MUM,09-2014.pdf

SEPTEMBER 2014

OBIE O'BRIEN Page 36

MAGIC - UNITY - MIGHT Editor Michael Close Editor Emeritus David Goodsell Associate Editor W.S. Duncan Proofreader & Copy Editor Lindsay Smith Art Director Lisa Close Publisher

Society of American Magicians, 18915 East Briargate Lane, #1F Parker, CO 80134 Copyright © 2014 Subscription is through membership in the Society and annual dues of $65, of which $40 is for 12 issues of M-U-M. All inquiries concerning membership, change of address, and missing or replacement issues should be addressed to: Manon Rodriguez, National Administrator P.O. Box 505, Parker, CO 80134 [email protected] Skype: manonadmin Phone: 303-362-0575 Fax: 303-362-0424 To file an assembly report go to: www.mum-magazine.com For advertising information, reservations, and placement contact: Cinde Sanders M-U-M Advertising Manager Email: [email protected] Telephone: 214-902-9200 Editorial contributions and correspondence concerning all content and advertising should be addressed to the editor: Michael Close - Email: [email protected] Phone: 317-456-7234

Submissions for the magazine will only be accepted by email or fax.

VISIT THE S.A.M. WEB SITE www.magicsam.com To access “Members Only” pages: Enter your Name and Membership number exactly as it appears on your membership card. 4 M-U-M Magazine - SEPTEMBER 2014

M-U-M

SEPTEMBER 2014

MAGAZINE

Volume 104 • Number 4

S.A.M. NEWS

Cover Story PAGE 36

6 8 11 20 20 22 26 69

From the Editor’s Desk From the President’s Desk M-U-M Assembly News New Members & Reinstatements Good Cheer List Broken Wands Newsworthy Our Advertisers

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Cover photo by Dale Farris

THIS MONTH’S FEATURES 24 28 30 32 34 36 42 50 52 58 66 68 69 70 70

Nielsen Gallery • by Tom Ewing Tech Tricks • by Bruce Kalver Cheats and Deceptions • by Antonio M. Cabral Hit the Road • by Scott Alexander Not Just Kid Stuff • by Jim Kleefeld COVER STORY • by David Corsaro Combined Convention Photos The High Road • by Mick Ayres Ebook Nook: The Life and Times of a Legend: Annemann Informed Opinion • New Product Reviews Paranormal Happenings • Charles Siebert M.D. Salon de Magie • by Ken Klosterman Inside Straight • by Norman Beck The Dean’s Diary • by George Schindler Basil the Baffling • by Alan Wassilak

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M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians, 6838 N. Alpine Dr., Parker, CO 80134 . Periodical postage paid at Parker, CO and additional mailing offices. POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80134. SEPTEMBER 2014 - M-U-M Magazine 5

Photo by fivebyphotography.com

Editor’s Desk Michael Close The smiling face beaming out at you from this month’s cover belongs to Obie O’Brien, the Head Forker himself. At the 4F convention last April, Eric DeCamps learned that Obie had never been on the cover of M-U-M and pitched the idea of a cover story to me. With his more than forty years of producing the Fechter’s Finger Flicking Frolics, his dedication to promoting magic around the world, and his interesting career in both education and sports, Obie is a perfect cover story subject. David Corsaro wrote the article, accompanied by tributes from some of the best magicians on the planet. Congratulations, Obie; sorry it took so long. In a few days, Lisa, Ava, and I will be heading up north toward Halliburton, Ontario, to participate in the Sorcerers Safari Magic Camp. When we visited camp for a few days three years ago, I wasn’t sure that I would like it. But I loved it, and each year the three of us can’t wait to go back. I have a vivid memory of one moment during that first visit. Lee Asher asked me if I would discuss the faro shuffle with the campers in his card class. I was happy to do so. I talked about the shuffle and explained a method to learn how to do it. This turned into a hands-on workshop as everyone tried the shuffle while I offered suggestions and tag-team help. After everyone had a chance to play with the shuffle, I asked if there were any questions. Someone asked me about the tabled faro shuffle, and I talked about that for a bit. (Mostly I just explained that I don’t do that shuffle, because I perform standing and I didn’t want to invest the necessary practice time, which is considerable, on a move I would never use.) Then someone asked me about the anti-faro. This remarkable move was created by Christian Engblom. The cards are sprung from hand to hand; when they hit the left hand, they alternate into an in-jogged/out-jogged condition, looking just like a deck that has been given a faro shuffle. Although I don’t do this move (it is really difficult), I had a story about it, which I related to the campers. In 1997, I visited Finland and I met Christian Engblom at a convention there. During the convention he took me aside and said, “I’d like to show you something, but you can’t tell anybody about it.” He then demonstrated the anti-faro, and I was astonished. I told him I would never talk about it with anyone. And I didn’t. I never mentioned it to my friends (or anyone else), until sometime in the early 2000s, when people started to tell me about it. I assumed that Christian had decided to go public with the move, and it was no longer a big secret. When I finished my story, a camper said to me, “You never told anyone?” I replied that I had not. He said, “But it was so cool!” “Yes,” I said, “but keeping secrets is one of the most important parts of magic – especially keeping those secrets that someone has trusted you with.” This was a message no one had ever imparted to this young man. He and I discussed it further during the time I 6 M-U-M Magazine - SEPTEMBER 2014

was at camp. And that’s why I love going to camp: I have the opportunity to interact with these young magicians and offer viewpoints that they are not getting from their other sources of information. And in turn, they challenge my perceptions. (Incidentally, I spoke with Christian Engblom about this at the combined convention. He thanked me very much for keeping his secret.) A large chunk of time at the combined I.B.M./S.A.M. convention this summer was taken up by contests. The current trend for the types of acts offered in stage and close-up concerns me. I’ve written a long article about this transformation of contest “close-up” magic; you can find it in the blog on my website (www.michaelclose.com). But I also want to discuss the stage contests, and I can do that in fewer words. In the past, I have written and spoken about the stage contestants who turn the stage into a garbage dump during their acts. Some contest acts at the combined convention seemed to take this to extremes. In the past, the need to sweep the stage before setting the next act has caused large lag times between acts. At the combined convention it was decided that the way to alleviate this problem was to tape down drop cloths before each act; the thinking, I guess, was that the drop cloths would make clean-up faster. Unfortunately, all the drop cloths did was to move the lag time from after the act to before the act. And since the drop cloths had to be taped down carefully (you can’t have a performer tripping over a loose edge), this procedure probably increased the lag time. Let me offer some reasons why I think treating the stage like a trash can is an approach that should be discarded. 1) It shows a lack of respect for the performance area and the stage crew. 2) It shows a lack of respect for the audience. Lag times between acts drain the energy and attentiveness from an audience. Even an expert emcee is going to have problems maintaining their enthusiasm. 3) It shows a lack of respect for the other performers on the show. If, because of the mess on the stage, the show lags and audience energy drops, the next performer is going to suffer. A show should build in intensity. This can’t happen if each act has to start from square one. 4) An act that trashes the stage will have a hard time finding a home in any revue show in the real world. I have spoken to many friends who are professional stage and stand-up performers; none have told me that a booker would consider hiring an act that left the stage a mess. I think it’s time to admit that this has gone on long enough; the solution is simple: change the rules of the contest. If an act’s props can’t be struck and the floor cleaned in sixty seconds (or whatever small, arbitrary amount of time you want to choose), there is a penalty – a penalty severe enough to affect the chances of winning a prize. The young magicians who are in the process of developing stage contest acts look at the acts that have won for inspiration. If a winning act trashes the stage, they will do the same. Instead of perpetuating the mess, let’s force them to think outside the box and see what ingenious methods they’ll come up with to avoid the litter. If we give them the opportunity, I think they’ll surprise us. 

President’s Desk Kenrick "ICE" McDonald The S.A.M. family is incredible. We have suffered some tragedies and some loss this season. When it comes to supporting the members and their families in their time of loss, our S.A.M. family goes beyond the call of duty to support these families. I simply would like to say to all of you, thank you. The Associate Member: To the associate members of the Society, you are not forgotten. First, I would like to encourage you to join an assembly in your area. If joining an assembly is not possible, I want you to know that you are just as important to the Society as any other member who does belong to an assembly. Per the President’s Desk article in the August M-U-M, the RVPs will be looking for outstanding assembly members as well as associate members to honor with a Presidential Certificate for their achievements. In the past few weeks, there have been several magic programs on television, in the press, and in social media. I want take the magic from the screen and bring it to reality. We will celebrate National Magic Week from October 26-31, 2014. I am asking the S.A.M. membership to perform a minimum of one thousand magical acts of kindness during the month of October. Many of our members visit hospitals and perform for the sick and convalescent. Please take a moment to share the healing power of magic with a charity or sick children during the month of October. It doesn’t have to be during the week proclaimed to be National Magic Week; we just want to share this great art and its good will. Also during National Magic Week, local assembly leadership will be encouraged to reach out to their communities to promote the art of magic. We encourage assemblies and S.A.M. members everywhere to participate in “A Magical Moment in Time.” On October 26, 2014, at 7:00 p.m. CST, magicians from Disneyworld in Orlando to Central Park in New York City to the streets of New Orleans to Six Flags in Dallas to the MGM Grand in Las Vegas to the Magic Castle in Hollywood will perform a levitation illusion at the same moment in time. You can levitate a card, a coin, a paper rose, a silver ball, a table, a car, or another person. It doesn’t matter what you levitate, just as long as we all levitate something at the same time. This one single event could highlight and promote the art of magic to millions. Look for more information to come from your RVPs, on our official Facebook members’ page, and on the S.A.M. website. Congratulations to Gay Blackstone, who was the recipient of the first ever Dual Presidential Citation given to her collectively by S.A.M. and I.B.M. at the combined convention in St. Louis (see photo on page 47). Also, Larry McMechan and Del Wilson were recipients of an S.A.M. Presidential Citation. THE PRESIDENT’S GOOD WILL PERFORMER OF THE MONTH – JAMAHL KEYES THE MAGIC MOTIVATOR, Volunteering his talents to J.A.G. (Jobs For America’s Graduates). Jamahl Keyes, also known as “The Magic Motivator,” has been sharing his wonderful talent of motivation and magic to young adults for twenty years. He has traveled all over the world 8 M-U-M Magazine - SEPTEMBER 2014

using the art of magic and theatre to help young adults find The Magic in Themselves. Jamahl is not only known for his greatness in magic and theatre, but also for over ten years of life-changing volunteer work for the national organization J.A.G. (Job’s For America’s Graduates), which is a state-based, national nonprofit organization dedicated to preventing dropouts among young people who are most at risk. In more than three decades of operation, J.A.G. has delivered consistent, compelling results – helping nearly three-quarters of a million young people stay in school through graduation, pursue postsecondary education, and secure quality entry-level jobs leading to career advancement opportunities. THE PRESIDENT’S YOUNG MAGICAL ARTIST OF THE MONTH – THE REED SISTERS (JESSICA, SHAYNA, AND MANDY)

The Reed Sisters have amazed audiences throughout the world. These young ladies, taught by their grandfather, Larry McMechan, have been performing magic since the age of three. They have been featured in numerous newspaper articles, television specials, and magazines. They recently performed as the headlining act in France. The Reed Sisters have also been featured in a Japanese documentary that aired in Japan for several years, as well as many television appearances here in the United States. These three ladies have combined their award-winning acts to form a show that has become known as The Sister Act. In this high-energy show they combine illusions, comedy, drama, and dance, creating fun for all ages. Their deep love of the stage, high energy, charismatic onstage presence, and inherent need to thrill their audiences shines through in all of their performances, making their act one not to be missed. 

S.A.M. National Officers Dean: George Schindler, 1735 East 26th St., Brooklyn, NY 11229, (718) 336-0605, Fax (718) 627-1397, [email protected] President: Kenrick “ICE” McDonald, P.O. Box 341034, Los Angeles, CA 90034, (310) 559-8968, [email protected] President Elect: David Bowers, (717) 414-7574, [email protected] First Vice President: Jeffrey Sikora, (402) 3396726 [email protected] Second Vice President: Richard Bowman, 719527-0678, [email protected] Secretary: Marlene Clark, 274 Church Street, #6B, Guilford, CT 06437, (203) 689-5730, Skype: marlene.clark, [email protected] Treasurer: Eric Lampert, (215) 939-5555, [email protected]

Regional Vice Presidents New England: CT MA RI NH ME VT Thomas D. Gentile, 413-533-7653, [email protected] North Atlantic: NY NJ Eric DeCamps, (718) 896-5861, [email protected] Mid Atlantic: PA DE MD VAWV DC Arlen Z. Solomon, 215-443-7908, [email protected] South Atlantic: FL AL GA MS NC SC James M. Driscoll, 770-603-9266, [email protected] Central Plains: KY TN OH IN MI Steven A. Spence, (317) 722-0429 [email protected] Midwest: IL MN WI MO ND NE KS SD IA Shaun Rivera, (618) 781-8621 [email protected] South Central States: TX AR OK NM LA Michael Tallon, (210) 341-6959 [email protected] Southwest: CA AZ NV HI Ron Ishimaru, (808) 428-6019, [email protected] Northwest: WA OR UT ID CO AK WY MT James Russell, (360) 682-6648 [email protected] Canada: Lon F. Mandrake, 604-591-5839, [email protected] Society of Young Magicians Director: Jann Wherry Goodsell, 329 West 1750 North, Orem, Utah 84057 (801) 376-0353. [email protected]

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

SEPTEMBER 2014 - M-U-M Magazine 9

ASSEMBLY NEWS

SEPTEMBER 2014

Volume 104, Number 4

Society of American Magicians Monthly News GO TO: WWW.MUM-MAGAZINE.COM and use the easy submission form to file your report

2 RED, WHITE, AND BLUE SAN FRANCISCO, CA— The date and location of our July meeting had to be changed, so we had fewer members than normal.  However, those who attended carried out the theme of patriotic magic to the fullest – red, white, and blue figured in every trick that was shown. Hippo Lau led off; he described the first American flag and drew a sketch on a blank sheet of paper with a black felt pen.  He brought it to reality when he put the paper in a bag, which changed it into a real American flag.   Corky LaVallee followed and had Walt Johnson help.  While Walt held red, white, and blue silks Corky took a fire cracker and put it into a metal tube for protection.  He then took the silks and put them into a box that promptly made the silks disappear.  When Walt opened the metal tube and removed the contents, it turned out to be an American flag.   The missing fire cracker was then found hanging on Walt’s back.

Corky and Walt do the Ching Soo Firecracker trick Stu Bacon used a Silk Cabby to turn red, white, and blue silks into an American flag. In making the change he didn’t have a wand or pixie dust, so he uttered a Latin phrase that made the conversion.  (The Latin phrase was impressive but didn’t have any meaning.)  Walt Johnson preformed Daryl’s Patriotic Ropes to a political theme, blue being

democrats, reds republicans, and white moderates.  They all started as separate entities and Walt tied them together in the hope that all three groups could work as one.  When he displayed the final single rope with all three colors it proved that all three groups could work together.  We wished that was really the case.  Rob Shapiro ended the evening by asking Walt to hold a red shoelace in one hand and a blue shoelace in the other.  Rob then made a white shoelace disappear and then pulled it from Walt’s ear. While we enjoyed the cookies that Corky brought, we were surprised that no one did the traditional Mismade Flag!  Maybe next year. —Stu Bacon Assembly 2 meets the first Wednesday in the Community Room of the Taraval Police Station, 2345 24th Avenue, San Francisco. Contact Corky LaValee [email protected] (415) 648-1382 for more details.

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Frank Glab, the Great Frankini, shows his new coin routine with Chinese jade rings jade rings, and Daniel Shutters explained Petals Around the Rose. —John Sturk Assembly 3 meets at 7:30pm, fourth Monday of the month at Pilgrim Congregational Church, 460 W. Lake St, Oak Park, IL Contact John Sturk john@ johnsturk.com (773) 633-9219 www.magicalchicago.com for more details.

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WORKS IN PROGRESS NIGHT

ANNUAL BANQUET

CHICAGO, IL— Our June meeting came on June 23, just ahead of the I.B.M./S.A.M. combined convention. The theme was “Works in Progress,” to give members a chance to present new tricks or routines that are still being smoothed out, and receive constructive feedback from the group. First, Most Illustrious Neil Tobin presented a new card routine with a vampire theme, hammering a deck into a piece of wood. John Sturk presented the Nemo Jumbo Rising Cards, with the assistance of Daniel Shutters, who recently relocated to Chicago from Harrisburg, Pennsylvania, and Assembly 103. Gordon Gluff presented his routine of Coins to Glass utilizing a small wooden box, and Bob Syrup presented his take on Further Than That, originally published by Stewart James. David Lyons showed us how to make musical instruments from balloons, Frank Glab showed his new close-up coin routine utilizing

PHILADELPHIA, PA— In June, we held our annual banquet, which featured our very own Al Lloyd. During the cocktail hour we were treated to an array of music by D.J. Kurt Garwood while Michael Bonacci and Peter Cuddihy rotated among the tables and performed some amazing close-up magic.  Following a sumptuous buffet dinner, S.A.M. National Historian Tom Ewing handed out the trophies to the winners of the close-up and stage contests this year before presenting the Dick & Joan Gustafson award to James Fiorentino, who is a gentleman in every sense of the word. (A photo of Jim holding his plaque will appear in next month’s submission.) President Brian Hurlburt then presented the President’s Outstanding Service Award in honor of Jerry Remenicky (a.k.a. Professor Rem) to Assembly 4 Secretary Arlen Solomon. A round of applause was then given to outgoing President Brian Hurlburt for all of his hard work this year as

he passed the gavel and wand on to incoming President Eric Johnson. After the award ceremony, the stage show began, featuring a whirlwind of classics of magic performed by our very own Al Lloyd. Al started things off with his award-winning, elegant dove act, which culminated in the transformation of several doves into a large white rabbit and the production of a large, rare, white bird from the island of Crete, thereby garnering a thunderous round of applause. At the conclusion of his dove act, Al enlisted the assistance of the adorable Sidney Matthews to perform his hysterical version of the Miser’s Dream, during which he pulled countless coins from audience members while walking through the crowd. After amassing a bucket of coins, Al pulled a jumbo coin from Sidney’s nose and had her blow her nose into a handkerchief, revealing a bunch of hundred dollar bills. Al performed a number of great illusions during the evening, including the Card Sword and an amazing effect during which his wrists were bound together with rope after which two audience members tossed two metal hoops at him which miraculously passed through the rope and came to rest in each of his bent elbows. Al presented us with an amazing evening of magic that we will always remember, thereby capping off another excellent year at Assembly 4. —Peter Cuddihy James Wobensmith Assembly 4 meets third Thursday 7:00 p.m. at the Bustleton Memorial Post 810 (American Legion), 9151 Old Newtown Road. Contact Information: www.sam4.org/ for more details.

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FREESTYLE MAGIC

BALTIMORE, MD— There was no theme for our July meeting.  Before we even got started there was heavy-duty sessioning taking place in the front room, including a lively discussion of the pros and cons of the Criss-Cross force.  After a brief discussion of the magic

SEPTEMBER 2014 - M-U-M Magazine 11

Assembly News flea market we will hold on a Saturday in September, it was on to magic.  Jared Raitzyk had a spectator choose a card; he then revealed its value (Jack of Spades) in the shape of a heated wire.  He followed with an impromptu keys-deck of cards-lighter prediction.  Joe Bruno debuted his two latest creations.  First, a selected card appeared between two tabled Jokers.  He followed with an effect using two red-backed and one blue-backed decks of cards, the blue ultimately disappearing and ending up in the tabled, closed card box.  Joe tipped both effects (soon to be published) and we critiqued.  Howard Katz suggested a way to combine both effects into a marketable item.   Andy London performed an interesting card effect by Caleb Wiles called Armchair Mind Reading, and discussed the thinking behind it.  Mark Wolfire did a multi-phase card routine themed on going on vacation, complete with skycaps and luggage (from John Guastaferro’s Brainstorm).  Eric Hoffman performed Against All Odds, an intriguing Aldo Colombini card match effect.  Mike Parkinson turned away while his spectator cut four piles, selected the highest top card, and shuffled everything. Somehow he was able to divine the card.  Howard Katz had us scratching our heads over a mysterious card reveal he debuted.  Called Augury – The Art of Divination, it’s his own effect, just now being marketed by Magic Warehouse.  Sessioning continued long after the meeting ended, including Mike’s tale of woe of how he ended up with ten thousand wrongly made business cards!  —Eric Hoffman The Kellar/Thurston Assembly 6 meets every first Thursday at 8:00 pm at the Magic Warehouse, 11419 Cronridge Drive suite #10 in Owings Mills, Maryland.  410561-0777.   Contact Andy London at [email protected] or www. baltimoresam.com for more details.

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IBM/SAM/FISM HITS HOME St. Louis, MO— May 30, 2014, was our installation banquet; everyone was ready for food, fun, and magic, and no one was disappointed! President Randy Kalin greeted the group of magicians, family, and friends who gathered. Our food was excellent, and we thank the Appersons (David, Virginia, and John) for that. The deserts were divine, thanks to MaryAnn Blowers! Then came the magic, Columbus Smith was ever the charming mentalist. He executed several

Assembly 8 meets at Mount Tabor United Church of Christ located at 6520 Arsenal in Saint Louis, Missouri 63139. Contact Dick Blowers [email protected] (213) 846-8468 http://Assembly8. com for more details.

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SUMMER SIZZLER

Uncle (Con-Man) Larry mind reading effects with Joshua Weidner, Dan Todd, Sandy Weis, and Ron Jackson. Gregory Green,is not green with his magic, that’s for sure. He performed flawlessly and entertained the whole crowd with an in-the-audience illusion floating a gentleman’s credit card, a fun Cups and Balls routine on stage with a delighted young man, and caused a drawn card rise to the occasion. The officers and board were installed, by PNP John Apperson: President – Randy Kalin, Vice President – Steve Barcellona, Secretary/Treasurer – Dick Blowers, Sergeant of Arms – Greg Lewis, Chaplin – PNP Harry Monti, Board Members – Harry Monti, Sandy Weis, and Columbus Smith. Then we had even more fun, because Steve Barcellona along with Randy created a great game show for everyone to enjoy: Can You Name the Prop? Everyone went home with a smile and just about everyone went home with a prize. June 26, 2014 was “Improving Your Performances” night. After a brief meeting we watched Bardakas, Patrick Gable Marinelli,  Smoothini, a couple of  Carbonaro effects, and more. George Van Dyke gave a review and copies of Inside Straight by Norman Beck (M-U-M August 2013, page 69) and Inside Out by Jon Racherbaumer (M-U-M May 2000 page 71). Harry Monti performed a prediction of a number and who would choose that number; it was Larry Minth. Randy spoke about how we can all improve our performances with scripting. Dan (the Great) Todd got all emotional with Sandy Weis and George Van Dyke while performing an effect from Reel Magic Magazine # 38 by Christian Painter. A then-visitor/now-newmember, Nicholas Sinamon, treated us to a version of Card Warp, which everyone enjoyed! July 1-5 most of us attended the S.A.M./I.B.M. convention, right here in St. Louis. It was fantastic. —Dan Todd

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SPRINGFIELD, MA— Our fifth annual Summer Sizzler kicked off this year with a gorgeous weather forecast prediction of a beautiful sunny summer day with light humidity. Many attendees were from four New England assemblies (127, 16, 17, and 21). We did have chance at one from 26 and several from 9, but it was not to be. All we had to add was magic and fun for all. Many enjoyed the timely delivery of a meal that our committee had worked to supply for this year’s menu of barbeque ribs, brisket sandwiches, and chicken. We also had corn on the cob with many salads. A cake donated for dessert and wonderful cold watermelon toppedf the meal. We even had ice cubes from Hawaii supplied by Southwest RVP Ron Ishimaru. This year we tried a Chinese auction-style raffle and we also tried Chinese auction style door prizes. Many thanks to several who donated to the raffle and door prizes; among those mentioned were members Ed Popielarczyk’s donation of many books and a generous gift certificate from Rich Pinsonnault, owner of the local magic shop. Many went home with some nice new effects to be added to their magic drawer repertoire.  Our treasury thanks all who supported the event this year. We were treated to many who displayed their talents for our members and guests. Soll Levine revealed his expertise of a card freely chosen and revealed after a wardrobe change behind a new fan that he had purchased at this year’s St. Louis convention. National Secretary Marlene Clark was able to determine a fistful of cards selected from several shuffles and pile selections. Vice President Leonard Nadeau was able to work several miracles with rope. Peter Lennis amazed many at his table. Dean Tom Gentile was able to draw upon the spirits to help determine a number selected among several cards with possibility of one to one hundred with the help of his datebook’s calculator burning the results. President Rich Gilbert amazed many with his new acquisitions from his convention trip. Many went home with full stomachs, leftovers, and magic to

remember that they had come to Springfield’s assembly to “Visit for a Spell!” —Dean Tom Gentile Dr. I. R. Calkins Assembly 17 Springfield MA meets the first Friday of the month except for July and August at Moto-X Bike and Magic Shop, 69 East Street Ludlow MA. 1-413-547-6500 Contact Rich Gilbert-President [email protected] (413210-5725.) www.assembly17.org for more details.

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EASY-GOING SUMMER

WEST HARTFORD, CT— We held our long-delayed elections in July and the S.A.M. and I.B.M. officers were reappointed.   The leadership of the CCMA remained mostly unchanged, except for placing Roger Cisowski in the VP spot, to join President Dan Sclare, Secretary Dana Ring, and Treasurer Soll Levine. The theme for the night was “Summertime and the Magic is Easy,” so there were no rules; anything was allowed.  Dave Steele started us off with a set of four rods with numbers on all sides.  Chris White arranged them at random to form four rows of four-digit numbers.  Using a calculator, he found their sum, but before he finished, Dave had already written his own answer, which matched. Chris shuffled a deck and dealt two poker hands. Dan Sclares’s hand was a full house, but Chris only had a pair of Nines.  However, one thumb-flick and his hand changed to a royal flush.

