Mum, 06 2014

JUNE 2014
TONY BRENT
Page 36
MAGIC - UNITY - MIGHT
Editor
Michael Close
Editor Emeritus
David Goodsell
Associate Editor
W.S. Duncan
Proofreader & Copy Editor
Lindsay Smith
Art Director
Lisa Close
Publisher
Society of American Magicians,
6838 N. Alpine Dr.
Parker, CO 80134
Copyright 2014
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4 M-U-M Magazine - June 2014
JUNE 2014
M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians,
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Volume 104 Number 1
THIS MONTHS FEATURES
28 I Left My Cards at Home by Steve Marshall
30 Hit the Road by Scott Alexander
32 Nielsen Gallery by Tom Ewing
34 Cheats and Deceptions by Antonio M. Cabral
36 COVER STORY by Christian Painter
42 Illusions of Grandeur David Seebach
43 Magic in the Middle East by Dr. Sanad Rashed
44 Messing with your Mind by Christopher Carter
46 Not Just Kid Stuff by Jim Kleefeld
50 The High Road by Mick Ayres
52 For Your Consideration by George Parker
54 Ebook Nook: L.I.N.T. by John Luka
58 Informed Opinion New Product Reviews
67 Tech Tricks by Bruce Kalver
68 Salon de Magie by Ken Klosterman
69 Inside Straight by Norman Beck
70 The Deans Diary by George Schindler
70 Basil the Bafing by Alan Wassilak
MAGAZINE
M-U-M
June 2014 - M-U-M Magazine 5
COVER STORY
PAGE 36
S.A.M. NEWS
6 From the Editors Desk
8 From the Presidents Desk
11 M-U-M Assembly News
21 Good Cheer List
22 Broken Wands
24 National Council Minutes
48 Newsworthy
69 Our Advertisers
68
6
70
32
43
Editors Desk
The subject of this months 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 Im looking forward to it. If you havent 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. Im 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, Ill 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, Ive 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 frst large, national magic convention
I had ever attended; it was the frst one that I worked as a hired
performer.
At that time, I was working on my masters degree at Butler
University in Indianapolis. Once a month Id make the trek up
to Lafayette to attend the magic meetings that were held at Ron
Londons magic shop. I wasnt performing magic professionally;
in fact, I had no interest in doing that. Most of my time was spent
fguring out ways to fool my magic club buddies. I had three
routines that seemed to do the job and were entertaining. The
frst was an All Backs routine that was based on Harry Risers
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 Marlos 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 foor. This got a big laugh.
I have two vivid memories of the Evansville convention. The
frst is of the dealers 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 Stoners 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 fnal close-up show was on Saturday morning. Im not
sure about the time; it was probably at 11 a.m. or so. At 6 a.m. that
morning, fve 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 didnt 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 fnd 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 Trosts 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 dealers 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. Theres 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
Presidents 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 offce 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 flled
with news, but frst 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 offcers 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 Im not sure that the S.A.M. could survive. I know
that I havent said it often enough or loudly enough but Ill say it
now: thank you for all that you have done.
SCIENCE AND MAGIC
Now 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 1
st
VP David Bowers, 2
nd
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 SUMMIT
You 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
wont 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 defnitely wont 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 (Brian@TeachByMagic.com).
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 fnally 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 ffty years. Doug Henning won a
grant from the Canadian government to study magic by convinc-
ing a panel of government offcials 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 fnally 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 Offcers
Dean: George Schindler, 1735 East 26th St.,
Brooklyn, NY 11229, (718) 336-0605, Fax (718)
627-1397, showbiz10@aol.com
President: Dal Sanders, 3316 Northaven Rd,
Dallas, TX 75229 (214) 902-9200,
Dal@MagicSam.com
President Elect: Kenrick ICE McDonald, P.O.
Box 341034, Los Angeles, CA 90034,
(310) 559-8968, ICE@MagicSam.com
First Vice President: David Bowers,
(717) 414-7574, David@MagicSam.com
Second Vice President: Jeffrey Sikora, (402)
339-6726 Jeff@MagicSam.com
Secretary: Marlene Clark, 274 Church Street,
#6B, Guilford, CT 06437, (203) 689-5730,
Skype: marlene.clark, Marlene@MagicSam.com
Treasurer: Eric Lampert, (215) 939-5555,
Eric@MagicSam.com
Regional Vice Presidents
New England: CT MA RI NH ME VT
Joseph Caulfeld (603) 654-6022,
rvpnewengland@MagicSam.com
North Atlantic: NY NJ
Eric DeCamps, (718) 896-5861,
rvpnorthatlantic@MagicSam.com
Mid Atlantic: PA DE MD VAWV DC
Phil Milstead, (703) 481-5271,
rvpmidatlantic@MagicSam.com
South Atlantic: FL AL GA MS NC SC
Debbie Leifer (404) 630-1120
rvpsouthatlantic@MagicSam.com
Central Plains: KY TN OH IN MI
Steven A. Spence, (317) 722-0429
rvpcentralplains@MagicSam.com
Midwest: IL MN WI MO ND NE KS SD IA
Shaun Rivera, (618) 781-8621
rvpmidwest@MagicSam.com
South Central States: TX AR OK NM LA
Michael Tallon, (210) 341-6959
rvpsouthcentral@MagicSam.com
Southwest: CA AZ NV HI
Ron Ishimaru, (808) 428-6019,
rvpsouthwest@MagicSam.com
Northwest: WA OR UT ID CO AK WY MT
James Russell, (360) 682-6648
rvpnorthwest@MagicSam.com
Canada: Rod Chow (604) 669-7777
rvpcanada@MagicSam.com
Society of Young Magicians Director:
Jann Wherry Goodsell, 329 West 1750 North,
Orem, Utah 84057 (801) 376-0353.
bravesjann@comcast.net
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 Ibez, Bruce
Kalver, Mike Miller, Mark Weidhaas, Vinny
Grosso, J. Christopher Bontjes
ASSEMBLY NEWS
Society of American Magicians Monthly News
June 2014 Volume 104, Number 1
GO TO: WWW.MUM-MAGAZINE.COM
and use the easy submission form to fle your report
2
HONORING BOB KUHN
SAN FRANCISCO, CA The
evenings 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 tonights
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 fowers.
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
Yees assistance, Corky placed
the two black Aces face down on
Cynthias 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
Steinmeyers 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 Caris
Golden Gate Assembly 2 meets
frst Wednesday at 7:30 p.m. at
Community Room of Taraval
Police Station, 2345 24th Avenue,
San Francisco. Contact Tamaka
Tamaka3715@aol.com (415)
531-9332 https://www.facebook.
com/groups/249018441875771/ for
more details.
4
BOB 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
ffty-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-
drens 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
childrens 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 Peters presentation,
we were treated to an extremely
entertaining lecture by Bob Solari
from northern New Jersey. Bobs
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 Bobs 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. Bobs take on the Tossed-
out Deck, which he calls the Peek-
A-Boo Deck, was worth the price
of admission alone. Also, Bobs
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 Cuddihy
James 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.
6
SPRING 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. presidents 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 traffc 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 Wolfre
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 fnally 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 months raffe.
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 fne 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 flled 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 Hoffman
The Kellar/Thurston Assembly
6 meets every frst Thursday at
8:00 pm at the Magic Warehouse,
11419 Cronridge Drive suite #10
in Owings Mills, Maryland.
410-561-0777. Contact Andy
London alondon@comcast.net or
www.baltimoresam.com for more
details.
8
USING THE FORCE
ST. LOUIS, MO March 27
th
-
Skype2: The frst 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-Grips 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 Smiths words,
Chris (Korn) did a four-Jack
production from a shuffed 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 10
th
: 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 Easons Profound Infu-
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 Knights
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
Weiss dog, performed. Chad
Jacobs performed a card effect and
Joey was inspired to produce Elvis
shades from an empty newspaper.
Dan Todd
Assembly 8 meets at Mount Tabor
United Church of Christ located
at 6520 Arsenal in Saint Louis,
Missouri 63139. Contact Dick
Blowers rmblowers@aol.com
(213) 846-8468 http://Assembly8.
com for more details.
13
FRIENDLY COMPETITION
DALLAS, TX The April
meeting started with voting for
2014 offcers. These offcers
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 certifcate from the Society
of American Magicians, celebrat-
ing Franks twenty-fve years of
membership.
The April meeting featured the
Dallas Magic Clubs frst Magician
of the Year contest. The frst
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 identifed 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 fnished 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 years 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 fower
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 reade.
quinton@gmail.com (972)
400-0195 for more details.
