer something different or original, there is likely a problem.

Here are two examples that come to mind:I think that Gene Anderson’s Newspaper Tear is perfection.

The magic and his script are really the only way this should ever be performed. If I was producing Shakespeare’s Romeo and Juliet, I don’t think I’d try to improve the Bard’s work. Stick with Gene on this.

But the same cannot be said for the much overused presenta-tion for the Snowstorm in China. If you tell that maudlin story about a Florida kid who has never experienced winter, I think you’re just demonstrating that you have no originality and are unable to add anything to this effect. Imagine going to a comedy club and seeing the stand-up performers reciting the routines of Robert Klein, George Carlin, or Lewis Black word for word. Well, that’s what you’re doing with the Snowstorm!

Think of all the theater groups that stage Dickens’s A Christmas Carol every year and the ballet companies that present the Nut-cracker. They all begin with the same script or music, but no two presentations are alike. They all have their own variations.

I believe this is why we have lots of magicians, but not as many actual entertainers in magic.

I am going to attempt to find out more about the Mini Kub Zag. As I compose this article I am waiting to obtain one of these props for my show. It will get use at Milwaukee’s Summerfest and Polish Fest in June and July and be featured in Lake Geneva over the Fourth of July weekend.

The effect, of course, will not be different. However, I will do my best to offer up a unique presentation and with patter, costuming, and music of my choice I hope I can stage something audiences will like…even Todd Robbins.

Of course, I could be wrong.


by David Seebach


Many researchers believe that the Middle East region and the Arab world provide the true origins of magic as an entertaining performance art. It is possible that

the Egyptian hieroglyphic drawings that date back to the pharos depict the Cups and Balls effect. (This has not been conclusively proven, however.)

It seems clear that this part of the world knew this type of entertainment even before the birth of Christ. But the present-day situation, especially in the Arab Gulf region and the Middle East in general, shows that there is a major decline in this art. Compared to other traditional forms of entertainment (concerts, plays, movies, TV shows, opera, etc.), it doesn’t even exist.

So what is the reason behind this decline in this region, which is considered to have one of the highest spending rates on entertainment?

If we go back a little, we would find that the disappearance of magic in this region is not recent; people interested in conjuring have disappeared since the beginning of the twentieth century for many reasons – the most important would be that the citizens of the region associate the art of magic with witchcraft!

Yes, you read the previous lines correctly.Even today, the Middle East suffers from this connection;

some members of the public do not differentiate between magic tricks and witchcraft. They even accuse those who practice this art as being sorcerers, in a manner similar to what happened in Europe in the Middle Ages.

A semi-facetious poll posted by one of the local newspapers in the Arab Gulf states showed that eighty-six percent of those who were included by the poll believe that what David Copperfield presents in his performances is a sort of witchcraft and uses the assistance of invisible creatures called the Gin. Due to the prohibition of having any dealings with the Gin and witchcraft by the Islamic teachings, the popularity of the conjuring art declined in a horrible way. Magic performances could only be watched on foreign channels that sometimes aired such shows.

This issue remained for a very long time. Things started to change a little bit for the better by the beginning of the 1990s. Interestingly, this change was produced by a TV show that has been generally condemned by magicians and magic organizations.

In 1584, Reginald Scot explained the difference between the art of magic and witchcraft in the Middle Ages by writing The Discoverie of Witchcraft. Val Valentino did the same for the Middle East through his show, Breaking the Magician’s Code. His program was aired by a number of Arab TV channels – including Al-Jazeerah Documentary – at the end of the 1990s. A huge number of Arabs learned the difference between magic and witchcraft, which alleviated the pressure exerted on this art and those interested in it. Yet despite that, doubt continued to accompany anyone who practiced this art.

During the past years, with the spread of the Internet and

the simplicity of communication with shops that sell magic tricks, a new generation of Arab youth interested in conjuring has emerged. They started practicing it; they tried by any and all means to include the art of magic in the list of entertainment offerings in the Middle East; and they tried to explain the difference between magic and witchcraft. Unfortunately, their attempts did not succeed the way they should have; the dispute with those who claim that this art is forbidden by religion gained more heat. In 2007, I was accused of being a faithless sorcerer because I presented some live magic performances.

The Saudi magician Ahmad El Bayed suffered a lot while trying to explain the difference between conjuring and witchcraft. He had to invite religious clerks (Sheikhs) behind the scenes so they could watch how his tricks were accomplished and thus convince them that it had nothing to do with supernatural forces.

In the past few years, the producer Adel Al-Musallam has succeeded in including this art in some of his theatrical productions in order increase the public’s fascination with this business.

Even though there has been a slight alleviation of the suspicion of magic performances, the lack of interest among producers in this field has remained an obstacle in the way of spreading it. During the past five years, only four shows presenting theatrical magic have occurred in the Arab Gulf area. The proceeds from these shows were semi-modest, which makes the mission of spreading this art even harder.

From my point of view, the Arab Gulf and the Middle East are very rich areas and there is a demand there for new kinds of entertainment. It is possible that it will be very profitable for magicians, but it needs regular nudging by organizations and individuals interested in the art of magic.

This nudging could be made through presenting low-cost shows by the most famous people working in this field, in addition to encouraging young Arab people to participate in those shows, which would bring them to the attention of Middle East audiences.

For example, a producer told me that he made an offer to an international magician to present his shows in the Middle East. Unfortunately, that international magician was not aware of the issues facing this art in this part of the world. He asked for a very large amount of money to bring his show to the Mid East. Satisfying this fee request was impossible, due to the humble profits that the producer expected to make from this show. In addition, there were problems with using an Arab magician as an opening act.

I wish, from all my heart, that people working in this field will pay attention to this major part of the world, and that they will try to serve the art of magic by spreading it here.

Dr. Sanad Rashed is an engineer, a writer, a researcher, and a historian in the field of magic. He has more than fourteen publications in this field and a number of live and TV performances.

Saudi magician Ahmad El Bayed

Magic in the

Middle EastBy Dr. Sanad Rashed

A KISS ON THE HANDWhat skills make you a real mentalist?

That’s a loaded question, since it’s not at all obvious what a “real mentalist” is. But if I were to ask you what makes a “real” manipulator, or a “real” coin magician, you’d have a much easier time offering an answer. Of course, you’d mention show-manship and performing skills, but you’d also talk about a certain set of sleights or mastery of certain specific effects.

In future columns I plan on discuss-ing what I think is the essential skill set for a mentalist, as opposed to a “mental magician.” For now, however, I will offer up a simple formulation: To qualify as a “real” mentalist, in my opinion, a performer ought to be able to create com-pelling mysteries out of as little material as possible. A good sleight-of-hand performer must be able to manipulate the audience’s attention as well as the tangible objects of his trade. But at a fundamental level, sleight of hand still requires objects to ma-nipulate. A mentalist, to be worthy of the title, ought to be able to create magic out of only intangibles: language, premise, plot, the power of suggestion.

Does that mean that I think good mentalism must involve only those intangibles? Of course not. But I believe audiences recognize genuine mastery when they see it, and the ability to craft those abstract notions into the concrete of performance is, to my mind, the defining point of mastery in mentalism.

This month I’d like to share with you a routine that depends upon techniques that are at once incredibly simple and incredi-bly difficult. No sleight of hand is required. Required, instead, are boldness, an under-standing of audience management, and the ability to act the part of a mentalist with confidence; these are precisely the sort of skills that separate the “real” mentalist from the wannabe.

Effect: Five women are invited to sit in chairs. As they are being seated, the mentalist asks all the men in the audience to remember the first name of the first

girl they ever kissed. Entering into the audience, he designates one man to be the “transmitter.” He asks this man to step away and secretly write the name of the recipient of his first kiss on a slip of paper, and then to crumple it into a small ball. Meanwhile, the mentalist takes four more names from various men in the crowd. The mentalist writes each name on a fresh slip of paper, which he then crumples and tosses into a bag. Finally, he asks the trans-mitter to toss his own slip of paper into the same bag, and the bag is handed to the seated women, each of whom removes one and holds it in her right hand.

The mentalist gives the transmitter a dry-erase board and asks him to write the name of the recipient of his first kiss, but to avoid showing it to the audience. He then instructs the helper to close his eyes and imagine that he is standing in front of this person. The helper imagines lifting up her right hand to kiss it.

Turning to the women, the mentalist asks them to find some spot in the room to focus their gaze. It doesn’t matter what they stare at, as long as they don’t stare directly at their right hand. As they stare at that point in space, the mentalist explains, one of them will begin to feel her right hand want to lift up out of her lap. She won’t have to make it happen; it will just seem like an impulse.

Slowly, one woman’s hand starts to lift. As it does, the mentalist asks each of the other women to drop her slip back into the bag and return to her seat. The remaining woman is told to open her slip and read aloud the name written on it. It is the same name written by the “transmitter.”

Method: There are two problems in achieving this effect: the first is discover-ing the name of the transmitter’s first kiss; the second is ensuring that the correct woman’s hand is lifted.

I solve the second problem by resorting to a very old, somewhat hoary principle. I think we can call it the “same name dodge.” Basically, it doesn’t matter whose hand lifts, because all the women have slips with the same name written on each. The real challenge is in properly using sug-gestion to get one of the women to lift her hand.

I solve the first problem by simply asking the guy what name he’s thinking of, and he tells me.

Most mentalists will be familiar with

the same name dodge. In fact, not only are mentalists familiar with it, but probably also the majority of audience members, because this is perhaps one of the most exposed mentalism principles around. What is fun about this routine, however, is that by combining the same name dodge with another subtlety, what is now commonly referred to as the “Dunninger Ploy,” the same name dodge is transformed from a commonly exposed kids’ trick to an astonishingly deceptive tool.

After seating the five women, you ask men in the audience to remember the first name of the first girl they ever kissed. If they can’t think of the very first one, they are to remember the first one really important to them. It is extremely important to say “remember” as opposed to “think of.” One of the ever-present chal-lenges with the Dunninger Ploy is that people may not want to tell you the infor-mation you ask for. If you have the wrong attitude, audience members will challenge your abilities. To avoid complications, it is best not to imply that you will be reading their minds soon. “Think of” creates this implication; “remember” doesn’t.

Stepping into the audience, you say, “Let’s see who we can have the most fun with. You, sir, would you say you have intimacy issues? Yes or no?” Regardless of what he says, you follow with, “Excellent, because we’re going to get to know you a whole lot better!” This exchange will get a laugh, but more important, it will commu-nicate to the man that you will be exposing his secrets to the audience. Moments later, when you ask him to tell you the name of his girl, it will seem consistent with your goals, and he won’t say something like, “You’re supposed to read my mind.”

Taking the man by the hand, you begin to escort him toward the stage. At the same time, you ask the audience to give him a big round of applause. Under the cover of this applause, you casually ask him, “What was the name you remembered?” Note the name he tells you. Once the two of you arrive onstage openly say to him, “Don’t share the name of your girl with the audience yet. Take this paper and go over there to the edge of the stage. Write her name down, and then crumple the paper into a ball.” Turning to the audience, begin to take down other names. However, on each paper you instead write the name given by the “transmitter.”


By Christopher Carter

Messing With Your Mind

To reiterate, the same name dodge is usually very obvious. When combined with the Dunninger Ploy, it is transformed into something truly devious. The audience doesn’t realize you know the first name, so they don’t suspect you will be writing that name instead of the ones they offer.

The next part of the effect is to create the illusion that the transmitter somehow psychically lifts the hand of the girl who holds onto the name of his beloved. Have the women stare at a spot somewhere above the audience. Stress that they are not to stare directly at their hands. You are going to try to create a situation in which one of them starts to raise her hand merely through power of suggestion. If for some reason that doesn’t happen, don’t worry, you will be in a position where you can force the issue. Rest assured, eventually one of them will raise her hand.

The first step toward success with any hypnotic effect is to select the most sug-gestible people. I do this by selecting five women who responded well to a suggest-ibility test earlier in the show. In addition, you should select women who seem willing or even eager to come onstage to help.

The next step is to phrase your instruc-tions so that it is ambiguous as to whether a woman should expect her hand to lift on

its own or whether she is supposed to lift it herself. This is the wording I use: “Stare at the tip of my finger. Take in a gentle breath of air. Hold it. Now breathe out. As I drop my finger from this point in space, keep your eyes on the same point it previ-ously occupied. If that is uncomfortable, find some other point of focus. But...do not stare at your hand. Keep your hand in your peripheral vision.

“In a moment, one of you will feel your hand want to slowly lift up. Maybe as if somebody else is lifting it – maybe on its own. Maybe it’s just an impulse, or a desire to just lift it...slowly...Just keep on focusing. Pay attention to what you feel. Just let it happen. You won’t have to ‘make it happen’ exactly. It will just seem to want to happen.”

As you can see, the script is highly repetitive. The truth is, you may have to repeat parts or improvise new verses. Usually the action will come fairly quickly, and very often it will be a powerful hypnotic response, the kind in which the subject reacts with shock or surprise that her hand is lifting. If a hand doesn’t lift early, you will slightly change your wording so as to apply increasingly direct pressure. At some point you may have to say something like, “Don’t hold it back. If

you feel an impulse, even a slight one, to lift your hand, let it happen. Don’t stand in its way. Trust what your intuition tells you.” Eventually somebody will feel either bored enough or put-upon enough to lift her hand. If this happens, the effect is in no way diminished. The audience cannot know her motivation for lifting her hand, and reads the situation as if the hand lifted of its own accord.

You may wonder how you keep multiple women from lifting their hands. First, you have told them that only one will feel the impulse. Thus, when one woman’s hand starts to move, the others tend to think, “Well, I guess it’s not me,” and will keep their hands down. Also, when one starts to move, you shift your focus obviously to her. You encourage her. You stand in front of her and begin to say, “That’s right. Let it lift, as if somebody or something is pulling it up into the air.” If by chance more than one hand begins to lift, it will always be the case that one hand is moving higher or faster than the others. Focus on the hand with the most obvious movement, and don’t be afraid to say to the others, “Now don’t make it happen. If it’s not happening on its own, don’t force it.” Essentially, say what you need to say to get the results you need.


http://www.mix16apps.com

Not Just Kid StuffBy Jim Kleefeld

COMEDY BY MISFORTUNE

Terry Herbert relished the concept. Edwin Hooper exploited it. David Ginn wrote about it, David Kaye profligates it, and thousands of magicians employ it. Nothing amuses children quite like Comedy by Misfortune. If you make a mistake, kids will laugh. No one knows who first laughed when an ancient Roman slipped on the first banana peel, but the idea of seeing fun in other people’s troubles has been a comedic staple for centuries. There is not room to cover the slapstick and pratfalls of early comedy like Buster Keaton, The Three Stooges, or Laurel and Hardy, so let’s go back and study the roots of comedic misfortune in children’s magic. It is time to take a fresh and analytical look at the principle.

Although it is not discussed in his 1976 seminal work Professional Magic for Children, by 1982 David Ginn had labeled the premise as “Magician in Trouble” in Kidbiz. If you drop something, mess up a trick, accidentally hurt yourself, break a prop, or otherwise experience misfortune, children will laugh.

Malcolm Yaffe focuses on it early and at length in his extraordinary book on kid show theory, Paths to Enchantment. He devotes his second chapter, “The Frustrated Wizard,” to the principle. Whereas Ginn’s text features primarily examples of how the performer appears to cause trouble, Yaffe’s discussion centers on the performer’s reactions to trouble that occurs.

