manon rodriguez the wearer of many hatsc.ymcdn.com/sites/€¦ · 54 ebook nook: the card magic of...

AUGUST 2014

MANON RODRIGUEZTHE WEARER OF MANY HATSPage 36

http://www.magicsam.com/annual-convention

http://www.larocks.com

MAGIC - UNITY - MIGHT Editor

Michael Close

Editor EmeritusDavid Goodsell

Associate Editor W.S. Duncan

Proofreader & Copy EditorLindsay Smith

Art DirectorLisa Close

PublisherSociety of American Magicians, 18915 East Briargate Lane, #1F

Parker, CO 80134 Copyright © 2014

Subscription is through membership in the Society and annual dues of $65, of

which $40 is for 12 issues of M-U-M. All inquiries concerning membership, change of address, and missing or replacement issues

should be addressed to:

Manon Rodriguez, National AdministratorP.O. Box 505, Parker, CO 80134

[email protected]: manonadmin

Phone: 303-362-0575Fax: 303-362-0424

To file an assembly report go to:www.mum-magazine.com

For advertising information, reservations, and placement contact:

Cinde SandersM-U-M Advertising ManagerEmail: [email protected]: 214-902-9200

Editorial contributions and correspondence concerning all content and advertising

should be addressed to the editor:Michael Close - Email: [email protected]

Phone: 317-456-7234Submissions for the magazine will only be

accepted by email or fax.

VISIT THE S.A.M. WEB SITEwww.magicsam.com

To access “Members Only” pages:Enter your Name and Membership number exactly as it appears on your membership card.

4 M-U-M Magazine - August 2014

http://www.customplayingcards.com

http://www.tmyers.com

AUgUst 2014

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

Volume 104 • Number 3

THIS MONTH’s FEATURES24 I Left My Cards at Home • by Steve Marshall26 Blast from the Past28 Nielsen Gallery • by Tom Ewing30 Illusions of Grandeur • by David Seebach32 Cheats and Deceptions • by Antonio M. Cabral34 Hit the Road • by Scott Alexander36 COVER STORY • by Mark Weidhaas41 Tech Tricks • by Bruce Kalver42 Combined Convention Photos46 Not Just Kid Stuff • by Jim Kleefeld48 The High Road • by Mick Ayres50 For Your Consideration • by George Parker54 Ebook Nook: The Card Magic of Nick Trost58 Messing with Your Mind • by Christopher Carter60 Informed Opinion • New Product Reviews 68 Salon de Magie • by Ken Klosterman69 Inside Straight • by Norman Beck70 The Dean’s Diary • by George Schindler70 Basil the Baffling • by Alan Wassilak

MAGAZINEM-U-M

August 2014 - M-U-M Magazine 5

Photo by Dale Farris

Cover Story PAGE 36

Poster Image by Bruce Kalver

Cover Photo by Lisa Close

S.A.M. NEWS 6 From the Editor’s Desk

8 From the President’s Desk 10 Newsworthy 11 M-U-M Assembly News 22 Broken Wands 35 Good Cheer List69 Our Advertisers

46

42

Photo by Dale Farris10

28

Editor’s Desk

In any organization, there are people who work behind the scenes, communicating with members and officers, and keeping track of the daily minutia that allows things to run smoothly. In The Society of American Magicians, National Administra-tor Manon Rodriguez is one such person. As the cover photo suggests, Manon wears many hats; she is the go-to woman for just about any situation that arises, and she handles these events with grace and good humor. The thing most members don’t understand about Manon is how to pronounce her name; it’s Man-oh, with the emphasis on the first syllable. As you’ll learn in PNP Mark Weidhaas’s article on page 36, Manon is also a very successful businesswoman who (along with husband, PNP Dan Rodriguez) has raised four talented children.

Lisa, Ava, and I attended the combined I.B.M./S.A.M. combined convention last month, and it was quite a gathering, with more than 1,300 magicians attending. For me, the problem with a large convention like this is that I see more friends than I have time to adequately visit with. But it was really great to reconnect with old pals Lupe Nielsen, Dustin Stinnett, Seth Kramer, Joe Stevens, Christian Painter and Katalina, Christian Engblom, Danny Archer, Sandy and Susan Marshall, Lindsay Smith, Tom Ewing, and others too numerous to mention here.

One person whose work schedule kept him from attending was Mick Ayres, who received the Leslie Guest Award for Literary Ex-cellence for his continuing column, The High Road. Every month I find something of interest in Mick’s column; in fact, I perform two of his effects all the time. If you have overlooked his articles, go back and check them out. You’ll be a better magician for doing so. Congratulations, Mick.

This month you’ll find photos from the first two days of the convention. More photos will follow in the September issue.

Contests were a big part of the combined convention, but because three different organizations (I.B.M., S.A.M., FISM) were judging the acts at the same time, the announced results were a bit confusing (even for those who attended all the contests and the awards ceremony). I asked S.A.M. contest chairman Vinny Grosso to clarify the proceedings. Here are his comments and the contest results:

Confused about the contest at the combined I.B.M./S.A.M. convention? You are not alone. If you went to all six contest shows you witnessed a FISM North American Championship, a People’s Choice Award voting, an I.B.M. contest and an S.A.M. contest. This was much different than in 2008, when there was no affilia-tion with FISM at the combined convention. It was also a different situation than that in 2011 when the S.A.M. hosted the first FISM North American Championships.

The key element that had to be dealt with was that the I.B.M. and the S.A.M. have members from all over the world; conse-quently, their contests are open to all of their members. FISM has created continental championships where only residents of those continents are eligible to participate. The combined convention organizers wanted to preserve the I.B.M. and S.A.M. contests, making sure they were open to all members, while also hosting the FISM North American Championships.

The end result was that four preliminary contest shows (three stage performances and one close-up performance) of nearly sixty contestants were judged by a FISM panel using FISM criteria. These contests produced two results: the North American Champions, in both stage and close-up, as well as which contes-tants (North American) would receive an invitation to compete at FISM. They were:

Stage – 2014 North American Champions Trevor & Lorena Watters (Canada), Christian & Katalina (USA), Trent James (USA), the Reed Sisters (USA), Trigg Watson (USA), and Tim Wright (USA)

Close-up – 2014 North American Champion Shin Lim (Canada), Michael Dardant (USA), Hannibal (USA), Alberto Lorenzo (USA), and Reuben Moreland (USA)

The FISM contest fee (but not the registration fee) is waived for the people getting invites to FISM. There were nine stage slots and six close-up slots available. Contestants had to meet a minimum score to be eligible. Four stage slots and one close-up slot were left unfilled.

The FISM panel of judges was also responsible for selecting the seven highest-scoring contestants in both stage and close-up (regardless of their country of origin) for the two contest finals shows. They were:

Stage – Cheol-Seong Choi (S. Korea), DenDen (Japan), PoCheng Lai (Taiwan), Hun Lee (S. Korea), Natalie & Eli (Switzer-land), Sheldon Wang (China), Trevor & Lorena Watters (Canada)

Close-up – Martin Braessas (Argentina), Michael Dardant (USA), Hannibal (USA), Shin Lim (Canada), Alberto Lorenzo (USA), Reuben Moreland (USA), Seol Park (S. Korea)

The finals were, in effect, both an I.B.M. and an S.A.M. contest. Each organization had its own panel of judges and each gave out its own awards. The convention also sponsored a People’s Choice award for the two finals show. The I.B.M., S.A.M., and People’s Choice produced some different results.

People’s Choice Awards: Close-up – Shin Lim (Canada), Stage – Hun Lee (S. Korea)

I.B.M. Awards: Close Up – 1st Place ($2,000) Michael Dardant (USA), 2nd Place ($500) Alberto Lorenzo (USA); Stage – 1st Place ($2,000) Hun Lee (S. Korea), 2nd Place ($500) DenDen (Japan). The I.B.M. did not award their highest honors, finding no one had met their criteria.

S.A.M. Awards: Close-up – High Score ($2,000) and Award of Merit Silver Medal ($500) Seol Park (S. Korea), 2nd High Score ($500) Reuben Moreland (USA); Stage – High Score ($2,000) and Award of Honor Gold Medal ($3,000) DenDen (Japan), 2nd High Score ($500) and Award of Merit Silver Medal ($500) Hun Lee (S. Korea). The Originality Award was also presented to Hun Lee.

The S.A.M. gave DenDen from Japan the Gold Medal Award of Honor. This is only the second time a gold medal has been awarded for stage. The previous recipient was George Saterial in 1999. The gold medal has been awarded twice in Close-up: Johnny Ace Palmer in 1988 and Eric DeCamps in 1995. This makes the gold medal winners part of a very exclusive club. There was an expert panel of judges for the S.A.M. Stage Contest: Stan Allen, David Kaye, Casa Kim (the Korean College of Magic), Tina Lenert, and Brian South. DenDen’s act is unique and expertly performed. It was the belief of the panel that it’s destined to be a classic in magic.


Michael Close

Phot

o by

five

byph

otog

raph

y.co

m

http://www.mhmagicmagazines.com

http://www.magicsummit.com

Kenrick "ICE" McDonald

President’s Desk

Thank you for all of your support this year by attending the I.B.M./S.AM. combined convention. Led by the combined co-chairmen and their committees, the convention was a wonderful experience. Moving a crowd of approximately 1,300 attendees from place to place was done with precision, and I congratulate you. A special thanks to Randy Kalin and his team for assisting with the transportation to and from the airport, as well as other destinations throughout the city.

I was extremely proud of the turnout of the young artists who attended; your presence didn’t go unnoticed. I would like to encourage all of you to keep watching the Society for new and exciting programs for young artists. Stay tuned for more conven-tion coverage next month.

As I mentioned in earlier articles, this is the “Year of the S.A.M. Members.” I am giving members the opportunity to let us know their issues and concerns regarding The Society of American Magicians. During the next three months, starting this month (August), I want to hear from you. The objective of this campaign is to come up with ways to improve local assem-blies, regional outreach, and the connection between the national council and its members. Due to the number of members in the Society, I ask that everyone limit their comments to a small paragraph. Please do not write a book; it will not get read. I ask that you respect the process, while letting us know what’s on your mind. The national council will list the issues submitted and will figure out, based on the list, how to address said issue, or whether or not to address the issue. However, if this is going to work, there are some rules that must be followed:

1. Do not address any issues that don’t directly involve you or that you do not have firsthand knowledge of – no hearsay.2. Do not address personal issues that have nothing to do with

the Society.3. Do not be mean spirited or use any blue language. If we

receive any comments that contain any such language, your comments will not be considered.4. Comments sent in anonymously will not be addressed.

You must include your full name, membership number, your assembly number, and be a member in good standing.

Please send your comments to me at [email protected].

I am pleased to announce a new achievement award that goes along with one of my themes for this year, “Honoring our Members.” The award will highlight and honor individual S.A.M. members and their achievements. The regional vice presidents will select and submit an individual from an assembly in his/her region. I will award that individual with a Presidential Certificate, the second highest award given by the S.A.M.’s national president. In extraordinary cases, a Presidential Citation, the highest award given by the S.A.M.’s national president, can be requested by

the regional vice president. This award will bear the presidential signature and seal. The regional vice president will also sign it and arrange for it to be awarded to the member. Each month the honorees will be highlighted in M-U-M.

The Society of American Magicians has launched an official Facebook page that is exclusively for the members. Yes, there are a couple of Facebook pages out there; this one is called “The Official S.A.M Member’s Facebook Page.” This page is designed to get the latest official information from the national council to its members, facilitate member-to-member communication, and to be a direct line from members to the national council. Only members in good standing will be allowed to post and receive messages. There will be guidelines that are consistent with the standards of the S.A.M.

THE PRESIDENT’S GOOD WILL PERFORMERS OF THE MONTH:

Dick Brookz and Dorothy Dietrich, for the unselfish care and upkeep of Houdini gravesite.

On September 27, 2011, Dick Brookz and Dorothy Dietrich, owners of the Houdini Museum in Scranton, Pennsylvania, replaced the bust of Houdini at the Houdini gravesite, at their own expense. It had been destroyed by vandals a few years earlier.

Dick and Dorothy have invested quite a bit of their time and money into maintaining the gravesite for the past several years. During the S.A.M. national council meeting held in Boca Raton, Florida, in November of 2014, the Society unanimously voted to approve a motion for the S.A.M. to take over care and maintenance of the gravesite. We are currently looking into repairs needed to restore the gravesite. We would like to thank Dick and Dorothy for all the time, work, and money they have contributed to this effort.

THE PRESIDENT’S YOUNG MAGICAL ARTIST OF THE MONTH:

Harrison Lampert

Harrison Lampert has been perform-ing magic for the past fourteen years. Starting in the Society of Young Magicians, he is now a life member of the S.A.M. Harrison has competed in some national conven-tions and was given the opportunity to judge one of them. He graduated from Temple University

with a BA in theater, and performed in various plays and comedy


S.A.M. National Officers

Dean: George Schindler, 1735 East 26th St., Brooklyn, NY 11229, (718) 336-0605, Fax (718) 627-1397, [email protected]: Kenrick “ICE” McDonald, P.O. Box 341034, Los Angeles, CA 90034, (310) 559-8968, [email protected] Elect: David Bowers, (717) 414-7574, [email protected] Vice President: Jeffrey Sikora, (402) 339-6726 [email protected] Vice President: Richard Bowman, 719-527-0678, [email protected]: Marlene Clark, 274 Church Street, #6B, Guilford, CT 06437, (203) 689-5730, Skype: marlene.clark, [email protected] Treasurer: Eric Lampert, (215) 939-5555, [email protected]

Regional Vice Presidents

New England: CT MA RI NH ME VTThomas D. Gentile, 413-533-7653, [email protected] Atlantic: NY NJ Eric DeCamps, (718) 896-5861, [email protected] Mid Atlantic: PA DE MD VAWV DCArlen Z. Solomon, 215-443-7908, [email protected] South Atlantic: FL AL GA MS NC SCJames M. Driscoll, 770-603-9266, [email protected] Central Plains: KY TN OH IN MISteven A. Spence, (317) 722-0429 [email protected] Midwest: IL MN WI MO ND NE KS SD IAShaun Rivera, (618) 781-8621 [email protected] South Central States: TX AR OK NM LAMichael Tallon, (210) [email protected] Southwest: CA AZ NV HIRon Ishimaru, (808) 428-6019, [email protected] Northwest: WA OR UT ID CO AK WY MTJames Russell, (360) 682-6648 [email protected] Canada: Lon F. Mandrake, 604-591-5839, [email protected] Society of Young Magicians Director: Jann Wherry Goodsell, 329 West 1750 North, Orem, Utah 84057 (801) 376-0353. [email protected]

Living Past National Presidents

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

clubs in Philadelphia. He moved to Los Angeles, where he was cast in The Incredible Burt Wonderstone. Harrison was also accepted into the Groundlings School, where he has been studying improvisational and sketch comedy for the past four years. Along with studying at The Groundlings, he has also performed in several improv shows there, including his own stand-up, sketch, and magic show that he wrote, directed, and performed. He is proud to say that he has the longest titled show in Hollywood and possibly all of Los Angeles. He has also been writing and producing his own short sketches, one of which, The Legends of the Hidden Temple movie, was featured on the Entertainment Weekly website. Magic has always been a part of his life; he has been able to pull from it and incorporate it into his comedy. He used his magic background to make the very popular Magician vs. Wild sketch.


http://www.showbizmagic.net


2014 Milbourne Christopher Awards I.B.M./S.A.M. Banquet, Friday, July 4th

The Milbourne Christopher Foundation was estab-lished to encourage excellence, originality, and leader-ship in the magical arts and to help keep conjuring on a level with the other most popular entertainment forms – dance, drama, comedy, and music. Headquartered in New York City, the foundation sponsors the annual Milbourne Christopher Awards to spotlight the best magic has to offer contemporaneously in performing, writing, publishing, and invention.

Milbourne Christopher, author or editor of more than twenty books on magic and extra-sensory percep-tion, was named national president in 1957-58, after a term as head of the New York Parent Assembly 1. He created and starred in the first prime time network television magic, which aired on NBC and on European

networks in 1957. Earlier, in 1951, he revived M-U-M as a separate publication and edited it for five years. Chris-topher died in 1984 at the age of seventy.

The Christopher Foundation award winners are selected by a panel of judges comprised of leaders from the magic community. William V. Rauscher functions as chair. Other judges include Thomas A. Ewing, Raymond J. Goulet, Tony Clark, and Michael Miller.

Winners

• Illusionist Award – Alex Ramon• Mentalist Award – Joseph Curcillo• Close-up Award – Dani DaOrtiz• Visual Magic Art Award – Rick Heath• Masters Award – Dale Salwak• Literary Award – Jim Steinmeyer• Lifetime Achievement Award – Stan Kramien

Willam Rauscher with award winners. Top row: Alex Ramon, Joseph Curcillo, Dani DaOrtiz. Middle Row: Rick Heath, Dale Salwak, Jim Steinmeyer. Left: Christopher Award Winners (absent - Stan Kramien) Photos by Dale Farris

Newsworthy Updates From oUr s.a.m. members

ASSEMBLY NEWSSociety of American Magicians Monthly News

August 2014 Volume 104, Number 3

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

2FINISH CLEAN

SAN FRANCISCO, CA— Tonight’s lively teach-in, taught by Corky LaVallee, revealed several versions of the Ambitious Card routine. First he demonstrated the simplest method using a double lift. Next, Corky caused a signed card to appear on top of the deck. He then applied a triple lift for a more sophisticated method. Yes, it’s all about method.Tonight’s theme centered on

laundry. What kind of magic can be performed with this theme and its many byways? Besides laundry soap and cloth, rope can be used and even coins, which of course are needed at the laun-dromat. Rich Seguine provided humor with a bubble-blowing act. Rich then followed with more serious magic – Tommy Wonder’s excellent Rubick’s Card effect. Hippo Lau, assisted by Nathan Ng, staged a selected, signed card effect. After the card was replaced in the deck, it disappeared from the deck and was discovered in a laundry soap box with the phrase “finish clean” printed on it. With a white handkerchief Stu Bacon exposed the secret of a left-hand-ed hanky that required a special method to tie a knot in it. Rob Shapiro entertained with his white and red ropes routine. Tying a knot in the white rope, he caused the white knot to move to the red rope, whereupon the knotted segment of the red rope became white. Nathan presented his superb memorized card effect. Stu and Rich assisted by selecting cards. First Nathan spread the deck face up and memorized the sequence of cards. Then Stu’s card was replaced in the deck, and Nathan identified it. Rich followed by selecting a card and then replacing it in the deck before the deck was spread face up. The mage easily recognized Rich’s card. Corky returned to stage his laundry theme effect. Displaying a stack of glasses, he poured clear water into the top glass. Once the water reached the bottom glass, the liquid had become yellow. The liquid in the glass above was green

and red in the next glass above. Corky utilized the red liquid as a dye and dyed a white cloth white and then changed it into blue. John Caris, assisted by Rob, performed John Scarne’s Six Cent effect. John divined which of Rob’s hands held a penny and which a nickel. Mary Caris enjoyed the evening’s show and assisted with the cookie vanishing act. —John CarisGolden Gate Assembly 2 meets first Wednesday at 7:30 p.m. at Community Room of Taraval Police Station, 2345 24th Avenue, San Francisco. Contact Corky LaVallee [email protected] (415) 648-1382 https://www.facebook.com/groups/249018441875771/ for more details.

4LECTURE ON THE HISTORY

OF MAGIC IN PHILADELPHIA

PHILADELPHIA, PA— Our May meeting featured two practical workshops on paper money magic and rope miracles in addition to a most informative and entertaining lecture on The History of Magic in PhiladelphiaGeorge Hample started things

off with a hands-on workshop on paper money magic during which he taught the handling of many fine effects including his very own Counterfeit Bill Effect as well as Beswitched. Across the way from George, Charles Murter presented a fine workshop on rope magic during which he taught a number of variations on The Professor’s Nightmare as well as the Block on Cord effect.Following these excellent

workshops, National SAM Historian Tom Ewing brought the History of Magic in Philadelphia alive through a lively presentation which incorporated a slideshow, vintage photographs, theatre programs and even actual effects created right here in the City of Brotherly Love. Tom shared with us the history of the Yogi Club and the Houdini Club as well as the origin of SAM Assembly 4 which was named after Philadel-phia Patent Attorney Charles Wo-

bensmith who was a close friend of Germantown native Walter Gibson. Tom also discussed the numerous magic shops to which the city was once home, Houdini’s use of the city to expose false mediums, and Assembly 4’s 1938 Banquet honoring Thurston which was attended by not only Thurston, but also Walter Gibson and Harry Blackstone, Sr. Tom explained how much Harry Black-stone, Sr. enjoyed performing in Philadelphia annually through the 1950’s and how our very own Adele Friel Rhindress joined his act for the very first time here in the city on October 6, 1947, at the Walnut Street Theatre. Adele, who was present for the lecture and who is beloved by all, rose to her feet in recognition and was given a rousing round of applause. It was a great evening which we ended as we typically do by visiting our favorite local diner where the fun continued. —Peter S. CuddihyAssembly 4 meets the third Thursday at 7:00 p.m. at the Bustleton Memorial Post, 810 (American Legion) 9151 Old Newtown Road Contact www.sam4.org/ for more details.

6MAGICAL DOINGS IN JUNE

BALTIMORE, MD— New member Mike Parkinson was welcomed into the assembly and duly invested with his S.A.M.

accoutrements. After briefly discussing a possible future lecture, it was on to magic. Peter Wood, declaring himself “a 33% mentalist,” went on to divine three different cards thought of by three different spectators from three different decks. It looked like 100% mentalism to us. Guest Charles Covington showed us “a little something with coins,” passing silver dollars one by one through a small ceramic cup with an even smaller bottom hole. He then did a fine bare-handed Coins Across. Mentalist Oneil Banks, pointing out that ESP cards can look more impressive to a lay audience than regular cards, went on to predict all five selected by a spectator. Joe Bruno performed a comic

four-card You Do As I Do that Baltimore’s Frank Thompson used to drive people nuts with (in June’s M-U-M, p. 50). He followed with another puzzling card effect and graciously tipped both. Tony Anastasi showed how to make “a mental trick” out of an all-backs deck (and used a rarely seen paddle move with a card). Jarod Raitsky brought out a deck of cards so ancient looking we were all afraid to touch it. But it was a new deck printed to look old, and he went on to reveal all three of his volunteers’ cards. Jeff Eline put the four Queens to work

to find his spectator’s card. He then showed some well-practiced silver dollar work with the set he purchased at last month’s Mark Mason lecture. Mark Wolfire “sawed a joker in half” and


Our Very Own Elusive Moth, Adele Friel

Rhindress, performing with Harry Blackstone,

Sr.

Ralph Fowler performing his famous hand-produced

Haunted Matchboxes


Assembly News

restored it backwards, while we all provided musical accompaniment to “We Will Rock You,” certainly one of the weirder moments of the evening (Axel Hecklau’s One: Twist). Howard Katz had his spectator cover a spread of cards with a close-up mat (“this is better if you can’t see it ... like most of my magic”), then ascertained the spectator’s selection with his back turned. Jay Silverman had four different volunteers shuffle five cards each, then merely think of one. Collecting the cards and shuffling them, he then divined each thought-of card (an oldie, a Paul Fox effect?). Ralph Fowler closed the evening with his well-known home-made Haunted Matchboxes. —Eric HoffmanThe Kellar/Thurston Assembly 6 meets every first Thursday at 8:00 pm at the Magic Warehouse, 11419 Cronridge Drive suite #10 in Owings Mills, Maryland. 410-561-0777. Contact Andy London [email protected] www.baltimoresam.com for more details.

7JUST WHAT I NEED!

OMAHA, NE— The June meeting of the Omaha Magical Society was our annual garage sale. This year was a veritable smorgasbord of items, ranging from DVDs, books, and close-up effects to a hand chopper and some other stage effects. In all, tables were set up by six magicians in what I sometimes I consider a “magic exchange.” Let’s see who is no longer doing what. After about an hour and a half of ne-gotiating, the “dealers” closed up shop. Perhaps someone bought an

item to be used at our next meeting, which is themed “close-up magic.”The Omaha Magical Society

has been fortunate to have a large donation from the estate of local magician Warren Mattes that has been used to generate income and provide incentives for prospec-tive performers at meetings. This

collection of goodies has been further enhanced through the generosity of Dave Arch, who has donated magic that he no longer uses. We’re hoping that prudent use of these items will expand the talents of Omaha Magical Society members. —Jerry GolmanavichOmaha Magical Society meets usually every third Monday at 7 p.m. at the Southwest Church of Christ near 124th St. and West Center Road, right across from where Hooters used to be. Contact jerry golmanavich [email protected] (402) 390-9834 for more details.

13A GREAT NIGHT OF MAGIC

INCLUDES A BASEBALL TRICK

DALLAS, TX— President Frank Seltzer called Assembly 13 to order and initiated the business portion of the meeting. Soon after business was finished, the night’s performances began with Doc Grimes asking Fran Hatzenbuhler to remove eight cards from the deck and to pick one. Fran’s card was returned the middle of the packet and Doc split the packet into two groups of four cards. John Hatzenbuhler confirmed that the selected card was in the packet. Then Fran „invisibly“ pulled her card from John’s grasp. In the end, Fran’s card was magically removed from John’s packet, which now contained three cards.Ian Richards performed another

card trick by asking Geoff Grimes to select a card. Doc selected a card and returned it to the middle of a half face-up/half face-down deck. Ian then split the deck and shuffled; all the cards were now facing the same direction. After instructing, Doc waved his hands over the deck and all cards appeared face up with the exception of Doc’s.Diamond Jim Tyler performed a

numerology routine. Mike Blum was given a grid of numbers and instructed to circle one number and cross out the other numbers in the row and column. This was repeated this until all the numbers were either selected or crossed off. Mike’s final selection equaled thirty-four. Meanwhile, Diamond Jim made his own predictive magic square whereby summing a variety of patterned quadrants also equaled Mike’s freely-se-lected sum of thirty-four. Finally, Diamond Jim asked everyone who was the most famous player of the Texas Rangers. The group responded unanimously that it was indeed Nolan Ryan. Jim removed his outer shirt to display a Rangers baseball shirt, proudly display-ing the name and number (34) of

Nolan Ryan on the back.George Ferrin followed with

card mentalism and Ian Richards supplied his own deck of cards for the trick. Ian split the cards into four piles and selected a pile and thought of a card from his pile. After instructing Ian to deal, count, and cut the cards, George correctly revealed to Ian and everyone else that the chosen card was of the Seven of Spades.Wrapping up the evening’s per-

formances, Derrel Allen signaled a heart-shape with his hands toward club member favorite Fran Hat-zenbuhler and then he proceeded to produce coins from the heart. —The Scribe of the ScrollThe Dallas Magic Clubs is S.A.M. Assembly 13, chartered on October 4, 1924 by MI President Harry Houdini. Meetings are held the third Tuesday of each month at 7:00 pm at Theater 166, 2425 Parker Road, Carrollton, Texas 75010. Contact Dal Sanders [email protected] (214) 902-9200 www.dallasmagic.org for more details.

17LAST MEETING BEFORE

THE SUMMER

SPRINGFIELD, MA— Our June meeting is our last before September rolls back around, but more important, it was our last with Bob Carroll in town. Bob and his wife Deb are packing up and heading to California. We’re all sad to see them go, but wish them all the best as they start this new chapter of their lives.Tonight’s theme was parlor

magic, so naturally there were a lot of card tricks. Tom Gentile started us off by having a card selected and remem-bered. He then donned a “metal-mind-reading cap” with a phone attached, and had the person who selected the card mentally send him the identity of the pasteboard. A third person, on the other end of the phone, then correctly named the card. Rich Pinsonnault was next with a production of coins from within a handkerchief –

clean, clear magic at it’s best.Peter Lennis shared a four-Ace

production that he came up with (working title: Aces), in which the Aces were placed in separate spots in the deck by a volunteer, yet without any visible movement on Peter’s part, they collected together again. This was very direct and baffling, a wonderful new idea. Dillon performed Dazzling Diamond, a close-up version of Tenyo’s What’s Next. Basically, a card was selected and another card was shown to be a prediction of what the selected card would be. As Dillon rotated the single prediction card, it kept changing to different predic-tions until it finally matched. Jeff Pyzocha performed Tenyo’s Tower of Dice, a baffling little illusion. PJ Pinsonnault performed a multi-phase routine in which coinci-dences seemed to happen over and over.

Eddie Kazar, current holder of the prestigious (and self-pro-claimed) title of Worst Magician in the World, read the minds of several people and was able to tell them where they would most like to visit in the world. Finally, Leonard Nadeau performed a trick he learned from the late, great Aldo Colombini in which ropes penetrate each other and link at the middles as they pass under a napkin. —Karen GibsonDr. I.R. Calkins Assembly 17 meets the first Friday of every month at 7 pm at RP Magic Shop/Moto X Equipment; 69 East Street, Ludlow, MA. Contact Rich Gilbert [email protected] (413) 210-5725 www.assembly17.org for more details.

19HOT MAGIC IN HOUSTON

HOUSTON, TX— The tempera-tures are rising in Houston along with some of the hottest magic you will find. We have Michael Dardant lecturing on June 10 and then Daryl will be here on July 8. Scott Wells keeps the great lectures coming our way. Our annual BBQ picnic was a great

Seller Bob Buczkowski with buyer Noah Ryan and

Dave Arch

Diamond Jim Tyler shows Mike Blum some Numerology

Bob Carroll and his Farewell Cake


Assembly News

success with good attendance along with fun magic as well. Our performances began with

Marti Stein, who simply removed a full-sized shovel from a rather average-sized paper bag. The shovel looked pretty good from my front row seat as well.Rick Hebert had a deck thor-

oughly shuffled and mixed several times before he mixed it again and then restored it instantly. Two fairly selected cards were then lost in the deck and amazingly found by Rick. He was looking for feedback on this one, and several of us gave him some positive feedback. David Hinken showed us two

metal tubes that were screwed together, with a quarter separat-ing the open junction between them. Quarters were then placed into one end of the tube and caused to penetrate one at a time through a series of moves. Looked like a nice pocket trick to carry around.Roger Johnson shared an effect

using a small wooden tube and die. The die was firmly locked into placed with a wooden dowel, yet s o m e h o w managed to free itself, even when the dowel’s ends were firmly held in place. Roger is great with his stories as well.Mark Melchor produced a

gigantic straw from a McDonald’s Happy Meal. This was followed with a Rubik’s Cube effect in which the cube was restored to normal with a simple flip in the air. Jamie Salinas borrowed Roger Johnson’s watch and handed it to America for safekeeping. He then changed its time by a called out number of minutes. When checked, he was right on time.David Rangel had any card and

suit called out. He dealt out the cards onto the table face down and then narrowed the selection down to just one named card. When the cards were revealed, all were blank except for the called-out card, even the original deck from which they came. Max Bradshaw vanished the four Kings one at a time, and then revealed them in a magical way for a nice flourish finish. —Miles RootAssembly 19 meets the first Monday of every month at the International Alliance of Theatrical Stage Employees Local 51 Meeting Hall, 3030 North Freeway, Houston, TX. A teaching lecture begins at 7:30 pm with the meeting beginning

at 8:00 pm. Contact Miles Root [email protected] (281) 334-7508 houstonmagic.com for more details.

21BACK-TO-BACK

LECTURES

WEST HARTFORD, CT— Our May and June meetings saw back-to-back lecturers.In May, Kent Axell presented his

“Things to Consider” lecture, with a focus on mentalism. Some of his key concepts included; “Brutal honesty” with your effects; Emphasis on the “puzzle” aspect; Implicit v. Explicit instructions to a spectator. He offered a tip for doing Crazy Man’s Handcuffs: raise the finale to eye-level, rather than at crotch-level.He did some effects using the

Aronson stack, an Invisible Deck variation that involves the audience. He played a “game” with Dan and Jason – a variation of Out Of This World. Other effects: Poker Face, using a

duplicate and a Mexican Turnover, Art Fraud, wherein three people draw a secret image and a fourth examines them, finishing with the mage drawing a picture based on that fourth person’s “thoughts,” plus many others.And in June, Francis Menotti

presented his „Shuffles & Scripts“ lecture, starting with a „shuffle“ routine – a clever skit with voice patterns matching the shuffling.Some of his other effects: a

prediction called Vivid; a coin through shirt illusion aka Materi-alistic; a gag routine called Anti-Prediction; a wonderful predicting effect using the calculator app on a spectator’s cellphone (this used a swindle known as the „toxic“ force); Fax, which uses a duplicate to make a signed card appear anywhere; and Smack, which uses a „singular double“ life.After the break, he told us some

disaster stories and how he got out of them. He did Bill-Ver, in which a dollar bill transforms into a silver dollar and back. He taught us the basics of a proficiency-build-ing exercise for the club called „Shift Or Get Off The Pot.“ He finished with a three-part effect called Sync wherein he repeatedly

found the mate of a selected card. —Dana T. RingAssembly 21 meets 2nd Monday of every month (except December) at Angelo’s on Main, 289 South Main Street, West Hartford, CT Contact Dana T. Ring [email protected] (860) 5239888 www.ctmagic.org for more details.