17
APRIL FOOLS OF MAGIC
SPRINGFIELD, MA Comedy
was the theme for the evening and
Ed Kazar, aka the Worlds 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 Worlds
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 shuffed 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.
certifcate
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 Gibson
Dr. I.R. Calkins Assembly 17
meets the frst Friday of every
month at 7 pm at RP Magic Shop/
Moto X Equipment; 69 East
Street; Ludolow MA Contact
Rich Gilbert rgilbertmagic@
yahoo.com (413) 210-5725
www.assembly17.org for more
details.
19
ERIC ROUMESTAN
LECTURES IN HOUSTON
HOUSTON, TX Aprils
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
fne 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 fnished 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 Root
Assembly 19 meets the frst
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 milesroot@aol.com (281)
334-7508 houstonmagic.com for
more details.
21
IMPROMPTU
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 shuffe, 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-
gicians 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 Norms
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. Ring
Angelos on Main, 289 South Main
Street, West Hartford Connecticut
meets on second Mondays except
December. Contact Dana T.
Ring dana@danaring.com (860)
5239888 www.ctmagic.org for
more details.
22
STAGE & 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 ffty 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 Misers 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 fowers in
an empty fowerpot and presented
Andrew Maynes 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 Lewiss 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
fnished 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 fash, and directly
handed out to the audience for in-
spection. This was a very surpris-
ing effect and had the audience
of magicians baffed as to his
method. Its a secret. Another
great night of magic in Southern
California. Steven L. Jennings
Southern 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
magicmred@earthlink.net (213)
382 8504 for more details.
23
SPRING 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-
lombinis 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 evenings emcee.
Assembly 23 meets at the National
Press Club, 529 14th Street NW,
Washington, DC 20045 Contact
Jim Flanigan jfanigan@aol.com
(202) 494-7302 for more details.
30
A 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 Hatfeld. 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 fnished 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 fnd the cards
hidden in the deck. Rick Hinze
presented a voodoo card effect. A
card was chosen and a sympathy
card also. With a fame under
the card a burn appeared on the
back of the sympathy card. A
skeleton card held the chosen card.
Carol Garrett
Assembly 30 meets the second
Tuesday of the month at Piccadilly
Cafeteria, I-85/North Druid Hills
Road, Atlanta, Georgia
31
IT 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 frst 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 ffty 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!
Monday of the month at 7:00 pm.
If the frst Monday conficts 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 kazoo23@aol.
com or 317-413-1320
32
BRINGING OUT NEW OLD
MAGIC
LYNCHBURG, VA Aprils
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. Lynchburgs
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-
raines 1-2-3 card effect, Eye of the
Beholder, and a real fooler using
ESP cards. He fnished with a
nicely handled Lazy Mans 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 frst 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 ffty 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 Jennings
The 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
investigatefre@aol.com (434)
35
MIND GAMES
POUGHKEEPSIE, NY Our
meeting this evening began with
a broken wand ceremony for
long-time member, Mr. George
Post, who frst 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 fgure
out how he did his effects? Ap-
parently the jurys still out on that
one. Darryl Bielski
Assembly 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 jizdds@optonline.net
(845) 546-1559 www.sam35.com
for more details.
37
AUSTRALIAN 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 Denvers
hot cabaret-style theaters. A
week later we hosted a magic fea
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
Denvers 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
clubs greatest assists Bruce and
Kitty Spangler celebrated their
fftieth wedding anniversary with
a lavish party thrown at their
television celebrity son Steve
Spanglers 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
Peacocks Seven of Hearts spelled
out the word C A R E.
Colorados magic-storyteller
Autumn Morning Star helped Tim
Tim Ellis and Autumn
Morning Star pose after
Tims 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. Tims best was saved for last
as our group of a lucky thirty-fve
was treated to Tims 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 Elstun
Assembly 37 meets at the
Riverpointe Senior Center
in Littleton Colorado.
Contact Connie Elstun
connie@comedymagicbunny.
com (303) 933-4118
www.milehighmagicians.com for
more details.
38
A 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 fne 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 afcionado, 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
citys 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 foppy
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 Becker
Assembly meets at The Improve
Coffee House and Theater, 4010
Pennsylvania Ave., Kansas City,
MO on the 3rd Tuesday of every
month. Contact Don Becker
joydonbeck@charter.net (816)
47
NOMINATIONS &
CLOSE-UP CONTEST PT. 1
ROCHESTER, NY Our April
meeting brought on the close-up
contest as well as nominations for
offcers for the coming year. Nom-
inations for offcers 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 frst 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
foss.
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 fnd the treasure
in your life. The
routine and ma-
nipulation were
fawless.
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 fame 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 spectators closed
fst! As he left, he produced a glass
of water! Beautiful to watch and
admire! Mike Ihrig
Assembly 47 meets the third
Tuesday September thru May at
St. Josephs School, 39 Gebhardt
Rd, Penfeld, NY 14526 Contact
Mike Ihrig ihrigmagic@aol.com
(585) 377-1566 www.sam47.com
for more details.
51
APRIL 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 Farmers Market,
where we will perform close-up.
We are also planning a Tribute to
Houdini for October and will be
performing at the mens 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, DNordo,
Jerry Tupper, Yort, J-Mysterio,
Grant Golden, Kyle Bassett, Mr.
Illusion, and Michael Baker.
Close-up performers included
Michael Couri, Brock Cassidy,
DNordo, Yort, and Mr. Illusion.
Our apologies, if any performers
were overlooked.
Regis Kormick did a fne 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 Snows estate.
Michael Baker
Assembly 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 themagiccompany@
aol.com (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, DNordo, Mrs. & Mr. Peacock
Assembly News
52
PAYING 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 ffteen in atten-
dance, including members and
wives. With April being tax
month, tonights 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 Simplifcation Act using
an Okito coin box and fve 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 frst, 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
Eds 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 Cravens
Blue Collar Aces; Joe Libby, who
won Daryls lecture notes, 4FXII
and Sponge Egg; and Michael
Tallon, who won David Stones
Rewind 2.0.
Brother John Hamman Assembly
52 meets at 7:30 p.m. on the frst
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 douggorman@att.net.
56
APRIL 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 Stanley
Assembly 56 meets at various
Locations Contact Paul Burnham
pburnham@woh.rr.com for more
details.
59
LEO HAGLUNDS
CARD CONTEST
PORTLAND, OR Greetings
compeers. My name is Andy
Turner and I am your new
Assembly 59 secretary. This is
the frst of many club reports that
I will be writing. I look forward
to the many challenges that I will
conquer in my new position.
Aprils meeting title was Leo
Haglunds Most Entertaining Card
Trick Contest and was sponsored
by Daves 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
fnally Jorjan Plimmer. The grand
winner for this years 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 baffed 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 104
th
,Beaverton,
Oregon 97005. Contact Andy
Turner mysteriesofmagic@
gmail.com (503) 975-6139
sam59portland.org for more
details.
61
NEW OFFICERS ELECTED
AND A FUN NIGHT OF COIN
MAGIC!
MILWAUKEE, WI Assembly
61 elected new offcials 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 furry 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
Scheiffee.
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 Scheiffee
Assembly 61 meets at Dickens
9646 W Greenfeld Ave.,
Milwaukee, WI 53214. Contact
Jeremy Scheiffee thegreatsavill@
gmail.com (991) 3003 www.
sam61.com for more details.
88
SILK 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 fag, produced an
Olympic fag, 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 bags
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 fags of many
nations. His patter lead to the con-
clusion of being happy to be back
in the USA, as an American fag
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 fy and Tim did just that! Jim
Folkl
Wednesday of every month, 7pm,
at Faith Luthern Church, 1255 E
Forest Ave, Ypsilanti, MI. Contact
Jim Folkl folkinimagic@yahoo.
com (248) 8514839 http://www.
aamagic.org/index2.html for more
details.
94
NOW 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 Moroccos 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-
fed. Ken Gielow mysteriously and
accurately predicted the results of
a spectators 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 ones love of magic beyond
whats 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 Morrocos res-
taurant on April 27. Joe Caffall
We do not currently have a
permanent meeting location.
Please email Joe Caffall at
jocaff@comcast.net for meeting
information. We meet on the
second Monday of each month.
Contact Joe Caffall jocaff@
comcast.net (408) 375-1905 for
more details.
95
I MADE IT MYSELF
VANCOUVER, CANADA
The April 2014 meeting was held
at the recreation room of Juan
Garcias 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 Rods 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 fxed 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 fip-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 Chow
The Carl Hemeon Assembly No.
95 meets the frst Tuesday of
each month at members homes.
Contact Rod Chow rod@rodchow.
com (604) 669-7777 www.sam95.
99
STATE 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 fea 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 years event.