The problem with both of their analyses is that they do not consider the rationale of the misfortune. There has been little discussion in the literature of the most critical part of the equation: the performer’s need to explain or justify why the magician is in trouble. Lack of analysis or rationale has led to performers using with abandon many random magician-in-trouble scenarios. Often, there is no continuity within a performance. Things are always going wrong, but for different

reasons: in one routine, the props fall apart of their own accord; another time, the magician inexplicably gets his thumb stuck; still later, the performer repeatedly puts the silks in the wrong bag. Children see the trouble and react. They are amused, but they get confused. This happens when you randomly toss out effects that are inconsistent or do not relate. Most often, inconsistency of rationale is attributable to lack of character development.

Character counts. How you get in trouble, why you get in trouble, and what you do to rectify it should come from your core character. There is not room to examine all the aspects of develop-ing an onstage persona, but let’s examine the three most prevalent precipitators of Comedy by Misfortune: accident, props, and incompetence.

MISFORTUNE BY ACCIDENT

It happens not just to magicians, but to all of us in all of life. It does not matter who we are or what we do, sometimes accidents happen. A sidewalk is slippery. Ice cream drops off the cone. When the accident is not serious and no one gets visibly hurt, many people laugh. If the magician is the victim of an unforeseen accident, children will laugh. You open the door to your precious box and it drops to pieces on the floor. You set your wand on the table and it rolls off. When accidents happen, most adults make logical and reasonable efforts to fix the problem. You can handle “accidents” that occur in your show the same way. If you portray someone who is competent and in control, then you should carry through this persona; when something funny happens to you, you can take steps to correct it. This is a way of taking advantage of Comedy by Misfortune, while not being perceived as silly or childlike.

MISFORTUNE BY PROPSThis can be similar to misfortune by

accident: an accidental breaking of the proverbial wand. But centering the blame on the props can have a unique source of humor. Think of it as the difference between a car bumping into the back of your car at a stoplight, and your car losing a muffler because it is seventeen years

old. In a way, blaming the prop for your trouble is a kind of anthropomorphism. You personify the prop as if it had life and deliberately made the problem occur. The most obvious prop for this personification is a puppet, but it can work with almost any other prop as well, depending on your character and the attitude delivered in your patter. Farmyard Frolics, Pet Store Pranks, Bookworm, and similar props use a vanished character that reappears, popping up behind the display card. If the magician ignores the movement, children infer that the character itself caused the reappearance.

MISFORTUNE OF INCOMPETENCE

This is common behavior for many magicians who cater to the youngest audiences. You deliberately make mistakes but pretend they are accidents. You try to blow up a balloon by holding the wrong end. You drop the blue hanky on the floor as you put the red and white ones in the Change Bag. An incompetent magician can be very funny to children, but it is important that you internalize your character and be consistent. If you want to portray an incompetent performer who bungles things himself, then do not mix in routines in which you resolve the events through magical powers or insight and intelligence.

All of these variations on Comedy by Misfortune are funny and can be relevant in a children’s magic show. But where many shows falter is when the performer uses any or all of the types with no character development or plan behind them. Think about who you are and why your magic happens in order to provide a consistent magic show. Don’t just do the tricks the way the instructions tell you. Make an effort to improve your routine by personalizing it. Better technique makes you a better performer. Improve your show and you improve your bookings. Do you want your clients to say, “We had a magician and the kids all had fun. Maybe we’ll have a magician again sometime.” Or do you want them to say, “That guy was wonderful. I definitely want him again next year.”

Start by examining your own Comedy by Misfortune routines. First, establish


in your mind what scenario is the best for your character. Determine how your persona would react to misfortune. Then use your patter and presentational style to bring continuity to your misfortune by creating routines that use the same type of reaction in all of your Comedy by Misfor-tune effects.

Let’s study an example. You have a Run, Rabbit, Run prop of some kind. I know you do. We all do. It does not matter whether it is a rabbit behind a brick wall, a ghost in a haunted house, a Dalmatian in a firehouse, or a bear at a bakery. Most of the plots are the same. The little cut-out character goes in one side, runs across to the other side, runs back and forth, peeks out from behind, vanishes, and reappears on your back. The prop is conducive to the Comedy by Misfortune concept, but how you use that prop depends on the image you want your character to convey. There are several ways to script your actions and reactions. Here are some bare-bones examples, highlighting different rationales. I’ll use three different prop examples but the ideas behind the routines could apply to any similar prop.

SCRIPT FOR MISFORTUNE BY INCOMPETENCE

Hold up a long, flat prop showing a brick wall and two doors. Hold up a rabbit separately. Fumble with the wall a bit, as if it is difficult for you to hold it level. Place the rabbit into the front door on the right, but tip the prop forward and let it fall out. Close the door. Pick up the rabbit. Attempt to drop it in through the top, but drop it behind the prop so it falls to the floor. Pick up the rabbit again. Place it into the vanishing compartment. Try to regrip the prop, but let the left end sink low and let the rabbit slide across to the left. Level the prop and open the right door to show the right side empty. Reach with your right hand to open the left door, letting the right side sink and letting the rabbit slide to the right. Level the prop and open the left door to show the left side empty.

Have the rabbit peek out from the left. Try to grab it, but miss grabbing it as it pulls back. Open the left door and reach in to grab it, but accidentally push the back door open, showing a view through the prop. Open the right front door and ac-cidentally push the back door on that side open. Act puzzled. Look left and right for the rabbit. Slowly turn around looking at the walls and ceiling of the venue until the

audience can see the rabbit on your back. Make several attempts to remove it, failing to retrieve it. Finally, remove the rabbit and bow to the back wall as if finished. Turn your head and notice that the audience is behind you. Turn to face the audience and bow again.

In this scenario, you are causing the trouble by pretending to mishandle the prop. If you act incompetent and mistak-enly let the rabbit slide several times, the children will think it is funny that an in-telligent grown-up just cannot seem to get the hang of this simple piece of equipment. This silly behavior is funny to kids because of the incongruity. They are used to adults who know what to do, who can make decisions, and who can act sensibly. By being grown up, yet acting like a five-year-old, you are denying their expecta-tions. This is funny in the same way that Costello fumbles with his hat, looks at the ground, mumbles, and acts embarrassed when a pretty girl talks to him.

SCRIPT FOR MISFORTUNE BY PROP

Display a long, flat prop that shows a wolf house and a chicken coop separated by some bushes. Show the wolf, give him a name, and place him inside the house. Show the inside of the chicken coop. Address the children, explaining that you told the wolf to stay away from the chickens. As you talk, have the wolf move across to the chicken coop. Look down, admonish him sternly by name, and have him return to the wolf house. Show the coop empty. Address the audience again, and as you do, move the wolf to the left. React to the children’s talking and open the wolf house door to show it empty. Pretend to be angry at the wolf and open the door to the coop so as to remove him. As you do, have him move back to the right. Discover that the coop is empty and tell the children that you plan to find the wolf and keep him away from the chickens. As you talk, have the wolf peek out from behind the coop. When you hear the children’s reactions, pull the wolf back in and open the coop door to catch the wolf. Show the coop empty.

Again, tell the audience that you plan to find the wolf. As you do, have him peek up from behind the wolf house. Let him drop back down and then open the door of the wolf house, only to find it empty. Open both front and back doors, showing the empty compartments. Tell the children that the wolf must have run off, so you can put the prop away. As you do, turn to set it aside, showing the wolf on your back.

When the children call out, reach back, quickly remove the wolf and admonish it to behave. Put the wolf away in an inside jacket pocket or somewhere removed from the prop.

Notice that in this scenario, your reactions to the events occur as if the props and characters are acting independently of you. You treat the plastic cut-out wolf as if it is a person with free will who has caused his own movement. The emphasis of the routine is on the prop itself and what it seems to be doing as you merely display it for the audience. You are a competent mature adult who is dealing with an event caused by the prop. You are a magician “Bud Abbott” trying to moderate a “Lou Costello” wolf.

SCRIPT FORMISFORTUNE BY ACCIDENT

Have a magic wand in place on your table in the center, pointing towards the audience. Display a long, flat, box-like prop showing two doors marked Pizza. Hold up a cut-out figure of a pizza. Open the door on the right and place the pizza inside. Set the box on your table, but with the right side resting on your wand. This will raise the right side just enough that the pizza will roll into the left compartment. Begin to explain about baking the pizza inside the oven, but stop when the children tell you the pizza has moved. Pick up the box and hold it level. Open the door on the right and act surprised that it is empty. Open the door on the left and act surprised to see the pizza. Remove it and replace it in the right compartment.

Set the box back in place with the right side resting on the wand again. The pizza will roll to the left again. Begin to explain about baking the pizza inside the oven, but stop when the children tell you the pizza has moved again. Pick up the box and hold it level. Open the door on the right and act surprised that it is empty. Open the door on the left and act dismayed to see the pizza. Tell the children that you might as well leave it where it is. Close the door and set the box down, this time with the left side resting on the wand. This will cause the pizza to roll back to the right.

When the children tell you that the pizza has moved back to the right, pick up the box. Open the door on the left and act surprised that it is empty. Open the door on the right and act surprised that it is empty. Apparently, the pizza has vanished. Notice that the wand is resting on the table. Pick


up the wand and set the box down level. Say that perhaps the magic wand on the table had some magical power over the pizza that made it change places and vanish. Say that you will put the wand away so that it cannot affect any more magic on the pizza or the pizza oven. Openly place it behind you in your back pocket. Pick up the pizza oven and turn to put it away, showing the wand sticking out of your back pocket and the pizza stuck on your back.

In this routine, the root of the problem is not that the prop is misbehaving, nor that you are making foolish mistakes. Here, the pizza transposes, vanishes, and reappears by virtue of unforeseeable accident, and your response to that is an earnest attempt to discover the problem and find a solution.

This is like a film scene in which a waiter trips and spills soup on a guest who starts a massive food fight, while Abbott and Costello both quietly sneak away on their hands and knees without getting touched by a single scrap of food.

In each case, the props and effect are the same, but the performer’s reactions are different. If you can distinguish the differ-ences in each of these three scenarios, you are well on your way to imbuing your act with consistency. You can use the misfor-tune principle several times in your act, no matter whether you call it magician in trouble, or frustrated wizard, or comedy by misfortune, but you need to establish a consistent method of handling the rationale and your responses. You cannot act like

a bumbling idiot who accidentally hits himself in the head six times during one routine, and then later become the sensible authority figure who yells at the mouse to stop peeking out from the cheese. Know who you are on stage and your show will grow and improve.

Nobody who hires you will read this theory, and they may never be able to explain whether your routines were in-ternally consistent. But if you stick to one method of response, you will help establish a character. Your clients will recognize that you are a seasoned professional worth hiring again. Set a consistent tone for your act and your persona so you will be able to create more fun using Comedy by Misfortune.

The S.A.M. at the US STEM Expo By Christopher Bontjes, PNP

The Society of American Magicians was among more than one thousand organizations presenting displays at

the third annual USA Science and Engineering Festival, the world’s largest STEM (Science, Technology, Engineering, and Math) expo, which boasted more than 250,000 visitors last year.

More than 150 stage shows were presented as a part of the expo. Shows included presen-tations by scientists, musical performances, athletes dis-cussing the science of their sports, Hollywood science

consultants, and science cheerleaders. Magic was also displayed in two of the stage shows. Mathemagician Arthur Benjamin demonstrated and explained some of his methods for lightning quick calculations, and Apollo Robbins, host of the National Geographic Channel show Brain Games, discussed his use of misdirection during a stage pickpocket-ing display.

The S.A.M. was contacted directly and asked to partici-pate in the festival by Larry Bock, one of its founders. We were asked to create a display that would demonstrate some of the uses of STEM principles in the creation of magical illusions. MI Sanders appointed PNP Bontjes to plan and organize the S.A.M. booth.

This year’s expo was held April 25-27 at the Walter E. Washington Convention Center in Washington, D.C. Five display halls on two levels were filled with thousands of displays that pertained to STEM principles, careers, products, and publications. Of those, only the S.A.M. booth contained an interactive display of the uses of STEM prin-

ciples for the entertainment and amazement of others.Great care was taken to create a display that would be

able to fulfill this request within the boundaries of our code of ethics. A book was created especially for the expo and was offered in electronic format to those displaying an interest in learning magic; those who were interested provided us with their email address to receive a download link. The book contained instructions for more than fifteen magic tricks based on STEM principles. The book also included a brief explanation of the art of magic and how to find more magic tricks at the local library. Information about the S.A.M., the S.Y.M., and instructions for joining both were also included in the book.

Our display included the demonstration of several of the tricks included in the book, including causing a ketchup packet to float and magically sink in a sealed bottle of water, creating an instant star out of bent toothpicks, a coffee cup pendulum trick, the boomerang illusion, and a vanishing tree optical illusion. In addition to these, other close-up magic was performed by MI Dal Sanders, 2nd VP Jeff Sikora, and PNP Christopher Bontjes to help gather crowds.

The booth was also staffed by 1st VP David Bowers and his


Not Just Kid Stuff

Newsworthy Updates From oUr s.a.m. members

STEM Conference

Christopher Bontjes, PNP

wife, Judy, PNP and S.Y.M. Director Jann Goodsell, National Administrator Manon Rodriguez, S.Y.M. Board Member Julie Bontjes, and S.Y.M. members John and Jill Bontjes.

Also on display at the booth were a miniature Pepper’s Ghost illusion and the full-sized Head on a Sword illusion that was built by PNP Andy Dallas for use at the sideshow display at our 2010 national convention in Atlanta. The Head on a Sword illusion was used as a photo opportunity to draw crowds and to help spread our name and web address (which were displayed on the illusion) through the sharing of these photos on social media.

During the three-day festival, more than one thousand visitors received download links for our magic ebook (many of these were families with more than one member showing an interest in magic, and teachers interested in sharing magic with their classes) and several thousand photos were taken in the Head on the Sword illusion and shared on social media. Also during the festival, PNP Christopher Bontjes was interviewed by Scientific American magazine as part of a Google Hangout that was broadcast live and then shared on YouTube and through Scientific American’s social media network.

In all, as a result of the S.A.M.’s participation in this expo, more than a million people were introduced to the S.A.M. and the performance of magic as a creative outlet and a method of entertainment.

Awards of Excellence Presented To Compeers Ronald “Obie” O’Brien and James “Prof. Rem” Remenicky

In April, at the forty-fourth annual 4F Close-Up Magic Convention, Compeer Ronald “Obie” O’Brien was presented with the North Atlantic Region Award of Excellence in grateful appreciation of his forty-six years of service to The Society of American Magicians, his forty-four years of producing Fechter’s Finger Flinging Frolic (4F) – the most highly respected close-up magic convention in the world, and for the advancement of the art of magic through his many years of support to magicians and magic organizations worldwide.

James “Professor Rem” Remenicky was presented the Award of Excellence in grateful appreciation of his thirty-eight years of service to The Society of American Magicians and his many years of outstanding commitment in fostering and advancing the art of magic as S.A.M. deputy in the state of New York.

A recipient of the Award of Excellence must have demon-strated, over a significant period of time, dedication and the

promotion of magic in our region, combined with a strong sense of community obligation. Award recipients include long-standing S.A.M. members who, year after year, have given of themselves to enhance, advance, elevate, preserve, and move the art of magic to the forefront of artistic recogni-tion in our North Atlantic Region.

Congratulations to both Compeers O’Brien and Remenicky for exemplifying the S.A.M. mission statement and spirit. – Eric DeCamps

113th Congress Recognizes Magic as an Art and The Society of American Magicians

Congressman Pete Sessions (R Texas) recognized in remarks for the Congressional Record (page E 586) that magic is an “Art” and spoke of the role played by The Society of American Magicians in elevating and advancing this art. His recognition mentioned S.A.M. presidents Dal Sanders, Houdini, and Thurston, and Ambassadors Harry Blackstone Jr. and David Copperfield.

