June/July 2012

International Magic Magazine

STEVE
VALENTINE CRUISE SHIP MAGIC
INTERVIEW BY NICK LEWIN
THE RISE FROM
MAGICIAN TO
TELEVISION AND MOVIE
CELEBRITY

ANDREW GERARD SHARES

A CLOSE-UP EFFECT
editio
TELLER SPEAKS

S
02 n

this edition Valetneve

tine

1 2 3
LOGIC & REASONING PRODUCT REVIEWS
ILLUSION DESIGNER MARK PARKER MAGIC TRICKS THE LATEST MAGIC
SHARES HIS VIEW ON REASON ING & LEARN MAGIC FROM MENTALISM TO TRICKS AND APPS
LOGIC OF AN ILLUSION CLOSE-UP TO STAND UP ROUTINES ARE REVIEWED
 June/July 2012

VANI SH
CONTENTS
FROM THE EDITOR 5
Internatonal Magic Magazine
MAKING NEWS7
SIX THINKING HATS FOR THE MAGICIAN
JC Sum essay on illusion performance 10
STEVE VALENTINE INTERVIEW
Chipper Lowell spends time with Steve16
TELLER SPEAKS
EDITOR The story behind The Shadow copyright26
Paul Romhany
WORKING WITH FEMALE ASSISTANTS 28
PRODUCT REVIEWER A must read article by Magic Babe Ning
Paul Romhany & Friends
BAMBOOZLERS
COVER PHOTO Diamond Jim Tyler’s effect with ketchup33
Photo by John Aigner

COMMUNICATION MANAGER IMPOSSIBLE PREDICTION34

Douglas Smith Luca Volpe shares an amazing mentalism effect
ADVERTISING COORDINATOR, LOGIC AND REASONING
Paul Romhany Mark Parker’s insight on performing37
SENIOR MARKETING SPECIALIST, HOUSEKEEPING?39
Harry Monk Cups and balls by Brian Watson
EDITORIAL DIRECTOR
Paul Romhany / Harry Monk
MAGIC REVIEWS
42
ART DIRECTOR NICK LEWIN PRESENTS ...
Paul Romhany How to get work on a cruise ship49
PROJECTS MANAGER 364 on 1
Josh Miles Birthday routine by Wayne Rogers51
PROJECTS COORDINATOR THE SUCCESS SERIES
Hannah Gertrude Positive people by Cris Johnson54
CONTRIBUTORS
JC Sum, Teller, Chipper Lowell, MARKETING TIP FOR BIZARRE MAGIC
Magic Babe Ning, Diamond Jim Peter Loughran shares a valuable idea56
Tyler, Luca Volpe, Mark Parker,
Brian Watson, Tony Chris, Paul INCOME MARKETING SYSTEM FOR MAGICIANS
Romhany, Nick Lewin, Wayne Randy Charach’s system part 259
Rogers, Cris Johnson, Peter
Loughran, Randy Charach, Keith FROM THE DESK OF KEITH FIELDS 61
Fields, Ken Dyne, Lee Alex, Richard
Webster, Kyle Ravin, Bizzaro, THE REVELATION
Andrew Gerard, TC Tahoe, Ben Ken Dyne talks about the end result63
Robinson, Nick Kolenda, Danny
Archer, Ken Ring, Kyle Peron, HERMIONE
Adrian Saw, Danny Weiser Costume change illusion by Lee Alex65
CARDS OF FATE
TO ADVERTISE IN MAGAZINE A card reading routine by Richard Webster69
Contact Paul Romhany for more
information at:
info@paulromhany.com
THE TRANSFORMATION
Kyle Ravin’s story on putting a show together71

3
 49
CRUISING WITH NICK
The inside scoop on working on a
cruise ship

16
STEVE VALENTINE INTERVIEW
Chipper Lowell talks to Steve Valentine to find

51
out how he made the transition to movie star 364 ON 1
Wayne Rogers shares a mystical
routine about a birthday

THE SECRET TO HAPPINESS

Bizzaro’s inner thoughts75

PENNY FOR YOUR THOUGHT

A coin and card routine by Andrew Gerard76

A VERY GOOD YEAR

TC Tahoe’s card routine79

MAGIC 24-7
New York magician Ben Robinson’s magical life81

61
WHAT MAKES YOU GOOD
TOP 3 REHEARSAL TIPS Keith Field takes a look at what
The real secret behind rehearsal by Nick Kolenda87 makes a good act.

BARREL OF FUN! 89
Coin in barrel routine by Danny Archer

GLORIOUS STACK
Ken Ring’s memorized deck and ACAAN91

A MAGICIANS CONSTITUTION
An important concept by Kyle Peron94

LU CHEN REVIEW
The Hong Kong show by Adrian Saw96

81
MAGIC 24-7
THE HEALTHY PERFORMER100 Ben Robinson shares what life is
like as a full time pro.
Danny Weiser’s shares exercise tips
4
 Paul Romhany
info@paulromhany.com

FROM THE
www.vanishmagazine.com

I am very pleased to introduce a new series

EDITOR
by Danny Weiser on keeping fit while on
the road. As a performer who is constantly
on the road, or on cruise ships I know
the importance of staying fit and eating
healthy. As far as I am aware no other
magic magazine has ever had a series on

Downloads of the first issue this topic, which is one of the most impor-
tant for any working performer.

reach over 30,000! The response If you would like to get a price list for

has been overwhelming. advertising rates then send me an e-mail.

With such a large number of downloads
we know that this form of magazine will be
the way everybody will want to promote
“It is a crime that this magazine is free. This is time we can read a class act magazine by a their products. With the development of
better laid out and better content than many class act person. Congratulations, I rank this the website we plan on listing all contribu-
of the paid magazines out there. There is no a TEN.” - Neal Scryer tors as well as advertisers. As one of our
reason anyone who has an interest in magic main advertisers recently told me, “the
on any level is not reading this. In this day of The response from the first issue of Vanish beauty of this magazine is that if I wanted
age of “everything comes with a price,” this has been overwhelming, with over 30,000 to change my ad a day prior to it going out, I
is unbelievable.” - BANACHEK downloads in the first month. The server just need to phone you. There is no magazine
hosting the magazine had to let me know that is as current as yours!”
“Just wanted to say I just received my free that the amount of downloads exceeded
download and I’m very impressed! Great my limit. This lead to the creation of the Thank you to Chipper Lowell for taking
Magazine!” - Bill Malone new website dedicated to VANISH. You time to interview Steve Valentine. Steve
can visit www.vanishmagazine.com for gives up some valuable information on
“I think it’s great! Definitely directed at the updates, and downloads. Over the next what he had to do to make it in to the
performing magician - which is a niche not month our plan is to put up video footage movie industry, as well as some great
covered by any other publication.” - Bill to go along side the tricks and articles that close-up tips. I know both of these guys
Abbott we publish. are incredibly busy, so thank you to them
both.
“I just read a copy of Vanish magazine and
in a word,”WOW”! It looks great and I am Everybody has commented on the qual- The day this issue goes live I will be en-
floored by the number of excellent articles ity or articles, and how much information route to China for a one off performance,
by a variety of writers with great photos. I the professionals are sharing. I am glad whose guests will include The Royal Family
cannot wait to read the next issue, Bravo!” people have picked up on these points. It of Monaco. The idea of editing a magic
- Carl Andrews has always been my goal to put together magazine, and performing full time is
a magazine that contains articles that are something I only dreamed about as a kid.
“After reading vanish for the first time I relevant for today’s performers. To do this It just shows that if you work hard enough,
committed myself that this will be the only I knew I would need contributors who are dreams can come true. (Cue music)
magazine I need to read. This is a number out there doing it, and at the top of their
one, extremely well produced magazine, game.
Paul Romhany
and will be hard to top. I love it and it’s about

5
6
 MAKING NEWS
If you have a story or a news related item please e-mail
the editor at info@paulromhany.com
We try to keep the news as current as possible and
generally this is the last piece we work on prior to the
magazine going live.

MAGIC DIRECTORY UP
AND RUNNING Paul Romhany & Tony Blanco
Vincent Marra from The
Magic Network sent us this
note recently. To n y B l a n c o answer questions from reddit
users.
“I wanted to let you know I
unwell - let’s send
have big news that I want him our support. Copperfield will start June 4th
to share with the magic according to the AMA page
community. I am launching to have everybody’s support schedule of events on the right
a Magicians Directory as a and let Tony know we are side of the page.
NEW COMEDY CLUB AT branch of The Magic Network. all thinking of him. You can
TROPICANA e-mail get well messages to: Check it out here:
Feature-wise, it is the best blanco93722@gmail.com http://www.reddit.com/
Murray SawChuck (limited magicians directory on the web.
engagement) at the Laugh Each listing includes a video, a Tony is one of those performers PAU L K I E V E, T H E R E A L
Factory’s new comedy club at map, 4 photos, and links to the who can do it all, and do it well. DUMBLEDORE
The Tropicana Hotel. Murray magician’s website and social He is a great juggler, mime, and A great article about illusionist
will perform a first-of-its-kind networks. My mission is to make magician. Paul Kieve’s in creativity-online.
magic challenge in the round it the best directory for finding Paul is the magician behind
for audiences 7 nights a week and contacting magicians on His “Medicine Show” comes effects for ‘Ghost,’ ‘Lord of the
at 7pm. The resident show the web! “ complete with the most Rings,’ and ‘Harry Potter’ stage
is entitled, “Laugh Factory www.themagicnetwork.com amazing traveling bike I’ve shows.
Presents: Murray ‘Celebrity ever seen. This just shows
Magician.” his dedication to our art. You K ieve, 44, is a bonafide
T H E C E D R I C T AY L O R may recognise Tony from illusionist, fresh off the success
EXPERIENCE of his work on the Broadway
If you are looking to resurrection of “Ghost,” the
watch something a little 1990 Patrick Swayze film that
different then be sure to was turned into a musical by
catch Cedric Taylor who Bruce Joel Lubin.
runs a parapsychological/
mentalism show ever y He was also responsible for
Friday on the GTN Network! mak ing Frodo and Bilbo
Cedric performs his magic disappear on stage in the
in a street type style that is “Lord of the Rings” musical.
refreshing to watch. While it’s apparent why a
www.ghosttalestv.com magician’s sleight of hand
might be particularly useful
TONY BLANCO FIGHTING the famous book cover on for live performances, Kieve’s
CANCER Clowning. Please take a minute tricks have played a crucial role
My good friend, and well out of your schedule to send a on screen, where you’d expect
k nown magician Tony message to Tony. the effects and postproduction
Blanco is fighting cancer. to have it all covered. Kieve
Tony was based out of Las DAVID COPPERFIELD HAS worked on levitation tricks
Vegas for a few years, then SCHEDULED AN AMA for Martin Scorsese’s “Hugo,”
Murray at the Laugh Factory moved to Fresno where This stands for “Ask M e and created the self-folding
he worked for Paul Gross at Anything.” It is a very popular Marauder ’s Map in “Harry
Hocus-Pocus. It would be great forum for celebrities who Potter and the Prisoner of

7
 Jack Kodell
Born, John Edward
Koudelka at Mankato,
Minnesota Nov 4th
1927-May 17th 2012.
With his fathers influ-
ence to do something
different, by the age of
nine, he had learned
The MAGIC birthday cake.. to fly a Taylor Cub Air-
plane. At thirteen he
became the Soap Box
Derby Champion. (The biggest deal for a young
boy, back in 1930-40’s). At thirteen he has his first
professional gig and from that point on toured
the world.

During his tours, he played almost every major

variety venue in the world, including the London
Palladium, and the Hippodrome.

Jack Kodell caused a global sensation, because he

was the first person ever to perform a full act that
exclusively used birds, specifically Parakeets.
Not only that, but these intelligent little creatures
would perform the effects because they wanted to.

Adam Steinfeld and his assistants. The Parakeet act, unlike dove acts, included small
scale versions of large stage Illusions. They would
make their initial appearance perched on Jack’s
Azkaban.” fingers, looking to the entire world like living,
To read the full article visit: breathing, fluttering billiard balls.
http://creativity-online.com/news/paul-kieve-the-real-
dumbledore/234609 The birds then performed substitutions, vanishes,
color changes, etc. using clear plastic apparatus.

ABRACADABRA: Super MAGIC LIVE!® Birthday cake, after

The passing of a legend
show in our craft.
We received a great photo from Adam Steinfeld showing his
birthday cake. The handling of the birds has been published by
Jack Kodell in Frances Marshal’s book “Parakeet
Says Adam, “...NOW THAT’S A SURPRISE!, After the show tonight, my Magic.” At the age of 20, Jack became the first
lovely dancers & crew, (Francis, Perlita, Walid & D.J. Ninja) brought in magician ever to work in what is now the magic
an original home-made MAGIC cake, they baked themselves, with a capital of the world, Las Vegas. Jack retired from
little help from Francis’ mom. Best gift ever!, hilarious, check out the magic at age 33, however he continued his love
mini-Barb-MagicBabe being sliced-in-half, at the top. THANK YOU! for magic and shared his passion with younger
IT’S PERFECT GIFT, better than Cakeboss!” magicians and later in life was a fixture at Wizardz
Magic Theater.
SEE MAGIC LIVE!...Comedy show, starring Adam Steinfeld, and his
lovely Sirens of Magic, 9pm nightly, at the WESTIN Resort, Aruba, There are 3 editions of an excellent book on the
theater-of-illusion showroom, the 200 seat intimate theater is life and times of Jack Kodell that every magician
located just off, Westin lobby, tickets at the door. MORE INFO: should own.
www.MagicLive.com For further details or to Pre order this wonderful
work contact Jeff Pierce -
http://jeffpiercemagic.com/store/

8
 JC SUM
J C Sum is one of the top professional
illusionists in Asia and is a world-
class designer of original illusions
and mega illusions. The Straits Times
acknowledges him as “Singapore’s
Most Famous Magician” and he
was recognized as “one of the most
celebrated magicians in Asia” by
AsiaOne.

J C is also one of the most prolific

modern illusion designers in the world
having authored five original books
on illusion designs and presentations
as well as produced the best-selling
“Behind the Illusions” DVD.

www.illusionbooks.com

9
SIX THINKING HATS FOR
THE MAGICIAN
JC SUM
This is a series of articles written for the commercial
magician - that is magicians who charge a
professional fee for their shows & services.

C
reativity guru, Edward De Bono uses his “six thinking hats” points of view expressed by several were not entirely sound
approach as the basis of his creativity techniques. This is because they were not founded on good logic.
not a direct application of De Bono’s work to magicians but
I adopt a similar approach when choosing illusions and material I wrote the post because I thought there would a small handful of
for our shows. people reading it who are looking for help in producing a show,
choosing magic for their act or simply improving their craft. Shar-
If you are a magician, entertainer, storyteller or move maker, you ing my thought process may help offer different points of views
might find the thoughts insightful and useful. that these aspiring magicians did not consider. This ultimately
may help them achieve their personal goals in magic.
“Revollusion” is one of my original illusions that features a large
industrial fan as the central prop and is one of the most popular So, “Is “Revollusion” an appearance or a penetration?”
illusions featured in my book “Urban Illusions”. You can watch
the illusion online here: While I personally do not understand why this is a subject of
http://www.youtube.com/watch?v=qe4uQxrkG_w debate, the answer is dependent on which “me” you ask. Each
“me” will give you a different answer, based on that “me’s” different
I had worked on an illusion with a giant industrial fan for quite a thought processes and needs. Some answers are identical but
few years, starting in 2003. After years of conceptual designing, I are arrived at in a completely different path. In Edward De Bono’s
finally built the illusion that took about 4 months to put together. system, the purpose of applying the six thinking hats in creativity
It was one of the most complex builds because of the combina- is to look at problems with different “hats” on to think from differ-
tion of mechanical and electrical engineering coupled with the ent perspectives to brainstorm ideas from all angles. This is the
actual illusion design. Weight, stability, safety and power were similarity of my approach here but I use different kinds of “hats”.
all things we had to factor in while building the illusion.
So, here are my thought processes when applied to the Revol-
When Ning and I presented the illusion in our permanent illusion lusion illusion.
show “Ultimate Magic” that ran for 13 months, the illusion sparked
a fairly intense debate on a local magic forum. The question The Artist
some magicians and magic enthusiasts seemed to think is very As an artist, the goal is to create a piece of work that is open to
important and need to know the answer to is: “Is “Revollusion” interpretation by the viewer. Everyone experiences a piece of art
an appearance or a penetration?” They seemed to be against differently. Magic is difficult to be interpreted in different ways,
the possible notion that it is a penetration illusion because it did as it is hard to create magic that is vague yet clear in effect. After
not look like traditional fan illusions they have seen on YouTube. all, as Dai Vernon remarked: “confusion is not magic”.

I wrote a response in the thread, not as a rebuttal or clarification So, “Revollusion” is a fantastic illusion from this point of view
to anyone. I respect and believe everyone is entitled to his or her because it apparently inspires different interpretation, conflict-
opinion. That is the point of a forum. But, unfortunately some ing thoughts and healthy debate. Wow! A goal for many artists.

10
Is “Revollusion” an appearance or a penetration? It is up to the each other with raised eyebrows of uncertainty. When you are
spectators to decide for themselves. And no one can or should greeted with a spontaneous ovation consistently, you know that
interpret that definition for them or influence them otherwise. the magic is good. And the job of the magician is done.
But, in reality, based on experience and feedback, no lay audience
even questions the differentiation of the effects. In addition, all Can the magic be strengthened, improved etc? Of course, noth-
artists know they cannot please everyone. ing is perfect. If it is perfect, it is not magic, it is a miracle. But
the measurement of the strength of the illusion bears no context
The Magician in this intellectual exchange.
The magician’s goal is to create wonder and the art of astonish-
ment (Paul Harris’ profound singular philosophy). Magical ideal- The Illusion Designer
ists perceive themselves as merchants of wonder (a term coined As a designer, my goal is to design original illusions that will work
by the Princess of Monaco) and their only goal is to evoke that in real world conditions. I essentially design for my own shows
feeling of impossibility, amazement, and wonder in their audi- although many of my illusions are described in my books for other
ences. To put simply, to make them go “wow”. illusionists to build and perform in their shows. The designer’s
goal is to try to create something new and unique. This, in turn,
When I see dozens of eyes (some days hundreds) open wide and differentiates the illusions that we present in our show, which in
several mouths open 6 days a week when I rip away the cloth to turn helps us stand out in the industry.
reveal myself at the climax of “Revollusion”, I know I have achieved
that magic goal. The truth is, many illusionists perform the same illusions world-
wide with the exact same props and presentations, many times pi-
Is “Revollusion” an appearance or a penetration? It is not impor- rated. Currently, I see John Taylor’s “Suspended Animation”, Mark
tant, the question the magician asks is “Is it good magic?” which Kalin/ Hans Klok “Fire Spiker” (in fact, most of Klok’s repertoire),
in the strictest fundamental sense means: does the illusion create Jim Steinmeyer’s “Origami” and Dan Summer’s “Compressed”
an experience of wonder in the audience? being performed in practically every illusion show. So, person-
ally, as far as possible I try to avoid all these common illusions,
The litmus test to that question has got to be the reactions from especially at this stage of Ning & my careers.
the audience you are performing for; in my case, a lay paying
audience. If the experience of wonder is not created, the reac- There are very few fan illusions being performed. The most
tions from the audience will be muted (polite applause at best). popular is “Windshear” created by Jim Steinmeyer/ Andre Koke
You will also catch audience members exchanging glances with and built by Magic Ventures. I think it is a sound illusion that can

11
be very dramatic and exciting if presented well, but too many Is “Revollusion” an appearance or a penetration? It is not impor-
performers worldwide currently perform it, again many pirated. tant. What is important is that it fulfils its function in the show as a
big highlight that gets strong reactions from the target audience
Other proprietary fan illusions being performed include Andre and is talked about after the show.
Kole’s “Jet Turbine” that Brett Daniels, Jan Rouven and Erix Logan
perform, Steve Wyrick’s “Walking through a 747 Engine”(designed
by Steinmeyer) and “Copperfield’s “The Fan” (designed by the The Business Manager
in-house Copperfield team). Franz Harary has a brilliant rotating Show Business is two words. A professional illusionist who wants
fan that he appears from. Andrew Mayne also described a fan to earn a living doing magic has to be continually booked and
illusion in his “Solo X” book. paid to do shows. In other words, he has to pay attention to the
business, as much as the show. While there are many reasons why
So the design goal was to create a fan illusion, without reinvent- some illusionists are more successful than others, two determi-
ing the wheel. So, I created “Revollusion” an illusion using a giant nants are the scale of the show and the originality of the illusions.
industrial fan but with a departure in the traditional effect/ pre-
sentation. It is designed as a penetration/ appearance; specifically “Revollusion” is not the biggest illusion around but is not consid-
described as the surprise appearance from a fan. ered small by any means. Its sheer size makes it impressive and a
marketable highlight of the show. Once again, for bookers who
To find out what our audiences thought of “Revollusion”, we have seen traditional fan illusions, this stands out as different.
conducted a survey several times with this specific question to Although honestly, more than a handful of clients see all fan
the audience members. “If you were to describe the act with the illusions as the same. Just as they see any illusion where a girl
giant fan to a friend, how would you describe it?” All the answers goes into a box as all the same. But I digress.
were along these lines “J C appeared from the fan”, “J C came out
from the fan”, and “The fan was inspected and turned on Sud- The fact is, an illusion like “Revollusion” gets bookings and draws
denly, J C appeared out from no where from the fan”. This gave people to the show.
us quite an affirmative answer on what the general lay audience
perceived the effect as. Is “Revollusion” an appearance or a penetration? It is not impor-
tant, as long as it brings in the dollar!
For the record, only magicians or educated magic audiences have
questioned whether the effect is a penetration or an appearance. The Storyteller
And this is simply because this group of people has a precon- I view myself as a storyteller and try to have all my illusions/ acts
ceived notion that illusions with fans must be a walk-through, tell a story. Some may not be as apparent as others but all my
because all other illusionists who present such illusions do a routines tell a story. There is always a beginning, middle and
walk-through. But, it is because ALL other illusionists do that, did end. Ning had the good fortune of attending Oscar-winning
I purposely design a fan illusion that did not have a traditional screenwriter Syd Field’s master class last week. He stressed the
walk-through that is almost expected. exact same thing when writing a screenplay. He also stressed
the importance of creating a dramatic premise. Many movies
As the designer of an illusion for the target audience being a have same dramatic premises but are dressed differently, with
lay commercial crowd, my goal was achieved after learning the different characters.
perceived effect from laymen. Of course, if my intention were
to design the illusion for magicians at a magic convention, I To give no-brainer clear cut examples:
would have failed miserably, as evidenced by feedback from
magicians here. Take a guy, put him in a building with bad guys & hostages and
have him save the day “Die Hard” (Bruce Willis).
Is “Revollusion” an appearance or a penetration? It is both.
Take a guy, put him in a ship with bad guys & hostages and have
The Show Producer him save the day “Under Seige” (Steven Siegal).
The job of the show producer is to weave all the different illu-
sions and acts together, design the music, create the show order Take a guy, put him in an airport with bad guys & hostages and
and basically create THE show as an entire full experience for the have him save the day “Die Hard 2” (Bruce Willis).
audience. All elements of the show must be viewed in the “big
picture” as they must fit together to create a good show. Take a guy, put him in a sports stadium with bad guys & hostages
and have him save the day “Sudden Death” (Jean Claude Van
“Revollusion” is great for the show in the context that it is fills the Damme).
stage, looks impressive, is very dramatic and visually spectacular.
It has audience interaction (as how we perform in the live show, Same dramatic premises, different characters (referring to both
TV was choreographed just for TV), visual elements, and a strong the human characters and locations)
magical effect. It is also very different from the other acts per-
formed in the show and as a bonus is different from any other So consider this: A magician shows a box (opening = introduction
fan illusion that other magicians might be performing. of characters). He then shows it empty and asks a spectator to
examine it (middle = occurrences and incidents). He then makes

12
a girl appear from the box (End = resolution and conclusion). Il- When I choose to put an illusion/ act in the show, whether it is an
lusion? The Tip Over Trunk. Does that sound like a fundamentally original design, marketed effect or licensed illusion from another
sound illusion act? No doubt, most will say “yes”. creator, I wear all the above hats to achieve multiple goals with a
singular act. In the case of “Revollusion”, its existence in the show
Now, take the above dramatic premise and substitute the box for fulfils the objectives of all the different “mes”.
a giant industrial fan. A magician shows a giant fan (opening =
introduction of characters). He then shows it all around and asks This is NOT the right way or ONLY way to approach illusion/ act
a spectator to examine it. (middle = occurrences and incidents). selection. It is is MY singular approach that I personally feel is
He then makes a girl appear from the fan (End = resolution and as comprehensive and sophisticated as I can make it within my
conclusion). Illusion? Revollusion. Does that sound like a fun- abilities and intellectual faculties. And, it has served me well
damentally sound illusion act. If you agreed to the above, your and allows me to avoid being a starving professional illusionist.
answer will have to be “yes”.
Of course, I can’t claim all the credit. The process is refined with
Some magicians (and only magicians) ask a very strange question, feedback obtained from people I trust. By that, I mean, I only seek
why does it have to be a fan? Why not a wall of fire or a brick people who understand my goals, context of performance and
wall or a sheet of cloth? Because, as a storyteller, I chose to use are in a position to give constructive criticism. This is in no way
a fan. It is, after all, my story. Another storyteller may choose to suggesting that the people I do not ask for feedback from are
use a brick wall. Questioning the reason of the use of a fan is like inferior in any way. It simply means that that is not their area of
questioning why Die Hard was in a office building. Why not a expertise and experience.
condo? A school? An army camp?
For e.g., If I’m looking to build a plane, I will look for an aeronauti-
Is “Revollusion” an appearance or a penetration? It is whatever cal engineer; a baggage handler will not be of use, even though
the audience perceived it to be to enjoy the story. If I engaged they are both in the aviation industry. Likewise, if I need flight
them with the dramatic premise and execution of the story so information, I will seek a customer service officer from that airline;
that they were entertained, that is all that matters. The fan and the most qualified or experienced engineer will do little to help. It
effect are just vehicles to tell an interesting and memorable story. is not expected or even reasonable to expect that someone not
qualified in a particular field be able to give answers that they
are not trained to answer.
If you have bothered to read this far, you would have gained some
insight into how I think about magic and my show. You will also I actually have more “mes” but I think this is enough for now.
probably realize that in the case of “Revollusion”, in my opinion
it is not really important what the effect is defined as. Although,
surveys showed what the lay audience thinks the effect is. And
this serves as a non-absolute but general guide.

13
 Retail $35
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Anniversary Waltz My Way
PurseFly
BEGINNERS - this covers LOADS of classic magic - sponge bunnies, 3 fly, color chang- Ballz
ing balls, memorized deck, etc, and teaches all the moves/psychology. Dye and Dye Again
MemDeck Trifecta
WORKERS - this are Danny's working routines. On top of the effects, he also details his (inc. The Archer Shuffle)
working patter, methodology and techniques for managing both audiences and props.
Disc 1 Running Time 1hr 5min
Disc 2 Running Time 1hr 40min
HOBBYISTS - Danny has worked hard to make these routines as streamlined as possible.
For hobbyists the handling's will be workable and very attainable.