There was a long discussion on
how we could possibly improve
the auction portion of the fea
market. The silent auction did not
draw enough bids to satisfy the
sellers. The general consensus was
we need to fnd 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 Shirk
The 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 Kellers
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. Craig
Assembly 99 meets the 3rd Wed.
at 7:30 pm at the IHOP restaurant,
5203 South Kirkman Road,
Orlando, FL 32819 Contact craig@
ibmsamorl.com (407) 433-0216
www.sam99.com for more details.

104
THE 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 Lazars
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, magics 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 fnally face an epic,
eleventh hour, double lung
transplant, complications, and
colossal expenses as well as a
long recovery. It might seem too
much for anyones optimism to
survive. But the historic fnancial
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 fne 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 fngers 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
defnitely back, regaining strength
and skill. His grace, however,
will never be in short supply.
Bob Forrest
Wednesday of each month,
September-June, 7 p.m., at the
First Baptist Church of Salem,
292 Lafayette Street, Salem,
Massachusetts. Contact Bob
Forrest captainalbrightsq1@
comcast.net (339) 227-0797 www.
sam104.com for more details.
110
AFTER 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 years
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 years
Ducky Waterman; consequently,
there were but three contestants.
Izzy Schwab was the frst 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
Jacks 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 fnal
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
frst place, John Sergott as second
place, and Almar as the third
place.
Joe Homecheck, SAM Assembly
110, meets 2nd Thursdays, 7:00pm,
at Johns Diner, 146 Sheraton Dr.,
New Cumberland, PA 17070.
Email: secretary@sam110.com
112
THREADING 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
foss. 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 foss 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 protg of Rics,
then came up to demonstrate his
version of Two-card Monte. Then
Roy Porfdo, 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 frst 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 Marquardt
Diablo Assembly 112 meets on the
third Wednesday of every month at
the VFW building in Pleasant Hill,
California Contact Larry Wright
Zapppo@zappot hemagi ci an.
com (925) 685-5129 http://www.
sam112.com/ for more details.
118
GRANITE 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 frst.
Contact Robert Granville sam.
nashua@gmail.com (603) 505
8749 http://sam118.com for more
details.
131
MAGIC 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 fash, 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 Steinberg
Assembly 131 meets the
third Monday of each Month
at The Methodist Church
#5 Clapboard Ridge Rd., Danbury
CT. Contact Martin Steinberg
magicmarty@aol.com (845)
148
SEEING DOUBLE
ELMHURST, IL In addition
to this months 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
fnally turned into Kings. Tony
Noice (president) executed and
explained a variety of approaches
to a truly fundamental sleight, the
double lift, including Vernons,
Loraynes, Daleys, and Dingles
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
bottles 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 offce of the S.A.M.
tracked him down so he could be
presented with his thirty-fve-year
certifcate 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, well have
a magical presentations from the
members of the nearby Mazda
Magic Club in Elgin, IL. See you
then. Tony Noice
Assembly 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 noicea@net.elmhurst.edu
(630) 993-3740 www. SAM148 for
more details.
157
LOSS 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 raffes, 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
treasurers 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 Richs
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
Steed
The Mystic Magicians of Beaver
Valley (157) meet the second
Thursday of every month at the
Towne Square Restaurant in
Beaver, PA. Contact Judy Steed
heyjude1943@msn.com (330)
181
LECTURE IN APRIL
HIGHTSTOWN, NJ Our
April meeting was headlined by
a Duane Lafin 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 Lafins have performed on fve
continents, in eighteen countries,
and in forty-seven of our ffty
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-
drens 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 refect his
philosophy of keeping the magic
simple, being clear with the
message you are trying to deliver,
and being original.
The Lafins 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, Tommys
Inn at Millstone. This different
venue will give a different feel to
the meeting and does not affect
our regularly scheduled meeting
on the frst 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 Zboray
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 lands10@
optonline.net (732) 757-5337
http://www.magicsam181.com/ for
more details.
226
INSTALLATION 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 Lafin
Assembly News
new slate of offcers 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
Hoosiers 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 wasnt
until after we had this arranged
that I realized Henry Evans will
be the frst 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).
Henrys 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 Heckenberger
Assembly 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
heck_mike@verizon.net (757)
812-3299 http/sites.google.com/
site/samassembly226gmail.com
for more details.
274
MR. AS MAGIC SHOP
DEMONSTRATION
BOCA RATON, FL Since this
is the frst 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 diffcult 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 (magicharold@aol.com).
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.
As Magic Shop in Palm Beach,
F l o r i d a ,
to present,
highlight, and
demonst r at e
merchandi se
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. Kids
Stuff using a balloon penetration
through a canister, foating glass,
and a collapsible foot by foot die,
as well as a blooming bouquet
that separated into two colorful
bouquet of fowers, 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 fexible 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. As 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
frst 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
(magicharold@aol.com) or by
phone at (954)549-8296.
277
ITS 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, weve 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
shuffe.
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-
tators hand. This is, of course,
Jim Paces classic effect The Web.
Ryne Gade showed a great effect
he picked up a bit ago, Oz Pearl-
mans I Curveball.
S. Patrick was up last and
performed two close-up routines,
including Jim Sistis 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 frst and to
everyones 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 fnd 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. Patrick
Assembly 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 damagician@verizon.net
(570) 242-6821 www.pmmc.webs.
291
MAGICIAN
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 Offcers 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. magicforfun60@aol.com
Daniel Cudennec
Dany Trick
225, Stang-ar-Veil-
dan-Traon, Mellac-29300,
Quimperle, France
Dan A. Dorsey
98 Woodvalley Dr.
Fayetteville, GA 30215
Charlie Gross
16745 Gertrude Street,
Omaha, NE 60136-3023
Roy Horn
c/o Siegfried & Roy
1639 N Valley Drive,
Las Vegas, NV 89108
Bob King
304 Suburban Court,
Rochester, NY 14620
Stanley R. Kramien
11205 SW Summerfeld Dr.
Apt 161
Tigard, OR 97224-3391
Richard Laneau
4020 55th St. N.
St. Petersburg, FL 33709
George Gilbert Lott
1725 Great Hill Rd.
Guilford, CT 06437
Frank J. McNaughton, Sr
1926 Apple Street,
Williamsport, PA 17701
James J. Morrisey
24 Grove St.
Wayland, MA 01788
Anthony Murphy
11 Angel Rd.,
North Reading, MA 01864
Nahmen Nissen
PO Box 1856
Colfax, CA 95713-1856
Allen Okawa
2101 Nuuanu Ave., Tower 1,
#2203
Honolulu, HI 96817
Jim Relyea
241 W. Lakeshore
Rockaway, NJ 07866
Harry Riser
11755 N. Michigan Rd #313
Zionsville, IN 46077
Pat Ryan
43 Fairbanks Rd.
Churchville, NY 14428
Matt Savin
P.O. Box 7693
Alhambra, CA 91802-7533
Mario Susi
6 Bristol Rd.
W. Peabody, MA 01960
Jack White
4288 Arguello St.
San Diego, CA 92103
Jim Zachary
2801 South Creek Drive
Mulberry, 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 Infation. As a
result, he was able to also show us
that you can go through a bill with
a ffty-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.
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
Cooperl@ucla.edu (310) 473-1820
www.westsidewizards.org for
more details.
292
NEW MARK STRIVINGS
LECTURE
GREELEY, CO Jim Pope ran
Aprils business meeting during
lunch. Teagan Brown, Autumn
Morning Star, and Lloyd Worley
reported on Jeff McBrides
workshop, and Lew Wymisner on
Jeffs show at the Mercury Caf.
For having fve 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
prolifc writer. Mark presented the
assembly a funny framed certif-
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.
Marks 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
MarkyApril@aol.com). 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.
Marks 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.
Marks 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 fve 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 frst group of
magicians to see Its Hip To
Be Square. This is Marks
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! (Dont panic;
there are gimmicks.) James Lopez
assisted in an impressive new
Psychic Infuence II, created by
using two decks of Card Sharks
thin cards. Mark closed with Its
Hammer Time, a funny seven-
keys routine with Gary Hickox
and his at-risk eyeglasses.