New RVP-NE Tom Gentile Henry Andrzejczyk’s niece Samatha performed an effect she learned from a Shari Lewis video.  She had a card selected and returned to the deck, which was then encased.  The selected card rose from the deck on her command. Marlene Clark gave packets of cards to four volunteers.  One of the volunteers, Rick St. Pierre, was chosen, and Marlene established a mental link

Assembly News with him and was able to name, one by one, all the cards in Rick’s packet. Tom Gentile, our newly-elected Regional Vice President for New England, told us an amusing story about how casinos recently became legal in Massachusetts, illustrated by a chart.  As the story continued the chart got simpler by folding, until it became a picture of a toilet!  He also showed us a gag by the late, great Aldo Colombini concerning a science project to cross-breed pheasants. One of our guests, Brad Beady, had a card selected and returned to the deck.  He then selected four cards and displayed then one at a time, looking for a “tell” from his volunteer.  He correctly guessed the chosen card, and then showed that the other three cards now matched the chosen card’s denomination. Lastly, Dan showed three little colored bolts with matching nuts in a small container.  When shaken, the only bolt to un-thread its nut matched the color of a preselected card. —Dana T. Ring Assembly 21 meets the 2nd Monday of every month (except December) at Angelo’s on Main, 289 South Main Street, West Hartford, CT Contact Dana T. Ring [email protected] (860) 5239888 www.ctmagic.org for more details.

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DAVID GABBAY LECTURE

LOS ANGELES, CA— The

Assembly 22 business meeting of July 21, 2014, was short, but it included a second reading, a vote, and the unanimous election into assembly membership for Jeremy Williams.  Congratulations, Jeremy. The program for the evening was a lecture by David Gabbay.  David was featured in the August 2013 issue of the MAGIC magazine article, “Magic at the Fringe.”  David is one of a number of very talented young professional Los Angeles area performers.   David’s lecture consisted generally of close-up effects and included some very nice coin tricks, including “Coin Opener”, a production of silver dollar coins from a small coin purse.  Gabbay also presented his version of Ramsay’s Coins & Cylinder and a three-fly effect called Sanchez Fly.  David also presented a number of impressive card effects that were made unique with his presentations.  Particularly impressive were the unique reveals of selected cards. The lecture closed with a series of effects accomplished with small, strong magnets.  Among

these were several unique Chop Cup routines, one using a small can that had contained mini-sausages and another with a doubleended cocktail jigger.  A polo shirt logo that could be slid anywhere on the shirt closed his lecture. David is a very personable performer and lecturer, and his presentation was most entertaining.  Most of the material, he explained, would require some level of skill with coins and cards and a requisite amount of practice handling all of the props. The material he presented is straight from his Magic Castle close-up act, so it’s all practical and audience tested to be entertaining.  A great set of lecture notes was available in the form of a perfect-bound book full of photos on glossy paper.  David also had a few of his other special props available. Another great night of magic at the Southern California Assembly. —Steven L. Jennings Southern California Assembly 22 meets the third Monday each month at 8:00 PM, St. Thomas More Parish Hall, 2510 South Fremont Avenue, Alhambra, California Contact Ed Thomas [email protected] (213) 382-8504 for more details.

32

MAGIC WITH A STRETCH AND A BOUNCE

LYNCHBURG, VA— Following a discussion about upcoming magic shows to be presented by Assembly 32, John Jennings shared some of the highlights from the recent I.B.M./S.A.M. combined national convention in St. Louis. He was especially impressed with the outstanding close-up talent on display throughout the week. John then on to present his own adaptation of A Semiautomatic Ace Production by Dani DaOrtiz that was printed in the convention program.   The meeting theme for July was “Magic with a Stretch and a Bounce.” This could mean rubber bands, rubber balls, elastic cords, or anything else that could remotely fall into the category and assembly members had plenty to offer. Carl Hoegerl started things off with a nice handling of a sponge ball routine that he is working on. His son, John, was with him attending his first magic meeting. We are guessing the magic bug might bite at any moment.   Mike Kinnaird presented his version of a ring on spring because he was looking to refine his presentation. Mike then used rubber bands to perform an excellent handling of the Crazy Man’s Handcuffs. He was followed by Bob Staton, who showed a

card routine in which he would count five cards, toss away three, and still have five cards.   Bob Wallin finished the themerelated magic with a wide assortment of magical effects. These included multiplying hot dogs and a “stretched” hot dog in a bun. Bob added a stretching rope effect with appearing knots. He also demonstrated that even wood could be stretched by showing the wooden boomerangs he had. He had quickies with a bendable pencil and jumbo size coin and he presented a very nice linking head-bands effect. He then shared a series of visual magical effects with an assortment of rubber band trickery.   Bob did a few other magical things with stuff that would stretch or bounce, but this scribe had a choice at times to either watch or write. If I tried to do both, something would be missed. I chose to watch and then try to remember what I could. It was quite apparent that Bob Wallin has a quite large repertoire of magic that he can bring into use at anytime. Thus concluded a magic filled evening in Lynchburg, Virginia. —John Jennings The Hersy Basham Assembly 32 meets the third Tuesday at 7:00 p.m. at Tharp Funeral Home, 220 Breezewood Drive, Lynchburg, VA. Contact John Jennings [email protected] (434) 851-6240 for more details.

37

SUMMERTIME FUN

DENVER, CO— The summer of 2014 is flying by here in the Mile High City, with lots of magic happenings and fun events all over the beautiful state.  The Mile High Magicians society hosted a fun summer picnic in the month of June.  It was put together by club member Lewis Peacock; several members enjoyed a hamburger or two.  John Luong and Treasurer

Dave Elstun both reported back that a good time was had by all.  Our magic neighbors to the north also put together a grand picnic while our magic neighbors to the south hosted a summer flea market.   In the month of July President Matt Brandt and our sergeant at arms put on a thank-you show for the residents of the retirement center that donates a meeting room to us every month. This has been a tradition for several years.  The least we can do is show a little gratitude back in the form of a magic performance. Colorado is a very magic state.  We not only are home to several working pros we are also a magnet for street performers from around the globe with such venues as Boulder Colorado’s Pearl Street Mall.  Colorado is also the home of the legends of Bar Magic, Doc Eason and Eric Mead, from the Aspen/Snowmass area.   And we possess a hidden magic treasure.  We are home to a unique small magic theater owned by past FISM winner, I.B.M. gold cup winner, and consultant to the stars, Joe Givan and the lovely and talented lady magician Carol Massie.  The Theatre of Dreams sits in the charming small town of Castle Rock, Colorado.  It is proud to be celebrating its eleventh year of bringing Magic Castle-caliber talent to the Rocky Mountains.  They just hosted Mind Games, with world-renowned human expert Marc Salem all the way from the East Coast.  It is difficult to place Marc into any one category.  Holding three separate Master’s degrees he is not a mind reader or magician; he is just a very well educated expert on the human psyche and very impressive too.—Connie Elstun Assembly 37 meets at the Riverpointe Senior Center in Littleton Colorado Contact Connie Elstun connie@ comedy magicbu n ny. com (303) 933-4118 www. milehighmagicians.com for more details.

38

OFFICIAL UNOFFICIAL MEETING

Joe Givan, Carol Massie and Marc Salem outside The Theatre of Dreams

KANSAS CITY, MO —   In the absence of an actual July assembly meeting, four members convened at a popular sports pub for a evening meal and an after dinner jam session featuring cards, coins, rubber bands, borrowed bills, and an unplanned seminar on as much magic theory as we could cover.   Before getting down to the magical tasks at hand, there was a brief support group session that arose out of the perceived need to convince the worrisome

SEPTEMBER 2014 - M-U-M Magazine 13

Assembly News

56 JULY MEETING

Assembly 38 - Shaun Rivera, Don Becker, John Hicks and Bob Goodin hold forth at the local pub Don Becker that his car would probably not be towed from the off-site spot where he’d parked it.   That attended to, Becker was asked to do Daryl’s Double Dazzling Triumph. There followed a sort of teach-in on the effect, during which he got moderately confused, but was cheered on to a respectable conclusion. Thanks, guys.    Bob Goodin followed with his own Aces Twisting effect which, like all of Bob’s material, was a lesson in magic unto itself – clean, straight plot line, visually striking, totally mystifying. Maybe there is a correlation between being a master musician (which Bob is) and a master magician as well. No proof, but it’s a working theory.   John Hicks, whose patter and presentation are always the perfect blend, was then the first to entertain our waitress with a card trick in which she was his assistant in a magic-performance dream he’d had. She was cheerful and attentive throughout what emerged as a crash course in how to weather four magicians vying for your attention. This was only her second day at this restaurant, and considering the show to which she was treated, it may well prove to be her best.   Teach-in number two evolved by way of Shaun Rivera’s flawless coin box work. I was wondrous to watch, more so to be patiently walked through it by the performer. Thanks Shaun. Very nice work.   Then came Kayleigh and Jay, a super nice young couple who moved from their table to ours expressly to see magic. They ended up seeing quite a lot. They clearly enjoyed it. No word on how late the whole shebang lasted because this reporter had to get underway, leaving the others to happily carry on. He was relieved to find his car where he had left it. No word yet as to whether Kayleigh and Jay plan to join the S.A.M. —Don Becker Assembly 38 meets at the Improv Coffee House and Theater, 4010 Pennsylvania Avenue, Kansas City, MO on the 3rd Tuesday of every month. Contact Don Becker [email protected] (816) 886-6780 for more details.

52

INDEPENDENCE DAY MAGIC

SAN ANTONIO, TX— July 3 2014, Brother John Hamman Assembly 52 held its monthly meeting at LaMadeleine Restaurant.  President Ray Adams called the meeting to order.  Ray let us know about The Magic Summit to be held in Las Vegas November 14-16.  Also, the Texas Association of Magicians convention will hold its annual convention Labor Day weekend in Fort Worth, Texas. Starting off the open performances was Michael Tallon.  He was in St. Louis at the I.B.M./ S.A.M. combined convention, so he phoned in his performance with a find-a-card effect.  Ray Adams did a patriotic color changing flowers and candle to music, followed by Ed Solomon’s storytelling about Simon Magus and a matching card effect.  Don Moravits entertained with a prediction effect called Spread Switch, and Paul Amerson performed David Devlin’s Theta Waves.  Doug Gorman performed an original effect he calls Executive Decision, and Paul Mim closed the open performances with Card to Wallet by Pat Page. Joe Libby was the featured performer for the evening.  He gave us a wonderful talk on positive thinking.  His message was interspersed among some entertaining magic and some great ventriloquism.  He offered us some important strategies:  make a choice to be positive, surround yourself with positive people, and be grateful for what you have.  Thanks, Joe, for an inspiring presentation that will benefit us all.  Brother John Hamman Assembly 52 meets at 7:30 p.m. on the first Thursday of the month at La Madeleine Restaurant, located at 722 N.W. Loop 410. The restaurant is inside Loop 410 on the access road between Blanco Rd. and San Pedro. For more information, contact [email protected].

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DAYTON, OH— Our July Meeting was held at the home of Compeer Jeff Porges. We were joined by RVP Steven Spence.  During our business meeting, we discussed the recent I.B.M./S.A.M. combined convention and how club members The Reed Sisters were selected to be one of the acts to represent North America and compete at FISM in Italy next summer.  We also discussed how compeer Larry McMechan received a Presidential Citation for his many contributions to the art of magic from National

Reed Sisters with Invitation to compete at F.I.S.M. (Top) Larry McMechan Presidential Citation from Ice McDonald (Bottom) President ICE McDonald. After refreshments provided by Jeff, we gathered for the performance portion of our meeting. Our theme was “Walk-around Magic”; we saw presentations from Jeff Porges, Fred Witwer, Millie Witwer, Matthew David Stanley, Paul Burnham, Scott Miller, and Steven Spence. It was a fun meeting; a good time was had by all. —Matthew David Stanley Assembly 56 meets at various locations contact Paul Burnham [email protected] (937) 474-0647 for more details.

88

JULY REPORT

ANN ARBOR, MI— The July business meeting was omitted in deference to our annual “AntiBusiness Meeting,” which is code for a magic picnic! This year’s event was hosted by Susan and Jim Folkl’s on July 12. The club provided the hot dogs and hamburgers with members bringing a side dish to share. We were blessed with beautiful weather, great food, and, most important, a terrific magic show! Secretary, Jim Folkl kicked things off with a children’s comedy

routine featuring “Lovey Ducky,” a rare children’s effect from the Harry Stanley’s Unique Magic Studio. Lovey is chased around her coop by Tomcat Tommy until caught (?) and ultimately reappears from a giant egg free from the clutches of the wily feline (yea!). Our next performer was George Mathis, who shared with the group a magic routine in development. The effect involved two colored strings of beads (green and red) that linked and unlinked before our eyes. It was a clever act that is being honed by George into a final presentation routine. Randy Smith demonstrated The Box of Destiny. With the help of a spectator, a playing card/destiny was chosen. The box was opened revealing a deck of cards. Upon their spread, it was seen that the selected card was reversed and of a different color from the rest of the pack.

President Bill Brang President Bill Brang closed the show with a routine he will present at the 2014 North American Science Fiction Convention to be held July 17-20 in Detroit. Bill opened with a variation of Dr. Jak’s Supersonic Card Prediction, divining a freely chosen card from a field of six displayed on an elevated pedestal. Next, injecting a bit of levity, Bill talked about developing advertising for a business card. He recounted the phraseology being considered and the need to minimize the verbiage. Ultimately the message read, “Will Work for Food.” Bill finished with a version of Hippity-hop Rabbits using Big Foot in lieu of hares, in line with the theme of the convention, science fiction. Subsequent to the show, we continued to talk magic; I took the group on a tour of my man cave/ magic den. After a full stomach and a full day of magic, we called our picnic a success. The much-anticipated Barry Mitchell Lecture in September kicks off our fall schedule, followed by Assembly 88’s world famous magic flea market in October. —Jim Folkl Assembly 88 meets the second wednesday of each month, 7pm at Faith Lutheran Church,1255

Assembly News East Forest,Ypsilanti Michigan. Contact Jim Folkl folkinimagic@ yahoo.com (248) 851-4839 for more details.

95 FISM 2014 NORTH

AMERICAN STAGE CHAMPIONS

VANCOUVER,

CANADA—

Trevor and Lorena Watters from Assembly 95 in Vancouver, BC, were crowned the 2014 North American FISM Stage Champions at the combined IBM/SAM/FISM North American Championships of Magic held in St. Louis, Missouri, over the first week of July.  With their polished, varietycomedy dual stage act, they thoroughly impressed the judges in the preliminaries to achieve the highest overall score for North American stage competitors.  This qualified them for the finals, in

Trevor and Lorena Watters FISM 2014 North American Champions! which they were the only North American act amongst other stellar international acts.  Their final performance was just as impressive to the sold-out audience of about 1,400.  In the end, Trevor and Lorena were awarded the top FISM North American 2014 prize, and will represent North America at FISM in Italy in 2015. Congratulations Trevor & Lorena from proud Assembly 95! From all the media coverage that they received when they got back home, all of Vancouver, British Columbia, and Canada are thrilled and overwhelmed by their incredible achievement.  This coveted championship could not go to a more deserving young, fresh, and adorable married magical couple! —Rod Chow The Carl Hemeon Assembly No. 95 meets the first Tuesday of each month at members’ homes. Contact Rod Chow rod@rodchow. com (604) 669-7777 www.sam95. com for more details.

104

HOW WE SPENT OUR SUMMER VACATION

WITCH CITY, SALEM, MA — With official Assembly 104 meetings at recess until September, summer magical activities continued behind the scenes as July progressed. Compeer Vince DeAngelis, proud new owner of Diamond’s Magic in Peabody, Massachusetts, worked through the month with former owner Eddie Gardner to create a smooth transition that will please the local magic community. With free coffee brewing and a new stage to highlight S.Y.M. 124 members, things are truly shaping up. Lecturers who have already enjoyed the new Diamond’s include Tyler Twombly, teaching beginner’s coin magic, and card magician Jason Ladanye. Vince reports he is “thrilled with the caliber of magicians on the way.” These include blind card whiz Richard Tucker, on September 8, and Mr. Tango himself, on December 8. In addition to enjoying their revamped performance area at Diamond’s, our S.Y.M. 124 kids have kept busy elsewhere in July. Three of them participated in Tannen’s Magic Camp during the week of July 12. Nate Nagem joined 124 president Derek Dubois (who took part in the competition) and 124 vice president Michael Ricciardi for an “awesome” week of lectures and performances. Performers included Eric Decamps, Steve Cohen, and David Oliver (who amazed everyone by performing his dove act).

S.Y.M. 124’s Vice President Ricciardi and President Dubois taking care of July business Camp Evergreen, in Andover, Massachusetts, is currently being prepared for the annual S.Y.M. 124/Assembly 104 competition, flea market and barbecue event. The S.Y.M. kids have had to make do without their beloved teacher Kayla Drescher, who has relocated to Las Vegas. While dearly missed, word from our attendees at the joint S.A.M./I.B.M. convention in St. Louis, Missouri, was that Kayla performed her signature bartender act well in competition. The St. Louis attendees from Assembly 104 were few, but enthusiastic. Among them were

Evan Buso-Jarnis, “Doc” Rogers, and Vice President Eddie Gardner. Ed was especially impressed with the quality of the magic on both “German Night” and “Korean Night.” After Returning to the Bay State, SAMCON Producer Evan reported the signing of our final headliners for the November 15 SAMCON convention at the Double Tree Hotel in Danvers, Massachusetts: Christian Painter and Katalina. Those who attend will be treated to an unforgettable Saturday, filled with lectures by Jay Sankey, Christian and Katalina, and Oscar Munoz, and a night of enchanting performances. There will even be a limited seating Master Class by Jay Sankey on the day after SAMCON for dessert. For details on Assembly 104 and SAMCON please visit our website: www. sam104.com.   —Bob Forrest Assembly 104 meets on the first Wednesday of each month, September-June, at 7 p.m., at the First Baptist Church of Salem, 292 Lafayette Street, Salem, Massachusetts. Contact Bob Forrest captainalbrightsq1@ comcast.net (339) 227-0797 www. sam104.com for more details.

108

SUMMER MAGIC

SOMERSET, PA— The June meeting was a teach-in from Vice President Dody-Jane Svetahor on reel magic for both the S.Y.M. members and the S.A.M. members. It was a very informative meeting that went well into the evening with some good discussion. Our July meeting was our annual covered dish family picnic; we had thirty-four people in attendance, including our members. It was held at our vice president’s home and we appreciate her and her husband allowing us to use their place. We had quite an array of food, including “Houdini Zucchini” and “Dante Deviled Eggs.” All members performed for the family audience and there was a lot of new, never-seen-before magic, including a lot of comedy and laughter. One family of a new S.Y.M. member told us that they a wonderful time and said that they noticed how friendly, and welcoming the club is. We did find time to finalize our plans for our club show in October. We always like to perform together when we can. —Dan Miller The James Swoger Assembly 108 meets at 6:00 pm for SYM and 7:00 pm for SAM every third Monday at Wheeler Bros Inc. Contact Dan Miller millermagic@ gmail.com (814) 733-4978 for more details.

110

AFTER MEETING

CUMBERLAND, PA— There were six performers for the “open” contest after our July meeting – open meaning that there was no particular theme. Lou Abbotiello was the first to perform. Showing six empty Starbucks cups numbered one thru six, Lou asked for the assistance of a number of people to roll a die to select a cup. Lou told us only after the cups were mouth down, that one cup contained a $10 bill while the rest were truly empty. Cups were chosen by the number on the rolled die matching the number on the cup until only one remained – the one with the money. Nice Lou. Joe Noll brought us a Paul Harris tweaked version of Cards Across in which a mentally chosen card “travels” from one packet of ten cards to another packet of ten. The card count in the packets adjusts to nine and eleven. Scott Corell showed us something he purchased at the S.A.M. convention, a toothpick! Scott suspended the toothpick across two parallel card boxes and then removed one box. The pick remained suspended. He handed the pick to Troy who was unable to get the pick to suspend. Very clever. Al Bienstock had a card chosen and returned to the deck only to have the card disappear. Where did that flighty card go? Why into Al’s left shoe of course. Very smoothly done Al! Our mental maven, John Sergott, brought us something a little different for him. It was a version of Grant’s Million Dollar Poker Deal. Using ten jumbo cards John dealt poker hands and his helper just could not get the winning hand in this version of “Pennsylvania Dutch Poker.”  John brought the cards to us in a new, plasticcoated, decorative jumbo card box being sold by member Billy Diamond. Both the effect and the box had a favorable impact. Thom Naran was our final performer of the evening, showing his shuffled deck that, when shuffled, more became more unshuffled. Huh! That’s right! Thom had a card selected and then showed us on the edge of the deck a pattern of dots and dashes. With continued shuffles the marks began to morph into a word, “Unshuffled,” and then into the name of the chosen card. Another well executed effect with a good presentation by Thom. The non-performers chose Thom Naran as the winner with Al Bienstock as second and Scott Correll as third.

SEPTEMBER 2014 - M-U-M Magazine 15

Assembly News Joe Homecheck, SAM Assembly 110 meets 2nd Thursdays, 7:00pm, at John’s Diner 146 Sheraton Drive, New Cumberland, PA 17070. Email: Secretary@sam110. com

112

MENTALISM WORKSHOP

PLEASANT HILL, CA— Our June meeting got underway with Ric Ewing conducting the night’s workshop.  Ric demonstrated a mentalism effect in which he wrote three separate predictions, only to be so wrong each time that he crumpled up his predictions and tossed them aside.  Or was he?  The audience opened the tossed-aside predictions to reveal that all three were actually correct.  This seeming miracle is based on a principle used by many of the great magicians and can be quickly learned.  It’s all in the presentation. Guests for the evening included Mel Kientz, a former assembly VP and former national VP of the I.B.M., Roger Carne, Chance Acuna, and Jose Ramirez, a professional magician from Mexico. The first performer tonight was Zappo, who demonstrated his abilities as a mentalist with two separate effects.  The first, called Free Will, he learned from the late Bob Steiner.  A sealed envelope containing his prediction lies on the table in full view.  Three identical poker chips are presented, each with a different colored dot on the bottom side.  The spectator chooses one to hold, one for the magician, and one is placed into an envelope.  The prediction envelope is opened to reveal that the magician has correctly predicted which chip would be where.  Zappo’s second effect was a card prediction that included the 52-on-1-card gag to provide a little humor.

Carole Yvonne Kula looks on with alarm, not quite sure that Jack Winter has crushed one of the empty bags It is a bit difficult to describe David Facer’s performance, as it includes a lot of showmanship, humor, and audience participa-

tion.  Appearing as his alter-ego, Jack Winter, he performed a Russian Roulette-style effect using a broken glass bottle inside one of several mixed up paper bags, which he smashes one at a time with a bare hand.  In the end, only one remains – the one with the broken bottle. Bill Marquardt was up next, performing a version of Bro John Hamman’s Final Aces. He was followed by Mel Kientz, who entertained with a full set of close-up tricks, concluding with a bit he calls the Hot Dog Card, in which he apparently eats the chosen card before it magically appears face up in the tabled deck. Bob Holdridge then presented an original mind reading effect, in which he correctly names an animal chosen from a set of cards with animal pictures. Our meetings have something for everybody with an interest in magic. So, if you’re in the area, be sure to make it to the next one. —Bill Marquardt Diablo Assembly 112 meets on the third Wednesday of every month at the VFW building in Pleasant Hill, CA. Contact Larry Wright Zappo@zappothemagician. com (925) 685-5129 http://www. sam112.com/ for more details.

115

WISH YOU WERE HERE

CHARLOTTESVILLE,

VA—

Assembly 115’s July meeting was postponed one week due to the I.B.M./S.A.M. convention in St. Louis.  Our July 11 meeting found members gathered together to hear about the great time David and Nathan Clauss and Tom Olshefski had at the convention. Members in attendance were George Buckley, Daniel Hall, Dan Rowen, Tom Olshefski, and David and Nathan Clauss.  George reported that Mark Davis is doing well. George opened the business portion of the meeting with a report on Assembly 115 winning the Mid-Atlantic Regional Growth Competition.  The Mid-Atlantic Staff will be providing a free lecture as the prize for winning the competition.  George reported that they are currently trying to set the lecture date for our October meeting to kick off our observance of National Magic Week.  George then reported on the rest of the ongoing preparations for National Magic Week.  Preparations are getting underway with the Hunter Holmes McGuire VA Hospital to return for our second Annual Magic Show with possible dates of 29th or 31st of October.  Tim Carrier with the Jefferson/Madison Regional

16 M-U-M Magazine - SEPTEMBER 2014

Library is making plans for magic workshops and displays at some of the area libraries to promote National Magic Week.  George then polled members about the effectiveness of the current newsletter and the need for a club website.  George, Daniel and Bethany Hall, and Nathan Clauss will be looking into the requirements for the club website, with the possible use of streaming the meetings and providing an active forum for members.  David Clauss gave the Treasurer’s report and the business meeting was closed. The magic theme for the month was reports on the combined convention in St. Louis. Tom Olshefski and David Clauss reported on the fabulous evening shows, especially the ones by the Germans and the awe inspiring South Koreans.  They described the shows as innovative and creative.  And stated that the South Koreans were the future direction of magic.  Tom reported that he could not stop writing down creative ideas that the convention inspired.  His numerous layovers were put to good use.  Nathan Clauss reported on his wonderful and memorable experiences at the Lance Burton Young Magician Seminar.  He provided a wonder slide show and a great video of Liz Jennings and Shawn Farquhar performing Topsy-Turvy bottles.

Nathan with Lance Burton Tom then talked about Dai Vernon’s Trick That Can’t Be Explained.  That lead to a fortyfive-minute exercise and discussion on Dan Hall’s Trick With No Name and a revisit to Jim Steinmeyer’s Nine Card Trick.  Amazing magic and joyful laughter was enjoyed by all. —George Buckley The Pepsi Cola Building at 1150 Pepsi Place, Charlottesville, Va 22901 Contact George Buckley [email protected] (434) 409-2643 www.facebook.com/ SAMAssembly115 for more details.