Since the 1960s, the Society has been trying to get con-gressional recognition of “The Art of Magic.” Many governors and mayors have given “Magic Week” proclamations but the federal government rejected some of the requests as “frivolous.” The political system and the government shutdown set the process back for a while. Through the efforts of President Dal Sanders and S.A.M. member Mayor Eric Hogue of Wylie, Texas, a personal meeting was arranged early in April with Congressman Sessions that resulted in this action. Other congressmen have promised to help in the future with assistance in procuring Federal Arts Grants.

June 2014 - M-U-M Magazine 49 June 2014 - M-U-M Magazine 49

James “Professor Rem” Remenicky

Ronald “Obie” O’Brien

“Comfort zones are lovely places to be, but nothing grows there.” – Anonymous

There are two questions every conjurer should consider before making a purchase in a magic shop, dealer’s room, or Internet website. Do you want that effect because of the reaction it gets from others? Do you need it because it has a place in your existing act? The key words in those questions are “want” and “need.” Unless you have an act, or at least a solid idea of one, it is difficult to bring home effects that won’t put you in dire straits with your spouse for the damage done to the family budget. Purchasing magic tricks without a specific goal in mind is nothing more than fishing and hoping for the best. Granted, some items may end up as keepers, but a majority should be thrown back and never brought home.

Without a doubt, every purchasing decision should be made with an eye for quality and construction. However, profes-sional conjurers are initially attracted to an effect for its appropriateness and place. Bear in mind that a demonstration of any effect is just that – a singular event that is not part of a cohesive act. It is the responsi-bility of the performer, not the demonstra-tor, to imagine the purpose of the desired effect within the act.

At first glance, this proposal will be considered elementary by most magicians. Still, cannot many of us use the reminder? In the world of magic, making purchases based on a well-considered need rather than impulse is the difference between owning effects that will feed the family and blowing money on yet another dust collector.

The point is to have a clear purpose for your newly acquired trick, and the best place to start is with a cohesive act (or at least the idea of one). A cohesive act is one that is bound by the common thread of some idea, proposal, or concept. Ideally, the audience watches as each effect

logically builds upon the one before until the conjuror’s overall message has been demonstrated clearly despite its impossi-bility.

For example, if a church pastor prepares a sermon based on random scriptures but neglects to connect each reference with a common theme, then Sunday’s message will be weak for the congregation, even though every word is accurate. Similarly, a professor giving his college students a lecture full of facts straight from a textbook is going to lose their interest unless he offers practical examples of how this information may be important. Infor-mation then is absorbed and appreciated far more quickly when people can under-stand its importance and relevance.

You would think every respectable conjurer would do whatever was needed to avoid being the source of an audience’s boredom. Yet our clubs and conventions remain chock-full of magicians who seem convinced there is such a thing as talent in a box; who follow the instructions and perform the trick exactly as written; who do not understand why everyone isn’t in awe of them. If we are not willing to honestly critique our performances and do the necessary work and rehearsals to improve the weak presentations, then we risk having audiences view us as magicians who have decided, somewhere along the line, that mediocrity is acceptable.

One thing many magicians do not un-derstand about conjuring is that the rules of performing it are not hard and fast – they are fluid. They change with experience, with location, and with the goals of the performer. That being said, however, any performance flexibility embraced on stage is acquired only through the existence of a solid foundation of study, practice, scripting, and rehearsal of each effect and, of course, the act as a whole. Once these obligations are met, the conjurer can con-fidently approach every performance with the knowledge that he can stray from the script and pick it back up again at any point. There is something palpable and

appealing about a performer’s confidence on that level. For the audience, the under-lying emotion is one of security in the en-tertainment. Without even knowing why, each guest now trusts you to do your job and do it well. For the performer, it is quite possible to see the moment when the guests respond to your confidence by relaxing and getting comfortable in their seats.

If you have ever watched an entertainer who performed as if he or she “owned the stage,” then you know what it feels like to be on the receiving end of their confi-dence. So, congratulations, you now have the formula to do it, too. It does take com-mitment to the obligations and willingness to work, but it will pay off.

GORDON’S PUZZLE

What follows is an odd drama with a few cards that allows the magician to interact lightheartedly with a member of the audience. This isn’t a showpiece pre-sentation, but rather an intimate you-do-as-I-do puzzle that never fails to charm the guest. I learned the basic handling in 1976 from Michael Abston, who had picked it up from Ron Conley. Ron had acquired it from Gene Gordon when he lived in upstate New York. Ron believed the sequence was original with Gene, but wasn’t positive. In any case, over the years I have made ad-justments to the handling and presentation. Out of respect to Gene I refer to this clever interlude as Gordon’s Puzzle.

With a pack of cards in hand, approach a pretty guest and ask, “Do you mind if I showed you something odd that has baffled me for a long time? Maybe together we can figure it out. Please remove any four-of-a-kind you wish from this pack. I’ll do the same.” Any four cards will do, but I prefer four matching values because they often come in handy later. Once you both have four cards, spread yours face down to display them. Close the spread and catch a break below the second card.

Say, “Hold your cards face down like this. We are going to mix these cards topsy-


The High Roadscript writing, character

development, and act construction for the modern conjuror

By Mick Ayres

turvy, one step at a time. It is important we both do the same thing. Are you ready?” You will now tell the guest what to do, demonstrate it, and then pause while she repeats your actions.

Say, “Remove the top card and put it face up on the bottom of the packet.” In truth, you take advantage of the break to do a double turnover, placing the aligned cards face up under your packet. She will imitate your actions but will move only one card.

Continue by saying, “Take the next card and put it face down on the bottom. Now turn the whole packet over. Next, take the top card and turn it face down. Finally, pull the bottom card out, turn it face down and put it back. Done? Okay, now here’s what I can’t figure out. Let’s look at our cards one by one. We did ev-erything the same, but it’s not the same, is it?” You and the spectator follow the instructions just given. Count your cards, one by one, performing an Elmsley count as you do so. (At this moment, all of your cards are face down, so the Elmsley count isn’t absolutely necessary. However, doing an Elmsley count will establish a “look” for the counting so all subsequent counts will look the same.) At the end of the Elmsley count you can spread your cards in a casual gesture. All four cards in your packet will be face down, but the guest’s packet will have one card facing up. “See? I don’t understand why my cards do that. Here, straighten out your cards so they’re all facing down and we’ll do this again, but a little slower.”

Suit actions to words and repeat the step-by-step instructions a bit more delib-erately. However, this time you will not do the double turnover at the beginning. Just take the top card off the top of the packet and say, “Put the top card face up on the bottom. Put the next card face down on the bottom. Turn the whole packet over. Turn the top card face down.” As you replace this card on top of the packet, allow your left thumb to nudge the second card forward slightly, just enough to barely expose the back edge of the two aligned bottom cards. Turn your free hand palm down and pinch the edge of these two cards with your fingers on top and your thumb on the bottom. Pull back on these aligned cards until they clear the packet. Continue by saying, “Pull the bottom card out and turn it face down.” Rotate your hand palm up and insert the face-down double card

back under the packet. (Note: When you turn over the bottom card in the first phase, you should simulate the action you will use in this phase.)

“Now, show your cards.” Again, your cards are all face down while her packet has one card face up. (Even though it is again not necessary, use an Elmsley count to show your cards.) Get a little exasper-ated and say, “It happened again! Let’s slow down even more; watch me carefully and make sure we are doing everything the same.”

This time there are no doubled cards at all. You can emphasize the singularity of every card if you wish. You are both honestly doing the same thing step-by-step. At the end, the third card in both your packets will be face up. So, as you instruct her to show her cards, perform another Elmsley count. The Elmsley count shows all four cards face down because it hides the third card while showing the first card twice. There is little to no heat on you during this false count because she is curious about her own cards and is busy examining them. The Elmsley count has the added bonus of shifting the face-up card to bottom of your packet, which sets you up perfectly for the final phase.

Say, “I have no idea why it doesn’t work out the same. Do you mind trying it one last time? I don’t want you to think I’m doing anything weird so how about you move my cards and your cards? I’ll just hold my packet still as you move things around.”

Extend your cards toward your guest and say, “First, take the top card off my packet, turn it over and put it face up on the bottom. Now do the same thing to your cards. Next, take my next card and put it face down on the bottom. Do it to your next card, too. Turn my cards over; now, turn your cards over. Turn my top card face down. Turn your top card face down. Now, take out my bottom card, turn it face down, and put it back. Turn your bottom card face down, too. Finally, spread my cards out. Now show your cards and…dang it.”

Despite these painstaking efforts, your cards are all face down but there is a face-up card among her cards, again. Look at your guest wide-eyed and say in a stage whisper, “That is so weird. Do you think it’s me?”

The presentation is over. Gordon’s Puzzle is constructed to carefully hide the “work” by changing the method each

time it is repeated. Even if a guest suspects something you might have done, you remain one step ahead of her.

If you wish, you can change the impact of the fourth phase by switching packets with the guest. To do this without exposing the face-up card on the bottom of your packet, pick up your cards from above with your free hand. Wait for her to do the same. Say, “I haven’t thought of this until just now, but maybe it isn’t either of us doing anything weird, maybe it’s in the cards themselves. Let’s switch our packets and see what happens.” Place your packet in her open hand and accept her cards into your palm. Since you are placing your packet in the same spot her packet just left, her hand will naturally and comfortably grip it. She will be focused on the minor task of handing you her packet. Immediately start with the sequence in-structions. Remember, she is shifting your cards as well as hers during this phase so she has plenty to keep her hands and mind occupied. The end result is completely opposite this time. Now, the cards in her hand are all face down and you have the single face-up card. Use that wide-eyed stage whisper to say, “It is in the cards! Who knew?”

Ron Conley shares the following story about his days in upstate New York. Every time he pulled his car into one gas station to fill the tank, the attendant insisted on seeing a trick. According to Ron, Gordon’s Puzzle kept the poor fellow baffled for weeks.

Finally, Gordon’s Puzzle can certainly be done with random cards, but using a four-of-a-kind allows you to follow it with a completely justifiable presentation of Dai Vernon’s Twisting the Aces. Just a thought.

[Editor’s Note: Phases three and four of the above routine appeared as Vernon’s Variant in Dai Vernon’s Ultimate Secrets of Card Magic (1967, pages 173-175). A version by Herb Zarrow appeared in Jon Racherbaumer’s Kabbala (Vol. 1, No. 9, September 1972), and was reprinted in The Legendary Kabbala (Herb’s Variant, pages 342-343). In a footnote, it is stated that Eddie Fields showed Racherbaumer the trick in 1967, and that Fields learned it from Frank Thompson of Baltimore.]

Mick Ayres is an eclectic entertainer of tricks, tales and tunes. He can be reached at: [email protected].


BECOME A JEDI MASTER OF INTERACTION

You’re in the middle of a show. Every-thing seems to be going well. Suddenly, somebody in the front row hands you an empty beer glass and shouts, “Hey, Harry Potter, flick your fingers and fill this up!” He looks you in the eye, and then looks into the room and laughs, “I guess you’re not that good, huh?”

We’ve all been in situations like this in one way or the other. Sometimes the jibe is delivered in a playful tone; sometimes it isn’t so playful and it disrupts the flow of the show. Your instant response is: What the heck just happened? You would love to have Jedi Master-like skills and, with a wave your hand, instantly change the behavior of that person.

Mastering the communication process will help you to become a better performer. I’ve always found Leary’s Interpersonal Circumplex very helpful to: 1) recognize and categorize behavior and behavioral patterns; 2) design the interaction in order to create a deeper experience that will make you more memorable; 3) work on expanding your behavioral repertoire: 4) add texture to your delivery of the script.

DESIGNING INTERACTION

Interaction is an integral part of any performance, especially a magic per-formance. Some types of performances include frequent personal communication, such as bar magic, strolling magic, street performances, close-up, and parlor magic. Stage performances include less personal forms of interaction, but you still define the nature of your relationship with the audience through your behavior.

You may think that designing the inter-action process will remove the sweet juice of spontaneity. Don’t worry; it doesn’t. Just like writing a script and putting together the best method, designing the interaction will create peace of mind and create space

for spontaneity. If you’ve ever seen Mac King more than once, you will know how moments that seem spontaneous are, most of the time, scripted. You will also start to recognize how he designs the interaction to set up jokes, make his helper on stage to feel at ease and shine, and manage his show. He may be a naturally funny guy, but when you talk to him, you start to see that he’s also a craftsman when it comes to designing and refining every aspect of his show.

COMMUNICATION BASICS

Most theories about communication set content apart from process:

• Content is all about what you say. It’s just the verbal part of communication; in other words, your script on paper. For example, “Pick a card, any card.” Most theories, and certainly our experience, tell us that content makes up only ten percent or less of our communication experience.

• Process is all about how you deliver the content. The way we deliver the content defines ninety percent or more of the type of relationship we’re establishing. Who’s in charge? Who follows? Are we close to each other? Are we on opposite sides of the table?

So our non-verbal communication and our vocal communication contain hidden messages about how we look at the rela-tionship. The line “Pick a card, any card” can be delivered in an inviting, warm way. But you can also say the same phrase in a demeaning way, an uninterested way, or a plain aggressive way. Each will establish a different relationship and therefore a different experience. The Leary Inter-personal Circumplex helps you to see the process part of communication much clearer.

THE CIRCUMPLEXIn the 1950s, Timothy Leary worked

as a director of psychology research in Oakland, California. He did extensive research on interpersonal behavior and developed a model to describe this with his students. The original circum-plex consisted of sixteen segments. I’ll

simplify it just a little bit and will present eight types of behavior: two varieties for each of the four basic ones. The model assumes two major force fields that define relationships:

• Power (or influence) – the vertical axis. Who is in the lead here, who is con-trolling and taking initiative, and who is following the lead? The top of the axis represents dominant behavior; the bottom represents submissive behavior.

• Love (or proximity) – the horizontal axis. Do I trust you, do I want to work with you, or do I turn myself against you in a more or less hostile way? The left side of the axis represents hostile behavior; the right side represents coop-erative behavior.

Take a look at the figure. The two axes create four quadrants. Within each quadrant there are two varieties depending on which axis you’re closest to. So DC means that you’re closer to the top and your dominant behavior is a bit more present than your cooperative behavior. In the CD variety the cooperative aspect of your behavior is more present. The nearer you get to the center, the more neutral the type of behavior. At the edges of the circle you’ll find extreme versions of that type of behavior.

Remember that, as a rule of thumb, dominant behavior tends to provoke submissive behavior and the other way around. Hostile behavior tends to provoke hostile behavior, and cooperative behavior tends to provoke cooperative behavior. Let me list out all off the likely responses:

• DH provokes obedience• HD provokes resistance• HS provokes punishment• SH provokes a sense of superiority• SC provokes leadership• CS provokes help• CD provokes acceptance• DC provokes trust and respect

I will describe the quadrants and give some examples of magicians and where their behavior can be placed in the circum-plex.

THE DC/CD QUADRANTThis is a combination of dominant and


By George Parker

For Your Consideration

cooperative behavior. Fatherly figures display the DC variety – patriarchal behavior. You’re in the lead, in a friendly, almost parental way. Think of Lance Burton and his dove act – the gentleman in control, smiling. Johnny Thompson displays a lot of that behavior in his The Great Tomsoni act. But it’s a comedy act. Therefore his DC behavior falls apart at some point to get laughs.

Here you can see how you can play with your position on the power axis. The Great Tomsoni moves from DC to SC, being helpless. When he starts to get annoyed, he almost acts like a child who doesn’t get what he wants and he moves to the SH slice. Pam, Johnny’s wife, plays his assistant and frequently taps from the left, hostile, side of the model. Sometimes she’s in the SH/HS quadrant, acting like a bored fifteen year old, chewing gum. Sometimes she moves up and is aggressive/competi-tive.