We recommend Marks new
lecture as a highly entertaining
and worthwhile program for any
assembly. Ron Dutton
The Dr. Ronald P. Dutton
Assembly 292 usually meets at
Kenneys 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 jlp1616@
comcast.net (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-fve, 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 ffty-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 Bobs 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-fve
years, as well as the editor of the clubs newslet-
ter, general of the raffes, grand master of the picnics,
manager of the Greater Pittsburgh Magic Network (a
non-proft 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, Cantons
Battle of Magicians, Gatlinburgs Winter Carnival of
Magic, The Cuckoos 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 fnal 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 afcionado, 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
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
refect 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 fnd out more, he
recommended that they read the
newsletter to get the details; not
that he mentioned his regions
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 theyd like to have answered, please
email Dave at amagicalexperience@live.com
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 secretarys duties. They are part
of the offcial record of each National Council
meeting
Late reports dont 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
defcits change during the year, as the report is
prepared on a cash basis, which refects 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 Caulfeld
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 Caulfeld 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 signifcant 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 dan@sammagiccenter.com.
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
years 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
adallas123@hotmail.com. 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
Jays 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 Appersons 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 offcial 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 Schindlers request for an
offcial 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 frst
launch is the BE Amazed Channel
an all-magic channel that will highlight
magic in general and specifcally, the
S.A.M. Motion: Marlene Clark moved
to move forward with a mutually ben-
efcial 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 flms, tapes and other items
belonging to the flm 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 MAGICIANS
in 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 4
th
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
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 defnite advantage he
had, though, was an understanding grand-
mother who hand sewed a magicians 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 Copperfeld;
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 didnt want to risk the
chance of my TV privileges being taken
away. I didnt 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 fgure 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 didnt 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 couldnt 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 Olsons Wizardz
Magic Theater in Kissimmee, Florida. He
even has his own seat, which is front row
on the far left end from the performers
view.
The position of his seat wasnt 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 wasnt
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
wouldnt give the performer a hard time if
I happened to catch a fash of anything that
I shouldnt.
Having performed there a few times
I can tell you that its always nice to see
Roberts smiling face just to my left. If
youre ever in Florida, stop by Wizardz
Magic Theater on a Monday night and
say hi to Robert. You know where hell be
sitting!
TWO-BIT COIN VANISH
BY ROBERT BENEDICT
Heres 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 ffty-states quarters, since it doesnt
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 thats 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 youre 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
fngers; 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 fngertips toward the audience and
your thumb underneath your fngers, as if
you are holding a coin.
Bring the hand that is supposedly
holding the coin toward the phone and
begin fipping the phone over by pushing
up with your thumb, while at the same time
curling in your fngers. Time this so that
the hand that is supposedly holding the
coin covers the coin that is glued onto the
case without fashing 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 fngertips (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 fst
(Photos 8 and 9). As you do this, let the
phone naturally fip over so the back of the
phone is now resting on your fngertips.
Note how the back of the phone can now
be displayed with the fngers 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
wouldnt be heavy enough to do this, but he
has found that it helps to sell the illusion.
Also, if he knows hes 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 ffty-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.
STEVES 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 youll fnd
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
(MUMNoCards@gmail.com).
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 youre
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 fnally it also gives you a
chance to fx 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 fx 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. Ive
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 duffe
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 fgure
out which stuff to use once he got inside.
He soon realized that he was wasting a
lot of manpower because he didnt 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 Adams
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. Its 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 flled with cans of ice cold
Coke. If you have a particularly long drive
of three hours or more, it doesnt hurt to
pack a few light snacks to take with you in
case you get the hungrys, so you dont
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 fnd
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 dont 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 clients mobile number and the
number of the venue where you will be
performing just in case you run into any
travel diffculties such as traffc, a fat 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 confdence 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 fnd 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, doesnt
necessarily mean it will be good where
youre going. Different parts of the
country deal with weather differently. The
South shuts down if even a snowfake 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. Youll
be taken to a page with a form that makes submitting your assembly report a
breeze. Simply fll in the required felds and paste in your report from your word
processor. Upload a photo and a caption if are submitting one. Then hit Submit
Form. Youre done, and your report comes to us in format that makes our job
a lot easier, too.
The Nielsen Gallery
Dimensions: One-sheet: 27.5" x 42" Lithographer: Goes Litho Date: 1905 Nielsen Rating: Rare
The Astral Hand
This months 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 frst 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 frst 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 fve 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 Kellars 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 ladys 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 mummifed
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, fnancial 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 months poster is very desirable and diffcult 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 Caveneys
Magic Words.
Tom Ewing
MEMORIZED DECK
MAGIC MADE SLIGHTLY
EASIER
The memorized deck is one of the most
powerful tools in a card magicians 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 dont know where to go or even where
to begin with a memorized deck.
Memorized deck work can seem very
intimidating at frst. Theres 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 theres the apparent daunting task of
getting a whole sequence of ffty-two cards
in your head when you have a hard enough
time remembering your email password.
And theres 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. Its often
suggested to aspiring memorized deck
workers that rather than fret over which
published stack to use, they simply shuffe
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 hes certainly not wrong, I say its
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. Im not saying a stack shouldnt
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 whos 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 frst 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 ffty-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 its 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
Tamarizs Mnemonica to remind me that
theyre 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 Tamarizs
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 thats the deep end of the pool.
If you pass over these simpler, more direct
effects because theyre basic or because
magicians will recognize them, youre
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 theres no shame
in these apparently simple tricks. The
frst 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 shuffing
and simply reciting his stack in order as
he blindly deals through the deck. (Okay,
theres a little more involved, but still you
dont need an advanced calculus degree to
pull it off.)
The following routine is a favorite
memorized deck routine of my own, based
on Jon Armstrongs My Opening Act (Jon
Armstrong Card Magic Vol. 2). Arm-
strongs original routine is done from a
shuffed deck, and well worth checking
out. Using the memorized stack, however,
gives the effect a different structure and a
different favor.
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 Ive still
got a pretty good ear. Believe it or not, it
comes in handy when Im performing card
tricks. Ill show you.
Give the deck a false shuffe and a legit-
imate cut. I use the Erdnase Blind Shuffe
Retaining Entire Order, First Method,
which does both at once. You want the cut
to be more or less halfway, to facilitate
whats 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 dont get to
see what this card is, but I dont 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 fap. As she does
this, reassemble the deck by placing the
original top portion of the deck under the
original bottom portion; in other words,
youve 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 frst, 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 couldnt 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! Its
easier than you think, actually. Tell you
what: Im going to gently riffe the cards
near your ear. Just clear your mind, listen,
and name the frst card that pops into your
head.
Gently riffe the cards at your partici-
pant, and get her to name a card. Say she
names the Two of Hearts. Youre going to
get that card under your control thanks
to Simon Aronsons 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 isnt actually
in 1-52 order, the thirty-third card wont
actually be at thirty-three. But itll be
around thirty-three, and thats all you
need.
Once youve 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,
its not the Two of Hearts. But that was a
really good guess, and Ill tell you why
in a moment. Once youve glimpsed the
card, youll 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, Ill spread the cards and do a quick
spread-count of the cards above my break
to get to it. If its below, Ill 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 riffe 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 riffe, 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 wasnt the Two of Hearts. Before
I came out here I took a different card
out of the deck and placed it in my wallet.
Dont ask me why. If this card turns out to
be your Two of Hearts, youre 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 confrm.
In terms of practicing and getting com-
fortable with using the deck as an Open
Index, I fnd 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 fve cards off, up or down).
The use of a slightly off-set sequence
for the Open Index part of the trick means
you dont 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 youre likely to have to make
some adjustments during your estimation
anyway, those adjustments cancel out the
ones youd 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 fddling you have to
do to get a named card under control, the
more baffing the effect will be when you
produce it. If this approach appeals to you,
I wholeheartedly recommend Darwins ap-
proaches to the Open Index in his book,
Lessons in Card Mastery.
If youre looking for possibly the
best primer on memorized deck work, I
strongly recommend Simon Aronsons
Memories Are Made of This manuscript.
Its free and available on Simons site
(simonaronson.com) and also at Vanishing
Inc. Good luck.
Tony Brent and the Outta
Control Magic Show
By Christian Painter
A
s 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, hes 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 fnd 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 frst fve
years of Tonys 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 felds, and cotton
felds. 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 didnt
have a phone until he was twelve years old.
Tonys frst experience with magic came
every other Sunday, when he and his parents
visited his grandmother in the nearby town of
Huntingdon. His grandmothers 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 infuence for Tony was a gentleman by
the name of Cowboy Louie Mitchell. He performed
at Tonys school each year with an early Dont
Do Drugs program. This sparked Tonys passion
for all things magic. He devoured the public
librarys 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 Martins Born Standing Up,
The Charisma Myth by Olivia Fox Cabane, The
Comedy Bible by Judy Carter, Makeem 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 didnt
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 fres
reignited, he also found work doing commercials and flms,
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 fying back and forth to Los Angeles.
To keep the money fowing, Tony performed bar magic at
a hotel in Memphis. Even with all his passion and talent,
Tonys 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 fred all the performers. Tony was out of a job
once again.