From coins to sponge bunnies to dye tubes to cards - this DVD set will give you an entire crowd pleasing
act. And it's not just an incredible amount of magic you're learning. You also get the benefit of Danny's
decades of experience and detailed teaching approach. Leaving no stone unturned, Danny Archer takes
you through everything you need to know to perform eleven incredible magic routines.

www.DannyArcher.com
 STEVE
VALENTINE
STEVE VALENTINE
BY CHIPPER LOWELL

F
irst thing you notice about Valentine is that he’s tall. Taller in a variety of movies. He also starred in the long running series,
than most. Next is his wide smile, which comes off quite “Crossing Jordan”, which ran for 6 seasons. Valentine has even
charming. But then he opens his mouth and you find your- hosted a few series and specials along the way. A new audience
self quite willing to listen to anything he has to say. It’s his Scottish of young fans has recently been introduced to him as the star of
accent, plain and simple. But this actor/magician also happens to “I’m In The Band” on the Disney Channel, in addition to a parade
know exactly who he is on stage, and he has the uncanny ability of guest-starring roles in TV movies for Disney.
to be handsome, lanky, goofy, serious, and even a slight touch of
mocking now and then, all within a single performance. On the magic side, he is a regular performer at the Magic Castle
when his busy acting schedule doesn’t get in the way, and was
One calls to mind the often repeated quip of Robert Houdin’s twice honored with “Close-Up Magician Of The Year.” His newest
which states, “A magician is an actor playing the part of a magi- project is a card routine he created that is currently hitting the
cian.” Steve is exactly that. His magic routines are slightly veiled magic scene called “THREE”. This is not simply a one-move trick
acting exercises of being “in the moment” and truly finding the and you’re done, but a well thought out, complete card routine
unexpected connections between the material, himself, and his that is geared to the working professional -- be it walk-around,
audiences. strolling, or tradeshow environments. Good, solid practical
magic.
These days he is known for being a bit of a “double-threat.” He is
both an accomplished magician with fantastic close-up dexterity He and his wife, Anna, are currently enjoying the birth of their
and wit, and a terrific character actor with over two decades of first child, and he’s up to his ears with a handful of television
TV and film work under his belt. He has guest-starred in literally projects, a few of which, seem to blend his two passions together
dozens of television shows, including “House”, “Monk”, “Chuck”, perfectly. One, in particular, explores the unique friendship
Will & Grace”, Boston Legal”, and “Just Shoot Me”, and appeared between Harry Houdini and Sir Arthur Conan Doyle. Theirs was

16
a fascinating relationship full of conflict STEVE: And then we worked inside the buddy at school, around 7 years old, was
and stubbornly, divided opinions. The theme park as well, and that was strange going to dance class. So I joined him and
Skeptic and the Believer, working together because we were trying to entertain got hooked on the dancing and that led to
in this retelling to solve crimes. On second people who really just wanted to go on being part of a theatrical company. And I
thought, maybe we should label Valentine the rides. soon realized that if I incorporate magic as
a “quadruple-threat “ as he adds the moni- well, I would get an additional 10 minutes
kers of ‘producer’ and ‘writer’ to his list of CHIPPER: You have a much better memory in the shows we put on.
ever growing accomplishments. of that time than I did.
CHIPPER: And how old were you?
CHIPPER: Thanks for taking the time to STEVE: It just came all flooding back right
chat a bit, Steve. You must be going nuts now. (laughs) STEVE: This is still all around age 7. I’ve got
these days. pictures of me really young, dressed as a
CHIPPER: Well, let’s start at the very begin- magician, and others that have me dressed
STEVE: It’s been a little crazy. We’ve got ning for you. You’re well known as both an in some kind of cat suit for musicals.
three pitches this week, and one is for a actor and a magician these days, so there’s
movie and I’m used to pitching mostly the proverbial question of which came CHIPPER: Pre-dating Andrew Lloyd Web-
television projects, so the process for first? -- The chicken, or the egg? ber musicals!
pitching a film is slightly different. The
movie has to be encapsulated in full dur- STEVE: Well, it was all very much every- STEVE: (laughs) Yes! Then when I was 15
ing the meeting. thing at the same time actually. I guess or 16, I started doing this “Mime & Fire”
the very first trick I ever learned was the magic act with a floating skull. Ended up
CHIPPER: Those pitch meetings can be vanishing knot. I was about 7 or 8 and opening for some rock stars and it was fun,
pretty stressful I imagine. I’m trying to this kid at high school was performing
remember when we first met. It’s been this trick and I bugged him endlessly to
such a long time now. the point that he was either going to beat
me up or show me how it worked. And he
STEVE: I believe we first met at Knott’s showed me.
Berry Farm (theme park in California, USA)
working private and corporate events And then my uncle had a magic book and
together. he could do the back palm. He would do
this thing saying, “I’m going to put the card
CHIPPER: Wow! That’s right! You were do- over here,” and he’d secretly back palm it.
ing close-up strolling at the time. And then he’d pull it out from somewhere
else in the room. And he would do this for
STEVE: Yes, there was a large picnic area years! And it bugged me. Really bugged
for corporate events, and we performed me. He was doing this since I was 5 years
outside in the boiling sun…in a tuxedo. old, and I’d tell him he had two, duplicate
Ace of Clubs. He’d have me choose anoth-
CHIPPER: (laughs) Correct! I was doing er card and then do the trick again. Then
magic and juggling back then and we finally one day he relented and showed me
worked several of those gigs together the back palm. I was blown away.
when we were in our early 20’s. A young Steve with dancing cane
He had The Royal Road To Card Magic
book. And that’s when I started really
getting into it, but at the same time, my

AT THE MAGIC

CASTLE WITH

MARTIN NASH

STANDING IN

FRONT OF THEIR

CARICATURES.

17
 “Then I’d get burnt

out doing (magic),

and would get a job

being a deejay in

Yugoslavia, before

the war. “
but there were many times when I almost that, and then I’d go do a play. Then I’d
set fire to the stage, because I was using get burnt out doing that, and would get
flash-paper that didn’t burn that quickly, a job being a deejay in Yugoslavia, before
and it would land on some carpet and start the war.
a flame. Had a table that produced these
8 spring-loaded fire torches. Spectacular! CHIPPER: What made you go to Yugoslavia
Except you can’t blow the damn thing out! of all places and be a deejay?
Because every time you blew one out,
the heat from the others would re-light STEVE: I wanted to get out of town. I had
it! Always had to hand it to someone just done this holiday hotel called Butlins
and as the curtain closed you could hear in Scarborough, which is sort of equivalent
the guy backstage blowing on them like to the Catskills in upper New York. Sort of
crazy. (laughs) a vacation place. It was exhausting. You
didn’t make a lot of money, and we did
CHIPPER: That’s hilarious! shows, danced with the old ladies there,
and even called Bingo games.
STEVE: Pretty cheesy, definitely! So, the From the mime & fire
timeline on both a magic and acting career And I saw this ad in the newspaper that act
have been sort of parallel for the first part said, “Run your own nightclub!” in a resort.
of my life growing up. In time, I would do I was 18 at the time. I met with the guy
a cruise ship until I got burned out with who placed the ad, and it was all very another unique opportunity to learn your
shady. He said, “Yeah, if you can craft, polish it, and more. A place where
do two 20 minute spots a night, you got to make mistakes, and learned
and you can DJ…,” which, back from them.
then, was basically saying on
the mic, “And now, Whitney CHIPPER: Yes. Definitely. It’s a valuable
Houston!”, and you’d simply opportunity, because many people today
drop the needle onto the re- talk about how there’s really no place out
cord and that was it. He said there where you can be ‘bad’ anymore, as
that he’d pay a certain amount you’re learning the ropes.
per week, which wasn’t much
but still great for someone my STEVE: Yes, and this place was great
age, and I said okay. I wound because, well, who goes to Yugoslavia?
up spending two years over (laughs) It was kind of a big seaside
there. resort, and I was the only foreigner who
lived in this village. There were two
CHIPPER: Two years? hotels – That’s it. One that was new and
modern, and then there was the older
STEVE: Two years. And I soon hotel where I was working at. And that’s
had like 10 different acts. I was why they wanted the nightclub, in order
doing close-up. Stage work. I to compete with the newer hotel. And it
was doing stupid ‘competition’ was really designed for British speaking
type stuff up on stage, like tourists. That was my audience. So it
“Sexiest Legs Contest” – You was very successful, but then I also got
know, stuff like that. What into all kinds of trouble within the village
made it interesting is that it was because I was only 18 and I was running

18
 Performing for Michael Jackson

the bar! That’s a free bar tab for two years! CHIPPER: Wow, yes. I’ve heard about them,
You can only imagine! It was crazy. but we don’t really have similar things here
in the states.
I would try out different material on stage
STEVE: Yeah, it’s mainly blue collar - cor- From the TV show “Don’t Shoot Me”
– I even tried closing my show with the
“Rice Jar” – You know where you stab a porate factories. These big places that
knife into a jar full of rice, and you’re able have bars for their workers, where beer is you’re parked in the Chairman’s spot.” And
to lift it up into the air without the jar fall- super cheap and entertainment is going I replied, “Well, I’m in the middle of my act.”
ing? I found a great piece of music from on every night. In some ways they sort of The guy yells back, “No, you gotta move it
the film, “Romancing The Stone” and it become ‘aficionados’ of variety acts. Which now!” So I turn to the audience and say,
just killed! People would start applaud- is very strange, and they don’t really give “What do YOU guys think I should do?”,
ing, and I’m like, really? This is impressive a sh*t about you. And, if you suck within thinking they’ll side with me. And they
to you people? It turned out to be a great the first 30 seconds, they’re vicious. It was all shout, “Move your car!” I put the mic
closer. (laughs) a great place to really hone and build up down, moved my car, and then came back
your thick skin, really. and continued the show where I had left
CHIPPER: That’s great! I’m wondering – off. Amazing.
How much of the great reaction would I remember once I was onstage in the mid-
you contribute to the music you used? dle of the act and this guy walks right up CHIPPER: When you’re performing for
For instance, Kevin James’ “Snowstorm” and grabs the microphone, and says, “Does those kinds of places, did you find yourself
is a beautiful routine, but one also has anybody here have a white Cortina?” And changing your personality a bit in order to
to give credit to Danny Elfman’s musical I say, “uh yeah, it’s mine actually.” “Well,
score from “Edward Scissorhands”…

STEVE: Right. Because of the emo-

tional quality that music carries with
it. Plus, without that music you would
have heard the motor humming away.
“Whrrrrrrrrrrrrrrr…”

CHIPPER: (laughs) True, true! After two

years there, why did you leave?

STEVE: Well it wasn’t by choice. I had

to leave because the war broke out. If
that hadn’t happened, I would prob-
ably still be there today. But the war
broke out, and all my Croatian and
Serbian friends started fighting, and it
was recommended that I leave before
the situation escalated. So, I returned
to England and started doing shows
for the “working mens clubs” which
were brutal.

On the set of Monk

19
fit in with that type of crowd? CHIPPER: I think there’s a misperception among some performers,
that if an audience is being drunk or boisterous, that it’s a bad
STEVE: Actually at that point I had a very thick, east London ac- thing or a negative. In fact 90% of the time, it’s actually a positive.
cent which helped me get away with being just a lad from their As you said, they’re still having a good time.
view point. But I was certainly much harsher during my shows
than I normally would be. Your lines and patter had to be faster, STEVE: Right. And if you can handle that, and appreciate that, and
more vicious, and ready to destroy. make them feel like they’re not ‘bad’, that’s really the way to go.

Which was quite a shock when I came to the states and per- CHIPPER: You’re absolutely right. So you worked cruise ships,
formed. I’d be using British heckler lines on American audiences and that eventually brought you over to the U.S.?
and everybody got so offended! (laughs) And I’d be like, “But
he yelled at me first!” but they didn’t care. You had to have more STEVE: Yeah and then I was in Los Angeles and in Vegas. The
control over your remarks and not lash out. But yeah, you do – main reason I came to L.A. was I wanted to pursue the acting. I
You change your personality somewhat to suit where you are. moved to an apartment in L.A. and asked the landlord if they
had ever heard of the Magic Castle, and they thought I was nuts
CHIPPER: With all the wide variety of gigs you’ve done, includ- because it was literally right across the street. They pointed right
ing Yugoslavia and clubs like these, do you ever get to a point at it, “That’s it! Right there!” (laughs)
where you feel you’ve ‘seen it all’ and you can handle anything
that gets thrown at you? So I was able to go up there and find out about the Castle and the
whole private party circuit, which is the thing that kept me in L.A.
STEVE: No, I don’t think so. I’m still surprised. I just did the for years while I was also going on acting auditions. The party
Close-Up Room at the Magic Castle for the first time in years. I circuit there was really affluent and well paying back in the 90’s.
had a room full of drunk Russians which is something I’ve never
experienced before. And they were loud and they were yelling. CHIPPER: I remember a story of yours that a producer once saw
But, they were having a good time. So I encouraged it, laughed you performing magic, so they didn’t take you seriously when it
with them, we went off on tangents separate from the routines. came to getting an acting job. Is that true?
You do that yourself, Chipper. I’ve seen you take a loud audience,
and yet you get them on your side, and you all wind up having STEVE: Yeah, it’s a weird thing. Thankfully it’s more accepted now
fun together. Everyone still has a great time. to be doing more than one skill, but I would go for auditions with
producers who I had previously done their kid’s Bar mitzvah and

20
 Scene from “I’m In The Band.”

From The Elaborate Entrance of Chad Deity! From Sci-Fi’s “Estate of Panic”

they had THAT in their head. The big one was when Ray Stark, CHIPPER: Because you’re now fully established in both careers.
an amazing producer who did things like “Night Of The Iguana” That makes sense. Wanted to ask you about your accent and
and other great films, saw me perform at the Magic Castle one coming to the states from another country. I think it’s great
night. He said, “I want to have a conversation with you. Here’s because it immediately sets you apart from everyone else. How
my card – Call me.” has that helped or hurt you in your acting and magic careers?

So I called him. He says to come to dinner because he has a STEVE: As a magician it was great because in Los Angeles it got
movie he wants to talk to me about. Fantastic! So I go to his to the point that people would simply say “Get me the tall Eng-
house for dinner and after we ate he handed me a script about lish guy.” (laughs) For acting, it was interesting. Tim Curry once
Houdini’s life. He was talking to Tom Cruise to play Houdini. I said to me, “Oh you’re British – You’ll have a great career playing
look through the script and say, “I’ll play anything you want. Maitre d’s and villains.” And I understood what he meant, because
Would love to do it.” And he says, “No, I want you to be the for me, every role I went up for was either assholes or rock stars.
magic consultant.” I reply, “Yeah, that’s great. I’ll even do that What I liked about going up for a role in “Crossing Jordan” (TV
for free, but I’d love to play a part in the film.” And he replied, series), which ran for six seasons, was that Tim Kring (creator)
“But you’re a magician! I saw you at the Castle, kid. Stick to what liked that the character was British, but didn’t want to make it
you’re good at.” all about his ‘Britishness’.

CHIPPER: Wow! CHIPPER: In other words, it was a character that really could have
had any background or ethnicity.
STEVE: And that’s when I stuck all of my magic into boxes up in
the attic and was done with it. I equate it with someone who STEVE: Yes. Also in Boston where the show was set, you’ve got
says they’re an “actor-mime” or “actor-librarian”. They can’t take a big Irish and British constituency. So that to me I thought was
you seriously. You really can’t hyphenate – at least not early in rather groundbreaking - in that you have a character who just
your career. Now it’s different and I can do both. happens to be from another country and it wasn’t the main

21
focus. I could use the Britishness to be
STEVE: There was a point when I refused
quirky, but…
to do the magic, and I also refused to even
play the part of a magician. I did do a part
CHIPPER: …We never saw you working in for the last four years I’ve done “The Band” on “Don’t Shoot Me.” (tv sitcom) as a magi-
the lab wearing a monocle and a bowler show along with four movies for Disney, cian because he was purposely such an
hat, and carrying an umbrella. including the newest TV movie called overboard character that it was really fun
“Teen Beach Musical”. to do. And then when “Crossing Jordan”
STEVE: No! (laughs)
was over, I was more open to the magic
CHIPPER: I understand you’re the villain in stuff. My agent calls me and said, “Look,
CHIPPER: Now, back in the day you had this one. An obvious villain? don’t bite my head off, but there’s this
long straight hair, so you really had a
role on “House” (drama), and I thought it
unique look going for you that, again, set STEVE: (laughs) This one is so completely would probably be some horrible cliché,
you apart from everyone else. the obvious “bad guy.” He’s a real estate but it wasn’t. It was so well written and
developer with a pencil-thin mustache such an interesting story with the theme
STEVE: I had that same bloody haircut for who wants to take over the beach. This is being “Do you really want to know how
almost 30 years. a nod to the 60’s beach movies. He wants magic works?” What’s behind a mystery,
to get the meddling kids off the beach and and are you better off not knowing? I
CHIPPER: But I thought it really worked turn it into a big resort. So he’s in a top hat, loved that idea.
for you. tails, mustache, extremely British and over
the top. And that was amazing fun. I even I also worked on “Monk” (comedy/mys-
STEVE: Yeah, it did. Every time I got a part had a song and dance number in the film, tery) which was completely opposite in
I wanted to cut my hair, and producers called “Tomorrow, The World!” which was style and character. This was the evil or
would say, “No! We like it the way it is!” brilliant to shoot. bad magician, but with a twist because
So that hairstyle became synonymous
he was smuggling drugs inside the secret
with me, and my image. What was really CHIPPER: That’s sweet! compartments of his illusions. I thought it
interesting was when I cut it all off after
was quite clever, too. There has to be some
“Crossing Jordan” ended. It was some- STEVE: And what was nice was getting in sense of reality to base a magic themed
thing I needed to do – to shake it up a bit. touch with the younger fans, and it turns script on. For instance, on “House” we did
But the next show I get is “I’m In The Band” out there’s also teens who also watch the the “Card on Window” where the card ap-
for Disney, and I’m now I’m playing a rock Disney Channel, and college students, and pears behind the glass while the magician
star with long hair, and I have to wear a even grown adults who will stop you in the is in bed, sick. But still you can kind of feel
wig! I just can’t escape it. (laughs) street to tell you how much they love the that he might have set it up with a nurse,
shows and movies. And I’ll say, “Oh, you in order to fool others. You try not to fall
CHIPPER: By the way, my son and I have got kids?” And they say, “No...” (laughs) So, into the “too perfect” theory.
caught the series many times. There is a it ended up being a much wider demog-
great amount of physical and slapstick raphy for me than I thought it would be. CHIPPER: Absolutely. There has to be
humor mixed into the show.
some trail of logic, so it doesn’t seem like
CHIPPER: You have done so many guest- an “easy fix” to a script problem. The idiotic
STEVE: Thanks. I enjoyed that it was very starring roles and some of them involved “magician waves his wand” and problem
different from “Crossing Jordan.” The other you playing the part of a magician. How solved.
reason I did that show is because the old do you feel about the perception of magic
show had an older demographic and I and magicians in general on television?
wanted to get a younger audience. So

“Tim Curry once

said to me, “Oh

you’re British

– You’ll have

a great career

playing

Maitre d’s and

villains.”

22
 “Uncharted 2” video game

STEVE: And magicians are often portrayed as being arrogant, from legitimate people who have seen it and are true profession-
cocky, cheesy…Like something from the 70’s. Television execu- als in the business.
tives in general still have that view, and as soon as you pitch them
“magic”, their eyes roll. Last time I pitched a show, I gave them STEVE: Yes. People like Gregory Wilson and others who loved it.
a history of magic on television… From Mark Wilson’s landmark Had a great time doing the trick for Richard Kaufman, editor of
shows with huge ratings, Paul Daniels in England, Doug Henning, Genii. He said, “This is fantastic. One of the best ‘Monte’ routines
Copperfield being around for 20 some odd years and always got I’ve seen.” Made me feel really good, and that there was some
massive ratings. And even Criss Angel, no matter what you think justice. It’s now out through the major distributors worldwide
of him, was incredibly successful. David Blaine, too. and I’m very proud of it.

STEVE: So I’d be pitching to the TV execs, and giving them this CHIPPER: And that’s the key - an effect that professionals will
history and I’d say “Before you roll your eyes on ‘magic show’… use for its practicality.
(laughs) But it’s always a very hard thing to sell when it comes
to magic. We also live in a world where audiences are far more STEVE: True. And it resets instantly. In addition to this routine, I’ll
sophisticated. Everyone is very aware of how things get made. It be bringing out future effects in the coming months that were
used to be a mystery and now that’s gone. We are all know who real ‘workers’ for me. The next effect will be a book test that can
the costume designer is, or how a special effect was achieved. be done in people’s homes if you’re doing a private party, which
gets a huge reaction. You can use a book right off their shelf, too.
CHIPPER: My son, at around 6 or 7 would watch a sci-fi or fantasy
movie, and he would turn to me and proudly say, “Dad, that was CHIPPER: That’s always more believable to me - using their own
cool CGI!” (Laughs) books. With your years of experience performing live, are there
any tips you’d care to pass along to other artists and magicians?
STEVE: Right! It makes me sad at the same time because you
really want them to look at a movie and think, wow, that monster STEVE: Well, with regards to close-up, I was always big on looking
was terrifying! So, to be scary you have to be more ‘Hitchcock’ for effects that could be done within a minute. If they took longer,
and add more suspense and tension. I dismissed them. You only have so much time to impress the
clients, especially in walk-around situations. However, having
CHIPPER: With regards to your magic career, I’ve heard some said that, there comes a time when the event starts to die down,
really nice things about your new card routine you recently put people are leaving, and you’re still on the clock. Now they’ve
out on the market. gathered around you and they know you. That’s the time to
bring out the longer routines because they want to be there and
STEVE: It’s an interesting thing. I’ve never put out a trick before the performance is now more of a close-up ‘show’ versus a few
and my wife was reminding me that I had all this material from effects done while strolling.
over the years so why not put some of it out? So I thought I’d
start with a packet trick…and now four years later! (laughs) CHIPPER: I think that’s so important. There will be strolling
It was fun to do, but I was surprised by some of the critics on moments, then table moments, and moments when the group
magic forums. Slanderous comments popped out of nowhere, grows while you’re in the middle of a routine, etc.
which were crazy and wrong. So I decided to attend the Magic-
Con convention this year in San Diego with the sole purpose of STEVE: Yes. Routines like Ambition Card are perfect for being a
showing the routine to others, and it’s been getting some great series of quick segments and you can stop at any moment if need
reviews, thankfully. be. And you have your longer routines for when you know the
audience has a longer attention span. Still, it’s interesting when
CHIPPER: And more importantly, it seems like they are reviews you work alongside some amazing ‘pros’ in magic, and find that

23
they are doing spongeballs and Invisible Deck in real working night of strolling. Nowadays, your career has splintered into sev-
situations -- because they work! Those standard effects are still eral directions in that you’re not only performing live or in front
quick, fast, and are ‘real workers’ after all is said and done for the of the lens, but you’re also now producing behind the scenes.
general lay audience. What have you been working on lately?

CHIPPER: (laughs) The “real workers” work for a reason, don’t they? STEVE: Well, we spent the last two years developing a script
involving Harry Houdini and Sir Arthur Conan Doyle (author of
STEVE: Yes. There are some amazing sequences with cutting Sherlock Holmes) that was picked up by NBC. If it doesn’t go into
edge coin routines and Okito boxes, but you often don’t have production as a series, we also have interest in turning it into
time for them in most “real world” situations. I have boxes of a movie. It was a way of retelling Houdini’s story without the
gaffs at home that I can’t really use in most gigs because they’re usual things that everybody knows about him already; a way of
not practical for a variety of reasons. looking at him, through his relationship with Doyle. If it wasn’t
real, and you didn’t have letters proving it, you wouldn’t believe
CHIPPER: How much do you perform these days? it. And we kicked it up a notch and made it sort of “X-Files” set
in the 1920’s. We’re very excited about it.
STEVE: I only do the Castle about once a year now, and every-
thing else is what I’m carrying with me when I’m out and about, CHIPPER: Fascinating. I was always amazed by Doyle’s life. Here
and ‘on set’, and in meetings, etc. I really don’t work anymore as was a man who wrote about logical deduction through his
a fulltime magician. I was getting so burned out doing shows character, Sherlock Holmes, and yet still believed in mediums,
back in the day, but now it’s great. I always have 3 or 4 tricks on séances, and contacting the dead.
me and maybe I’ll do one of them or all of them, but I have that
choice. And I love that! STEVE: True. He once wrote, “Why not believe that there’s more?”
Isn’t it a better life or world that there might be something else?
CHIPPER: When I was doing close-up early in my career, I always And that was always the conflict with this guy – That he created
remember how hard that initial approach to a group of people this super sleuth in Sherlock Holmes, and yet believed every sé-
was, or walking up cold to a table. And I jokingly likened it to ance he went to. Even if they caught the guy doing tricks, Doyle
meeting a new girl each time in hopes of a date. You know you’ll would reason it away with, “Well, you can’t be able to do the
either be shut down, ignored, or hopefully they’re interested. real thing every night because it must be exhausting.” (laughs)
Did you relate?

STEVE: (laughs) Yes! I hate that. I was never good at

walking up to girls in bars, and I loathe going from table
to table. There’s a few ways around it. The idea of a
tent card on the table that explains who you are and
if you’d like a magician you can request him is great.

I remember walking up to groups of people and before

I could even say my opening and self-deprecating line:
“Hi! I’m the magician they’ve hired and I’ve come to
bore you with a few tricks…,” some guy would say, “No!
We don’t want to see it!” Or there were times when one
guy would speak for the entire table, while the rest of
them actually did want to see some magic. Very awk-
ward. Or it’s a couple, and the guy thinks you’re hitting
on his girl. Or they’re in the middle of an argument
and you really didn’t notice anything wrong until you
strolled right up to their table. (laughs)

I found, though, that if I got to that one table that was

great, I would say, “Would you guys do me a huge
favor? I’m going to stand back and I’m going to fan
the cards like this. And when I do, if you’d all give a
huge cheer and a round of applause, I will leave. And
everyone else will think I’m really good! And I’ll get
paid at the end of the night!” And everyone laughs
and I stand there, posed, and they applaud and go
“Whooo!” and now everybody else in the room wants
to know who you are, and it helps a lot.

CHIPPER: That is a fantastic way to help jumpstart a

Steve as a Villian in latest Disney Movie “Teen Beach Musical”

24
I mean, you gotta cheat every now and then –
only makes sense! (laughs) And of course that
makes no sense whatsoever.

Our take is that both Doyle and Houdini es-

sentially wanted the same thing: The truth. In
Houdini’s case, he wanted to find something
that he couldn’t easily explain. So we were
searching for the common ground between
them, and the bickering served to be quite
comical. We had a really good time writing
it. We didn’t want to do a 100% historically
accurate piece, so I came up with the idea that
Doyle has a doctor’s bag that is full of early pro-
totypes of crime-solving items and inventions
that people have sent him who want him to put
the gadgets into his Sherlock Holmes novels.
Sort of like early product placement.

CHIPPER: Love that!

STEVE: We had this idea that Houdini had this

belt that has spikes pop out of, and when he’s
wrapped in ropes, this belt would cut through
the bindings. Then later on when they’re being
chased by the bad guy, Houdini throws the belt
across the road and the spikes pop up and ex-
plodes the tires of the car pursuing them. And
Doyle turns to him and says, “You know, you
should sell that to police departments!” (laughs)

We also have a single camera comedy in the

works that looks at a magician on the down-
side…If David Copperfield and Charlie Sheen
had a baby, it would be this guy.
Wanted to explode the magic scene and show
in a satirical way that some of them are just as
f**ked up as anyone else out there.