22THE AWARDS BANQUET

LOS ANGELES, CA— The Southern California Assembly 22 has traditionally held a banquet each June to install its newly elected assembly officers and to present awards and trophies to those members who have excelled in a variety of performance cat-egories during regular assembly meetings. This is always a highlight of the assembly year and is well attended by members, spouses, friends, and guests, who come not only for the official events but for the socializing, a great meal, and a very entertain-ing magic show. S.A.M. Hall of Fame & Magic Museum President John Engman served as toastmas-ter for the evening’s festivities.Prior to the meal, Steve Jennings

and Kim Hallinger conducted the “Turning of the Plate” ceremony for two of our assembly members who had passed away during the past year: Roland E. Hill and Toni Perrine. This ceremony dates back to the early S.A.M. annual banquets in New York City before the S.A.M. became a national orga-nization. The Southern California Assembly has, during its eighty-three-year existence, continued to use traditional S.A.M. ceremony rituals and is proud of the S.A.M. history and heritage.Stevens Steak & Seafood in the

City of Commerce, California, has served as our banquet restaurant for a number of years and is a Los Angeles institution. Past National President Ed Thomas installed the 2014-2015 assembly officers, after which both outgoing president Tom Meseroll and incoming president Michael Perovich briefly addressed the assemblage. With the conclusion of this assembly business, emcee John Engman started the show.Opening the show was Harrison

Lampert, a talented young assembly member who recently moved to L.A. from Philadel-phia. Harrison’s act was full of humor and magic and set the mood for all the fun that was to follow. The second performer was another young and very talented Los Angeles area magician, Jeffrey Black. Jeffrey enter-tained with an act of stand-up card magic effects, exhibiting his

considerable skill with a deck of cards. Closing the show was Joe Monti, a Los Angeles professional magician with international per-formance credits. Joe’s act was full of gags and antics that kept his audience in constant laughter. His magic included a signature piece, Three Card Joe. When the show ended, the final

event of the evening took place: the awarding of trophies and cer-tificates to deserving members of the assembly. Some of these trophies date back many decades and contain names of some of magic’s finest magicians. It was another great evening of Assembly 22 magic. —Steven L. JenningsSouthern California Assembly 22 meets the third Monday each month at 8:00 PM, St. Thomas More Parish Hall, 2510 South Fremont Avenue, Alhambra, California Contact Ed Thomas m a g i c m r e d @ e a r t h l i n k . n e t (323213) 382-8504 for more details.

32LYNCHBURG’S FOCUS ON

WALK-AROUND MAGIC

LYNCHBURG, VA— We welcomed three first-time visitors to our June assembly meeting: Wyatt Bryant (age nine), brother Evan Bryant (age seven), and their dad, Chris Bryant. Wyatt seems to be the one bitten by the magic bug, but they all showed a keen interest. The meeting started with John Jennings teaching a few effects with ropes; then Wyatt demonstrated his own “stiff rope” effect.The theme for the month was

“Walk-Around Magic.” Bob Staton got things started along that line by showing an Aldo Colombini pre-diction effect. Colored balls were selected from a bag; the color of the last one remaining being held by the performer was discovered written on the back of a business card that was handed out before the presentation started. Bob also performed a sleight-of-hand trick with two coins and finished with two separate small rings that amazingly linked together. Bob was generous enough to share his handling of the rings with the group.Mike Kinnaird was on hand

to perform a Three Card Monte routine; well, that was after showing that his “One Card Monte” just wouldn’t work. Mike also showed a nicely handled bit of magic with rubber bands. Our visitor Wyatt also performed an effect with one of the rubber bands in which it jumped from finger to finger.John Jennings continued the

Lecturers Axell and Menotti visit Assembly 21


Assembly News

theme-related magic by present-ing the Invisible Zone (a Tenyo manufactured item). He added a quick illusion of pushing a finger through his ear. A great thing about both of these effects is that they require no set up whatsoev-er. There was additional discus-sion of what makes good walk-around magic and a magic-filled evening drew to a close. —John JenningsThe Hersy Basham Assembly 32 meets the third Tuesday at 7:00 p.m. at Tharp Funeral Home, 220 Breezewood Drive, Lynchburg, VA. Contact John Jennings (434) 851-6240 for more details.

35MAGIC - VIDEO STYLE

POUGHKEEPSIE, NY— Our speaker tonight gave us an insight into the world of television that we would not have known otherwise. For several months, earlier this year, our own Derrin Berger worked as a consultant on Tru-TV’s The Carbonaro Effect.

Derrin met Michael Carbonaro at Tannen’s Magic Camp in 1992; they kept in touch over the years. A text from Michael to Derrin on December 30, 2013, asked him what time zone he was in. That was the beginning of Derrin working on the show.There were some heavy-hitters

also working in the show; Derrin described the schedule that they all had to work under. They had to come up with many, many bits and get them all filmed in a very short time. Not to mention just getting used to working with all the different people on the show. With virtually no days off, everyone was there to eat, sleep, and do this show. But that’s TV.It was a fascinating look into how

a television show is put onto the air. As with any endeavor, a group dynamic has to develop before anything substantial can be done. I think back to what Billy Welu, the Professional Bowler’s Association Hall of Fame member once said: “Trust is a must, or your game is a bust.” Everyone working on the show had their strengths and weaknesses, so it took some time before everything congealed, but that is what eventually made the show stronger. That is what col-laboration is all about, whether it’s a magic show or something else.A main idea that Derrin made to

us was that sometimes the simple idea beats the clever idea. Don‘t just do an effect as you read how to do it, but explore how to make it better. Make it your own. Make it an effect that your audience will remember. Give them a „magical“ effect, no matter how simple it may

be to perform. The „end“ result for your audience is more important than how it was done. Watch The Carbonaro Effect to see how this plays out in the real world. Thank you Derrin for giving us all a real eye opener! —Darryl BielskiAssembly 35 meetings are held at the Milanese Restaurant in Poughkeepsie, NY. Typically, meetings are held every 2nd Tuesday of each month, beginning at 7:30 pm. Contact Joel Zaritsky [email protected] (845) 546-1559 sam35.com for more details.

38CARDS, COINS, RINGS,

AND STORIES

KANSAS CITY, MO— Assembly 38 met on May 20, and was called to order by President Rod Sipe. The evening’s magic was a potpourri of props, person-alities, and performance styles that John Hicks, whose clever card work and easygoing presentation never fails to please, opened. Bob Goodin, another performer with a low-key persona and a pow-erhouse battery of remarkable effects, followed him. The young Ms. Amber Laguardia, definitely our prettiest stage personality of the evening, assisted him with his card magic.Then it was Shaun Rivera

treating us to magic with coins. There seems to be no end to what can be done with a few half dollars and an Okito Box. Nicholas Theos showed us just how adroit one could become within only a year of entering the world of magic. Don Becker, just back from Iowa’s AbraCornDabra, regaled the assembly with „Tales from the Northern Farmlands,“ and a show-and-tell of nondescript souvenirs he brought back. Trevor Carso mystified us with his ventures into the world of mentalism and his adroit presentation of paper balls over an assistant’s head. The vintage Merv Taylor rings which Becker had brought back from Iowa garnered a lot of interest.Then it was off to our after hours

not-quite-five-star-grill where we stayed up late doing card tricks.Our June 19 meeting was called

to order by president Rod Sipes. Our primary business item was choosing a new vice president. Congratulations to Jason Moore, who was elected. Jason was also our first up of the evening perform-ers, and gave us pointers on the care and keeping of sponge balls. John Hicks presented a twisting and printing card effect, and he mystified us with a miniature plunger.Shaun Rivera did a trick that

involved tearing up other people’s money. Then it was street-per-former Daniel Jackson doing cups and balls with surprise loads of oranges.In light of the nearness of the

Fourth of July, Don Becker showed the assembly a flag Blendo that goes back to the days of a 48 star flags. Fresh from a tour with the United Stated Army, visitor Joshua Theo showed us the history of Three Card Monte, described his Army experiences with exemplary linking ring moves, and closed with his version of Pro-fessor’s Nightmare. Bob Goodin’s card and dice work, always profes-sional as well as exceptional, was well received as usual.

Our closing performer was young sleight of hand virtuoso Tyler Karso, who’s act included an “Out of This World” type trick. There is never enough space to do justice to each performer. Here’s hoping a “Thank You and Well Done!” to everyone may suffice. —Don BeckerAssembly 38 meets at The Improv Coffee House and Theater, 4010 Pennsylvania Avenue, Kansas City, MO on the 3rd Tuesday of every month. Contact Don Becker [email protected] (816) 886-6780 for more details.

47CLOSE-UP CONTEST AND

MAGIC PICNIC

ROCHESTER, NY— [Close-up Contest continued from last report.] Don Aman performed a puzzling transportation of a ring to a puzzle box. Mike Dede performed a Chop Cup routine, a card transformation, a penny transformation, and card on ceiling. Sante DiCarlo performed the classic Oil and Water. This beautiful routine was followed by a card being selected from a deck, only to have it be the only card with a different colored back. The winners were: Mike Dede 1st Place and $100, Joel Greenwich 2nd Place and $50, and Mike Ihrig

3rd Place and $25.The year ended with the gentle

warm breezes under the pavilion in Penfield, NY, as thirty members and guests gathered for food, con-versation, and magic! Magician turned chef Dan Grayson manned the grill where huge burgers and hot dogs were cooked to order. A special dessert was supplied by local baker Jonathan of Jon Jon’s Bakery. Many thanks to Mark Toker’s mom, Leslie, for making that happen!After the group was filled with

food, it was on to magic! Newly installed Sergeant At Arms Mark Toker performed a beautiful coin routine and ended with a signed card to mouth. Jimmy „C“ performed a miracle with Morgan silver dollars. He later performed a trick in which silks knotted on a ribbon mysteriously fell off when commanded. Mike Ihrig ended with Danny Archer’s Telemental. The picnic was a huge success, do to the dedication of Professor Rem and wife, Mary, Mike Ihrig, Dan Grayson, our food providers, magicians, and guests! Thank you so much! Have a great, safe summer! —Mike IhrigAssembly 47 meets 7:00 P.M. on the second Tuesday September thru May at St. Joseph’s School, 39 Gebhardt Rd., Penfield, NY. Contact Mike Ihrig [email protected] (585) 377-1566 www.sam47.com for more details.

51GRAB BAG NIGHT PROVES

TO BE A SUCCESS!

PEORIA, IL— The June meeting began with updates on upcoming events, including the River-front Museum show, the Heart of Illinois Fair, Farmers Market, the Teach-in, and the Houdini tribute. We learned the date for the Diamond Jim Tyler lecture will be September 18.Jerry Tupper won the first of our

incentive program $50 prizes. Congrats, Jerry!Next, we went straight to the

magic part of the evening with our theme: Grab Bag. Grant Golden had gathered a nice array of various magic tricks that were all hidden in bags. Each attendee was given a bag by a drawing, and each had a few minutes to study their trick and then perform it.Jay Zentko was able to make a

silk vanish and reappear with a unique gimmick, not often seen. Regis Kormick demonstrated rope through neck and body. Michael Baker made coins appear in two small cups, and Jerry Tupper performed Comedy Split Deck.Brock Cassidy did the One Ace

Trick, Grant Golden showed a

Rod Sipe and Trevor Kosar contemplate paper ball


Assembly News

wand and silk trick. Rodney Nordstrom had a Die, Rod and Tube penetration, and also performed Devil’s Nails. Kyle Bassett made salt poured from a shaker change to a ball and then demonstrated rope through neck.Barb Griffin showed three

cards and one disappeared. Grant Golden then read the risqué patter that Barb was wise enough not to use. Bob Sumner showed a torn and restored bill. Michael Couri performed with a deck that caused selected cards to vanish. Brad Borland performed a growing wand and a rattlesnake prediction effect.Many comments were heard that

this was a fun meeting. Several of us gathered at a nearby restau-rant for dinner, drinks, and more magic. —Michael BakerAssembly 51 meets the third Monday of each month, beginning at 7:00pm at Schnucks in the Metro Center, 4800 N. University in Peoria. Contact Michael Baker [email protected] (205) 612-3696 http://peoriamagicians.com/ for more details.

52INSTALLATION OF

OFFICERS BANQUET

SAN ANTONIO, TX— June 7, 2014, Brother John Hamman Assembly 52 held it installation of officers banquet at Pompeii Italian Grill. After a great meal of lasagne, grilled chicken breast and chicken parmesan, outgoing President Don Moravits distribut-ed awards to several members for their contributions to the assembly meetings. He then installed the new officers. Congratulations to: RayAdam, President; Joe Libby, Vice-President; Doug Gorman, Secretary/Treasurer; and James Dusek, Sergeant-at-Arms. Before Don introduced the entertain-

ment for the evening, incoming President Ray Adams presented Don with a plaque expressing the assembly’s appreciation for his service as its president.Our guest entertainer for the

evening was David Hira from the Dallas/Fort Worth area. David thoroughly entertained us with his fast-paced and humorous presen-tations, making use of a number of club members and guests to enhance his show. He even thrilled the storytellers among us with a beautiful presentation of the floating table. Thanks to David for a wonderful show, and thanks to Don Moravits for bringing him to us. It was a wonderful evening enjoyed by all, and many thanks go to Don and Dahnene Moravits and Ray Adams, who put together this awesome night.Brother John Hamman Assembly 52 meets at 7:30 p.m. on the first Thursday of the month at La Madeleine Restaurant, located at 722 N.W. Loop 410. The restaurant is inside Loop 410 on the access road between Blanco Rd. and San Pedro. For more information, contact [email protected]

59RINGS AND THINGS/A STAR-

SPANGLED AFFAIR

PORTLAND, OR— Our May club meeting was off to a great start as president Mel Anderson kicked off the meeting with the theme, Rings and Things. Art Manning made accolades to the cast and crew who participated in the May 24 Elks magic show. The night’s teach-in commenced with John Edsall and Randy Stumman demonstrating for the member-ship several effects that had rings and other things used for magical purposes. After a short snack break, people took time to look at the props for sale by Bob Eaton from a fellow member’s estate sale.Our performers for this month’s

ShowTime were Randy Stumman, Tom Waldrop, Mel Anderson, and a guest from Las Vegas, Greg. The June 25th meeting started

out with a bang. What a great night of magic we all expe-rienced. The teach-in was „Magical Items in a Bag.“ This was put together by President Mel Anderson. The members were broken into four groups and were

given a bag of mis-cellaneous props and items to make magic routines. Everyone in the group got to choose an item in which he could make a magical effect. Everyone got

into the act; it was a real group building exercise and magically great time.We inducted three new members,

including Ron Boyd, Frank Dudgeon, and Jack Buchalter. We had several guests as well. Next we got a reminder of our annual club picnic at Randy Stumman’s home. Everyone needs to bring a dish, their favorite beverage, and meat if they wish. It will be magical day. There was a discus-sion about the new sound system that the board would like to purchase. This presentation was done by Randy Stumman. The discussion detailed several different systems and prices. The members agreed that there is need for a sound system for the club to do public shows as a group. An amount of around $600 was approved by members for the board to choose and purchase the new sound system. The night continued with

ShowTime. The theme was patriotic effects. We had several members who demonstrated their skills using magical effects with a patriotic theme. It was a star-spangled affair.Our club will be dark for July and

August, and return to our regular schedule in September with our annual swap meet. Wishing all a magical summer. —Andy TurnerAssembly 59 meets at the Beaverton Elks Lodge. 3500 SW 104th Beaverton,Or Contact Andy Turner [email protected] (503) 975-6139 sam59portland.org for more details.

72ANNUAL CLOSE-UP

CONTEST

SACRAMENTO, CA— The May meeting of Assembly 72 hosted the combined SAM/IBM Close-Up Competition for 2014. There were four contestants,

Don Banks, Joe Chez, David Dayton, and Richard Alyward. All four acts were well received. The winning act was by Richard Alyward, with Joe Chez coming in second. —Gary BerardAssembly 72 meets the fourth Wednesday of the month at

7:00 PM. We meet at the Ronald McDonald House, 2555 49th St., Sacramento, CA. It is located behind the UCD Med Center in Sacramento. Contact Gary Berard [email protected] (916) 803-0346 for more details.

77COMEDY REIGNS AT

ANNUAL DINNER

MASSAPEQUA, NY— We had our annual dinner at DJ’s Interna-tional Buffet in Garden City, NY (a winner in my book). The room had a decent-sized stage in the corner that was a bit high but workable. After an hour or so, newly elected President Mitch Goodkin took the mic and welcomed everyone and proceeded to hand out a lot of cer-tificates to many of our members for their efforts and generosity of their time. They called PP Steve Rodman and Treasurer Jeff Miller up to the stage and presented a framed certificate of thanks for their commitment to helping The Long Island Mystics. Linda Robbins, Bartholomew Simpson, and Carol Klein received cer-tificates in thanks to their per-formances for Birthday Wishes: a non-profit organization which helps children who are homeless. Rounding us out were Pat Darienzo, Mel Boskin, Allan Ru-binstein, and Jose Merced (absent) who were thanked for their perfor-mances for the Disabled American Veterans. More important, our raffle prizes donated by Warren Berkowitz and The Magic Burger Restaurant Business brought in a nice amount to benefit more events and work for the Mystics.

For show time, Pat Darienzo emceed the evening with ease. Up first, Mystics member Harry Mandel opened the show with nice stand-up magic, including comedy mentalism and a comedy rope tie. Comedian Eric Haft performed a tight and topical set and closed with one of the best Robert De Niro impersonations I’ve ever seen. To

Michael Baker performing at the Farmers Market

Richard Alyward - Close-Up Winner

From Left: James Dusek, Doug Gorman, Joe Libby and Ray Adams

Top Row: Allan Rubinstein, Pres. Mitch Goodkin, Steve

Rodman, Linda Robbins. Lower row: Bartholomew Simpson, Carol Klein, Pat Darienzo and Jeff Miller


Assembly News

close the evening, fresh off from his stint on America’s Got Talent, we had corporate entertainer (and friend to the Mystics), illusionist, ventriloquist, and comedian all-in-one, John Pizzi! He rocked us with three different figures and even showcased his invention with a photo of Steve Rodman on a flat screen monitor that became a vent figure. We laughed at every eye roll that it made. Hysterical. He even brought up our sound man Alfred and turned him into a figure. It was a great fun show and we‘re looking forward to next year.Next meeting is September 8,

2014, with a whole new line-up of lectures and fun and informa-tive meetings. See you all then. —Lou JohnsonLong Island Mystics Assembly 77 meets at 7:30PM on the second Monday of the month at The Community United Methodist Church. For more information, check www.limystics.org. Contact Lou Johnson [email protected] (516) 978-7735 www.limystics.org for more details.

88MAGIC AND THE INTERNET

ANN ARBOR, MI— Our June meeting had a surprise guest, Mr. Steven A. Spence, Regional Vice President Central Plains. Steve is on tour throughout the Midwest, introducing himself to the as-semblies he represents. Addition-ally, Steve laid out the Society’s plans for future training initia-tives at the national level for local officers. Assembly member Ray Wojciechowski recently was an award winner at the “Southern Fried Laughter Conference 2014,” which was held in Atlanta, Ga. Congratulations Ray, and a big guffaw for your accomplishment !Our scheduled event for the

evening was a lecture, “Magic and the Internet,” presented by member John Russell. John has been doing magic for more than fifty years and has taught Internet marketing strategies from New York City, to Los Angeles, to Singapore. His lecture demystified cyberspace and helped take our magic to the next level, as he explained why “if you’re not online, you don’t exist!”

We learned how to have a web presence, a Facebook page, and how to use a Twitter account. Also, John discussed where to buy and sell online with no fees, make money selling other people’s stuff, connecting with fellow magicians around the world, and promoting ourselves at little or no cost. John is passionate about magic’s relevance to the Internet and it showed, judging from the group’s undivided attention and multitude of questions. The audience came away with a ton of practical Internet tips and applica-tions to the business of magic. His lecture is highly recommended to anyone desiring to market their magic. Thanks John for gener-ously sharing your expertise with fellow magi.The summer months prove

exciting with July scheduled for a non-business meeting (picnic/magic show) and August tagged for our annual corn roast (picnic/magic show). The fall will kick off with a lecture by Barry Mitchell, “The Entertaining Encourager.” —Jim FolklAssembly 88 meets second Wednesday each month at 7pm, Faith Lutheran Church, 1255 East Forest, Ypsilanti, Michigan Contact President Bill Brang havewandwill [email protected] (313) 9371577 www.aamagic.org for more details.

94LESSONS IN MAGIC AND

COMEDY

SILICON VALLEY, CA— Our June meeting consisted of a show and lecture by Nick Lewin. First he performed for about a half an hour for an audience that included magicians and non-magicians, children and adults. After the show he gave a lecture for the magicians that included topics such as creating a powerful running order, audience participa-tion, sound and lighting, texture, timing, opening and closing effects, combining comedy and magic effectively, and many other aspects of making a magic show commercial and impactful. He also taught some of his original effects and routines to demonstrate these points, including: 20210s, Coin in Vanishing Bottle, Mental Trilogy, Ultimate Card in Envelope, Ultra Cards Across. He also offered his commercial handlings of classic effects such as Color Changing Silks, Card in Wallet, and Ring Flight. He also featured an invalu-able mini-study on the handling of playing cards and other small props in order to make them more visible and effective to larger audiences.

The night after the lecture, Nick presented two workshops. The first was a master class in which he went into great detail on his Mental Trilogy routine and his combination of Paper Balls over the Head and Electric Chair. He also gave quite a bit of detail on his own Bill in Lemon routine. Emphasis was on the details and thought behind the details as much as the moves and patter. During the second workshop, attendees each performed a routine or effect, a work in progress, and received thoughtful, meaningful critique and advice.S.A.M. 94 members continue

to entertain for Magic Mondays at Morocco’s Restaurant. June performers were Alan Leeds, Joe Caffall, John Jones, and Sy Hoff. Coming up in July are Phil Ackerly, Alan Leeds, John Jones, and Sy Hoff. —Joe CaffallWe do not currently have a permanent meeting location. Please email Joe Caffall at [email protected] for meeting information. We meet on the second Monday of each month. Contact Joe Caffall [email protected] (408) 375-1905 for more details.

95ASSEMBLY 95 MAGIC GALA AND GIMMICKED CARDS

VANCOUVER, CANADA— The June, 2014 meeting was held at the magical home of our most senior, albeit amazingly youthful member, Anthony Young. Henry Tom stepped up to take the monthly minutes and notes in the absence of Rod Chow. Trevor Watters showed everyone “The S.A.M. #95 Magic Gala at the Magic Festival” poster, which he so beau-tifully and creatively designed based on an outline by Rod. The Magic Festival is a week-long event produced by Assembly 95 Dean, Shawn Farquhar, which is in its second successful year of “Bringing Magic to the Masses”, scheduling at various venues many shows from several magic organi-zations and individuals for the lay public and magicians. Assembly 95 is proud to produce a gala show featuring Canada’s three qualified IBM/SAM/FISM 2014 North American Championship of Magic competitors: Henry Tom in Stage with his Comedy Dental act, Rod Chow in Close-up with his Money Magic act, and Trevor & Lorena Watters in Stage with their Comedy Dual act. Also starring in the same show are Jeff Chris-tensen as emcee, Ray Roch with his shell/pea game and “Impos-sible Box” routine, and Assembly President Lon Mandrake with his

stunning mentalism. The theme for the evening was

gimmicked card magic. Anthony Young showed five cards, four red and one black, and had everyone at the meeting clip one position to see if anyone would be able to clip a black card. After everyone placed their clip, Anthony flipped over the cards, and to every-one’s surprise, it was just one jumbo red card. Ray Roch did a very clean torn and restored card trick. Shawn Farquhar did The Jealous Kings, in which the faces of four cards disappear one at a time and then all reappear onto one card. Dave Watters handed out four cards to everyone, and then after tearing the cards in half and shuffling in different ways, found the matching card. Lon Mandrake showed Shawn some cards, and his choice then disap-peared, and turned blank on both sides. John MacMillan did a four card trick in which the spectator copies his moves, but always end up different from his cards. Dennis Hewson showed a Ten of Spades and a King in a wallet, but when he took the cards out, the face of the Ten became blank and ended up on the face of the King. Henry Tom did Tony Chris’s Haunting, a hands-off haunted card effect that can be done while you are quite far away from the deck. —Rod ChowThe Carl Hemeon Assembly No. 95 meets the first Tuesday of each month at members’ homes. Contact Rod Chow [email protected] (604) 669-7777 www.sam95.com for more details.

99STATE MAGIC CONVENTION

WEEK

ORLANDO, FL— President Mark Fitzgerald opened the meeting welcoming visitors to our meeting. Mark mentioned all the members that the Famulus news-John Russell

The S.A.M. 95 Magic Gala at the Magic Festival poster designed by

Trevor Watters / Rod Chow


Assembly News

letter still exists (http://ring170.com/famulus). Mark introduced the board of directors: Craig Fennessy, VP; Bev Bergeron, Treasurer; Chris Dunn, Sgt. At Arms; Craig Schwarz, Web Designer; and Phil Schwartz, Historian.Phil Schwartz presented Magic

History Moment #58. This month Phil presented biographical facts about the great Virgil (Virgil Harris Mulkey. Charlie Phrogner did a tongue twisting rhyming effect where everyone would say „toy boat“ 10 times. Kent Gunn did a card effect with a story like Sam the Bellhop. Mark Fitzger-ald did some matrix effects with cards and coins. Christian Sorondo got a signed card to appear in a zip lock bag. J. C. Hiatt did his color changing knife routine. RAVELLI, did several effects from his kid show close-up and magic with coins and ropes. He finished with a signed coin to nest of metal boxes.At our next meeting, Vice

President Craig Fennessy thanked everyone who volunteered at Florida Magicians Associa-tion convention: Dan Stapleton-Producer; Ben Mason-Dealers, Program designer; Lynn Fitzger-ald-Registration; Phil Schwartz-Antique and Poster displays; Craig Schwarz-Ad design and Spot Light operator; Bev’s whole family- Rebo Tribute; Aaron Solomon- Backstage crew, Craig Fennessy-Photographer & poster design; Luciano DePazos-Interpreter; Bob Swadling and Mark Fitzgerald-Close-up room hosts. Congratula-tions go to Alouise Bergeron, who was awarded the Carol Bristow award for being the magic helper of the year. Craig also recognized William Zabellero for winning first place for both Youth Stage and Close-up award. We recently lost a very special

friend in the Central Florida area, Elmo Bennett. He brought magic to all his guests for years at Elmo & Linda’s Magical Dining. Elmo was a wonderful person with a passion for life and for his friends….his magic will be missed.

Phil Schwartz presented Magic History Moment #59 with facts about a Jewish folklore, called

a Golem which is an animated anthropomorphic being, created entirely from inanimate matter. This led to his talk on the self-operating modern version of the Automaton.Performers for the magic

portion of our meeting were: Bev Bergeron, Chuck Smith, Charlie Pfrogner, William Zabellero, and Dan Stapleton, who showed a square knot effect and a wonderful Slydini card effect that fooled everyone. Until next time, let there be magic everywhere you go. —Craig SchwarzIHOP restaurant, 5203 South Kirkman Road, Orlando, FL 32819 Contact Craig Schwarz [email protected] www.sam99.com for more details.

104104’S NIGHT TO BREAK

BREAD, NOT WANDS

WITCH CITY, SALEM, MA— The year for Assembly 104 was officially closed out with our in-stallation banquet on June 4, 2014. The food was good, the magic excellent, and the fellowship was completely rewarding. Back at our usual haunt, the East Sakura Res-taurant in Salem, it was an evening of buffet indulgence before official S.A.M. activities got into high gear. When they did they were in good hands.Regional Vice President Joe

Caulfield, along with lovely wife, Kathy, honored 104 by joining us for the second year in a row, and conducting the installation ceremony. Joe is a very sincere guy and his reading of the ceremony was far from a by rote ritual. Rather his weighted delivery served as a touching reminder that our Society is rooted in an ancient and honorable art and that the duties of our officers are a valuable commitment to both. At the con-clusion, compeers applauded the roster for the coming year: Co-Presidents (sharing duties for the first time) Bill Jensen and Rob Snider; First Vice President Eddie Gardner; Second Vice President “J” Hubbard; Treasurer Debbie Loscutoff; Secretary Bob Forrest; and Sergeant-at-Arms Bill Marotte.At that point, it was time for

magic. Our guest magician was Joel Acevedo, a gifted local performer, originally from Puerto Rico, and now one of the frequent highlights of the Mystery Lounge in Cambridge, Massachusetts, among other venues. Joel is an accomplished, yet self-effacing, magician, whose sense of humor engagingly disarms his audience while cleverly misdirecting it. Joel kicked of his set with his

version of Silent Treatment, an effect famous for the performer’s silence until the last moment when the thought-of card emerges from his mouth. The presentation was excellent. The sudden production of a bottle of beer from a cloth was another audience pleaser. So was a spoon that entered Joel’s mouth only to exit as a fork. In a highly creative piece of routining, Joel presented a magazine “book test” effect. His treatment, however, smoothly morphed into a Spirit Slates revelation of the advertising artwork on the final page chosen. In a set that was over far too soon, Joel Acevedo totally entertained us and showed us what can be accomplished when the force is with you. As waiters cleaned up afterwards, Joel generously hung out with the diehard card lovers among us who tried to judge his ACAAN versus the version Evan Buso-Jarnis had stacked up. They were both winners. —Bob ForrestAssembly 104 meets on the first Wednesday of each month, September-June, 7 p.m., at the First Baptist Church of Salem, 292 Lafayette Street, Salem, Massachusetts. Contact Bob Forrest [email protected] (339) 227-0797 www.sam104.com for more details.

108WESTERN PA MAGIC

UPDATE

SOMERSET, PA— Our S.Y.M. 137 has had three visitors the last two meetings with one positively joining, which is wonderful that we have some young magicians to carry on the magic in our area.We also had a visitor from our

President Gary Weimer’s magic club at the high school he taught at and hope to see more attend. Also visiting was Pittsburgh magician and friend, David Lawrence. Several of us are performing at a Yogi Bear Jelly Stone campground for the fourth year in a row. The management there has been well pleased to the response to our shows.Also several of us will be joining

forces in October for a show at a theater in Moorefield, WV. We continue to look for opportunities to perform together as well as our individual shows.If you are ever in the area please

stop by and magish with the most friendly magic club around. —Dan MillerThe James Swoger Assembly 108 meet at Wheeler Bros. every third Monday at. SYM meet at 6:00 pm and SAM at 7:00pm Contact Dan Miller [email protected] (814) 733-4978 for more details.

110AFTER MEETING

HARRISBURG, PA — The after-meeting contest for June 12 had no particular theme. Five members decided to compete. Frank Bianco was first to perform. Using a single silver coin and a pocket mirror, he gave us a twist on Twilight; a coin multiplied to match its mirrored image, and then multiplied and changed from silver to copper.John Sergott, using a small tin

of candies, played a game with a guest as to who would select the last of a handful of candies paced on the table. A prediction card was also in evidence. After two rounds of the game John was successful in fulfilling the prediction.Joe Noll selected Rose Abboti-

ello as the person most likely to possess the magic touch. Joe showed Rose that the deck of cards he was using had red backs and that they were well mixed. Rose touched the card she wanted on its face and was given a chance to change her mind but she held firm. It turned out that she had chosen the only blue-backed card in the deck. Thanks Dan Garrett for King Brain. Scott Correll treated us to the restoration of a straw wrapper. Very nicely done.The last to perform was Lou Ab-

botiello who told us about his uncle Guido (who was in the family business) and how he used to make his own money from special paper. Lou showed us the paper he used and then placed the paper on a little table where he rolled an inking roller over the surface. Like magic, a twenty dollar bill appeared. Louie asked that we keep his secret (oops) because he didn’t have much paper left and was nearing retirement age.The voting of those members

who did not perform resulted in Lou Abbotiello –First, with Scott Correll – Second and Frank Bianco – Third.Joe Homecheck, Assembly 110 meets 2nd Thursdays, 7:00pm, at John’s Diner, 146 Sheraton Drive, New Cumberland, PA 17070 Email: [email protected]

William Zabellero

Why wait for a waiter? The beer comes to Joel Acevedo


Assembly News

112COINS AND POKER

WORKSHOP

PLEASANT HILL, CA— President Larry “Zappo” Wright took on the role of instructor this month to teach two different tricks, one with cards and one with coins. The two tricks are actually variations of the same principle. The card trick is known as No Jonah Poker, based on an effect created by Jon Racherbaumer.Zappo placed eight coins in a

row across the table, but prior to commencing the trick he handed out a sealed envelope containing a prediction. The object of the trick is for the spectator to attempt to gather more money (in value) than the magician by freely selecting one of the coins from either end of the row as the magician follows his action by doing the same. Spectator John Gyllenhaal ended

up losing with $1.55 compared to Zappo’s $1.61. As an added surprise, the envelope was opened and the message inside correctly predicted that Zappo would end up with six cents more than John.