THE CS/SC QUADRANTIn this quadrant you’ll find behavior

that’s cooperative. But your status is lower. You don’t take initiative. You just follow the lead of others. This type of behavior comes in handy when you want to provoke initiative. Max Maven likes to go here to trigger the behavior he needs from his audience. While his overall onstage persona usually taps from the upper half, he’s a master of using silence and questions to trigger action. That type of behavior puts the audience in a dominant position; they feel the pressure to make a choice or take action, thereby helping the show flow.

I use the SC type of behavior when I need to do a show to get the energy back up after a heavy lunch at a convention. People enter the room, talking. They sit down and there’s a lot of buzz. Instead

of welcoming them back so they become silent, I enter the stage when about ninety-five percent of the audience is seated. I look around the room, smiling, hands folded in front of my body. And I wait, wait, wait. Slowly the room starts to pay attention, people tell their neighbors to stop talking, and some people silently scream for me to officially start the show (they need someone to be in charge). But I just wait for the room to take charge. That always happens. Sometimes it takes twenty seconds for the room to become silent. But it can take up to one or two minutes. My first line depends on

the topic of the convention. But it’s always related to them having made the decision about when my show should start.

This may not be your style, but you get the point. By going to the SC slice I provoke initiative. I have not only involved the audience from the get-go, I’ve estab-lished a different kind of relationship than they expected, which creates stronger emotions.

THE SH/HS QUADRANTThis is an awkward one. This type

of behavior is usually associated with puberty. You rebel against the world (the HS slice) or you just act like you’re the victim (the SH slice).

It may be hard to believe, but even this kind of behavior serves a purpose in real life as well as in a magic act. A magician who pops into my mind is Jerry Sadowitz. He displays behavior on the left side a lot. He can make hard remarks and jokes, switch to “what do I care,” and create a show out of it. He involves his audience in quite a different way than mainstream magicians, which, in my mind, makes the act more interesting.

Tom Mullica, in a different way, uses this quadrant to amplify some of his acts. I remember him playing with a spectator who had just called out a number where the selected card was supposed to be. Trying to make her very insecure, he just waited. Not in the CS/SC way, but clearly on the hostile side. He milked that dynamic and created awkwardness in a hilarious way.

THE HD/DH QUADRANTIn this quadrant you’ll find behavior of

a competitive nature. You’re in the lead, but in a hostile way. I mentioned Ricky Jay’s poker act in the January column. In

case you have forgotten, I’ll briefly go over it again, because it’s such a great example how you can use the HD/DH quadrant.

Ricky Jay plays a poker game in the BBC documentary Hustlers, Hoaxsters, Pranksters, Jokesters and Ricky Jay. You can find a clip on YouTube. (Type “A correctly structured drama” in the search field.) The title probably refers to something Jay’s friend, director and writer David Mamet, once said: “Magic is highly structured drama.” The circumplex is a tool that can help you analyze what’s going on here. You see how his verbal instruc-tions are colored by his non-verbal and vocal behavior. He moves to the HD/DH quadrant a lot, and then switches to the HS/SH quadrant now and then, sitting back and being irritated. It’s quite intimi-dating. As a result, the minds of the partic-ipants start to work differently. The atmo-sphere is tense, which helps to camouflage the method. It wouldn’t surprise me if one of the participants is an actor who’s part of this drama. But with Jay’s acting skills, that’s not even necessary. He just plays this game of interactional chess with them.

HOW TO USE ITI’ll close with some tips on how to

become more familiar with this model and use it to your benefit. I use these insights in my shows, but also in the sales process, as well as in private interactions.

Use TV shows, movies, or dinner parties to study behavior. When you’re watching TV, keep a copy of the circum-plex ready. Follow one character and plot his behavior in the circle (at dinner parties you can use breadcrumbs and your plate to do the same). You will start to recognize behavior quickly and discover patterns.

List characteristics of all kinds of behavior, verbal and non-verbal. This way you can expand your own range of tools to express yourself and move around the circle. You will find that you’re really good at two quadrants. The third one is much harder. And the fourth one is your Mount Everest. I’ve known managers who weren’t capable of producing CS/SC behavior!

Take a routine from your repertoire. Experiment with the circumplex. Even inviting a spectator to select a card can be made more interesting. You can spread the cards and say (CD): “Could you please pick a card?” The spectator reaches out and you pull back the deck and say (DC): “A piece of advice. Select the card wisely. (Switch to a light DH.) You can’t change your mind once you touch the card.”

Good luck!



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’s column “Thoughts On…” began 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 that 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 Chosse’s 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).

The two routines excerpted for this month’s Ebook Nook should find favor with strolling performers. The one coin routine packs a ton of magic into a brief period of time and is a strong opener. Chromo Balls is an interesting variation of the classic Three Ball Trick that should puzzle both magicians and laymen. My thanks to L&L Publishing for allowing these tricks to appear in M-U-M.

ONE COIN FOR CONNOISSEURSRon Aldrich is one of the busiest professionals in the Metro

Detroit Area and is, indeed, a very smooth worker. He has a knack for putting together some very entertaining presentations. I have known Ron for several years and I have witnessed Ron’s perfor-mance of this routine several times. This is one of my favorites. I am pleased that Ron has consented to share this routine with us.

A number of magicians have seen Ron perform this routine. I remember Bill Kalush mentioning to me that this was the best “one coin” routine he has seen. Now that is high praise!

This is not a one coin routine in the true sense of the word. It uses several coins. However, the audience is never aware of that fact. They believe they are witnessing a routine using one, and only one, coin.

Requirements: You will need a half dollar with a small hole drilled through it. Drill the hole just above the tail of the eagle (Figure 1). Form a loop by threading a piece of transparent nylon fishing line through the hole. Fasten it to a piece of elastic. On the other end of the elastic is a safety pin. Fasten the safety pin to the inside of the jacket sleeve at the armpit. You can also see this in Figure 1. The “pull” coin should rest out of sight about two inches above your right jacket cuff. This will make it easily accessible.

Fasten a half dollar under the left lapel. Ron fastens a hook half dollar to the lapel with double-sided carpet tape. The hook half ensures a more secure attachment. You will also need two extra Kennedy half dollars, a jumbo Kennedy half, and one large banker’s clip.

Attach the banker’s clip to the pants at the waist so that the long side of the clip is inside the pants and the short side is outside the pants. Position the clip so that the jumbo coin will be outside the rear left pants pocket when you place it into the clip. The coin will be at approximately the same depth outside the pocket as it would be if it were inside the pocket. Your jacket will hide the coin and clip.

Preparation: Finger palm one of the half dollars in the left hand and thumb palm the other half dollar also in the left hand. The left fingers reach into the right sleeve to get the “pull” coin. Place the coin into the fingertips of the right hand. The right hand now goes into the right pants pocket. Do not push the jacket back. Allow it to hang straight. It takes only a moment to get ready. You do this before you approach a table in a restaurant situation or before you approach spectators in a walk-around situation.

Phase 1: Approach the spectators and position yourself, if possible, so that you have a lady spectator slightly to your left at approximately an eleven o’clock position. Deliver your introduc-tory remarks. “Good evening. Excuse me for interrupting you. I’m a magician.”

The right hand jingles the change in your right pocket. The right hand leaves the pocket with the gimmicked coin at the fin-gertips. Position the coin on the right thigh just above the knee and hold it in place with the tip of the right second finger. Spread your right fingers and thumb. The fishing line is parallel to your right second finger, which effectively hides it. Your body is erect. Your head is up looking at a spectator located a little to your right, at approximately a one o’clock position. Glance down at the half dollar and glance back up to the spectator on your right.

“May I ask you a question? Can you tell heads from tails? The reason I ask is that sometimes this coin gets so small...” The coin vanishes on the word “small.” Ron feels that it is important to have a complete and clean vanish of the first coin to set the mood.

Figure 1

EBOOK NOOK

Excerpt From: L.I.N.TWritten By: John LukaDescription: Ebook, 734 pagesAvailable From: www.llepub.com


Here’s how you accomplish the vanish.The right hand brings the fingers together and makes small

circular counterclockwise motions as it gradually covers the coin. When the hand covers the coin completely, let go. The elastic will pull the coin up the sleeve.

The right second finger and thumb, while still maintaining contact with your leg, come together and pantomime picking off a piece of lint. At this point two things happen at the same time. The right hand rises to about face level, turning counterclockwise in the process. The back of the hand will be toward the audience when the hand reaches its apex. During the time the hand moves up, the right thumb and second finger rub together as though they were rolling the coin into a little ball. The thumb and second finger separate, showing that the coin has vanished.

You have been looking intently at your right fingers, which are at about eye level. Look at the spectator in the one o’clock position and make eye contact. In the meantime, the left hand produces the thumb-palmed coin from the lady’s ear in the eleven o’clock position. You produce the coin before your eyes see it. A beat after you produce the coin make eye contact with the lady spectator.

Let’s recap what your eyes do during this phase. Ron has carefully choreographed this phase, maximizing the misdirection. Look at the spectators. Glance down at the half dollar above your knee. Glance back up to the spectator on your right as you deliver your lines. Look back down at your right hand as the thumb and second finger pantomime picking up the piece of lint. Follow your hand up with your eyes. Make eye contact with the spectator on your right. Start moving your glance toward the lady at eleven o’clock. Your left hand has produced the coin just before you see it and before you make contact with the lady spectator. The left hand now comes back in so that the elbow rests against the left side.

Phase 2: The left hand casually tosses the coin into your right hand. The right hand travels to the right pocket, where it deposits the coin. When the right hand is in the pocket, finger palm the coin. Re-establish eye contact with the lady spectator and produce the finger-palmed coin from the lady’s ear with your left hand. As this action is taking place, the right hand leaves the right pocket and drops casually to the right side. Immediately after Ron produces the coin he executes a left hand coin roll. At the end of the flourish he executes a shuttle pass. Here is what you do.

Your left hand is palm up with the coin lying on the fingers. Your right hand is palm down, concealing the coin in finger palm. Your right thumb presses the coin against the fingers when the hand begins to move. Both of your hands begin to move at the same time. Continue to move your hands together until the upper joint of your right first finger touches the upper joint of your left fourth finger. When they touch rotate your left hand palm down and your right hand palm up. Your left thumb presses its coin against the fingers to aid in finger palming the coin. Retain the left hand coin in finger-palm position and reveal the right-hand coin that is on the right fingers.

Display the coin on the right fingers for only a second. The right thumb now pushes the coin to the finger tips where you can display it. In a continuing action the right hand gestures while holding the switched-in coin at the fingertips. The fingertips are pointing upward and are at eye level.

“These are not real coins. They look real. They feel real. But, they bend.” While you deliver these lines tongue-in-cheek as a mock explanation, perform the well-known rubber coin move:

You are holding the coin between the thumb on one side and the first and second fingers on the other side. You are holding the

coin as near to the edge as you can. Bring the right hand in front of your body, chest high. The left hand meets the right hand in front of the body and grips the coin identical to the way the right hand is gripping it. The fingers of the right hand are pointing to the left and the fingers of the left hand are pointing to the right. The finger-palmed coin does not interfere at all with this grip.

Now bend both wrists in until the back of the right and left fingers touch at their first knuckles and then straighten both wrists. Do this quickly several times as you hold the coin loosely. The coin will appear to be bending.

After completing the rubber coin move, the right hand flips the coin in the air, catches it, and places it in the right pocket. The left hand shows the right lapel empty by reaching up to the outside edge of the right lapel. Insert the left first finger under the lapel and bend the lapel back showing nothing behind it.

The right hand shows the coin behind the left lapel by reaching up to the outside edge of the left lapel. Insert the right first finger under the lapel and onto the hidden coin. Bend the lapel back exposing the coin. Be sure to look at the coin as you reveal it.

Release the lapel (and the coin) as you move your right hand outward, apparently holding the coin. Your fingers are at eye level and pointing up. The back of your hand is toward the audience. Your eyes have followed the right hand from the moment it released the lapel to when it reached its present position. The right hand, with fingers pointing up, begins to rub something between the thumb and fingers.

“You can roll the coin into a little ball...” Bring the right hand up to about eye level and close to your face as the left hand drops to the side. The action is unhurried but the pace is upbeat. Pantomime flipping the coin into the air. Gaze up at the ceiling as though you were following the flight of the coin. Pretend to catch the coin in the palm-up right hand. Keep the right hand palm up and slightly closed, continuing to simulate the actions of a coin flip.

“...heads or tails?” The right hand slaps the back of the left hand like you would if you were to flip a coin into the air, catch it, and slap it on the back of the left hand to see if it was heads or tails. In this action, the finger-palmed coin in the left hand will be magically produced. Ron credits Gregory Wilson with this handling. Here’s how Ron executes the move:

The left hand with its finger-palmed coin is palm down. The hand forms a very loose fist. (You would do this if you were actually getting ready to slap a coin you have just flipped onto the back of the left hand.) The coin is at fingertip-rest position in the left hand. The tip of your left thumb is touching the tip of your left first finger, which forms an opening on the thumb side of your left hand. The coin will soon exit the left hand through that opening.

Pantomime flipping a coin into the air and catching it with your right hand. The right hand, as it turns palm down, makes an arc from the point it caught(?) the coin to when it actually slaps the back of the left hand. In the meantime, the left hand moves up sharply to the point where the hands will meet and suddenly stops. The momentum will cause the coin to fly out of the thumb side of the left hand. The coin will then hit the fingers of the right hand, which trap the coin between the back of the left hand and the right fingers. If you time this correctly the flight of the coin will be invisible. It should look as if you flipped an invisible coin into the air, caught it, and slapped it on the back of your left hand. When you remove the right hand the coin becomes visible on the back of the left hand. “You win!”

Phase 3: The right hand now picks up the coin between the


right thumb and first finger and holds the coin horizontally (Figure 2). Ron uses LePaul’s Horizontal French Drop with some minor changes for the vanish of the coin.

The right hand moves slightly to the right. You are sort of “winding up” for the toss(?) you are about to make. During this action “cock” the coin by pulling the right first finger in toward the thumb crotch. Now the right hand moves to the left as if it was casually tossing the coin into the left hand. Believe that you are tossing the coin and the action will be right. As the right hand moves to the left, the right first finger moves forward adding to the illusion. It is very important to remember that this vanish action is not to look like a put or a placement. Make it look like a casual toss even though you never actually toss it.

In a continuing action the right hand pulls up the left sleeve. The left fingers and thumb now make a rubbing motion and show the coin has vanished. The right hand produces the coin from the spectator’s ear at the one o’clock position. As the right hand produces the coin the left hand steals the jumbo coin from the banker’s clip.

Note: Do not bend the body forward when making the steal. Stand erect. If necessary, lean back.

Now flip the coin you just produced into the air, catch it, and place it into your right pants pocket. Produce the jumbo coin from the lady’s ear to end.

There, you now have it! This is a remarkable routine. Ron has painstakingly worked everything out for you. Give this the practice it deserves and you will possess a routine you will be proud to do.

CHROMO BALLSI am pleased to be able to share this effect with you. This

routine features a switch originated by Milt Kort. I am very en-thusiastic about the move; it is not only deceptive, it is also easy to do.

The following routine owes its origin to the Vernon/Mora Three Ball Trick. I liked the routine ever since I first saw Vernon perform it. In the early 1980s I condensed the routine to three phases. I used the three-phase sequence until early 1990, when Milt Kort taught me his chromo-sphere switch. I learned the switch and realized that I could, by means of his switch, perform the Three Ball Trick with different colored balls without any major change to the routine. Kort’s move is superior to the Vernon/Mora move and is completely imperceptible.

In early 1991 John Morgan suggested to me the possibility of opening the routine with a color change. I managed to work out a practical method. Try it and see for yourself.