With his show business fres 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 fnd 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 Disneys Orlando Park as a two-person act. Tony
took time off from the tour to fy 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
confdence 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 couldnt 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 Tonys 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 Ive seen more than my share
of magic shows. Tony Brents 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 frst 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 cant 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
doesnt 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 cant 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
fll 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.
Tonys show is a family-friendly show, which means
clean. Tony always makes sure to explain to the fll-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 dont follow his instructions, you
will not be asked back.
Tony has this to say about using blue material: I dont
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
cant legitimately get laughs. That doesnt mean that some
comedians cannot use it correctly. It might come from their
personality or lifestyle. Since its 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 fll-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 frst 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 Tonys 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 dont 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 dont ruin it
for the families. After fourteen years, you realize
that you cant assume anything. You never know
what youll be walking into. Ive 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
beneft 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 doesnt. 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 fip 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 fve nights a week. Prior to that, he
performed six nights a week for thirteen years.
Many of those days included multiple shows a
day. Thats 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, youre 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 fight time has also
given Tony some insights into how an audience
reacts to a show. I dont 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 laymans 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 dont 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. Its incredibly important
that your spouse or signifcant 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. Ive 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
Im getting burned out or feeling down, and shell
suggest that we get away for a few days or maybe
shell just lift me up with kind words. Without a
doubt, I wouldnt be where I am without her love
and support.
In addition to all his performing, Tony also writes
childrens books in his spare time. His frst, 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 Ive only just
begun. I would like to get back into acting, possibly
doing voice acting work in addition to TV and flm.
Ive always dreamed of doing a large theater show
on a regular basis, perhaps on Broadway. I want
to fnish 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. Im 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 cant 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 Sure
If youve been in the feld 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 Ive met quite a few people I could describe like
that. One of them is Todd Robbins. Hes 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 Id say that when Todd talks, I listen. Earlier this year
he posted a comment on Facebook that couldnt 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 himand 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 fimsy.
Just before Todds 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 Glens 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, Ive only
seen this about fve hundred times! She wasnt criticizing Glen;
she was remembering all the times shes seen me do my version
over the years. And, when Amber spotted Glens Sub Trunk, she
commented, He doesnt have travel stickers on it like you do.
We all had a great time and they laughed and clapped and
were amazed by Glens 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 couldnt
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. Its afford-
able, too. Still, you likely wont see it in any magic superstars
repertoire.
Is there really something bad about it? I do not think so.
The public is not wrong. Its 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 fnally bringing her out. Its like a really
baffing special effect from a motion picture except without any
story, plot, or characters to care about or hold real interest.
So, its 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 props 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 its possible to explain/justify
why the illusionist is placing a lovely assistant into an odd con-
traption that you ought to do that. Youve 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, thats sometimes a good idea.
Not every illusion needs to be justifed 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 doesnt offer something different or original,
there is likely a problem.
Here are two examples that come to mind:
I think that Gene Andersons Newspaper Tear is perfection.
The magic and his script are really the only way this should ever
be performed. If I was producing Shakespeares Romeo and Juliet,
I dont think Id try to improve the Bards 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
youre 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,
thats what youre doing with the Snowstorm!
Think of all the theater groups that stage Dickenss 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 fnd 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 Milwaukees 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 likeeven Todd Robbins.
Of course, I could be wrong.
by David Seebach
M
any 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 doesnt 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 fnd 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 Copperfeld
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 Magicians 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 publics
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 feld has remained
an obstacle in the way of
spreading it. During the
past fve 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 proftable 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 feld, 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
profts 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 feld
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 feld of magic. He has more than fourteen
publications in this feld and a number of live and TV
performances.
Saudi magician Ahmad El Bayed
Magic in the
Middle East
By Dr. Sanad Rashed
A KISS ON THE HAND
What skills make you a real mentalist?
Thats a loaded question, since its 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,
youd have a much easier time offering an
answer. Of course, youd mention show-
manship and performing skills, but youd
also talk about a certain set of sleights or
mastery of certain specifc 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 audiences
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 defning
point of mastery in mentalism.
This month Id like to share with you a
routine that depends upon techniques that
are at once incredibly simple and incredi-
bly diffcult. 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
confdence; 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 frst name of the frst
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 frst 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 frst 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 fnd some spot in the room
to focus their gaze. It doesnt matter what
they stare at, as long as they dont 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
wont have to make it happen; it will just
seem like an impulse.
Slowly, one womans 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 frst is discover-
ing the name of the transmitters frst kiss;
the second is ensuring that the correct
womans 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 doesnt 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 frst problem by simply
asking the guy what name hes 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 fve women, you
ask men in the audience to remember
the frst name of the frst girl they ever
kissed. If they cant think of the very frst
one, they are to remember the frst 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 doesnt.
Stepping into the audience, you say,
Lets 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 were 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 wont say something like,
Youre 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,
Dont 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
doesnt realize you know the frst name, so
they dont 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 doesnt happen, dont worry,
you will be in a position where you can
force the issue. Rest assured, eventually
one of them will raise her hand.
The frst step toward success with any
hypnotic effect is to select the most sug-
gestible people. I do this by selecting fve
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 fnger. Take in a gentle
breath of air. Hold it. Now breathe out. As
I drop my fnger from this point in space,
keep your eyes on the same point it previ-
ously occupied. If that is uncomfortable,
fnd 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 its 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 wont 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 doesnt
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, Dont hold it back. If
you feel an impulse, even a slight one, to
lift your hand, let it happen. Dont 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 womans hand
starts to move, the others tend to think,
Well, I guess its 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, Thats 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
dont be afraid to say to the others, Now
dont make it happen. If its not happening
on its own, dont force it. Essentially, say
what you need to say to get the results you
need.
Not Just Kid Stuff
By Jim Kleefeld
COMEDY BY
MISFORTUNE
Terry Herbert relished the concept.
Edwin Hooper exploited it. David Ginn
wrote about it, David Kaye profigates
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 frst laughed when an ancient Roman
slipped on the frst banana peel, but the
idea of seeing fun in other peoples 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 lets go back and study the roots
of comedic misfortune in childrens 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 Ginns text features primarily
examples of how the performer appears to
cause trouble, Yaffes discussion centers
on the performers 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
performers 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 lets 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 foor. You
set your wand on the table and it rolls off.
When accidents happen, most adults make
logical and reasonable efforts to fx 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 PROPS
This 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 muffer 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 personifcation
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 foor 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 childrens 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. Dont 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
well have a magician again sometime. Or
do you want them to say, That guy was
wonderful. I defnitely 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.
Lets 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 frehouse, 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. Ill 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, fat prop showing a
brick wall and two doors. Hold up a rabbit
separately. Fumble with the wall a bit, as if
it is diffcult 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 foor.
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 fnished. 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 fve-
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, fat 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
childrens 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 fnd 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 childrens 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 fnd 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 fnd 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 FOR
MISFORTUNE BY
ACCIDENT
Have a magic wand in place on your
table in the center, pointing towards the
audience. Display a long, fat, box-like
prop showing two doors marked Pizza.
Hold up a cut-out fgure 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 fnd a solution.
This is like a flm scene in which a waiter
trips and spills soup on a guest who starts
a massive food fght, 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 performers 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 fgure 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
worlds 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 years expo was held April 25-27 at the Walter
E. Washington Convention Center in Washington, D.C.
Five display halls on two levels were flled 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 fulfll this request within the boundaries of our code
of ethics. A book was created especially for the expo and was
ofered 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 ffteen magic tricks
based on STEM principles. The book also included a brief
explanation of the art of magic and how to fnd 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 foat and magically sink in a sealed bottle of water,
creating an instant star out of bent toothpicks, a cofee 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, 2
nd
VP Jef Sikora,
and PNP Christopher Bontjes to help gather crowds.
The booth was also stafed by 1
st
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 Peppers
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 Scientifc American magazine as part of
a Google Hangout that was broadcast live and then shared
on YouTube and through Scientifc Americans 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 OBrien and
James Prof. Rem Remenicky
In April, at the forty-fourth annual
4
F Close-Up Magic
Convention, Compeer Ronald Obie OBrien 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 Fechters Finger Flinging Frolic (
4
F) 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 signifcant 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 OBrien 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 Copperfeld.
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
eforts 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 OBrien
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, dealers 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 diffcult to bring home effects
that wont put you in dire straits with your
spouse for the damage done to the family
budget. Purchasing magic tricks without a
specifc goal in mind is nothing more than
fshing 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 frst 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 conjurors 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 Sundays 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 audiences
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 isnt
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 fuid. They change with experience,
with location, and with the goals of the
performer. That being said, however, any
performance fexibility 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-
fdently 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 performers confdence
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 confdence 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 conf-
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.