120

LOTS OF MAGIC

CHAMPAIGN, IL— After a record-setting short business, Andy Dallas opened the magic with a Floating Wand Tube based on a design he came up with many moons ago. He also demonstrated and handed out a flexible Floating Wand Tube he has recently designed and begun selling. Chris Bontjes showed us his version of Sanky’s Rubber Band Through Pencil. Professor Higgins stepped up with his Quarter to Twenty Dollar Bill and Million Dollar Baby. Chris came forward again and found a lost card. Andy finished out the magic with his three-squeaker routine. Discussion included the possibility of a club show at the Villa Grove Theater. We are also considering this as a venue for our next Get-Together. At our next meeting, we discussed doing a club show at the Villa Grove Theater with the possibility of taking the show to other small town theaters later on. Discussion included marketing and recording the show for use by performers on their web pages. Chris Bontjes is checking with the VA to see if 11/9 is open for our next club show for the veterans. More info on that show as it develops. Chris also showed off the items included in the swag bag from the combined convention last month. Everyone who went chimed in with thoughts on the shows, lectures and other activities. It sounds like it was a lot of fun and there was some great stuff given away in the gift bags. The topic for the evening was “Something you bought/learned at a convention.” Professor Higgins wowed us with his visible rubber band link. Mark Carlon produced an origami crane made from a silk. Andy Dallas passed a coin through a miniature table. Chris Bontjes produced three six-foot canes from a coin purse and Professor Higgins caused a selected card to turn upside down in the middle of a deck. See ya at the meeting. —Ken Barham Assembly 120, The Andy Dallas Assembly meets third Wed. 7pm, (except Nov. and Dec.) For location call Jim Percy at 217-4942222 or Ken Barham Sec, 2318 Winchester Dr, Champaign, IL 61821. Phone: 217-841-5616 email: [email protected]

127

NEW MEMBERS AND MAGIC

WALLINGFORD, CT— We had a great business meeting, first

Assembly News personal and unique. It ended with a corny joke. Tony’s presentation was also right on, a classic performance ala Dan Garrett. Our Des Desmond performed Hen Fetch’s Professor’s Nightmare with a surprise ending with one large rope. Bill Hernandez our newest member discussing the last few lectures. Then we talked about our club shows for the church where we meet and another event for “Make a Wish.” We finalized our summer library workshops for young magic students. The best part of the meeting was we voted in a new member. Bill Hernandez is officially a new member of Assembly 127. The theme of tonight’s magic was “I bought this but what does it do?” We had several people bring items for us to figure out; one was a balloon tube and one was a production box that was probably missing the mirror inside. Another item was a stacked deck but no memory of what that stack was, and David our president, refreshed his memory. We had some magic, too. A selected shirt ended up on Sol’s shirt and one of our guests showed us a cool change he made to a Svengali deck, which indicated what the card was the person was taking.  Finally, we had a long discussion about vanishing an object and not bringing it back, and that  brought us late into the evening. Hope to see more visitors throughout the summer! —Bill Hoagland Assembly 127 meets the 3rd Tuesday of every month at: First United Methodist Church (Downstairs) 941 Old Rock Hill Road, Wallingford, CT Contact Bill Hoagland whoagland@ billhmagic.com (203) 877-0157 magicsam127.org for more details.

131

DANBURY TOP HATTERS

DANBURY, CT— Our evening’s lecture and workshops were on Cups and Balls and The Professor’s Nightmare. Member Joe Lantiere worked with members on the Cups and Balls and Tony Spiro instructed on The Professor’s Nightmare. Magic Marty showed a few coin effects he is currently working on for his upcoming New England lecture. Russ performed a Professor’s Nightmare routine with a personal story about three daughters. It was cute, original, and a great example of how to make a classic effect

Magic Marty at Poughkeepsie SYM #82 Walter B. performed a Professor’s Nightmare effect ala Ron Dayton, plus a triangle rope effect. Joe Lantiere performed additional rope variations, turning into one long rope. Members discussed handling, endings, comic lines etc. Cups and Balls, with instructions by professor Joe Lantiere, followed. It was a great night for learning. —Magic Marty Steinberg Assembly 131 meets at the Methodist Church, 5 Clapboard Ridge Rd Danbury, CT at Back of Church Third Mon of Month 7:30 PM Contact Magic Marty [email protected] (845) 797-8363 Danbury Top Hatters FB for more details.

157

REPORTS AND DISCUSSIONS

BEAVER, PA— The Mystic Magicians of Beaver Valley were joined by Ring 13 for meeting night.  President Ray Lucas had appointed Don Moody, Bob Mullins, and Doug Ries to the elections committee; they are working on a list of officers for 2014-2015.  Reminder was made that the GPMN picnic will be Sunday, September 28, at Brady’s Run Park.  It was decided that a flea market will be held that day.  Doug Ries stated the S.A.M./ I.B.M. convention in St. Louis was “great!”  Everything was topnotch, even Doug’s area in the dealer’s room.  The new Regional VP for our region, Harlan Specter, has appointed Doug as a Deputy for Western PA.  He will be attending the conference in Las Vegas on growth and construction of assemblies. The Mystics ad in the program was identified, although it was

not all of what had been sent.  Jim Weyland announced he has copied all the video tapes the club has had and have been given to DVDs.  Judy Steed will update the library list by next meeting.  It was decided to make any of the videotapes available to the members and any who want them.  There will still be a small charge for using the library to make certain they get returned.  Jack Greenberg reported that the GPMN banquet was a success. The profit from it and the lectures will be distributed between the three clubs. Doug Ries emceed the performances.  Ray Lucas cut a deck of cards, shuffled, and replaced them after showing a card.  He went through the instructions and it showed the chosen card.  Jim Tate had two cards: the Five of Diamonds and the Queen of Clubs.  He showed how to do a vortex with the two together, separated them, and they were the original cards.  He also showed an effect he found on YouTube. You have a bottle of water with a ketchup packet in it.  Rub on shirt to “magnetize” it. Can make the packet go up and down. —Judy Steed The Mystic Magicians meet at the Towne Square Restaurant in Beaver, PA the second Thursday of every month. Contact Judy Steed [email protected] (330) 525-5389 for more details.

172

JULY FIREWORKS

PORT ST. LUCIE, FL — Believe me when I tell you that when the fabulous Fourth of July fireworks finally faded into the night sky, the Donald E. Lea Assembly here in Port St. Lucie, Florida, was just getting started. Although our regular meeting wouldn’t be for another week, probably the largest gathering of compeers, wives, kids, associates, cousins, aunts, uncles, and second cousins all took a road trip to Vero Beach, about an hour up the road. The attraction? Mrs. Mac’s Filling Station, great food, and David Kelley, table-hopping master of legerdemain. (Thank you very much...I just learned how to spell that, I think?)  Great time, great magic, and great evening with Assembly 172 (and its minions – even had a few Muggles in attendance as well). So that was the 17th of July. Within days, yet another field trip, this time on Saturday the 19th all the way up to Cocoa Beach with Stanley, Harley, Al, and yours truly (Dean).  Our destination: the Magic Dove Magic Shop – shopping, a magic show, compan-

ionship over dinner, and a short ride home.  Too much fun! And then, at last, our regularly scheduled meeting on the 22nd, featuring a  psychic workshop with Al Chiaverini, who shared the sneaky secrets to some really mind-blowing effects.  Al, in effect, had everyone in the audience asking themselves, “Why didn’t I think of that?” The evening’s performers led off with James and his assistant Harley in a quintessential lie detector test with a deck of cards. Al Chiaverini came back with a prediction written on the back of a sterling silver amulet he had been wearing in plain sight all night. Paul Hilko finished the line-up with a “Man in the Moon” piece of business, Starkle, and a nice Miser’s Dream variation.  August features a David Kelly lecture, so till next time – M-U-M’s the word. —Dean F. Devitt Assembly 172 meets the fourth Tuesday of every month (Except December) at 7:00 pm  at the Saint Lucie Lanes on Route 1 in Port St Lucie..Please come visit some time.. Contact Dean F. Devitt [email protected] (772) 332-8412 for more details.

181

THE MAGIC OF MESSADO’S RINGS

HIGHTSTOWN, NJ— June has been a special month for Assembly 181, with two meetings, a superstar lecture, and a free buffet dinner. This year, our assembly has added a second monthly meeting, on the fourth Thursday of the month at Tommy’s Inn in Millstone, New Jersey.  This different venue, which has a stage, allows us to interact in different ways and to have diverse events at our meetings. Joshua Messado is developing quite a reputation as a close-up performer, but it was the watching of Larry Anderson’s Jaw Droppers videos, he admits, that brought him into magic.  Joshua has always loved ring routines and he has now taken his Messado Ring routine to the streets. He performs what some think is a classic stage effect, and does it close up, inches from a person’s face, and in their hands with mystifying results. The rings just seem to link and unlink in impossible ways. After the buffet dinner, our members were given a special treat. Joshua Messado did his first lecture on the rings for our assembly.  Not only is he a consummate performer, he is quite a good teacher, too. Messado has been doing the rings and perfecting his routine for over fifteen

SEPTEMBER 2014 - M-U-M Magazine 17

Assembly News

Eric, Mitch and Joshua years, and yet, and listen to this my fellow magicians, he “practices every day.” During this lecture, he went over the techniques in meticulous detail. Joshua makes the rings, as many are saying, “cool again” and he inspires you as he teaches by reminding you that it is “important to believe in yourself, more than anything else.”   When you do believe, “others will believe in you, too” and “If you don’t, they won’t.” Thank you, Joshua, for that advice. Adding additional entertainment to the evening were Jeff, Jay the Magician, and Rocco the Mindbender. Jeff did a fantastic mentalism effect, in which he randomly spun the hands of a watch until he was told to stop. The time on the watch then match a called out time from an audience member. Jay the Magician brought along a feathery friend and showed us some of his dove act. Jay then completed his short stage act with an elaborate silk fountain. And that concluded the night’s entertainment. Our next official assembly meeting will be in September. Hope you can join us then. —David Zboray Assembly 181 of Hightstown meets the first Thursday of every month, September thru June at the First United Methodist Church , 187 Stockton Street, Hightstown, NJ 08520. Doors open at 7:00PM. Contact Stephan Sloan lands10@ optonline.net (732) 757-5337 http://www.magicsam181.com for more details.

200

MENTAL MAGIC OR MAGIC THAT MAKES YOU CRAZY

SEATTLE, WA—  Michael Jacobs started off the magic with an effect he’s been improving each month. It’s his own creation in which a bust inhabited by the spirit of Houdini visibly escapes from ropes, handcuffs, and other shackles.  Crazy. Roger Sylvester blew our minds with a pack of cards he bought at a magic con-

vention that said the thought of card would be forty down from the top. A spectator thought of any card and when he counted down forty,k it was there. Jim Earnshaw, our resident coin expert, showed us a very magical wooden Okito Box and wand routine, with coins appearing and disappearing in mid air.  Jim is crazy good. More mentalism was shared by Larry Dimmit as he showed how two minds could have one thought, He showed a picture with multiple celebrities and both the spectator and Larry’s selections were the same. Mark Paulson made us laugh with a little mentalism humor in which he and the spectator thought of the very same thing. He also shocked us by selecting three random books from the library where we meet and predicted a randomly selected word on a freely selected page of one of the books. Mark’s mentalism could make you crazy if you try to figure it out. John Cameron dug around in his magic drawer to find a long lost packet trick in which some cards had purple circles and some had purple backs. When a card was chosen it was the only one with a red circle and when a number was chosen it was the only one with a red back. I’m sure it motivated some of us to search through our old magic to find a long lost treasure. Since we met on Mercer Island this month, Chuck Kleiner shared a mentalism effect he created for the local Mercer Island Farmers Market. Chuck predicted which letter in the Market’s name would be freely selected by a spectator. Moving from mentalism back to crazy, Tom Payne inhaled a rubber band. He then showed us a card effect with rubber bands in which the chosen card escaped from the bonds of two rubber bands. —Chuck Kleiner The Emerald City Wizards meets 1st Thu. 7:00 PM each month at a branch of the King County Library. Check website for locations: w w w.emeraldcit y wiza rds.org Contact Chuck Kleiner chuckkleiner@yahoo. com (206) 236-0608 www. emeraldcitywizards.org for more details.

226

BOOK NIGHT

WILLAMSBURG,

VA—

Alexander Goldberg introduced “Book Night” by showing Illusions Illustrated by James W. Baker and performed Alexander’s favorite cut and restored rope routine.  Alexander likes this

18 M-U-M Magazine - SEPTEMBER 2014

routine because of the patter and the mechanics, which involve a layout separation. Ron Grossman showed an effect from 101 Easy to Do Magic Tricks by Bill Tarr.  Scott Fridinger selected a card and returned it to the deck.  Alexander Goldberg shuffled the deck; but when Ron spread the deck, we saw that the selected card was reversed in the deck.  Ron likes this book because the effects are easy and the text is well illustrated.  Ron had identified the effect as Reverso, in which the deck is mixed half face up and half face down, yet all cards turn face up. Scott Fridinger held up a well worn copy of Strong Magic by Darwin Ortiz.  He pointed out that this book is about showmanship and creativity; it is not a collection of effects and methods.  Scott had applied its teachings to several effects.  This night Scott showed his version of A Card Named Fred, or Bill, or Phil, or Oscar.  Watt Hyer selected a card.  Scott showed his prediction that the card would be named, “Lee.” Scott then showed that all the cards had different names written on their backs. “Lee” was written on the back of Watt’s card.  For his second

folded to hide the writing; Larry tore it into many pieces without unfolding it.  Larry then gradually revealed Scott’s chosen magician, Larry Jennings, by stating information about him before naming him. —Bill Baber Assembly 226 meets the fourth Wednesday of each month (except for August and December) at the Williamsburg Library, Room B, 515 Scotland Street, Williamsburg, VA.  Meetings start at 7:00PM. Contact Michael Heckenberger [email protected] (757) 812-3299 https://sites.google.com/ site/samassembly226/Home for more details.

266

JULY MAGIC HEATS UP LAKELAND

LAKELAND, FL— After the usual high jinks of pancakes and merriment at the I-Hop, the July meeting was called to order by secretary Al D’Alfonso in the absence of our other officers. We quickly caught up on our old business and discussed ideas for growing the assembly. Our focus will be on growing our Facebook presence and having our IT guru

Assembly 226's Book Night! effect Scott asked Ron and Watt to act as a married couple.  Watt chose a card and Scott showed it to be the only red-backed card in a blue-backed deck.  Ron blew a kiss, and a lipstick print appeared on the card.   Watt had selected Stars of Magic.  Watt performed his version of Malini-Bey Chink-aChink by Mohammed Bey. Watt used metal bottle caps in his performance of this assembly routine. Bill Baber’s book was Al Schneider Magic.  He performed Sly Napkins, an impromptu routine in which two balls formed from a paper cocktail napkin, which had been torn in half, jumped from hand to hand, vanished and appeared. Larry Lessner had Peek Performances, by Richard Busch.  He asked Scott Fridinger to think of a famous magician, to write the name on the back of an index card, and to show the name on the card to others.  The card was

Brad Breaux build a website. The meeting was kicked off with a card miracle by Dean Bob Macey in which a selected card was revealed in a mind-blowing manner. Ed McGowan countered with a poker deal effect in which the spectator played the part of the card shark and won under impossible odds. Beverly Kenemuth offered a seasonal effect in which she produced all the fixings for a Fourth of July picnic from a magical drawing board. Next up, Al shared a Steve Beam effect that talked about Al’s first magic show. The group was able to guess how much was in Al’s payment envelope. Closing batter was Brad who work-shopped his new take on the newspaper tear. Combining a coupon clipping patter with a new gimmick, he was able to breathe life into this classic. A spirited discussion followed about how this could springboard into com-

Assembly News plementary tricks for a themed routine. Remember, no matter how hot the weather, the magical wizards of Lakeland can always raise the temperature a few notches. Come just for the heat!  —Al D’Alfonso Jim Zachary Assembly 266 meets the second Monday of the month at 7PM at the Lakeland I-HOP, I-4 & US 98 Contact Al D’Alfonso [email protected] (321) 4373814 for more details.

277

SHAPE UP OR SHIP OUT

STROUDSBURG, PA— The Pocono Mountains Magic Club welcomed back one of our founding members, R.T. Showman (Raymond Singson).  Ray is now out of the Marines and has decided to call Philadelphia his home.  Since he is up visiting his family for a bit, he decided to come hang out with us this month. After a discussion concerning our two upcoming club activities and a review of our own S. Patrick’s “Mentalism for Kids” lecture that he delivered to the Parsippany NJ Kidabra Chapter 10 a week prior, we jumped straight into the magic! The magic started with some close-up performances, including S. Patrick’s version of Howard Adams’s Cidentaquin, Jordan Benoits Ambitious and Haunted Deck, and Odes Odhner performing with his new toy, a Wellington Magic Switchboard. S. Patrick was our emcee for the evening’s platform performances.  The theme of the evening was “Magic With Shapes.”  Our guys did not disappoint. S. Patrick was up first with Lee Earle’s Life Force Triangle, using a triangle to calculate a spectator’s life force number. S. did a bit of predicting and cold reading all in the same routine.   S. then made up for the last couple of months of meetings that we weren’t able to perform due to outside forces.  He used a balloon, placed into an isosceles-trapezoid-shaped pagoda box.  When the balloon was popped, a dove appeared.  This took care of “balloon” magic, as well as “animal” magic, as well as “shape” magic all in the same effect. Ryne Gade was up next with his very well rehearsed version of Francis Menotti’s Exdyslically Shunuffled.   Ryne has put some major time and effort into perfecting this one.  Check out Francis’s online YouTube video to see him doing this great routine. Our final platform performer was our own Odes Odhner,

who treated us to the routine he created for a Red Cross Telethon that we did a few years back.  I call it Hypnotized Lunch.  Odes cleverly combines an experiment in hypnosis and the Out To Lunch principle to hypnotize a spectator to miss one of the shapes printed on a card of various shapes.  This one always goes over well. Please come and visit us if you are anywhere near the area.  Just give us a call or visit the website for all the details at (570) 242-6821 and www.pmmc.webs.com. —S. Patrick Toman Assembly 277 meets Each 3rd Friday at the “Art Space Gallery” - 18 N. 7th St. Stroudsburg PA. 18360. Contact S. Patrick Toman [email protected] (570) 242-6821 www.pmmc.webs.com for more details.

291

FIFTH ANNUAL POOL PARTY & BARBEQUE

LOS ANGELES, CA— On Saturday, July 19, 2014, we had our fifth annual barbeque. We would like to thank Carol and Stephen for allowing our assembly to enjoy the hospitality and attractions of their beautiful home for this event. With over seventy people in attendance, we had our biggest turnout to date. As an assembly, we have grown. We welcomed our newest member, Scott, during the event. This year we again enjoyed the wonderful potluck that everyone brought along to compliment the delectable tri-tip by our master chef, Frank. There was more food available than one could hope to enjoy. This included a delectable feast of tri-tip, burgers, hotdogs, salads, Doris’s famous baked

Fifth Annual Barbeque beans, homemade baked macaroni and cheese, and other scrumptious items that everyone brought. This was followed by a cake that symbolized everything that our assembly is about, magic! The beginning of dessert started our show. First, President Bill

honored some of our members with appreciation awards for their contributions to the assembly. This was followed by an announcement that Assembly 291 is the fasted growing assembly as of this year. After, our personal professor, Les “Dumbledore,” Assembly 292- Lounging in Lew’s emceed our variety living room showcase that starred our S.Y.M members, and proceeded with our own regular club meeting. masters of magic. The evening Picnic time! However, a damp was long and fun for everyone yard and very hot weather because no one wanted it to end. prompted a gracious invitation After the barbeque, the real magic from Lew to move the whole happened – a clean-up in thirty picnic inside his house. Since minutes or less. Talk about a good nobody wanted to cook on the spell. grill anyway, we did a “quickWe are all looking forward to change routine” from having an our sixth annual barbeque. And outdoor barbeque to having an according to our mentalists, we indoor buffet and potluck. People anticipate and will gladly welcome contributed an array of appetizers, Frank’s expert tri-tip, Doris’s salads, drinks, and desserts, and famous and coveted baked beans, Lew ordered fried chicken, pizza, a larger crowd, and a growth in our and sandwiches. membership. —William Dow Jr. Children enhance a picnic. Assembly 291 meets the second Andy and Kristi Poulsen brought Tuesday of every month at the theirs, who were doubly welcome OPICA Adult Day Care Facility, because they were unusually nice 11759 Missouri Avenue, Los and well mannered. ConversaAngeles, CA 90025. Contact Les tions revolved around the great Cooper [email protected] (310) outdoors, inexpensive comedy 473-1820 www.westsidewizards. gags, and magic techniques. Andy org for more details. Poulsen performed a card trick using Queens and Kings (Good Evening, Ladies and Gentlemen). James Lopez did a handful of PLEASURES OF AN sleight-of-hand card effects. INDOOR PICNIC Michael Swayze performed a thought-of-card prediction. GREELEY, CO— The July Both Tim Pendergast and Doug meeting was our annual combined Zimmerman showed sleights picnic with our sister group, on which they were working. I.B.M. Ring 250, the Presto-Dig- The picnic was a very pleasant day itators of Fort Collins, Colorado. of good fun, real fellowship, and But first, it’s more than time to greatly enjoying the company of acknowledge three members one another. —Ron Dutton who contribute regularly to these The Dr. Ronald P. Dutton reports. Ed Hurtubis is usually Assembly 292 usually meets at both their editor and their main Kenny’s Steak House, 3502 West resource, freely sharing his in- 10th Street (corner of 35th Avenue) credible knowledge of all things at 11:00 A.M. (lunch optional), on magical. Whenever needed, James the second Saturday of the month. Lopez does a spirited job writing Contact Jim Pope jlp1616@ his detailed observations, and Dr. comcast.net (970) 339-3277 www. Lloyd Worley shoots all the natu- SAM292.com for more details.  ral-light candid shots that add so much. Many thanks to each of you. To submit your For five volunteers, the picnic kicked off early at noon. James Lopez, Andy Poulsen, Michael monthly assembly Swayze, Lloyd Worley, and Doug Zimmerman helped our host, report go to www. Lew Wymisner, go through his vast collection of close-up and mum-magazine.com parlor magic paraphernalia. Lew performed and explained some of and use the easy the tricks, and he gave everyone who helped an effect or two. The submission form. only caveat was that the tricks must be performed at the next

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SEPTEMBER 2014 - M-U-M Magazine 19

New Members and Reinstatements NEW MEMBERS Adams Jr, Ray "Magic" - KY, USA Begin, Randy -ME, USA Besst, Maureen -FL, USA Biro, Warren -CA, USA Boyer, Jeff -MI, USA Brown, Tommy -TN, USA Browne, Ken -AZ, USA Buchalter, Jack -OR, USA Buckspan, Randy -TX, USA Callender, Jamie -OH, USA Capobianco, James -NJ, USA Carignan, Samantha -KS, USA Carothers, Robert Scott -CA, USA Christensen, Theron -UT, USA Consul, PC -AB, CANADA Cook, Brian -WA, USA Costantinou, Richard -CA, USA Draper, Sam -MA, USA George, Christopher -IL, USA Gonnerman, Jeff -OK, USA Graybeal, John -IL, USA Grech, Jason -GA, USA Largess, Joseph -MD, USA Lawton, Theodore -AZ, USA Lindsey, Amanda -MO, USA

Lodge, Mark -CA, USA Lorenzo, Americo R -FL, USA Massie, Carl -MI, USA Mc Donnell, Bill -PA, USA Mercy, Martin -IL, USA Myers, David -NC, USA Neely, Matthew -OH, USA Neff, James -NC, USA Nims, Frank -IL, USA Oba, Shinsuke -, Japan Only, Al The -HI, USA Palacios, Larry -CA, USA Parasich, Mike -AZ, USA Pilmmer, Jorjan -WA, USA Rabinowitz, Bruce -NY, USA Rash, Rodney -TX, USA Richardson, Mark -CA, USA Rooke, Robert -NJ, USA Schurz, Wolfgang -Steiermark, Austria Sheppard, Bradley -AR, USA Simic, Eli -, Switzerland Simpson, Jason -OK, USA Sinamon, Nicholas -MO, USA Smith, Joe -TN, USA Voron, Mitchell -PA, USA Warren, Clark -NY, USA Wilbanks, Michael -AZ, USA

Williams, David -TN, USA Williams, Elijah -TN, USA Zhang, Justen -AZ, USA Zidel, Jon -WI, USA

REINSTATEMENTS Breaux, Brad - USA Campbell, Lawrence - USA Caris, John - USA Chaffin-Simpson, Robert - USA Dykema, David - USA Forstrom Jr, Jerry D - USA Fridinger, Scott - USA Frye, Roy - USA Godineze, Irene - USA Heng, Eric - USA Kahlow, Larry J - USA Knight, Bryan - USA Macerloy, James - USA Maverick, John - USA Mcclendon Jr, Richard W - USA Neddo, Thomas - USA Risher, Dr John C - USA Twaddle, Harold L - USA Wiberg, Donald E - USA

Good Cheer List Please take a minute to spread a few words of cheer with a card or note to one of our less fortunate members. Send additions, changes, or deletions to: Anthony Antonelly, Chairman, Sick and Convalescent Committee, (215) 820-3192 ext. 1512. [email protected] Daniel Cudennec “Dany Trick” 225, Stang-ar-Veild’an-Traon, Mellac-29300, Quimperle, France Dan A. Dorsey 98 Woodvalley Dr. Fayetteville, GA 30215 Charlie Gross 16745 Gertrude St. Omaha, NE 60136-3023 Roy Horn c/o Siegfried & Roy 1639 N Valley Dr. Las Vegas, NV 89108

Bob King 304 Suburban Ct. Rochester, NY 14620

Frank J. McNaughton, Sr 1926 Apple St. Williamsport, PA 17701

Harry Riser 11755 N. Michigan Rd. #313 Zionsville, IN 46077

Dick Kohlhafer 408 Century Vista Dr. Arnold, MD 21012

James J. Morrisey 24 Grove St. Wayland, MA 01788

Pat Ryan 43 Fairbanks Rd. Churchville, NY 14428

Stanley R. Kramien 11205 SW Summerfield Dr. Apt 161 Tigard, OR 97224-3391

Nahmen Nissen PO Box 1856 Colfax, CA 95713-1856

Matt Savin P.O. Box 7693 Alhambra, CA 91802-7533

Richard Laneau 4020 55th St. N. St. Petersburg, FL 33709

Allen Okawa 2101 Nuuanu Ave., Tower 1, #2203 Honolulu, HI 96817

Jack White 4288 Arguello St. San Diego, CA 92103

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

Jim Relyea 241 W. Lakeshore Rockaway, NJ 07866

20 M-U-M Magazine - SEPTEMBER 2014

Jim Zachary 2801 South Creek Dr. Mulberry, FL 33860

Broken Wands MICHAEL JOSEPH SCHIRMER (MAY 27, 1940 – MAY 10, 2014)

MARSHALL M. JOHNSON (JUNE 6, 1929 – JUNE 9, 2014)

Mike Schirmer, seventy-three, of Baltimore, Maryland, died on May 10, 2014. He held I.B.M. #16098M and was a member of the Order of Merlin – Shield. He was also a charter member of Ring 179 in Baltimore. He is a pastpresident of Ring 179, Assembly 6, Magicians Alliance of Eastern States (MAES), and the Maryland Wizards, which he helped form. He was a member of the old Yogi Magic Club and the first editor of its Yogi-Gram. He got started in magic when he was twelve years old with a deck of Svengali cards he got at the Timonium State Fair. He began to perform at birthday parties and then went on to Scout shows, banquets, and close-up magic. He did a silk-and-flower act to music, and then changed over to comedy magic. He appeared at the Steel Pier in Atlantic City, on television, at the Playboy and Gas Lamp clubs, at various trade shows and conventions, and worked several Holiday Inns and restaurants during their happy hours. He even preformed at the White House for former President Jimmy Carter. For twenty years he was the general chairman of The Funhouse Big 3 Convention in Maryland and performed and lectured at many of them. He wrote an article “A Magicians Approach to Advertising” for The Linking Ring, for which he won a Linking Ring award; it was later published as a booklet. He taught a basic magic course at the Funhouse Magic Shop for many years and in recent years at the Denny & Lee Magic Studio. He enjoyed all types of magic. Mike overcame many obstacles in his life time. He was born a “blue baby,” with a congenital heart malformation that robs the blood of oxygen. (This life-threatening condition is often signaled by a bluish or “cyanotic” cast to the skin, hence the term.) An innovative procedure attached an artery leaving the heart to an artery leading to the lungs, in an attempt to give the blood a second chance at oxygenation. It was the first blue baby operation and came to be known as the Blalock-Taussig shunt. He had open heart surgery again in 1966, performed by the founder of Shock Trauma Center, R. Adam Cowley. Growing up was not easy for Mike; with health restrictions and medications he was not able to do things a normal boy did. He got into collecting coins and stamps, and, of course, magic. He was a typesetter for over thirty years for a local printing company, Bromwell Press. When he retired from the printing company, he went to work for Baltimore City Department of Public Works as a plans coordinator in the permits department. He also enjoyed photography and took photos at the magic meetings, shows, banquets, and conventions. His wife and assistant of thirty-four years, Bonnie, died of cancer in October 2003. He is survived by his two daughters, Tammy Bayer and Kathi Michael, a grandson, Matthew Bayer, two granddaughters, Hope and Olivia Michael, and a brother and sister-in-law, William and Cheryl Collier.