No Jonah Poker follows a similar plot with the object being to end up with the best poker hand. The magician even allows the spectator to peek at the end cards once or twice, and yet the magician always ends up the winner. After a practice session, Roy Porfido stepped up to perform this newly learned trick and ask for a critique.Following our monthly raffle that

netted some nice magical items for Ric Ewing and Nate Wilson, John Gyllenhaal presented his unique version of sponge ball magic, in which he uses sponge lady bugs instead of sponge balls, an idea he is developing for children’s magic. Michael McGriff then showed us how to create a rose from a paper napkin, something called The Desert Rose. He also demonstrat-ed a simple trick or two that can be done with the rose.Bob Holdridge was next, using

cards to perform a great mentalism effect that ends with a surprising double whammy. Nate Wilson

followed with an Ace assembly trick, and the evening’s perfor-mances concluded with Zappo’s demonstrating a trick known to him as Mel’s Mom’s Trick, something of a Do-as-I-Do trick with a single deck.Our meetings are a great place

to learn some new magic, practice an effect or routine in front of a friendly audience, or just get together with fellow magicians of all levels of expertise. And don‘t forget the raffles. —Bill MarquardtDiablo Assembly 112 meets on the third Wednesday of every month at the VFW building in Pleasant Hill, California Contact Larry Wright Z a p p o @ z a p p o t h e m a g ic i a n .com (925) 685-5129 http://www.sam112.com/ for more details.

115A LECTURE BY SHOOT

OGAWA

CHARLOTTESVILLE, VA— Our June meeting found Assembly 115 members gathered together to host Shoot Ogawa for a lecture at our new meeting location at the Pepsi-Cola Plant in Charlottes-ville, Virginia. Members in at-tendance were George Buckley, Wes Iseli, Daniel and Bethany Hall, Everette Anderson, Tom Olshefski David and Nathan Clauss. Guests included Jerry Winn, Glen Rae, Bob Staton, John Jennings, Watt Hyer, William Baber, and Lawrence Lessner. While Mr. Ogawa set up for his lecture, members and guest had a wonderful meet and

great. Old friends got caught up and new friends were made. Mr. Ogawa started his lecture off with some beautiful wand manipula-tion and vanishes. Next came his thimble act followed by his Three Coin routine. It was a wonder to behold. Next Mr. Ogawa performed his famous Ninja Rings with the help of David Clauss. His card routines followed with a wonderful card prediction and a four Ace production with the help of Nathan Clauss.After a brief intermission Mr.

Ogawa started with his coin

routine explanation, with a talk on body language and a lesson on the muscle pass. His coin to spoon transposition had all the coin guys sitting up and taking notes. He then showed us what to look for in choosing our own Linking Rings and some of the wonderful subtle-ties he uses in his routine. He then closed with a super mentalism card routine ending with a blank deck. All enjoyed a magical time. —Bethany HallThe Pepsi-Cola Bottling Company Building at, 1150 Pepsi Place, Charlottesville, VA 22901. Contact George Buckley [email protected] (434) 409-2643 http://www.facebook.com/SAMAssembly115 for more details.

118GRANITE STATE

CONJURORS

NASHUA, NH— The Granite State Conjurors hosted an informal lecture by Craig Browning this month. As always, we have a busy summer of performances planned, including Nashua Chil-dren’s Day on July 19, Lyndebor-ough Community Day on August 9, as well as weekly performances for Camp Allen every Monday through August. Contact us for more information about any of these events. Assembly 118 meets on the third Wednesday of each month at 7:00 p.m. at Black Sword Estate, 126 Perham Corner Rd. Lyndeborough, NH 03082 Our venue rotates, so contact us first. Contact Robert Granville [email protected] (603) 505 8749 http://sam118.com for more details.

120EASY TRICKS WITH

A BIG EFFECT

CHAMPAIGN, IL— The topic for the evening was Easy Tricks with a Big Effect and the magic opened with Andy Dallas demon-strating a very nice easy to make stand for a set of Linking Rings and part of his routine. Professor Higgins showed us his version of Daryl’s patriotic ropes/acrobatic knot. Chris Bontjes presented the Chicago Opener. Jim Percy Paddled his Tuna, showing it appear to change from red fin to blue fin to bones. Prof Higgins took the floor again with the Miser’s Dream done with both coins and bills and Jim Percy ended the evening with a Sword Card Catch with the sword being on the King.Discussion was as interesting

was it was entertaining and then

we adjourned to the shop to if Andy had anything new. See ya at the meeting, —Ken Barham Assembly 120, Andy Dallas Assembly meets the third Wednesday at 7pm, (except Nov. and Dec.) For location call Jim Percy at 217-494-2222 or Ken Barham Sec, 2318 Winchester Dr, Champaign, IL 61821. 217-841-5616 email: [email protected]

131JUNE MEETING

DANBURY, CT— On June 16, 2014 the Danbury Top Hatters meeting came to order. President Magic Mo is feeling better and almost back on his feet. Walter B was also back from his fall and taking photos as usual. Russ has returned and has been regaining his strength.Upcoming events: Church Fall

festival, October 4; Club Picnic August 9 or 25. Dues were collected and a few of the members performed work in progress.Russ showed a cute crossword

puzzle in which each of the hori-zontal words was filled in with the word, “bite.” Walter B. showed a comic salt shaker effect using a marble size ball that penetrated the closed salt shaker. This effect was recently purchased at a Daytona Magic lecture.

Past President Magic Marty reported on an Assembly 35 Lecture by Derrin Berger, who just completed the first season of The Carbonaro Effect on True TV. It was a great lecture focusing on thinking out of the box. Magic Marty then performed a comedy work in progress, an adaptation of a Tarbell effect. Tony Spiro followed with a great card routine ten black and ten red cards. Frank M. performed a selected

card effect using a small laser key chain, which marked the selected card with a hole in it. The laser was purchased at a dollar store. Bob Abel showed a new magic wand purchased from Harry Allen at the Daytona Magic lecture. The wand unscrews in the center to pack easy. It has brass tips and is constructed of hard rosewood.

Jerry Barrilleaux demon-strates sponge ball move to

John Gyllenhaal

Charlottesville hosts Shoot Ogawa

President Magic Mo at his best


Assembly News

On a final note: It was decided that we share professional lectures with our SYM in Stanford, CT. Tony Spiro will act as our Ambassador of Education —Martin SteinbergAssembly 131 meets at Methodist #5, Clapboard Ridge Rd., Danbury Ct Contact Magic Marty [email protected] (845) 7978363 Danbury Top Hatters for more details.

148MAZDAMANIA

ELMHURST, IL— This month’s meeting featured the annual guest performance from one of our area’s independent magic clubs, the Mazda Mystics. (Our own Assembly 148 members will, of course, reciprocate in the near future with a performance at Mazda’s location in Elgin, IL.) Tonight’s excellent show was emceed by their president, Jack Skalon, who started the program with a super smooth rendering of Bill Abbott’s Five Card Opener. This was followed by a magical murder mystery, Kostya Kimlet’s Who Killed the King, utilizing a permanent but little noticed feature of one of the court cards. Jack then performed a very original cut and restored rope, using a jump rope with handles (immediately elimi-nating the possibility of many of the best known methods.)Next, Doc Morrissy demon-

strated why he is a much-in-demand local pro whose repeat performances have continued in some venues for as many as twenty years. Doc started off with a stunning presentation of the Mental Photography Deck and segued into a card stab with a jumbo deck and an even more jumbo (and very menacing) Bowie knife. Card man Steve Mills came next doing several slick effects with the pasteboards, including a poker deal and a truly puzzling prediction. Steve surprised everyone with a non-card routine: the ring and ribbon a la Mills. Then Kevin Sarnwick took the stage with a mental effect in which a spectator gradually selected one playing card by naming a color, suit, and value only to find they were identical to a mystery card prominently displayed face down on the table from the beginning. Kevin also performed a coffee cup and ball routine with sponges and lemons, a card trick with the spectator doing all the work, and the hundred dollar bill switch with the great Sankey presentation in which punched holes in each of the four corners assemble in one corner. David Schleich, a Mazda member as well our own treasurer,

treated us to his most original razor blade trick using Listerine breath strips and dental floss, followed by a truly funny rendition of the multiplying bottles. Finally, Les Wittekind, who specializes in re-tirement and nursing home shows, demonstrated why his colorful silk and flower act is such a hit with senior audiences. Our turn to perform for the Mazda members comes in a couple of weeks and will feature John Hausheer, Dave Schleich, Don Clancy, Tom LoCasio, and your scribe, Tony Noice. —Tony NoiceEvangelical Lutheran Church, corner of Spring and Vallette (downstairs) in Elmhurst, Illinois, third Monday of the month at 7.30 PM. Contact Tony Noice [email protected] (630) 993-3740 www.SAM148.com for more details.

157GREAT PICNIC AND

OTHER STUFF

BEAVER, PA— Mystic Magicians of Beaver Valley (Assembly 157) held the Rich Howard Memorial Picnic June 8 – with a little sun, a little rain, good food, and a pick-up magic show with several of Rich’s family in attendance. At the regular meeting it was announced that there was a little extra money taken in at the GPMN banquet, so the committee decided to reimburse Doug Ries for his audio/visual equipment. The nomination committee has been chosen for the upcoming officer elections. Doug Ries will be our delegate to the SAM/IBM Con-vention in July. The club will have an ad in the program. Nathan Kranzo’s lecture was well atended

and informative. Bill Corneli-ous and a couple others went to Akron’s banquet and show and stated it was very good. Kathy Brenner brought several of Jay’s videos for the library. Jim Weyand is converting them to DVDs. It was announced that magic is on TruTV and America’s Got Talent shows.Teach and Learn was on

„Using Items for Something Not Meant For“ with Frank Kietzke leading. He advised members to

think „outside of the box.“ Several members supplied ideas they use.Jim Tate emceed the perfor-

mances. He also presented the Giant Cube Illusion. He had a box with a lid, in which he placed a square with colored spots. Turns over the box, and a ball comes out. He had a participant place lid on empty box, turns it over and a di comes out. Don Moody showed Panel Escape. He showed three colored disks with holes in center, which he placed a ribbon through them all. Someone chose a color. When he pulled the ribbon, the chosen one fell out. Ray Lucas performed a card trick with all Diamonds. He spells out each card from Ace to King, showing the spelled card each time. Jim Weyand demonstrated Rolling Bones. He had six bones with numbers on each end. Two people add up the numbers on their end. Total is same as Jim’s predicion. —Judy SteedThe Mystic Magicians of Beaver Valley (#157) meet the second Thursday of every month at the Towne Square Restaurant in Beaver, PA. Contact Judy Steed [email protected] (330) 525-5389 for more details.

181THE SILK TO EGG

WORKSHOP

HIGHTSTOWN, NJ— Last month, our assembly had a workshop conducted by the Amazing Randy. I know what you’re thinking. It was not that other guy, who misspells his name with a final “i.” This is our Amazing Randy, and he is the real deal. The workshop focused on Silk to Egg with Randy teaching a second routine as well.Randy’s love for magic began

as a child when his Uncle Joe mysteriously made a coin disappear. Magic became his obsession while Christmas shopping in the fall of 2007. Randy was fascinated by the demonstra-tions at a magic kiosk at a local mall, and there he made his first magical purchase. Since then, and in that very short period of time, he has graduated from entertain-ing neighborhood kids to per-forming at school assemblies and corporate venues.The Silk to Egg routine that

Randy uses is based on the method used by the late Steve Dacri. That routine is a “sucker effect” because of the surprise ending. It is great to use at magic assemblies, because we magicians feel like we have seen it all and so fall right into the trap.The second effect that Randy

taught was what he calls his men-

talist’s version of “Everybody Wins.” After the workshop, we saw per-

formances by the other attendees, starting with Jeff and his card effect, A Murder at the Magic Castle. Hint: It happened in Room 937. Rocco followed with some of his own coin vanishes and a homemade version of the Chocolate Coin. Rocco is a very inventive magician, and he showed us one of his newest effects, the swallowing of dog tags and chain.

Reba Strong followed with a magic classic, Scotch and Soda. When that effect is shown, there is going to be plenty of discussion on variations. Jeff suggested a variation that was a little nervy but with a great impossible location finish.Assembly Dean Hank Strasser

performed a telephone number card trick that catches the spectator by surprise when he sees his phone number revealed with playing cards. The evening was completed when Dave Sharlin performed his modified version of Jay Sankey’s Back in Time. —David ZborayAssembly 181 of Hightstown meets the first Thursday of every month, September thru June at the First United Methodist Church , 187 Stockton Street, Hightstown, NJ 08520. Doors open at 7:00PM. Contact Stephan Sloan [email protected] (732) 757-5337 http://www.magicsam181.com for more details.

188RED, WHITE, AND BLUE

OREM, UT— Our June theme was Patriotic Magic, and many of the members turned out with red, white, and blue on their magical minds.Street magician Daniel Schaffer

started off with a mind reading effect with a selected jumbo card matching a prediction previously written on a whiteboard. He then showed a number of shoelaces and had a spectator yank them from his hand, one by one, until only one was left. The remaining

Having fun at the picnic

The Amazing Randy


Assembly News

shoelace was shown to be tied to a double-edged razor blade! Daniel credited the effect to Morgan Strebler. Daniel then performed Exact Change by Gregory Wilson, in which the change in his pocket equaled a number selected by a spectator.Theron Christensen performed

Paul Harris’s Whack Your Pack, in which, after some spectator by-play, a selected card appeared in Theron’s pocket.David Goodsell spun a tale about

Billy the Kid and Pat Garrett, and re-enacted their armed confron-tation with two sets of six cards. Dave credited the effect to Brother John Hamman.Steve Dawson pulled a red, white,

and blue paper streamer from his mouth and blended three handker-chiefs into an American flag (after getting it wrong a couple times, of course).President Curtis Hickman had

a card selected from a blue-backed deck and had it signed and replaced in the deck. Looking for the card, he discovered a single red-backed card in the blue deck, which turned out to be the signed card.Dave “Magical” Johnson

performed an excellent magazine test in which he divined words selected at random from two magazines.The meeting then evolved into

a discussion of Docc Hilford’s Cassandra deck and pumping decks.It was decided that July’s meeting

theme would be Super Close-Up.Assembly 188 meets the second Thursday of each month at the Courtyard Jamestown, 3352 North 100 East in Provo, Utah. Contact Brian South [email protected] (801) 916-2442 www.utahmagicclub.org for more details.

200PACKET TRICKS

SEATTLE, WA— Our June meeting was “Packet Trick Night.” Some of the wizards showed us interesting packet tricks and some wowed us with other magical effects.Magic that happens in the hands

of everyone in the audience was performed by two of our members. John Cameron had us all select random times on a clock and, after following his instructions, we all ended up on one o’clock. He then taught us Jim Steinmeyer’s One o’Clock Mystery. J.R. Russell performed Robert Giobbi’s Einstein trick in which we all magically discovered the exact card we had been thinking of.Michael Jacobs shared Aldo

Colombini’s Jumbo Coincidence with a jumbo deck that had been sliced in half. Miraculously, he not only had the selected card match in both halves but then had all of the cards match after numerous shuffles. Ben Eskenazi demon-strated a Michael Ammar effect in which the selected card had a different colored back than the rest of the packet. Roger Sylwester showed us some serious sleight of hand with a slick Three Card Monte routine.Hugh Castell had a prediction

sealed in an envelope in a wallet that matched a card that a spectator had him stop on. Mark Paulson continued to amaze us with his evolving mentalism repertoire by performing Richard Osterland’s Hands Off. We welcomed a new magus, Gary Parrish, who shared some of his background and his desire to find effects that could be performed without the use of the magician’s hands. We’ll all be thinking about that challenge.Bill Murray amazed and amused

us with a Juan Tamariz effect in which we used negative vibrations to find a card, leading to a positive conclusion. Chuck Kleiner shared his version of an old Emerson & West packet routine called Color Monte.We closed out the meeting with

a Matrix routine from Mike Bat-tistoni using only two cards and four silver dollars. We felt that if he could do it with two cards what about just one card. Instead, he performed the routine with no cards blowing our minds. The cries of “Do it again, do it again,” made our club sound like a bunch of kids at a magic show. Mike shared that he had help from Dean Dill in developing the effect. —Chuck KleinerAssembly 200 meets the first Thursday of each month at a branch of the King County Library from 7PM to 9PM. Check website for meeting locations. w w w. e m e r a l d c i t y w i z a r d s .org Contact Chuck Kleiner [email protected] () www.emeraldcitywizards.org for more details.

206FRIENDS AND FAMILY

NIGHT AND STREET PERFORMING IN AUSTIN

AUSTIN, TEXAS— Friends and Family Night is an Assembly 206 tradition that provides both amateur and pro members an op-portunity to show off their favorite effects in an intimate setting. Joining President Mike Brewer for the show on May 19 were close-up prodigy Edward Boswell, veteran wizards Kent Cummins and

Peter the Adequate, Tim Dietz, Shelby Parsons, J.D. Stewart, Steve Farmer, and Paprika, a very talented juggler. Assembly 206 devoted its

June meeting to street perfor-mance, both its joys and perils. A magician, a strong woman, a sword swallower, and one half of a mind-reading team gathered together for an expert panel. Each agreed that street performers can add to the vibrancy of a city, but also can face discriminatory treatment.The panel took up two topics:

street performance tips, and street performance politics. The politics aspect is particularly relevant in Austin, because there’s currently an effort underway at City Hall to clarify the city’s street per-formance rules. Mr. Odditorium expressed support for wide-open laws, such as those existing in New Orleans. He said other cities are less friendly. Ms. Lindberg, who has been

involved in the City Hall efforts, and Mr. Maverick both said they were encouraged by the assem-bly’s interest in the issue. Ms. Lindberg said various courts have confirmed that street per-formance is protected by the U.S. Constitution. Mr. Maverick, a former Assembly 206 president, discussed the challenges unique to street performers, such as those presented by drunken passersby. The term of art for street per-

forming is “busking,” a British word. In the old days the busker’s assistant who gathered the crowd was called the “bottler.” Mr. Dyer, the “bottler” for the street psychic known as The Girl Who Knows, described a few run-ins with police. He said busking helped teach him to gather and handle crowds.Mr. Dyer, the Assembly 206

secretary, also described his recent appearance at City Hall, along with Assembly Vice President Dan Page. The assembly voted unani-mously to support those advocacy efforts, and directed Mr. Dyer to craft a resolution in support of clarified busking rules for Austin. —R.A. Dyer

Assembly 206 meets at the Omni South Park Hotel, 4140 Governors Row Austin, Texas, 78744 Contact Jake Dyer [email protected] (512) 658-0017 http://sam206.com/ for more details.

215DO A TRICK/TEACH A

TRICK NIGHT

LOUISVILLE, KY— Cody Clark reported the following: “In January, I won the Magic Warehouse scholarship to attend Jeff McBride’s Magic and Mystery School. So from June 12-18, I embarked on a grand adventure to Las Vegas, in which I had many life-changing experi-ences. In the Master Class led by Jeff and Eugene Burger, I learned about how to adjust your patter for different types of audiences, what life as a professional magician is like, and I got to present my Butterfly Blizzard routine to the class for critique. Jeff and Eugene made sure no question went unan-swered and gave my classmates and me plenty of homework to ensure that we become better magicians. Aside from attending Master Class, I got to see many shows, meet up with Louisville native Lance Burton for lunch, and even meet David Copperfield (at the same show Johnny Thompson, Tom Mullica, and Arian Black all went to). It was amazing being able to be in a city with so many talented magicians and to learn so much from all of them! I guess I‘m one of the few people to ever leave Las Vegas richer than when I came in.”Performers and tricks for the

evening were the following: Jim Harris – a “weigh the cards” trick from the recent Bruce Amato lecture; Johanna Galloway – crayons disappeared from a box of crayons and reappeared elsewhere; Graham Maupin – a die disappeared from a box and reappeared in his hat; Sidney Hagerthey – an arm twist effect that David Copperfield has used to open his shows; Berk Bryant – recited a story about a snake that didn’t have a pit to hiss in and a cut newspaper prediction;

Eric Odditorium, World’s Most Daring Sword

Swallower

Cody Clark in Las Vegas


Assembly News

Ramsey Kraft – a number predic-tion trick; Roger Omanson – an Aldo Colombini card trick; David Garrard – a matching cards pre-diction; Cody Clark – an eraser changed a card to the selected card; Bill Kustes – cards selected by magician and spectator match; Ray Tillman – a “find the rabbit” trick from The Linking Ring; Ray Adams – comedy sponge ball and silk routine; Steve Haffner – a card in wallet and Gypsy Thread with dental floss; Pete Miller – a Bill Pryor effect of a nut winding itself off a bolt; Ned Way – linking ropes; Mike Blanckaert – an Aldo Colombini card trick. —Roger L. OmansonKosair Community Center on Eastern Parkway Contact Roger L. Omanson [email protected] (502) 296-6577 www.lmcmagic.com for more details.

226ROY EIDEM LECTURE

WILLIAMSBURG, VA— We had a very special treat at the May meeting of the Baker Temple Assembly 226 – a lecture by Roy Eidem (rhymes with item) a member of the Horace Bennett Ring in Richmond. Watt Hyer (Sgt-at-Arms of Assembly 226 and President of Ring 180) made the arrangements (thanks, Watt) and it was a very memorable evening. Roy has been to Fechter’s Finger Flicking Frolics so you know he has the chops. Roy performed and taught three of his best routines: Dances with Coins, And His Last Name Was…Houdini, and Santa’s Magical Lump of Coal. The coin routine alone would have been enough for me as it was well thought out, enter-taining, and very magical. Some of the moves he taught had never appeared in print until he wrote his book Coins by Roy Volume 1. The routine And His Last Name Was...Houdini proved the power of three. Roy performed three consecutive string ties (think cat’s cradle from your childhood)

that simulated a Houdini escape and each one built on the previous and mystified everyone. Last

and definitely not least was his lump of coal routine which was again showed why he gets invited to 4F. I should mention we also had a really good turn out with almost twenty magicians in atten-dance! If you ever get the chance to see Roy perform or lecture don‘t miss it! —Michael HeckenbergerAssembly 226 meets the fourth Wednesday of the month (except August and December) at the Williamsburg Library, Room B, 515 Scotland Street, Williamsburg, VA. Meetings start at 7:00PM Contact Michael Heckenberger (757) 812-3299 http/sites.google.com/site/samassembly226gmail.com for more details.

248SAM 248 FOUNDER PASSES.

NAME CHANGE AND AWARD ESTABLISHED

SCOTTSDALE, AZ— On June 11, 2014, Assembly 248 held elections for the 2014-2015 term (starting in July). The following are the new officers: President – Terry Osborne, 1st Vice President – Nicholas Pumilia, 2nd Vice President – Brian Nigre, Treasurer – Mike Wilbanks, Secretary: Irene Godinez, Board Members – Jeff Payton and Frank Alfred.As you may be aware, the founder

of Assembly 248, Robert Bluemle, passed away. Another member, Jerry Schmidt, also passed away. We had a broken wand ceremony for both of them at the June 11th meeting. A motion was made, seconded,

voted on, and accepted that Assembly 248 add the name Robert Bluemle to the existing name. The name will now be „The Jack Sutherland/Robert Bluemle Assembly.“A motion was made, seconded,

voted on, and accepted that SAM 248 establish the Robert Bluemle Excellence in Magic Award to recognize magicians that have shown dedication and selflessness to the art of magic. The recipient(s) will be given a certificate recog-nizing this achievement and will be awarded a lifetime membership in Assemby 248. The president shall, as their last act as president for the term, select one or two worthy magicians to receive this award. The only stipulation is that the president cannot select himself.The first two recipients of the

Robert Bluemle Excellence in Magic Award are Kenton Knepper and Barry S. Schor.After the awards were given,

President Gary Bullock presented newly elected President Terry Osborne his president’s pin and Terry in turn presented Gary with

his Past President’s pin.After a short break Dean Hankey

gave a great lecture on the business side of magic. He stressed the im-portance of education and creating value in everything you do. Thank you Dean for all the wonderful in-formation. Assembly 248 Meets at Coco’s 4573 E. Cactus Road, Phoenix, AZ 85032 First Wednesday each month Social hour 6:00 pm, Lecture 6:30 pm. Contact for more details.

266A TRIBUTE TO ONE

OF OUR BEST

LAKELAND, FL— The June meeting was called to order by President Jerry Kardos on a somber note. A moment of silence was given to one of our founding members, Elmo Bennett. Our club, along with dozens of local magicians and hundreds of family and friends had met just the day before for an emotional send off for our brother, including the broken wand ceremony conducted by Dean Bob Macey. My joining this club is because of the brother-hood shared by Elmo; he continued to be with us all throughout the evening as everyone shared their own stories of our finest story-teller through their performances. During the business meeting we discussed starting a website, a Facebook page, and document-ing the history of the club so the contributions of people like Elmo are not forgotten. We discussed the recent Florida State Conven-tion and touring show of the play Ghost, which was chock full of magical effects.Andy Lino’s schedule usually

keeps him away, but he surprised us just in time for show time with a visit this month. He had some props from someone getting out of magic that needed homes, and the club was more than happy to help out.The meeting’s entertainment

began with Dean Bob giving us a lesson in how to spot art forgeries. Next up Jerry showed a color divi-nation box that he was able to see into remotely. Brad Breaux did a comedy stage routine in which he showed his cooking skills. Some say he „cooked Jerry’s goose“ from Jerry’s finger prank last month. Beverly did a cute silk appear and vanish from a myste-rious box. Scribe Al D‘Alfonso showed off a new magic kit that mixes traditional principles with hologram technology and a space age narative to teach magic to the next generation. The group got a kick out of the HolograFX adven-tures and how they revitalize our art.

Our meeting started as it began, with our friend Elmo. Ed McGowan shared the trick that he and Elmo were learning together during the last week of Elmo’s life. It was a great multiphase card routine with an entertaining story that was the perfect tribute to our lost brother. RIP my friend, you will be missed. —Al D‘AlfonsoJim Zachary Assembly 266 meets the second Monday of the month at 7PM at the Lakeland I-HOP, I-4 & US 98 Contact Al D‘Alfonso [email protected] (321) 437-3814 for more details.

291DIRECT FROM LAS VEGAS:

MENTALISM WITH PAUL DRAPER

LOS ANGELES, CA— Assembly 291 was very fortunate to enjoy the mentalism of Paul Draper, who came all the way from Las Vegas. From a very anthropo-logical standpoint he is very well versed in reading people and situ-ations. Two of our audience were intrigued in having their cards read by such an expert. It gave them a wonderful insight into their own human condition. He also showed us how he uses his mind to bend spoons. As a result, one of our S.Y.M. members had a fun souvenir. Paul Draper’s resume is very

accomplished. “He has appeared with David Copperfield, Lance Burton, and Teller as an expert on the History Channel. He has performed for the HBO Comedy Fest at Caesar’s Palace, on Criss Angel’s Mindfreak on A&E, and on documentaries accompany-ing Steven Spielberg’s Polter-geist. He has also appeared on the Pawn Stars episode of Learning The Ropes, where he works his craft and bends a spoon during an interview. In addition to his corporate shows and lectures, Paul Draper is frequently called upon as an expert in fields ranging from magical history to human con-sciousness.” In researching Paul’s biography,

he is “an anthropologist and member of the Society for the Anthropology of Consciousness.

Roy Eidem in Action!

Paul Draper

Paul Draper pursued studies with Native American ghost dancers, South cannibals, and spiritual-ists.” According to Paul, he is an “anthropologist, magician and mind reader.Paul is everything he claims

to be and more. The lecture was delightfully insightful. And we would recommend him at your next lecture. However, if you are in Las Vegas, be sure to catch his at the Venetian Hotel and Casino where he is the house magician. —William Dow Jr. Assembly 291 meets the second Tuesday of every month at OPICA Adult Day Care Facility, 11759 Missouri Avenue, Los Angeles, CA 90025. Contact Les Cooper [email protected] (310) 473-1820 www.westsidewizards.org for more details.

292SLEIGHTS ON THE SOLSTICE

GREELEY, CO— We met on the Summer Solstice (June 21st) in The Buzz coffeehouse and greatly enjoyed an unexpected treat. Richard Nakata introduced two guests: Peter Toews and his nine-year-old son Michael, who is one of Rich’s magic students. Michael is a courteous, poised, and gifted lad whose career goal is to combine being a violinist and a magician. His twin sister regularly performs with him, playing a flute.

She’s a prodigy, too. Later, his sup-portive grandparents dropped by. (It’s a small world; Ed Hurtubis knew his grandfather years ago at work.) Michael’s skills took our breath away as he used large rings for an Odin count and then smoothly performed Dai Vernon’s classic Symphony of the Rings. Next he performed Nakata’s own Cups and Balls routine. (Michael had a twist on one sleight, so Rich said it really should be renamed Michael’s routine.) We look forward to seeing more of this lad’s impressive work.Jim Pope ran an informal

meeting. He brought a Walter Gibson book for a couple members to inscribe since they had known the author. Show reports were by “The Amazing James” Lopez, Rich Nakata, Lloyd “Worley the Wizard” Worley, and Lew “The Great Loudini” Wymisner. Rich Nakata enter-tained us with terrible jokes and his father’s signature Ah-Phooey Rope Routine. It uses multiple sleights (and really sharp scissors) to cut and restore doubled ropes and to trim and to vanish lots of bulky knots. Lloyd Worley displayed two elaborate Harry Potter-themed wands. He passed around the USPCC’s mandolin-back GT Speedreader Marked Deck with Ted Lesley markings.Then he performed the white-

crane version of SEO Magic’s novel Origamagic. Instead of

juggling the memory cloth in his hands, Lloyd took Jeff McBride’s advice and bounced it on a large black fan. This leaves a hand free to make gestures “causing” the transposition to evolve. The next day, Lloyd sent us an email that he had closed a show the evening after our meeting with the same Origamagic presentation. It left the audience speechless. James Lopez used several sleights in dealing the Aces, and in doing Solo Flight Aces from Expert Card Technique. Lew Wymisner ended the meeting with an interesting display of gimmicked salt shakers. He demonstrated features of the props, including designs by Al Baker and Vernet.—Ron Dutton

The Dr. Ronald P. Dutton Assembly 292 usually meets at Kenny’s Steak House, 3502 West 10th Street (corner of 35th Avenue) at 11:00 A.M. (lunch optional), on

the second Saturday of the month. Contact Jim Pope [email protected] (970) 339-3277 www.SAM292.com for more details.

293JUST DO IT

LINCOLN, NE— With the timing of the Lincoln Marathon and other local sporting events, the theme for our June meeting was “Just Do it.” Whether it’s a new magic trick you’ve been working on for some time or a tried-and-true favorite, club president, Bruce Jacoby en-couraged our members to come to the meeting and “Just Do it.” We had many of our youth members perform card tricks, as well as several more seasoned members show off their talent. In addition to our regular June meeting, youth leader, Luis Villamonte gave a mini-lecture about the rhythm, timing, and psychology that goes into planning a forty-minute stage routine. Club member Jarod Cernousek also shared his experi-ences from the recent AbraCorn-Dabra magic convention in Iowa. —Vizma ShaefferThe Lincoln Magic club, Assembly 293, meets on the first Saturday of every month from 12:30 - 2:00 at the MagicKits.com Magic Shop at 10th & Charleston. Contact www.lincolnmagic.com for more details.

Rich Nakata cues applause for Michael Toews

ELMO BENNETT

We are disheartened to report the passing of Elmo Bennett of Winter Haven, Florida, on June 8, 2014, from heart failure. He is survived by his lovely wife of thirty-one years, Linda, his son Michael Bennett and his wife Chrissy, and several grandchildren. Memorial services were held on June 10, 2014, at the Heartland Community Church in

Winter Haven with over seven hundred in attendance – a fitting tribute to a man who had touched so many lives throughout his community. Over thirty-three magicians were also in attendance; Bob Macey, Dean of S.A.M. Assembly 266, conducted the broken wand ceremony.

Elmo was a founding member of the Central Florida Magic Club (started in 1977 by Tom Craven at his V.I.P. Magic Shop in Auburndale, Florida). The club later transi-

tioned into the Jim Zee S.A.M. Assembly 266 in Lakeland, Florida; Elmo held every club leadership position numerous times. He was also a long-time member and officer of the Wizards of Winter Haven. Elmo was very welcoming to new members and always had a kind word to make them feel at ease.

He had numerous careers in his lifetime: He retired from the US Navy after thirty-four years and from Tampa Electric after twenty-eight years. Elmo was also a talented musician, however, he was best known in the community of Winter Haven for his subsequent and defining career as a close-up restaurant magician. He and Linda owned and operated Elmo’s and Linda’s Magical Dining, for which he was a magical performer extraordinaire. Elmo was probably the most naturally funny magician and story-teller I have ever known. People flocked to watch his magic and hear his tall tales while Linda provided scrump-tious meals; it was the perfect partnership. On any given day, you could find Elmo and his best pal, Ed McGowan, holding court in a variety of venues. Elmo Bennett was a one-of-a-kind original and he will be deeply missed. —Bob Macey

Broken Wands


Assembly News

DEAN OF ASSEMBLY 266 - RONALD A. WOHL

Ronald A. Wohl was born on November 25, 1936, in Basel, Switzerland. His fascination with magic began at an early age. Being a very bright, obsessive, and creative person, he began to publish many of his creations while still very young; most of his early works and articles appeared in German under the pseudonym Ravelli. In 1960, he released a self-published booklet in German titled Unheimliche

Kartenpartie. Shortly thereafter he moved to the United States.

By then he had a PhD in biochemistry and began doing research at Yale University. His first job in the US was as a biochemistry professor at Rutgers University; this led to his career as an executive at Berlex pharmaceuticals, where he worked until his retirement in 2004.