GORDONS 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 isnt 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 wasnt 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 Gordons 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 baffed
me for a long time? Maybe together we
can fgure it out. Please remove any four-
of-a-kind you wish from this pack. Ill 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 Road
script 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 heres what I cant fgure out. Lets
look at our cards one by one. We did ev-
erything the same, but its 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
isnt 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 guests
packet will have one card facing up. See?
I dont understand why my cards do that.
Here, straighten out your cards so theyre
all facing down and well 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 fngers 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 frst 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! Lets
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
frst 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 fnal phase.
Say, I have no idea why it doesnt
work out the same. Do you mind trying it
one last time? I dont want you to think Im
doing anything weird so how about you
move my cards and your cards? Ill 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 anddang 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
its me?
The presentation is over. Gordons
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 havent thought
of this until just now, but maybe it isnt
either of us doing anything weird, maybe
its in the cards themselves. Lets 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 fll the tank, the attendant insisted on
seeing a trick. According to Ron, Gordons
Puzzle kept the poor fellow baffed for
weeks.
Finally, Gordons Puzzle can certainly
be done with random cards, but using a
four-of-a-kind allows you to follow it with
a completely justifable presentation of Dai
Vernons Twisting the Aces. Just a thought.
[Editors Note: Phases three and four
of the above routine appeared as Vernons
Variant in Dai Vernons Ultimate Secrets
of Card Magic (1967, pages 173-175). A
version by Herb Zarrow appeared in Jon
Racherbaumers Kabbala (Vol. 1, No. 9,
September 1972), and was reprinted in
The Legendary Kabbala (Herbs 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: mick@mickayreswares.com.
BECOME A
JEDI MASTER OF
INTERACTION
Youre 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, fick your fngers and fll this up!
He looks you in the eye, and then looks
into the room and laughs, I guess youre
not that good, huh?
Weve all been in situations like this in
one way or the other. Sometimes the jibe
is delivered in a playful tone; sometimes it
isnt so playful and it disrupts the fow 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.
Ive always found Learys 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 defne
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. Dont worry; it doesnt. 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 youve 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 hes also a craftsman when it comes
to designing and refning every aspect of
his show.
COMMUNICATION
BASICS
Most theories about communication set
content apart from process:
Content is all about what you say. Its
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
defnes ninety percent or more of the
type of relationship were establishing.
Whos 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 CIRCUMPLEX
In 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. Ill
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 felds that defne
relationships:
Power (or infuence) 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 fgure. The two
axes create four quadrants. Within each
quadrant there are two varieties depending
on which axis youre closest to. So DC
means that youre 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
youll fnd 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 QUADRANT
This is a combination of dominant and
By George Parker
For Your Consideration
cooperative behavior. Fatherly fgures
display the DC variety patriarchal
behavior. Youre 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 its 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
doesnt get what he wants and he moves to
the SH slice. Pam, Johnnys wife, plays his
assistant and frequently taps from the left,
hostile, side of the model. Sometimes shes
in the SH/HS quadrant, acting like a bored
ffteen year old, chewing gum. Sometimes
she moves up and is aggressive/competi-
tive.
THE CS/SC QUADRANT
In this quadrant youll fnd behavior
thats cooperative. But your status is
lower. You dont 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,
hes 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 fow.
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 theres a lot of buzz. Instead
of welcoming them back so they
become silent, I enter the stage
when about ninety-fve 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 offcially 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 frst line depends on
the topic of the convention. But its 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, Ive estab-
lished a different kind of relationship than
they expected, which creates stronger
emotions.
THE SH/HS QUADRANT
This 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 youre 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 QUADRANT
In this quadrant youll fnd behavior of
a competitive nature. Youre in the lead,
but in a hostile way. I mentioned Ricky
Jays poker act in the January column. In
case you have forgotten, Ill briefy go over
it again, because its 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 fnd a clip on YouTube. (Type
A correctly structured drama in the
search feld.) The title probably refers to
something Jays friend, director and writer
David Mamet, once said: Magic is highly
structured drama. The circumplex is a
tool that can help you analyze whats 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. Its quite intimi-
dating. As a result, the minds of the partic-
ipants start to work differently. The atmo-
sphere is tense, which helps to camoufage
the method. It wouldnt surprise me if one
of the participants is an actor whos part
of this drama. But with Jays acting skills,
thats not even necessary. He just plays this
game of interactional chess with them.
HOW TO USE IT
Ill close with some tips on how to
become more familiar with this model and
use it to your beneft. 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 youre
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 fnd that youre really good
at two quadrants. The third one is much
harder. And the fourth one is your Mount
Everest. Ive known managers who werent
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 cant 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. Korts knowledge
and expertise that he took a job at Mr. Korts 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 exemplifed by the gentlemen mentioned above.
In October of 1993, John Lukas 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 Kalushs The Fidgeting Card and Paul Chosses work on the
Diagonal Palm Shift) to routines which require less dexterity (Ron
Bauers interesting handling for The Lie Detector and Key to the
Draw, a funny routine by Jack McMillen and Charlie Miller.)
Youll also fnd some techniques and hints for the Turnover Pass
and the Zarrow Shuffe, and a couple of commercial coin routines
(plus Milt Korts Invisible Okito Box routine, which should give
your magic buddies a chuckle).
The two routines excerpted for this months Ebook Nook
should fnd 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 CONNOISSEURS
Ron 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 Rons 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
fshing 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
bankers clip.
Attach the bankers 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 fngers reach into the right sleeve to get the pull coin.
Place the coin into the fngertips 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 oclock position. Deliver your introduc-
tory remarks. Good evening. Excuse me for interrupting you. Im
a magician.
The right hand jingles the change in your right pocket. The
right hand leaves the pocket with the gimmicked coin at the fn-
gertips. Position the coin on the right thigh just above the knee
and hold it in place with the tip of the right second fnger. Spread
your right fngers and thumb. The fshing line is parallel to your
right second fnger, 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 oclock 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 frst coin to set the mood.
Figure 1
EBOOK NOOK
Excerpt From:
L.I.N.T
Written By:
John Luka
Description:
Ebook, 734 pages
Available From:
www.llepub.com
Heres how you accomplish the vanish.
The right hand brings the fngers 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 fnger 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 fnger rub together as though they
were rolling the coin into a little ball. The thumb and second
fnger separate, showing that the coin has vanished.
You have been looking intently at your right fngers, which are
at about eye level. Look at the spectator in the one oclock position
and make eye contact. In the meantime, the left hand produces
the thumb-palmed coin from the ladys ear in the eleven oclock
position. You produce the coin before your eyes see it. A beat after
you produce the coin make eye contact with the lady spectator.
Lets 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 fnger 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
oclock. 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, fnger palm the
coin. Re-establish eye contact with the lady spectator and produce
the fnger-palmed coin from the ladys 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 fourish he executes a shuttle pass. Here is what you do.
Your left hand is palm up with the coin lying on the fngers.
Your right hand is palm down, concealing the coin in fnger palm.
Your right thumb presses the coin against the fngers 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 frst fnger touches the upper joint of your left
fourth fnger. When they touch rotate your left hand palm down
and your right hand palm up. Your left thumb presses its coin
against the fngers to aid in fnger palming the coin. Retain the left
hand coin in fnger-palm position and reveal the right-hand coin
that is on the right fngers.
Display the coin on the right fngers for only a second. The
right thumb now pushes the coin to the fnger tips where you can
display it. In a continuing action the right hand gestures while
holding the switched-in coin at the fngertips. The fngertips 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 frst and second fngers 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 fngers of the right hand are pointing to the
left and the fngers of the left hand are pointing to the right. The
fnger-palmed coin does not interfere at all with this grip.
Now bend both wrists in until the back of the right and left
fngers touch at their frst 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 fips 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 frst fnger 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 frst fnger
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 fngers 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 fngers pointing up, begins to rub something between
the thumb and fngers.
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 fipping the coin into the air. Gaze up at the ceiling as
though you were following the fight 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
fip.
...heads or tails? The right hand slaps the back of the left
hand like you would if you were to fip 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 fnger-palmed coin in the left hand will
be magically produced. Ron credits Gregory Wilson with this
handling. Heres how Ron executes the move:
The left hand with its fnger-palmed coin is palm down. The
hand forms a very loose fst. (You would do this if you were
actually getting ready to slap a coin you have just fipped onto the
back of the left hand.) The coin is at fngertip-rest position in the
left hand. The tip of your left thumb is touching the tip of your left
frst fnger, which forms an opening on the thumb side of your left
hand. The coin will soon exit the left hand through that opening.