Marshall M. Johnson, eighty-five, died on June 9, 2014. He was born on June 6, 1929, the son of the late Kenneth and Grace Johnson of South Orange, New Jersey. He is remembered in South Orange as the center on Columbia High School’s winning basketball team. In 1951 Marshall graduated from Rutgers University. He received varsity letters in soccer, basketball, and tennis, and won the senior speech contest in extemporaneous public speaking. As an alumnus he served five years as class president and was class historian until his death. He received the Rutgers Loyal Son Award. Marshall was active with his fraternity, Delta Upsilon. He served on its International Board of Directors and received the Meritorious Service Award. He also served for thirty years on the Rutgers Chapter Board of Directors. After Rutgers, Marshall served as a lieutenant in the United States Air Force. He served in Korea during the Korean War and was awarded the Korean Service Medal with two campaign stars, the United Nations Medal, the Republic of Korea Presidential Unit Citation, and the National Defense Service Medal. He was discharged with the rank of captain. In 1954 Marshall received an M.S. degree in radio and television from Syracuse University. This was followed by a thirty-year career with the CBS Television Network in New York City. He retired with the position of production supervisor. In 1986 Marshall retired to Florida. He was very active in tennis, including being captain of the Division 1 championship team in the Palm Beach Senior League and winning the Delray Senior Games Singles Championship. He was active in his hobby of magic. He belonged to Parent Assembly 1 of The Society of American Magicians. In Florida he belonged to Rings 117 and 274 of the International Brotherhood of Magicians. Marshall is survived by his long-time companion, Alfhild Roff of Highland Beach, Florida, and a son, Gregory, from a previous marriage. Marshall was an eleventh-generation descendant of Captain Edward Johnson, who founded the City of Woburn, Massachusetts, in 1634. He will be buried in the Johnson family plot in Woburn.

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CHARLES CAMBRA (FEBRUARY 29, 1924 – JULY 7, 2014) Charles Cambra died July 7, 2014, at Apple Rehab Coccomo in Meriden, Connecticut, after a brief illness. He was ninety. Charles was predeceased by Marie (Terry), his beloved wife of sixty years. Charles was born on February 29, 1924, in Fall River, Massachusetts, where his loving aunt Mary Brazao raised him. He worked for Suzio Construction Company in Meriden for thirty-four years, driving a company truck and maintaining

Broken Wands the grounds at the quarry and the Suzio home, forming a lifelong friendship before retiring in 1985. C h a r l e s acquired all that he pursued through high expectations Charles Cambra photo by Steve Wronker and an incredible work ethic, striving for perfection in all of his endeavors. His motto for everything was, “Practice, practice, practice.” He loved ceramics and even mastered classical guitar, flawlessly playing such difficult pieces as “Leyenda” and “Malagueña.” But his first love was magic, studying under the tutelage of world-renowned magician Slydini. For more than sixty years, Charles and Terry were a world-class magic act known as Señor Carlos and Terry; he was featured on the cover of The Linking Ring in November 2001. Charles was a life member of The Society of American Magicians Assemblies 15 and 127, Order of Merlin, International Brotherhood of Magicians Ring 59, and MIMC gold star member of the Magic Circle in London. Charles also belonged to the Magic Collectors Association, the New England Magic Collectors Association, and the New Magicians Club. He is survived by two daughters, Lesley Lusteg and her husband Walt, Jeanne Cosenza and her husband Christopher, a son, Charles D. Cambra and his wife Colleen, a stepdaughter Shirley and her husband John, and stepson, Art George, fifteen grandchildren, thirty-two great grandchildren, a greatgreat grandson, and several nieces and nephews.

ALAN “ACE” GREENBERG (SEPTEMBER 3, 1927 – JULY 25, 2014) “Alan Greenberg does almost everything well: competitive bridge, magic tricks, dog training, arbitrage – all of the important things in life.” – Warren Buffet Alan “Ace” Greenberg lived his life by three rules: love what you do in your career; when taking risks, be right more times than you are wrong; and give back to those who have given to you. For a man who spent more than fifty years on Wall Street and who became one of the most respected businessmen in the country, those principles proved very successful.

Mr. Greenberg was raised in an upper middle-class family in Oklahoma City. His father owned a woman’s clothing store. He was part of an extended family that operated clothing stores in Kansas, Oklahoma, and Missouri. Ace first attended the University of Oklahoma on a football scholarship. After injuring his back, he transferred to the University of Missouri, receiving a B.A. in business in 1949. After graduating, Alan decided to pursue a career on Wall Street, which was difficult given that he did not have an Ivy League degree. The only offer he received was from Bear Stearns. He accepted a position as a clerk. Mr. Greenberg rose through the ranks of Bear Stearns, eventually serving as its CEO from 1978 to 1993 and Chairman of the Board from 1985 to 2001. Alan also served as a non-executive director of Viacom. He was the author of several books including, Memos from the Chairman, which is a compilation of humorous memos he issued to the associates of Bear Stearns during his tenure as CEO. Greenberg was an avid bridge player and won the Reisinger Board-a-Match Teams in 1977. In 1981, he won the Maccabiah Games teams’ bridge tournament and was second in the Reisinger later the same year. One would be led to believe that at his age and with his success, Ace Greenberg would have slowed down and retired. This notion could not be further from the truth. Until his passing, Ace was motivated more than ever. He routinely amazed those one quarter of his age with his magic. He maintained his magic skills by connecting with the upper echelons of the magic community at private magic dinners he hosted at his beautiful home on Fifth Avenue. Through the years, the guests at these dinners have been the who’s who in the world of legerdemain. Ace Greenberg was a serious magician; nothing pleased Ace more than a well-executed magic piece. Ace was an active member of The Society of American Magicians for forty-three years. He was also responsible for being the financier of the magic publishing company, Kaufman and Greenberg. Through his twenty years of magic book publication, he helped to produce many of the most highly respected books in magic. Those books captured the sleightof-hand methods and magic from many of the world’s top magicians and helped advance the art of magic to where it is today. Ace was also a philanthropist who gave of his time and money to many worthy charitable causes, including Project Sunshine, The New Public Library, and United Jewish Appeal. He strongly believed that it was important to help those less fortunate. On a personal note, Ace was a dear friend who was a very generous and supportive with me on both a personal and professional level. General George S. Patton once said, “It is foolish and wrong to mourn the men who died. Rather we should thank God that such men lived.” I miss my friend Ace, but will be forever grateful for his friendship. – Eric DeCamps 

SEPTEMBER 2014 - M-U-M Magazine 23

The Nielsen Gallery Maskelyne and Devant - "The Burmese Gong"

Dimensions: Half-sheet: 20" x 30" • Lithographer: David Allen and Sons Date: Circa 1905 • Nielsen Rating: Rare This subject of this month’s poster is a the man was found locked within the box. playlet that the British magic impresarios We know this today as the Metamorphosis Maskelyne and Devant produced in the first Trunk. decade of the twentieth century. It was the The man was once again put in the box astonishingly rapid and magical onstage while the lady mounted the steps leading up transposition of three people when a large to the chair atop the two stacked tables; she gong was struck. Interestingly, even though took her seat there. Devant covered her with the effect involved three separate illusiona sheet and then showed the audience the ary principles, it was the gong that probably Burmese cage, explained its working, and allowed the magic to occur. lowered the blinds. The gong was struck John Nevil Maskelyne was in the London again and Devant mounted the steps and theater business for forty-four years, thirwhisked off the sheet; the lady had vanished. ty-one of them at Egyptian Hall on PicThe steps were rolled toward the back and cadilly. In 1904, programs at the theater the man previously in the box was found in began informing patrons that it was to be the cage. The second man was found inside demolished and that in the fall, England’s the trunk. Once again the first man was new “Home of Mystery” would move to closed up in the cage, the blinds lowered, St. George’s Hall, Langham Place. Many the gong struck, and the lady was found in famous magicians appeared on Maskelyne the cage. She was removed from the cage, stages, the best of whom was David Devant, the blinds lowered again, and upon striking Devant who first appeared at Egyptian Hall in 1893. the gong the first man appeared back in the A few months after the new theater opened cage. This illusion did not rely in any way in 1905, and following the financial failure of Maskelyne’s magic on doubles, but rather on clever illusionary principles and speed. play The Coming Race, he entered into a partnership with Devant The chair was DeKolta’s Vanishing Lady, which was and the theater became Maskelyne & Devant’s. gimmicked in such a way that it allowed the seated person to slip The pair kept up the popular approach of offering magical down through the chair into a trap. The steps were specially condramas, specialty acts, and occasionally non-magic performers. structed to contain the vanished sitter. The Burmese Cage, which On April 24, 1905, David Devant appeared in a program called A was on a platform a foot off the stage, utilized a mirror to allow Feast of Magic, which featured The Golliwog Ball, The National people to change places and a three-sided blind that opened at the Colours, The Crystal Clock, The Phoenix, Paper Pictures, Mental back. Magnetism, The Sylph, The Mystic Kettle, and the subject of the The magical press of the time speculated that loud chime of the poster, The Burmese Gong. gong perfectly masked any noise that might have arisen as people The Magician magazine praised it as “a most astound- changed places or raced about behind the scenery. The magazine ing illusion.” As the curtain rose, the audience saw a beautiful The Wizard said, “The effects obtained in this most acceptable Burmese scene – one seldom seen on stage and not easily item are positively startling and the acme of legitimate magic.” forgotten. At one side of the stage was a chair perched atop two One historically interesting fact about this illusion must be tables, alongside of which was a set of stairs. In the center of the mentioned. Prior to this time, the exchange of a person within and stage, somewhat toward the back, was a large trunk. To the right atop a trunk had been performed using a curtained cabinet. It was of the stage and somewhat toward the front was a square cage an approach used by Harry and Bess Houdini. Devant discarded with iron bars, just large enough to hold one person and provided the curtained enclosure and covered the exchange with a sheet with curtains that could be raised or dropped around it. of cloth, an approach widely used in today’s presentation of the Three assistants were introduced, (a lady and two men). Devant effect.  referred to them as “Three Graces’ Faces.” The young lady was —Tom Ewing locked in the trunk and a wooden platform placed on top. The first man stepped up on that platform and Devant gave him a large Sources for this column came from: St. George’s Hall by Anne sheet. He opened it out and held it in front of himself. He was told Davenport and John Salisse, The Linking Ring, Ellis Stanyon’s to wrap himself in the sheet and did so. Devant approached the Magic, The Sphinx, The Wizard, and Stan Allen’s MAGIC gong and upon striking it, the sheet dropped to reveal the lady; magazine. 24 M-U-M Magazine - SEPTEMBER 2014

Newsworthy The Mini-Convention of Magic, Inc. The 50th Anniversary Celebration By Danny Orleans

Updates From Our S.A.M. Members

festive atmosphere kicked off the convention. All were thrilled to finally see Jay Marshall finally “get his way” – a reference to the song “If I had My Way,” which his vent puppet, Lefty, sang in Jay’s vaudeville act. The performances and lectures were all held in Chicago’s Wit Theater in Lakeview, a 100-seat space, perfectly raked, in which every seat in the house had a great view of the stage. Lectures and performances from some of magic’s top names filled the three days as the convention attendees from Chicago and as far away as New York and Los Angeles were treated to some superb magic and mentalism.

Anniversary Cake photo by Danny Orleans

When Jay Marshall (the previous Dean of The Society of American Magicians) died in 2005, most of the magic pundits gave little hope to the survival of Magic, Inc., the magic shop that he and his wife Frances had run at their Lincoln Avenue location since 1963. Fast forward to present day, and despite dire predictions, Magic, Inc. is not only still in business, but thanks to Jay’s son Sandy Marshall, his wife Susan, the store manager Pedro Nieves, and his staff, it’s flourishing – enough to hold a fiftieth anniversary celebration three-day miniconvention. It started out with a heart-warming ceremony in which Lincoln Avenue was named “Honorary Jay Marshall Way.” Local press and the Chicago Alderman attended, along with more than fifty magicians as the

Susan Marshall, Jack Clements, Sandy Marshall, and Pedro Nieves. Photo by Simone Marron

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The Great Tomsoni reading minds. Photo by Simone Marron

The convention was divided between lectures, shows, and a special “Wanker’s Night” show, an “adults-only” show rarely seen at a magic convention. Performers and lecturers included Chicago’s Luis Carreon (noted for his metal-bending talents), Danny Rudnick, editor of the new The Complete Al Leech, Tomas Medina’s offbeat comedic magic, and the inimitable Eugene Burger. Producer Sandy Marshall also made this an extra

The Gala cast Photo by Danny Orleans

special event by convincing some of the top names from the US and around the world to perform at the convention. We were thrilled to see performances and lectures by the famed mind reader Max Maven, Germany’s creative Axel Hecklau, master card mechanic Richard Turner, magical comedian Dave Cox, Boston mentalist Jon Stetson, the highly original Dan Harlan, and The Great Tomsoni and Co, who much to everyone’s surprise, revived their “recently retired” comedy act just one more time. Ten shows, ten lectures, a street naming, and perfect Chicago weather made it all a magical treat – one that Chicago and anyone who attended won’t soon forget. It was a great way to celebrate the fiftieth anniversary of the oldest, continuously family-run, brick-and-mortar magic shop in North America – Magic, Inc. Awards of Excellence Presented

Eric DeCamps and Professor Rem

Eric DeCamps and Obie O'Brien

Eric DeCamps and Frank Monaco

Awards of Excellence Presented to Compeers Ronald “Obie” O’Brien, James “Professor Rem” Remenicky, and Frank Monaco This past April at the forty-fourth annual 4F convention, Compeer Ronald “Obie” O’Brien was presented with the North Atlantic Region Award of Excellence in grateful appreciation of his forty-six years of service to The Society of American Magicians, his forty-four years of producing the most highly respected close-up magic convention in the world, Fechter’s Finger Flicking Frolic, and for the advancement of the art of magic through his many years of support to magicians and magic organizations worldwide. James “Professor Rem” Remenicky was presented the Award of Excellence in grateful appreciation of his thirty-eight years of service to The Society of American Magicians and his many years of outstanding commitment in fostering and progressing the art of magic as S.A.M. Deputy in the state of New York.

After the opening Saturday night gala at the fortieth Tannen’s Magic Camp, Compeer Frank Monaco was presented with the North Atlantic Region Award of Excellence in grateful appreciation of his seventeen years of extraordinary duty and service to The Society of American Magicians and Assembly 35 (Al Baker Assembly), The Poughkeepsie Magic Community, and his twenty years of mentorship at Tannen’s Magic Camp. A recipient of the Award of Excellence must have demonstrated, over a significant period of time, dedication and the promotion of magic in our region, combined with a strong sense of community obligation. Award recipients include long-standing S.A.M. members who year after year have given of themselves to enhance, advance, elevate, preserve, and move the art of magic to the forefront of artistic recognition in our North Atlantic Region. Congratulations to Compeers O’Brien, Remenicky, and Monaco for exemplifying the S.A.M. mission statement and spirit. [Photos by Dale Farris. Frank Monaco photo by Todd Seidenberg]

Compeers Perform at Cycle of Life Event By Rich Dooley A group of magicians from Assembly 21 in Hartford, Connecticut, Assembly 17 in Springfield, Massachusetts, and Assembly 16 in Worcester, Massachusetts, came together  on June 1, 2014, at the campus of St. Joseph’s College in West Hartford, Connecticut, to support the CT Children’s Medical Center’s annual “Cycle of Life” event to honor childhood cancer survivors and their families. All the magicians volunteered their time on a beautiful Sunday afternoon. The magicians had a small tent under which there were two tables; they rotated doing close-up magic and interacting with the survivors and their families. Several performers also did walkaround magic during the carnival-like event. 

The performers are (from left): Life Membership Chairman Dan Sclare, Steve Wronker, Dana Ring, Peter Lennis, Ed Kazar, Leonard Nadeau, RVP New England Tom Gentile, Past National President Rich Dooley. Missing from the photo: John Knowles.

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Back to the Future I found a really good app that will keep the spectators flummoxed for days. This effect is from the minds that created Email Wizard, an app acquired by David Copperfield.   Here is the effect of Ghost-Card: The magician selects a card and holds it up in front of the spectator so he can take a photo of the spectator and the card. You do not show the photo or the card at this time. The spectator now selects a card; when you show him the photo that was taken a few minutes before, it shows that the card you chose earlier is his card! This is a well thought-out app. First of all, there are lots of settings to customize it for you. You can also email the photo to the spectator as a souvenir. They will show that photo for months. Take your time practicing this one. Although it is pretty easy, there are some subtleties that help to sell the strong magic that you are creating. This is a really good one and is now on my front page. Ghost-Card is $14.99; you can find it in the iTunes App Store.

Magic Shuffle I wrote about Magic Shuffle when I first started this column. This app is the Invisible Deck effect. Tenyo created this app and has made it the easiest, most direct method to accomplish the miracle. The app holds up nicely, even though it was created way back in 2010. I can’t stress enough the clean and easy way this app works. I will tell you that this app got me a gig as a living entity in a Rhode Island School of Design art exhibit. I did this trick for four hours straight and fooled scores of people. Magic Shuffle is in the iTunes app store for $2.99

Revisiting the Apps Apps are in a constant state of revision and improvement. Smart programmers do listen to their customers.  I thought it was time to take a second look at some of my favorite apps.

PhotoPrediction Ask a person to select, or just name a card. You go into your photos on your smart phone; the last photo taken shows that selected card – a quick and direct effect. Guilherme Del Frate took the time to write very complete directions. He even has a training mode to help you learn the effect. He has also added a lock screen to keep people from finding out the secret. You can predict playing cards or numbers. He also has a way for you to customize the trick to allow up to 28 M-U-M Magazine - SEPTEMBER 2014

129 different outcomes. You can also choose your favorite order of suits. If you have this app, give it another try. If you don’t have this app, it should definitely be on your iPhone.  Available in the iTunes App Store for $4.99

Houdini’s Last Magic Trick Houdini’s Last Magic Trick is more like a magic history lesson. It’s a complete app telling the biography of Houdini as well as displaying lots of posters and photographs. What I really like about this app is the “non magic trick” look and presentation. When you get to the photo section, simply ask a spectator to name a playing card. When the spectator says what his card was, the magician shows that Houdini’s brother is holding this exact card in his hand in a photo taken a hundred years ago. The instructions are well written; everything you need to present this is all there. As a magician, when you are at a party or meeting, Houdini’s name will probably come up. Present this effect and leave them with a mystery to remember. Houdini’s Last Magic Trick is available in the iTunes App Store as well as at Android’s Google Play for $5.

Tune Control While performing at this year’s PCAM Convention, a fellow performer asked what the mini remote control attached to my trick was for; it controlled my music. A pet peeve of mine is when a performer presses on his pocket to turn on his music or shut it off. I found it much easier to attach the remote to my trick or table for easy access. As I move the prop, I simply press the button to turn the music on or off.  My remote of choice is the iJet iNAV Boss Lanyard Wireless Remote.  It works great with apps like Show Cues (highly recommended) and is small enough to be discrete. It’s water resistant and comes with a receiver that fits on all iDevices that use the 30-pin connector. It will also work with iPhone 5 and iPad Air with a Lightningto-30-pin adapter available at the Apple Store. I put a plastic bead on the play button to make it easy to feel. iJet iNAV Boss V2 Lanyard Wireless Remote is available at www.buyijet.com for around $30. Buy at least two in case you lose one. Bruce is always on the lookout for computer magic, iPhone/ iPad apps, Android apps, and tech toys that can be used in magic applications. If you have any suggestions for future columns, write him ([email protected]).

Cheats & Deceptions (For Entertainment Purposes Only) By Antonio M. Cabr al

Photo 1

I’LL HAVE A TRIPLE (PART TWO) Last month, I talked about what I call the “triple-single.” This month, I want to talk about another related “micro-technique” – let’s call it the “single-triple.” It’s a similar approach for a different context. Here’s how it works: Suppose you want to show the two black Aces and then switch them out for two red Queens. Start with a black Ace on top of the deck, followed by the two red Queens, and then the other black Ace. Cleanly turn over the top single card to show a black Ace and take it in your right hand. As you’re displaying that card, get a break under the top three cards. Then do a triple turnover of the cards above the break while still holding the Ace (Photo 1). (The action of the turnover is the same as if you weren’t holding a card in your right hand.) Catch a little finger break under the triple as the cards fall face up onto the deck. You’re now displaying two face-up Aces (Photo 2). Place the single Ace sidejogged on the face of the triple and turn over everything (four cards) onto the deck (Photo 3). Thumb off the top two cards; you’ve now switched out the Aces for the two Red queens. As with the triple-single, there’s a lot more going on here than you’d expect. You start by cleanly turning over and displaying a card. Then you perform a triple turnover, but the card in your right hand provides a ton of shade, hiding the thickness of that multiple card. When you turn the cards face down, the thickness of the packet is not obvious, because you are ostensibly turning over two cards at the same time. Then you cleanly deal off two single cards. It’s the emphasis on the singleness of the cards that makes this a very deceptive switch. In that way, it’s a lot like the Zarrow Block Addition (described in The Vernon Chronicles Volume 3, page 30). However, there’s also a nice moment 30 M-U-M Magazine - SEPTEMBER 2014

Photo 2

Photo 3

cards) to show the Ace of Spades. I turn the whole thing face down, deal off two single cards, and turn the next single card over to show another card. I can vouch from experience that it’s a very deceptive sequence. Like the triple-single, this technique isn’t original with me. It’s in the original Be Honest, What Is It? by Eddie Fechter. But I didn’t appreciate its effectiveness until I applied the idea to a similar, earlier classic: Passe-Passe Aces. Passe-Passe Aces is one of the many, many gems in the classic book Expert Card Technique. It’s a great effect for introducing the four Aces into a program of card material. The problem with it is that it relies on continual triple lifts – four in a row, as a matter of fact. Even with a good triple lift and a solid pinky count, it’s a real pain in the butt to manage. Plus, in doing it that many times in a row, you’re essentially daring your audience to see through the technique. Check out the original (it’s on page 250) and then give this alternative approach a try.