Ron was a member of The Society of American Magicians for close to forty years; he served as president of Assembly 25 in New Jersey. Although he was a member of several local assemblies, the Rouclare-Zar-row Assembly was where he was most active. At most meetings he would share the latest magic that he had dis-covered on his travels, and he often tipped unpublished secrets that would not go public for years.

Ron spoke and read many languages and had an incredible retention for what he read. He was almost encyclopedic about his passions, which included, magic, gambling/cheating, con games, cooking, music, puzzles, and many subjects. As a collector, he amassed one of the larger collections of magic and gambling-related books and props in multiple languages; he likely had the largest collection of magic and gambling prints in the world. Most of his collection is scheduled to be offered at a Potter & Potter auction in 2015.

Some of his best known creations are The Austra-lian Sixes, The Mechanical Reverse (often inaccurately credited to Ken Krenzel), and Ravelli’s Waterfall Shuffle, which inspired an entire industry of in-the-hands false shuffles. His routines in the recently released Magical Mathematics by Persi Diaconis and Ron Graham have been called the highlight of the collection.

Ron died on July 7, 2014, after a long battle with cancer. Since being diagnosed with terminal cancer four years ago, he spent his remaining time enjoying life instead of living in sorrow. He traveled to every magic convention he could, along with many side trips to places and museums that he always wanted to see. His time on earth ended on an ironic date that he would appreciate due to his love of numbers, puzzles, and coincidences: He died on July 7, 2014 (7/7/14) at the age of seventy-seven!

ROBERT W. “BOB” KLAMM

There are two sayings that were important themes in the life of Robert W. “Bob” Klamm, who died July 10, 2014. First, there are none as sad as those who cannot laugh at themselves. Second, those with sight look into things with their eyes, while those who are blind must look deeper. For the past eighty-four years, Bob has been laughing at himself and looking deeper

than most.Bob was born nearly blind March 11, 1930, in Kansas

City, Kansas, one of two children born to Beulah and Clarence Klamm. No one knew he was nearly blind, not even himself, until he was eight years old. He just learned to laugh at himself and made jokes about his bumbling ways..

Despite his handicap, Bob developed a keen interest in performing magic tricks. While a student at Northwest Junior High School (Kansas City, Kansas), he did his first big magic show for a student body of five hundred. The show was immensely successful and Bob was finally no longer an outcast. He was hooked on magic and performed ever since then.

At the age of twenty-two, found a job writing ad-vertising copy for Standart-O’Hern Advertising Agency. While working there in the early 1950s, he pioneered the comedy radio commercial. After gaining a Master’s degree in Education from the University of Missouri at Kansas City in 1959, Bob worked as a speech and drama teacher for nineteen years at Van Horn High School (Independence, Missouri), where he touched the lives of many students.

In 1976 Bob returned to his first love – performing magic – and also opened a magic shop in Independence. For the next forty years, Bob worked tirelessly at his trade, and established himself as an international figure. He founded the Greater Kansas City Assembly 38; he also started a Kansas City assembly of the S.Y.M. and produced their annual magic show for seventeen years. Bob developed a product line of his own magic tricks, including many new effects that performing magicians now consider industry standards.

Bob was a prolific writer as well as performer and teacher. His books include: Fly Like a Bumblebee, How to Outfox the Kids for Fun and Profit, and Get More Laughs from Your Laughs. Bob leaves behind his loving wife of many years, Berniece, sons Dale and Scott, four grand-daughters, sister Doris Stoneberger, nephew Mark Stone-berger, niece Sarah Harris, and a great many grand nieces and nephews, who will miss their “Uncle Bob.”

(For a more complete story of the life of Bob Klamm, see the April 2009 issue of M-U-M.)

Broken Wands



By Steve Marshall

I Left My Cards at Home

RYAN SCHLUTZ

Ryan Schlutz is one of those rare indi-viduals who was actually born and raised in Florida.

When he was in third grade, his mother showed (and taught) him his first magic trick. “She showed me the old trick where you tie a shoelace into a loop and then pull it through your neck,” Ryan said. He thought the trick was so cool that he took it to school and performed it for show and tell. “I remember being so nervous. I got up in front of everyone, performed it, and nobody said anything! I thought I must have been horrible and went and sat down. Later on everyone came up to me amazed and asked me how I did it. I had mistaken their quietness for not liking it. They were just so amazed that they didn’t know what to say. After that experience all I wanted to do was to learn more magic!”

Ryan began to study magic. By the time he was in high school, his family had moved to Orlando, Florida, where he met another young magician named Kostya Kimlat. The two of them became friends and started hanging out and working on new magic effects. “I got to see Kostya cull his first card. That’s my claim to fame,” Ryan said with a smile.

Also during his high school years he volunteered every Sunday at the Give Kids the World Village in Kissimmee, where he would perform table to table at the Sunday morning family breakfast and then run the carousel in the afternoon. Ryan said that

this was not only great for working on his magic; it was also a very rewarding experi-ence to perform for these special children and their families.

After finishing high school, Ryan went to the University of Florida, where he earned his degree in business finance. During his time at the university, there was a weekly event called “Gator Nights.” He began performing there every week. “I was basically an ‘in the trenches’ kind of guy – just doing close-up magic, mostly walk-around stuff.” This style of perform-ing, in real situations, for real people, gave Ryan a keen sense of what worked and what didn’t and enabled him to develop a style, and create new material that would work in the real world.

When he left college, he got a job working for the defense contractor Lockheed Martin doing corporate finance work. Once again his surroundings started to influence his magic creative process; he began freaking out fellow employees with tricks that he created using the office supplies that were all around him.

Ryan had a dream to write a book about all the lessons he had learned about the performance of magic and the tricks he had created. In 2011 his book Making the Cut was published. One of the items included in this book, the Pivotal Peek, has become a popular and often-used sleight. Ryan followed up his best-selling book with a DVD of the same name, which teaches the effects from the book.

After that, Ryan became, in his words, “a self-working card trick junkie” and began working on and collecting these types of effects. Many such tricks were included in his next DVD, Miracles without Moves.

At the time of this writing, Ryan’s third DVD, Effortless Effects, featuring more self-working card tricks is being finished up and should be on the market around the time you read this. Ryan was nice enough to give me a sneak peek at one of the new tricks, called Clearly See Thru; it totally fooled me.

Ryan has many great thoughts about the performance of magic as well, including some interesting ideas that help with that awkward moment of approaching a table to perform in a restaurant. “I found that

people were more inclined to welcome me if I initially said that I was a palm reader, instead of a magician. I would then go into a sort of comedy palm reading bit that would change into a magic trick; I’d then have their attention and I could perform.”

Ryan is truly creative in his ideas on magic; I look forward to seeing more from this young man.

ELEMENTARY SPOON BENDBY RYAN SCHLUTZ

This is a nice trick that Ryan sometimes uses to close his walk-around sets at restaurants. It leaves spectators with a cool souvenir that just happens to be his business card.

Effect: Begin by asking a spectator, “Have you ever heard of someone bending a spoon with his mind?” Pick up a spoon as you say this. When she says yes, say, “It looks pretty difficult, but people can do it without even knowing that they have this power.” Hold the spoon up in front of her and say, “Maybe you can do it! Go ahead; try to bend it with your mind!” Let her make faces, put her hands on her temples, etc. Then say, “It’s not working – good try, though! It’s actually more difficult than you would think. The steel is very hard, so I started training to do this with something much softer...” Pull a stack of business cards out of your pocket as you say, “…paper!”

Turn the packet of cards over and show a straight spoon drawn on the back. Say, “I will teach you how to train your mind with this paper spoon. First sign your name across the bottom of the card so we know that it is yours.” Pull the signed card off the stack while keeping the writing side of the card toward the spectator and the spoon drawing toward you. Tell her to hold the card and shake it back and forth as you illustrate the same action with the real spoon. The spectator will see the real spoon start to bend.

Stop shaking the spoon and show her that your real spoon has bent. “If you followed my actions and my spoon has bent, then your spoon should have bent, too.” The spectator turns the business card


over and sees that the drawing of her spoon is also bent. The card is signed, proving there was no switch, and she is left with your business card that was magically altered.

Method: A lot of you will probably recognize the business card part as using the “Out to Lunch” principle. You will need to draw a bent spoon on the back of some of your business cards. Lay one half of another business card on top of it and draw a straight, top portion, of the spoon so that it lines up perfectly with the handle of the bent spoon. (Photo 1 shows what you will wind up with.)

Draw bent spoons on about ten cards so you can easily reset the trick when needed. If you are a bit “artistically challenged” at drawing spoons, as I am, ask a friend who is better at this to draw what you need and have the business cards printed.

Take a stack of business cards, about ten, and place the bent-spoon card on top; then place the half portion on top of the bent-spoon drawing and line up the handles. Wrap a rubber band around the stack to cover the seam (Photo 2) and you are ready to perform. (There are several items on the market that you can use instead of the simple rubber band. If you intend to perform this routine often, you may want to invest in such a prop.)

Following the presentation above, bring

out the stack of cards and ask your spectator to sign the bottom of the card (Photo 3). After this is done, take the cards back, turning the drawing towards yourself; pull out the signed card, leaving the half card held to the stack by the rubber band (Photo 4).

Since you have drawn spoons with handles that line up to the half card on all the cards in the stack, you can let the spec-tators see the next drawing, since it will just look like another straight spoon (Photo 5).

Put the stack of cards in your pocket and hand the signed business card to the spectator with the drawing toward you so

she doesn’t prematurely see the bent-spoon drawing. Pick up your real spoon off the table and, as you raise it up to her eye level, push on the bowl of the spoon with your thumb, giving it a slight bend (Photo 6).

Keep the back of the spoon directly toward your spectator and begin to shake it back and forth. Ask her to do the same with the business card. Begin tilting your spoon toward her; she should do the same with the card. She will see your spoon is bent (Photo 7). Stop shaking it and show the bent condition of the spoon. Ask her to turn the card over and she will see that the drawing of the spoon, with her signature on it, has bent as well.

STEVE’S STUFFThis is a great effect on so many levels.

It is amazing and engaging for the specta-tors, and they get a magical souvenir with your contact information on it. If you are new to spoon bending, this is a great effect to start off with, because you could even bend the spoon earlier, when the spectator is signing the card, since there is so much misdirection.

Photo 4

Photo 7

Photo 1

Photo 2

Photo 3

Photo 5

Photo 6


If anyone ever had a misspent youth, it is Al Schneider. If you have even seen him perform his close-up Zombie routine, you will know what I mean. The silver ball comes alive with a personal-ity all its own. This is a result of thorough planning. Al looks at routines from every angle and leaves nothing to chance. Every move must look natural and be convincing.

I saw Al perform this routine at a convention this past summer. It is a fooler, and comes from his book, Al Schneider on Close-up. Read the routine, and then read it again. You will not want to miss any part of Al’s misspent youth. – David Goodsell

TWENTIETH CENTURY YARNBY AL SCHNEIDER

The development of this effect began as a straightforward effort to reduce the stage effect called Twentieth Century Silks to a close-up routine. My first attempt involved switching two small silks tied together for three tied together. This was accomplished by rolling each set up into a ball. During the routine the switch was to be done with something like a Toss Change with coins. The handling never really appealed to me due some clumsiness with a ball of silk.

Then, being aware of the tremendous power of a thumb tip, I considered using that device. Since the thumb tip is used to vanish small items, I thought of vanishing a small piece of yarn, and then have it appear tied between two silks. Then, I thought of using yarn totally instead of silk. I was in the process of trying out a Himber wallet to switch two pieces of yarn for three when I thought of doing the switch in an envelope. Switch envelopes? Well, that was okay, but messy. How about using the tip? Yarn can be compressed very nicely. That might work. But then how do I vanish the single strand? Maybe I could use the tip on both? Pow! That’s the method. Then, all I had to do was program the final routine.

The routine uses two envelopes, three and one half inches by two and one quarter inches; six pieces of yarn, four red and two yellow, each about six inches long; and one Vernet thumb tip. Tie two red and one yellow into a chain with the yellow in the middle. Place this chain in the bottom of the envelope, turn the flap all the way back, and place the thumb tip in the envelope in position for correct use later on in the performance of the routine. Place this in your left coat pocket. Place the yellow strand in the other envelope, followed by the two red strands. Put this away until it is time to perform.

Begin the effect by bringing out the envelope with the three pieces of yarn in it. Open the envelope, bending the flap all the way back. Squeeze the sides of the envelope so it opens all the way. With your thumb, press a dent in the side of the envelope (Figure 1). This will keep the envelope open. The audience should

be aware of this, but don’t bring undue attention to it. Later, when you bring out the envelope with the thumb tip in it, the audience will not be surprised to see the envelope still bowed open.

After the envelope is squeezed open, remove the two red strands of yarn first, laying them on the table. Then remove the yellow strand and lay it on the table. Put the envelope in your left coat pocket, being careful not to flatten the envelope.

Pick up the two red strands and tie them together (Figure 2). Say something about hiding them, pause, and reach for the envelope in your left pocket as if you just thought of using it. Don’t overact this, for all you need do is pause as if thinking.

Bring out the envelope containing the thumb tip. Immediately insert the tied pieces of yarn into the envelope, and into the thumb tip (Figure 3). The first poke will leave most of the yarn sticking out of the envelope. Using your fingers and thumb alternately, push all the yarn into the tip. When it is all in, a last poke of the thumb withdraws the tip from the envelope on the thumb. Sometimes the tip does not stick to my thumb, so I insert my thumb into the tip and bend the thumb, which presses the inside edge against the lower part of my thumb firmly grasping the tip from the inside. Also note that while handling the tip inside the envelope, the left hand can squeeze the tip while it is holding the envelope. This provides stability in handling the tip.

Now that we have the tip out of the envelope, the left hand presses the envelope flat (Figure 4), and then the right-hand fingers flip the flap over so the envelope is closed. Moisten the glued part of the flap with your tongue, and seal the envelope closed. Place the envelope on the table or give it to someone to hold.


For the second part of the routine, the right hand picks up the piece of yarn on the table using the tip of the thumb tip and the second finger. Raise the left hand and close it into a fist, thumb uppermost. The right hand approaches the left hand with the strand of yarn. The right hand pushes the yarn into the left fist. Only a small bit of the yarn is inserted into the left fist, however. The right thumb is thrust into the fist deep enough to deposit the thumb tip (Figure 5). Because the thumb is behind the right fingers out of the view of the audience, they won’t be totally aware that you have made a deep plunge. Also, the action of putting the thumb tip in should be a quick action that does not attract undue attention to itself. You end up with most of the yarn hanging out of a closed fist (Figure 6).

By alternating with fingers and thumb, poke the yarn into the tip and steal it with almost the same motion you used to place it into the fist. Briefly show your right hand empty by revealing the palm of the right hand. Point the tip at the audience, and bend your thumb, which causes the lower edge of the tip to blend into a fold of skin (Figure 7).

Make a comment about magic powder and insert your thumb and second finger into a pocket as if you were getting a pinch of something. While the tips of the thumb and finger are in the pocket the second finger presses the thumb tip against the body. This holds the tip, allowing the thumb to be withdrawn. The hand moves away from the pocket as if containing a pinch of dust

between the second finger and thumb; the tip is left behind in the pocket.

Sprinkle the left hand with the imaginary dust and show the yellow strand gone. It is up to you to reveal the three tied pieces of yarn in the sealed envelope. Isn’t magic wonderful?

[Note: For several years during the 1980s, Editor Emeritus David Goodsell ran a column called Evidence of a Misspent Youth. It contained some excellent routines from many of magic’s top creators.

Twentieth Century Yarn is a routine I used all the time during my tenure at Max & Erma’s restaurant in Indianapolis back in the 1980s. It plays very well for children. I explored other options for the envelopes, including an origami bird in a nest that could move its head up and down. The two red pieces of yarn (worms) were put in the nest. The yellow thread vanished. The bird lowered its head into the nest and pulled up the three threads tied together. This is probably way more trouble than most readers will want to go to (assuming you could even find the origami fold), but I mention it to stimulate your creativity.

Two other small additions you may wish to try: 1) Instead of a thumb tip, use a finger tip on the right first finger or middle finger. It makes actions of poking the thread into the envelope more natural. 2) Have the envelope with the three tied threads in the upper breast pocket of your coat. Instead of returning the first envelope to your side jacket pocket, use the pocket-switch dodge to switch envelopes in your breast pocket. This makes it appear as if the envelope never leaves the spectators’ sight. – Michael Close] (Drawings by David Goodsell)

http://www.nnmagic.com


The Nielsen GalleryDimensions: Half-sheet: 23" x 31.5" • Lithographer: G. Bataille, Paris

Date: Circa 1903 • Nielsen Rating: Unique

Ten Ichi Troupe at the Casino de Paris

For centuries, Japan deliberately isolated itself from the rest of the world. This changed in the second half of the nineteenth century when the country opened up to the West. When it did, cultural interchanges began on many levels. Soon magicians from the U.S. and Europe began appearing in Japan. Likewise, Japanese magicians brought their exotic conjuring to the West. The first real star to blossom on the American stage is the subject of this month’s poster: Ten-Ichi Shoukyokusai.

Magic in Japan grows from ancient roots. The earliest accounts of magic performances appear in Japanese books as early as 800 C.E. (current era). The first Japanese magician to achieve fame was Ukon Miyako who performed in 1670. The first Japanese card trick was published in 1725. The first Japanese descriptions of the Cups and Balls and Linking Rings appeared in 1764. And books on magic proliferated. Between the end of the seventeenth century and the start of the twentieth, over four hundred magic books were produced in that country.

Ten-Ichi’s big break came in 1888, when, at the age of thirty-six, he dazzled Japanese audiences with effects like the Mizugei or “Water Fountains” act in which water spouted from Ten-Ichi’s finger and then from everything he touched, including the top of an assistant’s head. He also performed the thumb-tie trick, which consisted of his thumbs being tightly secured with a tradi-tional Japanese cord made from twisted washi paper, which was extremely strong. He then passed his hands through hoops thrown toward him, encircled poles, and in other ways demonstrated the penetration of solid through solid. With each instantaneous pen-etration his thumbs were found securely tied.

Both illusions were well known in Japan, but caused an absolute sensation when presented during his first U.S. vaude-ville tour in 1901. The thumb-tie quickly caught on with Western magicians, who devised various methods to accomplish the feat. None approached the skill and artistry of Ten-Ichi. In fact, he only ever taught it to one magician, Carl Rosini, while both were per-forming at the Alhambra Theatre in London in 1904. It became a signature effect in Rosini’s repertoire, although he changed from Japanese cords to twine. In return, Rosini taught Ten-Ichi his billiard ball routine.

Getting back to the Water Fountain act, historian David Price described it as follows:

“It looked like real magic with Ten-Ichi transferring the fountain anywhere he pleased. After the original fountain had been transferred several times, at times coming from the middle of an assistant’s forehead and from the tip of another’s nose, Ten Ichi began creating many fountains instead of transferring one from place to place. A fountain sprang from every place that he touched. The entire company came on stage and was ‘fountain-

ized,’ with water spurting forth from one or more parts of the anatomy of each.”

Thurston, Dante, and Tampa all used the effect in their shows; in Thurston’s case, one of the girls in his company was even suspended in air, held there only by sprays of water.

Ten-Ichi was soon playing the Keith and Orpheum theaters in the east. Then, in the fall of 1903, without a contract in hand, he took his company to Europe. Despite this lack of a contract, he was quickly booked at the Wintergarten in Berlin for six weeks, in Paris at the Casino, then in Amsterdam, and finally over to England for his long run at the Alhambra. After great success in England, he returned to the United States, playing major cities. After several months he returned to Japan in 1905 and was booked immediately into the Kabuki-za Theater, the largest in Tokyo.

When his show opened in Tokyo, it was not with the same act he had been so successful with in America and Europe. Rather he presented a number of illusions he had learned from his peers and acquired during his travels. He delighted Japanese audiences with illusions like Vanity Fair (walking through a mirror), Kellar’s Vanishing Lamp and The Levitation of the Princess Karnac, and Professor Mingus’s version of catching goldfish from the air with a fishing pole.

In the Japanese culture, professional information was commonly handed down from a sensei (master) to a deshi (apprentice), who began at the bottom and slowly worked his or her way up, eventually ending up with their own independent work. Max Maven, writing in a July 1994 Genii magazine article, noted that this was the case with one of Ten-Ichi’s students, Tenkatsu Shoukyokusai (featured in the poster). After Ten-Ichi died in 1912, she became a star in her own right. Another pupil who became famous in his own right was Tenyo Shoukyokusai, Ten-Ichi’s nephew. After a successful career in magic, he formed the magic company that still bears his name.

Ten-Ichi’s popularity can be attributed to his understand-ing that audiences wanted something different and exotic. The Japanese miracles he performed, all with traditional Japanese dress and stage settings, were unlike anything audiences in the West had ever seen. When he returned to Japan with Western miracles, audiences packed the theaters.

The beauty and mystery of magic performed by Japanese conjurors still delights audiences today. Perhaps Maven said it best when he concluded his article on Japanese conjuring saying, “Watch for them; they’ll have astonishing mysteries to give you.”

—Tom Ewing

Another Lady in TwoI am confident I am not unique in having magic acts that I

favor, even though I cannot definitively say exactly why I am fond of them. The Rice, Orange, and Checkers transformation is one of those. And so is this month’s topic: Zella’s Divided Lady.

Who was Zella? I wish I knew. I cannot find any reference to him. I know that he invented at least one other effect: Zella’s Thought Projector. I had this Abbott Magic product when I was a young man. It was a piece of rope; the magician would hold one end of the rope and the spectator would hold the other. With it, the spectator could announce/reveal, for instance, which playing card another spectator had chosen.

The method was actually both simple and clever. Inside the soft magician’s rope was a tube that had an inflatable bladder at one end and a squeezing bulb at the other. The magician would place the proper end in the spectator’s hand and tell her to hold it securely.

“I shall name several cards. Please let us know which one this gentleman has selected. You will feel the answer.” The magician, knowing the card, would squeeze the bulb and the spectator would feel the

inflating end of the tube in her hand and respond. It worked…most of the time. However, if the rope wasn’t held at the right spot, or if the chosen helper was inattentive, it might just fail. I never set it up with the spectator beforehand.

I would file this prop and concept under the title “Clever Ideas I was not Able to Get Anything Out Of.”

I first saw the inventor’s Divided Lady illusion in an issue of Abbott’s New Tops magazine in an article about a new Houdini

musical in London. The producers had bought this prop from Abbott’s, but had repainted it with a mermaid (as I recall) on its front. About that same time I saw the illusion on display and for sale at the annual Magic Get-Together in Michigan in August. It was about $225. Abbott’s used the same stencils and design for this as they did for their Girl without a Middle illusion. It is – and remains – a very striking Egyptian design.

The prop consists of a shallow, upright cabinet that is just large enough for a woman to stand inside. Once inside, two blades divide the prop into an upper half and a lower half. The upper half is swung backwards 180 degrees so it is now upside-down and directly behind the lower half. At this point the entire outfit can be spun around.

Next, a pin is removed and the two halves can be wheeled apart. Everything is put back by reversing the steps; the assistant is found unharmed. I cannot imagine this illusion ever being anything but a brief interlude. I don’t think there is any point in taking much time with it.

Other than the prop coming apart into its two halves this illusion does not disassemble for packing. But, it is lightweight and neither half is very large. The entire illusion can be shipped in cardboard cartons via UPS. However, I do not recommend that for long-term use. You’ll pay a lot more than $225 for this today, so take care of your investment.

With rare exceptions, I do not think it is wise to build your own illusions. You’ll make errors and it will never be as cheap as you imagine. This prop, though, requires only basic carpentry, so it’s at least a reasonable project (unlike, say, a Broom Suspension).

Abbott’s still offers their mimeographed workshop plans and Paul Osborne offers printed blueprints. But in both cases you will note an odd detail: The door for the assistant to enter the illusion is shown on the prop’s side, not its front. I would also counsel any builder that the dimensions shown are very “generous.”

This illusion only works if it seems impossible for the assistant to double-up and crouch in the bottom half. So the prop must be as shallow as possible. My actual Abbott-built prop is not as big as the dimensions in the Abbott workshop plans. Less is certainly more here.

The secret is that the back of the illusion is not solid. It’s made of rubber (or, perhaps, today, Spandex). The truth is that the assistant could not squeeze into the lower half if it was completely solid. But she can squeeze into it, since the back will stretch and her body can protrude to the rear. Since the top half of the illusion


by David Seebach

is also outfitted the same way, anything that bulges “out” will bulge “in” to it. At this point it can be spun about.

This is not an illusion for an in-the-round show; sight lines could be an issue. Once the halves are separated the performer must be vigilant in keeping them oriented properly.

A Halloween Feature?Several years ago I had a local

carpenter build this prop for me. I obtained both Abbott’s and Osborne’s plans for him and en-visioned the prop as an upright coffin. Although it was rectangu-lar, I imagined suggesting the old-fashioned casket shape by design. We used it to little effect, since it was built to dimensions that were just too big to fool anyone, in my opinion. That prop is now owned by a St. Louis illusionist. I have since obtained an “improved” Divided Lady as built by Abbott’s. I found this at Hocus-Pocus Magic in Fresno.

What Makes it “Improved?”It appears this version was built by Abbott’s Glenn “Arturo”

Babbs, who – along with Bud West – turned out exceptional quality apparatus for the firm. Glenn had originated the Cutting a Girl in Sixths illusion, another upright prop. He added the shackles for the hands and neck to this Divided Lady. They’re identical to his Cutting in Sixths.

If you are looking to add an illusion to your repertoire, I would hesitate to suggest this as your first big prop. You cannot do it everywhere and it’s not going to be as effective as a closing act as so many other illusions would be.

But, for an illusionist looking for a brief interlude between other, more drawn-out acts in a show, this effect, performed at a sprightly pace, may be just right.

And when this isn’t your finale, you can have some fun by not restoring the assistant. That’s right; just roll her off stage right and stage left. The audience will be stunned.

David A Seebachwww.davidseebach.com

[email protected]

(All photos were taken by Julie Sobanski with the exception of the Halloween photo.)


Halloween show

http://www.jimkleefeld.com

I’LL HAVE A TRIPLEThis month I thought I’d talk about

one of my favorite micro-techniques. “Micro-technique” is a personal term I use to describe those little subtleties and finesses that are seemingly small things, but that make a big difference in how your audience perceives your magic.

Take the double turnover, for example. In card magic, there are very few effects as simple and as strong as doing a double turnover to show one card, turning the double down, dealing off the top card, and then showing it has transformed into a different card. The problem is that the nature of the double turnover speaks to its own secret: the double card is turned face down onto the deck, and the card just seen is left behind on top of the deck. Even with excellent, practiced technique, it’s not at all out of the question for a non-magical audience to assume that, just maybe, the card they just saw ended up on top of the deck. That’s why we take pains to move the card away from the deck (placed on the table or in a participant’s hand) or we learn more finessed techniques where the card apparently never lands square on top of the deck (the Vernon, Braue, or D’Amico un-loads, for example). But there’s still the nagging idea that the card was last seen on top of the deck, so that’s the logical place for it to have stayed.

I’m not here to argue against the double turnover. I use the move often in my own work, and I find it to be perfectly deceptive. However, in certain contexts, I’ve found it useful to substitute another technique, one that I’ll refer to here as a “triple-single.”

Assume you’ve controlled a selected card to the top of the deck. Instead of doing a double to show the wrong card, do a triple lift. The participant tells you it’s the wrong card, so you turn the triple down and deal the top card to the table. Cleanly turn over the next single card to show another

wrong card. When this is rejected as well, you turn it back down and make a magical gesture over the card on the table to show it has transformed into the correct card.

There’s actually a lot going on here for such a simple trick. The triple turnover shows the wrong card, just as you normally would with a double turnover. But then you cleanly show the next card. The audience sees that next card, and now they know that the card on the table must still be the one you showed them, because they’ve seen it’s not still on top of the deck. That level of conviction is an incredibly powerful condition to attain in a transfor-mation or a transposition.

The triple-single isn’t a new idea, and it’s not original with me. You’re probably already recognized it from tricks like Vernon’s Fingerprint Card Trick. (Darwin Ortiz has told me that as far as he can determine, the maneuver belongs to Dr. Daley.) In that trick, the triple-single is used to show the chosen card and ap-parently deal it to the table; this moment creates the same sense of conviction. The audience sees the chosen card, they appar-ently see it dealt to the table, and then they see the next card on top of the deck. So the chosen card has to be on the table. I use this technique in my handling of the Dunbury Delusion (Cheating at Blackjack from my DVD The Usual Suspect), because the more convinced the audience is that the chosen card is on the table, the stronger the climax of the trick is when it appears in my hand. You can actually see the audience’s attention relax once they’ve convinced themselves the card is on the table. I use that relaxation to execute upwards of twenty second deals under virtually no heat whatsoever. Why should they care? They already know where their card ended up (so they think).

I’m tremendously fond of this technique. I use the “basic form” as a simple and strong revelation of a card. I used a variation of the idea in the very first trick published in this column in January 2014 (Be Honest – Is It Blackjack?). And I

use it for the first in a sequence of two-card transpositions. It’s a style of transposition popularized by Eddie Tullock, usually done with a pair of double turnovers. I use the triple-single to avoid giving the audience a chance to burn my double turnover twice in a row and give myself a nice moment of convinced relaxation.

TRANSPOSITION TANGO

You start with a pair of pseudo-mate court cards – for description’s sake let’s assume the two red Queens. One starts on top of the deck, the other is fifth from the top. Enlist the assistance of two audience members. Spread through the deck for the first participant to touch the back of a card; in doing so, cull the fifth card under the spread (one of the two red Queens). When he touches the back of a card, separate the spread at that card and flick the edge with your thumb to indicate/confirm which card he wants. You’ll raise your right hand to apparently show the face of this card; in the process, force the Queen by straighten-ing the right fingers and pushing the Queen to the left. This gets covered in the action of raising the right hand to show the face of the card. Done properly, the illusion is perfect. (For more detail on this type of force, see page 173 of Simon Aronson’s Try the Impossible, or the Versatile Cull Switch on page 159 of Frank Simon’s Versatile Card Magic.)

Having forced the Queen, bring the hands back together and cull it and an extra card as you offer the spread to the second participant for a selection. Once she has touched her card, break the spread, this time with the touched card on top of the left-hand portion. Raise the left hand to show the second selection, and cull it with the others as you begin to coalesce the spread. The reason for the change of procedure is simple: If you raised the right hand again, you’d flash the culled cards. If you start with the person on your right for the first selection and the person on your left for the second, the change up will


By Antonio M. Cabral

Cheats & Deceptions(For Entertainment Purposes Only)

make sense as a piece of blocking.Once the second selection has been

culled, close the spread bringing the culled cards to the bottom, slightly in-jogged. Bring them to the top using the lift shuffle control described in my July column. A nice feature of using the lift shuffle is that it brings the culled stock on top of the original top stock. After this brief shuffle, from the top of the deck down, you’ll have the first selection (a red Queen), a random card, the second selection, and the mate of the first selection (the second red Queen).

Give the cards a flashy in-the-hands false cut that retains the stock on top (try the Flip-Flap Cut on page 402 of Card College 2), and announce that you’ve found both cards at the same time. Ask your participants to each hold out a hand palm up as you pinky count to get ready for a triple lift. Turn over the triple to show the second selection but announce it as the first participant’s card. Suiting action to word, turn the triple down and deal the top card off into the first participant’s hand. Immediately turn over the next single card and announce it as the second participant’s card. Ask if you got the correct cards; as you’re waiting for the answer, turn the single card face down and do a top change. Deposit the changed card face down onto the second spectator’s hand while they both disappointedly tell you that you screwed up. Thanks to the triple-single, they’ll be convinced of your failure and you’ll have a big fat offbeat of relaxed attention to do the top change. After you’ve placed the second card in her hand, do an in-the-hands slip cut to lose the top (random) card.

Once they’ve acknowledged your failure, a lot of audiences will try to helpfully turn the first card over to show you sort of got one right. Don’t let this happen; you want to stay in control of the climax. Offer to fix the problem, make your magical gesture, and ask the first person to reveal the card in his hand; then the second spectator reveals the selection in her hand.

The second transposition is more of an offbeat quickie. Take the two cards back and offer to show how to make the cards change places. Hold the cards in the right hand with the Queen on the face and the other selection (let’s say it’s a Seven) behind it, and ask, “Just to clarify, you had the Queen, and you had the Seven?”

As you do this, you do the Vernon Optical Monte move. Flick the queen with your left thumb; then flick the other selection behind it (Photo 1). Turn the cards face down and pivot the two cards so they transpose, and flick the lowermost card with your thumb again (Photo 2). This is the Queen, but it will appear to be the other selection. Ask the second participant to take the Seven, and if you did the move correctly she will reach for the lowermost card. Let her take it and turn the other card over saying,

“Which leaves me the Queen…” Look surprised to be holding the Seven. (If she hesitates and doesn’t bite right away on the Monte move, I’ll pull both cards back and say, “You look confused. I’ll do this as fairly as possible,” and I’ll move right on to the third transposition.)