Pantomime fipping 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 fy out of the thumb
side of the left hand. The coin will then hit the fngers of the right
hand, which trap the coin between the back of the left hand and
the right fngers. If you time this correctly the fight of the coin
will be invisible. It should look as if you fipped 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 frst fnger and holds the coin horizontally (Figure
2). Ron uses LePauls 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 frst fnger 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 frst fnger 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 fngers and thumb now make a rubbing motion and show
the coin has vanished. The right hand produces the coin from
the spectators ear at the one oclock position. As the right hand
produces the coin the left hand steals the jumbo coin from the
bankers clip.
Note: Do not bend the body forward when making the steal.
Stand erect. If necessary, lean back.
Now fip the coin you just produced into the air, catch it, and
place it into your right pants pocket. Produce the jumbo coin from
the ladys 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 BALLS
I 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 frst 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. Korts 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.
Korts 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
fst (Figure 1). Relax the left frst fnger and thumb allowing the
ball to enter the left hand until it is out of sight. The left second
fnger prevents it from going deeper (Figure 2). Note: In Figure 2
the ball is shown in front of the frst fnger. This is only to show
how the ball rests on the second fnger. In performance, the ball is
hidden inside the hand, behind the frst fnger.
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 fst. It is during this
action that the left frst fnger extends slightly carrying the red
ball with it (Figure 3). This move is done under cover of the right
third and fourth fngers. The red ball is carried only far enough to
allow room for the yellow ball to rest on top of the left fst to the
left of the red ball.
As the right hand places the yellow ball on top of the left fst it
steals the red ball (Figure 4). As with the red ball, the yellow ball
is now allowed to sink into the left fst.
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 fnger-palm position. The yellow ball is below the
green ball (i.e., nearer the left fourth fnger).
Phase 1: The right hand removes a red ball from the pocket
and places it on top of the closed left fst. 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 fst
stealing the frst 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
fst. Under cover of the right hand, the left hand squirts the red
ball it has onto the top of its fst. The ball is shown and is allowed
to sink into the hand.
The problem was that I usually ate them and I couldnt do
the trick. Red was my favorite favor. But, sometimes I would get
green...sometimes yellow. Snap your fngers and then squeeze
the balls, one at a time, from the left fst onto the table (or a spec-
tators 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 fst and
allows it to sink into the hand. ...a green ball... The right hand
places the green ball on top of the closed left fst 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 fst.
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 fngers 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 fngers 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 fnds its
origin in Frank Garcias routine. Line the balls up on the table
from left to right in this order: yellow, red, and green. Watch
closely. Ill 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 fnger 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 fst. Allow the ball to sink in.
When I snap my fngers 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 fngers 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! Ill do it again. The red ball
goes here... The right hand places the frst ball on top of the
closed left fst and allows the ball to sink into the hand, but only
as far as the second fnger. ...the green ball goes here... The
right hand places the second ball on top of the closed left fst,
stealing the frst ball in the process. Allow the second ball to sink
into the fst.
Again, the ball sinks only as far as the second fnger. ...now
the yellow. The right hand picks up the third ball and places it on
top of the closed left fst, 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 fst,
taking the ball between the right frst and second fngers. 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 fngers not once but twice amazing
things happen. The right hand snaps its fngers 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.
LATEST PRODUCT REVIEWS
Compiled and Edited by W. S. Duncan
INFORMED OPINION
EQUILATERAL 3 BOOK
BY JC SUM
Distributed by Murphys Magic Supplies
Price $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 frst
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 Assistants 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 flled 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 Sums 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 carpenters 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 Sums 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 its still pretty pricey for a
115-page paperback book.
HANNIBAL: THE TRUTH FROM A LIAR TWO-DVD SET
BY HANNIBAL
Available from: www.BlackRabbitSeries.com
Price $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 dont 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 fnd their
way into your current repertoire. Its not because they require
special equipment or advanced card handling skills though
some of them do. No, the reason youll fnd it diffcult 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 justifcation of
the props, and the structure of the act itself. Hannibals approach
to magic is heavily rooted in theatre. It has narrative, through-
threads, and callbacks. There is a strong storytelling element in
Hannibals approach, but unlike other bardic-based presentations,
the story doesnt 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, Hannibals
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
fnd 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: Dont do
these tricks the way I do; fnd 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-
bals 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 Ive seen in quite a while. Its
diffcult 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 wont go into detail in this review, lest I spoil the
surprise of seeing this for the frst time. Youll 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 its not what you do, its how you do it. Its not about
the moves; its 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 Hannibals Any Card at Any Number
routine. It uses a memorized stack and a lot of improvisation. This
routine isnt 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 Hannibals version of Rene Lavands
Three Bread Crumb Trick. It is also the callback to Silver
Memories, which brings Hannibals 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 Hannibals The Truth from a Liar is going
on the list of those that I will view repeatedly.
CLAP & CHEER CUPS & BALLS TRICK
BY MARIO MORRIS
Available from: www.SchoolOfBusking.com
Price $50.00
REVIEW BY PAYNE

Yes, I know what youre thinking. Does the world really need
yet another Cups and Balls DVD? The answer of course is, no, it
doesnt really need one, but having said that, youre 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 Im 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 fnd 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 flled 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 McBrides 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 fnd of interest. Mr. Morris
has overcome the problem of having ones tip disperse after the
fnal load sequence by having them stick around, money in hand,
for the tablecloth-pulling fnale. Everything in this presentation
has been created with that fnale 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 diffcult 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 performers 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 GIMMICK
BY JAY SANKEY
Price $40.00
REVIEW BY ANTONIO M. CABRAL

Ill 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 dont
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. Its understand-
able that the explanation doesnt 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
whats offered here. Its a cute idea that Im sure gets good
reactions; theres just not much to it.
The remainder of the offerings (Sankey himself refers to the
Uncanny Collection items as their own project) is a defnite
mixed bag. A couple of the items are clearly recycled (no pun
intended) from his other DVD projects as Ive seen Sankey do on
other DVDs. A few are the germ of a good idea, and a few arent
even original. He does the vanishing saltshaker with a Coke can,
and a version of Mac Kings 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; theres 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 theres 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 its 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 Im watching a brainstorming process.
My biggest complaint here, however, is Jay himself. Much
like on the erroneously named Sankeys 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 Id
missed something; it felt like walking into the middle of someone
elses conversation. Its easy to talk about how wonderful your
magic is without actually performing any. For all his enthusiasm,
I wouldve thought hed have put the rubber to the road for us
in front of at least one audience of humans. For a magician with
Sankeys reputation, this was tremendously disappointing and not
a little infuriating.
Ill cede the point that soda and beer cans are terrifc 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. Youll 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 PAUL
AVAILABLE FROM: WWW.LOUISPAUL.NET
Dealers contact Louis Paul
Price $199.99
REVIEW BY MARC DESOUZA
I perform childrens 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, defnitely fts 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 fowerpot that has a single
tall fower 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 fower 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 fower is watered again and it perks right
up. This can be repeated four or fve 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 fower is a feather covered stalk that
extends above the pot about eighteen inches. The fower 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 fower 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 fnish 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 cant go
wrong in purchasing this marvelous prop. I highly recommend it.
THE REL CHANGE DVD
BY MICHAEL BREWER
Available from: www.vanishingincmagic.com
Price $12.00

The REL Change is a really
pretty, visual change. I have to
admit, executed properly its 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. Its
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,
youre 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 fne 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 theres 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 youll impress anyone
who gets to sit next to you on that side at your next convention
or lecture. However, by Brewers own admission at one point,
anyone viewing the move from the other side is going to get a
completely different show. Its a shame; while you might be able to
use it judiciously in a bar, restaurant, or walk-around gig, its not
going to become a workhorse technique in those contexts.
On the other hand, theres 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 DVD
BY ANTON JAMES
Price $35.00
Lets clear up some confusion;
despite the name, this is not
a version of Paul Gertners
famous and very commercial
trick. Anton Jamess Unshuf-
fed 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 dont 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. Thats the best
way to start a set with a normal deck and end with this effortless
blockbuster climax.
Thirty-fve dollars might seem a little steep for a gaffed deck,
but its not something youre 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 dont want their magic to appear like skill or
have other reasons for avoiding the faro-shuffe versions of this
trick. If youre looking to kick your card audiences in the teeth,
its an investment well made.
PROSPECT DVD AND GAFFED CARDS
BY SANSMINDS
Price $38.00

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, its easy
to fall into the mindset that if the
trick doesnt include at least two
palms, a pass, a bottom deal, and
a dozen color changes, that the
trick aint worth doing. Prospect
features one of those tricks thats
simple and direct, and absolutely
worth doing for an audience of normal
folk. Its also a product that you should
absolutely not spend your money on.