PASSE-PASSE ACES

here where cleanly turning over that first card draws attention to it and gives the sequence a very honest and genuine feel. (Like Ascanio said, “There’s nothing more overwhelming than the truth.”) I’m by no means claiming that this is better than the Zarrow technique, but in the right context it’s extremely effective. Readers with long memories will remember this concept from Be Honest, Is it Blackjack? from my very first column (January 2014). In fact, in that trick I combine the single-triple idea with the triple-single. I turn over the Jack of Spades, and then do a quadruple turnover (again, the single card helps hide the multiple

Start with the four Aces on top of the deck in this order: Ace of Spades, the two red Aces, and the Ace of Clubs. Give the cards an overhand jog shuffle to control the top stock. In previous columns, I’ve advocated a lift shuffle. Here, though, is a great place for a jog shuffle. You undercut half the deck and shuffle off, in-jogging the first card. Take a break under the jog and swivel cut at the break. Turn over the top card to show the Ace of Spades and cleanly deal it face up on the table. This in itself will stop people inviting you to poker night. Perform another jog shuffle and swivel cut. Pick up the Ace of Spades as you get a break under the top three cards. (You have plenty of cover for a push-off, spread push-off, or pinky count.) Comment, “One Ace is fine, but in Texas Hold ‘Em, you want a pair!” and do a triple turnover while still holding the Ace of Spades. You’re now

displaying the two black Aces. Get another break under the face-up triple (or obtain this break as you turn the triple face up), place the Ace of Spades side-jogged onto the Ace of Clubs, and turn the whole thing face down on top of the deck. Deal off the top two cards as you announce, “Let’s see if I can find the two red ones. I hate to break up a set!” In fact, you’ve just dealt the two red Aces onto the table. Do another jog shuffle, but this time run one card, in-jog the next card, and shuffle off. Do another swivel cut, then cleanly take the top card and raise it face outward to show your audience. As you do this, get another break under the top three cards. “I’m not sure; is this the Ace of Hearts or the Ace of Diamonds?” You’ll be politely informed that it’s neither. Turn the card so you can see it, look surprised at your apparent goof-up, and then turn the triple over on the deck using the right-hand card as shade as before. You are conveying the idea that you’re surprised you missed the Ace, and you’re checking to see if you were “off by one.” You’re now showing two random cards, and you’re ready for the big surprise. Turn the cards down as before, deal off the top two cards face down into your hand, and look puzzled. “I must’ve forgotten something somewhere…” Then, realizing your mistake, say, “Oh! I forgot that I always get the two black Aces last…” Then turn over the first two cards and say, “…the two red Aces come first!” In comparing this handling to the original, you can see that it has a much better rhythm. Cutting the number of triple lifts in half helps the whole sequence to flow better. And if you’re so inclined, you can elaborate on the concept.

PASSE-PASSE PLUS Start with this set-up on top of the deck: a King, two Aces, two Kings, two Aces, and the remaining King. False shuffle, retaining the stock on top, then do a jog shuffle to take the stock into the middle of the deck. Get a break under the jog and spread the cards between your hands as you make some comment about how finding certain cards in the deck can, in the right context, become a lucrative vocational skill. Spread four cards past the

break, take a new break under those cards, and close up the spread. Do a swivel cut; turn over the top card to reveal a King and deal it face up onto the table. Now perform any kind of in-thehands false cut (again, the Flip-Flap Cut from Card College 1 is as good as any). Pick up the King as you get a break under the top three cards, and turn over the triple with the King in hand. “One King is fine, but in Texas Hold ‘Em, you really want a pair!” Place the King in your hand onto the face-up triple and turn all the cards over onto the deck. Deal the top two cards off and hand them to an audience participant, and then offer to find the remaining two Kings. Get a break above the four cards on the bottom of the deck, and go into the lift shuffle control from my previous columns. This will bring the rest of your stock back to the top. Follow through with another jog shuffle and swivel cut. Display the top single card (your third King) and get set for a triple turnover. Turn over the triple (using the face-up King as shade) onto the deck to show the last King. Place the King in your right hand on top of the triple, turn everything face down on top of the deck as before, and deal off the top two cards. Have your participant turn over the cards he’s holding, and look surprised that they’re now Aces. Again, this is by no means new, but you might find it useful to experiment with and adapt to certain situations in tricks you already do. At the very least, I hope you’ll find the first handling of Passe-Passe Aces useful in introducing your favorite four-Ace miracle.

card should remain hidden. Consequently, the grip of the right hand shown in Photos 3 and 4 is incorrect. When the face-down card (which is thought to be the Seven, but which is actually the other red Queen) is placed onto the face-up Queen of Hearts, the right hand should hold the cards at the outer right corner as in Photo 4. As the right hand turns over (under the cover of the left hand) to apparently place the Seven on the spectator’s hand, the right thumb pulls and the fingers push, causing the two cards to slide over each other. The result is shown in Photo 5. The spectator can see part of the design of a Queen (albeit the other red Queen) and assumes she is being given the Seven. As the right hand pulls the lower card away, it quickly turns over, turning the card face down. Proceed as in the original instructions. Photo 4

Photo 5

A CORRECTION Many of you have probably noticed that Photo 4 in my last column shows a Queen of Diamonds standing in for a Queen of Hearts, and wondered if that actually flies past an audience. The answer, sadly, is that it was a mistake. I ran afoul of something I’ve come to take for granted: the fact that I’m left-handed. And the subtlety of Jack Carpenter’s I was trying to explain is, in fact, a lefthanded card move. I shot a video clip for my esteemed and patient editor, Michael Close, to try to clarify things, but what I failed to clarify was that the index of the

I apologize for the error. Much like in performance, if my audience doesn’t understand what’s happening, that’s on me and not them.  If any M-U-M readers have any questions or comments regarding anything in this column, please feel free to contact me at [email protected], and I’ll do my best to clarify, mollify, or otherwise try to explain myself. I look forward to answering your questions and opening a dialogue or two.  SEPTEMBER 2014 - M-U-M Magazine 31

Hit The Road With Scott Alex ander, Puck, Jenny Alex ander, and Adam Ace

THE JUSTIN CASE Murphy’s Law says that anything that can go wrong will go wrong. No matter how much you have rehearsed and no matter how carefully you have packed your show for transport, there is that inevitable chance that a key prop or gimmick that you need for the show breaks. So what do you do? The Scout motto of “Be Prepared” can be the answer to any mishaps you may encounter on the road. By preparing a “Justin Case,” or what you might call a “fix-it kit,” you can tackle most minor problems you encounter with broken equipment, scratched paint, or any other small prop emergency. Get yourself a small tool chest with a handle that can accommodate the handful of items I am about to describe, and bring it with you to all of your gigs. Purchase one from Lowe’s or Home Depot for less than forty dollars and then stock it with the following items. Gaffer Tape: The key to the universe, or at least the magic universe, is gaffer tape. If you do not know what gaffer tape is, please allow me to rock your world. A gaffer is the chief lighting technician who deals with lighting for productions; this tape is the tool of his trade. It is a wonderfully strong, cloth-backed, super-sticky tape that can be the perfect answer to many minor repairs. It has synthetic petroleumbased glue rather than a rubber adhesive so it can be removed cleanly from any surface. It has found a home in the theater for all kinds of practical uses, and for magic it is perfect. In fact, I know a handful of professional magicians whose acts are practically held together with gaffer tape. It can be used to repair broken hinges on apparatus magic for example. Let’s say you drop your Fraidy Cat Rabbit while unpacking and bust off one of the hinges. Simply make a new one out of gaffer tape. This temporary hinge should be enough to get you through your show until you can get home and replace it. Perhaps you are rolling in your Lefler Suitcase Table to your bar mitzvah gig 32 M-U-M Magazine - SEPTEMBER 2014

and a helpful young man agrees to help you load in. He pushes the suitcase table at full speed into the door jam and tears a big gash in the cloth covering. Simply tear off a piece of gaffer tape and make a patch to get you through the show. I have even used gaffer tape to repair a rip in my costume. Jenny and I were doing our show at Caesar’s Magical Empire. I had just gotten a new pair of pants and didn’t test them out with the illusions. The second to closing number was the Metamorphosis. We followed that with a DeKolta chair during which Jenny vanished and appeared in the audience. The Metamorphosis was going along nicely until I made my exit from the box. I was getting ready to take my place for the exchange and I heard a distinct ripping noise accompanied by a cool, breezy feeling between my legs. As I was coming up out of the box, my new pants, which I failed to test with the illusion, got a giant rip in the crotch. I had to think fast or else risk exposing something more than magic to the sold-out audience. Normally, Jenny and I would take a bow together and she would leave the stage while I did a closing speech. This time however, as we were walking downstage to take our bow, I whispered to Jenny, “Do the closing speech; I gotta go fix my pants.” Like a trouper, she did my dialogue as I ran offstage to gaffer tape my crotch. The gaffer tape held my pants together enough to get through the DeKolta chair and we finished the show. As I said, gaffer tape is an invaluable tool in any performer’s fix-it kit. You can pick some up at www.stagespot.com. Super Glue: I prefer Super Glue in a gel medium. The gel is easier to apply because it doesn’t run. You can apply it to most plastic surfaces; after holding the two items together for a minute they will bond. This can be useful in repairing any broken plastic or Plexiglas items. When Jenny worked in her show at the Plaza in Las Vegas, she used the Dave Powell Razorblade Stand. One night, the stand fell off the table and cracked in half. She was able to dive into the fix-it kit, grab some Super Glue, and put the stand back together for the performance.

E-6000: This is silicone-based glue that remains flexible and that also makes a watertight seal. This can be particularly useful in repairing cracks in glasses or rubber items. When performing Shoe Business, I have been using the Comedy Glass in Newspaper that Bazaar de Magia puts out. One show, I dropped the glass while unpacking and it got a hairline crack up the side. If you are familiar with the routine, then you know that a leaky glass put into someone’s shoe will not produce the desired result. I went into my Justin Case, grabbed some E-6000 and glued over the crack, rubbing it flat with my finger. After about fifteen minutes, I put some liquid in and it held quite nicely, getting me through the show. Zip Ties: Having a few zip ties in your kit can help for holding up backdrop curtains that have ripped or making an impromptu hinge for things that have loose hinges or straps – items like Bowla-Rama or the Backstage Vanishing Milk Trick. Almost anything that has a strap can be temporarily rigged with a zip tie to get you through the show. They can even be a part of the show. Joe Monti has a very nice Thumb Tie routine using nothing more than a zip tie and a pair of scissors. Sticky Back Velcro: I always carry a few pieces of male and female Sticky Backed Velcro. If you have any items that use Velcro to hold on a small cover or a curtain, there is always a chance that it could rip. In a pinch you can repair it with the sticky Velcro. It also comes in handy to organize props in your table for easy access and to keep them in position just where you need them. Safety Pins: Always have a few safety pins handy. These can quickly repair any fabric tears or, of course, any minor rips in costumes. You never know what kind of MacGyver situation you may find yourself in when you are going to need a safety pin, but when you need one and they are in your fix-it kit, you will thank me. Sharpie Markers: Colored Sharpies can be used to quickly repair any scratches on props. Simply color the scratch with the marker to take off any show-through of metal or wood due to scratched props.

Also, you never know when the Sharpie you use for your Bill in Lemon might dry out. It is always nice to have a few backups. Tech Knife: When I was going to college, my theatre professor would preach the benefits of having a “tech knife.” A tech knife is basically a Swiss Army knife. The one I carry has two blades, tweezers, toothpick, wine opener, file, Philips-head screwdriver, flat-head screwdriver, can opener, and saw blade. This can be handy for a myriad of assists with quick repairs. Or if you want to step it up, you can carry a Leatherman Tool. This is a tech knife on

steroids that also has the added feature of becoming a pair of needle-nosed pliers. This can come in quite handy. These are only a few items that I recommend you should carry, but there can be many more. Go through your act and try to anticipate any mechanical problems you may encounter. Think about what could happen while you are setting up or loading in. Then, think ahead and try to determine what you might need to make a quick repair on any of the items in your act. Also, think about any expendable products you might use, such as snowstorm packets,

throw streamers, mouth coils, hat tears, or any other refillable product you use. Throw a few of those in the Justin Case, too. You may leave the house in a rush and forget to pack them, but you will always have extras at the ready. Proper preparation is the key to most things in life; anticipate what you may need – those are the things you want to have in your Justin Case to guarantee a successful show. Then you can use your tech knife to open your celebratory champagne! 

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SEPTEMBER 2014 - M-U-M Magazine 33

Not Just Kid Stuff By Jim Kleefeld

SEGUES AND CALLBACKS Smooth transitions and inside information are two methods that good writers use to make television or film scripts enjoyable. You don’t have to be Steven Spielberg or J.J. Abrams to make use of them in your magic show. Segues, or transitions, not only solidify your act, they are particularly helpful as an audience management tool in kid shows. Callbacks, or the repeating of inside jokes, are not just fun; they are a great way to make your act memorable. Each of these techniques probably deserves its own platform, but I will discuss them together because of their close connection to each other and to good scripting. Most of the children’s magic acts I have seen have trouble with segues. Most acts are presented as a series of tricks, one after the other. I believe this stems from the way many performers enter into the field. We see separate tricks that we like, buy them, and stick them together to form a show. Each trick comes to us as an isolated event. “Here is the box. Here are the instructions. Do this with the box. Kids will laugh.” Most magicians began to perform by collecting eight of these dealer items and doing them one after the other. Presto – it’s a show. If you are a thinking performer, you have probably gone past this level to some degree. But professionalism requires going way past that level. Segues can mean all the difference in the world in a show. Segues make a show flow smoothly. They can keep you on track, help you remember your show order, and give everyone in the audience a reason to keep watching right up until the end. Segues provide a way to bring the audience along with you throughout the entire show. Without them, kids lose attention. They turn their attention away from you. They talk to each other. They miss a spot where they could be laughing or applauding. And that makes your show suffer. In a similar way, callbacks also help keep kids focused, but more about that in a moment. Trevor Lewis recognized the transition problem back in the 1970s and formulated an interesting solution. He would present 34 M-U-M Magazine - SEPTEMBER 2014

disparate tricks, but would use the same segue between every trick. “That’s the end of that trick,” he would despondently say after finishing a routine. With a little coaching, the kids would say “Aww.” Then he would perk up with a smile and say, “But I have another trick!” and the kids would yell, “Yea!” Many kid show performers still use this technique today. It works, but to a limited degree. While it is fun for the kids to get caught up in a group chant, the message emphasizes the disparity of the set. It reinforces the fact that you simply brought eight disconnected props to display. It is time to examine your transitions from one trick to the next and specifically to provide meaningful ones. First, look at which tricks you present and the order you chose. In a good kid show there should be some longer story tricks mixed with some shorter visual tricks. Active and quiet routines should both occur regularly. When you have a good show sequence, think about what features each trick has that can lead into the next trick. Find a way to link your props or your patter from one routine to the next; create such a link, and bingo, you have a segue. Do you produce silks, and then put them away and take out a rope trick? Maybe instead of that, you could magically turn one of the silks into a rope. Do you use a Change Bag, put it away, and then take out Comedy Card in Balloon? Why not use the Change Bag to produce the cards and balloons you need for your next trick? After your billiard ball routine, you could set all but one of the balls aside, and then transform the last ball into a silk and go into a silk routine. At the end of your mischievous vent bit, have your puppet pull a bill out of your pocket. Put the puppet away and start your bill routine. Instead of using props as the connection, unconnected tricks can often be linked verbally. Think about what happens at the end of one trick. Next, think about what happens at the beginning of the next trick. Now make up a sentence that ties the two events together. Patter tie-ins should be as logical as possible and provide a reasonable excuse for linking the two events. In other words, do not simply say, “Let me put this cane away and get out my set of steel rings.” Suppose you have a trick in which you show five bottles of differentcolored liquids and predict which one a

child will choose. Suppose the trick you perform after that is one in which you make a giant ice-cream cone disappear. Here is a verbal bridge to connect the two: “Great! We found the right color bottle! Was it your favorite color? That’s a lot of different answers, because people have different favorites – like ice cream, for example. Not everyone likes the same kind of ice cream.” You have meshed the colored bottles into ice cream by way of the concept of “favorites.” Suppose you present a routine in which five helpers come up front and hold pictures. The next routine on your list is the Growing and Shrinking Head. Here is a verbal segue: “Let’s give those five helpers a big hand for coming up to help. They did a fine job, but I feel bad that only five people got picked. I wish there was a way to let everyone help. How about if I show you an optical trick that everyone can do? Would you like that?” Dismissing the five helpers becomes an excuse for using the audience participation trick.

Figure 1

Segues and transitions make for good audience management, especially in kid shows. Having good segues means that you do not lose the kids’ attention. If they see that every seven minutes you finish a trick, put it away, and dig around for the props to another one, they quickly get the idea that there are rest periods. They know that there will be breaks in the show during which they can turn and talk to their friends. So they do. Any comment that a child makes to a friend gets a reply. They start a conversation. And you may be two minutes into your next trick and past the setup and exposition before they turn their attention back to you and the show. Room noise rises. Movement increases. You risk losing them, or at best, you struggle to get

them back. Segues keep the focus on you all through the show. Callbacks, like segues, are a way of providing a tighter and more memorable act through your script. Technically, a callback is when a comedian refers to a joke he made earlier in the set. Callbacks have a way of reminding the audience how much they are enjoying the show. They also provide a more personal association with the performer. By using callbacks, you are essentially setting up private jokes between the audience members and you. Good callbacks put spectators on a personal plane with the performer. They provide memorable “you had to be there” moments. Callbacks have to be specifically planned and written into your script, because they deal with repeating circumstances. They are structured like an extended joke: set-up first, punch line later. It’s hard to ad lib a witty callback, especially if you never set it up. Callbacks are not running gags. You don’t just say the same thing several times in your show. A callback works best when the initial call is funny. Then future references to that joke increase the fun. Your goal is to try to make them laugh, and then later remind them of the fun they had when they did laugh. Here is an example of how to build a callback routine into your show. Early in the show, use a production. It does not matter what kind of production, just so you present the magic of showing a surprising appearance. Use a Square Circle or a Gung Ho Box to make objects appear out of nowhere. A Dove Pan with a foam cake would work, as would an empty Change Bag in which silks appear. Even the Multiplying Bananas trick could be adapted. After you have concluded the routine and magically produced the objects, make one last production. Reach into the now-empty container and pull out a mushroom. A nicely painted sponge mushroom would work. Make sure it is large enough that your audience can clearly discern what you are holding. It helps if this is incongruous when compared with the previous items, because you want to segue into a laugh here. Using a Dove Pan and pulling out various fruits and vegetables, and then producing the mushroom last, is not funny. Pulling out several large, colorful, patterned silks, and then finding a mushroom underneath is much better. Producing a dozen sponge bananas between your fingers and then finally ending up with a mushroom would also be funny.

Figure 2

When you bring out the mushroom at the end of the routine, act surprised. Then address the audience: “How did that get in there? Hey, that reminds me of a joke. Why did the mushroom go to the party? (Pause for a beat, but not too long in case some kids have heard this one before.) Because he was a ‘ fun guy!’” Don’t wait for laughter; at a kid show some of them will not get the joke. Continue, because this is a two-part joke: “Why did the fungi leave the party? Because there wasn’t mush room.” It’s a decent joke, particularly because the second part is not as well known as the first part, and because all of the kids will understand the play on the words “much room.” But best of all, it sets you up for later callbacks. Continue with your usual routines, but look for places you can use the joke as a callback. Let’s say you use a Change Bag with a Mis-Made Flag. You hand a volunteer three colored silks. Ask her to put the first one inside the bag. Then ask her to put the second one inside the bag. Then ask her to put the third one in, but swing the bag and your attention away from her so the silk falls to the floor. Produce the flag with a missing color. Discover the dropped silk. “I guess that one never made it into the bag. Do you know why? There wasn’t mush room.” Go into a trick with a big prop. After the routine, lean over in order to put it away under your table. Stop and look up at the audience. “I’m going to have a hard time putting this in my table. Do you know why? (Pause for a beat.) Because there isn’t mush room.” Next, go into another production routine with a prop. Let’s suppose you get a rabbit from a Bunny Box. After the applause, pause and look knowingly at the audience. Point to the box. “I didn’t think there would be rabbit in there. Do you know why? Because there isn’t

mush room.” Bring several kids up to use as volunteer helpers. Call them up one at a time by looking carefully and pointing out who is sitting quietly. Line them up across the front of the stage. While other kids are still raising their hands, tell them you have enough volunteers and cannot bring anyone else up front. Why? Because there isn’t mush room. Normally, good scripting follows the Rule of Three. But with a kid show audience and this type of callback, it may take two or three times before they latch on to your deliberate use of the phrase. So it won’t hurt to say it five or six times in a show. Just keep the iterations spaced reasonably apart, and try to script your scenarios differently so the line comes as a bit of a surprise the first couple of times. An attentive crowd will catch on and say the line with you the last couple of times. As with the rest of your show, your callbacks should reflect your onstage persona. Don’t lift funny lines from other magicians or comics and toss them into your act. Write material that fits you. Mac King has some dandy callbacks, but they fit his aw-shucks, homespun character. Max Maven has a witty, slightly dry, and intelligent persona and uses a great callback in his stage show. Several times during the show he quotes historical intellectuals like Nietzsche and Sartre, knowing full well that most of his audience will barely recognize the names, let alone be familiar with their philosophies. After a few instances of dropping names and getting blank stares, he dryly tells the seated theatergoers, “You people should get out less.” It’s a witty callback to the times he has challenged their intellectual knowledge. I can’t get away with that line, and most likely, unless you are Max Maven neither can you. So choose something that is funny to you and your audiences and find a way to make that your signature line. Callbacks are more than just funny in the moment. They establish rapport and produce a lasting sense of familiarity within the audience. The audience will feel like they know you and have shared a private inside joke with just you. Because of this, they will be more likely to remember you as a performer, rather than the magic show as an event. You want your audience to remember you so when they need a magician, they ask for you, not just “a magician.” One way to help them remember you is to write a quality script that uses Segues and Callbacks. 

SEPTEMBER 2014 - M-U-M Magazine 35

OBIE O’BRIEN A FORCE OF NATURE by David Corsaro

“Do you believe in miracles?”

Obie was born Ronald James O’Brien in Ottawa, Ontario, Canada, The above sentence is synonymous in 1932. Ten years before Obie was with one of the greatest moments in born, his father moved to Sudbury, the history of sports. It occurred in Ontario, Canada, to play hockey. 1980 at the Olympic Games in Lake However, there was a rule that a Placid, New York. The United States person needed to live in a town for national hockey team, made up six months before he could play for mostly of amateur players, defeated the team. Obie’s father solved that the Soviet Union national team, problem in a way that would possibly which had won six gold medals in fuel Obie’s love of deception: he recent Olympic games. When the created fake documents proving his final seconds ticked off the clock residency. Unfortunately, someone and the US team was about to raise reported the fake documents; his their hands in victory against Russia, father was suspended from playing broadcaster Al Michaels, with more hockey for two years. energy and euphoria in his voice than His father was a dedicated man, ever before, screamed into the microprovided well for his family, and phone, “Do you believe in miracles? always exposed them to his love Yes!” of hockey. While a teenager, Obie Sports Illustrated named it the walked miles to any local rink to Obie with his wife, Anne. Obie was top sports moment of the twentieth practice hockey. This helped fuel not the guest of honor at 4F in 2010 century; a feature film starring Kurt only his talent on the rink but also his Russell commemorated it. Many dedicated work ethic. Obie eventually people who watched it on TV called it one of the most played in the Junior Hockey “A” division, which is the highest memorable moments of their lives. Can you imagine what it non-professional hockey league in Canada. must have been like to be sitting in that stadium during that His skills in hockey game? Now imagine what it must have been like to be sitting opened up many doors for a dozen feet away from the action, and not just as a spectator, Obie, including a scholbut as the official scorer to the game. Well, Obie O’Brien arship to St. Lawrence knows what it felt like. And, much like all of us during almost University in Canton, New any moment of our lives, if for some reason he had been called York. In his very first junior on, he was ready to do magic…just in case. varsity game at college, It is almost impossible to wrap your head around the life Obie scored eight goals. He of Obie O’Brien. The man has lived through so many iconic went on to score at least one moments in all areas (sports, personal, magic) that it is hard goal in thirty-four consecuto believe. He owns several college hockey records, both as tive games and compiled a a player and as a coach. He travels the world promoting and total of fifty-eight goals in helping to elevate the art of magic. Oh, and one more tiny a twenty-five-game span thing, he is the driving force behind one of the most presti- (destroying all previous gious and respected magic conventions ever, Fechter’s Finger records at the time). To this Flicking Frolic. To understand Obie, you need to understand day, he holds the record how different areas of his life have come together to make him for most points scored in a who he is today. And perhaps understanding Obie will give varsity game with five. Not insight into a question that hundreds of magicians all over the surprisingly, a player of this world are nervous as hell to hear the answer. But we will get talent is not soon forgotten; to that later. St. Lawrence University 36 M-U-M Magazine - SEPTEMBER 2014

Obie and Brad Jacobs take a Gondola ride

inducted Obie into their Hall of Fame in 1993. Obie held many jobs during his college career, including morning radio DJ. So the idea of entertaining a crowd has always been in his blood. But it was not until one of Obie’s teammates, Bruce Moore, showed him some magic that another bug besides hockey began to occupy his mind. In an ironic twist, Bruce eventually gave up magic, but twenty-five years later was persuaded by Obie himself to get back into it. It was also in college that he met the woman who would soon become his wife, Anne Grace. They eloped in 1957 while Obie was in his senior year. While most people are busy trying to keep up with one or two activities in their lives, Obie was working multiple jobs, playing hockey, practicing magic, and becoming a husband. He became an American citizen in 1961 and then returned to school, going to New Mexico State University to attain his master’s degree in mathematics. He and Anne had two beautiful daughters, Karen and Kelly. Never feeling comfortable in stopping his own education, Obie enrolled in the University of Buffalo in 1970 to get his PhD in mathematics. (He completed all but his dissertation.) Obie held several different jobs after college, including sales rep for an oil company and high school math teacher. Canton College hired him to teach math at their school while he formed and coached their hockey team. Since Obie does not do anything half way, he put his heart and soul into that hockey team; they went on to win two of the first three national championships they played. Eventually, his love of all sports went beyond playing and coaching; he soon began refereeing, not just hockey, but also soccer, lacrosse, and football. His extensive experiences in all areas of hockey (from coaching to playing to refereeing) led him to take the test to be the official scorer for the 1980 Olympics. Only four people were selected; Obie was thrilled to be told that he would be there for the US/Russia game. Before the game began, Obie was required to visit each team’s locker room to talk to the coaches. During this time, he learned that the Russian team was warming up twenty-three players (the rules require each team to only have twenty players available for the game). When Obie alerted the Russian coach of this discrepancy, the coach told him that he would submit his official list after warm-ups were completed. The game began and the excitement on the ice was high.