The third transposition uses an idea of Jack Carpenter’s, from his DVD All In, and is described here with his permis-sion. If you remembered to slip cut the random card into the deck earlier, the top card of the deck will now be the mate of the selected Queen. Get a break under that card as you take the two selections back with the Queen on the face. Turn the two selections face down on the deck, and then pick up all three cards by the ends. Peel the top card onto the deck and hold a break beneath it; then place the remaining double on top. Turn over the top single card to show the Queen. While holding the Queen, turn over the other two cards as one to show the Seven (the other Queen

is hidden behind it). Catch a break under the double as you turn it over. Ask one of your participants to hold out her hand one last time. As she does, turn the double down and push the top single card off the deck. Take the face-down card side-jogged on the face-up Queen, holding both cards as in Photo 3. Reach forward with the left hand to adjust where her palm-up hand is. While the left hand shades the right hand, turn the right hand palm down, transpos-ing the two cards in a sideways action similar to the Wild-card switch (Photo 4). Start to place both cards onto her upturned palm. What she’ll see is a face-up Queen, with the indexes hidden by the face-down card and your right fingers. She’ll assume the face-down card is the Seven. (This is Jack’s lovely subtlety from his trick Touch My Heart.)

Have her place a finger on the back of the face-down card. When she does, come away with the Queen, turning it face down in the process. You want her to realize it’s a Queen, without being aware that it’s the wrong Queen. Now you can finish with a top change, or you can place the card on top of the deck and do a double lift, showing that you now have the Seven, and she now has the Queen.

This sequence has proven an effective opener for me. I hope it proves the same for you. Look through your repertoire, you’ll probably find some effective uses for the triple-single as well.


Photo 1

Photo 2

Photo 3

Photo 4

SOUND DECISIONS

Last month we covered the benefits of traveling with sound equipment. Well planned music cues make your show seem bigger and more professional and add pro-duction value, excitement, and energy to your performance. Human beings connect to music – its tones and rhythms mimic our heartbeats. You cannot help but feel good and get an emotional lift while tapping your feet to a catchy song. If you are willing to schlep a little extra equipment and invest in an app or system to play your music, you will reap the benefits by having audiences who will connect to your act on a deeper level through the music you use. Let’s examine some of the best options available for delivering the goods.

THE PLAYBACKShow Cues – $90 app/$60 remote http://www.mojosoftwareonline.com/showcues.htm

I am fond of Carl Andrews’s app, Show Cues. This is the system I use in my current act. It allows you to edit your playlists and music on the fly. It works with your iTunes library and, if you use an iPad with it, you have a nice big display that you can see all the way across the stage. It also works well with the iPhone. There is a small remote that is also available that is easy to put in your pocket to start, stop, advance, and fade your tracks. The buttons are not raised, so I glued a small bead on the play/fade button so I can easily feel it in my pocket. The Show Cues app did have a couple of hiccups, but a short email exchange with Carl Andrews revealed that I was hooking up the dock, the remote, and the output in the wrong order. You must plug in things in the proper sequence, so reading the di-rections helps immensely! As far as value for money, I highly recommend this app.

Cue Command – $600http://deceptivelysimple.com

There is a new kid on the block: Cue Command. Adam Ace and I went to see a show that a very talented contortion-ist and comedian, Jonathan Burns, was working. We went backstage to hang with him after the show and he showed us the Cue Command he uses. Again, this system works with the iPad or iPhone and has a small dock with an antenna that your phone or tablet sits in, providing you a display of the tracks that are to play. The remote is bigger, with larger, raised buttons that are a bit easier to hit in your pocket. Another nice feature is that Cue Command has ankle transmitters available so you can start and stop the tracks by simply clicking your ankles together. The cost is quite a jump up from Show Cues, but there are some nice features that Show Cues doesn’t yet have.

MP3 Tech – $1000 to $1700 http://www.promystic.com/product-cat-egory/media/

Puck is a fan of Kerry Pollock’s system, the MP3 Tech. Kerry recently sold his company to Promystic, who now makes and sells the units. This is a system that has its own software that allows you to load your songs onto a SD card via your computer and then plug the SD card into the MP3 Tech to play them back. You have the ability to rearrange the tracks when you are at the gig, if necessary, and for an extra charge you can get a wireless display unit that you can put in your case that shows playing and upcoming tracks. Puck really likes the versatility of this unit. Let’s say you are working in a room and there are no sound inputs near the stage. You can put the unit in the back of the room in the sound booth, and because there is a small red/green cue light to show you the tracks are ready, you can see it even fifty yards away.

A really cool thing is that Promystic even has units to run lighting and whole show control. Their Media Star units allow you to control the intelligent lighting in a venue, video projectors, and even smoke machines all with the push of a button. Although he has experimented with others, Puck highly recommends the MP3 Tech.

Yes, it is the most expensive, but he feels it is also the most reliable.

THE SPEAKERSPeavey 3000 – $600http://www.sweetwater.com/store/detail/Escort3000II

When it comes to speakers, the Peavey 3000 has served me really well. Puck turned me on to the unit. It all folds up into an egg-shaped case that you can carry as a suitcase from a side handle or you can roll using the built-in wheels. It sets up in about five to ten minutes. Although the specs say it is only good for smaller venues, I have found it is sufficient to do a room of five hundred to eight hundred people with the proper speaker elevation. It comes with speaker stands, all the cables you need, and even a corded microphone. For the money, it is a really good system and has served me well over the years. The newer Peavey units even have Bluetooth and memory stick capabilities that are worth checking out.

Bose L1 – $900http://www.zzounds.com/item--BOEL-1COMPACT

Our good friend Joe Romano, who is a terrific school show entertainer, hipped me to the next two systems. These are more expensive than the Peavey, but they have a superior sound and set up very quickly.

The Bose L1 is a great system, even though it is only one speaker tower that you place onstage. Because of the Bose technology the sound is omni-direction-al. You can’t really pinpoint where the music is coming from, which provides a rich, textured sound. An added benefit is that the whole unit weighs less than thirty pounds.

Anchor Beacon – $2300http://www.anchoraudio.com/index.php?id=498

This is the super supreme, cream-of-the-crop version. Although it weighs about forty-five pounds, this system is


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

Hit The Road

still light enough to check over the counter on a plane. It also has a really convenient extending luggage handle, which makes transport really easy. If you go to the link above and watch the setup video, you will be impressed at how it sets up in less than a minute. Plus it is rechargeable, so you don’t even have to plug it into a power source. Just flip it open and it’s ready to go. It also has two microphone inputs built in, which also aids in setup time. Two receivers are built into the unit, which saves a lot on setup time. Just add the mics you want to use with them. If you have the scratch, this is definitely the way to go.

THE MICROPHONE

Samson Airline Headset Mic – $250http://www.samash.com/samson-air-l ine-micro-wireless-earset-system-swam2sesx

Last but not least, I love this little mi-crophone. The transmitter is just a little bigger than a Zippo lighter and is also re-chargeable. It has a great sound. You wear the microphone like a headset, so you are hands-free, which is great for a magician. The transmitter sits behind your ear so there is no need for a belt pack. It has a

mute button you can just tap to kill the mic for pantomime routines or stage cueing. I love the compact nature of this little gem. If you buy one headset mic to use for your shows, make it this one.

If you are thinking about adding sound and amplification to your shows, take some time and look through these different links. These are the best products that I think are worth considering. Study the pros and cons of each system, and weigh the factors you are looking for in equipment to best suit your needs. This way you can make a sound decision for yourself.

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

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

good Cheer List

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

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

Dan A. Dorsey98 Woodvalley Dr. Fayetteville, GA 30215

Charlie Gross16745 Gertrude Street, Omaha, NE 60136-3023

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

Bob King304 Suburban Court, Rochester, NY 14620

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

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

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

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

James J. Morrisey24 Grove St.Wayland, MA 01788

Nahmen NissenPO Box 1856 Colfax, CA 95713-1856

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

Jim Relyea241 W. Lakeshore Rockaway, NJ 07866

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

Pat Ryan43 Fairbanks Rd.Churchville, NY 14428

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

Jack White4288 Arguello St.San Diego, CA 92103

Jim Zachary2801 South Creek DriveMulberry, FL 33860


WHAT IS MANON?a. A region in Northwest Spainb. A French operac. A popular female name in Quebec, Canadad. The ultra-friendly Society of American Magicians’ National

AdministratorIt’s a trick question, because the answer is “all of the above.”

Here is another question: Who was the National Administrator before Manon Rodriguez? You’ll discover the answer later in our story.

Manon Rodriguez is a long-time friend of the S.A.M. As National Administrator, she is often the first contact a new member will have with our national organization. She is one of the few salaried employees of the S.A.M. Although she considers herself a “professional audience,” her magic roots are deep and strong. And she is very entertaining performing the six-dollar repeat.

Yes, she was born in French Quebec, Canada, but her family moved to New York City when she was very young. Unique at

that time, her mother, Teri Jourdan, held a professional job at the United Nations. Her father, Jean Jourdan, originally from France, worked with computers (do you remember Fortran?). Manon enjoyed the peaceful outdoors of the Catskills and she excelled in artistic endeavors, including wood block prints, acrylics, photog-raphy, and stained glass. She attended high school in Monticello, New York – the same high school Jeff McBride attended. Could this have been foreshadowing of the magical things to come – for Jeff? Everything Manon touches becomes magic.

Her father became a computer programmer with Diners Club, and relocated to Colorado, but Manon stayed in New York to strike it big. She met her first husband, Robin Casanova, and they eventually moved to Colorado to be close to family upon the birth of Tara, her first child. Several years later, Colin joined the family. Since shards of stained glass look like Jolly Rancher candies, her love of stained glass art had to be put on hold.

Robin was training in emergency services, but he was also a weekend magician. To further supplement their income, he purchased a Zeezo’s Magic Castle in Fort Collins. Zeezo’s was a chain magic and costume shop, founded by Zeezo the Clown, AKA Larry Campbell, with several locations in Colorado. Manon worked the store and attended Denver S.A.M. Assembly 37 meetings. Another local magician, Sam “The Hat” Kent was the owner of The Wizard Magic Shop on the Pearl Street Mall in Boulder, Colorado. He connected Manon with an ad agency that provided public relations for McDonald’s restaurants. Her re-sponsibilities included booking shows and travelling with Ronald McDonald.

Robin was Ronald’s assistant first, but it did not work out. So Manon took over that role in 1984. Unfortunately, Robin and Manon separated, and over several years, her relationship with Ronald grew. This is a trade secret, but that Ronald McDonald was Dan Rodriguez. Dan is a native Coloradoan, who, as a youth,

MANON RODRIGUEZS.A.M. NATIONAL ADMINISTRATOR

IS A NATIONAL TREASURE BY MARK WEIDHAAS, PNP


“It was National Administrator Manon Rodriguez who made my year run as smooth as one could hope. She was there to answer any and all questions that would arise. Members need to know that Manon Rodriguez is the person who keeps the S.A.M. moving, not the president. Presidents come and go, but Manon continues to make us all look good.” – Mike Miller, PNP 2009-10

attended magic classes taught by Bruce and Kitty Spangler (see M-U-M, May 2014). Manon booked and set up ten thousand school assembly shows for Dan. But they were also a team in magic and did so much more.

Past National President Dal Sanders puts it this way: “I first met Manon in the early ‘80s when I went to Denver for a series of shows. I took some time to visit with my friend Dan Rodriguez, who at the time was performing as a certain corporate icon who wears the same shoes and socks that I wear. I visited with Dan before one of his shows, and I couldn’t help but notice his “show assistant.” She was totally different from my assistant. While Dan was getting ready in the van, Manon made contact with the client, set up his stage and sound system, set his magic, and got the audience sitting down, focused, and warmed up. Wow; I was impressed. At that time I felt lucky if my assistant got to the location on time for the show. I did all of the set up and preshow work. Dan’s show was fantastic, but I was still watching Manon. She was professional, personable, and organized. Manon was a fantastic manager who anticipated not only Dan’s needs, but also the needs of the client and the audience. That’s when I figured out that she wasn’t an assistant. Manon was the show manager.

“After the show (while Manon was repacking everything), I spoke with Dan about her. I told him how fantastic she was and he just smiled and acknowledged that he already knew that. He

also told me a secret: they were also dating and he was pretty sure that ‘she was the one.’ Of course, I warned him about dating the people you work with, but his mind was already made up. Manon was the one.

“As I got to know her, I realized that Dan was right. Their re-lationship was solid and they made a great team (a veritable two-headed monster). I believe that getting to know Manon and seeing her with Dan changed my attitude (and my fear) of dating someone you work with. I say that because a few years later, when Cinde went to work for her father’s advertising agency (and became my “boss”), I worked up the courage to ask her out. I would have never done that before meeting Manon, but I saw in Cinde the same kindness and organizational skills that I had seen in Denver.

“I wasn’t on the S.A.M. national council when Manon was hired to be the national administrator, but when I found out that she had the job I was thrilled. As I have worked with her over the past few years, I have been reminded of those skills that she had demonstrated so many years ago. Manon is still professional, per-sonable, and organized, and The Society of American Magicians is lucky to have her. Corporations would love to have someone like her as their corporate administrator; she makes us all better. I know I didn’t say it often enough, but I appreciate all the work she does for us. Manon certainly made me look good as national president.”

Dan, along with Wendel Gibson, Ed Shuman, Don Lea, and Raymond Corbin, founded the Society of Young Magicians (S.Y.M.) in 1984. Manon and Dan started S.Y.M. 3 in Denver, and Tara and Colin were youth members, known as the Casanova twins. For six years, from 1984 to 1989, Dan and Manon produced a Colorado magician’s convention known as Magic Days, the prequel to the successful Magic in the Rockies.

In 1987, Dan and Manon honeymooned at the S.A.M. conven-tion in Las Vegas. The entire family attended many national con-ventions. Manon says, “Some were nice, and some not so much.” Many were lacking in providing events for youth. Manon came up with an idea: “Kids Doing Magic for Kids.” The concept of having a dedicated room just for the youth to hang out and share magic with each other was a big hit, and continues today at S.A.M. con-ventions. In 1993, Jon Racherbaumer taught the kids at the New Orleans S.A.M. convention. In attendance were Joshua Jay, Ryan Oakes, Darren Romeo, and Mikah Lasher. At the 1990 Stamford, Connecticut, convention, Manon started the youth autograph party.

Dan Rodriguez was S.A.M. national president in 1993-1994.

Ronald & Manon in 1984


“Manon is a constant presence in the S.A.M., who answers my call weekends or evenings. Her support of the national convention is amazing. She will be working at the Gifts and Gadgets booth, or checking names at the life member program or national council meeting. You have a friend in the S.A.M., and her name is Manon Rodriguez.” – Mark Weidhaas, PNP 2010-11

“To this day I still do not know all the things Manon does. However, I do know she does them, and she does them well. She is the backbone of the Society, doing so much work, while rarely getting the credit or rec-ognition she deserves. I relied on Manon for so many things and naively thought that as a PNP I would no longer have to ask her for favors. Well I still do, and she still does them. The S.A.M. is so lucky to have her!” – Vinny Grosso, PNP 2011-12

About that same time, they became McDonald’s franchisees. They had to accept what was offered, or they would start over on the waiting list. The offer was in Ely, Nevada, which is located in east-central Nevada. So, they spent two years in Ely, Nevada. S.A.M. Dean George Schindler recalls, “Manon set up a Mc-Donald’s in Ely, Nevada; but why? Does anyone go there? The answer is yes. The Nevada State Prison is located there and has over 1,100 inmates. Most of them have families and friends who visit them regularly, and they need to eat somewhere nearby. Ely also boasts the Jailhouse Motel and Casino. Not a bad choice after all. Manon has great business acumen. We are lucky she and her family are all devoted to the S.A.M.”

When three McDonald’s stores became available in Colorado, it took less than five minutes to decide to move back to Colorado and family. Because of Manon’s expertise in management, the three stores quickly grew to six stores. In 2000, Manon Rodriguez was awarded the top woman-owned business in Boulder County.

Dan and Manon reevaluated their lives after 9/11, sold their stores, and moved to Pahrump, Nevada. Pahrump is another remote town, located sixty miles from Las Vegas. Manon owned the local McDonald’s and Dan produced shows in Vegas. With their kids grown, they did not enjoy being empty-nesters. They became foster parents to Stephen (thirteen) and Miranda (nine) and two years later were able to adopt them. You will often see one or more of Manon’s children at an S.A.M. convention.

In 2007, S.A.M. National Administrator Richard Blowers announced he was planning to retire. A world-wide search was launched for his replacement. Manon applied, but the position was awarded to someone else. However, shortly after stepping into the role, he resigned the position and Manon was confirmed by the national council as our national administrator in 2008.

If earlier, you guessed Dick Blowers was the national admin-istrator immediately before Manon, you would be wrong. The right answer is Tommy Jackson, and chances are Tommy, Manon, and Dick were the only ones to get the right answer. Here is a little more national administrator trivia: Who was the first S.A.M. national administrator? Joyce Zachary was the last national

secretary who also performed the duties of the administrator. If you guessed Dick Blowers, again you would be wrong. Before Dick was Ruth Myers.

Dick Blowers had very big shoes to fill, but Manon was used to working with Ronald McDonald, and he wears a size 16. And Dick offered exceptional training. Seven years later, she has supported the administrations of eight national presidents. She must adjust her style to fit with the leadership style of each president. If there are issues or struggles the president has to deal with, Manon is right there with them.

The National Administrator’s duties include:1. Collecting all dues.

2. Coordinating delivery of the M-U-M.

3. Support of the executive board and the national council.

4. Communicating with the regional vice presidents and assem-blies.

5. Welcoming all new members and sending their welcome packets to the Assembly Secretary.

6. Being a depository of anything S.A.M., including the archives, historical records, and original membership cards.

7. Support for the membership awards and Gifts & Insignia com-mittees.

8. Being a resource for all members, available by email ([email protected]) or phone (303-362-0575).

One of her frustrations in her job has to do with item 5 above. When your assembly holds elections, please let her know right away the names of the new president and secretary so she can mail the membership packets to the right person.

Manon’s biggest achievements so far have been moving the S.A.M. into new technologies that can streamline operations. She is also proud of the branding vision that is keeping the image of the S.A.M. as the most prestigious magicians’ organization. Dues payments with credit cards online have increased ten-fold. She creates the hard plastic membership card at a cost-savings over the old flimsy paper card. The new member packet has been recently updated to maintain the S.A.M. brand. She is very proud of the new S.A.M. shirts, coats, and scarves now available to members. Look for them and other new items at the next S.A.M. national conference or online at www.magicsam.com.

Manon’s fondest memories all seem to center around S.A.M. conferences: her honeymoon at the Riviera, Las Vegas S.A.M. 1987; the Niagara Falls field trip, Buffalo S.A.M. 2009; Arlington National Cemetery, Washington, D.C., S.A.M. 2013; and the pre-sentation to David Copperfield, Las Vegas S.A.M. 2012. With the children grown, she has rekindled her love of stained glass art, and presented a one-of-a-kind Houdini poster replicated in stained glass to David Copperfield.

In 2010, the S.A.M. national convention was in Atlanta, Georgia. The convention opened with the recreation of a tradi-tional sideshow, including barkers, games of chance, and many of the exhibits that were typical of those shows. The author of this article was Big Foot. As attendees wandered through the area, they were met at one point by “Sadie, the Bearded Lady,” as


Dan, Manon, Miranda, and Stephen

portrayed by National Secretary Marlene Clark. As you will read in Marlene’s sidebar, Manon was a big help in the transformation of Marlene into Sadie. It was all in a day’s work for our national administrator.

In 2010, the S.A.M. national president was from Colorado, so to support him, Manon uprooted from Pahrump and moved back to Colorado. That is what she told the president, but in reality, she moved back for family. Manon became a grandmother when Tara’s son, Jackson, was born. Manon had to be close, so they moved to Parker, Colorado, a beautiful suburb community southeast of Denver.

Today, daughter Tara, who is still an S.A.M. member, teaches magic at a Christian youth theater and has worked with Mad Science in presenting magic and science experiments. Colin has a degree in theater lighting design and toured with Greg Wilson in Japan. He and his wife also live near Manon and Dan and are the proud parents of a newborn baby. Manon is a grandmother again.

The national administrator’s office has recently moved into a professional space in the Denver area. The space is large enough for storage of all the S.A.M. archives, records, and back issues of M-U-M. It also has a large room that also is the S.A.M. Magic Center. When you have plans to visit Denver, contact Manon for a tour.

Over these magical years, Manon has many fun stories to recall. Of course, there are the phone calls from unsuspecting members who ask for “Brother Manon” or “Mr. Manon.” Her daughter Miranda answered the business phone once and a British past-member explained to her with a thick accent, “I’ve lost my mum. I really miss my mum. Can you help me get my mum back?” Miranda was very concerned about this man who had lost his mother, until Manon explained that “mum” was M-U-M.

Manon is politically correct when asked which magician she prefers to watch. Manon responds, “I like them all.” But she also admits that she really liked seeing Doc Swan in Washington, D.C., in 2013. She recalls one convention, during a rain storm, when she offered a ride to Jay and Frances Marshall. Frances was concerned about accepting a ride from a stranger, but Jay said, “Oh Frances, don’t worry. They are S.A.M. people.”

Manon reminds us that it “takes a community to raise a member.” She also says that she is “excited for the future. Where we are going with new technologies and social media will help spread Magic, Unity, and Might. We will see a rebirth of our organization as we become more relevant to magicians, and the S.A.M. is in line to continue the legacy of the oldest and most prestigious magical organization in the world.”

A national treasure is something to be cherished. Merci beaucoup, Madame Manon!


Manon, Marlene Clark, and Jann Goodsell - a magic trinity!

Manon with her daughter Tara presenting David Copperfield with Manon's stained glass artwork in 2012

“Manon is more than my national administrator. She is a true friend: unflappable, willing to help – no matter what time of day or night – gracious, and the best roommate ever. I found that out at the S.A.M. annual convention in Atlanta, when she helped me transform into “Sadie, the Bearded Lady.” Thank goodness for hair product and washcloths. She even made me my morning coffee! I couldn’t survive our morning national council meetings without her, her computer, and her printer. She is certainly the calming influence on “The Trinity.” Thank you Manon, for being you! – Marlene Clark, S.A.M. National Secretary


MANON THE MIRACLE WORKERBY DAN RODRIGUEZ, PNP 1993-94

Manon is an amazing person! We have been married for twenty-seven years. Her ability to be an active mom, grandma, community volunteer, hobbyist, artist, and manager of a ma-gician-husband with ADHD tendencies is, in itself, amazing. Adding the job of being the S.A.M. national administrator makes her a miracle worker.

HERE IS A TOP TEN LIST OF THINGS YOU

MAY NOT KNOW ABOUT MANON:

10. In the early ‘70s, Manon graduated from nursing school in Boston and trained at Massachusetts General Hospital.

9. Manon was a longtime Rotarian and Paul Harris Fellow and served as president of her local Rotary club.

8. She served as a regional committee chair and volunteer for the American Cancer Society’s Relay for Life.

7. Manon received the Ronald Award, which is the highest honor bestowed to a McDonald’s franchisee.

6. As a personal historian, Manon has produced many video interviews of senior citizens as they tell their life story to the camera.

5. Manon is a budding still photographer, specializing in nature photography.

4. She is an accomplished stained-glass artist.

3. Manon was born in Montreal, Quebec, Canada.

2. She is fluent in French; English was her second language.

1. Manon has been a member of the S.A.M. for twenty-four years; she is a Life Member.

Manon, Dan, Isabel Norquist, and Manon's father, Jean Jourdan, participating in the Relay for Life

A NOTE FROM THE KIDS

Mom was a great influence when it came to seeing the “laymen” side of our magic acts. Being a constant supporter of the craft and a wife and mother to magicians, she spent countless hours watching our rehearsals and live performances, all the while giving honest feedback on what looked good, what was entertaining, and what might need some work. In addition to this, she also spent a career setting up and tearing down touring magical acts.

Mom taught us many great lessons; one favorite is: “Be a swan.” On the top be graceful; under the water kick like mad to keep yourself moving. This is advice that Colin, who is a lighting-and-sound designer, uses often, especially when there is a deadline, he has three different crews working throughout a venue, things are not going well, and the producer inquires, “How is everything going?” The only answer is, “Great, we are working hard to make it amazing.”

One big lesson Mom taught us, which many S.Y.M. alum will remember, is: “Always keep the secrets.” This drove the rest of the kids on the block crazy, because they would constantly ask us how the illusion they saw on TV was done. Our generic answer was always: “Can you keep a secret? So can I.”

Tara has found these lessons useful in her work teaching and directing youth theater. We followed our passions in theater because of the example set by her and we are both so grateful to have such a wonderful mom.

—Tara Hedberg and Colin Casanova


More than the Princess

When the Internet became popular, it seemed that everyone put up a web page showing the Princess Card Trick. This is the effect in which you show five court cards and one is merely thought of. The cards are turned over; when they are turned face up again, your card is missing. The trick spread

like crazy and everyone started to tire of it. I did a search to find other card tricks that are performed

on the web and I came across this cool one. The concept is from Bob Hummer; Jim Bumgardner of krazydad.com put it all together.

MINDPOWER is a roulette wheel of sorts. The cards are dealt into a circle. The twenty-six letters of the alphabet are scrambled over the cards. Think of a four letter word and spin the selected card under each letter of that thought-of word. The wheel knows your word and card. You have to try it to appreciate it. MINDPOWER can be seen at wheelof.com/mindpower/

Calculating the Numbers Game

You may not realize that the iPhone calcu-lator is not just a basic calculator, but also a scientific one. Open up the calculator app that came with the phone

and turn your phone sideways. See, it’s a scientific cal-culator. Many people have discovered that if you put a number in the scientific end and do some calculations in the basic end, you can call up a pre-determined total. You can actually perform Add-a-Number on anyone’s iPhone. If you want step by step instructions on how to set this up, go to: http://snapguide.com/guides/do-a-psychic-magic-trick-with-iphone-calculator/

Liberace Magic

Whenever I see a performer producing objects out of an “empty” hat, Temple Screen, or Square Circle, it amazes me that most of the time they use silk handkerchiefs and nothing else. I’ve spent my life searching for unusual items to produce. Well, lockerlookz.com has something that all magicians should use in their arsenal.

Locker Chandelier is a mini light fixture made of plastic. It runs on two AAA batteries to light it up and looks tacky enough for stage. It will fit inside a Temple Screen or a medium-size Square Circle. Because most

of it is beads and string, it packs pretty flat. The top of it is magnetized; if you are working under a suspended ceiling, you can actually hang the light fixture. Also, it is motion activated so you don’t have to fiddle around for a switch to turn it on. When you pull it out, it lights up on its own. They come in black or white. I saw mine at a Staples Store, but if you go to the manufacturer’s website, www.lockerlookz.com, you can look for a local store near you. At $17, it’s worth keeping in your suitcase.

Bright Idea

When I am looking for unusual props and gags for my act, www.kikkerland.com is a place I go. One thing I found is the PULL Cord Light Bulb. It is a realistic looking bulb screwed into a forty-six-inch cord. It works on batteries. Simply pull the chain and the bulb lights up. How do I use it? There are many times when I am working a party and the room is not well lit. If I am doing an effect where someone has to read something (like a serial number or a word for a book test) I stand behind them, hold the bulb above their head and turn it on. I’ve always gotten a laugh with it. It is super bright and sells for $12.

The Bunny Hop

While you are visiting www.kik-kerland.com, check out the Rabbit Bank. It looks like a stuffed animal and has a zipper on the bottom to open it. I envision using this for kid shows: have something disappear and reappear inside the bunny. I’m sure you will come up with a nice routine

to use with it. Rabbit Bank is $30.

Bruce is always on the lookout for computer magic, iPhone/ iPod Touch apps, Android apps, and tech toys that can be used in magic applications. If you have any suggestions for future columns, write to him ([email protected]).

THE TENTH I.B.M./S.A.M. COMBINED CONVENTIONFor the first time since 2008, the International Brotherhood of Magicians and The Society of American Magicians

joined forces to hold a combined convention. The Renaissance St. Louis Grand Hotel hosted the convention, and it proved to be fine choice; there were many restaurants within walking distance, the famous St. Louis Arch was only six blocks away, and the various venues were only a short stroll from the main hotel area. (The attendees were bussed to the gala evening shows, but the theater was actually walkable.)

For the next few months, M-U-M will provide photographic memories of the various events for those of you who attended. For those of you who could not attend, you’ll see what you missed.

MONDAY, JUNE 30: Attendees had the opportunity for an early-bird visit to the fifty dealers who offered their wares in the vendors’ exposition area. After an opening night welcome party, Argentina’s Henry Evans lectured on his inexplicable card mysteries.




TUESDAY, JULY 1: The second day of the convention began with the gala kickoff show at the Ferrara Theater, which was in the America’s Center complex across the street from the hotel. The show featured three 4F honorees: David Stone, Shawn Farquhar, and Henry Evans. The theater seats 1,500 people, but the three ex-perienced performers played the room beautifully and garnered a great response from the audience.

The afternoon was taken up with the first of three stage competitions and a lecture from David Stone. In the evening, The Fat Brothers (Dani DaOrtiz, Miguel Angel Gea, and Christian Engblom) blew away everyone with hi-jinx and world-class card and coin magic.

Later that night, Richard Turner performed the first of several shows that displayed his otherworldly prowess with a deck of cards.

(Convention Photos by Michael Messing unless otherwise noted)




THE FAT BROTHERS SHOWJULY 1, 2014

FERRARA THEATER

http://www.geniimagazine.com

Not Just Kid StuffBy Jim Kleefeld

CHILDREN RECOGNIZE QUALITY

When my son was eight, he wanted a bicycle for his birthday. Not a Bicycle deck, he wanted one of those things with two wheels. Rather than surprise him, my wife and I told him he could choose one and we took him to a toy store with a large selection of children’s bikes. Almost im-mediately he chose the most expensive one on the rack. I’m pretty sure he didn’t even see the prices. Almost instinctively, he knew which one was the best – more features, better style, lookin’ cool. It was expensive, and we could barely afford it, but he was the coolest kid in the neighbor-hood for a few months.

What I learned back then was that children recognize quality. Even very young children can discriminate features and make value judgments. They learn these techniques by assimilation, watching, and listening when adults talk. Children are far more observant and reflective than many adults give them credit for, and they process a lot of information without our being aware of what happens inside their young minds. Much of what they hear includes value judgments about things and people. In fact, a lot of adult conversation is about valuing. Even when children seem inattentive, they often listen to and process adult conversation; they pick up clues and pointers from everywhere about how to value things, places, people, and ideas.

Consider a birthday child opening presents at a party. Every gift will likely be accompanied by positive reinforcement from his parents, who may be trying to teach him to be polite and appreciative. If the child does not say anything, the parents may prompt him with: “You’re going to love playing with that,” or “Isn’t that neat?” or “How nice! What do you say?” But after that party when the guests have left, how many parents do you think might privately come up with: “I know that isn’t a very nice gift, but you were polite to thank them,” or “Don’t open the box, we can exchange it for something better,” or even

“Aunt Dorothy never buys anything nice.” In these ways children learn to recognize quality.

So when they watch your magic show, children will evaluate the quality of your props. You can get away with using old or cheap apparatus, but it reflects poorly on your overall image as a performer. It might determine how much you can charge or how many shows you book. Your props should look cool, exciting, new, and high quality. One way to make sure of good quality is regular upkeep and renovation. Some props can be repainted, covered with new fabric, or embellished with extras. Unfortunately, one of the other ways to achieve that is to spend more for props.

I have a friend who has been in magic for many years and who does a decent job. But he uses a “signature” monkey puppet in most of his shows that is old and haggard. He thinks “it has charm.” He has told me that children love the puppet character and ask for it when he books shows. What he doesn’t realize is that those kids are asking for his witty and funny routine, not that par-ticular old and ragged puppet. I’ve watched him do shows with it and overheard kids make fun of the puppet. One boy actually said, “Why does he still use that ratty old puppet? Ew!”

One year I mounted a show based on the theme of digging. I came across three brands of Appearing Shovel, made by three different companies. I thought I could save some money, so I bought the $30 one. It was noticeably smaller than a real shovel, and the spade section was made of blue plastic. It clearly looked cheap. I discarded it and bought a $160 Appearing Shovel that looked very real and worked perfectly. That trick became the hit of the show.

Yes, it costs money to mount a show, and it costs more money to mount a better show. But in the long run, you will enhance your shows, your bookings, and your career. You can ultimately charge more for each show and book more shows if you have a better act. Nothing can replace solid scripted routines and earnest rehearsal. But if you have good material and combine it with cheap props, your show will suffer. Don’t shortchange your audience just because they are children.

Take inventory of your show. Does ev-erything in your show stand out as being of high quality? Don’t fool yourself into

thinking that because children laugh and clap that they would not recognize it if you used better apparatus. They will notice the difference and appreciate your show more if you use high quality equipment. Begin upgrading your props. Replace your go-to items with new ones of the best quality. Ditch that shabby old Spelling Bee trick for a fine new Plexiglass one. Toss out the thin wobbly Forgetful Freddie made in India and buy a solid, heavy, well-painted model. Buy a four-inch walnut Die Box from Babcock and discard the two-and-a-half-inch one made in China. Look for solid craftsmanship and fine design in new props. Children will see the differ-ence between a wrinkled old silk and a smooth bright fresh one. They can tell that something is wrong if your ropes are drab and dingy, or paint is flaking off your wand. (That’s not a euphemism – I mean that literally.) And they will know the dif-ference between a Fairchild Circus Wagon and a home-made Bunny Box you bought for next to nothing on eBay, because Children Recognize Quality.