Materials Required: Two red balls, two green balls, and one yellow ball. The balls are about three-quarters of an inch in

diameter. You may substitute your own colors. For best results use cork balls that have crocheted covers.

Kort’s Chromo-Sphere Switch: The right hand picks up the red ball and places it on top of the left hand, which is held in a loose fist (Figure 1). Relax the left first finger and thumb allowing the ball to enter the left hand until it is out of sight. The left second finger prevents it from going deeper (Figure 2). Note: In Figure 2 the ball is shown in front of the first finger. This is only to show how the ball rests on the second finger. In performance, the ball is hidden inside the hand, behind the first finger.

The right hand picks up the yellow ball in the same way it did the red ball and places it on top of the left fist. It is during this action that the left first finger extends slightly carrying the red ball with it (Figure 3). This move is done under cover of the right third and fourth fingers. The red ball is carried only far enough to allow room for the yellow ball to rest on top of the left fist to the left of the red ball.

As the right hand places the yellow ball on top of the left fist it steals the red ball (Figure 4). As with the red ball, the yellow ball is now allowed to sink into the left fist.

Repeat the same action with the green ball, which allows the right hand to steal the yellow ball.

Setup: A green ball is in the left pants pocket. Two red balls are in the right pants pocket. A green ball and a yellow ball are in the left hand in finger-palm position. The yellow ball is below the green ball (i.e., nearer the left fourth finger).

Phase 1: The right hand removes a red ball from the pocket and places it on top of the closed left fist. Allow the ball to sink into the hand (Figure 2).

“When I was a young boy ...” The right hand removes another red ball from the pocket and places it on top of the closed left fist stealing the first red ball in the process. The ball is allowed to sink into the hand. “...I used jawbreakers for this trick.” The right hand leaves the stolen red ball in the right pocket and pretends to remove a third red ball, which is placed(?) on top of the closed left fist. Under cover of the right hand, the left hand “squirts” the red ball it has onto the top of its fist. The ball is shown and is allowed to sink into the hand.

“The problem was that I usually ate them and I couldn’t do the trick. Red was my favorite flavor. But, sometimes I would get green...sometimes yellow.” Snap your fingers and then squeeze the balls, one at a time, from the left fist onto the table (or a spec-tator’s hand) showing the color change. From left to right the

Figure 2

Figures 1 & 2

Figures 3 & 4

EBOOK NOOK


position of the balls is yellow, green, and red.Both hands can now be shown empty.Phase 2: “Now I do the trick with balls. I have a red ball...”

The right hand places the red ball on top of the closed left fist and allows it to sink into the hand. “...a green ball...” The right hand places the green ball on top of the closed left fist and allows it to sink into the hand. “...and a yellow ball.” The right hand places the yellow ball on top of the closed left fist.

The right hand now pretends to take the yellow ball. Allow the yellow ball to sink into the left hand under cover of the right hand. The right hand places (?) the ball into the right pants pocket.

“If I take the yellow ball and place it into my pocket...” The right hand snaps its fingers and the left hand squeezes the balls, one at a time, onto the table. The yellow ball is the last one to be squeezed out. (Simply rotate the yellow ball with the green ball and squeeze the green ball onto the table. Repeat the process with the remaining two balls, squeezing out the red ball next. Finally, squeeze out the yellow ball, which was supposedly placed into the right pocket.)

“...and snap my fingers amazing things begin to happen. The green ball is still here; the red ball is still here. And look! The yellow ball has come back.” Both hands can now be shown empty.

Phase 3: The following sequence is a real fooler; it finds its origin in Frank Garcia’s routine. Line the balls up on the table from left to right in this order: yellow, red, and green. “Watch closely. I’ll do this slowly. First, the yellow ball goes in this pocket ...” The left hand picks up the yellow ball and pretends to place it into the left pocket. The ball is finger palmed along with the green ball that was in the pocket. The left hand leaves the pocket and relaxes. “...the green ball in this pocket ...” As the left hand

is about to leave the pocket, the right hand picks up the green ball from the table and actually places it in the right pocket. “...and the red ball goes here.” The right hand now picks up the red ball and places it on top of the left fist. Allow the ball to sink in.

“When I snap my fingers amazing things begin to happen. The red ball is still here. Look! The green ball is back. So is the yellow ball.” The right hand snaps its fingers and squeezes the balls, one at a time, from the left hand onto the table. Both hands can now be shown empty.

Phase 4: The positioning of the balls by color is not essential to this phase of the routine. “Watch! I’ll do it again. The red ball goes here...” The right hand places the first ball on top of the closed left fist and allows the ball to sink into the hand, but only as far as the second finger. “...the green ball goes here...” The right hand places the second ball on top of the closed left fist, stealing the first ball in the process. Allow the second ball to sink into the fist.

Again, the ball sinks only as far as the second finger. “...now the yellow.” The right hand picks up the third ball and places it on top of the closed left fist, stealing the second ball in the process.

“And once again the yellow ball goes into my pocket.” The right hand now removes the third ball from the top of the left fist, taking the ball between the right first and second fingers. Place it into the right pocket secretly unloading the other two balls in the process. The right hand emerges empty from the pocket.

“When I snap my fingers not once – but twice – amazing things happen.” The right hand snaps its fingers twice. Show that the balls have vanished.

Do make the effort to obtain the necessary balls. Learn the routine. You will have something you will use.

http://enjoythemystery.com

LATEST PRODUCT REVIEWSCompiled and Edited by W. S. Duncan

INFORMED OPINION

EquilatEral 3 BookBy JC SumDistributed by Murphy’s Magic SuppliesPrice $125.00

REVIEW BY JIM KLEEFELD

Before you rush out and buy this “new” illusion book by JC Sum, check your bookshelf. Sum published Equilateral in 2006 as a ninety-three-page wire-bound book. In 2008, he updated the book and released Equi-lateral 2. This new perfect-bound 115-page book is an updated version of those earlier works. The first version had nine illusions; this newer one has thirteen. In case you do not

own the original versions, here is the skinny on the repeated props. Singular is an appearance of a single person within a curtained framework on a raised platform. You pull a curtain completely around the prop, similar to Assistant’s Revenge, but instead of someone escaping from a restraint, a body appears where there was none. In Wall 2 Wall, you push two movable walls toward each other with someone lodged between them. The walls move until they are touching each other with no space in between; the assistant has vanished. Light and Space and Light and Space II are similar. One vanishes a person seated within a box on a table, while the other causes a person to appear in such a space. Both use high-tech lights as “spears” to penetrate the boxes.

The Vanishing Tiger has no tiger. It is a clever and cute comedy illusion in which a small cage filled with a cube of tiger skin is made to vanish – skin, cube, cage, and all. Think of it as a very large version of the Blackstone Vanishing Birdcage. The premise that the cage is so small it contains an entire tiger squished into a cube is pretty funny.

Steel Displacement is a one-person penetration. The performer stands behind a solid steel wall, reaches around both sides and grabs a cloth in both hands. He holds the cloth up, moves forward, and then drops the cloth. He is seen in front of the wall, appar-ently having penetrated it while holding the cloth. Squeezed and Skewered is a penetration effect similar to a Sword Basket. A girl enters a small box placed atop a stand. The box is closed, shrunk to half its size, and then penetrated with several rods or swords. The swords are removed, the box returns to its original size, and the girl hops out unharmed.

As to added and improved illusions, The Full Throttle has been redesigned as Ultimate Full Throttle. This is the sudden ap-pearance of a full-sized regular automobile. It is not supremely deceptive, because the car appears inside a large framed box big enough to hold it. But it is a serviceable illusion and would work well at a one-time event such as a corporate vehicle unveiling. Bluff Appearance is another car production that may work well in certain venues and situations, but is not exactly startling. It would be a good design if you had to provide something on the quick

and cheap as a one-time use. Phantom Car Appearance is a big and well-designed illusion that looks similar to the Phantom Cage Illusion used by Thurston. Light Pillars is a system for implement-ing a Black Art act.

Now for the best of the new: the ATA Sub Trunk is a nicely planned Metamorphosis with a modern ATA case design. The trunk looks new and functional, so it lends an air of authentic-ity or realism to the presentation. There are clear construction drawings, and also quite a few photographs of Sum’s actual prop. This is new to the book and one of the best items in there. Even if you have his earlier Equilateral books, you may want to check out this prop design.

Then there is my favorite prop in the book, Multi-Vide. This is Mis-Made Lady outdone. Your assistant enters a tall multi-sec-tioned cabinet. One by one, you separate the sections and move them left, right, up, and down on a squared-off frame, leaving the audience looking at four separate boxes stacked in a pleasing head-on four-square arrangement. Each section is opened, and parts of the girl can be seen inside each box. You reassemble the boxes and your assistant steps out, reassembled and unharmed. The prop is self-contained, the footprint is small, and the required contortion is simple. I like this a lot. Whether it is worth a hundred and a quarter to you to see Multi-Vide along with a couple of other new ideas is between you and your wallet.

If you never bought either earlier version, and you perform, build, or study illusions, then you will probably want this book. The plans, as in many illusion design books, are quick and sketchy, not at all carpenter’s blueprints, so if you expect to build any of these props, you and your carpenter will need plenty of time to work out the actual dimensions and details. And Sum’s earlier versions had some very nice color pages with the design details displayed. The color is missing from this book. I found a lot of good material in Equilateral 3, but it’s still pretty pricey for a 115-page paperback book.

HanniBal: tHE trutH From a liar two-DVD SEtBy HanniBalAvailable from: www.BlackRabbitSeries.comDistributed by Murphy’s Magic SuppliesPrice $39.99

REVIEW BY PAYNE

There are few magicians in the world who, after seeing them perform, make me

seriously contemplate abandoning the practice of magic. This is because I know, no matter how hard I try, that I will never achieve their level of mastery of our venerable art form.

Hannibal is one of those magicians.But don’t let this prohibit you from

obtaining his new DVD set. In fact, I encourage everyone to seek out and watch these

DVDs. (Why should I be alone in my feelings of inadequacy?) Be


forewarned: even though there is much to be learned from these DVDs, few, if any of the tricks Hannibal reveals will find their way into your current repertoire. It’s not because they require special equipment or advanced card handling skills – though some of them do. No, the reason you’ll find it difficult to shoehorn any of these routines into your act is because there is only one Hannibal, and you are not him.

The lessons to be learned from these DVDs are not the tricks themselves, but the thinking behind the tricks, the justification of the props, and the structure of the act itself. Hannibal’s approach to magic is heavily rooted in theatre. It has narrative, through-threads, and callbacks. There is a strong storytelling element in Hannibal’s approach, but unlike other bardic-based presentations, the story doesn’t overpower the magic. Here the magic is the punctuation to the plot, the illustration for the stories. Everything happens for a reason.

This is perfectly illustrated in Silver Memories, Hannibal’s handling of the classic Cylinder and Coins. The traditional and rather suspicious leather tube has been replaced with the innocuous cardboard cover of a Push-up Pop. A mint takes the place of the otherwise incongruous cork disk. The whole presen-tation revolves around childhood memories of the anticipation of summer and the antics of a fondly remembered grandfather. The coins’ unexpected appearance in the tube under the mint is almost an afterthought, which, paradoxically, makes the moment all that more magical.

Watching the apparent ease in which this performance piece unfolds, you are lured into thinking that you, too, could easily include this routine in your act. Hannibal wisely warns the viewer against doing this. After all, these are his memories and his stories. He strongly urges the viewer and would-be replicator to find his own story to wrap his presentation around, lest he simply become a lesser copy of the original. Besides, to actually perform the routine as Hannibal does is going to require a Triple Threat gaff and a custom three-coin stack.

This is the thread that runs through these DVDs: Don’t do these tricks the way I do; find your own voice in the magic you do. Make the magic about you. The discs are well produced. They, somewhat curiously, both begin with Hannibal performing his close-up act in front of a live studio audience. Perhaps it was for ease of viewing, because you can reference the live performance without having to change DVDs. Both DVDs also feature the same live performance with a commentary track by Hannibal. Disc One includes a bonus performance of Hannibal perform-ing Silver Memories at the Magic Castle as well as explanatory sections on Silver Memories, Bookends, and Roadhouse, Hanni-bal’s approach to Cards Across.

Bookends is, at least for me, the most intriguing routine on this DVD; its release is seriously making me rethink my approach to the Bill in Lemon. I had the pleasure of seeing Hannibal perform this at the Magic Castle a couple of years ago and its effect on the audience was unlike anything I’ve seen in quite a while. It’s difficult to amaze, yet alone fool, an audience of magicians with something as well known as the Bill in Lemon, but Hannibal was able to do so. I won’t go into detail in this review, lest I spoil the surprise of seeing this for the first time. You’ll just have to trust me that this routine will forever change the way you look at this trick.

Disc Two features a performance-only Cups and Balls routine performed onstage in an undisclosed location. Again this routine shows that it’s not what you do, it’s how you do it. It’s not about the moves; it’s about you the performer and what you bring to the presentation. Taught on this disc is The Pringles Act, a nine-phase

card routine combining the Ambitious Card with Card under Salt-shaker, with some mind reading, color changes, and transposi-tions thrown in just for fun. Of everything explained on the DVD, this routine is probably the most commercial and the easiest one to adapt to your own performing style.

The Strange Engine is Hannibal’s Any Card at Any Number routine. It uses a memorized stack and a lot of improvisation. This routine isn’t for the timid and is going to require a considerable amount of chops and dedication to pull off. Golden Memories is the last effect taught and is Hannibal’s version of Rene Lavand’s Three Bread Crumb Trick. It is also the callback to Silver Memories, which brings Hannibal’s close-up set full circle, which gives his performance a theatrical and emotionally satisfying ending. There are few magic DVDs that I watch more than once, or view just for fun. But Hannibal’s The Truth from a Liar is going on the list of those that I will view repeatedly.

Clap & CHEEr CupS & BallS triCkBy mario morriSAvailable from: www.SchoolOfBusking.comPrice $50.00

REVIEW BY PAYNE Yes, I know what you’re thinking. Does the world really need

yet another Cups and Balls DVD? The answer of course is, no, it doesn’t really need one, but having said that, you’re really going to want pick up a copy of this one. Mario Morris has created a routine unique among the plethora of presentations currently out there. And I’m sure against the urgings of all his friends and colleagues, he has released his signature routine to the magic community at large.

Clap & Cheer Cups & Balls is a time-tested and street-per-fected routine that has taken its creator Mario Morris around the world. Unlike every other Cups and Balls routine currently out there, Clap & Cheer Cups & Balls requires no special props or equipment. Everything needed for the routine can be purchased in the local shops of whatever locale you find yourself in. Instead of using expensive and unfamiliar spun metal cups, the Clap & Cheer routine employs common crockery coffee cups. The loads, instead of fruit, are, save for one lone lemon, jars filled with whatever curios or applicable objects you deem appropriate for your venue. But what makes this routine most memorable is that it ends with a tablecloth pull in which the magician yanks the table-cloth off the table, leaving all the fragile crockery cups and glass jar loads safely in place.

Mario Morris is a Welsh busker who runs the School for Busking in Cardiff. He teaches the yearly Focus on Street Per-forming class at Jeff McBride’s Mystery School in Las Vegas and this routine has been a featured part of his repertoire for over a decade. While there is nothing new in this routine from the perspective of the moves and feints, it is the structure that devotees of the Cups and Balls will find of interest. Mr. Morris has overcome the problem of having one’s tip disperse after the final load sequence by having them stick around, money in hand, for the tablecloth-pulling finale. Everything in this presentation has been created with that finale piece in mind.