CHIPPER: Very funny concept. Looking forward

to seeing it along with the Houdini/Doyle se-
ries, which is just fascinating. I think it’s safe
to say that you’ve come quite a long way from
your “Fire & Mime” days! Thank you so much
for your time, Steve, and your friendship. Con-
tinued success on all your upcoming TV shows
in the near future.

STEVE: Thank you, Chipper! It was a pleasure!

Chipper Lowell is a comedy magician

and writer, based in the U.S., with a wife,
a kid, and a mortgage.

www.ChipperLowell.com

25
 Unfortunately, a few weeks ago, I was
Teller Suing Dutch Magician Gerard Dogge alerted to a YouTube video of a man
(his name is Gerard Dogge, stage name

B
y now you may have heard this over the grapevine, as it Gerard Bakardy) selling equipment for
were, but I felt it important for you to have news directly emulating my piece. This was done
from me as quickly as possible. without a single attempt to contact me,
seek permission, or arrange a license
You may be acquainted with my signature piece, “Shadows,” in agreement.
which I slash the shadow of a rose, and the actual leaves and
petals fall where the shadow has been cut. It is the oldest piece I had my attorneys contact YouTube, and
in the active Penn & Teller repertoire, in continuous use in all our the videos were promptly taken down
major runs from Broadway to international touring, to Las for copyright dispute. I contacted Gerard
Vegas. It is an icon for our show and the piece I hope to be re- Bakardy/Dogge and let him know that
membered by in magic history. my U.S. Copyright and E.U. Droit Moral
entitled me to take legal action for what
I created “Shadows” in the mid-1970s, copyrighted it in 1983, and he had posted. I attempted to resolve the
since then the magic community has shown me wonderful ethical problem by discussion and negotiation,
support in allowing it to remain virtually untouched by copyists. but he did not respond satisfactorily to
that approach.

This forced me to exercise my rights as

TELLER SPEAKS
copyright holder, and file for copyright
infringement on April 11, 2012 in U.S.
Federal Court. For your information, I
include a copy of the legal documents
below. I hope we will not have to add
Magic tricks are indeed copyrightable as “pantomimes,” and the contributory and vicarious infringers in
the action should third parties attempt
magician’s chief challenge in this regard is making sure the works are to aid the infringer in selling his infring-
ing product.
“fixed in a tangible medium of expression from which the work can be
If you have any questions, please feel free
performed,” as the U.S. Copyright Office requires. to reach out to me. I want to assure my
friends and fans that we intend to enforce
our rights vigorously. And if you become
aware of any further infringement of my
copyrighted work, I’d be very, very grate-
ful if you let me know at your earliest
convenience.

If you should have anything to commu-

nicate pertaining to my suit, please use:
shadow@penn-teller.com

To view documents click here

http://www.magicnewzealand.com/
email/teller.pdf

The following page shows part of the

original routine as Teller had written it
up in 1983.

26
27
WORKING WITH FEMALE
PARTNERS & ASSISTANTS
MAGIC BABE NING ‘Magic Babe’ Ning is an international illusionist

and one of the most celebrated female

magicians in Asia. She was called “The sexiest

woman in magic” by magicseen magazine and

is a FHM Singapore cover girl.

Elegantly defying all traditional stereotypes

in the male-dominated art, Ning has elevated

the status of females in magic through her

breakthrough mega escapes & illusions. Her

eye-catching and mesmerizing performances

have yet to be equaled by any other female

magician in Asia.

www.magicbabening.com

S
tage magicians and illusionists will at some point, seriously strong as you would. Her costuming must be as loud or attractive
consider having an assistant or performing partner be part as yours so that both of you shine as brightly as stars, together.
of their show. This could be an effort to increase the scale
of the show, making things look bigger and more lavish, or to be If she is an assistant, however, her principle role is to support the
able to employ magic methods and techniques that utilize one show and not pull focus from the show and you, the magician.
more person. Her position on stage should always be a step behind you and
her actions must compliment yours. Her costume must not be
Besides my solo show, I also perform in an equal partnership role too loud so that it pulls focus away from you every time she steps
with a male magician. JC Sum & I work with assistants (male and on stage, because you are the star.
female) as well as female dancers. In this article, I will be sharing
my perspective as both a female stage performer & an objective Now, if her role is that of being your stage hand, she must be
audience member watching male magicians work with their invisible to the audience. Ideally, the audience should not even
female partners and dancer/ assistants. realize that she is on stage, so her movements and dressing
must be completely understated so that she performs the role
Define the Role of Your Female Partner/ Assistant to the of supporting your show discreetly. Think professional kabuki
Audience performers or stealth ninjas “wink”.
So how do we first begin? Well, the very first thing to do when
working with a female partner is to be extremely clear what role Recruiting your female partner/ assistant
she plays in the show. If you are lucky enough to have a supportive wife/ girlfriend/ sister
who is willing to be part of your show - congratulations! You are
Clearly define: Is she your stage equal? Is she a stage assistant or a very lucky guy :) But FYI, this can be the best thing or worst
stage hand? If she is your stage equal, she must hold an equal role thing for your show because it has the potential to go both ways.
and not just be billed as an equal. It is essential that she have an As your partner off stage, they will be dedicated to your show
equal time being the protagonist on stage and hold the stage as and want to make you look as awesome as possible. But! It is also

28
important that they know what they are doing and are properly If you perform larger stage acts and illusions, my sincere sugges-
trained to partner or assist you in a professional way. tion would be ... Please don’t do that cheesy cliche dance thingy
at the end if it is not crucial to your act or adds zero value to the
If they have any kind of on stage role, they must look appropri- performance. The dancing and posing before and after an illusion
ate for stage, be it physical appearance or dressing. They must is a dated (1980s... That’s like 30 years old) piece of choreography
know how to move on stage and must physically and theatrically and looks especially unflattering if you don’t know how to dance
compliment you when performing together. In other words, well or move pose gracefully like a dancer.
have them go for lessons to be stage ready. They need not be
professional dancers but the ladies should at least know how to Listen to Your Partner/ Assistant
stand, pose and move on stage. Gramps used to tell me there’s a reason why God gave us two ears
and only one mouth. When I just started University (way before
In case you aren’t aware, your wife/ girlfriend/ sister may not be I turned professional), I did a one off illusion show with a local
completely crazy about what they are doing on stage but are do- aspiring magician (let’s call him Mr. X). Two other guy friends, also
ing it because of you. If this is the case, for the sake of your show magicians, helped out as stage hands for this big event. Sadly, it
and reputation as a magician, it may be better to consider another was a tragically unpleasant experience because Mr. X would not
alternative. Seriously, not only does it not help your show in the listen to our suggestions for show content, choreography or the
long run, it will also ultimately sour your offstage relationship. presentation of the acts.

If you are looking for a professional female partner/ assistant, I’d Though Mr. X was uncertain (he was watching VCDs of World’s
suggest working with a trained dancer; someone with perform- Greatest Magic) and had no prior experience of how certain
ing experience and training will know how to pose, present, things should be done or presented, his ego permitted him
move and look their best for you and your show, on stage. With from listening, discussing or opening himself to potential ideas.
communication and over time, they will also know how to react His own acts were under-rehearsed and under-researched and
if something goes wrong on stage and can assist to misdirect
as you recover.

Play on Your Female Partner’s/ Assistant’s Strengths

The next important step is working out and identifying your
female partner’s/ assistant’s strengths so that you (both) can
design specific roles that best suit her strengthens. If your
female assistant is not a flexible petite lady, PLEASE do not
try to force her in small boxes. Contrary to popular belief
we aren’t compressible like doves *shifty eyes*

Now, if your female assistant is good in understanding magic

psychology and knows how to perform deceptive moves
like loads and steals (believe it some of us have the natural
knack for these things), do take advantage of that. If she is
a good actor/ dancer, incorporate that into your show or act
to give emotive texture to the performance.

On a related note, appropriate dressing an costuming is

essential. Don’t make her wear “the usual” stage costumes
just because you see other women wearing them on stage.
Choose outfits that flatter her figure and dress her to compli-
ment your show and not just like the typical cookie cutter
showgirl. Allow what he wears to holler her unique character
and personality.

Use your Female Assistant Only As Necessary

Some guys don’t realize this and I’ve noticed this happening
more often than it should :( If your lady’s role is not that of
your equal stage partner but she is just your assistant, please
do not overuse her for every small thing. She is a utility and
should be used only as necessary. This is where she can be
most effective as a deceptive magic tool. Also, if you use
her for every small task, it makes you look like an old school
chauvinistic performer and that does not sit well in today’s
forward thinking society. Food for thought.

30
the three of us realized Mr. X really thought himself as the star
instead of team effort as it was supposed to have been. One
example of being unprepared was his part of the execution of
the classic sword basket illusion. Mr. X did not rehearse his part
well enough and I was the girl in the basket. When I got into
the basket in position, I suddenly felt the cold metal blade of a
sword roughly shoved down the back of my pants (and panties).
Being nervous, he had been clumsy and just stabbed the blade
in against my bare bottom skin!

But that’s not it ... Mr. X’s show opener, a customized torn & re-
stored act, was also a disaster because the clipped pack of papers
with the client’s key messages fell from his jacket the moment he
ran up on stage. He had refused my suggestion of getting the
words professionally silk-screened on cloth, despite the backing
of the other guys. His reason? Cost. So he hand-wrote everything
with a marker on cheap sheets of paper. Well it certainly cost him
the show because the client never touched base again. It cost him
our friendship too, because no one wanted to work with him after
this horrible experience, more so when Mr. X kept a thousand for
himself and everyone else got a few hundred bucks, when the
contact wasn’t even directly his. Sigh. For obvious reasons Mr. X
isn’t doing magic anymore.

Anyway. It’s important that when you work with a partner/ as-
sistant, you should listen to hear their perspectives (be they male
or female) unless you have worked out with 100% certainty what
is to be done exactly. As the magician, you are the chief execu-
tive officer and must provide leadership and direction. If you
can’t, you need to be willing to see your partner/ assistant as a
collaborator. Quite too often, magicians have tragically let their
ego rule their judgment instead of a clear logical head.

Having a stage partner or assistant with the same chemistry as

you can add tremendous value and production value to your
show. However, you have to work well with them to maximize
their value. Treat her well and you will be rewarded with a team
member that ultimately benefits your show. Best of luck with
that:) Wishing you all the best with this exciting journey!

31
EMOTIONAL MENTALISM
I am a big fan
of Luca’s
work, his crea-
tions are
brilliant.
He is one of
mentalism’s
innovative
thinkers.
Luca has
stepped out of
his boundaries
on his latest
release in a
dimension that
you would not
believe.
H e h a s c r e-
ated presenta-
tions here be-
yond anyone’s
imagination.
Lets just say
he has created New book from Luca Volpe
a masterpiece, “EMOTIONAL MENTALISM” contains the full Psychic Parties show, as performed by
the Rembrandt Luca Volpe over the past five years! A mixture of mentalism, energy work, crystal
of mentalism. therapy and much more!
This book is available as limited release in hard back with dustjacket, of only 100
copies worldwide, with signed and numbered bookplate and the first 50 orders will re-
Neal Scryer ceive a free chakra set!
Here is what Richard Webster says about the book:
I read “Emotional Mentalism” in one sitting, and was so excited I immediately read it again.
Luca has written a wonderful book full of fascinating rituals and experiments using color and
crystals. Luca explains everything extremely well, and in great detail. It’s obvious that he’s per-
formed everything in the book many times. As well as complete instructions, he provides a com-
plete script for every effect. His presentations are convincing, and technically easy to do. My fa-
vorite effects are Crystal Psychometry and The Energy Portal, but over the next few months I’m
going to experiment with virtually everything in this book. This book is essential reading for
every mystery performer, and everyone who wants to create what Luca calls “unforgettable mo-
ments of wonder.” Highly recommended.
PRICE: $113 includes FEDEX shipping worldwide
The book is also available in pdf format for only $55
To purchase, please send payment via paypal to: info@lucavolpe.com
BAMBOOZLERS
DIAMOND JIM TYLER
CARTESIAN CATSUP TRICK: A small ketchup packet is placed inside an enclosed plastic bottle
that is filled with water. Upon the magician’s command the ketchup packet
floats to the bottom of the bottle and then back to the top. The magician
can even cause the ketchup packet to remain suspended in the middle of
the bottle if he wishes.

This old scientific stunt is called the Cartesian Diver. In the old days it was
done with a glass bottle filled with water, a medicine dropper and a cork.
Once the medicine dropper was placed inside the bottle and sealed with
the cork all one had to do was to place pressure on the cork to cause the
dropper to float up and down inside the bottle.

SECRET: I love spins on old classics and this is a good one. Simply place a
small packet of sealed ketchup inside a plastic bottle filled with water and
then put the lid on tight. It is important that the bottle be completely filled
with water. Now all one must do is squeeze the bottle to cause the packet
to float down to the bottom of the bottle. When the pressure is released
the packet will float up back to the top of the bottle.

With a little practice you can cause the packet to float up or down to any
position in the bottle you wish. The squeezing action should be done co-
vertly. Hold the bottle as in Figure 1. If it doesn’t seem to work then you
might try a different packet of ketchup.

Diamond Jim Tyler is an award-winning magician, based

in Dallas, TX, and is best known for his books Pockets Full
of Miracles and Bamboozlers series. He's performed at
the Improv, the Magic Castle, the Magic Circle, on TV and
in twenty-two countries.

www.djtyler.com
33
 IMPOSSIBLE PREDICTION
LUCA VOLPE
Mentalism

Is it possible to predict what a

randomly chosen spectator will be
wearing and how much money he
will have in his pocket?
… The answer is YES!
This is a routine that I have
developed for my show many years
ago and now I have decided to
share it with you!

EFFECT:
At one point during the show, you randomly select a spectator open the envelope number 1 and to read what is written on the
that will be your helper on stage. Give him (or her) an envelope piece of paper. He will read:
sealed with a clip, that you explain contains a prediction. Tell the
audience that before the show, each member received one half “I predict that one spectator, randomly chosen tonight, will be wear-
of a RAFFLE TICKET with a number on top and ask everyone to ing BLUE JEANS, GYM NIKE SHOES, RED T-SHIRT, a WHITE HOODIE
have their tickets ready. and a necklace with a kind of TRIANGLE SYMBOL!”
(Here the audience are already going crazy!)
Show your helper a raffle ticket pad that contains the other halves
of the tickets that correspond to the tickets that the spectators Now ask your helper to open the envelope number 2 and to read
have received and show that they are all different. You now give what is written. He will read:
him a playing card, ask him to insert this card at any point he
wants into the raffle pad and look which ticket is chosen under “Oh I forgot…the spectator will have, in his pocket, 20 euro!“
the card. Let’s say he chooses the number 50… Say thanks to your helper and to the spectator and give them a
big round of applause!
Call the audience member that has the number 50, ask him to
come on stage. When he comes on stage ask him to count how METHOD:
much money he has in his pocket, let’s say he has 20 euro…NOW Like most mental effects this is based on a very easy principle
and combines many methods that are already well know. But
START THE INCREDIBLE…. the strong part is HOW these methods are mixed together, to
Ask your helper to open the envelope and he will find two other create a strong reaction from the audience.
envelopes that are marked with the numbers 1 and 2. Tell him to

34
BEFORE THE SHOW:
One of your assistants will be at the entrance of the theatre, at
the box office, and he (or she) will give each person, that buys a
show ticket, half a raffle ticket. When he reaches the number 50
(or any number you choose) he has to remember what this person
is wearing. He can also write down some special characteristics,
like strange shoes, a necklace, a colorful tie, etc. IT IS IMPORTANT
that the description is as accurate as possible because it is easy
to find a lot of people that wear jeans and gym shoes!

If you want, instead of giving out tickets at the entrance to the

theatre, your assistant can give the tickets out to the audience
members, AFTER they sit on their chairs (this to avoid people
swapping tickets). It is IMPORTANT that your assistant tells the
people to KEEP the ticket for themselves and to NOT give it to
anyone else, because this ticket will be part of an important
experiment during the show!

After your assistant has concluded his ‘mission’, he will tell you
what the spectator is wearing and you can write your predic-
tion on a piece of paper (this needs to be heavy paper or light
cardboard).

THE ENVELOPES:
You need 3 envelopes, one big (A5 size) and two ‘Manilla’ enve-
lopes (easy to find at STAPLES) of approximate size 9 x 8 cm (a
little bigger than a playing card).

Mark the two manilla envelopes, with a black marker, numbers

1 and 2.
Insert into envelope 1, the spectator ‘wears’ prediction and close
this envelope (DO NOT SEAL).
Take envelope number 2 and cut a little window into the bottom
right side on the back (PHOTO 1) and insert into this envelope
another piece of light cardboard (the same size as the other one,
about the size of a playing card). On this you will write :
“ Oh I forgot...the spectator will have in his pocket… Euro! “
As you can see there is a space before the word “EURO” and this
space has to be in the same position where you cut the little
window on the back of the envelope. Close this envelope (DO
NOT SEAL).
Put these two envelopes in the big one (1 on top of 2) and seal
this envelope with a big clip.
(It is obvious that the envelope number 2 is already prepared
before. In fact, before the actual show, you will have time just to
write the prediction about what the spectator will be wearing.)

THE RAFFLE PAD AND THE GIMMICK:

You need two identical raffle pads (the ones that they use for lot-
tery or charity tickets, which you can find in any stationery shop).
Take from one raffle pad, the ticket number 50 (or any number
you prefer) and glue the left edge of the ticket to the bottom left,
on the back of the playing card (you can use any kind of card you
like, it can also be a business card). If you can see that the ticket
edge overlaps the card, the ticket can be trimmed so that it can’t
be seen (PHOTO 2 - PHOTO 3).

The other raffle pad (the one that was used for the audience) at
the moment of the performance, will have just half of the tickets
inside.

35
THE EXTRAS: IMPORTANT NOTE:
You need to have in your right pocket a Nail Writer (personally, The raffle ticket pad has to be a single line book, so that no other
I use the Vernet Thumb Writer). It is obvious that the prediction numbers are visible (PHOTO 4).
has to be written with the same pencil as your nail writer (or
big pencil if you use the Grease Marker Nail Writer, anyway the BONUS TIP 1:
prediction will only be seen and read by the helper on stage). If you want, instead of the gimmicked playing card, you can use
Prepare on your table the gimmicked playing card and the half a transparent forcing bag to force the ticket. You will need to
raffle ticket pad and take your prediction! prepare it in this way:
In the front pocket, put the other halves of the tickets that are
THE ROUTINE: folded in half.
Choose your helper in a random way (one that you like best!) and
ask him to come on stage. Give him the prediction to hold and In the back pocket, put about 20 tickets, ALL with the number
also show the half raffle ticket pad. Tell him to insert the playing 50 on top, also folded in half. (In this case, you need to buy 20
card where he wants. IN REALITY YOU will hold the card (back more raffle pads!)
face down on the table) and you will say:
When your helper comes on stage, ask him to reach in the bag
“Here I have the other halves of the tickets that correspond to those and to take two or three tickets, just to check that they are all
of the audience members. Now you have to choose randomly one different. When it is the moment to force the number, tell him
of these tickets, please insert this card at any point of the raffle pad to turn away and without looking, ask him to put his hand in the
just to mark the cut (the card is in your hand!) …tell me where you bag and to choose just ONE ticket (in this case, you let him put
want...here? Are you sure? Up … Or down? You choose!” his hand in the back pocket!).

As soon as the spectator stops you, insert the card (face up) in This method is also more visual and in someway can be more
the pad and make sure that the glued forcing ticket, on the back ‘clean’! (I have used both forcing method)
of the card, is aligned with the other tickets along the bottom.
BONUS TIP 2:
Lift the card (still keeping the card inside) from the right side and If you don’t want to use a window on the back of the manilla
show to your helper the ticket underneath. He will think he is envelope, you can put a piece of carbon paper inside the back of
seeing the ticket where he has marked the cut, in reality he will the envelope, on the same side where you will write the amount
see the ticket that is glued on the back of the playing card! of money.
He will say the number… In this case you need just a nail writer without pencil or you can
write with your nail.
Ask to the spectator that has the number 50 (or any number you
force!) to come on stage and ask him to count the money that he
has in his pocket. Take the prediction, remove the clip, put the FINAL THOUGHTS:
clip in your right pocket and put on the Writer! I have worked with this routine for several years and every time
I had a great reaction from the people.
Tell your helper to open the envelope, YOU reach inside (with
your left hand) and take the two manilla envelopes, explaining I’m sure that you will get the same reaction...maybe more! Just
that there are two prediction. Give the envelope number 1, to one final thought … what happens if the spectator swaps the
your helper and ask him to read the prediction. ticket with someone else? (Anyway it has never happened to me
in the last 8 years…DON’T WORRY!). It is not a problem because
NOW, meanwhile he is reading, you will have all the time to anyway you have the money prediction that will work ...a good
thumb write the amount of money in the little window on the ‘real’ mentalist can fail sometimes.
back of the envelope!
ABOUT LUCA VOLPE
After he has read the first prediction, take the paper and the
envelope from him (with your right hand) and put this in your
Luca Volpe is one of the most valued Italian mentalists
right pocket (leaving the writer inside your pocket). Now YOU in the world. The famous entertainer Neal Scryer, has
open envelope number 2 and ask your helper to take the piece described him as “The Rembrandt of mentalism”. This
of paper from inside (hold the envelope face down, number up, is thanks to collaborations with famous mentalists
and leave the piece of paper to fall out a few millimetres )…he worldwide and his publications, which have received
will read the other prediction!
much praise and many awards.
After that, put both the paper and the envelope in your pocket
and you are clean! If you want, you can also put in your pocket the The famous “chair test routine” has sold over 15,000
gimmicked playing card, after your helper has read the number. copies and is a prized piece in the repertoire of many
Personally, I leave on the table, both the card and the raffle pad, professional mentalists.
as the people forget.

36
 MARK PARKER
LOGIC AND REASONING
ILLUSION DESIGNER

M
any illusions employ the use
of swords, blades, tubes,
spears and spikes, etc. I have
noticed a trend amongst
many performers when using such items.
In my opinion many performers often lose
sight of the true function of these props,
and in turn fail to convey the intrinsic po-
tential that lies within its technique of use,
rather than the ability of use itself. Showy
moves and ostentatious gestures become
paramount instead. If only performers
would put more focus on honing their
technique in producing convincing acts
with these props, it would certainly bring
any illusion performance to a greater level
of believability.

For example:
An assistant is trapped inside a tight-
fitting illusion prop with no possible
means of escape. She is now faced with
the threat of impalement from a rack of
sharp, menacing-looking spikes enter-
ing through one side of the prop. The
performer then takes hold of the spikes,
and upon following a dramatic music cue,
loudly slams them through the prop with
ease. Up till this moment, the performer,
I am sure, is utterly satisfied with his
very precise timing and relishes the full
drama of the crashing spikes. For him,
this is a success. However, in my opinion
it is merely complacency in his thinking
that this “suffices to satisfy” the innocent
audience as a spectacular ‘Magic Show’.
He is very much disillusioned himself, if he
underestimates the already heightened
sense of curiosity of the audience.

Now, doesn’t that effortless ramming of

the spikes indicate to the audience that
the assistant must no longer be inside
the prop, and that she has by now moved
out of the spikes’ way? Bear in mind that
the performer’s real motive is to convince
the audience that the assistant is indeed
being impaled inside and that they are
all bearing witness to this horrific torture.
One should be led to believe this, especially upon catching sight magical performance hits them smack in the face. Similarly, if any
of the assistant’s hand still dangling from the prop. performer adhere to these basic principles, it is certain that his
audience will be having much more difficulty in de constructing
However, the act of ramming the spikes with not a single trace the magic they have just witnessed.
of any resistance, wholly defeats the purpose of this stage illu-
sion. Instead of displaying the mastery of the act, it conversely Logical thinking is another key to determining an upstage or
portrays the illusion to be extremely ridiculous. Surely the idea downstage performance. Consider this: The objective of any
here is to convince the audience that the assistant was genuinely illusion-performance is to display the brilliance and ingenuity
in some form of immediate danger, having been brutally pierced of its effects. So why, if it weren’t necessary would you perform
by the spikes? an illusion more upstage? Performing further away from the
audience will only weaken the illusion’s impact and even worse,
Also, if the performer is supposedly executing an impaling torture arouse unnecessary suspicions. I have seen this oversight recur
upon his assistant, shouldn’t this warrant a form of struggle for on numerous occasions without any logical reasoning. Bear in
him to physically accomplish this tedious feat? Yes, admittedly mind that the stage backdrop for a show should not be treated
the idea is for the audience to be entertained, but do not forget, as a comfort blanket. Performing an illusion as far downstage
they are consciously expecting to be equally baffled. Even if as possible is vital, the perception of the stage floor area behind
everything has been executed perfectly, isn’t this unmindful any apparatus in relation to the stage back drop can easily be
choreography stripping away a convincing layer from the actual misjudged, therefore arouse unwanted suspicion if it is too close.
magical effect here? Audiences can very quickly develop their own wild theories as to
how an illusion is accomplished, with statements such as ‘she just
After all, it is essentially the slightest but convincing details sneaked out of the back somehow’ so the goal is to avoid these
within any magic and illusion effect that delivers it towards its assumptions at all costs & purvey complete mystery on-stage.
immaculate culmination, rendering the performance much more
powerful. The ultimate goal surely is to lure the audience onto The next time you are tempted to rotate a pedestal prop, despite
magic’s mystifying trails of deception. Yet in the meantime, ma- risking unwelcome suspicion in the process of filling time, or
gicians themselves are sneaking down the short-cut to arrive at maybe leave a sawing-in-half illusion stranded in half too far apart
this goal. Why would you rather run the danger of presenting a for far too long, step back and consider if any of your actions are
half-cooked routine, only to incur a massive forfeit in the quality detrimental to your desired outcome of the illusion effect.
of your performance?
My intention here is not to lay down any rules; these are simply my
There are indeed some exceptions where this does not hold rel- humble opinions. I sincerely wish to inspire the reader to delve
evance. However, with regards to most illusion performances, I into serious contemplation when contriving ‘illusion-gestures/
believe one should pay the utmost attention to these little details, stage-choreography’. Putting yourself in an audience’s perspec-
to ensure that the audience will be put in no possible vantage of tive may be a decent place to start. Recording your act and also
gathering any clues, theories or suspicion as to how the illusion placing colleagues in the audience will give you a deeper under-
is accomplished. Once again I must emphasize: standing of how you are perceived on-stage. It is very important
Attention paid to even the smallest details in a show makes a very to be honest with yourself, usually if you feel something is not
substantial difference any stage-performance. quite correct or that your are compromising in some way, then
the chances are that this is exactly the case and changes should
Working alongside numerous performers in the field of illusion be made. A good use of logic and reasoning is your guide to
designing, I am often asked to lend advice on their shows. It effectuating a more refined illusion act.
highly surprises me at times to learn that some hold
little or no knowledge at all of the classic writings of
magic. It seems that they actually consider such
materials to be entirely irrelevant to their show genre.
Even so, the fact is that these ingenious resources,
particularly that of Dai Vernon, amongst many others,
will not only broaden your knowledge of the art, but
will provide a fresh perspective on your stagecraft
approach.