Here is a routine in which quality can make a difference. Get four black cloth drawstring bags. They should be made of heavy and opaque cloth like corduroy or velveteen. If they have a sturdy hem with satin ribbons through the top, the children will find them easy to open, and that makes the routine move smoothly. In addition, having an expensive-looking bag tells the children that it is yours and they will not get to keep it. Secretly mark each bag so you can tell them apart. One way to do this is to tie knots in the ends of the drawstrings. Tie one knot in the first bag, two in the second, three in the third, and four in the last one, as shown in Figure 1. Or you can sew a small black tab on each bag near the top corner, top middle, bottom corner, and bottom middle. You also need four different color Stand-On Spots. These are big plastic circles that you place on the floor to mark your spectator’s positions. Some kid-show dealers have them, or you can buy them where physical education teachers get their supplies.

You also need a slew of name-badge-sized labels in four different solid colors. You may be able to find labels already printed with a solid color, but most likely these will be shipping labels and the adhesive will be too strong. I suggest you


print your own using Avery Name Badge Labels No. 5395. These are white rect-angles that easily separate after printing. They come eight to a sheet and have a gentle removable adhesive that will not ruin clothing. Print a couple of sheets each in solid red, yellow, blue, and green. Then separate the labels into individual badges with the backing still attached. Make a face-down stack of these colored badges with four red labels on top, followed by four yellow, four blue, four green, and then one of each color on the bottom. You will use this stack to force a color on each spectator.

Buy four giveaway prizes, such as head visors or pennants in four different colors. You want something that will be light and will fit in the bag, but will also be visible to the audience. Headbands with springy wobbly stuff on top would work, or different colored bandanas. Place each of the four items in each one of the bags. Remember which color item is in which bag. It is easiest if you always use the same color sequence; for example, red, yellow, blue, green means bag 1, bag 2, bag 3, bag 4.

Here is a quick overview of the pre-sentation. Four children come forward; each chooses one bag. Each stands on a different colored spot, and each randomly chooses a colored badge to place on his or her shirt. They open their bags and find a colored prize inside. Magically, all of the colors for each spectator match. The boy on the red spot picked a red badge and a red prize. The same result occurs with all four spectators.

Here is the logistical working. Place the four spots on the floor before the show, but do not call attention to them. Bring out the four bags and announce a contest with prizes. You need four helpers; if they win the contest (which will be a matching

game), they can keep their prize. Choose the first helper and let him take any bag. Have him stand to the left of your table. Call on a second child and tell him he can either take a bag from the table for himself or pick one up and trade it with the first helper. Have him stand to the right of the table. Let the third child choose a bag and either keep it or trade it with one of the other two. She should stand on the left side. The last child gets to choose to keep the final bag or trade it with someone else; she then stands on the right.

When all four children are standing next to your table and each has a bag, secretly glimpse your marking system and make a mental note of who has which color. Tell the children to hold their bag in front of them, and not look in them yet. Say that they will each pick a badge; if their color matches the prize they can keep it. Bring out the stack of labels face down. Step in front of the table and fan out the bottom four labels face up so the audience can see there are four separate colors. Close the fan and tilt the pile face down. Call the child who has the red bag over to you and casually tell her to “stand on this spot and face the audience.” Point directly to the red spot, but do not call attention to the color. Fan out the top four labels on the face down stack (they are all red) and have the child choose one.

Call the second child, the one with the yellow prize, over to the front. As you do, slip the top three labels to the bottom of the stack and fan out the next four (all yellow) ones. Point to the yellow spot and tell her to stand there and pick a badge. Call the third child over, point out that he should stand on the blue spot in order to be in line and face the audience. Slip the top three labels to the bottom of the stack and fan out the next four (all blue) ones. Have him choose a badge. Repeat with the final child.

Do not make any significance of who gets called first, second, or third, or where they stand. Treat all of the movement as casual. Your attitude should be along the lines of “Okay, let’s see, who else needs to come and stand in line?”

Have the children peel off the back their badges and stick them on their shirt. Pat your chest with a flat palm, high, near your neck, to indicate where they should stick the badge. You can help a child peel the back off the label if he is having trouble, but do not press it to his chest. Point out to the audience who “chose” which color of badge. Tell the helpers that at the count of one they should open their bag. At the count of two they should reach inside. At the count of three they should bring out

the prize and hold it up high. Remind them that they can keep the prize, but only if it matches the color badge they picked. Turn to remind the audience that the children could not see what color prize was in the bag or what color badge to pick. Reiterate that some children even traded bags without seeing inside.

After this short verbal situation check, count one, two, three. The children will all hold up colored prizes. Stand behind the line and point out the matches, adding the information about who is standing on which color circle. “Look! He stood on the red spot! And he picked a red badge! And he chose a red visor! She stood on the yellow spot, picked a yellow badge, and chose a yellow visor! He chose the blue spot, the blue badge, and the blue visor. And all of her choices were green! They all win and everyone gets to keep their prize.” Figure 2 shows the routine’s climax. Collect the bags and send the helpers back.

Having quality prizes that kids will envy is part of what makes this work. (In fact, feel free to use colored iPods if you are so inclined.) The heavy vinyl floor spots and quality drawstring bags are also an important part. It would look tacky to use paper bags and cardboard spots. Yes, it tends to be more expensive to produce better quality, but it is not a significant amount when you consider hundreds of shows and potentially tens of thousands of dollars of income.

The total amount of time a child watches magic throughout his life is in-finitesimally small. The experience can be written off as enjoyable, but forgettable, or it can be savored as a lasting memorable event for the rest of his life. Do you want to collect your check and go home, or do you want to leave hundreds of kids in awe of you for years to come? Give them something grand. Give them something they will remember by presenting the best image. The lasting impressions come when children recall great magic, great humor, and great visuals because Children Recognize Quality.


Figure 1

Figure 2

Many years ago, the champion boxer Muhammad Ali was about to step into the ring. A reporter asked Ali if he would win the night’s battle. Ali replied, “The fight is won or lost far from witnesses – behind the lines, in the gym, and out there on the road, long before I dance under those lights.” In the boxer’s world, success hinges on what the crowd never sees. Besides, in those days you would have been crazy to step into a ring with Ali without training first. Even then the odds were against you.

Isn’t it just as foolish an endeavor for a magician to step on stage unprepared? Of course, yet so many do. The work of scripting takes time, energy, and repetition to do well. You cannot just “wing it” on stage without resorting to babbling at some point. Developing a stage character takes considerable thought and experimentation before the role fits you perfectly. Construct-ing an act requires rehearsal after rehearsal if one hopes to successfully navigate all the trials and errors that lie ahead.

Any performance artist who embraces these requirements soon discovers the discipline is naturally reflected in other important areas. For example, learning to create original effects often begins with a magician who decides to perform an existing favorite trick differently, thereby “making it his own.” Doing this enough builds confidence in one’s ability to think outside the box. Eventually, the magician starts imagining tricks he has never seen done and comes up with a few solutions. The initial efforts are often flawed in one way or another, but persistence and honest critiques eventually straighten out that learning curve and soon yield strong, original effects that the magician can use to put food on the table while building a marketable reputation at the same time.

To examine this creative process more closely, let us consider a common method

used by conjurers to do card magic: the stacked deck. The simplicity of the Si Stebbins method (just add three to get the next card’s value while the mnemonic “CHaSeD” provides the suit order) makes it one of the most popular. As a card is selected the deck is split and cut at that point. A quick glance at the bottom card, a little math, and the chosen card is known. However, if a Stebbins deck is not handled with care, the repeating patterns in the values and suits can be obvious.

One way to randomize the values and remember the order is to create a sentence in which the sound of each word repre-sents one of thirteen different card values. Imagine a fellow so smitten with a royal lady he would do anything to get her in bed: “For a fine ring to sack the Queen, Kevin ate live hen chicks.” (4, A, 9, K, 2, J, 3, Q, 7, 8, 5, 10, 6). Words are easier to remember than numbers, so this accomplishes our goal nicely. Another way to randomize the values is to blend the phonetic sounds so a single word can have two values. Imagine a tolerant martial arts expert: “A fightin’ ninja took teasin’ – quickly forgave.” (A, 5, 10, 9, J, 2, K, 3, 7, Q, 6, 4, 8). The thirteen values are still random but our mnemonics are reduced to just seven words.

We are not done yet, though. Can we do anything about the repeating suit patterns? Can we eliminate the mnemonics com-pletely? As it turns out, we can.

THE SHUFFLED SYSTEM

The Shuffled System makes a deck of cards look thoroughly shuffled, yet there is nothing random about it. Using this stack takes little effort. The formula to identify the next card is simple and easy to implement.

The foundation of the Shuffled System comes by blending ideas from J. Russell Duck and John Cornelius – that of giving each suit a value. A Spade is 1 because it

has one point. A Heart is 2 because it has two bumps. A Club is 3 because of its three petals. A Diamond is 4 because it has four corners. This means every card in the deck now has two values, the actual value and the suit-value.

Just add the two values of one card to know the actual value of the next card. Usually, the suit of the following card is the next one in the 1-2-3-4 sequence. However, to give the red and black colors of the pack a shuffled appearance there are two exceptions that involve odd cards and the four Aces.

If the next card is odd, then it will be the same color as the card above it but of the other suit.

If the next card is an Ace, treat it as an even number. In other words, an Ace’s suit will be the next one in the 1-2-3-4 sequence.

That’s all there is to it. Here is the complete Shuffled System order:

A♠, 2♥, 4♣, 7♠, 8♥, 10♣, K♠, A♥, 3, 7♥, 9, K♥, 2♣, 5♠, 6♥, 8♣, J♠, Q♥, A♣, 4, 8♠, 9♣, Q, 3♥, 5, 9♥, J, 2♠, 3♣, 6, 10♠, J♣, A, 5♥, 7, J♥, K, 4♠, 5♣, 8, Q♠, K♣, 3♠, 4♥, 6♣, 9♠, 10♥, Q♣, 2, 6♠, 7♣, 10.

The final card is the Ten of Diamonds. This value and suit identify the next card as the Ace of Spades, the top card in the stack. Therefore, the Shuffled System is completely cyclical and is not affected by straight cuts.

As mentioned earlier, the Shuffled System owes much to the creativity of J. Russell Duck. In the May 1952 issue The Phoenix, Russell published the concept of applying a number value to a card’s suit and introduced the idea of adding the card’s actual value and the suit value to obtain a new card value. To help recall those suit values, John Cornelius later created the 1234 suit associations and published them


The High Roadscript writing, character

development, and act construction for the modern conjuror

By Mick Ayres

in John Cornelius’s Card System (1980). Richard Osterlind’s Breakthrough Card System (1983) also uses the next card’s value to determine its suit. However, from that point our systems diverge.

The Shuffled System eliminates all mnemonics and uses few rules. It gives the deck a well-mixed appearance but still offers mathematical features and patterns that allow for unique presentations. For example, the card values ascend and reset in random patterns; also, similar suits are never side by side. Obviously, this infor-mation goes a long way toward identifying the next card correctly and quickly.

Veteran performers have long known that a guest confirms a deck is mixed just by scanning for a scattered red and black arrangement to the cards – in other words, by focusing on the forest instead of the trees. This same principle is evident when the four Aces are given an Elmsley count. The guest expects to see red and black cards – and she does – but she actually sees one suit twice and another suit not at all.

We have successfully explored the creative process involved in creating a deck-stacking method that is simple and efficient. After honestly examining the strengths and weaknesses of each idea we have finally arrived at a solution that is currently used by professional conjurers and mentalists around the world.

Still, the creative process focused on these stacks continues. About two years after I published the Shuffled System, Doug Dyment released his DAO Stack in the manuscript Tricyclic. The DAO Stack is based heavily on the Shuffled System, but Doug found a clever way to simplify it even further. So who knows? Perhaps a better stacking solution is still out there – and waiting for one of you to discover it.

INDIAN GIVER

A pack of playing cards is passed among several guests, who each select a random card, remember it, and shuffle it away. The deck is tabled after the final shuffle. No one touches it again. Despite these fair conditions, you accurate discern each guest’s card.

I frequently use this effect as an opener because it is clean, simple, and direct. It requires little in the way of cooperation

from the guests and gives you the option of using several members of the audience or just a couple, which makes this a suitable effect for parlor or close-up performances.

Since this was designed as an opening effect, take advantage of the opportunity to begin with a stacked deck. Why not start the show fully armed? Any cyclical stack will suffice. Once your deck is prepared, place the pack on the table and you are ready to begin.

Approach a guest in the front row. Hand her the deck with instructions to hold it face down. Now say, “I know I just gave you all the cards, but please give me back most of them. Just cut a large block off the top and hand it back to me. Keep the smaller portion for yourself.” Once she has done so, hold the balance of the deck face down in your left hand.

Say, “Look at the card you cut to and remember it, please.” She will pick up the top card of her packet and memorize it. Say, “Now, bury your card anywhere in your packet like this, and shuffle your cards. Keep your cards facing away from me at all times.” While giving her these in-structions, suit actions to words and mime the action of removing the top card from the deck. Pretend to look at this non-ex-istent card and then rotate your left hand so your palm is now facing the guest. This gives you a bold view of the bottom card of the deck as you mime inserting the “card” into the middle of the pack from above. As with any cyclical stack, the bottom card provides you the identity of her chosen card.

When she begins shuffling her packet, hand the remainder of the deck to a second guest and ask him to do the same thing: give you back most of the cards, look at the card he cut to, insert it into the packet, and shuffle it away. Again, mime these actions as before so you get a look at the bottom card of the returned portion. You now know the identity of the second guest’s selection.

This process continues until you feel enough selections have been made (or for as long as you can remember cards). Because most people cut less generously than expected, I usually get three or four cards chosen before the deck is depleted. Since you have the task of remembering several cards anyway, this is not a bad

outcome. Ask one more guest to collect all the packets, assemble them in any order and shuffle the deck once more for good measure. This guest now places the pack face down on the table and steps away.

You have a grand opportunity to indulge in high drama now. Please do not waste this moment by rattling off the selected cards quickly. Instead, emphasize the impossibility of deceit. “I have handled the deck as little as possible. Each of you cut freely and shuffled your own cards. Indeed, since this pack was last shuffled by our volunteer, I have not touched it.” Stare intensely into the eyes of the first guest and reveal her card gradually by saying, “I see red...but the red is sparkling...like a diamond...yes...a diamond...I see a person...not a woman...but not quite a man either...so it is not the Queen...nor the King.... is it the Jack? Yes, the Jack of Diamonds!”

For the second guest, place your hand on his shoulder and ask him to count silently to thirteen. Close your eyes while he does this. Open your eyes and say, “As you counted, your mind almost shouted one number at me...it was the number seven. Now, think of the color. Dig deep and concentrate. Wait! When I said ‘dig,’ you threw an image of a shovel into my head...a spade? Your card is the Seven of Spades?” With a bit of creativity these revelations can be intense, funny or even spooky, depending upon your perfor-mance character.

When there are only two more cards remaining, stand between the last two guests and hold hands with them – like a referee between two boxers who is about to name the champion. Reveal the colors first and then the suits of the selected cards. Struggle a bit while trying to come up with the values. When you finally “get it,” lift each guest’s hand high as you call out his or her respective card.

This is a strong applause-cue position – and a baffling beginning to your show.

“The Shuffled System” Copyright 2008. Previously published in Noetic License (Book Three in the Act-Series).

Mick is a conjurer, tunesmith and tale-swapper. He can be reached at [email protected].


CARD (BUT NON-CARD) EFFECTS

I played my first theater show, The Fifth Element, in 2006 in Las Vegas at the Magic and Meaning conference, produced by Jeff McBride’s Magic & Mystery School. I had designed the show to be highly portable so I could take everything with me as carry-on luggage. This required me to balance the low production value with great magic as well as an interesting, mov-ie-like structure, music, and personality. It took me years to create the basic show: routines, script, music, staging, structure, delivery. But it was highly successful. And because of all the work I had put into it, I could easily turn the theater version into a two-, three-, or four-part dinner show. I think that the biggest part of the success wasn’t the magic or music. It was the script and the structure. These elements took care of giving every single routine meaning in relation to the overarching storyline. That allowed me to play it for a much broader audience. I can’t count the number of people who walked up to me and said, “I usually hate magic and magicians, but this was great!” I really don’t want to pat myself on the back here. I’m just trying to clarify that magic can be interesting in and of itself to magic lovers. But there’s a big audience out there who gets bored after two or three magic tricks because there’s nothing of interest for them.

After creating two more theater shows, The Death and Resurrection Show and Six Strings & 53 Cards, I realized that there’s one question that helped me to create the plots, scripts, and structures. It’s the much feared and sometimes sleep-depriving question, “Why?” Why do you do this routine? Why do you do it at this moment? Why do you use this prop? Why that gesture? Why do your hands go to your pocket? Why do you talk so fast here? Why do you move to the right? Why do you wear that suit? Why do you smile at this point?

Why? Why? Why? The directors I worked with asked me that question over and over again. Answering it resulted in a better storyline, a more coherent structure, more original material, economy of movement, and so on. If I couldn’t come up with an answer, I simply had to drop a line, get rid of a gesture, or skip a routine that I dearly loved.

WHY PLAYING CARDS?

One of the most annoying “why-ques-tion” is: Why do you use a deck of playing cards? Sure, a deck of cards is convenient. There are millions of tricks you can do with them. It’s easy to carry around. We’ve learned lots of techniques that allow us to do a big portion of those millions of tricks. Also, the audience is familiar with the concept of cards, which saves you time. But from a theatrical point of view those reasons aren’t good enough.

From a theatrical standpoint, the answer needs to be motivated by the storyline, the script, the structure, and/or your persona on stage. The cards need to have some meaning in relation to those aspects. Cards have, of course, built in meaning when you do a poker or Three Card Monte routine. But they may lack this context in a “pick-a-card-any-card” routine, for example.

A CARD (BUT NON-CARD) ROUTINE: CORRESPONDENCE

I’d like to explain Correspondence, one of my routines that came out of asking the “why playing cards” question. Years ago I saw my dear friend Eugene Burger (who kindly gave me permission to publish my version) perform a routine with cards at one of the Amsterdam master classes I produced for Jeff and Eugene. The plot is simple. A spectator randomly selects a card and the selected card matches the one that’s in an envelope that has been lying on the table openly during the whole routine. I was inspired by it as I asked myself the “why playing cards” question. I came up with the idea of using postcards and started to develop that version. I called it Correspondence.

Let me first give you a quick descrip-tion of what the audience sees, and then I will describe the work you will need to do to create your props. The audience sees a big, thick envelope (about 9" x 6.5"). The magician takes out a stack of postcards. The postcards look genuine. There is also one blue envelope (about 6" x 5") that he puts back in the big envelope. He invites an audience member to say stop at any time while he starts dropping the cards on the table one by one. When a postcard is selected, he takes out the blue envelope. The postcard in that envelope matches the freely selected card.

You will need: seven sets of four different postcards (the so-called force postcards); twenty-four random postcards; two double-ended envelopes (6" x 5"); one larger double-ended envelope (9" x 6.5"); roughing fluid or wax. Piatt-style double envelopes work great for this purpose. You can purchase them at www.yourmagic.com (type in Piatt in the search box). Use the envelopes you purchase to make templates for the larger envelopes this routine requires.

I put stamps on all the postcards and asked eight friends to write my address and a message on them (in different colors, preferably in different handwriting) and to mail the cards back to me. You can see the result in Photo 1. When I got all of them back I took six sets of four cards and the twenty-four random cards and arranged

them as in Photo 2. The picture only shows you two repeating stacks. In reality there are six repeating stacks consisting of (face up): force postcard 1, random postcard, force postcard 2, random postcard,


By George Parker

For Your Consideration

Photo i

force postcard 3, random postcard, force postcard 4, random postcard.

Photo 3 shows you the back of the postcards. I marked each force postcard with one, two, three, or four pencil dots (yellow circles). They are barely visible in the picture, but are easy to spot in reality. I applied some roughing spray to the face of the force postcard and to the back of the random postcard it is paired with; this will hide the force postcards. You can also use a dab of wax.

Finally, I put stickers with my name and address on both blue envelopes. I put a stamp on them and posted them. Both

the sticker and the stamp are tilted to add some reality to the picture. When I got them back I marked the stickers with pencil dots so I can instantly see which side I have to open to take out the right postcard (Photo 4). Force postcards 1 and 2 go in one envelope; postcards 3 and 4 go in the other. The stack of postcards goes on top of envelope A and inside one of the openings of the big envelope (Photo 5). Envelope B goes into the other opening.

Turn the big envelope around and mark the side with envelope A

and the stack of cards with one pencil dot and the other side (containing envelope B) with three pencil dots (Photo 6). You will notice that the big envelope looks worn out. That’s just what it’s supposed to look like. I’ve supposedly collected the postcards in that envelope, so it makes sense that it looks a bit old.

Performance: Pick up the big envelope; while you open it, say, “I’m always humbled when people send me spontane-ous thank-you emails. And I’m even more touched when I get handwritten thank-you postcards. Yes, that still happens!” You hold the envelope in the way that’s shown in Photo 7. As you can see, you cover the lower part to prevent the audience seeing

the other opening. Even if they saw it, it would probably fly by. It’s just an extra safety measure to hide the method. Take out the stack of cards and envelope A. Briefly look at both sides of envelope A so the audience gets a clear picture of it and put it back in the big envelope without paying attention to it. Put the big envelope on the table, non-flap side up.

Fan the postcards (Photo 8) so the audience sees all different cards. Turn them around and show the backs of all the postcards while saying: “Over the years, I actually collected all the postcards I got. Every card holds an exciting story. Let’s select one of the cards and I’ll tell you the story that goes with it.” Square the cards at this point and hold them face down. “Sir, would you please turn your head away from me, because I really don’t want to influence you into selecting my favorite story! Just say stop whenever you feel like it.” Notice that I’m not describing what’s going to happen or what card will be their selection. The reason will become clear soon.

Look at a person in the audience while you say the previous line. Start dealing postcards on the table, one by one, rhyth-mically and a bit up tempo; that makes it easier to hide the force. As you deal, you separate the roughed pairs. Look at the


Photo 3

Photo 4

Photo 5

Photo 6

Photo 7

Photo 8

Photo 2

person all the time, meanwhile secretly either peeking at the cards you’re dealing or just counting the cards. Every odd number will be a force postcard.

Looking at the person puts you in a position to turn your head at the forced postcard the moment they say stop, which helps to convince the audience of the fairness of the procedure. When they say stop you will either have a postcard in your hand (either force or random), or you will have just dealt a postcard (either force or random) to the table. Here is how you handle either situation in a way that appears natural.

If you have a force postcard in your hand, immediately turn your attention away from the spectator and to the card in your hand. Smile as if you remember the story and say, “Ah, this is a good one!” If you have a random card in your hand, finish dealing the card while turning your head towards the card that’s now on top of the stack in your hand. Smile and say, “Ah, this is a good one!”

If the spectator says stop after you’ve

just dealt a postcard on the table, the force card is either on top of the tabled stack or on top of the stack in your hand. If the force postcard is on top of the tabled cards, lower the hand that holds the remaining stack; turn your gaze away from them, focus on the tabled cards, pick up the top card, and say, “Ah, this is a good one!” If the force postcard is on top of the stack in your hand, turn your attention to that card in the most natural way, smile, and say, “Ah, this is a good one!”

You will understand that this works just like a good equivoque. You will need to practice all possible scenarios in order to make every scenario look natural and to convince the audience that the outcome you play out is the only possible outcome.

You will now instantly spot what force postcard was stopped on; the markings will tell you whether it was 1, 2, 3 or 4. After the “Ah, this is a good one!” line, say, “I remember this well. I performed at an outdoor wedding party in Rome. Wendy and Peter went there because they had met for the first time at the Spanish Steps. Their

first kiss happened at the Trevi Fountain – very romantic. And although this is a great story, you’ve created an even more magical one.” This script is just an example of what I use. You’ll have to create a nice script and fill in the right names depending on the card you’ve landed on.

Take the blue envelope that contains the matching postcard out of the correct side of the big envelope. “In my profes-sional life, there’s only one postcard that I had already received before. Out of all the postcards you could have selected, you picked that postcard!” Take the matching postcard out of the blue envelope and show it to the audience. “You’ve just given added meaning to the word ‘correspondence.’” Smile. “You certainly have a knack for these types of coincidences. Thanks for creating yet another nice memory!”

It’s a nice creative exercise to scan your repertoire to see if there’s a card (but non-card) trick opportunity there. Good luck!

for your consideration


http://www.themagicwarehouse.com

http://www.themagicbakery.com


Nick Trost is a name that may be unfa-miliar to younger readers of this magazine, but he was a prolific creator of card magic that did not demand knuckle-busting skill. As William Miesel wrote: “Nick is known for his simple, easy-to-do card magic. He bases his tricks on subtle moves and prin-ciples rather than difficult sleights. The thing that impresses me is how he obtains such excellent effects by ingenious, yet comparatively simple methods.”

Trost published two, one-man parades in The Linking Ring (1955 and 1957) and in May of 1961 he began a column of card magic in The New Tops that ran for more than thirty-three years. The subject of this month’s Ebook Nook, The Card Magic of Nick Trost, was published in 1997. More recently, the four-volume series The Subtle Card Creations of Nick Trost has been published by H&R Magic Books.

Below you will find three well-known Trost routines. I mentioned the Horse Race trick in my editor’s column in the June issue. Rick Johnsson took this trick and turned it every way but loose, wringing a ton of entertainment out of it. Eighteen-Card Poker is a very clever twist on the Ten-Card Poker Deal. You will probably puzzle your magic buddies with this (and it is also a great trick for laymen). In-cidentally, if you are a fan of this trick, you will love Bob Farmer’s new book, a 400-page compendium of routines, ideas, and scams for the Ten-Card Poker Deal. It should be available now. The final trick, Eight-Card Brainwave is one of Trost’s most famous creations. It was marketed by him and it has been varied by many creators. (You’ll read Bob Farmer’s clever idea for this trick in next month’s issue.) If you enjoy card magic, The Card Magic of Nick Trost should be in your library. My thanks to L&L Publishing for allowing these excerpts to appear in M-U-M. —Michael Close

HORSE RACE

It is interesting to note that the idea of running a horse race using a deck of cards dates back at least to 1914 to a race game called “Minoru,” so named in honor of King Edward VII’s famous racehorse. In this game, five miniature horses are lined up on a course divided into an unequal number of spaces. The horses are bet on at different odds. The “bookmaker” deals five cards from a deck, one card behind each horse; the horse with the highest card dealt moves one space up the course. This procedure is continued until one horse reaches the winning-post.

The prototype for the modern game called “Horse Race” was described by John Scarne in Scarne on Cards (1949). Scarne’s version used the four Aces as horses, which moved one length per each card of a dealt suit.

Tony Koynini was the first magician to use the horse race game idea as a gambling demonstration. He used a stacked deck to control the outcome of the performer always winning. Koynini published his routine in booklet form, called Derby (1952).

My original version of “Horse Race,” developed in the early 1960s, simplified Koynini’s method in two ways: First, the horses are moved just one space per matching suit turned up, not two spaces for a court card as Koynini stipulated. Second, I simpli-fied Koynini’s method of getting the extra card of the performer’s suit into position to win. My version was a decided favorite with Stewart Judah, who also had a hand in the simplifying process. I have found the effect to be entertaining for all types of audiences.

Effect: A miniature racetrack of six lengths is formed. The four Aces, rep-resenting horses, are lined up beside the track. Three spectators each pick a horse (an Ace) and place a bet on it. The performer backs the remaining Ace. The deck is now shuffled by the spectators, and the performer turns up cards one by one. Whichever suit is turned up, the Ace of that suit moves up one length on the track until one “horse” reaches the finish line. The performer wins. A second race is run, and he wins again.

Method: You will need a deck of cards, six matches, and four coins, one large and

three small.To prepare, first remove the four Aces

and the four Threes from the deck, placing them aside. Now form a pile of twenty cards, consisting of any five Hearts, five Spades, five Clubs and five Diamonds. Place the remainder of the deck face down on the table, and then drop the four Threes on top. Next, shuffle the pile of twenty cards and drop it on top. Finally, scatter the four Aces in the bottom half of the deck. Slip the deck into the case and you are all set.

To begin, remove the deck from the case. Announce that you will show how a horse race is run using a deck of cards. “First, we must set up the track,” you say. Arrange the six matches in a horizontal row in front of you on the table. Space them out about two and a half feet in length.

“We’ll use the Aces as horses.” As this is said, pick up the deck, toss out the four Aces, and arrange them in a vertical row at the left end of the “track” (Figure 1).

“Now here’s the way we play. We’ll each bet on a horse. I’ll turn up cards one at a time from the deck. (Demonstrate by turning up the top card.) The horse of the same suit will move ahead one length,” you continue. Demonstrate by sliding the corresponding Ace even with the first match. Say, “This continues until one horse reaches the finish line marked by the last match. (Point to the last position on the track.) Whichever horse gets here first wins and takes all the money.”

Bring out the coins and hand each of three spectators a small coin. “I’ll stake you on this race. Each of you drops your money on the horse you want; I’ll take what’s left. That’s fair enough, isn’t it?” you ask. After each spectator has his money on an Ace, drop the larger coin on the remaining ace. “I’ll put up the most money,” you point out.

Say, “We’d better shuffle the deck.” Note the suit left for you. Pick up the deck and hold it face toward you. Fan it near the

EBOOK NOOK

Excerpt From: The Card Magic of Nick TrostWritten By: Nick TrostDescription: Ebook, 334 pagesAvailable From: www.llepub.com

Fig. 1


center until you see the four Threes. The left thumb should be resting on the faces of the Threes (Figure 2).

This is the only move needed to accom-plish the effect: You are going to split the deck, taking the top twenty cards into the left hand. But as you do, you must include the three-spot of the same suit as your horse. If the desired three-spot is right next to the top twenty cards, split the deck to the right of it. If it is second, third, or fourth in the fan, simply place the left thumb on the desired three-spot and slide it onto the face of the twenty-card group as you split the deck.

Immediately hand the cards in the left hand (group A) to a spectator on your left for shuffling. Hand the rest of the deck (group B) to a spectator on your right to shuffle. The whole operation should be done in an unhurried and casual manner.

Assemble the deck, placing group A (twenty-one cards) on top of group B. “Here we go ...” you say. Place the deck face down in front of you on the table and turn up the top card. Whatever the suit, have a spectator move the correspond-ing Ace ahead one length. Continue by turning up the next card and having the corresponding Ace moved. After several cards have been dealt, again point to the sixth match and say, “Remember, the first one to reach here wins.” When your horse reaches the finish line first (as it must), pick up all the coins and say, “Too bad. I guess that you just don’t know how to play the horses. Would you want to try once more?”

The Repeat: Usually I repeat the effect once. Pick up the dealt cards and overhand shuffle them face up, pulling off the card at the face (the last card dealt) and shuffling the others on top of it. Drop these cards face down on top of the deck, and then double cut the top card to the bottom. (There are

now five cards of each suit in the top half again.) Arrange the Aces at the starting positions, and say, “This time, I want you to select my horse just by chance.” Spread the bottom half of the deck face down and have a spectator touch the back of a card. Pull it out and turn it up. Place your money on the Ace of the selected suit. The spectators drop their coins onto the other three Aces. Bury the selected card about a quarter of the way down from the top of the deck. Proceed as explained above and you will win again.

SECOND METHOD

This method uses the Gilbreath principle.

To prepare, first remove the four Aces, the four Threes, and any four indiffer-ent cards, consisting of one card of each suit. Lay these three sets aside temporar-ily. This leaves forty cards. From these, remove five cards of each suit. This forms a twenty-card group. A second group of twenty remains, which also consists of five cards of each suit. Make sure the suits in one group are mixed, and then arrange the other twenty-card group in reverse suit order of the first. This done, place these groups face up on the table. Add to the face of each group any two of the four indif-ferent cards placed aside earlier. Turn both groups face down.

Now pencil dot the back of the Three of Clubs in the upper left and lower right corners, then lay it face down onto one of the twenty-two-card groups. Lay the Threes of Hearts, Spades, and Diamonds (in that order) face down onto the Three of Clubs. Drop the other twenty-two card group on top. Finally, insert the four Aces into scattered positions in the deck to complete the setup.

Proceed as in the original method to the point where you are left with one of the suits as your horse. Pick up the deck and hold it face down in the left hand. Spread it near the center until you see the pencil-dotted Three of Clubs. This card keys you to the Three of Hearts, the Three of Spades, and the Three of Diamonds, which are directly above it. Split the deck, taking all the cards below the pencil-dotted Three of Clubs into the left hand; as you do, the left thumb slides the three-spot of the same suit as your horse onto the top of the

left-hand half.Have the spectator riffle shuffle the

halves together. Proceed as in the original method and your horse will arrive at the finish line first. For the repeat, use the same method as described earlier.

This method first appeared in my book Gambling Tricks with Cards, Part Two (1975).

EIGHTEEN-CARD POKER

Bob Farmer, in writing about the Ten-Card Poker Deal in MAGIC, May, 1994, was very complimentary when he said: “There is no question that Nick Trost invented the first significant improvement in the method for this effect: the morphing Jonah – a Jonah card that changes with each deal, so that the spectator can never notice that his losing hand always contains the same singleton.”

The principle used in Eighteen-Card Poker is the same as in the Ten-Card Poker Deal; the player who gets the odd (Jonah) card after two hands have been dealt is the loser. Eighteen-Card Poker, however, uses two groups of nine cards, and the odd card is always one from the other group of nine, so – as Bob pointed out – it changes throughout the routine.