The only issue I have with this DVD is that Mr. Morris makes the routine look deceptively easy to perform. Since there are no difficult sleights to learn, the novice may be lead to believe that they, too, will be raking in tremendous hats mere moments after watching the recording. But like all good presentations, this routine, with its simple props and straightforward structure,


showcases the performer’s showmanship skills and allows him to shine, or crash and burn, depending on his skill level and perfor-mance experience.

The DVD is well produced and features three separate per-formances of the routine on the street in front of real audiences. Everything is clearly explained and demonstrated and the DVD is full of valuable tips and suggestions that should answer any questions the viewer might have about the routine. It even contains a bibliography of other DVDs and books the novice student might wish to peruse. Highly recommended.

StrEtCHEr DVD anD GimmiCkBy Jay SankEy Distributed by Murphy’s Magic SuppliesPrice $40.00

REVIEW BY ANTONIO M. CABRAL

I’ll confess to being a little confused by this DVD. According to various websites, this DVD is simply called Stretcher. The title on the cover is actually The Uncanny Collection Featuring “Stretcher” – Plus 15 Killer Bonus Effects. Stretcher (the trick the supplied gimmicks are for) is supposedly the main offering, but the time devoted to it is just under half an hour on a two-hour-long DVD. The remaining hour and forty minutes are taken up with the “bonus” items. I may be mistaken, but given that ratio I don’t

think you can call those items “bonus.”Nomenclature aside, this DVD from Jay Sankey is devoted

to tricks that you can perform with aluminum drink cans. The featured item, Stretcher, is essentially an elongated-coin-type effect performed with the pull tab from a soda or beer can. You receive two “stretched” pull tab-looking metal gimmicks, and the method is pretty much what you expect it to be. It’s understand-able that the explanation doesn’t take that long; I could probably hand the average magician one of the gimmicks, tell them what the effect is supposed to be, and they could more or less improvise what’s offered here. It’s a cute idea that I’m sure gets good reactions; there’s just not much to it.

The remainder of the offerings (Sankey himself refers to the Uncanny Collection items as their own “project”) is a definite mixed bag. A couple of the items are clearly recycled (no pun intended) from his other DVD projects as I’ve seen Sankey do on other DVDs. A few are the germ of a good idea, and a few aren’t even original. He does the vanishing saltshaker with a Coke can, and a version of Mac King’s Earth Shoes with...a Coke can. These items mostly feel like he managed to improvise them one night at a house party or bar gig, eked out a good reaction, and forgot to actually develop the ideas. Take for example Unstabbed and Piercing – two effects that are essentially the same. Both involve sneaking something into an empty Coke can (in one case the end of a coffee stirrer, in the other the pull tab) and pretending to penetrate the side of the can with a duplicate object. Again, the average magician could probably improvise methods as good as taught here. These are neat ideas; there’s just not a lot of them there. And do we really need a sleight-of-hand switcheroo version of Healed & Sealed, when we could just do Healed & Sealed?

Then there’s Inception, Heist, and Break + Enter, probably the best ideas on the DVD. Each of these involves a coin appearing

inside the can, and you can see the through line from one method to the next. Inception involves making a coin vanish and appear in the can even though it’s too big for the opening. Heist involves a transposition between the pull tab and a dime through the wall of the can. Break + Enter involves a transposition between two coins through the wall of the can even though one is too big for the opening. All good ideas, but given the clear pattern of devel-opment, two of them were probably unnecessary to include here. Few things annoy me on DVDs of this nature as much as the sense that I’m watching a brainstorming process.

My biggest complaint here, however, is Jay himself. Much like on the erroneously named Sankey’s Best Card Magic, none of these items are performed before a proper audience, and only a few are actually performed at all before Jay dives into his impassioned explanations. The intro clip has Jay describ-ing how wonderful each of these tricks are, and then the DVD dives right into Jay jabbering away about the Stretched gimmick and how much attention to detail went into it. I was afraid I’d missed something; it felt like walking into the middle of someone else’s conversation. It’s easy to talk about how wonderful your magic is without actually performing any. For all his enthusiasm, I would’ve thought he’d have put the rubber to the road for us in front of at least one audience of humans. For a magician with Sankey’s reputation, this was tremendously disappointing and not a little infuriating.

I’ll cede the point that soda and beer cans are terrific props to conjure with at a barbecue, house party, or bar setting. If the idea intrigues you, go to Costco, buy a case of soda and start playing around with the cans. You’ll probably hit upon a dozen ideas at least as good as these, and maybe even one or two really worth performing. It would be a better investment than this DVD.

Crazy lazy DaiSy prop By louiS paulaVailaBlE From: www.louiSpaul.nEtDealers contact Louis PaulPrice $199.99

REVIEW BY MARC DESOUZA

I perform children’s shows on occasion, although I am not a specialist. I know enough to realize that kids love funny, animated props, especially when the prop incorporates a visual running gag. This prop, the Crazy Lazy Daisy, definitely fits that description. This device has its lineage in similar props made by Jack Hughes and Ireland Magic, but this new version beats them all.

For those unfamiliar with the basic idea, you bring out a flowerpot that has a single tall flower in it. It is placed on the table and within a few moments it begins to wilt. The performer picks up a watering can and pours water into the pot. As he does, the flower starts

to pop up again. The performer asks the kids to tell him if it starts to wilt again. Naturally, within a few moments it does and the kids start to scream. The flower is watered again and it perks right up. This can be repeated four or five times, or until you or your audience tires of it.

This is not a major effect, but rather a very funny running gag that will get the kids screaming, especially the little ones. As I said, this is a big improvement on previous versions. The pot is a heavy-duty brown plastic that is eight inches high and twelve


inches in diameter. The flower is a feather covered stalk that extends above the pot about eighteen inches. The flower appears to be a very large daisy, and is available in a variety of colors. This prop is very visible from virtually any stage you will be working on. When the flower falls over, it is very apparent.

I am impressed by the quality of this prop. All of the mechanics are well made with a clean finish that is easily wiped free of moisture. There is little to go wrong mechanically and it looks like this will last for many years of use. The stalk and bloom are removable and the whole thing sets up very quickly and easily. Even the packaging is well above and beyond what is necessary to protect it, but it reveals the care of the creator/manufacturer.

Yes, this is a little bit expensive for something that is a running gag, but everything has been custom machined to ensure that it will do what it is supposed to do reliably and for many years to come. I truly believe that if you are a performer, you should be investing in props that meet those criteria, as opposed to buying low priced knock-off pieces of junk that fall apart before you even get to use them in a show. If you do kids magic, you can’t go wrong in purchasing this marvelous prop. I highly recommend it.

tHE rEl CHanGE DVDBy miCHaEl BrEwEr Available from: www.vanishingincmagic.comDistributed by Murphy’s Magic SuppliesPrice $12.00


The REL Change is a really pretty, visual change. I have to admit, executed properly it’s an instant change of one playing card into another – or an appearance of a playing card on top of the deck, or the change of a playing card into a bill, or one bill into another. It’s good looking and versatile enough that I wish it were a little more

practical.The folks at Vanishing Inc. have put together a very nice DVD

at a price point I wish more DVD producers kept in mind. The DVD is dedicated simply to teaching the method and giving a few possible applications of the move. No tricks are taught; rather, you’re invited to think of ways to drop this move into tricks you may already do to add a little visual pop. Brewer executes the move gorgeously, and does a fine job of explaining it. A little practice and the intermediate-level card worker should have no problem picking up this move.

The problem, as I stated before, is that there’s a difference between versatile and practical. The move is angly, as you can tell from all the preview clips shot over the back of the right hand. It looks great from the right looking down, so you’ll impress anyone who gets to sit next to you on that side at your next convention or lecture. However, by Brewer’s own admission at one point, anyone viewing the move from the other side is going to get a completely different show. It’s a shame; while you might be able to use it judiciously in a bar, restaurant, or walk-around gig, it’s not going to become a workhorse technique in those contexts.

On the other hand, there’s always a place for moves to impress your buddies at a session, or a little something to wow someone in a one-on-one performance. In that context, I can absolutely recommend this to someone looking for something new and

pretty for the toolkit. And again, a $12 price point is just dandy for something like this. Recommended to the curious card trick enthusiast.

unSHuFFlED GaFFED DECk anD DVDBy anton JamESDistributed by Murphy’s Magic SuppliesPrice $35.00


Let’s clear up some confusion; despite the name, this is not

a version of Paul Gertner’s famous and very commercial trick. Anton James’s Unshuf-fled is simply a gaffed deck that allows you to show the

cards unmistakably mixed, and an instant later re-spread the pack

to show each and every card back in perfect order. I can personally vouch for

how strong this can be as an ending for a sleight-of-hand card set. And if you don’t want to take my word for it, Juan Tamariz has called a new-deck-order ending “one of the most powerful climaxes possible for a card routine.” The fact that this deck puts that climax in the hands of any card worker is a tremen-dous plus here.

The deck itself is a well-made, specially-printed deck of cards that, when spread one way, shows a mixed condition, and when spread the other way shows all the cards back in order. (Just that information should probably give some insight into how it actually works.) The deck also incorporates some regularly-printed cards to allow for some very casual shows and to have selections made.

The DVD is well-made, and mostly explains handling tips for secretly rotating the deck. There are suggestions for utilizing the normally-printed cards as selections, and tips on switching the deck in. I was very pleased to see it mentioned that you can switch in the deck, and then delay the perfect-order reveal. That’s the best way to start a set with a normal deck and end with this effortless blockbuster climax.

Thirty-five dollars might seem a little steep for a gaffed deck, but it’s not something you’re going to make up yourself for cheaper. Plus, played right, the perfect-order climax will pay dividends in audience reactions. The self-working nature of the deck makes the change effortless in appearance and execution, which will appeal to folks who don’t want their magic to appear like skill or have other reasons for avoiding the faro-shuffle versions of this trick. If you’re looking to kick your card audiences in the teeth, it’s an investment well made.

proSpECt DVD anD GaFFED CarDSBy SanSminDSDistributed by Murphy’s Magic SuppliesPrice $38.00

REVIEW BY ANTONIO M. CABRAL The further along one gets in the study of magic, particularly

card magic, the easier it is to forget that some of the stronger, more effective tricks you can perform for an audience of normal people also happen to be some of the more basic. Given the amount of time some of us spend practicing, honing, or developing all


kinds of interesting moves, it’s easy to fall into the mindset that if the trick doesn’t include at least two palms, a pass, a bottom deal, and a dozen color changes, that the trick ain’t worth doing. Prospect

features one of those tricks that’s simple and direct, and absolutely

worth doing for an audience of normal folk. It’s also a product that you should

absolutely not spend your money on.When I first opened the DVD case, I saw a

small packet of what I assumed were the special cards needed for whatever the trick was. They turned out to be a trio of Hofzinser-style divided cards: the Jack, Queen, and King of either Clubs or Spades depending on which end you display. And they’re clearly just the Jack, Queen, and King of Spades mis-indexed in one corner. Proper divided court cards really ought to have different heads on either end to go with the different indexes (he said, spoiled from reading Non Plus Ultra). But that’s something I’m sure the average non-magician wouldn’t notice or care about. So I watched the DVD to see the performance of whatever miracle the folks at SansMinds had in mind with these cards.

I saw someone perform a very basic equivoque procedure to get to one of the six black court cards. That’s it. That’s the whole effect. Again, it’s a fine effect to perform for a regular audience if you’re even marginally competent at equivoque. However, it’s hardly earth-shattering or even original. It’s an admitted attempt to simplify an old Derren Brown effect that uses a bizarre but weirdly effective verbal force to arrive at a single, normal playing card. Brown’s method is powerful, but isn’t easy to pull off (and even harder to find these days). But there are plenty of other methods in the literature to verbally maneuver your way to a single prediction – many of them as basic as this. This is probably the first thing a budding magician thinks of when learning equivoque.

The inclusion of the divided cards does allow for two free choices in the process: one for the value, and one for the suit. And the suit can be determined after the prediction is out and ready to be revealed, which is an admittedly nice touch. But that still doesn’t justify this as a $38 purchase. You won’t learn anything about equivoque here that you couldn’t find in a book for laymen. And when “Herman” (who performs and teaches the effect, it’s unclear who “created” it) states that using equivoque to get to a single prediction without the outs is “too contrived,” I’m guessing that he has minimal experience with it.

As I said, there are plenty of methods in the literature – many going back to the ‘30s or earlier – for what’s popularly become known (thanks to Dai Vernon) as The Trick That Cannot Be Explained. And therein lies the rub. You can spend $38 on this DVD and get a version of the trick that might actually be worth $15, or you could, say, spend $47 on something like Roberto Giobbi’s great book Confidences, which, among a small wealth of other information, contains two terrific tricks using much better (but not much more difficult) approaches to this kind of forcing procedure. The second of the two tricks is actually currently available stand-alone for $25, and will still teach you much more useful information about equivoque than you’ll get here. Or, even better, if you want to really learn equivoque, you could save up the price of this trick again and get Max Maven’s Multiplicity DVD, and acquire the skills to verbally force your way to pretty much anything, from an acknowledged master of this technique.

Again, there’s nothing inherently wrong with either this trick or the approach involved. It’s just not a $38 value. Plus, I’m sorry,

but anyone who uses divided cards who doesn’t mention the name Hofzinser didn’t do their homework. Pass.

StEpHEn HoBBS’S tECHniCal toolBox wEBSitEBy StEpHEn HoBBSwww.stephenhobbstechnicaltoolbox.comPrice: Staggeringly Free

REVIEW BY ANTONIO M. CABRAL Stephen Hobbs is one of those names that you might know,

but not know why. You might know him as the author of Modus Operandi: The Magic of Jack Carpenter, or Gene Maze and The Art of Bottom Dealing. Maybe you know him as one of the editors of the short-lived Looking Glass magazine, or maybe even through his own legendary and obscure magazine Labyrinth. If you took my recommendation to pick up Jack Carpenter’s The Seattle Sessions Vol. 1 & 2 DVDs, you might even be one of the few people who knows what he looks like. Regardless, one thing Stephen Hobbs hasn’t contributed much of in the card magic world is his own material. In an amazing feat of generosity, he decided in 2014 to launch his own website, a “free web ‘zine devoted to powerful and practical sleight of hand with cards.”

By the time this review sees print, the website will be twenty or so weeks in. Hobbs updates every Friday with a new technique or effect, and so far the offerings have been delightful. Many of these ideas and finesses will go right into your own toolkit. His Subterranean Addition (and the accompanying trick The Spectator Touches the Aces), for example, went right into my bar repertoire to very good reaction. His touches on the Hofzinser Cull are very good, and will help polish yours up. Even seemingly tiny ideas – his method for getting a break over a number of cards on the bottom of the deck or his touch on executing transfer cuts that make the actions uniform whether you’re moving cards from the bottom or the top – are good enough that you’ll wonder why you ever did these things any other way. Hobbs’s approach to sleight of hand with cards is thoughtful and, as it says on the tin, extremely practical.

The website is free (protected by a simple password), and the information is offered up in Flash video format. His approach to crediting is meticulous, and he’s not afraid to admit when other people have come up with similar ideas. This isn’t a vanity project; it’s just a very generous offering up of some thoughts on card magic he’s developed over the years. The only worrisome element of the whole endeavor is that, in his own words, “I haven’t yet decided how long I’m going to keep this site active after 2014. The project may be terminated on short – or no – notice. So if this material interests you, please check in frequently in order to avoid being disappointed. Once it’s gone, it’s gone.” If you’re a fan of smart, practical card techniques, you don’t want to be caught short if and when this website goes “poof.” Get on this; it’ll give you one more reason to look forward to your weekends.

aroma GimmiCk anD inStruCtionSBy rakESH SyamAvailable from: www.mantra-magic.comPrice $25.00

REVIEW BY CURTIS KAM

Recently, I’ve been collecting effects that use few props or none at all – effects that play close up and on stage, that are angle proof, reliable, and mean something to an audience. I’m not alone


in this. Quite a few magicians and mentalists have found that when there are no props in sight, the magic is attributed to the magician, rather than something tricky that can be purchased. Usually these effects give the impression of mind control, or hypnosis, which is fine with me. Rakesh Syam’s Aroma satisfies all of these require-ments, plus a few more. I’m a fan.