When I frst 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 theyre 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 thats something Im
sure the average non-magician wouldnt 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. Thats it. Thats the whole
effect. Again, its a fne effect to perform for a regular audience
if youre even marginally competent at equivoque. However, its
hardly earth-shattering or even original. Its 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. Browns method is powerful, but isnt easy to pull off (and
even harder to fnd 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
frst 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
doesnt justify this as a $38 purchase. You wont learn anything
about equivoque here that you couldnt fnd in a book for laymen.
And when Herman (who performs and teaches the effect, its
unclear who created it) states that using equivoque to get to a
single prediction without the outs is too contrived, Im 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 whats 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
Giobbis great book Confdences, which, among a small wealth of
other information, contains two terrifc tricks using much better
(but not much more diffcult) 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 youll 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 Mavens Multiplicity DVD,
and acquire the skills to verbally force your way to pretty much
anything, from an acknowledged master of this technique.
Again, theres nothing inherently wrong with either this trick
or the approach involved. Its just not a $38 value. Plus, Im sorry,
but anyone who uses divided cards who doesnt mention the name
Hofzinser didnt do their homework. Pass.
STEPHEN HOBBSS TECHNICAL TOOLBOX WEBSITE
BY STEPHEN HOBBS
www.stephenhobbstechnicaltoolbox.com
Price: Staggeringly Free

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 Carpenters 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 hasnt 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 fnesses 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 youre moving cards from
the bottom or the top are good enough that youll wonder why
you ever did these things any other way. Hobbss 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 hes not afraid to admit when
other people have come up with similar ideas. This isnt a vanity
project; its just a very generous offering up of some thoughts on
card magic hes developed over the years. The only worrisome
element of the whole endeavor is that, in his own words, I havent
yet decided how long Im 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 its gone, its gone. If youre a fan of
smart, practical card techniques, you dont want to be caught short
if and when this website goes poof. Get on this; itll give you
one more reason to look forward to your weekends.
AROMA GIMMICK AND INSTRUCTIONS
BY RAKESH SYAM
Available from: www.mantra-magic.com
Price $25.00
REVIEW BY CURTIS KAM
Recently, Ive 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. Im 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
fne with me. Rakesh Syams Aroma satisfes all of these require-
ments, plus a few more. Im a fan.
Aroma allows you to apparently manipulate a participants
imagination, causing her to smell an exotic scent that wasnt there
before she chose and imagined it. Its an understated effect, but a
strong one, if presented properly. The actual trick happens in the
empty palms of the participants hands, but the impact registers
on his or her face. The fact that this effect deals with the sense of
smell means that its not likely to confict with any other effect in
your show.
Youre supplied with a small, practical gimmick thats 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, Im no expert on effects that
involve scent manipulation.) Were 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.
Im told that at least one effect like this has seen general
release, Scents of Wonder, from the Magic Factory. Im also told
that the methods are different. Any questions you might have
regarding this item can be directed to Mr. Syam himself at info@
mantra-magic.com. This item was released early in 2013, but at a
much higher price. So, if this effect appeals to you, nows a good
time to give it a try.
SMUDGED TRICK
BY JOHN HORN
Available from: www.Alakazam.co.uk
Price $41.50
REVIEW BY CURTIS KAM
In case you havent guessed,
heres what happens: you
assist a spectator with
the selection of a playing
card. Its lost in the deck,
or not, destroyed in fre,
or not, and you try to fnd
it, or not. However you
decide to get to the fnale of
this trick, you fnally 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-
tators card. Weve 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 youre pretty close to the
pen. So its for small groups, or televised performances, or for
larger groups where you dont 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 briefy described.
However, effects like this rely quite a bit on the spectators
believing that they could have chosen any card. The more frmly
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 cant
say that these specially printed markers are designed to fare any
better, but that doesnt 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, its possible to work around this problem, but that issue
isnt 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 DVD
BY HONDO
Price $25.00
REVIEW BY DAN GARRETT
Some reviews are more diffcult
than others. DRUNK is a strange
offering. Basically, it doesnt
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
Hondos marked deck, which is useful
only for Bicycle Rider backs. It is a no-ink
method, but requires a sharp utility knife, not
included.
Thats 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, Im guessing). So viewing can be a bit tedious.
The teaching is framed in sort of a flm 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, Ill admit, even
though its 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 frst Ill call the Moebius strip method; the second is the
Super Glue method. Both methods have been around for years.
You can fnd 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 dont like Hondos marking
system itself, which only works for a specifc 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 Lesleys 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 TRICK
BY STEVE BEDWELL
Available from: www.jbtvusa.com
Price $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 signifcant 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 isnt. 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 wont 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 Masons 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 Steves 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 doesnt
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 signifcant 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
companys main competitor is fond of saying, Just do it!
RADIO ACTIVE GIMMICK AND DVD
BY DRUSKO AND TITANIS
Price $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 effectis 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 dont
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 diffcult for most of us. It could be your
signifcant 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 fles 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 PROPS
BY SHIN LIM
Distributed Murphys Magic Supplies
Price $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 refned 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 doesnt fy. 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 dont 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 fy 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 Lims 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 TRICK
BY BRIAN SCHWENGER
Available from: Theater52.com
Price $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 fnd 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 frst 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 todays 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 dont already own some version.
STABBED TRICK
BY SIMON DRAKE
Available from: SimonDrake.co.uk
Price $50.00
REVIEW BY PAYNE

This trick isnt going to be everybodys 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 Drakes Stabbed is right
up our demented and disturbed dark alley.
Its 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. Drakes 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 infict greater
damage on themselves Mr. Drake offers a price break of three
knives for $133 or fve 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 wont
puncture or harm your outft (unless of course you employ the
blood option) because no tapes, hooks, or adhesives are employed.
Sadly, the effect wont 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 Ill 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 TRICK
BY CAMERON FRANCIS
Available from: bigblindmedia.com
Price $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-
meyers Nine Card Problem
and Burgers 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 fipped over; the word LIE
is clearly emblazoned upon it. (Of course, the same procedure
would have been used for black, moving fve 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 fnally
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 fipped 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 youre a fan of packet
tricks or effects with a lie detector theme, you really cant 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
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 fnd 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.
Its 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 flm 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 flm
as the camera moved from left
to right. I remember seeing
my parents 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 havent already downloaded the S.A.M. app, Magic
SAM, please do so. Youll fnd 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 (SAMtalkBruce@cox.net).
By Ken Klosterman
ALEXANDER HERRMANNS
CONES AND VASE
The name Herrmann was synonymous with magic around the
globe for over ffty 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 Herrmanns
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 Herrmanns 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. Herrmanns
tremendous artistic and fnancial 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 flled 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-
rmanns 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 Herrmanns 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 14 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 husbands death. From Russell,
the apparatus went to another Batavia magician, George Hawley,
and fnally found a home in the Salon de Magie.
Herrmann door hanger
Treasures from
the Salon de Magie
INSIDE STRAIGHT
BY 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 weve 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 dont believe in magic. I respond with,
Thats fne. 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. Its 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 cant win,
dont 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 cant win.
I had a recent situation in which I didnt follow my own advice;
I also didnt 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 doesnt 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 dont.
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 dont want to see it. When we approach a table, we
dont 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 frst, 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 firt 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.
OUR ADVERTISERS
B. Happie Entertainment 7
Bob Kohler Magic 10
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Christian Painter 57
Genii Magazine 71
George Parker 69
I.B.M./S.A.M. Convention 2014 23
Jim Kleefeld 4
Joe Mogar - Magic Stars 35
LaRock's Fun & Magic Outlet 2
L&L Publishing 45
M.H. Magic Magazines 9
MiX16 Apps by Gregor Krasevec 43
Nielsen Magic 26
S.A.M. Convention 2015 3
S.A.M. Life Membership 72
Show-Biz Services 9
Theatre Magic 35
The Magic Bakery 27
T. Myers 4
Tony Cabral 31
By George Schindler
WORLDS FAIR
I dont remember too much about
the 1939 Worlds 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 fre engine
that was being pulled by two horses. It was
at this exhibit I frst 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 didnt 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 didnt 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 Worlds 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 Worlds 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 fftieth and seventy-ffth
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 Yorks favorite
underground magicians,
who infuenced dozens of
well-known close-up magicians. I missed
the frst two shows in 39 and 64, but Im
happy I did not miss this one.
The Dean's Diary
1965 Magicians Day at the Fair (Photo Irving Desfor)
Trilon and Perisphere

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