Among the performers who considered this routine one of their favorites were Walt Rollins and Stewart Judah. The pre-sentation described here was the one used by Stewart Judah.

Effect: Several cards are removed from the deck and shuffled by a spectator, who then deals two poker hands, one to the performer and one to himself. Before the hands are shown, the performer states that he will have the winning hand. The hands are turned up, and the performer wins. Again the cards are shuffled, two hands are dealt by the spectator, and again the performer wins. For the final deal, the performer shuffles the cards, and then shows each card to the spectator before it is dealt. The spectator may decide to either keep the card for his hand or let the performer take it. Even under these condi-tions, the performer still manages to come up with the winning hand.

Method: Beforehand, arrange two groups of nine cards each. Each group of nine consists of three sets of three of a kind. For example, we’ll say that one group

Fig. 2


consists of three Threes, three Sevens and, three Kings. The other group, for example, consists of three Fours, three Eights and, three queens. Place both groups on the bottom of the deck; you are ready to begin.

Phase One: Remove the bottom eighteen cards, giving one group of nine to a spectator; you take the other. Discard the rest of the deck.

Shuffle your packet as the spectator shuffles his. Trade packets and shuffle once more. Hand the spectator your packet and have him place one packet onto the other. (It does not matter which goes onto which.) Now have him alternately deal two showdown poker hands of five cards each, one to you and one to himself. He is to place the remaining eight cards aside. Explain that even though he has shuffled and dealt the cards himself, you know you have him beat even before you look at the cards. Reach over and turn his hand face up on the table, calling out the rank of the hand – one pair, two pairs or three of a kind. Turn your hand face up, showing that you have him beat.

Drop your hand face up onto his and pick up both hands. The odd card is now on top. Hold this packet in position for an overhand shuffle, but with the bottom card facing left. Overhand shuffle, stripping off the top (odd) card with the left fingers and shuffle the remaining cards on top of it so the odd card remains on top of the packet. As you do this, have the spectator pick up the eight-card packet and shuffle it.

Drop his packet face down onto yours so the eighteen cards again consist of two groups of nine.

Phase Two: Hand the cards to the spectator, have him deal two poker hands as before, and set the remaining eight cards aside. Tell him that again you have him beat. Turn his hand face up on the table, calling out its rank. Turn up your hand, showing that you have beaten him.

Drop your hand face up onto his, pick up both, and shuffle as before, retaining the odd card on top. He may shuffle the eight-card packet. This time when you put the packets together, put your packet on top of his so that the odd card will be the top card of the combined packets.

Phase Three: Explain that you will give the spectator one more chance to beat you; this time you will do the dealing. Deal the top card (the odd card) face down to the spectator and the next card face down to yourself. Pause to show him the faces of both cards, commenting on whether his card or yours is higher. Then say, “From here on out, I’ll show you each card, and

you can decide to either keep that card or tell me to take it.” Show him each card from this point on and deal (according to what the spectator decides) until you each have five cards. Again, you get the winning hand.

Notes: You may want to consider carrying the eighteen cards used for Eigh-teen-Card Poker in a double-sided wallet as a packet trick. By doing this, you will always be ready to perform it at any time. This is how I marketed the trick in 1989 as Mississippi Poker. (This version, inciden-tally, features a more elaborate routine of five phases.)

Several other routines for Eighteen-Card Poker have been published. Among them is one released by Bruce Bernstein in an eleven-page booklet called Psych-Out (1985). In Bruce’s routine, he explains to a spectator that he will use the Nines through Aces because “they are the minimum amount of cards from a deck that can create any possible poker hand – from one pair through a royal flush – and anything in between.” (This would be true if four-of-a-kind were used, but only three-of-a-kind are removed.) Bruce claims that no one has questioned the “logic,” or suspected only three-of-a-kind were used. One group consists of three Nines, Jacks, and Kings; the other group contains three Tens, Queens, and Aces.

One of the most entertaining presenta-tions I have read for Eighteen-Card Poker is called The Cincinnati Kid Poker Game by Tony Binarelli. You will find it in Gary Ouellet’s book The Magic of Tony Binarelli (1991) on page 169. This routine is also performed and explained by Gary Ouellet on the video The Magic of Canada, Vol. 2 (1994).

EIGHT-CARD BRAINWAVE

Ed Marlo’s Olram Subtlety (The New Tops, November, 1965) was the inspira-tion to work out this effect, which was first described in my column in The New Tops under the title The Odd-Colored Back. It originally used six cards and was later changed to eight. It was marketed as Eight-Card Brainwave in 1976.

Effect: Someone simply calls out the name of any card of eight different ones displayed. All the backs are then shown; the back of the named card is a different color from the others.

Method: You will need four red-backed and four blue-backed cards, each with a different face. Arrange the cards so that the red and blue backs alternate (Figure 1).

Start with the packet face up in the left hand. Fan the cards face up in a wide fan or spread them on the table, asking a spectator to think of any card. This done, square the cards and hold them face up in the left hand.

Shift cards one by one to the back of the face-up packet, asking the spectator to stop you when you reach his thought-of card. Lay his card face up on the table.

As you explain that he could have thought of any of the other cards, appar-ently show the backs of the remaining seven cards, using the Olram Subtlety as follows.

Hold the packet face up in the left hand (Figure 2). Note that the cards extend about half their length beyond the fore-finger. With the left thumb, push the top card to the right and take it into the right hand, gripping it in the same way as the left-hand packet (Figure 2). Immediately turn both hands palm down, showing the red back of the single card in the right hand and the red back of the packet in the left hand (Figure 3). (Note: The back color of the two cards will depend on which card the spectator chose. They will always be of the same color.) Turn both hands palm up

and simultaneously deal a card face up on the table from each hand. The right hand deals the face card of its packet on the table and the left hand deals its single card on top of it. The back of the card dealt from the left hand has not been seen, although

EBOOK NOOK

Fig. 1

Fig. 2

Fig. 3


it appears that it has. (The discrepancy is well obscured by the combined action of the hands.)

Show and deal the next pair of cards in the same manner. As you deal a card on the table from each hand, deal them face up into a common pile. Always deal the right-hand card to the table first. Finally, show the back of the single card remaining in the left hand and deal it face up onto the pile. Apparently all seven cards have the same color back. Slowly turn the selected card face down, showing that it has an odd-color back. Replace this card on the packet, and it is instantly reset for a repeat

of the effect, a nice feature when table-hopping.

Notes: Here are two A1 Thatcher additions. Instead of fanning the cards for a selection, deal the eight cards face up into a row, left to right on the table. Have one card indicated, which you push forward from the row. Now pick up the other seven cards, laying them face up into the left hand like this: Pick up the card to the right of the selection and lay it into the left hand; now, working to the right, and back to the beginning of the row, if necessary, pick up the other six cards one by one. The left hand now holds a face-up packet of seven

cards with the backs alternating red, blue throughout.

Perform the Olram Subtlety with these seven cards. Deal them into two face-up piles after apparently showing the backs of three pairs. The left hand shows the back of the single remaining card and uses it to scoop up the left-hand pile. The pile is squared, turned face down, and held in the left hand. The right hand picks up the remaining three cards from the table one by one and places them face down onto the cards in the left hand. This visually em-phasizes that all seven cards have the same back color.

http://www.mix16apps.com

http://www.joemogar.com

http://www.twitter.com/sammumnews

THINKING ABOUT “REVEALS”

Imagine you have a superpower. You have the ability to fly. As far as you know, you’re the only human on earth who can do this. You just discovered your ability a few days ago, and it doesn’t come easily. You need a running start in order get aloft; sometimes you have to push off a chair or dive off a ledge. Occasionally, you don’t get airborne at all, but instead come crashing to the ground. However, and this is important, the discovery of this power is quite simply the most significant event in your life until now. You suddenly realize that there is a vast, undiscovered territory of physics that no scientist has yet described. Who knows what other untapped poten-tials remain dormant in each one of us? But more important, the feeling of flying, the emotion you experience, is one of pure joy. It’s better than you ever imagined it in your dreams. You’d love to find a way of describing this emotion, but words fail utterly.

Now imagine you have the ability to fly, but this time, instead of it being something new to you, it’s something you’ve been doing all your life. It takes no effort at all; you simply think about it, and up you go. Being aloft is no more novel to you than taking a walk to the corner grocery. There’s no particular emotion associated with it, it’s just something you do. As far as you know, you’re the only person in the world who can fly. But to be honest, demonstrat-ing your power has become a nuisance. When people hear about it, they assume you’re lying. Then, when you do prove yourself, they look at you as if you’re some sort of freak. As a consequence, you’re inclined to keep your skill to yourself, and when you do share it, you can’t help feeling a little resentful.

Finally, imagine you are a witness to a demonstration by each of the above aeri-

alists. Which performance do you think would excite you more? What would be your emotional state at the conclusion of each? What might you be thinking the moment each flier left the ground?

In mentalism, we’re obsessed with “revelations.” We put most of the focus of our presentations on how to demon-strate that we’ve read somebody’s mind correctly. To continue with the discussion of superpowers, think of the act of flying as being equivalent to the “reveal” in mentalism. At first you were doubtful that the performer could pull it off; now you know he can. Both examples have this in common. Beyond that, what?

As an audience member, your reaction to this moment of revelation depends entirely on the context that led up to it. With the first performer, you would sense his eagerness to share this discovery with you. With the second, you might sense his reluctance, even his bitterness. With the first performer, even though you may be doubtful, you may also cheer him on, hoping that he succeeds. With the second performer, maybe you hope he falls flat on his face. Each demonstration may be theat-rically compelling in its own way, but each will tell a very different story and engage your imagination in a distinct way.

In each case, what is revealed is much more than the fact that the performer can fly. Also revealed is a snapshot of who the performer really is. Each scenario offers a brief glimpse of his personal journey, his feeling about his unique ability, and perhaps more important, his relationship to you, the spectator. Beyond even this, each scenario reveals a shadowy view into the way the universe is constructed. It hints at a world of unseen forces and untapped potentials.

In mentalism, we are prone to think that the most important part of the per-formance comes at the moment of the reveal. It doesn’t. Not even close! The truly important moments are those that lead up to the big finish and provide context for it.

As mentalists, we each play the role of superhero for a few moments each day. How we construct this role is crucial in guiding our audience toward the moment of the reveal. There are many possible

things to consider when creating our roles. Of course, we will want to establish a backstory to explain how we acquired our special talents. We will also want to establish the parameters of our abilities; what are the things we can and cannot do? But to my mind, the most important thing to establish is our attitude towards our abilities. Are we excited by them? Are we frightened by them? Are we bored by them? Are they abilities we want to share with others, or are they abilities we would rather hide?

Establishing our attitudes about our special powers is a necessary first step, because doing so provides our motiva-tion for performing at all. If you hate your powers, or if you’re bored by them, or if you consider them something to be ashamed of, you will probably have some difficulty justifying their demonstration. On the other hand, if you make the theat-rical decision that your skills are forever exciting and fresh to you and that you cannot wait to share them with others, the act of demonstration is a natural result.

Think, for example, of Uri Geller bending a spoon. (I’m speaking here strictly of the theater behind his perfor-mance. We can leave discussion of his ethics for another time.) Imagine his ex-citement as the spoon begins to bend. It’s as if each demonstration is an excuse to peek through the veil into another world. Why would somebody want to bend a spoon? Perhaps because each bending of a spoon illustrates that what you thought you knew about the very fabric of the cosmos is utter trash, and that fact is exciting! It is in fact The. Most. Exciting. Thing. Ever. In Geller’s case, the unique timbre of the reveal is produced in part by his attitude toward his ability. So it is with all of us.

Consider the following possible scripts. In each case, the opening circumstances are that a female audience member has been asked to concentrate on the name of her first childhood crush.

SCRIPT ONE

Mentalist: Concentrate on the name. Really focus. I’m getting the letter “T.” Is there a T? Yes? Keep thinking. (Pause) I


By Christopher Carter

Messing With Your Mind

don’t know if I have this. I’ll write it down. What was the name?

Helper: Peter.Mentalist (turns over his notepad to

reveal the word “Peter”): Got it.

SCRIPT TWOMentalist: This is going to require

some imagination. Look at me, but in your mind visualize that boy. (Pause) Look in my eyes, but see his eyes. (Pause) Look at my face, but see his face. How old was this boy when you had a crush on him?

Helper: Eight.Mentalist: Eight? Then you might

want to imagine him a little shorter – and possibly with more hair. But try to see him. (Pause) Now, say his name in your mind. Not out loud, but hear your inner voice say it...Say it now! (Pause) Really? Wow! Say it again. (Mentalist laughs to himself.) That’s amazing. Even after all these years, I can still hear passion in your voice. I can hear you saying, “Oh, Peter!” Is that it? Peter?

Helper: Yes.Mentalist: Wow. That must have been

some crush.Of these two possible reveals, which

one strikes you as theatrically more inter-esting? Which one seems more powerful? Which do you think will garner the strongest reaction from the audience helper?

You probably won’t be surprised when I tell you that I think the second one is better. I’m biased, of course, since that is the actual script I use during a billet routine I constructed for walk-around purposes when I’m entertaining on college campuses. It’s something I use as a teaser when I’m walking through a campus cafeteria drumming up an audience for my evening show. The former script, on the other hand, is what I imagine as a

fairly typically unimaginative presenta-tion of a mind-reading effect. Perhaps it’s something of a straw man, but then again I’m not so sure.

But if we assume that the second script is better, why is it so? Let’s look at what the first script is lacking. In Script One, what is the performer’s attitude toward his superpower? It’s barely discernible, but to the extent that it can be detected, it might best be defined as “look at the cool thing I can do.” The actual moment of mental contact, the moment the thought is received, produces no apparent emotional reaction in performer number one. Appar-ently there’s some challenge to it, but it couldn’t be much, or he would show some surprise and delight upon its completion. In truth, the only emotional reaction the performer shows at all is when he demon-strates that he got it right, and that’s really more of a strut than a genuine emotion. Seriously, if you really could pick up someone’s thoughts, wouldn’t you feel something?

What is the process of mind reading for the performer in Script One? Again, it’s barely discernible. Apparently, the helper must “concentrate.” But how does she do that? What exactly does that mean? The performer is not certain he got it right. Why not? What is the source of his in-security? Don’t you think that if these questions are left unanswered in the mind of the spectator, the statement “I don’t know if I have this,” is going to strike the helper as insincere? Will she be rooting for the performer to be correct? I doubt it.

How about Script Two? In this one the character of the performer expresses something that could be called a point of view. It’s only a very brief bit of dialogue, but his attitude toward his power is much more discernible than the first. As with the first performer, this one finds mind reading to be somewhat difficult, but now we know

why: the helper has to concentrate in a really specific way. The performer here is also excited by the act of mind reading, and not only because of the attention it draws to himself, but also because it seems fun simply to make a mental connection with another person. We know this because the moment of mental connection produces in him an experience of surprise and delight. Something about the way the helper is thinking is so enjoyable that he asks her to think it again.

And the process of mindreading in Script Two? Again, it’s more clearly defined. The performer explicitly spells out how the helper must concentrate, and as she goes through each step, the performer is apparently receiving information from it. The moment of thought reading is not disconnected from the process as it in the first script. Instead it seems to be the natural result of a necessary progression.

There are many other differences we could examine, but the most important difference, I submit, would be the dif-ference in the way the audience reacts when her thought is revealed. I think it’s possible that the helper in Script One will be amazed, but I don’t think she will react with shock. In fact, I think her reaction will be more one of puzzlement. The rest of the audience, I expect, will be similarly detached. I know from experience that the helper in Script Two will turn red, let out a little scream, and hold her hands in front of her face, and there will be no doubt in the minds of the onlookers that you didn’t merely guess her word, you read her mind. The reason for the difference has everything to do with how you’ve set up the reveal. Unless it follows naturally from context, the reveal has no meaning. In Script One, crucial elements of context are ignored. There is simply no path down which the audience can be guided.


SUPPORT THE SOCIETY OF AMERICAN MAGICIANS

Shop at the S.A.M. gift shop.

www.samgifts.org

http://www.tomburgoon.com

LATEST PRODUCT REVIEWSCompiled and Edited by W. S. Duncan

INFORMED OPINION

We haven’t had this much good magic in one month in a very long time. Tony Cabral has a few words about one of the most important books on magic ever written, and Curtis road tests a new take on a couple of old coin tricks. Editor Emeritus David Goodsell covers a new documentary on Eugene Burger, and Joshua shares his thoughts on a bit of prop mentalism, and a new take on the Tossed-Out Pack.

Marc raves about a new wallet, and Norman Beck reviews Infallible, an interesting double-prediction effect. I had a thought about the latter that might appeal to you, if you’re interested in

the effect, which is the prediction of a number and a card, using a pack with random numbers on the back. Consider introducing the pack as a “marked deck” made for you by your child/nephew/godson, or similar. Since the markings are random numbers, this should get a chuckle. When you reveal the prediction, do so by showing a video of the adorable child who made your “marked deck.” Read Norman’s review if this sounds like something that would suit your performance style.

See you next month.

The Magic Way (second ediTion) BookBy Juan TaMarizAvailable from: www.hermeticpress.comDistributed by Murphy’s Magic SuppliesPrice $47.00

REVIEW BY ANTONIO M. CABRAL

At this point in time, Juan Tamariz’s reputation is firmly cemented as one of the magic world’s great entertainers and solid magical thinkers. That reputation stems in part from legendary books like this one, The Magic Way. Way back in 1987, Tamariz took the ideas that all the great magicians knew and understood and attempted to codify them into a way of thinking, an approach to crafting and creating a magic performance that anyone could (and ought to) apply to the study of a magic trick. The book, like

Sonata and his other early works, left a huge impact on magic and has long been out of print. And now, nearly thirty years later, The Magic Way is back in a revised edition for the benefit of a whole generation of magicians, many of whom weren’t even born then when the book was originally published. I was, but I still had the pleasure of reading the book for the first time.

There’s an element to studying magic that’s a lot like studying music. There’s the stuffy old classical stuff in which all the rules were established and stuck to, and the hip and exciting “now” stuff, which produces all the new wonderful ideas. Then, at some point, you go back and listen to Bach or Louis Armstrong, or you read Hofzinser, Erdnase, or Maskelyne and Devant, and you realize exactly how hip and exciting what they were doing actually is, and how ahead of their time they were. And then there’s the stuff in the middle – the stuff that, when it hit, was hip and new and exciting, and has since become so ingrained in what everyone else did af-terwards that you wonder how anyone ever thought it was hip and exciting in the first place. Audiences rioted at sounds in Stravin-sky’s “Rite of Spring” that are in nearly every movie soundtrack today. By the time I heard Ornette Coleman’s The Shape of Jazz to Come, that shape had arrived and settled in quite nicely. And reading The Magic Way after getting my magic theory education

from later books like The Books of Wonder, Strong Magic, and Designing Miracles, I was admittedly a little disappointed at first at what I was reading – but only at first.

The Magic Way is for people who care about how their audience perceives their magic – not just how they experience it, but how they perceive it. There have been plenty of magicians before and since The Magic Way who declare, “I don’t care about fooling people, I just want to entertain them!” That’s a fine experi-ence for anyone to have, to have seen a performer who made them laugh, surprised them, and showed them a good time. However, there’s a very specific sensation to experiencing a magic perfor-mance that comes from how you construct a trick, and how that leads the audience to perceive what happens. Forget “suspen-sion of disbelief.” Teller has said, “You have to forcibly suspend their disbelief for them.” Tamariz elaborates on the goal with, “We need to know what goes on in the spectators’ minds during the course of the trick and upon its completion, and we must determine what kind of impact is produced in their minds. We should find out whether they suspect a method, even if it is not the one we employed. Besides their not knowing how we did the trick, we must prevent them from analyzing how we could have done it. In other words, they should be incapable of figuring out a solution, whether it is the right one or not. Besides being as-tonished, they should be dumbfounded, caught in a hallucination, feeling amazed, spellbound and totally fascinated by the mystery they have witnessed. The shock of mystery suspends any ability to analyze, as well as the desire to do so.” What that means is, far from blithely pretending a covert method doesn’t exist, in performing magic we need to know that they know that there’s a covert method, and take concrete steps to separate the audience from it. To that end, Tamariz introduced “The Method of False Solutions” and “The Magic Way.”

The Magic Way, quite simply, is thinking about how normal people perceive magic. You employ a move, or a subterfuge, or a technique, and you consider, “What’s my audience thinking?” Tamariz illustrates this in one of the great mind-boggling passages in magic literature, in which he describes a stage vanish of a dove in a box. He walks through the process of performance in parallel with what a rational, intelligent audience would think, and employs an overabundance of poetic metaphor to the point that on first reading your eyebrows will simultaneously furrow and raise and you may very well pull a muscle. But that’s a factor of language and translation, and his point is nonetheless essential.


As Darwin Ortiz pointed out later, how laymen think is the most important subject in magic.

The Method of False Solutions is the process of examining all the methods you could employ, and how to eliminate them from your audience’s minds. This isn’t an exercise in disprov-ing or over-proving. Disproving is addressing the matter after the fact. Over-proving is interrupting yourself to disprove things. Tamariz is talking about constructing the process such that all the information is elegantly provided along the way, so when the moment of magic happens there’s no question that what occurred is impossible. Read his chart describing the difference between a terrible magician, and a mediocre, decent, good, and exceptional magician, culminating in simply “a magician.”

Of course, a theory is just words without practice. To that end, there are tricks and routines described to illustrate the ap-plication of all this thinking. These have become classics since their original publication. His Ambitious Card routine is a perfect example of multi-phase construction, in which each phase serves to cancel out a different possible solution. I saw his Spirit Slate routine performed a couple years back not knowing the source, but instantly recognized how smartly constructed it was, and the audience reaction confirmed it. He offers a wonderful handling of an Al Koran mental miracle that shows how you take a trick deck and employ it such that the idea of “trick deck” – the first explana-tion on an audience thinks of – doesn’t enter the picture. These are worth everyone’s study.

And then there’s the Oil & Water section. I don’t think that Oil & Water is a terrible trick that no one ever needs to see. I also won’t argue with people who insist that audiences hate Oil & Water. If you hate Oil & Water, chances are your audiences do, too. Tamariz’s Oil & Water is a great routine that teaches the same lesson as his Ambitious Card routine. The one thing I question is the inclusion of what I can only call the “Oil & Water toolkit,” nineteen different Oil & Water phases to be employed at the reader’s leisure. I’m guessing the idea is that, given the lessons taught previously, the reader is invited to construct his own Oil & Water routine using The Method of False Solutions. I can only say, you can lead a horse to water, but to try to get the average card worker to care about Oil & Water is a lost cause.

After all this, is The Magic Way something today’s magician needs? Absolutely. As mentioned before, knowing how our audiences think is paramount to giving them an experience of magic. I don’t mean the magic of laughter, or storytelling, or theater, or even the brief moment of astonishment. I mean the lasting feeling of having seen something impossible. The Magic Way, as terse and at times obtuse as is might be, will teach you how to think about your magic. And it will make you a better magician.

days of Wine and Magic BookBy John derris Distributed by Murphy’s Magic Supplies Price $40.00

REVIEW BY ANTONIO M. CABRAL A bit of clarification: The cover of John Derris’s Days of Wine

and Magic states that it’s “a collection of magic ideas, routines, and presentations conceived in one of London’s oldest wine bars.” My initial assumption was that this was a collection of classy bar magic developed while performing at said wine bar. Instead, this is a collection of ideas, presentations, and bits of business conceived while communing with friends over a glass or three. If you’ve

ever had the pleasure of a group of like-minded magical friends to share a drink and conversation with, you know of what Derris describes as the “unfettered, free-flowing conversation that leads to much originality.” And even though “original” and “creative” doesn’t always translate into “good,” when the aforementioned friends are folks like Jack Avis, Roy Walton, Pat Page, Gordon Bruce, et al., the word “good” can’t be far behind.

I like a good tidbit book. John Derris is very clearly a performer, and

one who appreciates the little extra bits that enhance one’s show-manship. Most of these ideas are tidbits, little kernels of ideas, or extra thoughts on tricks you may very well already do. Luckily, they’re the kinds that make you say, “Hey, that’s pretty good,” or “Ooh, I like that!” and in a few cases, maybe even “Of course!”

The problem with a collection like this is that it’s very hard to give descriptions of what it has to offer without giving the ideas away. There are some nice presentational touches on the Folding Bill, the Bending Mirror, and Triumph, for example, but to elaborate would give the game away, and these are actually neat ideas. Some of the more developed ideas are more easily described. There’s a three-card revelation based on the art of reading tea leaves, in which the last card can actually be read (in the leaves) by anyone. There’s a bizarre ending for an Okito box routine in which the box ends up full of rice (bizarre, but the idea had potential). There’s a great alternate ending of Al Koran’s for his Ring Flight, in which the ring ends up inside a ring box, and can be removed by its owner. You won’t find a use for everything in this book, but those ideas you do find a home for will give your magic that little extra boost that pays dividends.

If you’re looking for the latest and greatest, this isn’t it. But the working performer should be able to pull a practical idea or two out of the bunch. I say, check it out.

a Magical Vision dVdBy Michael caplanAvailable from: www.theoryandartofmagic.comPrice $19.95

REVIEW BY DAVID GOODSELL

Many of us have heard about Eugene Burger, Jeff McBride, the Mystery School, and the growing interest in looking at magic as something deeper than pure entertainment. The concept of magic having inherent meaning is not necessarily an easy one to grasp. As Burger says, it is not that you have to give magic meaning; it is that it already has meaning.

This DVD, put together by filmmaker Michael Caplan, who is not a magician, explores this meaty position, drawing from the experience

and wisdom of magicians including Burger, Max Maven, Luna Shimada, and Jeff McBride, as well as college professors who explore the philosophy behind magic both ancient and modern, including some who are also well known in magic circles, like


Bob Neale and Larry Hass.Caplan has woven wonderful bits of performance into the

script; we see Eugene Burger at his best with his Inquisition Card Warp, the Haunted Deck, and his lovely Gypsy Thread routines. We enjoy Losander’s floating table, McBride’s Water Bowls, Luna Shimada’s beautiful parasol productions that emulate the creation of the universe. Exaggeration? Watch it and judge for yourself. The parasols are painted with the planets and, as Luna says in the film, “These are themes that connect to us on a deeper level” and which, she believes, imbues her magic with power – an intimate power, as she describes it.

Bob Neale explains that magic has a potency we often diminish, or perhaps do not even recognize. Do we take magic for granted? Magicians, and their audiences, straddle the line of fantasy and truth.

The question that weaves its way through this excellent film is, “What do we want our magic to be?” What effect do we want to have on people? Perhaps once we have learned our sleights, this is what we should be considering.

“I hope people are changed in a good way from watching my magic,” says Luna Shimada. “Of course I want them to enjoy it, to feel good, but I also want them to be inspired to do something positive with their lives.”

Reaching? Eugene Burger reminds us of Einstein’s observa-tion that the greatest experience we can have is the mysterious. Indeed, Einstein expressed it this way: “He who knows it not [the mysterious] and can no longer wonder, no longer feel amazement, is as good as dead, a snuffed-out candle.” He was speaking about the mysterious beauty of the physical universe, but oh my, it does apply to magic, doesn’t it.

Burger is the star of this film, without question. He appears throughout with performance and wisdom, and we see his life traced from the happy tricks of childhood to magic and meaning. He has, indeed, traveled the progression from trickster to sorcerer to oracle to sage. It is a journey worth sharing, which you can do through this hour-long film.

I’ll close this review with the words of our filmmaker Michael Caplan: “I love the mysteries of magic, but have never pursued it. I want the Mystery.”

anoTher dVdBy dr. yoshihiko MuToBeDistributed by Murphy’s Magic SuppliesPrice $35.00

REVIEW BY CURTIS KAM

Another is one of those rare video releases that can be called “important,” in the way that we speak of certain books being important. That’s not because it reveals the latest hot trick,

not because it’s a cinematic experience you can enjoy with your friends, and not

because you’ve seen this stuff on televi-sion. Another is important because it teaches

you, in exacting detail, the finer points of tech-niques that are becoming standard tools of serious coin workers worldwide. Another is a DVD showing, exploring, and teaching – actually teaching – advanced coin techniques developed by Dr. Yoshihiko Mutobe.

That name alone is enough to set the hearts of coin geeks a flutter. Dr. Mutobe has long been one of the driving forces of so-

phisticated coin work, a fact you might gather from the endorse-ments that grace the advertising for this disc. Ponta the Smith considers Mutobe-san his “idol.” Kainoa Harbottle has stunned magicians worldwide with his work based on Mutobe’s tech-niques. Hidekato Kimoto, Akira Fujii, David Roth – well, I’ll let you read the ads. But this would be a good time to confess that: 1) I’m also a fan, and I’m happy to see this material get the treatment it deserves; 2) I have known Dr. Mutobe for quite some time and consider him a friend; and 3) I proofread the English subtitles for this disc. Nevertheless, I will be as unbiased as possible here.

Speaking of subtitles, the disc is shot from multiple camera angles, silently, with no audience. When appropriate, text (in your choice of English or Japanese) provides additional information; in most cases, the “why” behind the “how” that’s shown on the screen. And the “how” includes, in exacting detail, the conceal-ment known as “Mutobe palm,” Dr. Mutobe’s work on edge grip, the remarkable false transfers and displays that these techniques provide, and a look at the care Dr. Mutobe takes in melding these techniques seamlessly into a routine. Watch closely, and you’ll see that each transfer from one position to the next is covered by a natural movement; you’ll also notice the small details in position-ing or grip that render the maneuvers invisible to the audience.

Regarding Mutobe palm, we are shown every detail of the best way to get a coin into position, so that there is no unnatural movement of the fingers. The exact position of the coin is explained, and then Dr. Mutobe’s signature retention vanish into Mutobe palm, which is completely deceptive and clinically clean. Not only does the audience see a coin go into your hand, but the placing hand comes away completely flat and clearly empty, rather than in a fist. Several other applications are taught, including one in which a coin melts into the table top, and another in which a coin vanishes as it is being stroked across your palm. Finally, the method of loading an empty hand with a coin from Mutobe palm is much superior to the L’Homme Masque load that’s normally employed.

Dr. Mutobe’s refinements and extensions of David Roth’s edge grip receive the same detailed coverage. Dr. Mutobe has developed a mannerism you may have seen in the work of others, the ability to twirl a coin at your fingertips while hiding a coin, or stack of coins, in edge grip. This allows you to show one coin on both sides, while strongly suggesting that the hand is otherwise empty. There are critical details having to do with the location of the hidden coins that allow you to do this at all, let alone without flashing or dropping. Dr. Mutobe also addresses the problem of the hidden coin(s) “walking” further into your hand as the visible coin is twirled and other issues that one only discovers after thinking deeply about this technique for many years. Also taught is a new way to display your hand as empty while holding out a stack in edge grip. Like the fingertip twirl, this serves as an acquitment as well as a display.

There are four routines taught, all of which involve the produc-tion and vanish of a coin, or coins. As noted, the construction of the routines is excellent, and the attention to detail is impressive. Hidden in these routines are techniques like Mutobe’s method for silently transferring a stack of coins from edge grip to third finger curl palm, and the production of one coin from third finger curl palm leaving behind another, which is transferred to edge grip under the cover of a twirl of the just-produced coin. If you’re like me, this stuff is more fun to watch from the back. There is also a new “Spider” or sucker vanish of a coin, done at the fingertips, and tips are given on how to silently stack coins on top of each other in edge grip.

The methods for moving coins into and out of edge grip are


one-handed, and were not covered in CoinMagic nor David Roth’s Expert Coin Magic. The only work in English that touches on this material is Kainoa Harbottle’s Coins on Edge and even there it’s not covered in this depth. Granted, this is not for everyone. But it is for everyone with an interest in refined sleight of hand.

infaMous TrickBy danie MeadoWs and JaMes anThonyDistributed by Murphy’s Magic SuppliesPrice $30.00 Standard – $80.00 Deluxe

REVIEW BY JIM KLEEFELD

There seems to have been a rash of new book tests released lately. Many have

been weak or rehashed concepts; most are poorly executed and not worth the money. I know. I bought them. So I was not expecting

much when I got the new book test, Infamous. I was surprised. It is a

great concept with high quality materials. Except it’s not a book test. Well, it is, in a way.

I mean, you get a book with it that you use. Or else you don’t get a book with it and you don’t have to use one. Or you can use one of your own if you want to. Or not. Hmm, maybe I better explain.

Both versions of Infamous come with an instructional DVD, a gimmick for forcing a word, and a clever set of cards that you can use to predict a word or reveal a chosen word. With a bit of arts-and-crafts work, you can make up your own book to use. The deluxe version includes a gaffed book and a matching fake, from which you can have a word chosen. The book is a great addition, since it is thoroughly examinable, with a well-known author and title, and has been carefully gaffed with a Larry Becker principle. If you perform this for a small group of people, a spectator who is not the focus of the trick can hang onto the book, and may want to flip through it.