Aroma allows you to apparently manipulate a participant’s imagination, causing her to smell an exotic scent that wasn’t there before she chose and imagined it. It’s an understated effect, but a strong one, if presented properly. The actual trick happens in the empty palms of the participant’s hands, but the impact registers on his or her face. The fact that this effect deals with the sense of smell means that it’s not likely to conflict with any other effect in your show.

You’re supplied with a small, practical gimmick that’s easy to use. It will reliably dispense the “certain something” necessary, and should be good for many hundreds of performances. You also receive a page of printed instructions that are clearly written, and well credited (as far as I know, I’m no expert on effects that involve scent manipulation.) We’re told that the basic effect comes from street performers in India who customarily produce only one scent. The addition here is the ability to allow the spectator to choose the scent that will be produced. Here, your ability and experience with verbal ranging forces will make or break the deal. The instructions tell you what you need to know, and Mr. Syam provides some solid tips on that, as well as on the small bit of physical handling required.

I’m told that at least one effect like this has seen general release, Scents of Wonder, from the Magic Factory. I’m also told that the methods are different. Any questions you might have regarding this item can be directed to Mr. Syam himself at [email protected]. This item was released early in 2013, but at a much higher price. So, if this effect appeals to you, now’s a good time to give it a try.

SmuDGED triCkBy JoHn HornAvailable from: www.Alakazam.co.ukDistributed by Murphy’s Magic SuppliesPrice $41.50

REVIEW BY CURTIS KAM

In case you haven’t guessed, here’s what happens: you

assist a spectator with the selection of a playing card. It’s lost in the deck, or not, destroyed in fire, or not, and you try to find

it, or not. However you decide to get to the finale of

this trick, you finally take your Sharpie marker and cause the writing on the body of the

pen to smear, revealing the name of the selected card. If perform-ing the full routine, you can have another card selected, and the writing on the marker morphs to show the name of the second card. And with that, the humble and ubiquitous Sharpie marker is pressed to do something magicians heretofore could only do with their watches, rings, glasses, paper clips, ballpoint pens, pencils, key chain fobs, breath mints, chewing gum, name tags, dog tags, tee shirts, tattoos, belt buckles, water stains, paper napkins, smart phones, smart phone cases, photographs, insurance policies,

neckties, bow ties, hats, tie tacks, handkerchiefs, matchbooks, match boxes, pocket knives, business cards, credit cards, crystal balls, toy cars, plastic turtles, coffee mugs, card boxes, Jokers, half dollars, poker chips, advertising cards, weird tinted plastic sleeves, cuff links, cigarette lighters, wallets, paper money, blood, blisters, chalk boards, sky writers, crop circles, and three previous versions of Sharpies with special printing.

So yes, we already have lots of things that will reveal a spec-tator’s card. We’ve even seen other Sharpie markers that do this. However, Smudged offers two advantages. First, the smeared writing does look a bit more magical than previous versions. This difference, however, is only evident if you’re pretty close to the pen. So it’s for small groups, or televised performances, or for larger groups where you don’t mind having the climax of your effect hitting people gradually, as they pass your marker around. Second, you get two different markers, and it can be made to look as if the spectator himself is responsible for smearing the ink the second time.

The pens are nicely produced, and the accompanying DVD shows and explains the two-card selection routine I just described. The two hosts, apparently David Loosley and Peter Nardi, assure us repeatedly that this is a strong effect that will delight and amaze our audiences. They also repeat the explanation of why these particular Sharpies are superior to the card-revealing Sharpies that have come before. And then they repeat it again, for good measure.

It should surprise no one that you need to know how to force a card or two. Here, a serviceable dribble force is briefly described. However, effects like this rely quite a bit on the spectators believing that they could have chosen any card. The more firmly the spectators believe that they had a free choice, the stronger the appearance of the name of the card(s) becomes. There is, however, nothing said about this. Rather, the selection process is passed over quickly, as if it was unimportant. This is unfortunate, since it is a common oversight among magicians who use this sort of effect.

We are also assured that the gaff will last “a lifetime.” The DVD even ends with brief instructions on how to replace the ink in the markers. However, the claim brings to mind the old joke, “This is permanent ink. It used to say that here, but it rubbed off.” In other words, I own Sharpie markers that have had their printing rubbed off through normal use. This makes sense, since the marker is meant to last only as long as the ink inside. I can’t say that these specially printed markers are designed to fare any better, but that doesn’t seem likely.

There is one last matter that bears discussion. We are told that the marker should be used during the course of the effect, in order to justify its presence. In fact, the spectators are asked to use it to sign the cards that they have chosen. That done, the marker(s) is/are used to reveal the name(s) of the card(s). At this point, the only two cards that work in this effect are signed. If you want to do this trick for another group, you have to replace those cards with unsigned duplicates. So if you really intend to perform the routine “at every performance” (as Mr. Loosley says he does) you have to carry an ample supply of duplicates of the two force cards. Of course, it’s possible to work around this problem, but that issue isn’t mentioned on the DVD.

All that said, there are a time and a place for a quick surpris-ing effect like this. If you can force cards like Dani DaOrtiz, the impact can be substantial. I think Smudged even found its way onto the last David Blaine special, so somebody must believe in it. I will say that if I were to perform this effect, these are the Sharpies I would use.


Drunk DVDBy HonDoDistributed by Murphy’s Magic SuppliesPrice $25.00

REVIEW BY DAN GARRETT

Some reviews are more difficult than others. DRUnk is a strange offering. Basically, it doesn’t teach any tricks at all. It simply tells you how to make perma-nently linked rubber bands. A

lot of you may already know this technique. The other information

taught revolves around how to make Hondo’s marked deck, which is useful

only for Bicycle Rider backs. It is a no-ink method, but requires a sharp utility knife, not

included.That’s it, as far as the magic content goes. The video is in

Chinese (I think) with a choice of subtitles in English, Korean, and Japanese (again, I’m guessing). So viewing can be a bit tedious.

The teaching is framed in sort of a “film noire” in which Hondo is forced, by some supposed (too-young) mobster, to reveal his secrets in return for some blackmail photos with a woman. He got himself into this jam by purportedly getting really drunk, hence the DVD title. There are a couple of cheap laughs, I’ll admit, even though it’s all in Chinese, as noted.

Some of the ads say “includes props,” in the plural. But the only thing in the case other than the DVD is an acupuncture needle, which is not a “props” but a tool, used in making the linked rubber bands.

I am aware of two methods to prepare linked rubber bands. The first I’ll call the “Moebius strip method”; the second is the “Super Glue method.” Both methods have been around for years. You can find kids teaching them online. This DVD teaches the “Super Glue method.” A few other DVDs on the market also teach this method.

The marked deck method is tedious, and too easy to use a heavy touch and get a shoddy result. I don’t like Hondo’s marking system itself, which only works for a specific type of deck. It is much too complicated, and requires too much thinking to read the cards. There are much better, more logical, and easier to read marking systems. I suggest Ted Lesley’s system, or the improved version by Boris Wild. You can purchase them factory marked in Bicycle and Phoenix decks. I believe that for magicians these are superior to making your own decks.

There are other things taught here, but nothing revolution-ary: how to make linking Life Savers candy, and other objects. There is also a torrent of movie trailers from Magic Soul. Sadly, a great deal of their product line seems to be a rehashing of other magicians’ material. But the trailers excel in one thing: hype. The ad copy claims this DVD is offered to save magicians money by making their own gimmicks. I can suggest a better way to save $25; steer clear of this.

rEBoxED triCkBy StEVE BEDwEllAvailable from: www.jbtvusa.comPrice $25.00

REVIEW BY DAN GARRETT

Reboxed is a great opener for any card routine; you can use it in walk-around and informal/formal settings for close-up and parlor magic – anywhere, really. The small angle problems are completely manageable for almost all performing situations.

Steve Bedwell, one of the rare owners of the I.B.M. Gold Cups for Close-up Magic, has found a significant improvement on a classic Paul Harris idea. The effect is simple, startling, and visual. The performer removes the deck from its case, and brings the pack in proximity of the box. Instantly, it appears that the entire pack is sucked back into the box. It looks like trick photography, but it isn’t. You can do this live and close up.

After the Reboxed effect, you can bring the deck out of the box a second time and launch into any card effect you choose. If you care about that sort of thing and, with a little innocuous handling, both the deck and the box may be examined. Just add the clever gimmick to your card box, and you won’t have to carry a lot of extra stuff around. The effect will always be ready to perform.

The gimmick is well made, but you should watch the DVD before messing around too much with it. There is a component of the gimmick that will break if you muck about carelessly without being informed. As with all Mark Mason’s DVDs, this one is clear, direct, concise, and detailed, but not too long. It is an added bonus in this case that Steve Bedwell himself appears on the video along with Mark to explain fully the correct handling. If you follow Steve’s advice, you will have a miracle that any competent magician will be able to do with a minimum of practice. My only minor complaint in this whole review is that there is no option to play the DVD straight through. After each chapter, you are sent back to the main menu and have to make another selection. This is simply a matter of inconvenience, and does not detract from the value of this product.

Mark Mason has sold out of this new release at every conven-tion that he has attended this year. You might think he just doesn’t carry enough with him, but I know for a fact that he brings a lot of them, and still they all disappear.

I have performed the original Paul Harris effect many times over the years, but Bedwell has created a significant improvement in all phases: effect, performance, and handling. This is the one I will use from now on. I love puns. The title of this effect is a homonym-like pun on the shoe company Reeboks. And as that company’s main competitor is fond of saying, “Just do it!”

raDio aCtiVE GimmiCk anD DVDBy DruSko anD titaniSDistributed by Murphy’s Magic SuppliesPrice $49.99


Imagine you are riding in your car with a friend. You ask her for a piece of paper, and then ask her to think of a song, any song. You ask her to name the song, and then instruct her to open the paper. There is a number on it. You ask her to turn on the radio and tune in to that frequency. There is static on the station. You ask her to concentrate; suddenly, the song actually starts

playing on the radio. This is one incredible effect…is it possible? Yes. With the help of this gimmick and a friend with a computer in a remote location, you can do this. Before you say that you don’t want to go to all of that trouble, there are variations of the con-


ditions that allow you to almost replicate this effect, along with other effects, all by yourself.

The gimmick is state-of-the-art electronics and works well. You will need to plug it into an iPhone or similar MP3 device. The conditions of the one-man effects entail the spectator freely choosing the song from a list that you provide, but that is still pretty good. You will really have to work with the “blocking” on this type of handling. The original handling described above is absolutely the best. You will need to have a secret accomplice in front of a computer with Internet access to accomplish this, but that should not be too difficult for most of us. It could be your significant other, or even a child above the age of ten.

The instructions on the DVD are pretty clear, and they even go through the details of the computer work so you will be up and running in no time. There are also some audio files on the disc that can be loaded onto your MP3 device to allow for the revelation of a selected card or ESP symbol by a disk jockey. I think this is really not for a formal show, but is best used as an “impromptu” effect or maybe for a journalist during an interview. This has the power to be a real reputation maker and I recommend it.

tHE SwitCH DVD witH propSBy SHin limDistributed Murphy’s Magic SuppliesPrice $30.00


Shin Lim is a young man who has made quite a name for himself through various competitions, as well as releasing a number of effects with some unusual methods. Most are in DVD format with varying degrees of “arts and crafts” required to construct the props necessary to perform the effects. This product, The Switch, is no different, but the construc-tion of the gimmicks required is fairly minimal. The basic effect is that a folded playing card rests on the table in front of you. A card is selected and signed by the

spectator; the card then vanishes. The folded card is picked up and very cleanly opened to reveal that it is the signed selection. The effect is stunning; however, there are issues with the method.

The basic method is very direct and clever. Theoretically, it is very sound. In actual application, it is less than thoroughly con-vincing. You are supplied with the basic “tools” you need to create the gimmick. Lim very thoughtfully takes you through a number of steps so you can see, and try, the basic work. You are then taken through various steps to create the fully refined gimmick. On video, it looks great. So did his previous release 52 Shades of Red, but in actual performance, in front of a live audience, it just doesn’t fly. The work on this video looks great, but I felt compelled to try it out for myself. I constructed the gimmick and ran it through its paces. It did not pass the mirror test. There were consistent issues with the alignment of the gimmick and the card.

If you are a YouTube performer and don’t care about having to fool a live audience, this may not be an issue. I think most of us do not fall in that category. In the case of The Switch, you are required to execute a perfect Mercury Card Fold. I know very few people who can do this consistently. You can get around this to some degree by pre-scoring the card and forcing it. That becomes a non-issue, since the spectator is signing it anyway. The

bigger issue is that the construction of the gimmick has to be very precise with no margin of error. Couple that with the fact that the preferred method, which allows you to give the signed card to the spectator, requires the application of the gimmick to a selected card immediately after it is selected. To accurately position on the card in the precise location on the fly is rather daunting, even for the most experienced magician.

A bigger issue I have with this product is the teaching aspect. Although you can and will learn from the DVD, Shin Lim’s expla-nations could be far clearer and certainly more concise. There is too much padding on this; I found myself constantly fast forward-ing through the arts-and-crafts processes. I really wish he would spend some time scripting this stuff and then rehearsing it. The video work is more of an issue. He has a TV onscreen with him, which I assume is to create a sort of picture-in-picture or split-screen effect. The real problem is that the shot on the TV screen does not offer much of a close-up view of either the construction of the gimmick or the handling. It seems rather useless and dis-tracting. The construction segments demand closer views than are given for this type of precise work.

This will be a fun thing for the hobbyist to play with, but it is a little too fussy for the real-world performer. Please read the previous sentence to see if this is a recommended purchase for you; it would not be for me.

in2ition triCkBy Brian SCHwEnGErAvailable from: Theater52.comPrice $15.00

REVIEW BY NORMAN BECK I wanted to like this so much, because I really liked Brian

Schwenger, the guy on the DVD. I read the letter that he sent with the product and I had a good idea of what I was going to find when I got into it. The effect is that a prediction is placed on the table and two cards are selected in a very fair manner. The first selection is shown to match the prediction and the second selection is shown to be the only odd-backed card in the deck.

The deck is good, the instructions are great, and anyone with even the most basic skills will be able to perform this effect without a great deal of practice. I also think that in today’s market In2ition is offered at a very fair price. Brian says that he has done this trick for a number of years and I believe him.

Now for the rest of the story: The trick and method have been done before. They may not have been done exactly this way, but they have been done. Having said that, I think it is a fair price for a good product if you don’t already own some version.

StaBBED triCkBy Simon DrakEAvailable from: SimonDrake.co.ukPrice $50.00

REVIEW BY PAYNE This trick isn’t going to be everybody’s cup of tea, but for those

of us who like to treat our audiences to a bit of the macabre or leave them with a bit of a shock, Simon Drake’s Stabbed is right up our demented and disturbed dark alley.

It’s a modern take on the old Bodkin in the Forehead trick, an effect whose lineage harkens back to Scot's Discoverie of Witch-craft and survives to this day in virtually every novelty store


and joke shop as that plastic dagger you can stab yourself with and suffer no ill effects. However, what separates Mr. Drake’s Stabbed from its novelty spin rack cousin is that Stabbed stays stuck where you stab it.

Plunge it into your thigh all the way to the hilt and it stays stuck in place. Plunge it into your stomach, chest, or

arm and there it will stay until you extract it. For an extra $35 you can even make it bleed when you extract it.