This would then allow the performer to execute

specific secret moves without drawing unwanted
attention to those crucial actions, that are instru-
mental to the illusion. It would be highly captivation
for an audience to enjoy the entire performance
without being distracted by any sudden deliberate
movements. Having adopted this thinking in his
magic, Vernon’s audience, I am sure, must not have
anticipated what was coming until the climax of his
Charles Bach, Paul Romhany, Mark Parker

38
 HOUSEKEEPING?
W W W. C U P S A N D B A L L S M AG I C . CO M

O
kay, so what do I mean by house- While we may not consciously recognise
keeping? Have you ever watched a performer constantly re-adjusting a cup
BRIAN WATSON a performer and thought for
some reason that they could do better
and a ball on the table in readiness for
their next sleight or move, our subcon-
but couldn’t quite put your finger on scious picks up on it as “a feeling.”
it? The performance was okay and the
magic was strong but there was just This, I believe, has a direct affect on how
something... confident the performer is perceived to
be...
Have you ever thought that a performer
looked lost or didn’t seem to have their Confidence
finger on the ball (no pun intended) “That feeling” is perceived by an audi-
even though they were competent as ence as a lack of confidence, either in the
magicians? material, self confidence or their ability to
perform (or possibly all three.) Of course
If so then there is a chance that you are the performer may be very confident
probably relating subconsciously to bad indeed and road testing some new mate-
housekeeping. rial, however the blocking should at least
be worked on before giving new material
What I mean by bad housekeeping is an outing.
the way in which objects and props are
arranged and placed during a routine, A quick search on the net reveals many
whether that means cups, balls and performers searching pockets for final
wands on a table or balls and final loads loads, shifting props about because they
in the pockets. did not set them down in the correct
position for the next part of the routine

39
and passing things from hand to hand in and that is done because I have worked reason...
order to carry on. on my blocking.
Reasoning
It seems that there is some congruence Blocking Reasoning, motivation and an internal
missing, a lack of familiarity... If you have ever worked with a professional dialogue are important to me as a per-
dancer you will know that they can hit former and I hope it shows in what I do. For
Familiarity any spot on the stage at any time asked instance, I mentioned the final sequence
When I examine and think about things because they know exactly what they are above, well I changed that by rolling the
like this, I often wonder... “Am I being over doing at any given time and, just as any pro cup back to reveal a ball had vanished.
critical here?” Well, I’ve given this a lot of will walk the stage and count how many After the cup rolls back it stays where it
thought and I don’t believe I am, I truly paces it is to their table, to the wings, the is, at the rear edge of the table ready for
believe that it matters. treads etc. you must know where every the final load, however the motivation
object is to be positioned perfectly during (and therefore internal dialogue) for it is
I spent roughly twice as long blocking the whole of your routine. to show a ball under the cup, not to load
out my cups and balls routine and giving a larger one.
motivation to the moves and an internal For instance I changed the whole final se-
dialogue (both of which I will briefly cover quence of my own cups and balls routine Mirroring
later on) than I actually did working out the because it meant that I would have had A quick point on mirroring when per-
actual routine itself, and with good reason. to place a cup towards the leading edge forming the cups and balls as I believe it
of the table and then bring it backwards relates to blocking. It is well known that it
If I touch a cup, ball or wand once and towards the back edge of the table for a is preferable for the clean hand to mirror
place it down in the perfect position after final load. the dirty hand when palming because it
it is used and I don’t ever have to fiddle or doesn’t alert the subconscious to the dif-
re-adjust anything then I am projecting It was not only incongruent but illogical ference in the hands.
the correct attitude and the magic appears and telling and meant that I would have
to just happen. placed the cup down, only to pick it up, I have been playing with this theory for
move it backwards and then place it to- a while now and I have been applying it
Projection wards the front of the table again. to cups also. I feel (and it is only personal
The last thing I want is an audience feeling opinion) that it also works very well when
sorry for me as a performer, or even em- Sure, with misdirection the audience loading cups.
phasizing with me or my situation. I want might not have noticed but something in
them to be entertained and I want them their subconscious would have caught it. For instance, in the sequence I used as a
to be lost in the magic and I truly believe As it happens I now have the whole rou- demonstration where I roll a cup back and
that they get lost in the magic when I do tine blocked out so that every object is leave it at the edge of the table in prepara-
and because I project that to them. placed down where it needs to be, the tion for a final load, I also do the same with
hands don’t cross the body and nothing the cup I am not loading and the symme-
The best way for me to be lost in the mo- is passed from hand to hand in order to try created really seems to help make the
ment, the magic, is to not have to worry facilitate the routine. final load psychologically invisible.
about where things are, what comes next
or is the load in the right pocket? Only then Items are placed down and left until they
can I project magic instead of confusion are needed again and everything has a

Reasoning,

motivation

and an internal

dialogue are

important to me
F O R M O R E O N C U P S A N D B A L L S V I S I T:
W W W. C U P S A N D B A L L S M AG I C . CO M
as a performer.

40
 LEEpresents
ALEX
THE ULTIMATE QUICK CHANGE DVD

TIME FOR A
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REFRESHING
QUICK CHANGE
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FROM THE CREATOR OF THE BEST-SELLING

COLOR CHANGE VEST

41
 MAGIC
If you would like to have your product reviewed
in Vanish, then post it to the Magic Review team.

With an audience of over 30,000 readers your

REVIEWS
product will reach a winder audience than any
other trade magazine.

To have your product reviewed post the item to:

Vanish Magazine- Trick Review

PO Box 101473
PAUL ROMHANY & FRIENDS North Shore Mail Centre
Auckland 0745
NEW ZEALAND

TO ADVERTISE IN VANISH
To place an advert contact the editor for a list of
Based upon top selling products price options. Look at the various advertising
from magic retailers and sizes in this issue and choose the one that best
suits your needs.
wholesalers, as well as consulting For more information e-mail at:
info@paulromhany.com
with over a dozen professional
magicians, Paul Romhany reviews
tricks, DVDs, books and Apps.

42
1 Collateral by
Diamond Jim Tyler
Another
While
comes
Bank
sized
thisaspect

restaurant
is filledofwith
re-set isprimarily
instant, so
gigsthat
Nite plot
is always an important
envelopes
close-up
many
this fantastic
from
where
routine that
it isArcher’s
perfect for
you Blank
he calls
as opposed consideration
venues.of Bank Nite use.
handlings
makesthis
material,
those working
incredible
don’t have
to the coin
time
Nite, in
it arecommendation

which
for/ those
winner is that the
take onwalk-around
the classic or
to re-set
he usestricks.
working in
pay envelopes

The bonus material on the DVD includes a live performance at The

This
regular
most
that

Magic Castle,
Archer’s as well
revelation ofas thea tutorial on DJ’s Ring
final envelope On String
containing Routine.
a stack of
If you
bills don’t
that arealready do a Ring
full, unfolded (as On Stringto
opposed then
foldedlearn upDJ’s
verybecause
small
it one
as in a of the best.handling)
thumbtip It containswas all the
good elements
enoughthat make
to fool Penna strong
&
routine,
Teller onand
theirbyUK adding
show as histhe
Collateral
obviousyou will havefacet
mystifying an incredibly
of the
strong piece
routine was, “Howof magicdid he thatget youallwill perform
those all the time.
bills, unfolded, into the
remaining envelope?” (Since it was a free selection, obviously
QUALITY OF
magicians were INSTRUCTION:
thinking along those lines as opposed to “How
Thehe
did production
manipulate valueall on thispeople
those routineintois onenotofpicking
the bestTHAT
I’ve seen in
a magic DVD. I particularly liked the performance section where
envelope?”)
Iwe get the
started chance tothis
performing seeroutine
DJ performin ALLtheof exact same routine
my stand-up gigs, in
different
and venues.and
the comedy Theimpact
editingisiswhatfirst class,
you wantmaking fromthis
anan enjoy-
opening
able DVD to watch and learn from. His quality of instruction by
routine.
DJ makes this
This is a 2 DVD set and the bonus material could be a single
DIFFICULTY:
DVD by itself! John Archer is a very talented, funny and obvi-
THE AD COPY:
The actual
ously Collateral effect
busy performer. is very easy
For anybody to learn.
looking The handling is
for commercial
The magician removes his ring and asks to borrow a spectator’s
natural, and
material thatthe heat is off
is audience you atyou
tested, all times.
can’t go If you
wrong already
with have
this a
ring. The magician places his own personal ring into a small coin
Ring On String routine then you can add this to your act pretty
purchase.
envelope and asks the ring-less spectator to place it into their
quickly. This would suit those who are fairly new to magic, but I
pocket as collateral. After performing DJ’s Ring & String routine or
also DVD
This see seasoned
is not only professionals
educationalusing this.
but extremely entertaining.
any borrowed ring effect- their ring is made to vanish! The specta-
If you
You getdon’t have John
to watch a Ring On String
perform theroutine
materialthen at a DJliveexplains
show, and his.
tor hands over the envelope only to discover that their own ring is
This will
watch and take
learn a little
how practice,
he delivers butlines
once mastered
with impeccable you’lltiming.
have a
inside! Includes two leather laces and the other necessary props.
strong piece of magic for life.
WHAT YOU RECEIVE: Available from magic dealers world wide and various in price
FINAL
from THOUGHTS:
$41.95 to $44.95
A highly commercial addition to any routine involving a specta-
• DVD - 45 minutes
tor’s finger ring. If you are looking for a strong walk-about routine
• Two envelopes - only one is used for the routine, the other
using a spectator’s finger ring this should be your first choice.
is an extra.
Included are two leather laces, which are really nice to work with.
• Two leather laces - these are two bonus laces to use with Ring
The addition of DJ teaching his Ring On String makes this great
On String Routine, which is a bonus on the DVD.
value for money.
COST: $25.00
MY THOUGHTS:
Wholesale: Murphy’s Magic - www.murphsymagic.com
Diamond Jim has been performing this routine since 1986, which
Available from magic stores world wide.
tells you that this has been tested in literally thousands of per-
formances. I have seen this performed live, and sold out at two
different magic lectures by Diamond Jim, which also tells you
OOOOI
that magicians who have seen this know it is a strong, and very
commercial effect. As soon as I saw it I knew it was something I
would add to my own act.

The Ring on String routine has always been one of my favorite

walk-about effects, however I never really had an ending that
would pack a punch. Thanks to Diamond Jim I now have an end-
ing that is stronger than any Ring On Key Chain trick. What really
makes this strong is that the spectator holds on to the envelope
containing YOUR ring the entire time, only to turn in to THEIR
ring that you were using for your routine. This makes the perfect
climax to ANY ring on string routine, or any routine where you
use a borrowed ring.

Because this has been in DJ’s act for over 25 years, you know
that every nuance and move is extremely well thought out,
making the mechanics easy to learn so you can concentrate on
the performance.

43
2 SLOMOTION BY JOE • Wooden Stir Stick
• Cloth bag

LITVINCHUK
• Gimmick plus extra battery

MY THOUGHTS:
This was released early last year and the entire stock sold out
within a few months. I loved it so much that I bought TWO. It
has just come on the market again exclusive to Hocus-Pocus.

This has been the ONE item that I carry with me all the time. Over
the past few years I have spent hundreds of dollars on other
similar effects where I had to strap bulky gadgets on my wrists,
and have wires running up and down my body. What makes this
version superior from most others, is that there are no wires,
nothing to strap on your body, and can be performed naked if
you so desire. Or at least in short sleeves without a toe switch.

I have performed this under all types of conditions, from walk-

about to on-the-spot type situations where I was asked to
perform a trick. If you have a straw or wooden stir trick you can
perform this. While the instructions show a Lifesaver, I prefer to
use a borrowed finger ring. I also discovered that I can cause the
ring to travel horizontally along a straw, as well as have it spin
in any direction.

The prop is very well made, and never seen by the audience, yet
it’s right in front of them. I have used the same one now for over
a year and it has stood up to daily use.

QUALITY OF INSTRUCTION:
THE AD COPY: The DVD explains everything you need to know about how to
His effect, Slomotion, is the cleanest version of Psychokinetic perform this, with a few extra ideas and tips. This didn’t really
Energy we’ve ever seen! The performer uses a lifesaver and straw, need a DVD because the method is so easy.
both can be borrowed, and threads the lifesaver on the straw.
Then, at the performers command, through apparent pyschoki- DIFFICULTY:
netic energy, the lifesaver starts spinning. But, then the performer This is definitely one of those rare occasions when the dealers ad-
can stop the spinning at will and reverse the direction! When vert actually matches EXACTLY what it reads. When I first opened
finished, the objects can be left behind, because everything is the package I put the gimmick on and was able to perform the
borrowed and completely examinable. routine - it was that easy. I do suggest though you watch the
instructional DVD to get more insight to the finer points. Once
Perform using actual items found available in a live setting (cof- you get comfortable with the gimmick you will find you can
fee shop, bar, etc.) to confirm you are not using trick items; they experiment with other objects such as a finger ring and even a
are fully examinable. Spectators will not believe their eyes when nut and bolt!
they see this up close! Hands are shown empty before and after.
This effect can be repeated immediately. FINAL THOUGHTS:
Here is a routine that can be performed anytime, anywhere with
• Perform wearing casual attire (no sleeves required) borrowed objects. It is perfect for both formal and informal style
• No magnets, threads, or wires gigs. The re-set is instant making this a very practical prop for the
• All objects are borrowed working professional, as well as those who perform magic as a
• Instant reset; no set-up necessary hobby. This works on a different principle than most of the very
• Perfect for close-up, walk around and street performers expensive versions on the market, and I think is a much stronger
• You will perform immediately right out of the package and versatile effect.
• Easy to perform
• No static electricity COST: $49.95
• Supplied with instructional DVD AVAILABLE EXCLUSIVELY FROM www.Hocus-Pocus.com
• Works automatically

WHAT YOU RECEIVE: OOOOO

• Instructional DVD
• Lifesaver

44
1
MY THOUGHTS:
Premium Vanishing This bottle offers some rather unique features, that make it dif-
ferent enough to sell as another vanishing bottle routine. The

and Appearing Wine main difference is the material this is made from. It is much more
durable than any other bottle I have seen, and certainly looks
like a real bottle once the labels are put on. It is good enough to
Bottle perform in an intimate working conditions. Another great feature
is the ability to take out the cork, and pour a glass of wine from
the bottle. It is these little extra touches that make it more like
a real bottle.

The material the bottle is made from also lends itself to using
this as a production item. It holds it’s memory well and will pop
open very quickly from a folded position.
Another nice feature is that the bottom of the bottle is rounded,
making it appear more like a bottle should when it sits on a
table. I had this on my office desk, and my wife asked what type
of wine it was! If she thought it was a real bottle then you know
it must look VERY REAL!

My only comment would be the label does need to be replaced,

but they do supply several labels, and so that isn’t really an issue.
You could always use your own label from a real bottle of wine.

QUALITY OF INSTRUCTION:
A one page sheet with photos that show you how to use insert
the special bladder and a basic routine. There really isn’t need
for anything else as everybody would have their own personal
favorite routine. This is more of a tool that you would use in your
own routine.

DIFFICULTY:
THE AD COPY: If you can hold a bottle then you can easily use this, however, I
Imagine taking out a wine bottle, pulling out the cork, pouring do suggest you treat this as a real bottle. Practice holding a real
a glass of wine and toasting your audience. Next, you place the bottle to see where, and how you hold it. Then take this bottle
bottle into a paper bag and finally, you make the bottle VANISH! and hold it exactly the same way. To sell the illusion the audience
Or, Imagine, producing a bottle of wine from THIN AIR! must believe, as you do, that the bottle is real. Nothing is worse
than watching a performer pick up a ‘rubber’ bottle as though it
All of this is possible with the Premium Vanishing and Appearing were jelly. At least with this version the material is stronger, so it
Wine Bottle! will help you treat it as though it were real.

The Premium Vanishing Wine Bottle is different than other vanish- FINAL THOUGHTS:
ing bottles currently on the market. This is a VERY realistic looking A great product that is very well produced and packaged. The
Bottle! Every detail has been thought of, right down to the cork. container it comes in is sturdy enough to keep the bottle in, and
if looked after will last a very long time.
The premium Vanishing Wine Bottle contains silicone and semi-
permanent Beca, this causes the bottle to fold flatter and snap If you perform a Vanishing Bottle routine already, then I think you
back into shape much faster and last much longer than previous might want to seriously look at this version. It would also make a
marketed models. Also, you can pour liquid (wine, juice, etc.) great addition to other bottle routines such as Multiplying Bottles,
from the bottle before vanishing it due to a removable bladder if you wanted to vanish the last one.
(included).
COST: $47.00
WHAT YOU RECEIVE: Wholesale: Murphy’s Magic - www.murphsymagic.com
1 vanishing / appearing Wine Bottle Available from magic stores world wide.
1 form fitting bladder
1 cork OOOOI
1 set of large labels (front of Bottle)
1 set of small labels (neck of Bottle)
1 VERY sturdy storage tube

45
APP
sound system and run the entire thing by yourself! The remote
is the perfect size, and I’ve never had issues with it not working.

REVIEW
There are two different versions, one of the iPad and the other
for the iTouch/Phone.

One of the features I love is the countdown, so you can easily see
when the music is about to stop. With my iPad it’s so easy to read
from a distance. Moving from one track to another is a breeze,
and it’s great if you want to add sound effects to your show and
need to get to various tracks quickly.

The only negative aspect is that you can’t control the volume
with this App. If some tracks are at different levels than others
you will have to control the volume manually.

As far as Apps go they really don’t get any better than this!

COST: $94.95 for iPad

COST: $79.95 for iPhone
AVAILABLE FROM THE iTunes STORE
http://mojosoftwareonline.com/showcues.htm

Show Cues by Carl Andrews

Available for iPhone/Pad/Pod Touch to control and play your
show soundtracks.
Features
Fade Out
Play/Pause
Auto Pause
Real Time Clock
Unlimited Playlist
Large Track Title Display
Countdown Timer With Warning And Alarm
Indicator Light Buttons Showing Playback State

Show Cue works manually or with a remote control (remote sold

separately). It plugs in to any sound system.

My Thoughts: Without a doubt the BEST App for any performer

who wants to run their entire music from their iPhone or iPad. You
can spend thousands on other devices that do exactly the same
thing as this App, so this is something that will save you a lot of
money and time. I have used various other apps, and systems to
try and work the music for my entire show, but nothing compares
to this one. Carl Andrews is not only the software developer, but
also one of the busiest professional magicians around today. He
has created the best tool for a working performer, because he
knows what is needed.

The remote system, which is sold separately turns your iPad or

iPhone in to a full remote music machine, so you can run your en-
tire show at the click of a button. Plug your iPhone/Pad in to your

46
 section on the page where you want them to start reading. A
teleprompter like display scrolls the page on the screen. You use
a pen/stylus to navigate the book, page number and the area
where you want the spectator to start reading.

UBT Version 1.1 for the Apple devices includes the following seven
books in the software: Animal Farm, Persuasion (a love story),
Frankenstein, Dracula, War of the Worlds, Robinson Crusoe and of
Mice and Men. This version is available now for Android devices
with 480 x 800 screen resolutions. You will need to purchase your
own physical books as well as your own device.

MY THOUGHTS:
In my opinion the best use of an iPhone/Pad/Touch application
is when the trick doesn’t happen on the device. I much prefer
using it as a hidden tool to get the information I need. With this
incredible book test application you can do exactly that. The
instructions show how to put your device in a pad of paper so
UBT for Professional Mentalists it is never seen. I have an old iTouch I never use, so it has now
and Magicians V1.1 become dedicated to this trick.

By Steven Skindell Imagine a spectator having a free choice of book, any word, any
line and you know exactly what they are looking at. I really do
DESCRIPTION: feel this could very well be the ultimate book test. It is so easy to
UBT is known as the Ultimate Book Test. It is a sophisticated tool use, and the information is instant. It’s what you could call ‘real’
used for professional mentalists and magicians. The app is used time reading. What the spectator is reading in their book, you are
to view on an ipod/iphone the same information that a specta- seeing on your device. If it were any better then you’d really be
tor is reading in a selected book and page (there are 7 books a able to read their minds. The updated version means you don’t
spectator can choose from -- Dracula, Frankenstein, Of Mice and need them to tell you the lines they are looking at.
Men, Animal Farm, Robinson Crusoe, Persuasion and War of the
Worlds -- all paperback books are old well known classics. Another aspect of this that really excites me is that some top
professionals are using it, and coming up with amazing routines.
On the screen the mentalist inputs the book, the page number Imagine not evening having to see what book they have chosen,
and presses the Go button ... the text of that selected book and yet still be able to use this application. The possibilities are end-
page then starts scrolling on the screen like a teleprompter. less, and Steven seems to be adding more books.
The mentalist can than read what is on the screen without user
input and guide the spectator to look at specific section on their WHAT ELSE YOU WILL NEED:
selected page .. and then the mentalist talks about an image he/ You will need to supply the EXACT books for this to work. The
she is getting from the spectators mind. ISBN numbers are supplied, but it is important you get the cor-
rect ones. All the information you need to purchase these from
A LITTLE HISTORY ON THE APP: Amazon are in the help file. The books can be purchased for as
The Ultimate Book Test was first published in 2007. It was devel- little as a few dollars each. Remember, these are REAL books that
oped using a Windows Phone. Five Classic Books were used and aren’t gimmicked in any way.
it was a complete package that sold for $1100.00. The program
would display on the screen inputs for the book selected by a A nice bonus is that you get access to a private forum where oth-
spectator, the page number and the line number. ers who have purchased this app talk about their own routines,
share tips and hints on using it. Some of the ideas are ground-
The windows phone was embedded in a clipboard paper well ... breaking for mentalism. What is nice about the latest update is
the papers at the bottom of the clipboard would have a hole in that it includes feminine style books, as well as masculine. I think
it where the phone would reside. it is important to have books that appeal to both sexes.

The phone was covered by a few blank sheets of paper. The pa- FINAL THOUGHTS: This very well may be the ultimate book test.
per and clipboard was used beforehand with real writing with I have added this to my own professional repertoire, and it has
a pen to condition the audience that it was a normal clipboard become a highlight of the act. Not only do the audience love it,
with paper. but I love performing it. It is easy to use, and with the free choices
it is as close to the real deal as you could get. With this application
The latest version of the book test was developed for the iPhone/ you are only limited by your imagination.
iPod/iPad and the Android devices. Based on some great recom-
mendations from Max Krause this version uses NO line numbers. COST: $79.99
Paragraph markers are used to navigate the spectator to a AVAILABLE FROM THE iTunes STORE
http://www.ultimatebooktest.com/

47
 NICK LEWIN
PRESENTS ...
The Magic of Cruising
How to make a great living performing magic on cruise ships

I
am often asked about the best way er still has to get to his venue of course
to get work onboard a cruise ship. so sign up for your frequent flyer clubs.
Curiously enough I am almost never
asked about what to do when you have I performed on my first cruise ship in
got your first job working on a luxury 1969 and have continued to embrace
liner. It is a very different world out this arena of work ever since. The busi-
there on the high seas, and it needs to ness has changed greatly recently and
be approached carefully and system- the working conditions have improved
atically to ensure that you get booked vastly. The larger cruise ships now con-
back again. tain showrooms that rival your local Per-
forming Arts Center. The sound, lighting
I wrote a very tongue in cheek column and stages are very sophisticated and if
for the Linking Ring a couple of years you know how to, can be used to dra-
ago on this topic. I got some wonderful matically improve your show.
reactions from pros that were involved
in this kind of work. They appreciated Generally speaking to get a booking
how much real information I delivered on a ship you are going to need to
between the lines in the article and Nick and cruise legend Elliot FInkel travel two 45-minute shows. It doesn’t
enjoyed the way I turned the topic on mean you will actually get to perform
its head to achieve my goals. two 45-minute shows but you might.
I am writing this column in the Grand
However, I suspect that I may have Lobby of the Queen Victoria where I was
been a little oblique for others reading booked to do one show. On a ship your
the piece so I decided to remove my show is usually repeated twice so that
tongue from my cheek and retackle the early and late seating dinner guests can
subject in a more straightforward man- catch them with ease.
ner. There have been several books
published on this topic but I can’t help At least, that is how it should have been
feeling that they often stressed the on this particular three day run. How-
obvious at the expense of the practi- ever nothing runs quite that smoothly
cal. I will give you the ‘Nick Lewin Crash in real life. As I was going through my
Course’ in the next few paragraphs. tech rehearsal the Production Manager
informed me that there had been a ma-
Cruise ships are the nightclubs of this gician who had already performed that
era of entertainment. In the old days cruise. He had featured a Torn & Restored
a performer would schlep around the Newspaper, which is the closer to my
country to different cities so that he show. I immediately adjusted my show
would be able to work to different and changed my closing effect to the
audiences. Now the ship does the one from my second show. No problems.
schlepping and the audiences change After I finished my shows I was told that
because of the itineraries. The perform- in fact they would need me to perform

49
15 minutes the next night in a variety show. No problem—I can I customize my music CD and burn them fresh for each show.
dodge bullets for 15 minutes! However the next day at my tech You really can’t expect the sound tech to jump backwards and
rehearsal I was informed that the singer had lost her voice and forwards on a CD.
could I do 35 minutes to close the bill. It worked out very well,
but the entire business required a great deal of flexibility. When I arrive on a ship and have some idea of what I will be per-
forming, I also burn a CD that contains my running order, sound
I described this episode in some detail but in verbal shorthand cues, lighting cues, introduction and also a couple of JPEGs of
I could just have said ‘Prepare to be flexible.’ Let me run down a my latest working photo. Let the production manager print out
few other key ideas keeping them brief and pithy. There are no the files and you walk into the rehearsal looking like a pro. After
rules in life only suggestions however I would like to point out your show is finished don’t be afraid to buy the techies or band
that these suggestions are based on quite a bit of experience. a drink to show your appreciation, it isn’t just polite but it’s good
business.
There are certain tricks that have been just done to death on
cruise ships. The vast majority of passengers cruise frequently, Don’t forget that ships move—that’s how they get from port
and they have become very familiar with certain tricks. The to port! If your table is on wheels then have the stage manager
Cruise Director (Your Boss) will likely want to scream if he sees a use black sandbags to avert disaster. Other disasters can occur, if
set of Linking Rings, a Card Sword or Baffling Bra. Worst of all is you have dancers or another act following you on the bill, if you
the Bandana/Banana trick, which is now as overdone as a slice leave liquids or slippery props onstage after your performance.
of burned toast. Something is really missing from the bit when Yes, cards can be slippery! If a dancer slips on something you left
the surprise element has been removed. onstage you could cause them to fall and break an ankle or worse.

There is nothing wrong with these tricks, of course, but they have This is a short list of some excellent ways to look your best and
become shipboard cliques and should therefore be avoided. One get the job done when you work on a ship. Oh, one more tiny
of the very real problems facing a ‘fly on’ magician is that he is point, any vessel big enough for you to be working on is a ship
very limited in the hand baggage he is allowed to take on the and NOT a boat. This is important terminology and getting it
airplane. You have to (often contractually) carry the majority of wrong makes you look like an idiot.
your props as hand baggage so we become very limited in our
choice of material-- it has to fit the bag! Therefore some careful I have taken some of the thoughts incorporated into this and
thought needs to go into what you perform and how you pack it. several other columns and expanded them into a very thorough
and detailed book about this exciting field of employment and
Most of the time you will have an excellent tech crew who will turned them into a full length book entitled, “Cruise Magic 101:
do their very best to help you providing you give them a good How to make a great living performing magic on a cruise ship.”
written rundown on what you want them to do. You need to be It is a very definitive treatise on the topic based on my 40 years
really articulate during your rehearsal. If you don’t have a proper plus years experience in the field. The book costs $24:95 and can
technical cue sheet then a fifty-dollar bill will be ample induce- be ordered by emailing me at nicklewin1@mac.com.
ment for your tech to write one for you and give it to you on a
CD for future use.

If you want to use live music for your show it is also very cost
effective to have the bandleader write charts for you and it
can certainly enhance a show to feature some live music in it.