And as the clock ticked closer and closer to the end and it became apparent that the mighty Russian hockey team was about to lose to the amateur US team, tensions ran high. Remember, this game occurred as the Cold War was heating up; the last thing that Russia wanted to do was show weakness (especially to the US). When the game was over and both teams retired to their locker rooms, it was up to the official scorer (our friend Obie) to get each coach’s signature on the scorer’s sheet. Obie had only twenty minutes to get both signatures and fax the sheet to the ABC studios. Getting the US coach’s signature was easy. Obie described walking into the US locker room as if stepping into a party. Everyone was laughing and hugging each other. But that was only one of the two required signatures. Obie had to walk into the Russian locker room and get their coach, who had just been humiliated, to sign the sheet. Obie walked down the long, dark corridor towards the Russian locker room. There he was met by twelve Russian troops, fully armed, blocking him (and anyone) from entering. The US team assistant coach saw the blockade, came down, and convinced the troops that Obie was allowed in. When he walked into the Russian locker room, Obie recalls the somber feeling that was emanating from everyone. Nobody was yelling and nobody was angry. The players were sitting with their heads down, reflecting on losing the biggest game of their careers and disappointing their country. Obie got the signature he needed and left immediately. Despite his extremely high level of involvement in all things hockey, Obie also had his love of magic to drive him. In 1970, Obie was at the Niagara Falls NYCAN convention, sitting at the bar with Derek Dingle, Eddie Fechter, Gene Gordon, Mike Skinner, Lou Gallo, and Bill Okal. They were discussing the lectures and shows they had seen during the convention when Eddie Fechter said, “There really should be a convention only for close-up guys.” The idea generated significant buzz among the men sitting there, and Obie was asked

Obie, Anne, Karen (top left), and Kelly

SEPTEMBER 2014 - M-U-M Magazine 37

to organize such a convention. Eddie offered to house the convention at his hotel/ bar (the Forks Hotel). Obie came up with an initial list of one hundred close-up guys he felt were not only skilled enough at close-up but were also willing to share and teach their secrets with others who were willing to learn. Obie sent out a letter to the one hundred names, inviting them to what would eventually be named “Fechter’s Finger Flicking Frolic” (the name was not actually created until 1975). The registration fee for the first convention was $10 to cover the cost of a fish fry and beer. Of the one hundred letters that were sent out, thirty-five people accepted the invitation. On the first evening of the convention, Eddie Fechter performed for an hour and then the crowd broke for supper. Each table at supper consisted of four people and each person was required to perform. Each year after, Obie sent out invitations to one hundred people, but only thirty-five to seventy-five people showed up. So they encouraged guests to bring other magicians they felt would enjoy the convention and follow the guidelines (attendees must perform and must share). However, the convention began to grow very quickly, and by 1977 the number of invited attendees (plus people the attendees brought with them) began out to outgrow the capacity of the hotel. So it was decided that in order to be added to the official guest list of 4F, you had to be sponsored by at least two current attendees. This has been the rule every year since then, and, as someone who has been attending since 2007, I can tell you that the “sponsorship” process is an interesting one. I see some people recommending their friends, despite the 38 M-U-M Magazine - SEPTEMBER 2014

Obie 2014 SAM Award of Excellence

Satoshi, Obie, and Ton Onosaka

Harold Cataquet presents Obie O'Brien with a digital portrait in 2010

fact that they may not be qualified. When that person gets up to perform in front of a room of some of the best magicians in the world, the pressure is great. Some of them rise to the occasion and the pressure brings out the best in them. Others simply do not have the ability and are not invited back. On a side note, Obie recently began stating that if you sponsor someone to 4F and they do not get invited back (either because of their performance or because they were rude, not willing to share, or they did not follow the 4F unwritten code of conduct), then that member is not allowed to sponsor anyone else for three years. I think this is a good procedure because it makes you evaluate your sponsorship selection very carefully. This helps ensure that only the best of the best attend 4F each year; consequently, 4F means something very special to those who attend. Each year, Obie travels the world looking for those unique, “up and coming” magicians that he feels are worthy of 4F. Even when Obie finds someone he wants to bring to 4F, he still follows the code and finds someone else at 4F to cosponsor that person. Over the years, as the procedure of putting the convention together has grown, Obie decided to put together a board of directors to help with the process. Dan Garrett, Mike Hilburger, Phil Willmarth, Meir Yedid, Joan Caesar, Glenn Brown, and Jimmy Cieslinski have all served, in one way or another, in helping Obie organize the four-day convention. Each year, 4F pays tribute to a guest of honor, someone Obie feels has made a significant contribution to the magic community. Over the years, the guests

Obie and his wife Anne in The Magic Lady

of honor have included people like Lennart Green, Max Maven, Juan Tamariz, Paul Daniels, and many others. When I asked 2000 honoree Bill Malone to describe Obie and his overall 4F experience, he said, “Obie and I really hit it off together in the very beginning. I remember how excited I was when I got invited back year after year. He was responsible for helping me get on the Paul Daniels show. If it wasn’t for 4F, I would never have met Gary Ouellet, which ultimately led to four primetime television specials. “My 4F Guest of Honor plaque still stands tall on my office shelf; whenever I look at it I get a special feeling of gratitude in my heart. I could write a book on the many laughs we all shared at 4F. (These stories are too crazy to tell.) Obie let me get away with murder because I always made him laugh. Obie O’Brien treated me as a somebody when I was a nobody. This I will always remember. I am proud to call him my friend.” Because he has been in magic for most of his life and has traveled the world promoting the art of magic, Obie has had a significant impact on many great magicians. Several years ago, Obie was in the audience of a Jeff McBride show. Near the end of the show, Jeff said, “Ladies and gentlemen, one of the first effects that I performed tonight is called the Zombie Ball; the man who taught it to me is in the crowd this evening. Obie O’Brien, please stand up.” While touring David Copperfield’s Las Vegas warehouse with several other people, David stopped the tour and said to Obie, “I bet I know more about you than you know about me.” David went on to explain that when Obie was demonstrating at Tannen’s Magic Shop in New York City many years earlier, David was one of the young kids who was in the shop; he watched Obie demo trick after trick. Carl Cloutier competed at FISM in 1991 and lost in the Micro Magic category. Carl was devastated; it took the constant push and encouragement from Obie for him to compete again in Salt Lake City a year later. Carl won first place. Later, at the MacMillan convention, Carl won first place again. Next up was FISM in Yokohama, Japan, in 1994. Shortly before the competition in Yokohama began, the temperature hit 115 degrees. This was a big problem, because the

key method used for most of Carl’s act would be much more difficult if he was sweating. Carl approached Obie just before the competition and told Obie of his concerns; Obie came up with a unique solution. He found a walk-in freezer and stuck Carl in it for ten minutes. This allowed Carl to be cool enough to perform his sleights flawlessly, and he won first place in the Micro Magic category. Years later, when Carl got married, he asked Obie to be his best man. The irony of Obie O’Brien is that he doesn’t carry himself as a “force of nature” (which many people say he is). Just listening to the way the best magicians in the world today describe Obie and 4F really gives the impression that it is his friendship (more than any material help) that bonds people with Obie. While most people pursue one great passion in their lives, Obie has found four. His love of sports, teaching, magic, and his family drive him; it is astounding how he is able to juggle all of them. When interviewing Obie for this article, I stopped him at one point and said, “How? How have you been able to be such an influence on so many different people, in so many different areas?” He laughed. I prodded, “Do you ever stop and think about how you have been able to do this so passionately? Do you ever sleep?” He laughed again. Then there was silence on the phone for a few seconds. Obie responded, “You know, Dave, I have never thought about it like that. I am very lucky to have been surrounded by great people who I believe in and who believe in me.” Wow! Is that ever an understatement? So how do I wrap up this article? How do I write a final paragraph that gives the reader closure? I don’t really know, because when it comes to Obie, “closure” is not in his vocabulary. Obie continues to be involved in hockey. Obie continues to be involved in his family. Obie continues to be involved in teaching (in one way or another). But since you are reading this article, my guess is that you are hoping that the next sentence will be, “And Obie will continue to be involved in 4F.” Each year, there is a huge concern that Obie will decide that 4F is done – that the “family reunion” (which is what I consider 4F to be, not a convention) is finished. When asked about this, Obie tends to give a half-answer: “Yeah, this is probably going to be the last year. I think maybe one more year and then that is it.” I can tell you this: We live in a magic community that is full of secrets. Secrets are the core element on which we base everything in magic. When I finished my interview with Obie for this article, I was deathly afraid to ask him, “So what is the future of 4F?” I was afraid that I was going to hear an answer that I would not like. Well, Obie told me a secret about the future of 4F. And I am going to go against the 4F code of conduct and not share that secret with you. But I will say this. When Obie told me what the future of 4F will be...I smiled.  David Corsaro is the creator and host of Time to be Awesome, a web show that features interviews with the biggest names in magic (www. timetobeawesome.com). He is also a featured performer at Monday Night Magic in New York City, and he has received critical acclaim for his lecture on marketing for magicians (www.davidcorsaro.com). SEPTEMBER 2014 - M-U-M Magazine 39

WORDS FROM OBIE’S FRIENDS “Back in the 1970s, when I still lived on the East Coast, I was able to attend the 4F convention every year. Since moving to the West Coast, my attendance has been intermittent. But I value those times I’ve been able to be there. Thanks to Obie’s tireless efforts, some of the finest close-up magic I’ve ever seen has been at the Fechter gatherings.” – Max Maven “For the past forty-four years, Obie has built and maintained the playground for the rest of us. He took what was once a small group of friends and converted us to a large family. 4F has moved from local, to national, to international, all on his watch. He has worked tirelessly to keep 4F not just relevant, With Steve Beam but on the forefront of what’s happening in magic. It has never ceased to amaze me that once a year he entices many of the best close-up magicians from around to world to come to Batavia (root word = “butt”) for free. They come to watch, show, share, and learn. And then, of course, there’s the free beer.” – Steve Beam “As the forty-fifth anniversary of Obie’s 4F convention approaches, I can’t imagine anyone else being able to create and produce it. Obie is the only one who is able to consistently get many of the best in close-up magic to attend at their own expense and to perform for free. It is because everyone is treated equally, using the strict rules he has set up. The rules keep the egos in check and weed out the magicians who think they deserve special treatment. It took me three years of begging before I got invited; I have cherished the annual experience ever since.” – Meir Yedid “I will never forget the first time I met Obie in London eighteen years ago. This meeting truly changed my life; I can say that my career would not have been the same without him. Obie has always helped me to perform all over the world and to reach higher goals. Being invited to every single 4F convention since then also gave me so much inspiration. The genesis of many of my routines started at 4F. Many amazing moments and meetings happened at 4F. And earning the title of guest of honor a few years ago was definitely one of the biggest achievements of my magic life so far. It is all thanks to the trust that Obie gave me and for that I will always be grateful to him. Today, I feel blessed that Obie considers me as his adopted son, and I am very proud to have such a wonderful adoptive dad. Merci, Obie!” – Boris Wild “Since the fall of 2006 and the passing of my father, Obie has become my “magical dad.” Yes, it’s true that he is considered the “Godfather of Close-up Magic,” but to me he’s just “Dad.” In fact, over the years, Obie has adopted several people, including Carl Cloutier, Boris Wild, Henry Evans, Stephen Bargatze, and me – not a bad group of brothers to be associated with. Obie has been a source of encouragement to me. Now, 40 M-U-M Magazine - SEPTEMBER 2014

as I become the president of the I.B.M., I can once again look to him for guidance, because he’s already been the president and knows the ropes. There’s not much that Obie hasn’t done; if you can think of something he has not done yet, it is definitely not because he can’t. It’s more than likely because it would have interfered with With Shawn Farquhar magic or hockey! The 4F is a testament to a man who loves magic with all his heart and soul and his ability to attract good people and great magicians to the middle of nowhere!” – Shawn Farquhar “To be honest, I had never heard of 4F when Obie informed me that I was being invited to perform there. He told me it was an honor and it would be the most fun I have ever had working a convention. When I asked him how much does he pay to work his convention, I can still hear him laughing. I never meet Eddie Fechter but getting to know Obie and the guys With Stephen Bargatze at 4F I feel part of his family legacy. Obie started out as the guy to know, the guy who can get things done for your career, but he has turned out to be a great friend and mentor to me. When he talks I listen. I feel he trusts me and will stand by me. And he has. Thanks, Obie.” – Stephen Bargatze “I’ve learned a lot from watching Obie O’Brien over the years. From watching him perform, I’ve learned it’s probably not a good idea to do back-to-back-to-back tricks with jumbo cards. Fashion-wise, he’s made the clear statement that one should never wear a bright red vest with playing cards pictured on it (unless, of course, you’re actually going for that carnival-barker look). Finally, I’ve learned what it looks like for someone to be fully devoted to the growth of our wonderful art. Obie’s passion, dedication, and tireless efforts towards all things magic are to be admired. He’s judged more contests than Simon Cowell, and has devoted countless hours to many different magic organizations, helping them put on great conventions. I’m honored to call Obie my friend and I continue to be inspired by his dedication to the art of magic.” – Rick Merrill “I’m so lucky to be old enough to say that my early years at 4F were the real golden years. Eddie himself was there my first year, and so was Jim Ryan, two of the big three bar magicians of all time (Ryan, Fechter, and Schulien). Obie O’Brien hosts one of the greatest gatherings of close-up magicians anywhere! I met some of my best friends at Fechter’s and I thank Obie for making that possible. Thanks for your priceless contribution to the magic fraternity.” – Tom Mullica

My Friend Obie O’Brien By Eric DeCamps Obie and I have known each other for more years than either of us may want to admit. We first met at one of the Tannen’s Magic Jubilees back in the mid 1980s. Obie is one of those no-nonsense individuals who can seem intimidating at first. I can tell you that underneath that façade is a bighearted and loyal friend. I attended my first 4F Convention in 1988; it was amazing! I saw incredible magic, met magic legends, and forged great friendships with renowned magicians that last until this day. What I loved about the experience was that everyone was there to share and celebrate the art of magic. Over the years, Obie has refined measures and strategies that ensure that the 4F attendees are willing to contribute to the convention experience and the advancement of our art. In 2011, Obie was awarded the French Cultural Influence Gold Medal from La Renaissance Francaise. It’s one of the highest distinctions given by the French government to people who have made significant achievements in the arts, literature, science, and cultural heritage. Obie received this honor for helping French magicians get started in the U.S. At this year’s 4F convention I had the pleasure to present

Obie with the North Atlantic Regional Vice President Award of Excellence. Afterwards, I discovered that he had never appeared on the cover of M-U-M. I am so delighted that my long-time friend, who has given so much to magic and its practitioners, has received this well deserved recognition. Congrats, Obie; I look forward to next year’s 4F! 

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CONVENTION 2014 - WEDNESDAY, JULY 2, 2014 Day Three of the convention kicked off with the Korean College of Magic lecture. The lecture featured clever ideas and original thinking from an area of the world whose influence on magic is growing daily. There was another round of stage contest performers, and then a lecture by the very talented Miguel Angel Gea. The day wrapped up with the Show Me the Magic gala show at the lovely Peabody Theater. David Oliver opened the show, delivering heartfelt thanks to everyone who has helped him through his enormous medical challenges. He did only one trick, but it was a remarkable one: he blew up a balloon using someone else’s lungs. Mike Caveney was the capable emcee, and he introduced four well-established professionals: Xavier Mortimer (who performs in Vegas in the Cirque du Soleil Michael Jackson show), Tina Lenert, Sylvester the Jester, and illusionist Alex Ramon. [Convention photos by Michael Messing unless otherwise noted.] THE KOREAN COLLEGE OF MAGIC LECTURE

Zeki Yoo Casa Lukas MIGUEL ANGEL GEA LECTURE

Miquel Angel Gea SHOW ME THE MAGIC SHOW

David Oliver Mike Caveney Photo by Dale Farris

42 M-U-M Magazine - SEPTEMBER 2014

Photo by Dale Farris

Alex Ramon

Xavier Mortimer

Slvester the Jester

Photo by Dale Farris

Photo by Dale Farris Photo by Dale Farris

Tina Lenert

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THURSDAY, JULY 3, 2014 Day Four began with a real treat – The 3D Kid Show and lecture, featuring Silly Billy, Danny Orleans, and Doug Scheer. An audience of kids was bussed in for the occasion, allowing attendees the opportunity to see these performers work in front of real people. The afternoon featured round three of the stage competition, followed by Christian Engblom’s lecture. The gala show for the evening was The Magic of Germany, which was designed as a complete theatre piece, rather than the traditional magic convention show. Xavier Mortimer’s lecture wrapped up the evening. [Convention Photos by Michael Messing unless otherwise noted] 3D KIDS SHOW LECTURE

David Kaye

Photo by Dale Farris

Doug Scheer

Photo by Dale Farris

Danny Orleans

Photo by Dale Farris

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THE MAGIC OF GERMANY

Gaston

Sebastian Nicolas Martin Eisele Timothy Trust & Diamond

Timo Marc

CHRISTIAN ENGBLOM LECTURE

Christian Engblom

STEVE KLEIN LECTURE

FRIDAY, JULY 4, 2014 On Day Five, the conventioneers saw The Magic of Germany lecture followed by the preliminary round of the close-up contest and Steve Klein’s Tech Sheet lecture. The banquet in the evening (which featured a very good meal) led to the stage contest finals. The stage contest finalists are featured below. [Convention Photos by Michael Messing unless otherwise noted]

Steve Klein

STAGE FINALISTS

Hun Lee

Po Chen Lai DenDen Natalie & Eli Sheldon Wang

Cheol -Seong Choi

Trevor & Lorena Watters

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SATURDAY, JULY 5, 2014 Day Six, the final day of the convention began with the Fechter’s Finger Flicking Frolic lecture, with Henry Evans, Shawn Farquhar, and David Stone offering some of their favorite routines. The afternoon featured close-up magic – the finals of the close-up contest and a great lecture by Dani DaOrtiz. The convention wrapped up with the dazzling Magic of Korea gala show and the presentation of awards back at the hotel. (For a complete list of contest winners, see page 6 of the August 2014 M-U-M.) [Convention Photos by Michael Messing unless otherwise noted] DANNY DAORTIZ LECTURE

Gay Blackstone receives first-ever joint citation from I.B.M. International President Shawn Farquhar and S.A.M. National President Kenrick "ICE" McDonald.

CLOSE-UP FINALISTS

Martin Braessas Seol Park

Reuben Moreland

Hannibal

Michael Dardant Shin Lim

Alberto Lorenzo

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MAGIC OF KOREA GALA SHOW

Duo Magic (Zeki Yoo and E.K.)

Ted Kim

Do Ki-Moon

Yu Ho-Jin

Lukas

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One Gun

The High Road script writing, char acter development, and act construction for the modern conjuror By Mick Ayres

“You can’t teach an old dogma new tricks.” – Dorothy Parker Anyone who has been a conjurer for a respectable amount of time knows that magicians find it difficult to let go of some things. Whether it is an outdated prop design or a beat-into-the-ground joke, there are magicians who cling to this sort of stuff with white-knuckled grips. Unless your performance character is a 1920s wise guy in a pin-stripe suit, you can relax and ditch that gold-fringed side table – along with any wooden-handled Change Bags you own. On one hand, this tendency is understandable. There is a solid dose of security in performing an effect the way you have always done it; this “time familiarity” breeds contentment. On the other hand, we live in a society whose interests and focus has shifted into a state of constant flux. The advances in technology alone are forcing changes upon the world of conjuring; we have no choice but to adapt. For example, have you noticed that fewer people – especially in the younger demographics – own wristwatches? Instead, they carry cell phones that boldly display satellite-precision time. Conjurers who feature pickpocketing entertainment in their acts are already adjusting to this change. Another social change involves cigarettes. As the restrictions against smoking in public increase, the inconvenience of the habit is causing many people to drop it. Will magicians who spent years learning the skilled manipulation of cigarettes eventually find themselves regulated to crayons and golf pencils? You get the idea. Change is always inconvenient, even if it is a transition for the better. For this reason, it is human nature to avoid any unpleasantness that change forces upon us. In our world, that unpleasantness can take many forms. Improving our acts will certainly require work that we really don’t want to do: rewriting a script, adapting a more original character, or perhaps 50 M-U-M Magazine - SEPTEMBER 2014

learning a whole new skill set. It is easier for a magician to keep performing an effect the same way even though it hasn’t astonished anyone in a long time. It is easier to keep using a line that no longer gets laughs. In a real sense, it is like turning up the car radio so you don’t have to hear the grinding coming from underneath the hood. When conjurers tell themselves that polite applause is better than no applause at all – or that it’s okay if no one responds as expected – then we have decided that mediocrity is acceptable. In my world that attitude is a guaranteed way to prevent contract renewal. My family needs me to be wise and professional with my career, so I cannot afford to be dismissive about it. The only known cure for an infection of mediocrity in the entertainment business is honesty – no-holds-barred, brutal honesty. The next time you perform, film your show. Just put a camera on a tripod in the corner and let it run. Watch it later with an open mind and a pen and paper in hand. Write down everything that doesn’t get the reaction you want. Now show it to a friend you can trust to speak the truth. Compare notes and change everything on the list, even if it means starting from scratch. If you aren’t getting applause from a good effect, then tweak the presentation, rewrite the script, adjust the timing, rearrange the order, or change your tone of voice or the cadence of your vocal rhythm; just do something! Then film your show again and repeat the whole process until the audience starts to respond the way you want. Now, at least, you know you are on the right track. Be warned, if you put a lot of time and skull sweat into coming up with your scripts and presentations in the first place, then it is even more difficult to remove or change them. One entertainer is quoted as saying, “Pulling a joke out of my act is like killing one of my own children.” Theatrical artists know this is change that is personal and painful. However, all the best acts have gone through it. Finally, when you choose that truthful friend, choose carefully. You need an

honest critic who won’t pull punches. We all have that relative who taught us, “If you can’t say something nice, then say nothing at all.” Usually that is good social advice, but not in this case. You require in-yourface honesty and nothing less. It may be tempting to get entertainment advice from another magician, but it must be one whose work you respect. Just making a blanket request for advice at your next club meeting will certainly get you plenty; you will spend a lot of time separating the wheat from the chaff. Magic meetings are social events where feelings tend to be appropriately coddled. It is far better to pull a veteran performer aside and make your proposal over coffee. As a rule, magicians will take great steps to avoid criticizing another’s act because they really don’t want it done in return. That being said, most magicians will welcome an opportunity to trade thoughts honestly, as long as it can be kept private. Another good idea is to balance your critics; that is, for every magician who gives you advice, have a non-magician helping out, too. You need an outside perspective from one who can see the forest despite all the trees. In his book On Writing, the author Stephen King discusses how words can be used to create powerful emotion and unforgettable images. He gives this advice: “Writing at its most basic level is a learned skill, but do we not agree that sometimes the most basic skills can create things far beyond our expectations? We are talking about tools and carpentry, about words and style – but you’d do well to remember that we are also talking about magic.” The magic King speaks of is when the imagination takes over so completely that one forgets he or she is reading a book. Bestselling authors know a story is measured by how much a reader cares about the characters and how they handle their dilemmas. Similarly, the best conjurers know a show is measured by how much a guest cares about a performer who allows them to slip away from reality and enjoy an entertaining glimpse into the world of the impossible. This is the conjurer’s goal then:

to carefully consider every aspect of one’s character, appearance, attitude, purpose, voice, posture, movement, story, and script, and to then assemble it precisely with an honest hand and a critical eye for detail. Speaking of changes, I enjoy finding obscure tricks and redressing them. Here I offer two effects that have been adapted from The Tarbell Course in Magic.

AHEAD OF THE GAME This prediction effect was inspired by The Conjurer’s Touch from Tarbell Volume 2. To prepare, put any Ace, Two, Four, and Eight (in that order) on top of the deck with the Ace uppermost. Memorize the fifth card from the top – the card immediately below the Eight – and you are ready to start. Shuffle the deck while retaining the small block of cards at the top. Say, “In a moment, I’m going to have you select a card, but not in the usual manner.” As you say this, spread the cards face down between your hands and slightly in-jog the fourth card from the top. Square the deck and say, “First, I’m going to put a prediction in my pocket.” Lift up on the in-jogged card and keep the top four cards neatly squared as you casually drop them into your shirt pocket. This makes it impossible for the audience to know how many cards went into your pocket. Hold the deck face down and ask, “Please cut off a little more than half the deck. This way I cannot know how many cards you are using.” Once the spectator has done so, say, “Please fan your cards with the faces toward you and focus on one card only. In fact, give me all the cards to the right of your selection.” Take the cards from her and add them to the face-down cards in your hand. Continue by saying, “Next, turn your cards face down and give them one fair cut, like this.” Illustrate by giving your portion of the deck a complete cut. When she cuts her cards, she’ll be placing her card directly on top of the key card you had memorized earlier. Extend your hand and have her drop her portion of the deck on top of yours. This key card arrangement is from Dai Vernon’s Emotional Reaction. Say, “It is impossible for me to know your card.” Spread the pack face up on the table and say, “And since I don’t know how many cards you took, it would be impossible for me to know where your card is located.” While you say these words,

quickly scan the deck. You will spot your key card within the top fifteen cards. Her selection is just above the key card. Rapidly count the cards until you know how many cards are above her selection. Once you have this number, close the spread and hand the deck to the spectator. Once she agrees that you cannot know where or what her card is, say, “That’s why I made a prediction earlier and put it in my pocket. I used playing cards that will give me some important information.” The Ace, Two, Four and Eight in your pocket have a binary relationship. Basically, the cards can be added together in various ways to come up with any number from one to fifteen: 1 = Ace 2 = Two 3 = Ace, Two 4 = Four 5 = Four, Ace 6 = Four, Two 7 = Four, Two, Ace 8 = Eight 9 = Eight, Ace 10 = Eight, Two 11 = Eight, Two, Ace 12 = Eight, Four 13 = Eight, Four, Ace 14 = Eight, Four, Two 15 = Eight, Four, Two, Ace For example, let us say you have determined the spectator’s card is eleven cards from the top of the deck. You will reach into your pocket and remove the Eight, Two, and Ace. The Four is left behind. The three prediction cards are placed face up one at a time on the table. As each card is revealed, the spectator adds them together and deals down to the eleventh card to find her selection.