The knife alone sells for $50 (give or take depending on the current exchange rate), and for those wishing to inflict greater damage on themselves Mr. Drake offers a price break of three knives for $133 or five for $220 (again depending on the current exchange rate). Display stands for the knives are also available. Check his website for details.

Now for the caveats: These knives will only work on you or a confederate. They must be stabbed “through clothing.” They won’t puncture or harm your outfit (unless of course you employ the blood option) because no tapes, hooks, or adhesives are employed. Sadly, the effect won’t work on bare skin, though an additional gimmick (available for an extra $125) will allow you to plunge the dagger into the top of your head and have blood trickle down your face. You now know how I’ll be costumed next Halloween.

The knives cannot be examined but they can be used in close proximity to the audience. There are no angle issues and reset is instantaneous. My only disappointment with this item was that it is made completely out of plastic. But this makes the prop one hundred percent safe to operate with no chance of cutting yourself on the blade or suffering an inadvertent puncture should the blade somehow jam. But even though it is plastic, it is quite durable, and, if used properly, should provide the user with a lifetime of satisfying screams and squeals.

notHinG But tHE trutH triCkBy CamEron FranCiSAvailable from: bigblindmedia.comDistributed by Murphy’s Magic SuppliesPrice $25.00

REVIEWED BY PAYNE

Among card workers, the Lie Detector is a popular pre-sentational plot that goes back to...well at least as far back as the invention of the lie detector itself, if not further. Over the years there have been many variations of this enduring theme. My favorites are Stein-meyer’s Nine Card Problem and Burger’s Telephone Card Trick. But, being the softy for packet tricks that I am, Nothing

but the Truth is going to displace these two perennial favorites.The effect is this: A card is “freely” selected by a member

of your audience, after which a small packet of cards is brought out. The backs of these cards display an image of a lie detector

featuring a big red button. The enticing candy-colored button is pressed, which brings the lie detector online. The spectator is asked if her card was red or black. In this (and every) case the Queen of Spades was chosen. If the spectator decides to lie and say that the card was red, then three cards, one for each letter in the word red, are moved one at a time from the top to the bottom of the packet. The top card is then flipped over; the word “LIE” is clearly emblazoned upon it. (Of course, the same procedure would have been used for black, moving five cards from the top of the deck to the bottom, after which the top card would then say “TRUE.”) This process is repeated to determine the card suit (Club or Spade), the card type (spot or court), and finally the identity (Jack, Queen, or King). Each time a card is moved from top to bottom for each letter in the word they chose, after which the top card is turned over to see if it was the truth or a lie. Remarkably, the lie detector is correct every time.

After the identity of the card has been determined, the packet is flipped over and shown that it contains four Queens of Spades, with nary a card emblazoned with the word Truth or Lie to be seen. The packet is then put away and your standard sequence of card effects can now follow.

The setup is easy, the reset is instantaneous, and the only skill needed is the ability to spell simple words and perform an Elmsley count. Like nearly every trick these days, it comes with an in-structional DVD that clearly explains the workings of the trick and provides you with everything you need to know in order to accomplish it. A basic card force is taught as well as the Elmsley count. The cards are nicely produced and should last for years under normal working conditions. So if you’re a fan of packet tricks or effects with a lie detector theme, you really can’t go wrong with this one.


If you wish to have your product reviewed, please send it to:

Bill Duncan, P.O. Box 50562

Bellevue, WA 98015-0562

http://www.twitter.com/sammumnews


As the summer approaches, the convention season begins. Here are some must-have apps that you should bring along to help make life easier at the conferences.

Lecture Notes

When you attend a lecture, many times you take notes, but hours or days later you have no idea what you meant. If you could only hear what the lecturer was saying when you wrote that note down. Now you can.

Notability, for your iPad, iPhone, and iPod Touch, records the audio of the lecture and allows you to type or draw while the recording is progress-ing. Later on, when you look at your notes, simply tap on the words or drawing and you will hear what was said at that time

by the presenter. Everything you write, type, or draw is now linked to your audio recording.

I find this program extremely useful, not only during con-ventions, but also in everyday life for meetings and classes. The program allows you to create subject folders to hold your notes and dividers to group subjects together.

The program is very easy to use; to learn all the bells and whistles takes about a half hour of practice. I recommend that you use it for a week before you go to the convention. Also be sure to ask permission from the presenter before you start recording him. Notability is available in the iTunes App Store for $2.99.

It’s All Greek to Me

If you are traveling to a non-English-speaking country and want a quick way to translate signs, check out Word Lens. This amazing app turns your camera into a translator. Start the app and hold the smart phone or tablet up so the camera can look at the foreign sign. The camera

turns the sign into English so you know what it says. It is truly magical.

I did not believe that this thing worked, so I downloaded the free app and tested it out. It works. You do have to pay for each language as an in-app purchase, but it is truly worth the money. Word Lens is available in a variety of languages including German, English, Spanish, French, and Italian with more languages added all the time. Using this reminded me of the colored glasses from the film National Treasure. Word Lens is available for iDevices in the iTunes App Store. It is also available on Google Play for Android devices. The app is free and allows you to try it out. The languages are $4.99 each.

Everyone Spread Out for the Photo

Cameras on smart phones have become very sophisticated. We now do panoramic photos at the touch of a button. In the old days, they had special cameras with motors to advance the film as the camera moved from left to right. I remember seeing my parent’s college graduation photos as a panoramic. There

were always one or two people who ran to the other side of the group, so they could be in the photo twice.

I bring this up to call attention to a neat app called Cycloramic. Start the app and place the smart phone on a table in the middle of the room. The vibrating motor in your phone makes the phone turn on its own a full 360 degrees creating a complete photo of the room. These are really cool. Go to the website www.cycloramic.com for a demonstration. Cycloramic is available for both Android and iDevices on the iTunes App Store and Google Play for $2.99.

Save The Receipt!

I am terrible at saving receipts. They vanish from my pocket by the time I get home. My wife yells at me during tax time because she needs my business receipts. My savior this year is a neat little app called CamScanner. This allows you to scan your receipts, checks, and documents with your smart phone

and email or store the scans. When I get a receipt or check, I scan them with my phone and then immediately email them to my wife or my own computer at home. This takes only a second to do and saves me the hassle. Other features include convert-ing a document to PDF and faxing for an additional charge.

The CAMScanner app is available in the iTunes App Store and the Google Play Store for Android. The app is free.

Proud to be S.A.M.

If you haven’t already downloaded the S.A.M. app, Magic SAM, please do so. You’ll find the history of the S.A.M, some unusual tricks to perform, ghost photography, and a way to email a potential member an application form. You should never attend a convention without the S.A.M. app. Magic SAM is free on the iTunes App Store.

Bruce is always on the lookout for computer magic, iPhone, iPod Touch, and Android apps, and tech toys that can be used in magic applications. If you have any suggestions for future columns, write to Bruce ([email protected]).

By Ken Klosterman

ALEXANDER HERRMANN’S CONES AND VASE

The name Herrmann was synonymous with magic around the globe for over fifty years, a phenomenon created by Compars Herrmann and his brother Alexander, who was twenty-eight years younger. Compars trained Alexander from the age of eight, used him as an assistant in the show, and brought him along on United States tours in 1861 and 1869. On the second trip, Compars introduced Alexander as his successor.

It was only a matter of a few years before the reputation of Alexander in America surpassed that of Compars in Europe. In the last quarter of the nineteenth century, Alexander Herrmann’s name came to mean magic in the United States, as did his image. His dapper goatee and moustache became the symbol of magic to everyone in America and are still considered by the public to represent the classic magician.

When Alexander passed away in 1896, he left behind a con-siderable estate of equipment, a private rail car, a home on Long Island, a private yacht, and not much money. In a 1919 letter to Houdini, Harry Kellar recounted that Herrmann’s widow, Adelaide (who survived her husband until 1932), told John Petrie she had to go back on the stage with a magic act because her husband had wasted most of his fortune on worthless securi-ties. Still, he had lived like the celebrity he was. Herrmann’s tremendous artistic and financial successes during his lifetime were due, in part, to his brilliant sleight of hand. Large stage illusions claimed top billing in his advertising, but the publicity he generated off stage among ordinary citizens and reporters built his reputation.

On stage, Herrmann wove together sleight of hand, apparatus tricks, and illusions in a full evening of entertainment. Constant-ly joking with his audience and involving them in the show, even the most mundane, push-button magic tricks became apparent masterpieces of sleight of hand when the Herrmann “touch” was

applied to them. One such trick involved an orange, two metal cones, a vase, and a quantity of rice.

The effect they were used for is a transposition infrequently performed by modern magicians. The trick began with a ripe orange. In true Herrmann style, it usually was produced from the beard of an unsuspecting spectator in the front row of the audience. At the same time, he borrowed a hat from the spectator; no man was without one in those days. Returning to the stage, Herrmann placed the hat, crown down, on his center table. The vase was filled with rice and the cover placed on top. The Me-phistophelean magician then asked the audience to select one of the two cones.

Showing it to be empty, he placed it atop the borrowed hat on the table. The other cone was placed on top of the orange alongside, covering it entirely. After a bit of comedic by-play, Herrmann set aside the cover of the orange and immediately caused the rice to pass from the vase on the chair to the cone that sat atop the borrowed hat. The orange then vanished – from Her-rmann’s bare hands – and was revealed to be in the vase, where not a grain of rice remained.

The original apparatus used by Herrmann is in the Salon de Magie. Both the vase and the cones are made of nickel-plated brass, and were copied by countless magic dealers of his era; Martinka and Co. made a gorgeous version of the trick for years. The manufacturer of Herrmann’s apparatus is unknown, but it is believed to be C. Milton Chase of Boston. The props show the wear of being well used by Herrmann and their later owners, but after more than 120 years they remain in perfect working order.

The rice vase is 14½ inches tall, and large enough to hold an orange of generous size. It passed from Alexander Herrmann to his wife, and then to his nephew, Leon Herrmann. Leon left it to Tom York, from whom it was obtained by Billy Russell, a Batavia, New York, magician who was only sixteen years old when Herrmann died. Russell helped Adelaide for a while as she carried on with the show after her husband’s death. From Russell, the apparatus went to another Batavia magician, George Hawley, and finally found a home in the Salon de Magie.

Herrmann door hanger


Treasures from the Salon de Magie

INSIDE STRAIGHTBY NORMAN BECK

DID ANYONE LOSE A BLACK PENKNIFE?

We all love magic. Magicians practice it every day. We attend lectures, go to conventions, read books, and watch DVDs. We like to show people the routines that we’ve mastered. I spent a great deal of my life working in eating places, going table to table wanting people to watch what I had to show. My opening lines ran the gamut from, “Want to see some magic?” to “Has the magician been by yet? If not I can go get him.”There are many ways to approach a table. The most important

things I need to convey are: 1) I am part of the staff, 2) I am nice, 3) this will be fun, and 4) the time we spend together will be free.People are put off if they think that a tip is part of the

tableside magic event. I make it a point to tell them that I am a gift from the owner; it is his way of saying thanks for the business. The tension goes out of the room and we can start. Being from the south, the one aspect of restaurant magic that that I have not found a good way to overcome is when the guest says, “No thanks, we don’t believe in magic.” I respond with, “That’s fine. Thanks for coming in. We thank you for your patronage.” If something like that happens, it is almost always on a Sunday with a group who has just come from church. By the way, I never mention talking snakes, burning bushes, turning water into wine, healing the sick, or any of the other magical events that are found in the Bible. It’s a no-win situation for me, so I cut my losses and move on.The big lesson to be learned from this is: if you can’t win,

don’t play. I tell people to go to Las Vegas, but I also tell them never to gamble. I tell them this because the odds are against them; they can’t win.I had a recent situation in which I didn’t follow my own advice;

I also didn’t heed the advice of some of my smart magic friends. I attempted to debate a topic in which the other person was adamant about his position. The end result was this: I made a bad situation worse. If someone tells you that he doesn’t believe in magic, he is coming from a place so far removed from where you are as a close-up performer the only thing to do is to move on. I hate this advice; I wish I had a better way to handle it, but I don’t.There is a story Eugene Burger tells about doing tableside

magic for a couple early in his career. After he made his initial introduction, the man said, “Excuse me; we are trying to have a conversation here.” The lesson is that we have spent years studying, practicing, and rehearsing magic, and we want to show our accomplishments to people. Unfortunately, some people just don’t want to see it. When we approach a table, we don’t know if the customers just came from a funeral, are trying to get lucky, or are convinced that magic is the work of the devil.I am always happy when I get a strong rejection at a table.

It hurts at first, but it is better than being where you are not wanted. The one thing you do not want is someone complaining to the manager that you are a pest. I would also point out that when you are working a venue as a magician, it is not the time or the place to flirt with the customers. You are there to work, not to pick up people.So remember: if the customers say no, they are not saying no

to you as a person. They are saying no to the concept.


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By George Schindler

WORLD’S FAIRI don’t remember too much about

the 1939 World’s Fair. I was just a child when my mom and dad took me to see it. I remember the amusements area where there was a small village set up as “Old New York.” I recall seeing a fire engine that was being pulled by two horses. It was at this exhibit I first saw “little people.” Several dwarf families were all doing the normal things that we all do in the city, but they looked like children, even the old people. I was fascinated. It is amazing how the memory works. I didn’t see anything like it again until the munchkins greeted Dorothy in The Wizard of Oz (which also came out in 1939). The image of the Trilon and Perisphere remain with all of us to this day.

What I didn’t know was that there was a “Magic Day” at the fair sponsored by General Electric in the Hall of Magic. I was too small to have ever seen a magician, but on May 28 two performances by members of The Society of American Magicians PA 1 took place. It's hard to believe that so many years later I would become the Dean of the Society. A few months before, a Mr. Dinsmore of GE had invited the magicians and its members to a free magic day. The shows featured Silent Mora, Nate Leipzig, Frank and Peggy Cole, an illusion team called the Maginis, John Mulholland, John Giordmaine, Haskell, and Elmer Ransom.

Back in the city, the S.A.M. held its eleventh annual conference at the Capitol hotel that same weekend.

Now fast forward to 1964. Once again

New York hosted a World’s Fair. I attended that one with my wife and two of our children, whom we pushed in a rented stroller. This was about four years before I became a member of the S.A.M. In July of 1964, the sixth I.B.M./S.A.M. joint con-vention at the Commodore Hotel had more magical World’s Fair tourists attending. Once again, PA 1 had a “Magic Day” event. It was sponsored by the General Cigar Company, who had regular magic shows in their pavilion featuring Mark Wilson. They had magic giveaways and souvenirs, which are collectibles today. Other exhibitors hired magicians from time to time. Magic Day on June 11, 1965, had star performers such as Nat Hurwitz, Emil Loew, Ben Kleinman, Velma, Abe (Doc) Hurwitz, and Gene Brill.

Here it is 2014 and the Queens Theater, one of the original buildings, celebrated the fiftieth and seventy-fifth anniversaries of the fair-grounds with PA 1 providing its 105th annual Salute to Magic on May 17. The show featured Devlin, Jay Scott Berry, and Jeff McBride. The producers also introduced a guest, Kamarr, who originally worked the Fair in 1964. The Magician of the Year award was presented to Sol Stone, one of New York’s favorite “underground” magicians, who influenced dozens of

well-known close-up magicians. I missed the first two shows in ‘39 and ’64, but I’m happy I did not miss this one.


The Dean's Diary

1965 Magicians Day at the Fair (Photo Irving Desfor)

Trilon and Perisphere

http://www.geniimagazine.com

http://www.magicsam.com/funds

http://www.magicsam.com/president-welcome/s-a-m-life-membership/

mum,06-2014

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