50
 364 ON 1
WAYNE ROGERS
This routine combines ideas from five existing tricks. The Birthday date written down.
Card Trick and The Gold Medallion (Al Koran, Professional Presenta-
tions), the Card in sealed envelope in Wallet, Confabulation (Alan From your jacket pocket you remove your wallet containing a
Shaxon) and the old 52 On One gag. For those who don’t own sealed envelope. On the front of the envelope is a full year calen-
Card To Wallet, I’ll explain an easy to make alternative. dar, and you cheekily show the friend’s birthday. After the groans
subside you partially tear open the envelope and hand it to the
PLOT: spectator. From inside they remove a business card and on the
Ask a spectator to think of a close friend and to tell you their back it reads, I PREDICT YOUR FRIEND’S BIRTHDAY IS THE 27TH
friend’s birthday date. MARCH.

Not the year. Just the month and number. This is written down THE SECRET:
on a pad along with the friend’s name. You tell the spectator that You openly write the date on the top of the pad, but when you ask
in your pocket, on the back of an envelope, you have that very for the friend’s name and write it down, you also secretly “double

51
write” the date onto a prepared business card.
Fold the page another third and tear it off, handing it to the
spectator for safe keeping. The card with date is palmed off
and inserted into the envelope in your pocket. Show the cal-
endar gag then tear off most of the bottom of the envelope
and hand the envelope to the spectator who will find inside
the prediction card.

PREPARATION:
Glue a full year calendar onto the envelope you will use. Mine
was taken from http://www.timeanddate.com On this website
you can customize any calendar or copy the one supplied
below.

If you have a Card to Wallet, glue the calendar to your usual

envelopes. My alternative method is to just use an envelope.
Prepare by making a tear on the back of a coin envelope along
the line of the bottom turn up. Start the tear by cutting part
way with a sharp knife (insert a piece of card in the envelope
to protect the address side while you make the cut), then make
the tear. Photo 1.

Seal the main opening flap. Fold a business card in half. But
do not crease sharply. Insert the bent card into the opening
you tore at the bottom of the envelope, and push half way
down. The spring in the folded card will hold the torn end of
the envelope open. Photos 1-2. When it comes time to load
the prediction card, the bent card and prediction card are
together pushed right down into the envelope.

To prevent the envelope from being squashed inside your

pocket, make a narrow box from cardboard stapled to a
wooden frame. The prepared envelope sits in safely in the
box and can be used any time in your act. Photo 2 Finally take
a small writing pad and fold up the bottom third of the first
page. On another business card write I PREDICT YOUR FRIEND’S
BIRTHDAY IS THE . . . . Leave the date blank to be filled in later.
Place the card under the top page of the pad. Photos 3-4 The
photos show the full sequence of the dirty work

1. Pre-tear envelope and insert bent card into opening.

2. Place pre-torn envelope in box in pocket with folded card
holding gap open.
3. Predication card with space left for writing in date.
4. Pad with page folded up and prediction card in place.
5. Write date and name on pad. Double write date onto the
prediction card.
6. Fold and tear off page.
7. Palmed card goes into envelope in box and pushes down the
bent card (Viewed from above as sitting in pocket.)
8. Show calendar glued to front of envelope. The tear in the
envelope is on the back and covered by your fingers.
9. Partly tear down the pre-torn end of the envelope for specta-
tor to remove prediction.
10. After the prediction card is removed, the second bent card
is still in the envelope. Take the envelope back and remove the
second card. The bend you made earlier will not be creased
sharp and you can easily straighten it out and give it to one of
the other spectators to keep.

52
Wayne Rogers (Chicane) is a full-time professional
magician and magic manufacturer based in Auckland,
New Zealand. Wayne’s original magic props include
The Appearing Ladder from Briefcase, Missing Spade,
Appearing Shovel, and Pinocchio’s Nose.

Over the years Wayne has won most major competitions

at New Zealand magic conventions, and in 2004 was
honored with the supreme award for excellence for a New
Zealand magician . . . The Grand Master of Magic Award.

Contact Wayne at chicane@nzmagic.com

or visit his website
http://www.nzmagic.com Wayne Rogers

53
 THE SUCCESS SERIES
CRIS JOHNSON
Surround
Yourself With
Positive People!

In short, the negativity in our field can be astounding at times.

Once I started writing the review blog at Hocus Pocus, things

started to change….I began interacting with some wonderful
people in magic. People like Paul Romhany, Peter Loughran and
Bobby Motta. These guys in particular I am proud and honored
to call my friends.

They’re good people doing very well in magic and more impor-
tantly than that, they only share positive energy. Rather than run
down or complain about this person or that or complain about

I
t has been a very interesting year because of the friendships the cost of a new trick, they simply go about their business and
that I have began and/or deepened. try to make the world a better place by being kind, decent people.

Let me explain…. To a guy like me who, until recently, only encountered negativity
in the form of some, though certainly not all, of the people on the
Magic, to me, is a lonely business. Unless you’ve got a perform- Magic Café or the local guys trying to undercut my efforts in nasty
ing partner (Siegfried & Roy, The Pendragons, Penn & Teller, etc) ways, the friendships I have developed give me hope for our field.
you’re spending a lot of time by yourself.
The point behind all of this is a simple one – surround yourself
To make matters worse, in magic, there’s a deep decades-long with positive people. Instead of adding to the problem or com-
tradition amongst many, though certainly not all, part-time or plaining about the lack of work out there or whatever, look at the
amateur magicians to ridicule products, performers or other bright side of things. On top of that, if you know of a magician
people in their market, shows they see, opinions they read about just starting out, encourage him/her in useful, positive ways. Be
online, etc. supportive. Kindness begets kindness.

With all of that in mind, I can confess to you that it does not take Additionally, all of the positive attitudes you surround yourself
much to make me doubt myself. Because I must project confi- with will begin to help you change how you think. Without get-
dence onstage, until the last few years, I have separated myself ting into a big hypnosis lecture, I can say beyond a shadow of a
almost completely from the magic community as a whole. I have doubt that the more a person dwells on the negative, the more
a couple of close friends in the biz, but we were all under the negativity will follow that person. Our brains are like super-
radar, so to speak. charged bio-computers and it will react to whatever is fed into it.

54
If you are a magician who is currently surrounded by people
who trash other magicians without foundation, then I encour-
age you – no, I challenge you to find new folks in the magic
community to interact with.

It will help you emotionally, psychologically and even profes-

sionally in ways you can’t imagine until it happens.

ABOUT CRIS

Cris Johnson is a full time professional

magician living in Buffalo New York. Cris has
been delivering motivational and fun-filled
programs to clients in 32 states across the
U.S. for over 15 years.

Cris Johsnon

55
 MARKETING TIP FOR
BIZARRE MAGIC
I F YO U D O A S C E A N C E O R S P O O K S H O W YO U W I L L LO V E T H I S !

A MONEY

I
f you are interested in doing bizarre for a white water rafting company on the
shows, or a séance show, ghost show, Ottawa River in Canada. He used to take
PETER LOUGHRAN or are currently already in this market, myself and few other ‘victims’ down the
and whether or not you are using one of deadly rapids, and I’m not talking about
my products, or something else to create a 12 man boat either, I’m talking about
your show, I’m going to share a very cool those little 6 man boats that were guar-
Master of Illusions Entertainment
idea on how to generate more money by anteed to flip you out and send you down
www.masterofillusions.ca
doing these shows, which is also an idea into what they call the green room deep
that can actually book you more shows! underwater beneath the rapids. One year
I nearly died, but that’s a whole other
I was talking with Canadian paranormal story, needless to say I haven’t been back
performer Scott McClelland a few years in a few years. However that’s what made
ago, and we were chatting about doing my last trip think of what I did before I left
séance parties and we talked about tak- the white water rafting resort.
ing “night vision” cameras to the parties to
film the events of that night for the client During your outing on the rapids, they
for added realism, and also an additional send out kayakers with video cameras
way to explain why you can have an as- to record the day’s events and to capture
sistant with you (if you ever need them to the exciting and terrifying flipping of the
do some of the dirty work for you). Then it people and boats into the massive rapids,
hit me. I remember a few years past, when then if you survive (JK), several hours
a good friend of mine was a tour guide later, they show a video, that they made

56
and edited on site, of the day’s events all computer programs like “after effects”, and lar at least $50-$100 each. You know the
done to music. You get to see yourself super impose ghostly images interacting guests are all going to want one to show
flipping out of the boats and swimming with the spectators. When you purchase their friends. Sally says…”Hey what did
for your life! Then after the showing they one of our effects we supply you with you do Saturday night Jill?’ Jill replies…
offer to sell you the video for around $40 contact info for our special effects guy ”Well you are never going to believe it,
a copy. Brilliant! who can do the work for you and at great here let me show you” and she pops in
rates. For instance when performing our a DVD of the nights events showing her
So after talking with Scott, and after see- WitchBoard illusion or using our separate and her friends with ghosts captured on
ing the brilliant marketing ploy from the “Ghost Controller” unit that we offer, you camera in the same room, and them all
rafting company to garner additional can make a Radio turn on by itself and reacting to it, now that is priceless PR. Now
money from the guests with the after cause it to seemingly switch though the best of all, you make sure your contact and
video sales, I knew I could apply that stations rapidly and then eventually stop booking info is all over and on that DVD,
same idea to magic and these séances on a specific song as if possessed by a and you have an interactive business card
ghost show parties. ghost that you are trying to contact. Now that will surely keep you booked over and
imagine that when your guests see the af- over and over again.
The idea is simple, you set up one or more ter video they will now see a ghostly figure
video camera and make sure they have in the room, with them and their guests, Please send comments and questions to:
the “night vision” option and make sure to standing over the radio and changing the peter@masterofillusions.ca
set the camera to that mode for the show. stations! Hook Line and Sinker.
You record the night’s events, and then
with the raw footage you take video to a Add a few more effects, and now you have
video effects expert or do it yourself with an after video that you can sell for top dol-

57
 INCOME MARKETING
SYSTEM FOR MAGICIANS
BY RANDY CHARACH

Have you ever asked that question of

yourself? If you have, congratulations
you get one point. Was your answer ----
because your show is better than your
competitors?

If so, sorry you lose one point. Or, maybe

your show is really good and you also offer
an amazing customer experience before
and after the show.

Last issue, we looked at an overview of the Income Marketing a System Well, it still true you need a solid, commer-
cially acceptable, entertaining show. It’s
for Magicians© and had a closer look at Step 1. also true you need to be professional and
Here’s a summary of the steps of the system: outstanding in your dealings with your
client before, during and after the show.
It’s time to step up our game though, and
take this giant step forward.
Step 1) Identify The Perfect Client to book Your Show
Step 2) Name Yourself As The ‘Only’ Magician to Hire What if you could eliminate the competi-
Step 3) Create Your Magician Marketing Plan tion? First, direct competition only exists
Step 4) Offer Various Forms of your Show to Clients among commodities. Is your magic show
Step 5) Measure Your Results from your Marketing Plan a commodity?
Step 6) Expand On Marketing That Brings You the Best Gigs
Let’s find out what Wikipedia defines as a
Today, let’s examine… commodity…

Step 2: Name Yourself As The ‘Only’ Magician to “It is used to describe a class of goods for
which there is demand, but which is sup-
hire plied without qualitative differentiation
across a market. A commodity has full or
Now that you’ve identified your perfect client…
partial fungibility; that is, the market treats
it as equivalent or nearly so no matter who
Oh, did you?
produces it.”
If not, best to refer back to the previous issue of Vanish and read that
I know you’re thinking --- this doesn’t
article. The Income Marketing System for Magicians is a complete step-
describe you because you’re not a “goods”
by-step system. Even though we’re just touching on it in these articles,
and there is qualitative difference be-
it’s important for you to follow each step to gain the biggest benefit
tween your show and business prac-
from these lessons.
tices compared to other magicians. Fair
enough, true – – and a great start for you
Okay, here we go…let me ask you a question;
to raise your game.
Why should an event planner book you instead of another magician?
You see, right now all your achieving is

59
 from other magicians, and were in big demand. I use to see them
premium pricing along with a greater quality and quantity of on TV all the time when growing up as a young magician.
bookings. That’s great and will bring you a good amount success.
If you truly want to eliminate competition, and create an environ- Another way to do it is to create something bigger than you and
ment where you, your show and your fee stands separate from be the driving force behind it. Doug Henning had a lot going for
other magicians – – is a serious next step you must do. him and was destined for greatness. He really made his leap to
stardom through magical themed shows and starring in them.
It’s time to differentiate your act in a bigger way than before. So, think about your magic show in terms of an ‘event’ a ‘spectacle’
It’s all about positioning. Once you effectively position yourself – and give it a name. Immediately you’re different than the next
and remain congruent with that positioning, you’ll no longer be magician who positions his ‘brand’ just as him or her doing some
competing with any other magician. really cool magic tricks.
There are many ways to position yourself as the only logical choice You can be the ‘only magician to…” or, ‘only magician who…”
for your client. You first need to know your client inside and out and position your brand around that. What can you do that no
(step 1 of my system). other magician does. Think David Blaine and his Houdini-like
stunts. Copperfield did some spectacular illusions that no other
Start by asking yourself what’s unique about your act, or you. magician had ever done -- over and over again stayed in the
How are you different than all the other magicians? Ask others spotlight for years. .
who know you both personally and professionally their opinion.
Dig deep. There has to be something. Once you discover ‘it’, you It’s not necessary for you to have a huge budget, or risk your life
have something to work with. You can build on that uniqueness. to stand-out among the other magi’s. You don’t have to have a
second amazing skill either. There are more ways to become the
Another option is to create something new, exciting and different ‘only magician’ – even if it’s just in your local community.
about your magic. Stuck? Try combining more than one thing.
Notice on America’s Got Talent how the most popular acts have The higher your goals, the more of a challenge it will be. If you’re
combined, say ‘dance’ and ‘lighting effects’? a part-time kids performer and only want to perform in your city,
it’s a different process of discovery than one wanting to be the
Paul Romhany has done a beautiful job of combining Charlie next household name magician.
Chaplin with his magic. He’s positioned his act in a category of
its own and essentially eliminated magicians and Charlie Chaplin
In the next issue Vanish, we’re covering a HUGE topic. It’s about
impersonators as competition. Brilliant!
creating your marketing plan and that can be a lot of fun. That’s
where you look at SEO, Twitter, Facebook, all that other stuff that’s
Criss Angel originally combined rock music with magic. Remem-
in our face every day – all day!
ber Marvyn Roy “Mr. Electric? How about Norm Nielsen and his
music themed act? Both of these magicians set themselves apart

60
 “THAT SHOULD BE ME UP THERE.”
FR

This
is
the cry
OM

I hear
from so
many magi-
cians when
they see some-
one who is more
TH

successful than
they are. And I have
to agree. It could be
you. So why isn’t it? What
ED

is really stopping you from

climbing the ladder to suc-
cess and seeing your own name
in lights? Or even if you do not
aspire to that level of stardom, what
ES

is stopping you from being a better

performer?
KO

Success comes in many guises and we have

to ask ourselves how we really measure it and
what we really want. However you answer that
question I think there are certain steps that all suc-
cessful people take. I recently read an article titled ‘7
FK

steps to success’, they were all pretty general so here

are my 7 steps to success in the world of magic.

1
EIT

Do what you love and what you are good at.

Well we already have found something we love - the art of
magic. Find the branch of magic that really floats your boat.
If you enjoy it then it will be easier to get others to enjoy it. Are
we any good a it? Well you are better than most people in the world.
H

When it comes to the ability to perform magic you are already one of
the best in the world - because most people can’t do it at all! It only takes
one good trick to make someone say ‘do that again’. And if you can get that
FIE

response then you are on the right road.

2
Be prepared to learn and to be positive (motivation and enthusiasm).
There are many magicians who are prepared to help you and teach you through
LD

books, DVDs and personal tuition. There are magic clubs and societies with mem-
bers who want you to succeed. Seek them out. Like so many professional magicians I love
to spend time talking about the art I love. I need to learn and be positive just as much as
anybody else and one of the ways I learn is by teaching others. If you are positive fun person
S

and want to learn you will have no trouble finding people to teach you. Find a magical mentor
who can help you develop.

61
3
Be innovative.
Innovation is the life blood of magic. You should dare
to be different and not be afraid to take a risk and try
something new. It is only by trying something new that you
will discover if it works and discover more about yourself. And
if it doesn’t work it doesn’t matter. I try to do something differ-
ent every time I perform. If it works, great, I have a new idea to
develop, if it doesn’t then I will try something else next time.

4
Be prepared to invest in yourself.
Not just money but your time, effort and any other re-
sources you have. Time and effort are a much more valu-
able commodity than money. And they will achieve a lot more
than your cash ever will. But use all these things wisely as there
are no short cuts to putting in the work.

5
You must be disciplined in having set goals and tar-
gets. Remember that persistence is the key to success.
Goals are such in important tool on the road to success.
But it is no good to anyone unless those goals are written
down and regularly reviewed. Work out where you want to be
then work out what steps you need to take to get there. If your
ambition is to put on a stage show then start by building the
skill base you need to put on the show. Gather the tools and
experience that you need in small chunks. You can practice
Populate - An illusionary appearance of a small crowd.
the skills that you need for one arena in another. You can learn
Introduction by Eric Olsen of EDF Magic
skills at a birthday party show that transfer directly to a larger
situation. Design a roadmap to help you get to where you want
This is the first in a series of single illusion publications
to be and stick with it.
by renowned Illusion designer Mark Parker, author of
illusion books 'Vivify' & 4E Illusion Design.

6
Populate is Parkers take on the Guy Jarrett 21 person
You must be prepared to manage your time effec-
cabinet.
tively.
Set aside a certain amount of time every so often to ana-
In this version an elevated framework structure,
lyze your progress and review your roadmap. Re-write it as new
screened with fabric is shown completely empty & re-
opportunities arise. And most importantly enjoy the ride. If it
volved 360 degrees. In an instant the fabric is stripped
is not fun then you are probably doing it wrong. If you want
away revealing the surprise appearance of 26 people.
to achieve something then you will have to work at it. It is not
The illusion is self contained, performed away from any
going to just happen.
backdrops and requires no black art.
A stunning and surprising appearance of a small crowd

7
of people.
As you evolve, learn to give back.
As you grow and learn and begin to hit your own goals
The illusion is described in detail complete with dimen-
you should start to help others do the same thing. Teach
sions and construction notes. The apparatus required
others the secrets that helped you achieve your success. Never
is designed to break down into individual sections for
forget that you were once a beginner and needed help from
easy transport
others to climb the ladder. Some of us even needed help to get
Printed in glorious full color throughout, complete with
on the ladder in the first place.
detailed 3 dimensional illustrations.
By taking these steps you will definitely improve your chances
"Mark has a devilishly creative mind that scares me!"
and maybe, with a bit of luck, it will be you up there.
-Lu Chen

ABOUT KEITH "Populate is a wonderful & surprising illusion. Mark's

Keith is an excellent motivational speaker, an experi- elegant design solution to this plot is a must read."
enced TV presenter, and an award winning comedian and - Charles Bach - Las Vegas
magician. Originally from London, his keynote speaking
and performing has taken him quite literally all around "Mark Parker is an explosive creative genius of illusion
the world. He now lives with his wife and family in the design! Fascinating excellence!"
- Brett Daniels - USA
USA and was called ‘an alien with extraordinary ability’ by
the American government. Available from all major magic dealers.

62
THE REVELATION
KEN DYNE
Creative madman
and mind reader.
Performing a
combination of
corporate shows,
theatre appearances
and speaking on
the subject of real
persuasion, Ken is
one of the UK’s most
sought after live acts.

A
tear, a peek, a switch, nail-write it, double-write it, pocket-
write it, switch it, steal it ... whatever you do to get to the So far as our participants can see, they chose a card. That’s it.
end result, the audience cares very little. They probably don’t even recall whether you dribbled or riffled
the cards, do they?
Why don’t they care? Because if you’re doing it right, they
shouldn’t know it is happening at all. So much literature we find our shelves filled with focuses on ‘how’
we do the thing; the secret move or prop. When in fact, so long as
But there is something that they do care about. Something that delivered with an equal measure of confidence and competency,
makes one performer stand out, and the majority fade in the it’s just as good as the next thing.
background.
Yes, the “flamdooby half-pass” might allow you to keep all of your
Why is it that we’re all still obsessed with a learning a better peek fingers in view at all times, but the “shaba pass” has been nailing
of a card? A better control, a better switch, the latest impression audiences for years. Most of us know that it’s mainly for us that
device, the newest way to force something on someone for later? we learn these things.

The reason is because, well at least for me anyway, I forget that So what is it that audiences do care about? They care about the
other people outside of our community actually have things revelations, and that is pretty much it.
they care about beyond how they selected their card. They have
friends, jobs, hobbies and interests too. Look at a mentalist for example, he only has a finite number of

63
things he can do. He can read minds, predict things and possi- and even strange revelations.
bly move objects with his thought and do rapid mathematical/
memory things. That is ALL he can do. Anyone familiar with my routine Brainwashed will see how I
took the idea of a ‘In Plain Sight’ prediction and taking it to the
Now go around and ask a pro what to include in your program extreme level, creating a very interesting and surprising finale
and they’ll tell you to choose just one or two of these ‘abilities’ to my theatre shows.
and only perform demonstrations that illustrate those things.
So now we have just one effect happening over and over again. The reason I think focusing on revelations is of such importance
is because of the growth in sameness among performers. How
In so many cases, especially here in England, the fad is to dress many times have you seen the Vanishing Bandanna performed
your mentalism in a platinum scarf of ‘influence’. So everything the EXACT same way? Is there anything unique about any of those
he does is influencing people and proving he did so correctly. performances that makes the performer stand out? Probably
So, prediction. not. Is there any element of that performer in the performance?
Probably not.
The show consists of a prediction followed by…a prediction.
Which is then closely followed by something that shows signs I’m a visual person and I like to go against the grain in many ar-
of being vaguely different which, oh wait…is predicted. eas of my life, in particular in my approach to mentalism. I don’t
go for this minimalism approach where some pieces of card
As far as the audience sees, it’s the same thing over and over and a pad will do. Instead I create interesting visual elements
again, unless you do something different. The revelation. that stimulate more of the senses in audiences, leaving a much
more five-dimensional memory* in their minds. One that, most
I’ve become obsessed with creating interesting revelations for importantly, is uniquely me.
effects. I’ve got a notebook (well a digital one called a Google
Document), I refer to as my Book Of Revelations ™ and this is *A five dimensional memory is one that involves all of the senses.
where my creativity has been focused in the recent years. I made that term up in the hope it’ll catch on and appear in self-
help books sometime soon.
At first I was obsessed with interesting methods, right now those
things don’t matter. Instead I think audiences will get far greater
enjoyment from seeing a series of interesting, surprising, clever

64
 “Hermione”

Hermione is of course a character in the popular “Harry

Potter” series; here the inspiration comes however from the

Shakespearean character in “The Winter’s Tale” Queen Hermione,

wife of King Leontes. The king banishes Hermione and she remains
Effect :
a stone statue for sixteen years. The play finally ends with the In the centre of the stage a clear raised
platform is lit from all angles, including the
stone statue of the queen returning back to life. underside, leaving no doubt in the audience’s

HERMIONE
mind that trap doors, mirrors or the such
like are being employed ( indeed they are
not!). Atop the platform stands the figure of
a woman, motionless and without color. It is
apparent that this figure is in fact a statue and

LEE ALEX
has been chiselled from stone. Under cover
of a rapid smoke effect the statue transforms
into a colorful duplicate of the statue – the
figure has come to life and is able to walk
down from the platform via the glass steps
that lead up to it.

Background to the effect :

There is an age old thought amongst audi-
ences that everything the illusionist ac-
complishes is done with smoke and mirrors.
I wish sometimes that everything was so
simple! I have always had a passion for the
legend of Hermione in “The Winter’s Tale”
since we were forced to study this at school.
It is one of Shakespeare’s least popular and
least performed plays, but despite that, the
image of Hermione changing from stone
back to a human has stayed with me for a
very long time. Indeed I have been toying
with this very illusion for a number of years. I
wanted to present the most clean and believ-
able transformation with the least technical
worries. The effect was intended to be fast
and performable everywhere. The solution
that I have come up with allows this to be
presented completely in the round with no
special technical requirements, no special
lighting, and none of the usual bases or other
means of hiding an assistant that other illu-
sions rely upon.

The platform that is described in the effect

above is not a necessity, but was placed to
emphasise the fact that the statue is isolated
and may be viewed from every possible angle
and also that the effect may be accomplished
literally in a flash with no other technical re-
quirements. A makeshift platform could be
constructed with two sawhorses and a sheet
of substantial clear acrylic, the area of which
needs to be just large enough for a single
person to stand comfortably – let us say 80
centimeters square.

65
 THE SECRET OF THIS

ILLUSIONS LIES IN

THE DRESS.