SURPRISE PARTY This birthday entertainment was inspired by The Yankee Doodle Card from Tarbell Volume 4. Borrow a deck; while looking for and removing the Jokers, cull the four Queens to the top. Turn the deck on its side in preparation for an overhand shuffle. Run twenty cards from the face of the deck and in-jog the twentieth card. Throw the balance of the deck onto the face of these twenty cards and turn the deck face down without squaring it.

Spread the pack between your hands and have your birthday guest remove a card from the lower half of the deck. As you square the deck, your right thumb lifts up on the jogged card; the deck is cut at this point. Have your guest put his card on top of the lower half. Place the upper half on top and square the deck. His selection is now the twenty-first card in the deck and is followed by the four Queens. Say, “If you folks will sing along with me while I deal out the confetti, we’ll give Joe Schmoe the best…uh, only birthday trick he’s ever had.” Lead off and sing as if no one is listening. If you have an ounce of personality, everyone will join in. As you sing, toss off one card for each beat of the age-old song into a face down pile: 1 - 2 - 3 - 4 - 5 HAPPY BIRTH-DAY - TO - YOU 1 - 2 - 3 - 4 - 5 HAPPY BIRTH-DAY - TO - YOU 1 - 2 - 3 - 4 - 5 - 6 HAPPY BIRTH-DAY, DEAR JOE SCHMOE 1 - 2 - 3 - 4 - 5 HAPPY BIRTH-DAY TO YOU!

As you sing the last note, deal that card face up on top of the pile. Pause for a moment as people enjoy this unexpected revelation of the spectator’s card. Then, by yourself, sing the tag-line: 1 - 2 - 3 - 4 A N D M A-N Y MO O O OR E! On these four beats, deal the four Queens face up in a matrix square around the scattered pile of cards. This makes a nice display as you quip, “Joe, the dancing girls are on me.” Take a bow. At the Disney resort, I will often perform Surprise Party for a birthday guest using jumbo cards. Preset the deck by pencil-dotting the twentieth card from the top of the pack and arrange the four Queens below the marked card. During the performance, as the spectator returns his card to the deck, simply split the pack directly below the pencil-dotted card and continue from there. It’s a piece of cake (pun intended).  Ahead of the Game and Surprise Party were previously published in Cards & Curiosities (copyright 1998). Mick is a conjurer, tunesmith, and tale-swapper. Reach him at: [email protected].

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EBOOK NOOK Excerpt From: The Life and Times of a Legend Written By: Max Abrams Description: Ebook, 636 pages Available From: www.llepub.com Theodore Annemann is a giant in the field of mentalism and mental magic. The first issue of his magazine, The Jinx, was published eighty years ago, and the journal ceased publication in 1941, but it is still considered a standard, classic reference source. Annemann originated many of the effects and methods that are used by contemporary mentalists. The Life and Times of a Legend: Annemann is a massive collection of Annemann’s material, compiled and annotated by Max Abrams. In the Introduction, Abrams writes, “This work attempts (admittedly incompletely) to chronicle the life and creations of a magical genius who, in his own words, was ‘crazy about magic.’ Many persons can claim the same affliction, but few can establish it by looking back at just about twenty-five years of concentrated activity dedicated solely to that subject...Here, the reader will find every trick created by Ted Annemann that has been published (as well as some unpublished ideas). Integrated with the tricks are details of Annemann’s life, information about the tricks, occasional corrections of working details (and hundreds of typographical errors), related tricks, and, to me one of the most interesting areas, Annemann’s relationships with other magicians, for these relationships often shaped Annemann’s creativity. Here also will be found at least one version of each advertisement for Annemann’s tricks, literary masterpieces that often equaled the ingenuity usually found in Annemann’s tricks. Some of the tricks are so scarce, in my estimation (during the period 19261933), that the average reader is unlikely to ever find any text of the trick other than in this book.” The Life and Times of a Legend: Annemann is a daunting book; it is long, dense with text that is only rarely interrupted by illustrations, and, sadly, its hodge-podge of typefaces and liberal use of sentences in all caps makes it read like a 600-page ransom note. But it is still required reading for anyone with a serious 52 M-U-M Magazine - SEPTEMBER 2014

interest in mentalism. I asked M-U-M columnist Christopher Carter to select the effects to include in this month’s Ebook Nook column. He wrote back: “Here’s a short list of the three most seminal Annemann effects, in my opinion: Pseudo Psychometry, Fourth Dimensional Telepathy, and The Telephone Drama. “Pseudo Psychometry is significant because it has formed the backbone of so many acts. It’s easily one of the most powerful effects in mentalism, but also one of the most misunderstood. Most people treat it as if the point is to return the objects to their owners. The actual point is to deliver a psychometric reading of each object that is augmented by the fact that you secretly know who each object belongs to. Delivering the objects back to their owners is meant to bolster the credibility of the reading. “Fourth Dimensional Telepathy is the quintessential sealed-envelope routine. It is as technically perfect as a routine of this nature is capable of being, because the routine theatrically justifies each technical moment. Testimony to its power is the fact that it has formed the centerpiece of the acts of a great many legendary mentalists, most notably Fogel and Cassidy. The Telephone Drama is the second effect in Annemann’s Complete One-man Mental and Psychic Routine. It’s still one of the greatest mentalism routines out there, and it introduced modern billet techniques to a generation of mentalists; these techniques are still viable today.” To make the explanations of these routines clear, Annemann’s technique for the billet switch is also included. My thanks to L&L Publishing for allowing these excerpts to appear in M-U-M. – Michael Close

PSEUDO PSYCHOMETRY This trick, to my mind, is one of the greatest one-man psychic effects ever conceived. It has all of the elements necessary to make it your most talked about effect, and any performer with but a bit of showmanship can’t help but make a hit with it. If you are endowed with a goodly share of showmanship, this effect will create a sensation and can be built up to be the feature attraction of your show. Last, but not least, the effect needs very little preparation and it can succeed under most exacting conditions. In short, we have before us an idea with unlimited scope. Another of those rare secrets wherein the

method is nothing and the effect, from the audience viewpoint, is everything. Your audience will never tumble to the simple detail that makes it possible. The enormity of what the performer attempts completely overshadows the means by which it is accomplished. Effect: A packet of letter envelopes is all that is needed. About a dozen of these are passed out to different spectators and the performer returns to the front. Requesting those with envelopes to pay strict attention, he instructs them to put into their envelopes some single article and personal belonging that is on their person. It can be a fountain pen, a tie clasp, a ribbon, a coin, a hairpin, a button, a knife, a pencil, a handkerchief, a card, a ring, or in fact anything of a similar nature that can be sealed inside the envelope. During this time the performer may be turned around so that he cannot possibly see what is being placed in any of the envelopes. This looks important but actually means nothing insofar as the working of the trick is concerned. Once the envelopes are ready, the performer has them collected by a member of the audience and brought forward to him. This spectator mixes them and hands them on to the performer. He deliberately tears off the end of one envelope and dumps the contents into his hand. Turning whatever it might be over and over in his hands, he describes a person, giving the sex, type, approximate age (if a man), and a few details of the person’s attire. He then holds the article so all can see it and asks the owner to acknowledge it. This person stands, and he or she turns out to be the one just described by the performer! Another envelope is opened and the article once more seemingly gives a clue regarding the characteristics of the owner. This time, however, the performer walks down into the audience and suddenly returns the article directly to its owner! As each envelope is handed to him, the performer successfully describes and finds the owner, or describes and merely locates the owner of the property. The patter is about psychometry. Mediums of this type are supposed to have the ability to “see” and locate people by touching some personal belonging. In this case, instead of revealing information about a “dear one,” the performer is able, through the same power, to describe and locate the owners of the property he handles. As I have said before, the audience never realizes that the important detail is right under their noses. They all try to

fathom how the performer is able to trace the owner of the trinket each time, it being obvious that he didn’t see what any person furnished, or knows in what order the mixed envelopes might be collected and given to him. And thus we have a test that can be made big or small, fast or slow, as desired. Preparation and Routine: The secret lies entirely in the envelope, and it is only necessary to know to whom each envelope belongs. My method of marking is to open the envelope with the flap towards you, and write a figure lightly on the inside of side which is nearest to you, about an inch from the left end. Have these envelopes in order from one to ten. It is far from difficult to remember who gets these envelopes, as they are passed out in numerical order from left to right. By skipping a person between each, or through some other system of layout, the envelopes are spread over the crowd in an order that you can trace. Those who have learned memory principles will be able to pass the envelopes at random and tie up each spectator mentally with the envelope given to him. In tearing open an envelope, have the flap side towards you. Tear off a half-inch from the right end. Your left thumb and fingers are at the bottom and the top edges with the flap still turned towards you, and the contents are tipped into your right hand. The number is near the edge on the inside looking up at you! Dog-ear one envelope instead of marking the inside of it. When you get to it, you know the owner without having to open it. On this one you apparently get a stronger impression, so you describe him, locate him and return the envelope still sealed. It makes a nice variation, and is just different enough from the rest to be remembered by your audience. An excellent stage version for two people is possible with this test. After passing out the envelopes, the performer introduces a medium and blindfolds her. He then leaves the stage and takes up a position behind the drop from where he can see the audience and communicate with the medium, by any one of several well-known methods. She directs the sealing and the collecting of the envelopes. She sees the key number each time by looking down under her blindfold, cues the performer with a simple finger code, and he gives her a description of the owner’s appearance, details about his clothing, etc.

This version is a stunner for publicity with Lost and Found Departments!

FOURTH DIMENSIONAL TELEPATHY In offering this to mystery workers at large, I only ask that it be given a fair trial after the routines have been thoroughly learned. This type of work has proven itself the most lucrative in the mystery field and everything depends upon the showmanship and presentation used by the performer. Through three years of practically constant use, I have developed this effect from a mere idea into a feature number. It is now as perfect as I can make it, and every move, every phase, and every excuse is logical and accounted for. I have removed possible sleights, out of sight moves, and suspicious actions. Throughout this writing, I have given different methods that are possible of being put to use. Conditions (especially with this type of work) are always very strict and are always different and varied. Sometimes one way will be perfect, while the very next performance it will need a few changes. Then again, some operators like one method better than another and adhere to only that one. I give them for completeness and because I am always ready to use the one that suits me best for the occasion. I shall not go into a detailed effect and waste time and space. It has already been well covered in my Sphinx and Linking Ring ads and the effect will be easily realized through the reading of the methods. The first method is one that is entirely impromptu, using three unprepared drug envelopes and three cards. The choice of writing material may vary. I have used letter envelopes and slips of paper that have been folded alike. This is all borrowed material. All of this is handed out to three people. The first is asked to draw a picture of any type she wishes and then to seal the card securely in the envelope. If she has a slip of paper, she is told to refold it as it was before and seal securely. The second is asked to write a word of any nature. For the best effect, the performer limits him to ten letters and asks that he print the word instead of writing it. Taking the third piece of paper or card, the performer asks the spectator to whisper into his ear any three figures; upon hearing them, the performer writes

them on the card before the eyes of that spectator. Passing to another one at a little distance, she is asked to do the same. This time, however, the performer starts writing as he moves away; instead of writing the numbers given, he writes figures under the first row of three that will total nine with the one above it. The performer returns to party who has envelope and who gave the first row and asks him for another set. The performer actually writes these down under the first two rows of figures and hands the spectator the card before walking away. He tells him to add up the three rows and to remember the total after sealing up the paper or card. The performer only remembers the last row of three figures that he wrote down. The misdirection of this is perfect; because the first and third rows have been seen written exactly as given to the performer, there is no suspicion about the middle row. The starting and finishing of the numbers with the initial spectator brings all attention to bear at this point, when there is nothing wrong. As matters now stand, three envelopes are sealed and the performer is acquainted with the total of the addition on the one paper. How? Because of a simple bit of rapid mathematics. He has remembered the last row of three figures written; when ready to reveal the numbers of the answer (always four figures), he merely subtracts 1 from the last of the three figures and places it in front. For example, 347 would result in 1346, and likewise 640 would result in 1639. There are two distinctly different methods of procedure from here on. In one, the performer writes the names of the spectators on the envelopes, and in the other the names are written by the spectators themselves. To start with, I shall describe the first method. In this case, the performer knows the name of a certain person in the audience whom he will use in the test. This is the person to whom the request for a picture is given. We shall term the number as first, the word as second, and the picture as third and last. The performer knows the contents of the first and the name of the party holding the third. Stepping to the first party, the performer asks his name as he takes the sealed envelope. He states it, and with pencil in hand, performer apparently writes it on face of envelope as he moves toward next party. He really writes though, the name of the person (third) that he knows. SEPTEMBER 2014 - M-U-M Magazine 53

EBOOK NOOK Taking the second envelope on top of the first, he asks this person her name and apparently writes it as he goes to the third party. He actually writes the name of the first person, which has just been told him. On the third envelope, as before, he writes the names of the second person; with the three envelopes in hand, he steps back to stage or front. There are two methods of procedure from here on. The three envelopes can be tossed upon an empty table in full view to be picked up as desired; or they can be handed a volunteer to hold, he standing six or eight feet to your side. Starting with the first person, the performer asks his name again. Now the performer either asks the volunteer to hold that particular envelope in full view with name outward or he does so himself. The party in particular has seen you sign his envelope with his name when he gave it to you (?) and now sees the volunteer holding it up in full view. However, it is really the envelope and contents belonging to second spectator! With a slate and chalk, or with a pencil and a fairly large pad, the performer builds up the effect as desired and depending upon his showmanship. He writes the total of four figures on the pad or slate, but does not show them yet. Taking the envelope in hand, the performer tears it open and apparently reads aloud the total of four figures from off the card or paper, but he is really reading to himself the word that the second party wrote! When this has been read, the performer immediately calls attention to slate or pad on which he wrote something before anyone knew what first party had put down. Turning slate or pad around, the performer shows that he had divined the correct number with the figures in the exact order. Every move as given above has its own reason. The reading of the envelope’s contents and the subsequent showing of what performer had written bring things to a climax correctly and dramatically. Verification of the envelope after the showing of what performer had divined would make an anti-climax and not have any reason. Thus the performer has divulged the first party’s number and now knows the second person’s secret. When the first envelope was torn open and the card apparently read from and attention called immediately to the pad or slate, the card was replaced on top of the envelope and both were dropped into performer’s side coat pocket on the left with the card nearest the 54 M-U-M Magazine - SEPTEMBER 2014

body. The following two times that this is done the card and envelope each time is placed in the pocket between those already there and the body. After last is in place, by moving only the card that is next to the body to the other end of the stack, the stack may be removed from pocket and the envelopes and cards are now paired up correctly so they can be carelessly tossed out together. It is incidentally obvious to the seasoned performer what the remainder of the routine is. While the second envelope is being held in view, the information is written down and when performer apparently reads the contents of this envelope, he sees the picture drawn by the third party; when he has finished the third or the picture, he verifies and is now looking at the addition card of the first man. He, however, describes what the picture is and has the third man verify this description and then the performer’s drawing is revealed. I have another method for this finish which is optional, but more effective. In this method I do not return any of the envelopes or cards, which is really not at all necessary because of the various elements of misdirection that do away with all thoughts of trickery connected with the material used. In this case two slates are used, or perhaps two pads. When the last envelope is held up, the performer apparently changes his mind as to the procedure and states that because a small picture would take too long to hand around so all could see it, he will ask the person to redraw it on a pad or slate. So saying, the performer carelessly takes the envelope from volunteer, tears it to bits, and drops it in the pocket as he hands out the slates. After the spectator has taken one pad and starts drawing, the performer takes the other and draws also. When they have finished, both drawings are found to be alike as near as possible! Another point that should be obvious is the fact that any number of envelopes and cards can be used, because the system of signing prevails throughout. However, repetition is useless and boring, and three tests are sufficient to make a really sensational test. If desired, the subject matter may be varied as long as all three are different. The performer may have one write the name of a deceased friend or relative instead of a word; they may write a short test that the performer is to go through with, etc. I trust that my reader will put this effect into operation and actually become

acquainted with it “under fire” as I have, before casting any opinion upon its value and worth.

BILLET SWITCHING I could say and write it a hundred times, but it wouldn’t mean any more than when it was said or written as at first, so take this information to heart. If one is going to do any of this billet work that depends upon manual switches, he has to forget a lot of his magic technique. Magicians as a rule live by showing their hands empty and then finding something, but in this case there should never be in any way a word said about the hands nor a move made to show that there is nothing in them. I mean it, too, and am not talking from theory. If you have a paper finger palmed, drop your hand to your side, gesture with it while talking, or just put your hand in your pocket. When your hand does happen to be empty, don’t (for both your sake and my sake) show it to be empty with an obvious gesture. If you do, you are killing the whole thing and might as well quit right then and there. When you do this type of work, people forget all about magic. They don’t expect you to do anything because you are practically telling them what is to be done before you do it, and that alone goes against the rules of magic. They can also see what is being done, and, because most of it is done by a spectator, they trust him and watch him, because he is the active part of the procedure. You, being a mind reader or something or other, come in after the preliminary work and stage the climax. By that time you have secured your information in an unassuming manner and practically under their noses. There are two essential switches of folded papers. The first, or simple, method is not new and is a simple exchange of folded papers. The second, or folding switch as I call it, is my own and consists of reading a paper and in the action of folding it to return an exchange is made for the already finger-palmed dummy, while the one just read is retained. The size of the paper should be 2½ by 3½ inches. Hands differ, however, and an individual should try out sizes in proportion with these dimensions until the right size for his own hand is found. A printer will cut up a bunch of these and pad them – about fifty sheets to a pad – for a small sum. The folding of the slips is important. Fold them once the long way and then once

the other way and then once more the same way, which results in a folded paper a little narrower than the width of your second finger and just long enough to be held easily yet firmly between the first and last joint of the finger. Thus, with this finger slightly curled, the paper can be safely held and is invisible from the front as long as the hand is not turned directly around. It is also invisible from the sides and back as long as the hand isn’t held too far (more than eight or ten inches) from body. With a slip in left hand between the middle finger and thumb, practice pulling it back with the thumb into the finger palm; keep this up until you can push it out and get it back easily and quickly. Now take a second slip; with the first slip in palm position hold or take the second slip between the middle finger and thumb (Figure 1). With the thumb slide it back until it overlaps the one palmed; with both the thumb and the middle finger helping, pull this one back (Figure 2) and push the one underneath outward. This will be found to work smoothly and easily and it leaves the originally palmed paper out in view while the paper just seen is

in position to be palmed. The right hand at this point can take the in-view slip (Figure 3); the left thumb holds the palmed paper in place while finger curls a little, securing it. I repeat that this must be practiced until it can be done while never looking at the hand in any way. During such a switch the hand is not held still – you are not doing a trick to switch papers. Keep the hand in motion, using it to gesture, and an exchange can never be seen.

The second switch is a little harder but quite useful and perfect. Finger palm a folded billet in the left hand as previously explained. Now take another folded billet and open it at the fingertips of both hands, just as would be done normally. Read it and refold. On the last fold, let it come right on top of the palmed slip and allow the right thumb and forefinger to grasp both. Take the two slips together as one and hold them in full view for a second. Even now don’t obviously show your left hand empty. However, you can act freer than before until you reach the party who is to receive the formerly palmed slip instead of the one just read. At this point the two slips are again taken by the left thumb and middle finger. The slip nearest you (on which thumb now rests) is drawn back into finger palm as the left hand (with its back upwards hands the visible (and switched) slip to the owner. Now you have two methods of switching folded papers; they are all the mechanics ever necessary to learn. The rest is routine work and showmanship as well as presentation, which all comes under the same heading. You will never get enough practice on this work. You have to do it all without looking at your hands. Never hold your hands up in the air as though you were catching something, but hold them naturally in front of you at waist level. When you read a slip and start to fold it, don’t look down again but look at the writer while you apparently and naturally refold the slip, switch it, and return it. As I said before, I could pound out a dozen more pages emphasizing these points and moves, but you have it all here and it is the best I can do. If this were all theoretical I wouldn’t be so emphatic, but I’ve used them all and have done them for six years; I know what I’m talking about for once, at least.

THE TELEPHONE DRAMA

(From Annemann’s Complete One-man Mental and Psychic Routine) This telephone test is about the cleanest and most interest-compelling method that

I have ever been able to concoct. It is followed by a dead name test that, although a separate number, is of great value in this feat as will be seen. A spectator, preferably a gentleman, is asked to assist; he stands to the right of the performer. He is asked to think of someone he often calls on his telephone, someone whose number he knows without having to look at a book or list. Handing him a slip of paper, the performer asks him to write the name of the person to be called; this name does not necessarily have to be the full name, but a nickname or first name. In short, he is to write whatever he generally calls the person in question. The spectator is to fold the paper and the moment he has done so, the performer takes it with his left hand while with the right hand he gives spectator another slip and asks him to write on this the telephone number of the person in mind. The moment this is done (and as he takes the slip from the spectator), the performer asks into which pocket the spectator would like to keep the name. Upon being told, the performer hands him the name slip to be pocketed. Now the spectator is asked where he would like to keep the number slip, and this is also given him to pocket. At this time the audience has seen their member write on two slips a name and a number, followed by his pocketing both. The performer now asks the spectator to point out some lady or friend in the audience for an additional test. Turning to the person, the performer asks her to think of someone who was very dear to her but who is not living. She is to write down this person’s full name and hold the paper for a while. Turning back to man with the telephone data on his person, the performer states that he will enact a little drama in the form of one act and one scene. He asks the person to imagine himself in front of his own telephone, ready to call the individual of whom he is thinking. The performer says, “You are lifting the receiver and central asks you for the number, yes?” If working in dial phone territory, go through same procedure, but tell him what he dials, number by number, etc. Always work in quick, short statements and get an acknowledgment on each one; this is much more effective and convincing to the audience. Then, very deliberately, the performer gives the telephone number, and receiving an acknowledgment asks the spectator for SEPTEMBER 2014 - M-U-M Magazine 55

EBOOK NOOK the number slip. The performer verifies it and either hands it directly back to the spectator or to a near member of the audience. Now the performer asks the spectator to concentrate upon the person being called, to visualize him or her answering the phone on the other end of the wire. The performer says, “You hear the ringing at the other end, don’t you?” The answer is, of course, “Yes.” “Now someone picks up the receiver and says, ‘Hello.’ It’s a man’s (or woman’s) voice, isn’t it? And you, recognizing the voice as your friend, say, ‘Hello, Arthur!’ Don’t you?” This is the climax; the paper containing the name the spectator holds is verified and kept by himself or the audience. The person is excused and the program goes right into The Dead Name Test. Approaching the lady who is still holding the dead name slip as we shall call it, the performer asks for it and writes on the outside the initials of the lady who wrote the name of her dead friend or relative. He hands it directly to a nearby spectator to hold in full view. Stepping back to the front, the performer takes a pad of paper from his pocket, tears off a page, and asks her to think intently of the person as she knew them when alive. The performer writes something on this paper and, crumpling it up, hands it to another person with the remark, “Hold this for a minute, please; it is what I have written.” Returning to the individual holding the dead slip high, the performer takes it; opening it up, he reads aloud the name of the person being thought of. He turns to the writer, “How long ago did this man pass away? Could I ever have known him or could he have known me?” Upon receiving answers, the performer turns and asks the spectator holding his own paper to stand and read aloud what he has written. The name is the same! And the paper can be left in the audience to be passed around. That is the complete presentation and working of the two effects; they blend together and never fail to create a tremendous interest and amount of comment. The working of them runs around eight to ten minutes. With the effect in front of you as described and a working knowledge of the billet-switching methods in use, you will have no trouble in understanding the following explanation. 56 M-U-M Magazine - SEPTEMBER 2014

In the performer’s left coat pocket is a pad of paper and with it are four or five loose sheets. They have been folded tightly to crease them and then unfolded and are now lying against the pad. In the left trouser pocket are two blank and folded slips. When the first spectator stands on performer’s right, he is handed a slip on which to write the name. As he does this, the performer holds the second slip in right hand, while the left hand drops to the pocket and secures one of the folded slips in left finger palm. When spectator has finished, the performer takes the name paper back with the left fingers and thumb (with the back of hand upwards, of course), while the right hand gives the paper on which to write the number. During this time the name slip is merely slid back and the dummy pushed out for a switch. As the spectator finishes and folds the number paper, the performer takes the dummy slip in the right hand and takes the number slip from spectator, again in the left fingers. Holding right hand up, the performer asks the spectator where he would like to keep the name slip; it is pocketed. (Remember, this is really the blank.) In the meantime, the left hand has changed the slip just taken (containing the number) for the one containing the name; the left hand then gives this slip to the spectator to pocket, which he does, thinking it is the number slip. Now the performer asks him to point out someone for the dead name test; as he asks this, the left hand drops to trouser pocket and brings out the second folded, blank slip at the fingertips. As he starts towards spectator, he switches the blank slip for the one with the phone number. The performer has finger palmed a blank slip, while in view is a slip that actually contains the phone number. The performer asks the person selected to think of someone dead, and during this talk he opens the paper in view. While telling the spectator that she is to write the dead name down in full, he reads the telephone number. Then he tells her that when she is finished she is to fold the paper and hold it. Suiting action to words, he folds the slip and hands it to her for writing, but he uses the folding switch, and she gets the blank paper while he retains the now known telephone number. The performer returns to the front. After the patter theme as described,

the performer reveals the number; the spectator hands him what he believes to be the number slip, but which is really the name paper. Opening it to verify the number, the performer reads the name, and in folding it up uses the fold switch, handing back the actual number paper, which was finger palmed. Now the performer knows the name and has the name slip in finger palm. At this time it is good policy to ask for the name slip (which is really a blank slip) in the spectator’s pocket. The performer takes it in left fingers and holds it in view while revealing the name. During this revelation the slip is merely given the straight switch; when the climax comes, the name slip can be handed directly to the spectator without opening it as he verifies the correctness of the test orally. Thus the telephone test has reached a conclusion and the performer is left with a finger-palmed blank slip; he proceeds with the dead name test. Taking the dead slip from the lady and while asking her initials, the slip is exchanged; the initialed blank slip is left with another spectator. Reaching into his coat pocket on way back to front, the dead slip is opened against the pad and the pad brought out, as the performer states that he will try to receive an automatic impression of the person who is not now living. He instantly reads the dead name, takes the next paper, and pockets the pad and the dead name slip. The rest is clear I think. The performer writes the name on his slip and another person holds it. Taking the blank from the spectator, the performer opens it and apparently reads aloud the dead name from it. Crumpling it up, he asks that his own slip be read aloud and, of course, it checks. The performer, having returned to the front of the stage, does not have to go into the crowd again, and the slip left with them can be passed around. The original slip is never missed, and of the two the performer’s paper is of the most interest. I have made these maneuvers as clear as I possibly can. With papers in hand and the two switches mastered for ease and nonchalance, one should have no trouble in getting the routine straightened out. It is clean and to the point; from the audience’s point of view, there is nothing done that would seem indirect or out of the way. 