The routine, as presented on the DVD meanders a bit, but a seasoned mentalist can tighten the script and make this very strong. You begin by showing a spectator color names that are printed in different colors. The word “red,” is printed in blue, for example. Explaining about the Stroop Effect, you have her name the color of each word. Gauging her verbal performance, you write a prediction. Then you have her freely select any page in a book and move to any spot on the page using a bookmark. She tells you the word she chose. You open your prediction and it matches. Then, as a climax, you spread out the color word cards she just read and those cards reveal the same predicted word. The premise is that you persuaded her to find a specific word by im-planting subtle clues within the color word cards. It is a neat and off-beat kind of mentalism – a kind of open prediction – yet also open to interpretation about influence and predictability.

Do you see why this is not really a book test? You show color word cards, have a word chosen, and then use the color word cards to reveal the chosen word. You can use a book for the selection of a word, but you could also have a word chosen – well, technically, forced – in some other way. The color word cards can provide the revelation of any word, and are the main gimmick of this effect, but you also get another gimmick that will force a word on a spectator using this or any book. One terrific feature of this set is that everything is completely modifiable. You can force any word with the gimmick. You can even immediately force two different words on two different spectators. You can reveal any word, even

two different words, with the color word cards. Well, almost any word, because you only get so many color word cards.

It was a nice surprise to see that the Infamous gimmicks and the book that comes with the deluxe set are both well made. The book is gaffed via a well-known means, but it is a legitimate public domain text that is completely readable and will pass high inspec-tion. Titling, layout, pagination, colophon, and even an ISBN all appear legitimate. One minor note to the creators for future releases: chapters always begin at the top of a right-hand page. Having white space and blank pages from the end of one chapter up to the next right-hand page is a recognizable feature of “real” books that readers will miss seeing. Poor layout is a telltale sign of a self-published book. I don’t know about you, but I’m tired of paying big money for a book test and getting a vanity press book that looks like it was written by a teenager on drugs and edited by a sixth grader. In fact, I released my own, The Mysterious Affair, just to prove it is possible to create a book test using a real, high quality, hardcover book that looks like it came from a bookstore, not a storefront quickie printer.

The instructional DVD is decent, if homemade. Meadows and Anthony sit at a table and talk you through the routine, the gimmicks, the setup, and many variations on use. They both seem to be knowledgeable about mentalism, its proponents, and their sources. They give very reliable credits to most of the ideas from which this stemmed (extra kudos for the apparent research in tracking down ideas through The Phoenix). They even show a few interesting but untested additions and modifications, which might inspire you to come up with further routines using their gimmicks. These guys are likeable and their enthusiasm for the trick is contagious. One caution on presentation: your denoue-ment is spreading the color word cards out in a line to display the spectator’s chosen word. It is a great visual, but needs some real estate on the table. You cannot do this trick standing up, strolling, or even at a crowded restaurant table.

The trick idea in Infamous is versatile, the props are high quality, and the price is very reasonable for what you get. If you just want to play around and see if this is for you, you can save a little money and buy the standard version. But the added book in the deluxe version is very well done and could be used for addi-tional routines. It can work as a separate stand-alone effect, or be used in combination with the gimmicks for routining two effects with the same book. If you buy this and just use the gimmick to force a word, you would have your money’s worth. If you buy this and just use the cards to reveal a word it is worth it. This was a surprise; Infamous is a very decent trick at a decent price.

sheer luck: The coMedy Book TesTBy shaWn farquharAvailable from: www.PalmerMagic.comDistributed by Murphy’s Magic SuppliesPrice $80.00

REVIEW BY PAYNE

I’ve wanted to add this trick to my repertoire ever since I first saw Shawn perform it at a gig we worked together a year or two ago. So yes, to keep this review completely aboveboard and in the interest of full disclosure, I should mention that I have known Mr. Farquhar for many years and count him among my friends. But I shall not let our long association or the possibilities of future bookings influence my judgment in my analysis of his latest release to the magic community.

In proof of this declaration, I will begin this review by stating


categorically that Sheer Luck is not an amazing feat of magic – at least in the sense of it being in the category of a major mystery or a reputation maker. When people leave your show this isn’t going to be the trick they will be talking about.

That being said, it is, at least in my humble opinion, a

great piece of entertainment. It’s a perfect little interlude between effects to provide the audience with a bit of breathing room. It also gives the performer an opportunity to connect with his audience on a personal level and establish character.

There are many presentational possibilities with this trick. Here is a barebones example. A spectator is invited to the stage and given a paperback (or, as they say in Canada, a pocketbook) copy of The Adventures of Sherlock Holmes – a book that the performer has claimed to have memorized in its entirety. To prove this, the magician and the spectator stand back to back. This precludes the possibility of the magician being able to get a glimpse of the book the spectator is holding. The magician then asks the spectator to open the book and tell him the page number she is looking at. The second the magician secures this information, he is able to tell the volunteer exactly what is on that page: the number of paragraphs, the contents of sentences, or the location of any word on the page. Properly done you will no doubt impress the spectator with your amazing cognitive abilities and apparent eidetic memory. But they will be the only one who is impressed, because what they can’t see is that, while they are concentrating on choosing a page and verifying your recollection of its contents are accurate, you have removed an identical copy of the book from your pocket and are simply reading from it.

Yes, it’s the book test equivalent of Paper Balls over the Head or Corinda’s Powers of Darkness. But unlike those previously mentioned routines, Sheer Luck has a kicker ending. You eventu-ally reveal to the spectator that you, too, have a book and that it looks remarkably like the one she is reading. In fact, it is exactly the same in all regards save one. Your copy is entirely blank. You now flip through your book and show everyone that it is com-pletely bereft of content.

You get everything you need to perform this trick. Two copies of the book (both cleverly gaffed) and a well-produced in-structional DVD that gives a complete provenance of the trick, the various stages it went through in its development, clear and concise instructions to its performance, and a half-dozen videos of Shawn presenting it in various venues.

The books are nicely produced. Unlike some magician-man-ufactured book tests I’ve seen over the years, Shawn’s looks like a paperback book you’d actually find in a bookstore. The covers have a matte finish so they won’t glare under stage lights and they look like they will stand up to many years of use.

The blank book, even though it doesn’t use rough or smooth or the coloring book (or as they say in Canada, colouring book) principle, still can’t be handed out for examination. But the way it has been gimmicked allows you to handle it in such a natural and straightforward manner no one should suspect that it has been gaffed.

Unlike far too much magic that is released today Sheer Luck is a worker’s trick out of a worker’s repertoire and it has been tested, performed, and perfected in real world situations. It isn’t some YouTube wonder that will find its way to the bottom of your “What was I thinking?” drawer of disused magic.

ninJa Tossed ouT deck sysTeM Trick and dVdBy paTrick redfordDistributed by Murphy’s Magic SuppliesPrice $35.00

REVIEW BY JOSHUA KANE

I always enjoy reading product sub-missions from Patrick Redford. In

particular, his series of mentalism comics, known as the Shape series, have been a strong com-bination of useable material and

inside humor. One of his recent releases to the fraternity is a DVD

titled the Ninja Tossed Out Deck System. While I often feel that DVDs are the lazy

man’s method for avoiding the effort of writing a book, and that many DVDs are overly long, self-indulgent, and a waste of time, Redford’s Ninja Tossed Out Deck is a rare exception. It is well thought out and a good example of how a DVD can be a good teaching tool.

Patrick’s goal with this project is to teach a series of methods, sleights, and subtleties that will permit you to perform an ever-flowing and changing series of routines that have the killer impact of the mentalism classic known as David Hoy’s Tossed Out Deck (T.O.D.).

In the classic T.O.D., a routine that has seen strong modifica-tions by such performers as Wayne Dobson and Sean Taylor, a deck of cards is mixed by the performer, rubber banded around the middle, and tossed into the audience, where it is caught by a spectator who then lifts up a section of cards and peeks at one. This spectator then tosses the deck to someone else who does the same, and the procedure is usually repeated a third time. The cards are then tossed back onto the stage to the performer, who rarely manages to catch them. The cards are pocketed and the performer asks the participants to stand up and concentrate on their cards. The performer names three cards and asks the participants to sit down if their card has been called. They all sit and the audience applauds. It is an effect that looks clean but which does not bear post-show discussion if the participants meet up in the lobby.

Redford’s routines have the feel of the T.O.D., but they have eliminated the actual tossing and the need to keep the participants separate post show, as well as the need to use a specialized deck.

The first component of the routine is Patrick’s Ninja Peek Box. Patrick tells us the peek box is called the Ninja for the simple reason that it sounds cool. As a device, it will be best employed by those with young eyes. I repeat, this is not a device for the reading-glasses set, of which I am a member. Nevertheless, I recognize the good value of the device and believe that it will appeal to many of our readers.

The peek is as close to angle proof as you are going to find. It is also fast and easy. The box can be prepped in less than a minute and will bear examination. You can even send the spectator home with the deck of cards, and it is not likely that the method will be discovered. All you need is a new deck with cellophane intact, a razor blade, and the aforementioned young-person’s eyesight. The construction is easy, and though it is best accomplished in advance, it can be done on the fly to quickly gaff a borrowed deck.

The peek box allows you to have a participant cut the deck anywhere they want, take a sneaky peek at the top card, bury it in the middle, and put the deck back in the case. It looks fair, natural, and clean, yet you are able to divine the card and reveal it in your


preferred manner. The participant may shuffle the deck before you start, and no deck switch need be made.

To use all of the methods taught, you will need good eyesight and be comfortable with card sleights ranging from faro shuffles and false shuffles to controlling breaks and half passes. Some of the sleights are taught, such as the Dan Fishman Overhand Retention False Shuffle from Patrick’s book Square.

If you do not already do the faro shuffle, you will need to seek instruction from your personal library or one of the sources Patrick suggests. Comfort with using a stack is essential, and a basic one is covered for those who do not already have a favorite. Some of the real-time, non-gaffed peeks still require good eyesight and lighting.

An impromptu non-pre-stack method is taught using Darwin Ortiz’s Si Stebbins’s secret, which requires the ability to do a faro shuffle and Brother John Hamman’s Chinese Shuffle, which shifts the cards from USA style new-deck order into the Si Stebbins. The explanations are clear and credited.

Non-stack methods are also taught that do not require the gaffed case, which means you never need be in the position of turning down performing what feels like the effect even when not prepared for a specific method.

Patrick’s T.O.D. routine delivers the peeks ingeniously in real time; and for some of the methods, you do not need to recover the deck to be able to reveal information, though using the box gives you an extra card’s worth of info.

In short you are taught a systematic approach to a freewheeling routine that permits an array of impressive results while shifting methods, approaches, and routining to suit individual situations. The fluidity is simultaneously disarming and impactful.

Redford includes his Bold Method version which, is based on one from Moe’s Miracles with Cards, long out of print and published by the late Jeff Busby. It has an excellent script. This option is a balls-of-brass approach; it will not hit every time, but when it does will decimate the room. Lessons in angles, handling, and timing are all covered.

References to methods or effects not included are kept to a minimum. Redford is knowledgeable about the works that have preceded him and the DVD is well credited and in several cases permissions are noted. The DVD is well produced, the audio is clear, and Keith Fields makes for a charming volunteer. There are none of the annoying superfluous dialogue or inside jokes that one is accustomed to hearing on DVDs these days. The video instruc-tion is followed by textual reminders that can be screen shot and organized into a working document of the sequences for setting the stack on the fly. It is refreshing to receive a product that clearly has been released with field testing, real world reactions, and peer review. The Ninja Tossed Out Deck is a good value; it comes with my recommendation, provided you are comfortable with the aforementioned sleights and have good eyesight.

chocolaTe coin prop and dVdfroM sansMindsAvailable from: www.SansMinds.comDistributed by Murphy’s Magic SuppliesPrice $30.00

REVIEW BY CURTIS KAMI really like this trick. Watching the trailer, I actually laughed

out loud when I realized that SansMinds had combined two of my favorite pieces of strangeness: Gene Gordon’s Biting a Piece from a Coin (from Bobo’s Modern Coin Magic as popularized by David Blaine) and Chocolate Coin, (which first appeared in

Paul Harris’s Close-Up Kinda Guy back in 1983 (credited to Paul Harris and

Dick Ryan). Ever since I read the effect in Close-Up Kinda Guy, I have enjoyed the moment of pure surreal weirdness created when you take a

borrowed coin and peel back the outer foil, showing it to be chocolate inside. It’s the kind of sudden strangeness that causes the spectator to question every-

thing. And nobody can ignore the over-the-top reactions Blaine got with Biting a Piece from a

Coin.The prop supplied is well made, and looks very much like a

chocolate version of a U.S. quarter. That’s a bit of a favor to us, since the SansMinds people appear to be Canadian. They’re right, though, when they say on the DVD that the gaff will pass easily for a Canadian coin, or for that matter, any silver-ish coin that’s nearly the same size. Any audience who knows what a chocolate coin is will buy into the illusion so easily that the minor varia-tions in appearance won’t make much of a difference. There is a part of the prop that is unavoidably fragile; you’ll need to replace this regularly. While several replacement parts are supplied, I don’t think it would be too hard to find what you need in a store near you. As you become more familiar with the handling, I think repairs will become less frequent. Here’s a carrying tip: an expanded quarter shell makes a fine protective case.

To be clear, here’s what the prop allows you to do: You borrow an appropriate coin from someone in your audience. You comment on how modern life forces us to make certain assumptions every minute of every day, and that a magician’s job is to remind us that we’re making those assumptions. Take, for instance, the coin from the spectator’s pocket; he just assumed that it was real, spendable cash. But if he really checked, it might not be. To prove the point, you peel back the foil surface of the coin, revealing it to be chocolate inside. You pause, and then take a small bite of the chocolate. For whatever reason you choose, you blow the bitten-off chocolate back at the coin and it magically reattaches itself. You then fold the foil back onto the coin, and return it to the spectator. Of course, the coin is exactly the same as it was when you borrowed it.

One of the benefits of this combination is that it provides a “logical” reason for you to bite off a piece of a coin. That makes the biting part believable, rather than magical. They emphasize this on the short DVD provided. As a rationale for blowing the coin back together, they suggest that you say that it “tastes bad.” I prefer to let my expression tell that story, and simply ask, “How long have you had this in your pocket?” I hand it back to the spectator, and add, “I think it’s gone bad – check the date.”

The handling taught is really quite good, and the illusion created by pulling down the foil, and especially putting it back on, is amazing. Happily, the movements necessary to switch out the gaff are the same movements one would use to press the foil back into place. The result is a striking piece of impromptu magic that can also serve as a weird interlude for a strolling magician. The coin is pretty small, though, and the part you bite off, even smaller. I doubt it would be visible to more than a few people at a time. But those few people will be surprised and delighted, which is exactly what you want this trick to do.

The credits I provided above are more extensive than the ones listed on the “Credits” screen of the DVD. There they only mention that Bizarro had previously created a trick in which the surface of a jumbo coin was peeled away to reveal a chocolate coin inside.


Actually, they only give us the name of the trick, which is Foiled Again, and don’t mention his name at all. Sadly, that’s neither surprising nor delightful.

profiles – The social MenTalisM rouTine packeT Trick WiTh dVdBy sean hayden and World Magic shopDistributed by Murphy’s Magic SuppliesPrice $33.50

REVIEW BY JOSHUA KANE

This fun-filled packet routine from across the pond is best suited for bar and pub situations, as well as for res-taurant and table workers in environ-ments where young men are newly coupled, or seeking to be so.

The performer leads into the effect by talking about social networks such as Facebook. A multi-point routine

can then be performed using the cards provided, which look like snapshots of profiles of pretty girls. It is a commentary on the low number of female magicians that there is no option for a set of cards with pictures of men instead (which also might have made this an effect usable with female participants and gay men).

The first phase of the routine is themed after the TV show Catfish, which, while misogynistic, is popular. The effect has a fun and only slightly naughty feel. I think that this would be a loser as a pick-up effect, because who wants to go out with a guy who is carrying snapshots of other girls’ profiles in his wallet. A card is selected by an elimination process of “she likes me she likes me not.” A number of beautiful girls are shown and there is a surprise sucker ending in which the spectator ends up with a previously unseen old lady instead of a sweet young thing. This is clearly a magical moment and not pure mentalism. A second round is played and the results on the girl match up with an earlier prediction.

In the third phase, the cards are all shown to have different phone numbers; the spectator then focuses on the number from a card and you are able to reveal it. You can also reveal names and locations. Some memorization is required, but not much. The more work you put in, the more you can reveal. Because the first stage has a surprise element, it will not bear repetition; the other phases however most certainly will.

The accompanying DVD has a single strong demo and clear instructions. This is a clever and fun routine that is topical. The marking system is easily read and a clean false count and false cut are taught. Sean Hayden has assembled a series of classic methods into a slick contemporary presentation, which is very well thought out and executed. Profiles is recommended for those performing in singles environments, for primarily young male participants.

Worker’s dreaM props WiTh dVdBy harry roBsonAvailable from: www.HarryRobsonMagicshop.co.ukDistributed by Murphy’s Magic SuppliesPrice $167.99

REVIEW BY MARC DESOUZA

Hello, my name is Marc and I’m a wallet junkie. [Note from the editorial staff: Hi, Marc!] It’s been three weeks since I’ve bought

a wallet, but I just got this new one to review. Wow! This is impressive. It’s like a Swiss Army wallet. I am usually wary of over-hyped props, but they sure got this one right. This one wallet allows you to do the standard card to zippered compart-ment in the wallet and card to sealed envelope in zippered wallet. You can also perform a Mullica-style

card in wallet, and it has a special set-up to do Out to Lunch-type routines. And there are two different built-in peek methods that are both superb.

The wallet and all of the associated components are beauti-fully made in high quality leather. If I have a complaint, it would be in the size of the wallet. It is a pocket secretary type of wallet, but much shorter. This allows you to use it in either the inside jacket pocket or in the back trouser pocket. The latter is ideal, but I would not normally carry this type of wallet back there. The wallet is too short to comfortably fit in the inside jacket pocket and load it as easily as I would like. Perhaps with practice and additional time spent, I could more easily do the required loading, but for now, I just stuff a handkerchief in the bottom of that pocket and raise the wallet to a more comfortable height.

The Worker’s Dream is of just the right weight to allow it to operate properly. In the past, I have tried wallets that were just a bit too thin to allow the loading to be done quickly and efficiently. Not so with this wallet. The loading procedure is the same for the standard card to wallet and card to sealed envelope. The really cool part is that the reset for the card to sealed envelope takes about two seconds. Harry uses a brilliant and simple idea he came up with a number of years ago and has used it in some of the other wallets that he has designed and marketed. These devices are used in combination with Dave Bonsall’s Bonsalopes. These are automatic, self-sealing envelopes and they are fantastic. You get a small supply with Worker’s Dream, but you will want to order more from Dave. These are the best I’ve seen. The entire setup allows you to remove your wallet and hand it to a spectator, who unzips the wallet, removes the envelope, opens it, and removes the signed card…without a clue as to how this could have happened. This is strong commercial magic!

For those who like the Mullica wallet, you have that option too. The inner wallet is just as beautifully made and has a “lip” that allows you to load it and safely drop it on the table before removing the card. The “Out to Lunch” set up is very nice as well, if that is your sort of thing. I was quite impressed with the strap that holds the cards in place, as it is designed to hold the gaff securely.

The peek area is also very well designed. A business card is given to a participant to write something on. She is instructed to open the wallet and place it face down inside a small purse-like area and snap it shut. The wallet is closed and you put it away in your pocket. As you do so, you can easily read everything that has been written. One of the methods uses a more “standard” type of peek, which requires a small movement of your thumb to open the space, but the other version is far better. This utilizes a special gimmick that I believe was discovered by Chris Kenworthy and utilized in his TeleThought wallet. By using the material supplied, the spectator cannot see the information, yet you can. This is ab-solutely the best peek-wallet technique you can imagine.

The DVD presents all of the magic very well. It is a simple, but well shot session with excellent sound. You will be able to learn everything you need to know in one sitting. Is it pricey? Certainly


not when you compare it with similar quality products and espe-cially when you take into consideration all you can do with it. In fact the only other wallet you would need is a good Himber wallet. This gets my highest recommendation. Who knows, maybe I can get rid of all of my other wallets now. Nah, I just like looking at them and occasionally rubbing them on my body. [Editor’s note: I’m not sure we needed to know that.] But for those of you less afflicted, this could be the only gaffed wallet you will ever need.

infalliBle dVd and deckBy Mark elsdonAvailable from: www.alakazam.co.ukPrice $49.75

REVIEW BY NORMAN BECK

Well let’s see...my job now it to try to talk you into spending

over fifty bucks for a card trick. The first question: Is it worth $50? The second question is: Can you actually perform it?

And the third and perhaps most important question is:

Will the spectator like it and remember it? The only one of those questions that I

can answer for certain is yes, you can perform it.I will describe the effect, which is a bit out of the ordinary, for

you. You send a text or a video clip to a spectator. It is a prediction, and you ask them not to peek. Then the following happens. Cards with numbers written on their backs are dealt face down from the top of the pack until you are told to stop by your spectator. You then turn the deck face up and deal cards face up, again stopping when asked,

The situation is now that you have stopped on a card and a number. (I should point out that all the cards have numbers on their backs, but the first card stopped on you simply turn face up and ignore the number.) The spectator now plays the video clip; the prediction matches both the card and the number. Let us say you stopped on the Jack of Clubs and on a card that has the number 17 on its back; the prediction says “Jack of Clubs and 17.” There are no outs, and no BS – just a prediction that is straightforward and to the point. You can turn around and do the same trick a second time with two other results. Mr. Elsdon also explains how to do it with the prediction in an envelope or on a business card. Obviously, you can use any method you like for the reveal, and the trick resets very fast. Be aware that there is a packet trick with the same name by Al Lamkin out there. So if you purchase online, make sure you don’t confuse the two.

How do you justify $50 for a card trick? I can’t answer that question for you, but I will tell you that the method is good, and it will fool people. On the downside, the deck is good only for this one trick, and there is no explanation of the false shuffles that are necessary to maintain the stack order. It may be that shuffling the cards improves the effect, but that’s a matter of personal choice. I would also point out that the back of the deck is a one-off. You can’t buy (or at least I don’t think you can) a similar deck to use as a normal deck. I would not let the spectators handle this deck. If you wear the deck out, you will have to buy a new one at $50. The instructions are clear and easy to follow. A small negative is that you have to write the numbers on all the cards yourself. I have no problem with this trick except for the price. However, I will say,

without tipping the method, that there is a good reason that the cards cost that much, and I would rather see you spend $50 on a good trick than spend $10 five times on bad tricks.

Wrong Way TrickBy VerneT MagicAvailable from: vernetmagic.comDistributed by Murphy’s Magic SuppliesPrice $30

REVIEW BY PAYNE

This is Vernet’s version of the classic High Sign, or Magic Compass trick. It fits very nicely into the packs small/plays big category of magic, and is one of those tricks you’ll keep in your case for the “I need a quick filler” moments that happen to us all from time to time. Not that this prop needs to be relegated to that position; this effect can also be a

featured role in your show. It’s one of those tricks that, in the right hands, can be a big hit with an audience. Measuring at twelve and a half inches square, it is big and bold enough to be seen in a large theater.

This version has a traffic sign theme. At least that’s the pre-sentation that is taught on the downloaded video instructions. Yes, this is yet another effect taking advantage of the unfortu-nate magic trend of not including any instructions with the trick. Instead, you must download them from their site and, if you don’t have software to expand the .rar archive file they are compressed in, find an application to make the file readable. The instructions (which are in Spanish and subtitled in English) feature a basic routine performed in front of an audience of children, and a more than adequate explanatory section.

The routine goes something like this. A large card is shown to have an arrow on both sides of the card. These arrows point in opposite directions of each other. However, as you keep turning the card around, the arrows inexplicably now point in the same direction. Then they go back to pointing in opposite directions and then every which way you please as the direction they will end up pointing is completely under your control at all times. As the big finish the card opens up into a three-fold picture of a police officer with a cutout for your face to look through. I’m assuming in Argentina, the country where Vernet is located, the traffic signs are blue and white. However here in the States they are generally yellow and black. So the card doesn’t quite read as readily as being a directional traffic sign as one might hope. But that is a minor complaint; realism isn’t necessary for the effect to play.

There are no difficult moves to remember and nearly everyone who purchases this will be able to perform the basic actions after a few moments of practice – which is one of the effect’s problems. It looks deceptively easy to perform. But this is a presentation piece and without a well-scripted and rehearsed presentation it stands a good chance of falling flat. Conversely, it is a great piece to showcase your personality and establish character. Just remember, the tag lines “Easy to Do” and “No Skill Required” are just mottos used to sell tricks to the uninitiated. They have no place whatsoever in the vocabulary of the serious working magician.


By Ken Klosterman

DELL O’DELL’S APPEARING LAMP

My favorite female magician was Nell Odella Newton, or, as the world knew her, “Dell O’Dell.” She was born in 1897 and grew up learning show business from her father, who ran his own travelling circus. At one point she performed a strongwoman act; photos can still be found of her balancing a sofa on her chin. However, magic eventually won out and she developed a fast-paced, funny act, occasionally ribald, and always accompanied by rhyming patter.

Many in magic considered her a pioneer who opened the door for the female performers who followed. Among her many ac-complishments was that she was one of the first magicians to appear on television with her own show, The Dell O’Dell Show, on a local ABC station in Los Angeles in 1951. She billed herself, and rightly so, “The World’s Leading Lady Magician” and “The Queen of Magic.”

One of Dell’s favorite magic dealers was Carl Brema from Philadelphia. Among the Brema-made props she used was this appearing lamp, listed in Brema’s 1920 catalog as “Production of a Lighted Lamp on Undraped Table.” Few performers had it, because at $75 it was the highest priced item Brema offered. In fact, it was manufactured only on order.

Larger and more realistic than Thayer’s vanishing and appearing lamps of the same period, Dell’s prop was a thing of beauty. What makes it especially convincing is that it can be performed surrounded, whereas the more common Thayer version of the trick has angle issues.

The lamp is eighteen inches tall, is made entirely of metal, and has a shade that looks old-fashioned today, but which was common

in living rooms of the 1920-30s. Two features that are outstanding from a magician’s point of view are that the lamp appeared with its electric bulb lighted, and most important, made its appearance on a thin-topped, undraped table that had been sitting on stage throughout the show. Dell would cover her arm with a cloth and seem to catch something under it. Setting the mysterious object on the bare tabletop, she removed the cloth to reveal the electric lamp, shade and all.

The lamp appeared simply by tugging it up and out of con-cealment in the table. It was complicated to construct but could be counted on to perform trouble free night after night in Dell’s club act.

This past June, I had the privilege of hosting a weekend gathering of magic collectors and historians from around the world. In addition to outstanding speakers, performances, and special events, attendees visited the Salon de Magie for that famous elevator ride down into the underground mine shaft where the collection resides.

They also were invited to Whitehall, an antebellum mansion in the Ohio countryside that Judy and I have restored; it has a third floor devoted entirely to magic. I mention this because one room there is devoted to Dell; her Vanishing Lamp, P&L Blooming Rose Bush, Snake Basket, Thread it, and other treasures from her act are on display, as if waiting for her to bring them to life again.

If you’re interested in finding out more about the wonderful Dell O’Dell, be on the lookout for a new book written by Dr. Michael Claxton, a magic historian and associate professor of English, who took a sabbatical from his normal duties to complete his book on Dell and her husband, Charles Carrer. It is the product of more than eight years of research and writing. Check it out.


Treasures from the Salon de Magie

VITO’S WAY

I realize that I have written about steakhouses in the past. I can’t help it; I love a good steakhouse. I’m going to write about one this month, but for a different reason.

Recently my friend and I went to dinner at Al Biernat’s in Dallas last night. Please take a minute and go to their website. This is one of the best steakhouses in the US. I promise you that if you go, and you like steak, you will love it. As great as the food is there, that’s not what I want to talk about. The thing I want to talk about is Vito.

Vito was our waiter. We went for one thing and one thing only: the prime rib, which is priced at $49 (and that comes with no sides, just the meat). Is it expensive? Yes, but it is worth it. Vito suggested that we not order two of them, but rather, to save some money, only order one and split it. Now, from his standpoint, this suggestion makes no sense. Vito will lose $49 for the restaurant (for the unordered prime rib) and the tip on that amount will also be lost (about $10 if my math is still working). The fact that he did suggest this let me know that as an ambassador of Al Biernat’s, he had my best interests at heart. He could have said nothing; we would have ordered way too much food, brought home a doggie bag, and would have remembered to be more frugal.

We went ahead and ordered two prime ribs anyway, but I locked it in my memory bank that I wanted Vito to wait on us next time. I also tipped above the norm and wrote a letter to his boss.

As magicians, we can learn from this. I can think of many situations in which a magician does one of the following:

• Sells the wrong kind of show• Books himself for a job he not capable of doing• Books more time than the event needs• Books more magicians than the event needs• Charges whatever is in the budget

A magician can get away with this once. By doing so, there is a good chance that he will never get rebooked. For example, assume say that the prospective client is going to have a cocktail party and with a guest list of forty people. You book it for four hours of walk-around, which you know is more time than you need. At the gig, you have worked the entire room in two hours, and now you have two hours to kill or you have to go back and rework the room using your B material.

Instead, suppose that when you learned how many guests would be there, you told the client that four hours is too long; you could work the room in two hours, thus saving them $1500. At the gig, you actually work for two hours and twenty minutes and you make the client very happy. I don’t want to be hired for a gig or to sell a promotion that is only going to happen once. I want to be booked with the idea that they will book me back next year.

Another common mistake is to book a show that you are not able to do well. The client wants a kid’s birthday party and you hate kids. But you love money, and it’s the end of the month, so you book it. At the gig, you can’t understand why six-year-olds don’t like your Oil and Water routine. You were unfair to the kids, to the person who booked you, and to yourself. In my mind, by taking the gig even though you knew you were unqualified, you were a thief; you just didn’t use a gun. I think that telling a client, “I’m not the right person for this job,” is a very smart thing to do.

The key word here is honesty. I don’t mind bad news if you’re honest about it. Please don’t lie. Don’t publish a book and tell me that it’s great when it’s bad. Please don’t say you’re a gambling expert even though you have never gambled. Please don’t lecture about how a routine of yours is if the only people who have seen it are other magicians. My friend Chuck Smith once told me if you do a bad show, a show you were not qualified to do, not only did you steal the fee, you also stole something much more valuable: people’s time.


OUR ADVERTISERSB. Happie Entertainment 71Burgoon Magic 59Genii Magazine 45Jim Kleefeld 31Joe Mogar - Magic Stars 57Kardwell International 4LaRock’s Fun & Magic Outlet 3Magic Summit 7M.H. Magic Magazines 6

MiX16 Apps by Gregor Krasevec 57Nielsen Magic 27S.A.M. Convention 2015 2S.A.M. Life Membership 72S.A.M Twitter 57Show-Biz Services 9Sorcerers Safari 71The Magic Bakery 53T. Myers 4Tony Cabral 52

INSIDE STRAIGHT BY NORMAN BECK

By George Schindler

WHO’S ON FIRST? Isn’t it amazing how people always like

to be “first” everywhere? First on line at the theater; first to get seated at a lecture; first at the checkout counter of the super-market; and certainly first on the plane so you can store your carryon bag in an empty overhead bin. At Parent Assembly 1 my wife Nina was the first (and so far the only) woman to become president since 1902. Ted Lee was the first (and only) black man to preside over the assembly in 2001. In different years he was also the president of Yonkers Assembly 194 and served I.BM Ring 26 in New York as their president.

I am always distressed by people who refer to Houdini as the first president of The Society of American Magicians. The Society began in 1902 and Houdini didn’t get the office until 1917. If you want to split hairs, he was the first to preside over a “national” S.A.M. when it was forming assemblies. He was, however, our first Jewish president. So let’s see who’s on other firsts list.

Our first Hispanic president was Cesareo Pelaez in 1985. In 1990, Margaret Dailey became the first woman to hold the office. Her husband Frank had the job in 1983. Another husband and wife presi-dential team is David and Jann Goodsell. David, the first Mormon, presided in 1986,

and Jann in 2000. A father and son made history in that office. J. Christopher Bontjes rose through the chairs and assumed the presidency forty-one years after his late father Gary J. Bontjes was elected in 1971. The first “man of the cloth” was President Father Cyprian (1989).

We’ve come a long way baby. In 1902, the gang at Martinka’s magic shop set up the S.A.M.; they opened it to “male white members.” Thankfully, that requirement was ignored or changed by 1903 when Ellinor Redan became member #134, the first woman in the organization. And now 112 years later, Kenrick “ICE” McDonald

has become the first black president of the society. It took the United States 232 years to do the same, and still no woman has attained that office. Michael Close comically noted on Facebook that this year the S.A.M. mimicked the U.S. in that the first black president succeeded a white guy from Texas.

Most of us have forgotten that Richard Potter, the first recorded American-born magician was a black man.

We are indeed a diversified organiza-tion. Race, creed, gender, and color are not as important as the magic, or the men or women serving our Society. I am proud to be a member of this wonderful fraternity, where the first Jewish Dean is…me!

Ellinor Redan, circa 1920 Photo courtesy Tom Ewing

Kenrick 'Ice' McDonald, S.A.M. President (2014-15)

Photo courtesy Dale Farris


The Dean's Diary


http://www.sorcererssafari.ca

http://www.happieamp.com

http://www.magicsam/president-welcome/s-a-m-life-membership/

manon rodriguez the wearer of many hatsc.ymcdn.com/sites/€¦ · 54 ebook nook: the card magic of...

Documents