Method :
The secret of this illusion lies in the dress.
The fact that a historic figure has been
chosen as the subject is no coincidence.
The principle lies in a large reversible
crinoline style skirt, which at the outset
shows a stone effect and once turned costume. of the stone effect). The “petrified” bodice
inside out shows a bright and colorful For the illusion to be accomplished two is then treated to a stone-effect decora-
material in contrast to the dullness of complete costumes are constructed, tion by applying paints to the surface of
the stone. one “stone” costume, and one revelation the material. Please be aware that certain
costume. The appearance of the dresses fabrics may be harmed by the paints and
In order to perform the illusion two girl should be identical apart from the surface should be tested before construction is
assistants of similar height and build are texture. (For example if the one dress has commenced. Special “stone effect” paints
required. a bow in a certain place, the other dress are available commercially, or you may
should posses an identical bow in the consult any number of decorating effect
One girl is made up with normal stage same position). books for further ideas on how to create
make-up; the other has been painted a stone or marble effect. The effect should
with body paints on the face and bare The dress : not be heavily applied since the flexibility
areas (arms, neck, upper chest etc. de- This includes the upper bodice of the of the material should not be lost. The
pending on the style of the dress used) costume and a lower under skirt which is stone effect may be enhanced by adding
in a stone effect. The hair likewise has used to conceal the legs of the assistant “moss” (particles of acrylic sponge painted
been styled in a similar fashion and the under the layered skirt that comes over green, also used for model train settings)
“petrified” girl’s hair is also body-painted the top. The bodice is tight fitting to the and foliage – creeping ivy, autumn leaves,
to resemble stone. (On large areas it is body and gives contrast to the skirt below. skeleton leaves made from wire and net-
advisable that the body paint be sprayed There should be no apparent separation ting etc. to the costume.
on to the subject rather than sponged on. between the bodice and the skirt. The
In order to get a good base for the hair, decoration of the bodice depends upon The skirt :
this should be well lacquered before ap- the scenario (see Further Presentation Again two skirts are required and these are
plying the paint, or alternatively a wig Ideas below). In the case of Hermione two constructed with a bustle – a gathering of
may be worn by both girls). identical bodices are made (that is identi- material which gives fullness at the back of
cal in look, but not necessarily in material. the skirt. The necessity for this will be seen
Construction of the dress and skirt : For the faux stone costume use calico or as we go through the construction. I was
For ease of construction we shall look linen which will facilitate the application tempted to use an underlay wire frame as
at the separate elements of the whole

66
used on some wedding dresses to give full- the assistants may be dressed at the last The skirt differs in this version also in so
ness to the skirt, which is needed to hide minute on top of the glass platform before much as two waists are not necessary.
the second assistant before the change the curtain raises on the stage. The two skirts are turned inside out and
and the original assistant after the change. sewn to each other around the waist line.
This however was rejected as it hindered Presentation : The mannequin literally sits on top of the
the reversal of the two skirts within each The petrified assistant stands on top of the bent buttocks of the assistant. The bodice
other – both assistants would need to wear clear platform. With a music cue a smoke of the mannequin is made longer and
a similar underlay and the skirt would not effect is set off. Beforehand both assistants gathered up at the join to the waist of the
function as intended. have crossed their legs one on top of the skirt. This excess allows the mannequin to
other under the skirts. This crossing fa- hang down and not perpendicular to the
The skirts should be of such a length that cilitates the necessary turning – if the one assistant once she has stood up.
the feet of the assistant are hidden, but assistant were to bend, and the other one
not so much as they drape on the ground. to stand up, the dress would be revealed The mannequin is held in place by the
Both skirts are the same length. If neces- with its back to the audience. The turning concealed live assistant. She is able to hold
sary the skirts can be made slightly longer must be done in the process of standing the mannequin at the waist either side
to cover the hidden assistant completely, up/bending down, and this under cover through the material of the skirt.
but not so long as to arouse suspicion from of the smoke. The assistants must be well The turning during the revelation is omit-
the audience – a couple of centimeters rehearsed in this process in order to allow ted in this method. The assistant faces the
maximum will suffice. Allow for the length the effect to occur as quickly as possible. front from the beginning, releases her grip
of the skirt rising when the assistant is The correct leg must be crossed over the on the mannequin, which falls backward
concealed within. other according to the way in which both under the skirt. If your assistant is able to
assistants will turn – a turn to the right bend double backwards, then the turning
The skirts are supplied with three layers of means crossing the left leg over the right may also be eliminated in the previous
under skirt. These are made from chiffon leg, and vice versa. method also!
or light satin which will give fullness, but
not create unnecessary weight. The waist If you wish to eliminate this manual turn- This method has the advantage of allow-
of the skirt should be a tight fit over the ing process, this can be created mechani- ing the skirt to be removed once the effect
bodice and dress. If necessary use an elas- cally by having the assistants stand on a is finished and having your assistant per-
tic waistband or draw-string waist which “lazy Susan” (turning plate) which is fixed form another illusion after. The mannequin
can be drawn tightly around the waist. To on top of the platform. These are similar and the first skirt are hidden behind the
make dressing easier the waistbands open to what is used for television turntables lining and underskirts of the revelation
completely and may be fastened again or the metal twisting plate found in the skirt. The skirt should have poppers or
with poppers and a zipper. gym. The assistants are turned by the clip fasteners on the waistband to allow
The completed skirt will resemble some magician immediately after the revelation the skirt to be removed. The skirt has an
item of clothing made for Siamese twins! dress has come into view. The use of such open slit down one side.
Turn both skirts inside out. These are then a device should be a last resort as it devi-
laid waist to waist. The two back halves ates from the simplicity of the workings The Mirror Glass Method:
of each waist are sewn together. When of the illusion. An almost transparent effect may be
the first skirt is turned the right side out, achieved by adding an underskirt made
the inner skirt is still inside out. When this Alternative method : “Hermione goes Solo” of shiny silver spandex. There are many
latter skirt is turned the right way around, This method requires only one live as- highly reflective fabrics available which are
the original outer skirt turns inside out sistant. In this case the original figure is almost mirror like. You may also consider
and becomes covered by the second skirt. replaced by a mannequin. This mannequin the use of a silver-sequined fabric.
should be made to resemble your assistant
Dressing your assistants : as closely as possible. The mannequin is The idea here pertains from the magicians’
Both assistants wear their appropriate dressed with a wig to resemble the hair Mirror Glass effect. The glass is divided in
bodice and underskirt. The second skirt of your assistant, or alternatively your as- half with a reflective mirror which reflects
(final revelation) is worn first. Once the sistant wears a wig too. the front of the glass giving the optical illu-
skirt has been worn this assistant bends sion of a completely empty glass. In reality
in half forward to touch her toes. The skirt For the presentation of “Hermione” (a the mirror hides the back half of the glass
which will create the original appearance stone figure to a human), this method is which is loaded with a production item.
can now be worn. worth considering. The vinyl mannequin Like wise the front of the skirt is made
may be decorated easily to resemble more transparent with the use of chiffon
Dressing should be left to the last minute. stone, and there is even the possibility and organza materials. You may wish to
The concealed assistant is able to wall of creating a more stone-like effect by add lights inside the skirt for a stunning
backward in her bent position, and the applying plaster or wall filler to the man- effect. The skirt becomes lucid and the
standing assistant must be guided walking nequin which can then be spray painted. second assistant is well hidden within the
forward. Alternatively you may wish to use The surface of the mannequin should be wraps of silver fabric. Fibre optic fabrics
a low platform with casters for ease of ma- roughened with glass- or sandpaper which may also be a great choice to add to the
noeuvrability. If your performance allows allows the filler to adhere better. beauty of this illusion – fabrics which

67
attract light or have fibre optics built into them, LED bulbs,
Glo-sticks, fluorescent and UV fabrics, EL wire are all options to
highlight this illusion.
FREE
Experiment with different fabrics and lighting effects to gain the
Membership to
most translucent appearance possible. The original assistant must
Magic New Zealand
stand in front of the silver divide with legs visible. If you choose
e-zine
the use a mannequin, then no legs will be visible.

The addition of this detail and optical illusion adds highly to an

already seemingly impossible effect.
For information e-mail
Further Presentation Ideas : Alan Watson: Editor@MagicNewZealand.com
The look of this illusion is not restricted of course to a petrified To subscribe: www.magicnewzealand.com
girl changing to a human.
Shakespeare’s Hermione was just the inspiration. There are many
scenarios that this basic principle may be applied to:

Evil to Good (or vice versa): This is a classic theme that runs
through many forms of entertainment and story lines. A dark
colored outfit with Gothic accessories, studs and rubies, splat-
tered with dark red, dried roses might change into a light colored
silken dress decorated with pearls and fresh flowers. In reverse
To Advertise in

VANISH
the magician may wish to act out a “Vampire’s Bride” type effect
where the innocent virgin becomes a creature of the night.

Ice Queen: A frozen goddess-like figure sparkles in a white satin

dress, overlaid with organza of various shades of blues, white and
silver, encrusted with crystals and stones. Careful attention should
be given to the make-up and hair, and again body paints and
shimmer will help out extensively to give the desired effect. The contact
Ice Queen is melted and becomes a Fire Element in bright reds,
oranges and yellow. Use a vanishing cane in silver and an appear-
ing cane in red respectively as an accessory.
us via email at
There is an exciting product on the market known as “Smash” info@paulromhany.com
plastic which is used in the film industry for breaking glass ef-
fects. If your budget allows, you may wish to have the top of the
Ice Queen made from this material. Before the revelation of the
hidden assistant you are able to break the ice and have the top
of the model smash into many pieces.
For product Reviews:
Of course each time a new mannequin must be made, but the
effort will be worth it!

Cinderella: There are a number of characters in plays that could

benefit from such an effect. The first one that springs to mind
would be of course the “rags to riches” story of Cinderella. Make
your two girls up with a wig to look the same – of course one
VANISH
Product Review
should be a lot more dishevelled than the other!! The first dress
is of course a patchwork of different materials stitched together
with thick stitches, dirty stains, and an apron.
PO Box 101473
North Shore Mail Centre
Auckland 0745
New Zealand

68
CARDS OF FATE
RICHARD WEBSTER
T
he magician casually shuffles a deck of playing cards as he tells his
guests about Donald Campbell, the man who set several land and
Richard Webster has water speed records before his tragic death in 1967.
written over thirty “Donald Campbell was very superstitious,” the magician says. “For instance,
five books for psychic he always carried a teddy bear called ‘Mr. Woppit’ that his wife gave him. That
was his good luck charm. Mr. Woppit was recovered from the wreck of the
entertainers and turbo-jet hydroplane Bluebird after Campbell’s ill-fated attempt to become
the first person to exceed 300 mph on water.”
magicians, and dozens
The magician spreads the cards face-up on the table. “Campbell and his
more for the general crew spent a number of weeks at Coniston Water waiting for the right weather
public that have been conditions for the attempt. Donald Campbell wiled away the hours by play-
ing a form of Russian Patience that he’d learned in Las Vegas. The day before
translated into twenty two the accident, Campbell turned up the Ace of Spades followed by the Queen of
Spades.” The magician picks up these two cards and displays them. As he
languages. continues to talk, he picks up the remaining cards, adds the Ace of Spades
and Queen of Spades to them, and continues shuffling.
http://www.psychic.co.nz
“As Donald Campbell was highly superstitious, he was concerned about these
two cards. He told his companions that Mary, Queen of Scots, also turned up
that same combination of cards, and knew instantly that she was going to be
beheaded. ‘I know that one of my family is going to get the chop,’ Campbell
said. ‘I pray to God it is not me.’ Naturally, his friends and colleagues tried to
convince him that the cards meant nothing, but Campbell could not be reas-
sured. His friends produced another deck of cards, but these had green backs.
Unfortunately, Campbell was also superstitious about green, and refused to
have that color around him. This made him even more concerned. He went

69
to bed convinced that some sort of tragedy was about to occur. Of
course, the following day, the tragedy occurred. The Ace of Spades
and Queen of Spades had foretold yet another disaster.”

The magician smiles at his spectators. “Of course, no one here

is superstitious,” he says. “However, just on the off chance that
someone might be afraid of tempting fate, we’ll use these cards to
create a re-enactment of that fateful afternoon.” The magician
hands the facedown deck of cards to a male spectator. “You,
sir, can play the part of Donald Campbell. You look adventurous
and ready to attempt a world speed record. Before you make the
attempt, though, you’re about to play Russian Patience. To do that,
deal as many cards as you wish in a facedown pile on the table.”
The magician silently watches as the man deals. “Stop whenever
you wish,” he might say, if the man appears to be dealing the
entire deck.

“Good.” The magician takes the unused cards from the specta-
tor. He picks up the pile of dealt cards and hands them to the
spectator. “For Russian Patience we need two piles. Would you
please deal the cards that you selected into two piles.” Again the
magician silently watches as the man deals two piles.

“Remember, you are not you, you are Donald Campbell,” the magi-
cian says. “Donald, please turn over the top card of one of those
piles.” The magician leans close to see what the card will be. He
appears shaken when the card turns out to be either the Ace of
Spades or the Queen of Spades. Without saying anything, the
magician indicates that the spectator turn over the top card on
the other pile. Naturally, it is the other card. Richard Webster
The magician sighs deeply. “It’s good luck for all of us that this is
simply a re-enactment.” The magician turns the pair of cards face
down again. “Remember,” he says, “It’s bad luck to be superstitious.”

METHOD
This is simply window dressing to an effect that you probably
learned as a child. Once you have shown the Ace of Spades and
Queen of Spades, you replace them on top of the facedown deck
and casually shuffle it, while keeping the two cards on top. I
usually shuffle them to the bottom and then shuffle them back
to the top again. The shuffle needs to be casual, and apparently
of no account, though obviously your spectators need to be
aware that you are mixing the cards.

You hand the facedown deck to a spectator and ask him to deal
as many cards as he wishes into a pile. The first two cards he
deals are the Ace of Spades and Queen of Spades. It makes no
difference how many more cards he deals. When the cards are
dealt again into two piles, the two force cards will be the top
cards of each pile. The effect is almost self-working.

The story about Donald Campbell (1921-67) is true. He was

highly superstitious, and did play Russian Patience on the af-
ternoon before his death. I have no idea what Russian Patience
is, and – at least so far – all of my audiences have assumed that
the dealing of cards into piles is how Russian Patience is played.
Mary, Queen of Scots was also dealt the same two cards in 1586,
the year before she was executed.

70
 Suspendisse consectetur mauris
vitae odio semper euismod.
Curabitur in enim augue.
myMagazine

Curabitur vel tincidunt odio.

Integer volutpat tempus nunc,
sed molestie velit pellentesque
eu. Praesent dapibus enim
turpis, at lacinia purus. Fusce
dictum fringilla justo ut pellen-
tesque. Vivamus eu urna dolor,
id ultrices odio.

THE TRANSFORMATION
KYLE RAVIN
T
his article is an account of my thoughts and troubles, per- The Asian Civilizations Museum was running an exhibition
forming a show I was not used to performing, in situations featuring textiles from India that date back to 1400AD. They
I do not particularly enjoy. I would not have taken such a were looking for an entertainer to perform a completely Indian
tedious job, but my friendship with one magician changed my theme show. They had seen my promo reel and were confident
perspective of my magic business, and life. Thank you Dan Sperry. in my services. The job sounded simple. Multiple thirty minute
Dan Sperry was in Singapore recently for the show, The Illusion- shows over one weekend, with meet and greet sessions after
ists. We met a few times, and had long deep conversations. I share each show. I was excited. I’d be fully booked over the weekends
the one thing Dan mentioned that stays and remains chiselled in in April, that’s a bonus, especially in the small market here in
my mind. “Nothing is Below Me.” This is an account of my month Singapore. The price was right and I got the gig. Yippie! No. It
long transformation from Stage Illusionist to Floor Conjuror. was at that point when I realized, ‘#$#%$^ !’ I don’t know much
The Transformation about INDIAN MAGIC.

Recently, a friend of mine referred me to a client of his, who When I was performing in India, I did manage to meet magi-
was looking for a magician of Indian ethnicity. I got in touch cians from the country, and from my knowledge, there actually
with the client, an event producer running an event for a local weren’t many Indian effects I could recall; The Hindu Basket, The
Museum. After speaking with the client I realized why this was Indian Rope Trick, The Brahmin Rice Bowls, The Indian Mango
such a tricky job. Trick and the Indian Cups and Balls. Of those that I could name,

71
 Magic in India
Derived from a Latin term ‘Magi’ which was used to refer to Zorastrians in ancient times, the performance of
magic and its practice is in fact historical and very ancient. There would be definite yet varied purposes for the
practice of Magic evolved where entertainment, tricks, deception, illusion, cheating in games, fun, etc. have
been aimed. Sometimes, in religious context and purpose, it meant to offer social education along with some
kind of preaching and healing too. Practice of Magic started to become evident post closure of 17th Century,
and eventually India presented some distinct magicians in 18th and 19th centuries. West Bengal, Kerala, Kar-
nataka, Gujarat, Delhi, Mumbai and some other parts of India have produced few great magicians so far.

P.C. Sorcar is known as the father of modern Indian magic. Some of his specialties included the Rope Trick and
the Flying Carpet, and was a prolific author of books on magic in Hindi, Bengali and English languages. On Feb
23, 2010, the Indian government honored him with a postage stamp.

I didn’t own any of the props or have the know how to perform
them correctly. The Theme
Think about the theme, what advantages it might offer you. For
I asked myself, what should I do? Masks? I was performing a me, the theme was Indian culture, and being of the Indian race,
mask act with mask changing but that’s Chinese, not Indian. the information I present would be more credible. I then had to
I recalled watching K. Lal in East Mumbai last year. All the he think what are the different things I relate to concerning Indian
magic performed was ‘western inventions’; canes, dove trays, Culture? Food came to my mind, then the Rivers in India, Bol-
Windsheer, broom suspension and the modern cabinet. That lywood, then I thought of the Sam Dalal book Swami/Mantra.
won’t work. I’m screwed... I thought of the Fakirs, I thought about the sword basket then I
hit myself in the forehead realizing I sold my sword basket. The
I thought about Jeff Mcbride, and a song he uses with the words exhibition was about Indian fabrics, so perhaps I should ask my
Transformation constantly being mentioned. I figured that I’m mother about her old Saris. (Indian clothing article for women)
going to transform what I usually do, to suit the nature of the I wrote all these thoughts on paper. The ideas were my first step
show, yet, keep it as ‘Indian themed’ as possible. Here’s how I to designing this show.
went about it.

72
 Rivers. It was exactly what I needed. I put
together a script and I had my ‘Water of
India’ routine. PC Sorcar was mentioned,
but I related the routine to life. With old
Indian proverbs about determination
and self confidence, I spoke about how
sometimes in life, we might feel empty
but with the right mind-set, we’re always
able to produce more. Just like the water
of India! The audience loved it.

Yoga was one of my other ideas. You might

find this funny, but I performed the Do as I
do Hand Twister, popularized by Kotkin. It
worked. “Yoga is a science that dates back
to India thousands of years ago, now let’s
try this. Everyone put your hands out in
front of you. Feel the blood flowing to the
tips of your fingers...” I was able to take my
audience from science to actually doing
it, and in their minds, it’s conditioned, it’s
probably an exercise. At this point I’d like
to add that performing with conviction is
key. Just like how you have to stare at an
empty hand believing it contains a coin,
Relating the Ideas to Magic Silk and throw streamers were added to you’ve just go to believe what you say.
This was where it became challenging. the opening. Performed to an electro and
The budget given by the client was not a Tabla track, the opening was fantastic. Next came the comedy routine. Comedy,
very handsome one, so going out to buy, Not entirely Indian Magic, but each was with an Indian theme? I started to doubt
or fabricate would be out of the question. performed to the beats of the Tabla, and myself again. I thought of the mouth coils.
I had to work with what I had. This is a had some sort of ‘spice’ to it. Oh no ... That’s something I’ve left a long
real world situation here. Many times, we time back, when I performed kid shows. I
read in magic magazine about how others Next came the water. This was easier than never wanted to go back to THAT again.
built their million dollar show. I was work- I thought it would be. I had a Morrissey Dan Sperry’s words ran through my mind
ing with what I had. I needed to create a Lota Bucket. Perfect! I remember read- again. Nothing is below me. I can do it.
structure. ing somewhere, PC Sorcar performed I figured an introduction to Bollywood
the Lota Bowl after watching an English dance would be ideal. Two volunteers
Personally, 99% of my shows feature this Magician perform it. Sorcar performed it are invited, they learn some basic dance
conceptual structure:- better, mentioning the magic of the Indian moves and both with the magician, per-
Fast Paced Opening – Mass Participation –
Comedy Routine – Personal or Sentimental
Effect - Fast Paced Closing.

I thought about the food. Was it feasible to

perform with food? Rice? Indian Sweets?
Produce them? I eventually scrapped the
idea. I then found one of my parasols
from when I performed my manipulation
act some years ago. How do I use this?
How can I make this special? I ended up
ripping up an old Sari and sticking it on
the parasol, so I now had an Indian em-
broidered parasol. I had a fire pan, but I
couldn’t use fire in the museum. I modified
that so it produced a 50 foot silk streamer.
I was on a roll. I found my juggling knives,
thank goodness for them. Juggling would
add the extra oomph to the opening
routine. A piece of Indian silk attached
to a hummingbird reel, El Duco’s Zebra

73
form it on stage. The routine would move into a freestyle seg- Dharshee emerged unharmed, her costume now changed. We
ment where tissues are introduced. You know how the rest of the took our bows. The audience stood up. I thought they were leav-
routine goes. I was still embarrassed at this concept. With all due ing. Yea show’s over. But No! They Stayed. They clapped. I had my
respect to those performing the mouthcoils, I used to perform first standing ovation in almost two years. It’s VERY hard to get
it in a very kid show manner. It can still be used for adults but I standing ovations here in Singapore. It’s just not in our culture to
had that stereotypical thinking in my head. I was afraid to come do so. But I managed to get one. It was amazing. The following
out of my shell. “Nothing is below me! Transform!” four shows were just as good. The client was overjoyed and ev-
eryone was genuinely excited about the show. We were followed
Sam Dalal’s book reminded me of the pictures with the Fakirs. by little fans, the kids, back to our changing room.
The human ostrich is one picture I still have in my mind. I then
thought of my floating table. I use my Losander Table for every I learnt a lesson from this experience. I hope you might be able to
show, whether or not I use it. It’s just a wonderful illusion to have. take something back too. As Dan Sperry said, “nothing is below
I thought about how the Agoris, feared Yogis in India for their me.” I’m human, just as you are. The test of a good entertainer is
cannibalism and rituals with corpses, claimed to have telekinetic his or her ability to work any stage, any crowd. Yes, the corporate
abilities with constant meditation. This might work with the float- circuit pays better, illusion shows seem more prestigious, but the
ing table. A watch is to be borrowed, and placed into a small box. floor is where most of us started. Some stayed and I respect the
The audience is urged to all focus on the box to attempt to make likes of Tommy James, the best there is in the kid show market.
the watch rattle within it. The watch rattles. Everyone is asked to Many, like me then, didn’t want to turn back to it. I was too com-
focus on the table top, make the table move, and to follow and fortable with my illusions. I’ve learnt to be flexible. To work in
guide the table as it moves. The table floats. This I wanted to try. any situation. Because I don’t love stage magic. I love Magic, and
Will the audience buy into it? I would just have to try. that can be performed anywhere. Nothing is below me. Nothing.
Keep Transforming.
Now my finale- It is not at all necessary to close any show with
the biggest trick. In fact, I considered closing the show with a ABOUT KYLE
‘Borrowed Ring to Mango.’ However, I felt I wanted to perform
something bigger. Thankfully for Russ Stevens and Shahid Malik, Kyle Ravin is an illusionist and show host based in
I’m a huge fan of the Cardboard Spike box and I perform that Singapore. He is a two-time Singapore Stage Magic
as well. My girlfriend/assistant Dharshee and I discussed about Champion, and recently won Most Outstanding
closing the show with the cardboard spike box. I would mention Magician 2011. Kyle started magic at the age of 7
the hindu basket illusion, how it was performed with a wicker and is a practitioner of other arts such as juggling,
basket, a child and swords. I would then close the show with a
modern version of one of the classics in magic. The show was ventriloquism and music. Kyle also runs motivational
now set. I was ready to go. workshops with magic for teenagers in schools.

The Weekend
Show day came and I reached the venue with excitement. To my
disappointment, I learnt that there was no stage and no backdrop.
Just an open space with a sound system. Fortunately I had a spider
backdrop in my van. Thank goodness for that. I was sad there was
no stage. It brought back memories of the venues I used to work
years ago. Nothing is below me. Change that mind set. I can do
it. With a positive mind, I approached the sound technician and
we went over the sound cues.

Questions were still running through my head. Would the audi-

ence buy into my floating table presentation? I’m pretty much
surrounded. This is tricky. I thought about my comfortable stage,
and my illusion show, then it hit me. I do what I do because I
love what I do. Nothing is below me. The test of a true magician/
performer is to be able to entertain in any situation. Throw me
20 kids and I should still do an equally good show as compared
to my corporate illusion shows. I can do it. With that positive
mind-set, I took the stage. Or floor rather. The kids seated on the
floor reminded me of my kid shows. I smiled wider. I felt happier
that I was able to be there to try something that challenges me
as an entertainer. My silk flew off my hand, to the left and back, I
produced the parasol. The audience gasped. The rest of the show
went according to plan. The audience accepted the presentation
of the floating table well. Many were nodding in agreement.
The cardboard spike box was brutal. In a good way of course.

74
 Bizzaro has performed from
coast to coast and appeared
on FOX, NBC, America’s Got
Talent, and Travel Channel’s
Extreme Conventions. He has
even been seen multiple times
at the Magic Castle. He creates
much of his own magic that
is sold around the world to
performers. To Bizzaro, normal
is just a setting on the dryer.

THE SECRET TO HAPPINESS

BIZZARO
“Anything you’re good at contributes to hap- That’s it. It’s that simple. If you care about being better at some-
thing you will work hard to make it the best you can make it. You
piness.” - Bertrand Russell will work at it everyday. You will hire people to do the things you
can’t do. I have heard many people say “I wish I was this or that
My friend once told me that if you find something you enjoy and or could do this or the other”. Guess what, you can. You just have
might want to do for a living try picturing yourself doing it for to care enough about it to work hard.
the rest of your life. If you can’t then don’t… do… it.
This applies to any number of facets of your show. From the mate-
I know far too many performers who are unhappy in their career rial you perform to the presentations you use. You will even find
after a while. The reasons for this phenomenon vary from per- you can resist the urge to steal other people’s lines. When you
former to performer. Some just don’t know how to do anything care you will spend the time to develop your own jokes, moves,
else and can’t stop while some are doing it just for the paycheck. and even presentations that are unique to you.
Here is a little piece of advice from me to you: If it starts to feel
like work… STOP DOING IT!! Of course caring enough to peruse your dreams takes sacrifices.
Things like goats and babies not having fancy cars, eating at
Our jobs are supposed to be fun. Not just for us but for every- nice restaurants all the time, etc. Better get used to the taste of
one. The entertainment business shouldn’t be a chore. Not for Ramen kids) I’m not outright saying the people who don’t give
the performer or the people watching us. If you are having fun, it their all don’t really care about their dreams, but I am inferring
they are too. If you are just going through the motions it shows. it. These kind of pursuits are like trying to push mud uphill. It’s
hard you will get dirty.
Now since you have read this far let me tell you the *real* secret
to happiness. It’s simple. Many don’t seem to be able to grasp Trust me, it’s a rough road but if you stick with it you will discover
it. It’s a foreign concept to some. I have boiled it down to one that the only people who truly fail are the ones who give up.
simple concept just for you. Are you ready? Take a deep breath
and proceed only when you are at peace. Here we go.

The secret to being a better performer is to give a damn.

75
PENNY FOR YOUR
THOUGHT
GERARD
The explanation for an effect you can perform
using borrowed objects.

EFFECT:
The spectator points to a card in a facedown deck. The performer deck the gap will not show. Place the deck back in the card case.
shows the card and places the deck back in the case. Next he
introduces a penny and a quarter. The spectator is asked to think You will now perform a ‘little’ game. This is the time to borrow
of one. The performer is able to tell which one the spectator is the two coins, a penny and a quarter. It’s a psychological game.
thinking of. This game happens one more time with both coins Hold a coin in each hand asking the spectator to think of one
in full view. coin. Watch their eyes. They will look at the one they are thinking,
look at the other one then back to the one they are thinking of.
The performer then places the coins in his closed fist, and asks The last one they look at will be the one they are thinking of. If
the spectator to think of one of the coins. The performer takes it is the penny tell them they are thinking of the penny, likewise
out the quarter asking if that is the coin they are thinking of? with the quarter. If you get it wrong it doesn’t matter, tell them
Placing the coin in his pocket the performer moves his closed you’ll try again.
fist with the penny in it over the card case.
Place the two coins in your fist and close it tight. When you close
Very slowly the hand is opened and the penny is gone. The deck make sure the penny goes below the quarter. Ask them to think
of cards is taken out of the card case and the spectator asked to of one coin in their mind, and then tell them you are going to
cut the deck. They cut to the missing penny. The card below the take out the one they are thinking of. You reach in to your fist
penny is turned over and it is the chosen card. and take out the quarter with the penny underneath. It looks as
though you are just taking out the quarter. Ask them if they are
SECRET: thinking of the quarter. It they are thinking of the quarter you
Don’t dismiss this effect because the method is simple, it is a very have a hit, if they say the penny then say, “watch the penny.” Place
strong routine. Normally this trick is done with a Scotch and Soda the quarter, with hidden penny, in your pocket. Now comes the
set, however I prefer to do it with borrowed change. most important part of the trick.

WHAT YOU NEED: You are going to ‘vanish’ nothing. It’s actually quite difficult to
Two pennies (or small coins if not in North America) and a quarter, do. You can’t just open your hand to show the penny gone. Hold
or larger coin that is different in color and size from the smaller your closed fist over the deck and say, “watch the penny.” Continue
ones. with, “One ... two ... three.” On three you slowly open your hand,
Take one penny and clip it between your fingers as in photo 5. and pause letting the vanish of the penny sink in.
Borrow a deck and spread them face down, asking a spectator
to point to any card. The penny is hidden underneath the spread Take out the deck from the case, and lift at the break where the
cards, still clipped between your fingers. Whatever card they penny is. They will see the ‘vanished’ penny and ask them to lift
touch, you slip the penny above the chosen card. Photo 7 shows the card below it. It will be there chosen card.
the penny on the Queen of hearts, the card below the spread is
their chosen card. As you square up the deck the penny gets put
on top of their chosen card. As long as their is pressure on the

76
1
A CARD IS FREELY SELECTED
Spectator choses a card and looks at it.
2 DECK PLACED BACK IN CASE
The deck is then placed back in the card
case.

3 SPECTATOR THINKS OF ONE COIN

Performer shows two coins, a penny and a
quarter. Spectator thinks of one. 4 THOUGHT OF COIN VANISHES
The thought of coin vanishes and ends up
next to the chosen card in the card case.

PENNY FOR YOUR THOUGHT

BY GERARD
An effect by Andrew Gerard that can be performed using a borrowed
deck of cards, a quarter and a penny. It’s easy to perform but really
packs a punch with the audience.

77
5 YOU WILL NEED AN EXTRA PENNY
An extra penny is hidden in right hand
pinched between first two fingers. 6 SPECTATOR CHOSES ANY CARD
The extra coin is hidden under the deck
and slides under the chosen card.

7
EXPOSED VIEW OF EXTRA PENNY
The performer shows the chosen card by breaking at the chosen card, and hiding the coin under-
neath. This is an exposed photo of the coin under chosen card. The deck is then closed and placed
in the card box. Bring out two coins, a penny and a quarter. Both are placed in closed fist.

8 9
BRING OUT TWO COINS AS ONE SHOW COIN HAS VANISHED
Have a guessing game with the spectator. Hold fist over the deck and slowly open it
Bring out the quarter from your fist and showing coin has gone. Take deck out and
place in your pocket. Actually both coins show the coin si nex to the chosen card.
78 are brought out.
A VERY GOOD YEAR
TC TAHOE
What the Audience Sees:

The Magician shows a stack of vintage

Number Flash Cards. The cards are openly
mixed.
After the cards are mixed they are dealt
out in four rows of four.
Based on The Four Bit Machine from David Britland’s
Four coins are introduced and the
Participant is asked to choose one of book Psychomancy
the flash cards by placing a coin on top
Calendar Force. The Mixing of the Cards:
of their choice. This is repeated until the
Participant has chosen four Flash Cards.
David Britland gave the force a more Show that the cards are in sequential
random feel to it. order.
The numbers on the flash cards are totaled,
and they add up to 34.
The following is the script I use and the Turn the cards face-down.
The Magician claims the Participant had working of the force.
You will now Reverse Faro the packet.
no choice but to choose those particular
The Magician lays on the table a coin purse Up-jog every other card, then strip the
numbers. To prove it The Magician tells
and a small stack of cards. up-jogged cards out. You will now have
the Participant to look at the dates on
eight cards in each hand.
the coins.
“Choices. We make dozens of choices every
day, maybe hundreds. Little choices, what It doesn’t matter if you start the up-
They are all from 1934
socks to wear? Big choices, who to vote for jogging with the top card or the second
on American Idol? card. It also doesn’t matter which hand
holds which packet.
Method:
You need sixteen (16) number cards, that As many choices as we make, there are just
as many things that influence our choices. Once you have separated the up-jogged
are numbered 1 through 16.
cards, you ask the Participant;
You can use any kind of number cards you
like. I found some old flash cards, but again It got me thinking, is it even possible to make
a truly random choice? Or is there always “I have separated the cards so they are no
you can use style number cards.
something influencing us?” longer in numerical order, which packet
would you like me to place on top?”
I have in fact done this with business cards
and wrote the numbers on the back in The cards are shown to be children’s flash
cards. The Participant tells you which packet to
front of the spectators. I had the coins
place where.
with me, but not the cards. In fact doing
it with business cards might be stronger, I “These are some old flash cards I found at a
garage sale. What made me buy them?” The “Now, no two cards are in sequence, but let’s
will have to experiment with this.
Magician shrugs. mix them further.”
The coins are fairly easy to come by. If you
“If you wouldn’t mind, please help me with You repeat the Reverse Faro, up-jogging
can’t find them at a local coin shop for a
an experiment. An experiment in choices.” every other card, separating them and
reasonable price you will find them on
again letting the Participant decide with
ebay. I bought four on-line for a total of
The Magician mixes the number Flash way to reassemble the packets.
five bucks.
Cards.
“We can mix the cards again, it’s up to you.”
The number is forced using Mel Stover’s

79
 Wait a Beat
Let the Participant choose whether to mix one more time. Do “Then again maybe you had no choice at all. If you add together
not give the cards a fourth mix. the Numbers of the cards that you chose….”

After the mixing, the cards are dealt out, four rows of four cards. The Participant does this and lo and behold the total is 34.
Deal from left to right. Once the first four cards are dealt, start
your second row, and so on. “34? Does that number have any meaning to you?”

“I also have some coins. These belonged to my grandfather. When If it does, then play that up, most often, it will not.
I was a kid I use to love playing with Pa’s bowl of change.”
“One of the things I have come to realize is, that most of the time
Four coins are poured out of the coin purse, the purse is set we don’t even know we are being influenced.”
aside.
Let them answer.
“I am going to have you choose a coin and place it on one of the
flash cards. Now, whatever card you choose, I will eliminate the “Do me a favor, look at the dates on my Grandfather’s coins...”
other cards in both rows that card is in, so choose carefully.”
This has been a solid piece of close-up theater for me, feel free
“In your own time, choose a coin and place it on a card.” to use my story, but I do encourage you to create your own.

The Participant places a coin on a card. The Magician turns over

the cards in both the horizontal and vertical rows

The three remaining coins are pushed towards the Participant. About TC
“Good, now please choose another coin and another card.”
TC Tahoe is a Intuitive who uses Tarot Cards, Pendulums,
When it comes time for the last coin, there will only be one Hypnotherapy, and more.
card left. He is a Speaker, Entertainer, Author, Facilitator and Teacher.
Utilizing all his unique skills, TC assists individuals and
“Because of your choices, there is only one card left.” groups into understanding and reaching their true poten-
tial.
A nod to the coin is all it takes and the Participant will place the
To purchase his products visit:
last coin on the last card.
www.tctahoe.com
“So, for whatever reason you chose these numbers. Did you feel
influenced in anyway, or did you make totally random choices?
Maybe you focused you mind and made a clear choice of each of
these numbers.”

80
 MAGIC 24-7
BEN ROBINSON
This is part 2 of Ben’s essay on magic
from the point of view of a full time
professional.

S
ome might think this silly. One card magician who finishes
his act with the Roy Benson production of an Ace of Recently I entertained a Russian billionaire. A real one. He owns
Spades at his fingertips once barked at another magician many mansions on Long Island. That is the least of his fortune
when he was notified that Roy Benson created the moves (he made his money selling futures to Russian gas “futures.” BTW,
and finished his card sequence with it. The barking magician said, he’s 90 years old.) His date for the night saw me do some close
“Well, I don’t give a shit. Benson’s dead, man! No one remembers up magic (Invisible deck, my signature trick and a Vernon effect
him. I finish MY act with this. So that’s all that matters.” Does it? where any card merely thought of winds up in their hands), and
the woman stated to the assembled in a swanky NY restaurant:
How does it possibly help me make money if I have (and I do) “You will always eat!” And then everyone broke up laughing!
had an exact recreation of Max Malini’s briefcase that he took all Truth being that which makes us smile…
over the world? To me, I feel connected to the great performer
in that I know he was able to do an hour show with the props he On the way out of the restaurant, the mostly deaf wealthy man
carried, in that small attaché case, or more correctly, seemingly handed me a crumpled check that looked like he’d wiped his
did not carry. windshield with it. I put it in my pocket without looking as we
were all saying good night and I did not think even a glance was
Now, I only do one or two routines that Malini used, but the one warranted. I should have looked. The check was blank, except
I do is an audience pleaser that has traveled with me in the 20 his signature.
countries I’ve visited. On horseback in Thailand and in the streets
of Paris outside the Pompidou Center I have featured this Malini When I called his office the next day I told his assistant what
trick. It is always a hit, even if there is a language barrier. But, my fee was, and explained what I had received. She shyly said,
remember what I said earlier about magic being an international “Ah, yes, Mr. Blastnofsky does that occasionally. It is not that he
language? So, with my knife, a special deck of cards I created and gave you a blank check, but that he may want to add to it if he
a few other props I can make a living. liked you. Let me see how you should proceed. I’ll call you back.”

Photo left is of
Ben backstage
with Denny Haney
preparing for his
lecture. Ben has
toured the USA
presenting his
lectures on his
books.
The photo above
is of Ben and Mark
and Nani Wilson.

81
 John McLaughlin, Ben and An

Two hours later she had checked with the TV special, whining like a petulant child act, split, collect a check and move on…
great man and he asked what my fee was. when he said, “I have a whole hour to fill no, this lacking effort sends a stench over
When told, he laughed and screamed, “He and I’m being paid a lot of money, so I our art that affects all performers — this is
has the nerve to charge me (left blank by really need your help.” Yeah, right. what ALL PERFORMERS are held up to. Go
Ben Robinson’s accountant).” In the end he to an audition of something you do not do.
was joking. “Lookit the kid’zalright let him He needs my help because I have read the Just show up. Mention that you do magic,
triple it and he’ll be happy.” When was the 3000 books in my library and I do know and listen to the chatter…you may have
last time you made three times your fee (for example) how to synthesize a prop an eye-opening experience if you do not
unexpectedly? Yes, I was happy. that is made to wrangle fire and invert already know that the TV magician’s have
it so the effect it aids is one with ice. My brutalized the art of magic. They say it is
People constantly ask me what I think of developed thinking allows this after so about good editing and massive publicity.
these TV magicians and I won’t cover for much research and experimentation. It I say it is about misdirection and sleight of
them any more. They are bad magicians is not that I am so wonderful and intel- hand you can do anywhere with anything.
and they do a disservice to all magicians ligent mind you – hardly. My point is that Tell me I am wrong and I’ll show you 500
— period. One magician had an audience this guy has spent other people’s money books (written between 1785 and yester-
inspect a legitimate deck of cards, and making him famous, and now he’s got to day) that defend my point of view.
then the TV shot reverses to watching the deliver. And he can’t. He’s been swallowed
magician take back what the home audi- by the consumptive world of mediocre I am often told that my audience has never
ence thought was the inspected deck. But, television, and now he is pleading with seen the type of magic I perform. This is
a line producer told me they stopped the other magicians: “Hey dude, give me true. I have started to create my own work
action, rung in a “mechanical deck that had your best trick. I’ll give you credit…” But once I had one foot 20 years in the game.
this gizmo inside that made single cards in the end, those credits rush by, no one
rise up.” Now, if a producer will divulge this watches them, the magician on TV gets Again, the point is not my work or how
to another magician, imagine whom else the credit and the inventor who supplied good, clever or horrible it may be. The
he told? And where does that leave the rest him…his pet has been snatched by the point is that I have developed an original
of us? If you do not fool those you work jaws of someone who won’t know his style that has only been copied in part by
with, you might as well not even broadcast name five years later. a few of the tricks I licensed to others. I
the show I say. made the bullet catch relevant to modern
This hurts all magicians because “magi- audiences by writing about it. It’s been
One TV magician asked my help on his cians” who appear on TV don’t just do an done many times since on television, and

82
 “When you buy a suit of clothes you pay
for it regardless of whether or not you
wear it to Easter Sunday mass.” Please,
listen to me, all of who are reading this.
It is a time-honored tradition of the the-
atre…nothing unusual. YOU GET PAID
BEFORE YOU DELIVER in our business.
If you don’t you are putting yourself at
risk. Before any sporting match, theatre
or circus show YOU BUY YOUR TICKETS
BEFORE YOU GET THE SHOW.

It has to happen only once. Magician’s

lives are hard enough without having
to chase after a check that was “put in
the mail” weeks ago. The BBC paid me
in cash before the cameras rolled in my
apartment. Look at it this way: if you do
not demand payment ahead of time,
you are probably NOT going to get paid.
Trust no one.

One magician in Atlanta told me that

my illusion of having my arm cut in
three was the best thing in Copperfield’s
show. When I saw a tape of him perform-
ing it in German I felt his presentation
was sub par — he threw it away. Big-
gest mistake of my career licensing this
to him; but, it wasn’t my decision. The
inventor, the late Larry White, decided
he wanted to have DC’s signature in his
scrapbook. Larry got his signature and
I lost my exclusive to a wonder later
butchered.

I’ve come to realize here at the half-

century mark that you do get to achieve
your dreams if you never give up. And, if
you don’t then you died trying and that
is all anyone can do.

Desire to work at three different restau-

one guy even wrote in a national magazine that the bullet catch rants a night and load up on all the private gigs you can handle
was like a “cover tune.” Really? – easy. Develop a clientele that is only super rich and you will
work, but you will also meet a very demanding, often impolite
You ruined it guys…is this the way of our ART? Now, I certainly crowd. Money and manners don’t often accompany one another
do not own the bullet catch, nor do I want to. I found it very as my agent’s book The Entitled Life leads one to believe. Yes, I
interesting that I appeared on a BBC special called Dangerous did work for a billionaire and yes, he did triple my fee. That has
Magic and when asked to comment on another magician’s act, happened once. Most of the time I am simply the hired help, like
I told the truth and it was not used in the final broadcast. Not the chauffeur.
that my remarks were obscene. It was that I told the truth as I
saw it and leaned in and said, “wearing tattoos and long hair is About 50% of the time I get tipped when I work. Sometimes I am
about as dated as being a rock musician in tight pants. Nothing asked if it is all right to tip me – would I be insulted?
daring about it.”
Make sure you know in advance. Time is short when they are
Popular acts with powerful packaging agents (if you don’t know making out a check. And don’t forget to send a thank you note
what that term means you might want to find out) do not like to the next day. I send a postcard with my picture on it…and I hand
see their golden cow(s) skewered on national TV, so my remarks write it. I must have sent out over 10,000 cards in my life and I
were, uh, “disappeared.” Get it? This is how the game works. The have to say I have visited at least 30 homes in my life where I have
Golden Rule is that those with the gold rule. (I still got paid seen the postcard I sent on the refrigerator door. Social media
though.) The producer tried to tell me that ONLY if my footage advertising is not the ONLY way to go. Personal direct mail also
were used I’d be paid my union rate. I replied through my agent, has a place because so few people use it anymore.

83
 With John Calvert
Ben with Johnny Ace Palmer

I know of a magician in the Boston area who was tired of slinging have to thank you for your persistence. You are the best magician
drinks at his local bar and doing magic every now and then. He I have ever seen and I am sorry you can’t be hired as I’d make an
campaigned to the bar owner to do one full night of magic. Guess exception in your case in our programming.”
what happened? He was canned. No magic. No job. No nothing.
I replied, “Funny thing, I just became available.” He smiled and
The management felt that the bar’s revenue was in selling drinks, said, “I should have known. You fooled me. What was I thinking
not in some magician satisfying his ego. And I have to say the bar inviting you in here?” The man who had previously thought me a
was right, in my opinion. The magician did not think this through burden was now a fan. My arrow found its target even though it
from the other person’s point of view. The smart businessman took over a year to place my shot. (Sometimes it takes that long.
always sees the sale from the point of view of the buyer. Here’s Sometimes…longer. Expect that. All of you in your twenties read-
a great story about that. ing this, beware: success comes not only to the Derek Jeter’s and
Whitney Houston’s of the world in a quick rush at an early age.
When I was beginning my career in New York City, I called a booker Most of us who trod the boards with an antiquated art arrive at
of entertainment every week on Tuesday at 1pm. It got so he some broad public notice only after many years of slugging it
knew it would be me and I’d have to disguise who I was to get out. And in the end, it is all up to chance.)
through. It was hard, hard work and he grew tired of my chase
telling me repeatedly that the outdoor plaza he booked only hired Finally the day of the gig arrived. I did three shows (1, 2:30 and 4),
musicians and pantomimes as lunch time crowds liked music and promoted by big posters, drawing several hundred to the gigs.
did not have to listen to the mime. He kept telling/yelling at me I got some amazing Super 8 film of me doing magic out doors
“Why can’t you get it through your head…NO MAGICIANS!!!!!!!” in 1984…the footage still gets me work today. Was it worth it?
He pleadingly asked me to stop calling. You betcha.

Finally after a year-and-a-half of my chase I got him on the phone The booker “won” because he was able to offer quality novelty.
and said, “Look, before you hang up, I want to tell you that I can’t The audience won because they saw something unique and
work for you. Even if you had an opening, I can’t take it. So, why entertaining. The Plaza won because nothing was disrupted. I
don’t we meet?” (I saw it from his point of view. He never wanted won because I got the footage, and felt satisfied that my persis-
to hear from me again, and I offered him that. Only, that is, until tence paid off.
we had met for a brief five minutes. I got what I wanted. He got
what he wanted. Cost him nothing except five minutes of his You see? The win, win, win…always strive for it even if others
time. See?) cannot see it. Do NOT try to win if the other guy loses, then you
have a sure fire problem on your hands. A truism of capitalism,
He responded, “You mean you want to meet even though I won’t told to me by a banker in 1984 at a private club gig I had for 70
hire you? Why?” weeks in SoHo said to me: “Unless it is your granny giving you a
check on your birthday, largely, money creates enmity.”Therefore,
I said, “Come on, aren’t you just the least bit interested? I know you have to make your client happy and satisfied to pay you the
I am. Look, I can’t accept any gigs, I’m booked solid through the money that was agreed upon. You have to do this because how
Spring. So let me have 5 minutes of your time and you can see many times have you heard about an artist NOT being paid what
the face of the man who won’t call you anymore.” He said, “OK, they thought was coming? Even big acts (some would argue,
I get it. Thursday at 2pm. I have 5 minutes for you.” He hung up “especially big acts”) get screwed. Rod Stewart’s Road Manager
unceremoniously. I was thrilled. told me that he ALWAYS gets the balance of the “guarantee” (the
basic amount agreed upon before a percentage of the house
On Thursday I went casually dressed and he was polite, but ticket sales as well is added to the fee) in CASH before Rod steps
guarded. I showed him some magic, my very best material to be on the stage and if the balance is NOT there, then Rod stays in
seen over a desktop for one person. His response was “I must say I his dressing room keeping the audience waiting. I know this is

84
 In the greenroom preparing to go on stage

true having been on the spot when it been around for several thousand years.
happened. The Romans killed each other by drinking I hope 30 years from now, in 2042, some
from lead pots thought to be the province magician comes up to me as I shuffle
Houdini wrote a great essay called Help- of the wealthy. Today we cook in stainless along and relates to me how my expe-
ful Hints for Magicians Under 80. I think steel pots and die slower! We all still cook rience over the last 36 years on stage,
Houdini really wrote it. It sounds like his and eat. Same thing. You may think that has helped them get a grasp on what
typical Hungarian cum lower Broadway you will become the next big thing by Maskelyne and Devant proclaim in their
circa 1890’s-ese mashing of the English hitting it viral on YT. masterwork Our Magic: that better magi-
language. Nevertheless, I really like his cians understand the “Art in and the Art
down and dirty almost crude list of what You don’t become the star of the hen- of Magic.”
he thought was important. A contem- house without making eggs though.
porary of HH’s, named Dunninger, also Magic is your eggs. Think about it.
wrote a great essay, Dunninger — An About Ben
Autobiography. Now if you hunt this Oh, and, if you just get one thing from this
down (it’s in his Complete Encyclopedia article on how to be a better magician, Ben Robinson is a popular scholar
of Magic) you will have to really study it is this: always carry a knife. I carry two showman. He has entertained
this one page very carefully. I often think of everything when I work. So, my Swiss at such opposite extremes as
that it has taken me 30 years to read Army Champion is my handy repair kit
thousands of books and magazines to that I have used from the highways of 21 shows in one week at Holly-
finally understand what I do. Sometimes I Middle America to the heights of the wood’s Magic Castle, and at the
think it’s all in Tarbell, why read anything Himalaya. (In fact my Swiss Army knife Base Camp of Mt. Everest (17,800
else? But, let me tell you…this essay by was taken to the summit of Mount Ever- ft.). Hartford Courant drama critic
Dunninger…all one page of it…it’s all est by Ade Burgess on May 5, 1989. I’d Malcolm Johnson wrote of his first
there! In one page! lent it to him as he fancied it with all of its
gadgets and he told me that if I lent it to one-man show Out Of Order: “Ben
Yes, Dunninger wrote for a different age him he’d bring it back in one piece if he Robinson’s performance of silent,
and the cyber age has certainly changed lived. I thought the odds good enough.) surreal illusions is MUST SEE en-
things. But, one thing has not, and may So, when I bring that knife out…the story tertainment.
never, change. It is this: you cannot be a is sure to entertain, even if the audience
good magician without creating wonder doesn’t dig magic.
and having a good act.
As I said, you always have to have a back
It is the basis of all we strive for. Magic has up.

85
TOP 3 REHEARSAL TIPS
By Nick Kolenda

Nick Kolenda is the creator of The Mentalism Course, the most compre-
hensive course on mentalism. In addition to explaining five killer stage
routines, the course contains priceless information on showmanship and
marketing. For more information, visit www.TheMentalismCourse.com
should rehearse the routine at dispersed intervals.
Rehearse the routine a few times and then take a
break. Rehearse it again later that day, or rehearse
Tip #3: Distributed rehearsals are more it again the next day. At the very least, leave a few
effective than massed rehearsals hours in between rehearsal times.

Research studies confirm that distributed practicing is more effective Leaving time in between rehearsals is effective be-
than massed practicing. For example, studies have examined the cause your brain needs time to process that informa-
most effective way to study for an exam. Nearly all studies found that tion. Each time you rehearse, your brain processes
dispersing your studying is more effective than cramming the night information both consciously and subconsciously.
before. If you study for an hour each day for a week, you will likely earn To adequately process information, your brain needs
a higher score on the exam than if you were to study seven hours the a break from the activity so that it can integrate
night before. Additional studies have examined sports performance, the new information with the information already
and they found the same results. stored in your brain. If you are constantly overload-
ing your brain with information (i.e., rehearsing for
In order to gain the greatest benefits from your rehearsals, you should long intervals of time), your brain has no time to
spread them out. When you learn a new routine, for example, you consolidate that new information.

87
Tip #2: To reap the full
benefits of rehearsing, When you repeatedly speak the same
script, your mouth becomes used to
rehearse your show in full the script, and you may soon find that
you can recite the script aloud without
Whenever you rehearse, you should any conscious attention. Second, when
almost always rehearse your entire Tip #1: Rehearse as though you speak out loud, your brain’s primary
show, rather than rehearsing individual you are performing for a auditory cortex processes the sound. The
routines. Rehearsing the entire show not
only helps you recognize the flow of your
real audience more brain processes that information
undergoes, the more that information
performance, but it can also help you becomes solidified in your brain.
This tip is the most important rehearsal
practice the transitions between routines.
advice. Whenever you rehearse your
show, always pretend that you are per- If you are self-conscious about hearing
When I was 12 years old, I performed my your own voice, or if you are nervous
forming for a real audience. Research
first show at a nursing home. To prepare about other people hearing you, I rec-
confirms that your brain cannot differen-
for that show, I rehearsed each individual ommend turning on music or switching
tiate between a visualized activity and an
routine in the act. After finishing my first on a loud fan. The music or white noise
actual activity.
routine in the show, however, I had no will drown out most of the sound of
idea what to say or how to efficiently your voice, yet you still receive the same
If you pretend that your rehearsal is an
prepare for the next routine. I introduced benefits that accompany rehearsing your
actual show, your brain will believe that
each routine by saying, “And for my next script out loud.
your rehearsal is a real show. When you
trick…”
finally step on stage to perform a real
show, your brain (specifically, your adre-
I am sure that every performer reading
nal glands) will not secrete an excessive
this article knows that routine transitions
amount of adrenaline that will make you
should be structured much more profes-
nervous. Your brain will cause you to
sionally. Rehearsing your show in full
experience less nervousness because,
allows you to rehearse those transitions.
according to your brain, you will have
performed that same show many more
Also, remember to rehearse the con-
times. Therefore, the rehearsal conditions
clusion of your show. I like to tailor the
should be as close to an actual show as
introduction and conclusion to my show
possible.
for each specific audience. However, I
recently performed a show at a college,
Perhaps the most important rehearsal
and when rehearsing for the show, I for-
condition is that you should always
got to plan my show’s conclusion. When
rehearse your script out loud. Rehears-
rehearsing for the show, I stopped after
ing your script out loud is an extremely
I had finished the last routine. Because
helpful tactic to memorize and solidify
I had nothing planned at the end, I de-
your script. This reinforcement occurs
livered a somewhat generic conclusion,
for two main reasons. First, you develop
rather than a well-constructed, audience-
a type of muscle memory for your voice.
tailored, emotion-extracting conclusion.

Whenever

you rehearse

your show,

always pretend

that you are

performing for

a real audience.

88
BARREL OF FUN!
DANNY ARCHERHOMEPAGE: www.dannyarcher.com MindVention: Nov. 11th - 13th in Las Vegas 2012

A borrowed, marked coin vanishes and reappears

inside the smallest of three nested barrels.

HOW:
What you need is the set of nesting barrels (a common baby WHEN:
toy), a Sharpie, 10 - 12 quarters and a jumbo quarter. Place the When ready to perform, introduce the barrel and place it on the
loose quarters in the innermost barrel and nest the three small- table or have a spectator hold it. Borrow a quarter and have it
est barrels. Place the jumbo coin in position to be stolen (for initialed on both sides by a spectator using the Sharpie. I retrieve
me that means lodged under my belt near my left hip) and put the coin, pocket the Sharpie, and do a quick one-coin routine
the Sharpie in an accessible pocket. If you can’t find the nest- finishing with the change of the quarter into the jumbo coin.
ing barrels (try here http://www.toyshoppersclub.com/IVG2/Y/ If you don’t have a favorite one-coin routine, try this. Show the
ProductID-51028-.htm), the routine works just as well with three coin in the RH (in fingerpalm position). Pretend to dump the
nesting tins. There are many mints and other products that come coin into the LH really retaining it in the RH. Crumple the LH,
in small tins, just find some that fit inside each other. open and show coin has vanished, and reproduce it with the

89
 pass has been around for quite some time (thanks to the Jamy
RH. Display coin in RH in French Drop position. LH comes over to Ian Swiss routine called Kiss of the Big Apple).
take the coin, and it secretly drops into RH fingerpalm. LH tosses
coin into the air where it vanishes. Reproduce coin with the RH. Then I came up with the idea, of using coins inside the last con-
Flip the coin into the air and catch with LH which again displays tainer to disguise the signed object, another coin. You do not
coin in French Drop position. As the RH approaches the LH, the have to use all quarters as assorted change will work as well.
RH really takes the coin. As I raise the RH to my mouth to blow The line I use is “Look it’s filled with coins. One of them is your
on the coin, the coin is Classic Palmed (this is the Spider Vanish). signed quarter, the rest are for me for bus fare in case the rest of
the act doesn’t go that well”. It’s the idea of using coins inside
The RH now makes a tossing motion towards the floor as the hand the container to eliminate the shuttle pass and allow you to
opens as much as possible giving the impression that the coin dump directly into the spectator’s hands, which also makes the
has vanished. As attention shifts back to the LH it too is opened container examinable and makes this trick play so well.
and the coin is gone. If you can’t do a good Classic Palm, try
taking the coin into RH Thumb Palm After the jumbo coin is produced, there are several ways you can
instead of a Classic Palm. The RH now go regarding the marked coin. I often sleeve the quarter when
reaches down to the right knee and I perform this trick. You could also pocket the marked coin as
as the coin is reproduced from the the jumbo coin is placed away. Now the hands can be clearly
knee, the LH is stealing the jumbo seen empty as the first two barrels are opened. Now by remov-
coin. I maneuver the quarter into RH ing something (or pocketing the Sharpie if left out earlier when
Finger Palm, point at it with the LH, the coin was marked) from the same pocket the marked coin is
which draws attention to the quar- fingerpalmed. Or you can just hold out the coin in fingerpalm. In
ter and helps to conceal the jumbo John Bannnon’s routine called One is the Onliest he use a banker’s
coin. In one quick movement, the clip attached to the read pants pocket to hold out the marked
RH turns palm down (fingerpalming coin. As you lean forward to hand the jumbo coin to a spectator,
the quarter) as the LH turns palm up the other hand slips the coin into the clip.
exposing the jumbo coin, like doing
a Shuttle Pass. Another ploy I use is as I dump the last barrel into the RH, I do it
so that it lands on top of the marked coin. This provides a really
clean display of two empty hands and one barrel. As the LH lifts
I toss the jumbo from the LH into the RH, which catches the the barrel to the fingertips, the coin is retained in fingerpalm.
jumbo coin between the thumb and fingers and displays it. The The routine is structured so that the RH is almost always hold-
LH reaches for the barrel and then the hands exchange objects. ing something, which helps conceal the palmed coin. I feel that
three barrels is plenty but you can use four or five, it’s up to you.
The LH replaces the jumbo coin from where it was stolen as the I hope you have a barrel of fun with Barrel of Fun!
RH displays the barrel (still concealing the quarter in fingerpalm).
The LH removes the top of the blue barrel and tables it. The RH
dumps the white barrel into the LH and tables its piece. The RH
removes the white barrel top and removes and tables it. The
LH dumps the final green barrel into the RH and then tables its
piece. The LH removes the top and tables its piece, exposing the
loose quarters inside (Fig. 1). The spectator is asked to hold out
their hands, palms up, and the RH inverts the barrel letting the
fingerpalmed quarter fall and coalesces with the quarters that fall
from the barrel. Have the spectator find the marked quarter and
verify their initials. Place the loose quarters back in the smallest
barrel, close and nest the barrels and everything is reset.

THIS (Tips, Hints, Ideas and Subtleties):

That’s the bare bones, and now for some meat. I always loved
the good ol’, marked coin found in sealed container trick, and
have tried several versions. One thing I didn’t like was the fact
that in many routines the container could not be examined. It
often had a duplicate of the marked object affixed to the bottom
of the container. The signed object was revealed by means of a
shuttle pass from the container into your hand where the object
was concealed. Or the marked coin was removed, shown briefly
and then switched via a shuttle pass. This is the wrong time to
execute a switch, all the heat is on the signed object moments
before the switch. Also why dump them into my hand only to
give it to the spectator moments later? The wonderful idea of
having something fall from the container to disguise the shuttle Danny Archer

90
 GLORIOUS STACK
KEN RING
Ken Ring takes a look at the Stacked Deck and effects

S
tacks are very useful. The cards must appear in a ran- Working out Card to number
dom order when spread face up for the spectator, yet If it is a Club, remember ‘table for 3’, for 3
be very locatable for the magician. So any card at any x 4 then take away 3
number should be memorised. But I have come up with e.g. 3C or JC
a new stack, which I find glorious, hence the name, because 3C = 12 - 3 = 9
nothing needs to be memorised except some simple rules for JC= 44 - 3 = 41
working out each card or its position. It is Si Stebbins, but not
as we know it. If it is a Heart, remember ‘heart for teens’ for 14
x 4 then take away 14
For the stack, arrange them thus, with the AC at the top face e.g. 3H or JH
down. To get them quickly in order arrange the Clubs in a 3H = 3x4=12 - 14 , = -2, then from 52 = 50
descending faceup pile, with AC at top, another pile of Hearts JH= 11x4=44 - 14 = 30
with 4 at the top, a third pile, of Spades, with 7 at the top, and
a final pile of Diamonds with the 10 at the top. Now just take If it is a Spade, remember ‘digging for quarters’ for 25
one card from the top each pile to collect the whole stack in x 4 then take away 25
the right order. The AC should be the top card and the 9D the e.g. 3S or JS
bottom card. 3S = 3x4=12 - 25, = -13, then from 52 = 39
JS= 11x4=44 - 25 = 19
AC=1. 4H=2, 7S=3, 10D=4,
2C=5, 5H=6, 8S=7, JD=8, If it is a Diamond, remember ‘a six by six matrix’ for 36
3C=9, 6H=10, 9S=11, QD=12, x 4 then take away 36
4C=13, 7H=14, 10S=15, KD=16, e.g. 3D or JD
5C=17, 8H=18, JS=19, AD=20, 3D = 3x4=12 - 36, = -24, then from 52 = 28
6C=21, 9H=22, QS=23, 2D=24, JD= 11x4=44 - 36 = 8
7C=25 10H=26, KS=27, 3D=28,
8C=29, JH=30, AS=31, 4D=32,
9C=33, QH=34, 2S=35, 5D=36, Working out Number to card
10C=37, KH=38, 3S=39, 6D=40, To the number given you have to try adding each in turn of 4
JC=41, AH=42, 4S=43, 7D=44, numbers until you strike a 4-multiple. If the number is only 3
QC=45, 2H=46, 5S=47, 8D=48, away from a 4-multiple (4, 8, 12, 16 etc) then it is a CLUB.e.g.
KC=49, 3H=50, 6S=51, 9D=52, 13 or 21. Then ADD 3.
If the number is already a 4-multiple(48, 52 etc), it is a DIAMOND.

91
In which case then ADD 36. would not be magic if the numbers were in order. They must
If the number is odd (23, 35 etc), but adding 3 doesn’t get you appear to be random. The paste-card looks like this:
to a 4-multiple, it is a SPADE. Then ADD 25
If the number is even but not already a 4-multiple, it is a HEART
(remember H goalpost has two poles=even) so ADD 14. 10 46 28 19 37 1
Examples 20 2 38 29 47 11
41 or 21 30 12 48 39 3 21
41 is 3 away from 44, a 4-multiple. So it is a Club. Add the 3. 40 22 4 49 13 31
Divide 44 by 4 = 11, so card is JC 50 32 14 5 23 41
21 is 3 away from 24, a 4-multiple. So it is a Club. Add the 3. 42 24 6 15 33 51
Divide 24 by 4 = 6, so card is 6C 52 34 16 7 25 43
44 26 8 17 17 35
48 or 12 36 36 18 9 27 45
48 is a 4-multiple. So it is a Diamond. Add 36, =72. Take out 52,
= 20. Divide by 4 =5, so card is 5D.
12 is a 4-multiple. So it is a Diamond. Add 36, =48. Divide 4, =
12, so card is QD. So how is the paste card cards numbered so that you can easily
memorise the positions from the back side?
35 or 23 Please look carefully at the numbers. They have been especially
35 is odd so it is a SPADE. Add 25, =60. Divie by 4, =15, so it is arranged. The top row digits add to 1, the second row digits add
a 2, the 2S to two etc all the way down to the bottom row of digits which
23 is odd so it is a SPADE. Add 25, =48. Divide by 4, =12, so it add to 9. For instance 46 is in the top row because 4+6=10 and
is the QS 1+0=1. 24 is in the sixth row. The numbers are in a pattern, such
that the biggest second-digits in the number are closer to the
26 or 42 centre (like 19 or 27, and the smaller second-digits are on the
26 is even so it is a HEART. Add 14, =40. Divide by 4, =10, so it sides, like 11 and 30. The ODD second-digits (like 13 and 25) are
is the 10H on the LEFT half of the card, and the EVEN second-digits (like
42 is even so it is a HEART. Add 14, =52. Divide by 4, =13, so it 40 and 36) are on the RIGHT (on the other side of the reversed
is the KH - back - of the card). By way of this arrangement you can go
very quickly to any number from the reverse blind side. A little
practice will get you remembering the positions of all from 1
You can now use this stack for the Universal Force. through 52 easily.

Ultimate Force Holding the card to assist a force.

A deck is shuffled and placed on the table. Ask a subject to lift Where you hold the number-card can direct the subjects finger.
the deck anywhere and note a card that he cuts to. Subject Let’s say the number aimed at is 5. Holding the card so the blank
replaces cut and squares the pack so the cut can’t be seen. Ask back is facing you, position your left thumb over 41 and your
the subject what his card is. Now, you ask, how many down is left index over about 23. On the other edge of the card make a
your card presently sitting? Of course he will look surprised at V with your right index and right thumb and your middle finger
such a silly question. on the right hand underneath, with the right index over 22
Okay, you reassure him. “I have something that may help you. and the right thumb over 34. 5 will then be in the middle. The
Let’s treat this as an experiment”. subject will be directed to the middle of that arrangement. You
You pull out a paste-card about the size of an envelope, with have ample time to position your fingers into a similar triangular
numbers on one side, actually 1-52 in a grid of squares. Show arrangement as you pick the number-card up for the subject’s
that these are not in any particular order. Ask the subject to point impending selection. Holding the thumb on 23, right index
to its reverse side. Where he touches the card you carefully turn over 30 and right thumb over 52 will influence 14..
the card over to see which number his finger landed on from
the back. For example it may be the 24. Aha, you say, let’s see The cards can be made up on anything. Just could even carry the
if that gets us anywhere near your card. You had better count numbers in a notebook and write them out on a piece of card
down in the deck. But stop at 23 please. He does so, under your when you are at the venue or dinner table. I have them on my
supervision, counting aloud. At 23 you say and what was your iPad in a grid-graphic, and I get the person to just point to the
card again? He says the six of clubs. You say please now turn back of the tablet. They often ask me afterwards if electronics
the card over. It is his card. was involved. Ha ha.

Method Mentalism applications

You use a stacked deck, and any stack familar to you will work Have a number written on a piece of paper which becomes a
in which you know the numbers-down, but also which when billet. After you view it you ask the spirits to guide the subject’s
spread face-up will look like a shuffled deck in a random order. hand to the number.
That is why the Si Stebbins is used so universally, and I have
already described my Glorious Stack above. This number-paste- Final
card is my way of way of working a Classic force, for a force it This is the first exposure of this force to magicians. Please keep
is. Like the Classic Force, you put the card on his finger at the the principle away from Youtube, or the 12-year olds will do it
spot you want. But remember that subject has seen the face badly and will spoil it for us all.
numbers on the paste card and knows they are not in order. It

92
93
 A MAGICIANS
CONSTITUTION
KYLE PERON
S
taring in front of that glass I started reading the first
opening line “We the People of the United States, in
Order to form a more perfect Union, establish Justice,
insure domestic Tranquility, provide for the common defense,
promote the general Welfare, and secure the Blessings of Lib-
erty to ourselves and our Posterity, do ordain and establish this
Constitution for the United States of America.”

WOW! What powerful words and what a concept to establish

a set of rules and laws that establish the rights of the govern-
ment, states and the rights of the people. Now you may be
wondering how this has anything at all do with the magical
arts.

As I stared at those words I started to realize just how lost we

are as magicians. I realized that the only way we even know
what we should be doing, or how we should be acting is
through simple common sense, and the hope that we had a
good mentor to guide us. What we do not have is anything
that really tells us what it means to be a magician. We do not I write this Magician’s Constitution because I believe in who
really have anything that tells us how we should act as a magi- I am as a magician and because I believe that the art form of
cian and what is expected of us. magic is something I take seriously. I will continue to abide
by these simple rules so that I can always help myself and
Could there be a sort of constitution set up for magicians? to ensure the meaning of the word “magician” continues to
Maybe yes, and maybe no. I bet the colonist had a hard time be something of value. I hope you will make this Magician’s
arguing over the need for one themselves. But for myself, I fig- Constitution a part of who you are.
ured I wanted and needed to write up a set of ground rules on
how I personally felt a magician should act, and certain rules I As always, I encourage you the readers to let me know your
felt a magician should follow. If nothing more, these could be thoughts. So if you have any thoughts on my articles or sug-
place in my office for me to ALWAYS see and to always remem- gestions or comments, please feel free to e-mail me directly
ber no matter where I am in my magic career. at magic4u02@aol.com. I would love to hear from you.

In a recent trip to Philadelphia, I had

the privege to experience and see
an original copy of the American
Constituion. I also had the chance
to go through the new constituion
center that has been established.
I must tell you it was quite an
amazing, moving and touching
experience, as well as the the
inspiration for this article.

94
 Magicians Constitution
We the magicians of the world, in order to better our art form, establish professionalism, insure education
with our peers and promote the betterment of our art, do establish this Magicians Constitution.

As a magician I promise:
That I will never reveal a secret of magic to a non magician. I promise that I hold sacred those secrets which have been trusted to me and handed down from
generation to generation.

To remember that magic is never so much about fooling people but about entertaining them. I will always strive to entertain an audience and to learn the ways
in which to properly accomplish this.

That I will practice what I learn and not perform it in public until I have reached a uency in it.

That I will never accept second best or “it’s good enough” from myself or from any other magician. For “good enough” is simply a way of giving up and giving in.
Our audiences deserve more and we deserve more of ourselves.

That I will respect my fellow magicians so I may get the same respect back. It is not about causing arguments. It is about realizing that discussions are healthy and
that opinions can be different but also that we can all learn from them.

That I will never ever forget my audience. I will always remember who they are and my place on stage. What I do and how I do it shall be for the audience’s I
perform for.

That if the magic becomes all about “me” and for “me” alone, that I will save that magic for my own home. If I fail to forget that my magic is not all about “me”, then
I promise to put my magic aside until time that I fully understand.

That I will never embarrass another magician through my own actions.

That I will not steal from another magician in full or in part. I promise that I will strive to nd my own unique style of performance.

To support my magic brethren and help out in any way that I can so we all may grow in this art. If I can help another magician through actions I can take, I choose
to do so and not accept anything in return. I do it for the art I love.

To remember that failure is never failure if I continue to learn something from it. If I do learn then it is a step on the road to success. If I see others fail, I will
encourage them to get back up and to help them learn from it.

Never ever to give up my love and passion for the magical arts and if I do, then I promise to place my wand aside until that passion comes back.

That I will never fear to ask any question from any magician for there is never a dumb question, only the question not asked.

To support the future of magic and to assist the beginners coming into the magical arts in any way I can. These beginners can be of any age, race or culture and
I will strive to promote our art, fundamentals and values within them.

To simply listen and talk to any magician who simply wants to talk to me. I will make the time.

That I will strive to be as creative as I possibly can be and to continue the pursuit of creative thought in magic both within myself and others.

To treat my audience helpers like guests in my own home. If I get a laugh from them, I promise to make sure they know my appreciation. I promise that
embarrassment of others to innate my own ego is something that will never be a part of who I am as a magician.

To never allow my own ego to grow so large that I forget who I really am or where I came from. No matter where my magic takes me, I will always remember my
past and give to the future of the art.

To always remember to be a professional at ALL times. I will strive to be a professional not just on stage but in everything I do and how I conduct myself.

To never stop learning and to continue to always expand my knowledge of the magical arts and its history. I will share this knowledge freely with other magicians
who have shown a desire to learn from me.

To always give 100% effort in every show or performance I do. I realize that “calling it in” is not a part of who I am or the art form I choose to do.

To uphold the symbolism and meaning of what it is to be a magician. I will strive to conduct myself in a way that brings honor to the magical arts.

To never forget that being a magician is an honor and a privilege.

95
SHOW Reivew

LU CHEN
REVIEW
ADRIAN SAW
F
or those of you not aware of Lu Chen, he is a superstar in Asia,
Having moved to Hong thanks to appearances on a number of prime time New Year Eve TV
specials in China, reaching an audience of over one billion people!
Kong from Sydney He single handedly started a “magic craze” in China as a result and
is 13th on Forbes Asia’s Celebrity list for earnings and media exposure and
recently I had been undertook a huge Asian tour.

flicking through Time More recently he has been gaining wider Western exposure thanks to
winning Magician of the Year 2011 from the Academy of Magical Arts,
Out looking for any playing in Las Vegas and gracing the front cover of Magic Magazine. Many
magic shows and as luck call him the “David Copperfield” of Asia and from the pre show queues,
people were frantically queuing at the doors despite being an allocated
would have it there was seat event, and huge lines for photos with the show billboard. There was
a lot of excitement around.
an article and details This Hong Kong show was show “number 101” as part of his long running
of a show by Taiwanese Asian tour, it looks like he has four shows in Hong Kong this time, playing
at the Kowloon Bay Exhibition Centre “Star Hall”. One thing to note, and I
magician Lu Chen called knew this when booking tickets, is the show is entirely in Mandarin, which
“Dazzle”. I do not speak, so while I knew I may not understand the speaking parts,
would appreciate the show nonetheless. As an aside, his Las Vegas show
was performed in English.

As with most shows of this size there were ample video screens, I counted
9, for the live video feed: a great touch was having them “tiered” depth
wise through the venue, so as seats were further back you still got a close
view of a screen: have seen many shows where screens are only at the
front of the stage.

96
 Audience entering the theater

The stage was bare apart from a small it into two $10 notes with a lot of comedy Lu then went into the Walter Zaney Blaney
“chest mannequin on a pole.” Imagine a byplay. Audience laughter became my Ladder Levitation with a girl from the
mannequin with no head, arms or legs, translation mechanism! He then handed audience. A lot of great byplay before the
only the chest and tiny bit of neck part. the 10’s back and moved on to an illusion. actual illusion. This one played a little flat
A curtain went up and the shadow of This is something a lot of stand up com- for me, and the audience judging by the
the chest could be seen. Then two arms edy magicians do, but haven’t really seen comparatively quieter applause.
emerged from the chest, via shadows an illusionist maintain a “destroyed item”
through the cloth, followed by a head and as unresolved through their show but it His next illusion was Steinmeyer’s Op Art.
legs. The curtain dropped and there was played well. In this illusion an assistant is “folded” by re-
Lu Chen, greeted by a huge applause. I moving puzzle pieces, piece by piece until
liked this opener a lot; have not seen this The next illusion was a fairly standard only her head remains on top of a small
before and is a nice twist on many of the “Squeezer” type illusion with an assistant. box. The box is then removed showing her
“shadow” opening appearances out there. After squeezing her, he reached in and vanished. She then reappears. This was a
pulled out a flat cardboard cutout then “multi phase” illusion and applause built
He said some hellos, while not under- proceeded to “pull the clothes off” the as she was vanished part by part. It wasn’t
standing the language one still maintains cardboard cutout, revealing a change quite my cup of tea as it came across as
the power of perception, then went of clothes. When he unsqueezed and more of a puzzle (no pun intended) as
straight into a high energy version of John brought her back, there was a costume each piece was removed, about “where
Taylor’s Suspended Animation, as slick as change to match the cardboard cutout. could she be hiding as I can still see parts
I’ve seen it performed by anyone else and It’s great to see a ‘standard’ illusion given of her body”.
the audience LOVED it. I love sitting next a twist here and there. Audience reaction
to lay people who really get into it as the was huge, but had a feeling it was more This was followed by the Wakeling Sawing
guy next to me did, as magicians we really due to the costume change,which high- with two audience volunteers holding the
do lose that same sense of wonder! lights how much mileage you can get from leg and neck straps. This was an elaborate
small additions. medieval torture chamber set piece. The
Lu then went into a bill switch with a bor- Next, Lu then turned the two 10 notes back build up to the illusion was a little slow
rowed 1000 note, about $130 USD, turning into the 1000. with an overly long build up about the

97
leather straps, not a huge amount of laughs so could be tight- Lu then went into a Zimmerman Prediction Chest style routine,
ened up. The funniest moment of the show for me was when hoisting a locked prediction box high into midair. As a heavily
Lu had put the blades through the box, flipped the front doors talking based piece I didn’t know what the responses were but
open and asked one assistant to “touch her” to make sure it was he was getting a lot of laughs along the way. He built the routine
a real person. He reluctantly did so but he happened to reach into a talk show host style with a couple of “Oprah” couches for
in to the space covered by the centre section of the boxes in a him and the audience member. Of course the prediction matched
very suggestive location on the girl. Lu made a great, I assume perfectly written in Chinese and another big reaction.
by the laughter, comment but his facial expression was also
priceless. Audience reaction to the illusion a little muted, though He followed with the Linking Finger Rings which believe was
I love this illusion. one of the pieces he performed on Chinese TV that shot him to
stardom. Very nicely done with tight camera work for the big
He then had his hands chained and locked by an audience screens. Using the Joe Porper/Pete Biro pencil for the unlink, there
member, and went into a spiked illusion, locked in a sub trunk were audible gasps as the last ring visibly unlinked. So strong and
looking box. One comment would be that the blades, kind of goes to show size doesn’t always matter!
like thin sword blades, hoisted over the box looked very flimsy
and were not raised high enough above the box to give it a Lu then introduced a small tin box with some items including
truly menacing fee. However they dropped and he reappeared playing cards and a pencil. It appeared he was talking about his
from a rising platform at the back of the stage. This got a huge childhood. With the pencil he then went into Timothy Wenk’s
reaction, one of the biggest of the night. Misled with a borrowed 1000 bill. This is still a fantastic illusion
and again with tight camera work looked unbelievable.
After getting back on stage, Lu was visibly and audibly “tired and
out of breath” and paused to take water. Not knowing what was He then went into a fast paced card manipulation sequence,
said I can only assume this was intentional as comedy byplay as opened with a silk to cane which frankly felt out of place. This felt
there were some laughs. Either way, it does kind of tip the fact he a little disjointed. While obviously skilled in the sleight of hand
was running from front to back of stage to reappear, something department, the manipulations were a little too “fast and furious”,
I wouldn’t think should be highlighted, even for a laugh, even it was hard to keep up amid the flurry of cards but a nice touch
if it may be a logical conclusion to a lay person. to see him performing some knuckle busting pieces. I think he

98
would be much more suited to a slower and more elegant routine. Copperfield of Asia; not just for the fame but he has a level of
charisma I have only otherwise seen in David Copperfiled. Ironi-
At about 1.5 hours I felt a finale was coming and when a chair and cally, Copperfiled judged and presented Lu a Taiwanese magic
wine glass of water were brought on stage , it was time. After a award he won as a kid.
long talking build up, Lu performed the Kevin James snowstorm.
It is really a great piece of magic and the audience loved it. Lights
go black and audience can smell an encore.

Indeed there was one with Lu making a helicopter appear on

stage. This was a nice, fast paced, stage filling piece to contrast
with the few smaller more intimate pieces that preceded. Who
can’t be amazed by this! The crew took their applause but Lu had
one more piece in store. Back to a small table and tight camera
shot and Lu performed an unusual single coffee cup and balls
piece. The balls looked like tiny bits of paper. Lu would put 2 in
the cup, flick one off the table and tip the cup to reveal 3 back.
This was repeated, honesty a little too much, I think I counted
essentially the same thing about 7 times, before revealing the
balls had disappeared from cup as the end of the show. Was a
little bit of a strange choice I thought given the strength of some
earlier routines. And that was the end.
Adrian Saw
Overall an excellent show, even with the language barrier on
my part. You can tell he has, literally, done this show 100 times Originally from Australia Adrian
before: he is confident, charming, funny and commands the is now based out of Hong Kong.
stage very well. A great mix of larger set piece illusions and
smaller routines. And judging by the laughs he is a funny guy
too . While it is a cliche, I can see why he is known as the David

99
THE HEALTHY
PERFORMER
BY D A N N Y W E I S E R
 B
esides my academic pursuits, I am
also an accomplished magician/il-
DANNY WEISER IS A
lusionist, illusion creator/designer,
and have been practicing magic since
STUDENT PURSUING A
the young age of six. I perform large scale
magic shows with high-end illusions for
DEGREE IN PHYSICAL
any venue; no venue is too large or too
small for my performances. As a younger
T H E R A P Y, A C E R T I F I E D
teen, I was only performing at smaller
events, including birthday parties and
PERSONAL TRAINER AND
family celebrations.
Danny at 300 Pounds
A N I L LU S I O N I S T. H E C H O S E
Although I enjoyed performing magic,
I always felt self-conscious about being
HIS FUTURE PROFESSION
over-weight and performing in front of
others. As my skills and desire to perform
B A S E D O N T H E FA C T T H AT
magic increased, so did my concerns
about my weight and performing in front
AT T H E A G E O F 16, H E
of audiences. So at the age of 16, I decid-
ed that not only was there an important
I N T E N T I O N A L LY LO S T 135
need to lose weight to feel better about
myself, but it was also important in order
POUNDS, REDUCING HIS
to lead a healthier lifestyle.
W E I G H T F R O M 300 P O U N D S
I extensively researched different means
of losing weight via diet and exer-
TO 165.
cise, and made a decision to begin my
personally-managed weight loss and
exercise program. I diligently remained
on my diet/exercise plan for about a year,

DANNY
and the weight swiftly came off. I typi-
cally exercised twice a day, and began a
body-building program, which I continue

WEISER
to this day. I will be turning 22 in a few
weeks, and it is hard to believe that it is
almost six years since I started my life-
changing weight-loss journey. I am very
proud to say that I have successfully kept
Danny today
the weight off, and have every desire to
continue to do so.

After losing 135 pounds and continu-

ing to exercise and body-build daily, I
no longer suffer insecurities about my
body self-image, and performing magic
in front of audiences has stopped being

101
 Beginning of Lunge Finish of Lunge

a concern for me. About two years ago, Exercise Instructions

I made a conscious decision to dedicate (Please see workout photos above for
THIS SERIES more attention to my magic and hone my proper form)
performing skills.
Stand up straight with a slight bend in
IS AIMED I utilize live animals in my shows, and I your knees and look forward. This is the
also include comedy; audience laughter starting position.
never seems to be lacking. My stories of
AT HELPING weight loss and magic are intertwined, Step forward with your left leg while
my love of magic motivated my weight maintaining your balance and squat down
loss, and my weight loss continuously through your hips.
MAGICIANS motivates my magic.
Keep your torso straight and head up.
My weight-loss story which has abso- Don’t allow your knee to track out over
KEEP FIT AND lutely changed my life forever. My goal your toes.
with this forum is to share, with the whole
magic community, the importance of Continue the movement by driving your
HEALTHY WHILE eating properly and staying in good, left heal into the floor and standing
physical shape. In each VANISH issue I straight up - bringing your right foot for-
will be sharing weight loss stories from ward to meet your left foot.
ON THE ROAD myself and other performers in addition
to sharing diet and workout tips to keep Continue moving forward in this fashion
you healthy and marketable. Below is a by alternating which leg you lead with.
workout for the traveling performer (no Repeat for desired reps.
gym needed). Enjoy and good luck.
Exercise Tips:

Make sure there is plenty of room and a

clear path to walk forward through dur-
ing this exercise. When you have reached
the end of the path, simply turn around
and continue the movement back to the
starting position.

Never allow your knees to track out over

your toes during this movement. Doing so
will place undue stress on the knee joints.
Keep your head up and back straight
throughout the exercise. Never allow your
back to round.

102
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 ROMHANY MAGIC
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109
 3
STEVE VALENTINE
“Steve Valentine’s Three card routine is easily the most entertaining
version I have ever seen. Get it learn it well.” -Paul Daniels.
 Curtain Call ...

A young aspiring actor

112