SEPTEMBER 2014 - M-U-M Magazine 57

INFORMED OPINION LATEST PRODUCT REVIEWS Compiled and Edited by W. S. Duncan

True Mysteries II Book By Fraser Parker and Gavin O’Rourke-Soccorso Distributed by Murphy’s Magic Supplies Price $56.85 REVIEW BY JIM KLEEFELD There is a new breed of mentalists working around the globe, including such people as Peter Turner, Fraser Parker, Dee Christopher, Pablo Amira, and others. Some are hard workers with fresh ideas who generate some serious interest and are worthy of study. Others are posers who are not novel thinkers and simply do not seem to understand the true nature of being a performer, and yet they deem it wise to ask others to pay them for their insights. I am very glad I did not pay for True Mysteries II. After I first read through the whopping forty-eight pages (replete with wide margins and lots of white space), I thought I must have been subjected to a parody of a hypnosis manual. I reread it and decided that the authors were serious. Fraser and his gang (for there are apparently several outside contributors) purport to convince readers that you can pretty much say anything to an audience, wait for whatever reaction occurs, and then later tell them a miracle happened. True Mysteries II follows on Parker’s earlier book-and-DVD set True Mysteries; he says in the introduction to this volume that one should have read and become familiar with the first volume in order to understand this second part. I have not. However, he does summarize the concepts in True Mysteries and they seem clear and straightforward. I understood what he was saying; I just did not buy into it. Let me try to explain what you are in for if you buy this. The concept behind both books is that a performer can present or arrange thoughts or actions within spectators that will be perceived as hypnosis, although the performer does not use hypnosis. Several specific effects are described in the book, such as causing a spectator to walk towards you and then stop, causing a group of people to act as if they are stuck to the floor, or having a spectator perceive that one object transforms into a different object. As in most hypnosis acts and many mind-reading routines, there are no actual objects or props, only the spectators’ imaginations. If you read, study, and try to apply these effects or principles, you will be trying to create illusions of thought or perception in the minds of either a single spectator or a group of watchers.   So if you do decide to employ these tricks, the first thing you have to ask yourself is, “What kind of act would I be doing and who would I be working for?” You cannot really bill yourself as a hypnotist, and certainly not as a magician. Perhaps you can go after private house parties as a mentalist. In fact, I’m not sure that the authors have even decided what they want to present or to 58 M-U-M Magazine - SEPTEMBER 2014

whom. Often they discuss using verbal tricks to cause people to perceive something as real, but at one point in the book they talk about really fooling the audience. Are these effects meant to be seen as “real” mind control or just parlor tricks? During one bit of banter between Fraser and Gavin, they discuss using one of their stunts at a hotel event. Only fourteen of the twenty-one people in attendance followed along with their routine, and even the authors admit that of those fourteen, “their facial expressions revealed they were confused.”  Confusion is not magic. Or mind reading. I think most of the savvy readers of this magazine would be hard pressed to find any venue where these ideas could be employed or considered entertainment. I have to admit that I did not try out any of the methods on a real audience. As near as I could tell from reading through the book, though, in many instances, if you used these experiments (with titles like “Spatial Hallucination” or “Post Hypnotic Illusion”) you would be hard pressed to tell whether the audience liked them or not. I suggest that often you would not even be able to tell if the spectators understood that something had happened. Here is an example from the book; see what you think. A group of people is standing around at a party. You approach one spectator and quietly give him some instructions. You walk away from him and then turn to face him. He walks towards you and then stops when you raise your hand in the standard traffic officer “stop” position. The rest of the audience looks on. The end. What just happened? Did you put a man into a hypnotic trance? Did you cause him to obey your mental command? Did you predict that he would move strangely? Did you place him under an induced spell? If you were in that audience, what would you think had just occurred? My first reaction upon reading the scenario is that from an audience member’s standpoint, absolutely nothing had happened. For me, the book was mostly full of psycho-babble. I understand linguistic deception, and have admired much of Kenton Knepper’s and Peter Turner’s work. But I cannot see any possible use for the “effects” that these people describe, even if they do work. I suggest that you spend your time reading a real book about the human mind, not one that purports to teach you quick tricks that make use of ways to fool people into following your commands. You can learn a lot more about the how people think from studying Daniel Kahneman’s Thinking, Fast and Slow for example, than using this book to try to fool spectators into believing that you made something happen.

The Definitive Guide to Restaurant Magic Book By Wayne Goodman Available from: www.waynegoodman.co.uk Price $30.00 REVIEW BY DAN GARRETT If you are looking for a book on performing magic in restaurants, one that contains everything that you need to know on the subject, the title of this book would seem to hold great promise. However, in that sense you are sure to be disappointed. This paper-

backed title falls short of being a “definitive guide” on the subject, but that’s not to say this book isn’t good, or isn’t helpful. It is definitely both. Although this book isn’t a large tome, with less than ninety pages, it contains a lot of information. Unfortunately, some of it is irrelevant. This book appears to be self-published by the author. Although it sports an ISBN number and gives credit for proofreading and editing to Dr. Laura Cox, the fact that the book doesn’t come from a known publisher is evident. Self-publishing is becoming more and more available to anyone. And there is a major flaw with the book design: there are no page numbers. Page numbers are in books for a reason. These are necessary to reference certain sections, footnotes, quoted material – not to mention the table of contents. Oh, did I mention there was no table of contents? There is no table of contents. Lots of material is covered; most of it is covered only briefly. There are sections, sometimes paragraphs, involving getting hired by a restaurant, how to entertain in that type of venue, and keeping the restaurant for a long-term commitment. These sections are the most valuable parts, and include advice on promotional materials. There is little doubt that the author has had a lot of personal success in the U.K. as a restaurant worker. But many things about this book puzzle me. For instance, the author lists all the restaurants he has worked for and from which he obtained many long-term contracts. Unless he is retiring from the business, this would invite younger magical entrepreneurs to approach these same businesses as competition. These listings are all in the U.K., however. There is a lot of information on running your magic business. This is fine, but it would better belong in a college course in business management. There are several pages devoted to filling out a PLI form. What is this? It is Public Liability Insurance. I think it is a work requirement in England. There are pages covering risk assessment from things like security, maximum capacity of the building, electrical equipment, falling objects, cuts from sharp objects, poison, choke hazards, allergies, fire, projectiles, and explosives. He goes on to talk about flooding, suffocations, firearms, and criminal records. Seriously? After pages of this, the author then admits, “Not all of this is relevant to the close-up/restaurant magician…” At this point, you are probably asking the same question I did. Why then include it in this book? I suppose it is important to evaluate all of your magic and whether it fits the venue, but common sense will tell you not to do a head chopper, or levitate your assistant, or perform the bullet catch in a restaurant. This book may fit up-and-coming restaurant magicians in the U.K.; but if you live somewhere else, I recommend you find other sources for your “definitive guide” to restaurant magic.

Inscrutable II DVD By Joseph Barry

Available from: alakazam.co.uk Distributed by Murphy’s Magic Supplies Price $38.25 REVIEW BY ANTONIO M. CABRAL Joseph Barry is back with a sequel to his previous DVD

offering, fittingly titled Inscrutable II. As with the previous DVD, Inscrutable, Inscrutable II offers a selection of card magic relying on psychology and subtlety over heavy sleight-ofhand. It’s essentially more of the same, and that’s a good thing. As I mentioned in my previous review of Inscrutable, the hot new thing in card magic is the good old self-working trick. While card tricks that take minimal, or no, effort have always been popular (for better or worse), there’s a renewed interest in properly presenting these routines such that you almost command your audience to believe that what they’ve seen is a miracle. That’s a good thing. These kind of presentation skills – the ability to focus on all of the parts where the audience is in complete control and ignoring the tiny thing you do that makes the trick actually work – are wholly transferable to any type of card trick. The smart card worker (and many an Internet wag) knows that there’s really no such thing as a “self-working” card trick. It’s just a question of where you put in the effort. As before, you can see the influence of Dani DaOrtiz in much of Barry’s presentation style. Asides like “She does what she wants!” or “Whatever you want; I’m not the boss of you, mate!” abound in these performances, almost to the point of being too aggressive to actually be nonchalant. But by and large the results are very successful. There were a number of times when I was impressed by an effect in performance, and then watched the explanation and thought, “How the hell did I miss that? That shouldn’t fool anyone!” That just goes to show that the proof of the pudding is in the eating, and the proof of a card trick is in the performance. This outing has been whittled down to one disc of about a dozen tricks, but it’s the same mix of hands-off discoveries, mental miracles, and card table-related tricks. The card table material is particularly solid this time. A good example is 10 Cards for Levante, Barry’s take on a very old draw poker demonstration. The notable work here is Barry’s techniques for steering the spectator to draw a specific number of cards to fill his hand, so that the performer can draw to fill a royal flush. It reminded me of the old theater improv guideline of always saying, “Yes, and …” He wants four? Perfect! He gets four. He wants one or two? Perfect! Whatever you want! And yet “the number of the counting shall be three.” Thanks To Vernon is a clever and deceptive method for apparently losing the four Aces in the deck in a loose and sloppy manner, and yet being able to produce them in an instant. Likewise, Freedom Stacking is an updated version of the venerable (and deceptive) pick-up build, performed a la Lennart Green. Pseudo-Hold ‘Em is an easy-peasy quickie Texas Hold ‘em stack that will address the grievances of those who scoff at your old-fashioned draw poker demos. Think is a mental card effect in a gambling chicken suit: someone thinks of a card, the performer deals a few hands of poker, and he not only deals himself the thought-of card, he also builds a strong poker hand around it. The only one I didn’t care for was End Play, which is supposed to be a sort of blackjack deal, but strays so far from regular procedure even a casual blackjack player would say, “Hey, wait a minute…” Poker deals are easy to fudge because there are so many variations on the game; blackjack deals should match what you see in the casino. The other, more “magical” offerings are also good. Many of them rely on the card forcing techniques Barry introduced on the first Inscrutable – timing and rhythm forces that take a little exSEPTEMBER 2014 - M-U-M Magazine 59

perience to get used to. But there’s no denying their effectiveness, particularly in a four-way coincidence effect like Eighth Son. Another one I enjoyed is Simple Card at Number. This trick lies somewhere between a proper Any Card at Any Number and a routine like Blackstone’s Favorite; the method is almost ludicrously simple, but the result is weirdly effective. The one I’ll likely be putting in my repertoire is Psychic Spectator, although not in the form presented. As performed here, the performer jokingly gets a spectator to name a card and a number, goes off and does another pick-a-card trick for someone else, returns to the first person, and then reveals the named card at the named number. Admittedly this was one of the aforementioned “this shouldn’t fool anyone” tricks, but I see it being more effective with a proper unknown selection instead of the named one. It feels like Barry likes to include at least one or two serious sleights on his DVDs, as if to say “Don’t be fooled by the selfworking stuff; I got chops!” (Although at least one of the “selfworking” tricks requires a working bottom deal, which Barry does very well.) Here, he offers up his Flip Double Lift, a very loose, casual, and almost insanely delicate double lift done between the tips of the first and second fingers. It’ll give you something to fiddle with when there’s no one around to practice your timing forces on. Good luck. All said, this is another fine collection of “effortless” card tricks and lessons in presenting them. Besides being a worthy volume of its own, it has inspired me to go back and revisit the first volume of Inscrutable. Recommended.

MS Magic Night 2014 DVD Available from: www.magicalsleight.com Distributed by Murphy’s Magic Supplies Price $29.95 REVIEW BY DANNY ARCHER Thanks to Google, I was able to determine that the name of the DVD, MS Magic Night 2014, refers to a one-day magic conference that took place in Paris on January 18, 2014. This DVD features ten of the performers at that event. All the performances are shot in studio with just the performer on camera. There is no one to pick, or think, of a card. The camerawork, sound, and editing are first rate. Many of the performers perform silently to music for both their performance and their explanation (aided by freeze frame and on-screen text that is well executed). Those who don’t work silently perform and explain in English. First up is John Guastaferro, who shows an update of the effect Club Sandwich from his Brainstorm DVD. Two cards are selected and each is found in turn by the two Jokers. It’s a nice, clean handling. He also shows how to use the cards to do a sequence from Dr. Daley’s Last Trick with the two selections. Yoann performs silently to music, and he shows several transpositions of two cards. His card handling is light and he has a deft touch, but this routine will be out of reach for most beginning and intermediate magicians. Coins are up next as Arthur Chavaudret performs a very quick and visual effect. A single coin visibly appears and then a second, third and fourth, performed silently to music. The trick only takes 60 M-U-M Magazine - SEPTEMBER 2014

eleven seconds to perform but it is highly visual (and again out of the league of most intermediate performers). Astone (you do not see his face) presents a very short color change routine with two coins that once again is very visual but the moves required will be challenging to most coin performers (back clips and edge grips are used). The next effect is the classic Open Prediction presented by Father Alex. A spectator shuffles the deck and the magician places a card face up on the table as his prediction (the Four of Diamonds). The spectator deals the cards face up, placing one single card aside face down. The face down card is seen to be the mate (Four of Hearts) of the prediction. One again, well done, and once again the method is not for the faint of heart. Noel Heath performs a sandwich effect that is quick, visual, and performed silently. Would you be surprised if I said that the moves are difficult to do? I’m not, as I have realized that this DVD is not aimed at beginners, but for people looking to learn and do some serious sleight of hand. Pierre Marie performs an Oil and Water routine in English (crediting Guy Hollingworth for the very visual ending). The handling was a little cozy at times but very visual; I thought that Guy’s finish was a great way to end. Eric Richardson performs in English, and shows an ACAAN that uses a memorized deck (but no math) and a Joker. This is an effect I perform all the time, and I don’t think that Eric’s handling is a step forward. The use of the Joker and the handling are a step backward, but might gain favor from mathematically challenged performers (although most people who do memdeck work are not challenged by the simple math used in most of the effects). A color change is taught in English by Bizau, and the move can also be used for a production and a switch. His move allows you to palm the second card from the top of the deck. This is a definitely a knacky kind of move, but if you put the time in you may be able to learn it. Alexandre Wilmes concludes the volume with a sandwich/ transposition type effect. It may be because this was shot studio style, without spectators, but the method seemed evident during the performance. I am sure that if performed live, with misdirection, the effect would play stronger, but I have to comment on what I saw, not what I imagine. He performs in English and the effect is strong but not easy to do. Magic is a performing art and filming without the use of a spectator is not the best way to go most of the time. I think some of these effects would have played better with a live performance, but you can get a good idea by watching the performances and the very clear explanations. There is some heavy-duty sleight of hand on display, so this may not be the best choice for beginners. But serious students of sleight of hand will have a great time with the material taught on this DVD and I can recommend it with that proviso.

Keep Calm & Carey On DVD By John Carey

Available from: rsvpmagic.com Distributed by Murphy’s Magic Supplies Price $30.00 REVIEW BY ANTONIO M. CABRAL I like John Carey. I first became familiar with the man through his sharing his card material on a couple of private Internet forums that we both frequent. To be frank, I thought it was decent stuff, but methodologically a little too on-the-nose – relying too much

on simplicity and subtlety where a move or two would be more deceptive and effective. Then I had the pleasure of sessioning with John during a visit to London. I was immediately impressed with many of the routines I’d previously read and filed away. Part of it was overlooking how effective the tricks could actually be, and part of it was learning how charming a performer John is. All of that, and more, is in evidence on his latest DVD, Keep Calm & Carey On. John, like me, road tests a lot of his material in pubs; by the way he interacts with his lovely and very eager participants in this video, you can tell he’s used to dealing with real live humans. On top of which, John clearly knows his Tamariz and DaOrtiz, so he knows the ins and outs of selling his very simple and yet very effective card tricks. An example that leaps to mind is his take on the classic Out of Sight, Out of Mind, here offered as Out of Sight Change Your Mind. From a method standpoint, you might see that John has reduced the number of possible selections from nine to just three, and think, “Eh.” But the presentational ploy of giving your participant every chance to change her mind brought a big smile to my face. It’s almost a combination of the Vernon trick and Hofzinser’s Remember & Forget. I’ll definitely be taking this one to my bar gig. From what’s on this DVD, John’s been putting in a lot of work on the idea of having a participant “merely think of a card.” He offers up a few strategies in a number of different tricks here. Some you might call “contextual” forces. For example, in It’s The Thought That Counts you have a participant look through the cards to find a card that would bring a hypothetical blackjack hand to a winning total of twenty-one, and you divine that card. In Thought Trapper, the performer calls out a handful of cards and asks someone to think of one. On paper, these processes seem contrived. In practice, they feel a lot closer to the ideal of “just think of any card” than you might expect. If you’re looking for something closer still, John offers a rhythm/timing force in a Do as I Do effect he calls Think A Think. John does this very effectively; I’m going to have to start road testing this to get it down, because I can see it being a very effective tool. On top of these techniques, John’s also very fond of spectator shuffle techniques along the lines of the Jay Ose False Cut or Chad Long’s Shuffling Lesson. He uses them to very nice effect in a number of these tricks, for me most notably in (the head-shakingly named) Take Her Home And Poker! The effect is a one-off style Ten Card Poker Deal; instead of the trick relying on repetition for its strength, you offer your participant every chance to shuffle, mix, and cut, and yet somehow one of you still ends up with a royal flush. This was another one that made me smile; I plan to adopt it into my bar repertoire. And if you’re looking for a low-effort/high-impact closer, try Me and My Shadow. This one really turned my head with its effect-to-effort ratio. If Roberto Giobbi ever does a fourth volume in the Card College Light series, I nominate this one for inclusion. There’s a lot to like here. The best part about John Carey’s work is that while it’s relatively low-impact in terms of skill level, he knows how to construct and sell an effect for maximum audience impact. In that way, he’s a lot like John Bannon, or, as Steve Mayhew pointed out, “a modern-day Al Leech.” Don’t buy this DVD because John Carey’s card material is easy. Buy it because it’s good. Recommended.

Mentally Exposed DVD By Romanos for Magic Tao

Distributed by Murphy’s Magic Supplies Price $25.00 REVIEW BY JOSHUA KANE This five-effect DVD is an excellent value. The gaffs and routines that are taught here are all useful, and are easily made and performed. Premonition is a powerful business card prediction using a deck of cards. The performer writes a prediction on his business card. The prediction is handed face down to a spectator to hold. The performer riffles the pack and stops where the spectator requests; the business card is inserted and buried in the pack. The pack is cut once and spread face up, revealing the business card. It is pulled out; the prediction on it clearly states the names of the two cards the participant placed the business card between. This is clear in plotline, and visual enough to be understood while watching the effect with the sound off. The gaff is easy to make and thoroughly explained. The second routine is a drawing duplication. Under the pretext of gathering information which will tell you something about the person, you ask her to first name a random animal, a color, and a number, which you write down on a business card. You draw a square below the information. You hand her the card and a pen and ask her to draw a picture in the square, which is then handed back to you so it can be buried back into the pack of business cards. You are then able to divine the drawing and duplicate it. The gaff is similar to ones you may already be familiar with, but is still well designed and explained. The construction and use of a very clever switching device is also included. The routine itself does not have a natural flow, but the switching device has some strong possibilities in application to other routines and is worth making up. A magical sequence involving a coin that first bends and then switches places in a spectator’s hand for an unbent one is an odd companion effect on a mentalism DVD, but nevertheless will please some. The highlight for me is the effect using your iPhone that allows you to perform a potentially stunning effect. You first have a card selected, and then a random phone number is generated by a group of people and typed into your phone. The number is dialed and the number they created is clearly seen on the screen as the phone rings. It is answered and you ask the person to name a playing card, they do and it matches the one selected. This subtlety can be used to put the final icing on Mr. Wizard-type card tricks and looks as fair as you can get. The method is credited to a magician from Greece whose name I could not hear clearly. The material on Mentally Exposed ranges from good to very strong. Recommended.

Organik Volume One Video Download By Jeff Prace Available from: www.trcky.com Price $10.00

REVIEW BY DANNY ARCHER The sound and camerawork are good on this forty-minute SEPTEMBER 2014 - M-U-M Magazine 61

download from Trcky that stars Jeff Prace. First up is Earfun, a trick using a pair of ear buds that remain suspended (think of the classic Stiff Rope trick and you will have an idea about how this looks). It’s over quickly but should get a good reaction (especially from the younger crowd). This requires gaffing a cheap pair of ear buds, but it’s not too difficult and only has to be done once. After the performance, the buds cannot be examined. Sharing is Caring is another bit of situational magic, perfect for the next time you are using a breath strip container and someone asks you for one. Instead of taking it out the normal way, you are able to magically pull one through the side of the plastic container; fun, and easy to do. Pb (the chemical symbol for lead) uses two identical mechanical pencils. They are identical except that you fill one with lead. The pencil with the lead rattles while the other pencil does not. The lead from one pencil magically transfers from one pencil to the other. This is an update of the Rattling Wands (a slum magic item). Again, this is another bit of situational magic that is not hard to do, or to make. In Flavorless, you take a piece of chewed gum from your mouth and tap it with the box; it visibly changes into a fresh, new piece of gum. Jay Sankey was the first to explore this plot and Jeff has also developed several other versions of this plot. It’s another quickie that won’t be a part of your formal show, but may be used in a more informal setting. There is some one-time prep required. So there you go – four different kinds of effects: suspension, penetration, transportation, and restoration. Jeff is a young guy with a nice, loose style and I think these effects will appeal to the younger magicians out there who are looking for magic that seems impromptu (although all of these effects except for Sharing is Caring require some kind of advance preparation). It’s always a pleasure to see something besides cards and coins. If this kind of situational magic appeals to you, you can’t go wrong getting four tricks for ten bucks.

Flush Brush Download Video By Doug Conn Available from: www.trcky.com Price $8.00

REVIEW BY DANNY ARCHER Doug Conn talks about the art of magic in the download for his trick, Flush Brush. (This appeared originally in Doug’s book, The Tricks of my Trade.) In this offbeat effect the deck is divided into quarters, and each quarter is shuffled, with face-up cards being mixed into face-down cards. But this is not a Triumph routine. On the final shuffle the two half decks are shuffled into each other with the cards left unsquared. Turning his close-up mat rubber side up, Doug “paints” the four Aces one at a time onto the mat. Then under the Ace of Spades, he paints the King, then the Queen through the Ten, making a royal flush. Then he paints three more royal flushes whose suits matching the other three Aces. This looks great and is very visual. The routine is based on a Chris Kenner idea; Doug has taken the original and made the handling simpler. The card handling required is not too hard, and there is nothing 62 M-U-M Magazine - SEPTEMBER 2014

new or difficult to learn. The trick does require a partial stack but the effect is worth the set-up (making this trick even more uncommon). After the primary handling is discussed Doug teaches a second handling of the effect before performing and explaining the original Dai Vernon routine called Triumph (one of the all-time classic card effects first explained in Stars of Magic). This bonus segment has Doug teaching his Tight Triumph Display (a take on Daryl’s Triumph Display) as he explains in detail Vernon’s masterpiece as well as his own Inflated Deck display, which gives the illusion that you can see the cards mixed and they visibly un-mix as you watch the deck. This is a nice touch and adds another dimension to the effect. The camerawork and sound are up to par and you will have no trouble learning this. Doug is a wonderful performer and an excellent teacher. One more thing: this download was taken from Doug’s two-DVD set called Built to Last (filled with close to three hours of great close-up magic); if you decide to purchase these DVDs from Trcky.com, they will refund the eight bucks you spent on the download. This is a unique effect and will get a great reaction when performed (and would look great on TV accompanied by music). I think you will agree that magic can be Art.

The Business Gimmick and DVD By Romanos

Available from: alakazam.co.uk Distributed by Murphy’s Magic Supplies Price $66.30 REVIEW BY ANTONIO M. CABRAL One of the smartest things you can do on a professional gig is perform a miracle that incorporates your business card. The good folks at Alakazam have brought us a very clever and devious way to do just that with The Business by Romanos. Simply put, The Business is a gaffed card case that you can use to secretly peek at writing. It’s made from a standard style of metal business card case, the kind you can easily obtain at most stationery or office supply stores, or from online business card printing outfits like Vistaprint. What makes this case such a devious tool is that the inner surface is made of some special Mylar-like material. Seen from the inside in performance, it looks like the shiny metal surface of the rest of the case. Seen from behind, you can look right inside and read the full surface of the back of a business card, and glean whatever information you need from it. The DVD explains these basics, and leaves it up to you to figure out just what you’re going to do with this awesome power. That’s fine, because this is designed to be a utility item, like a card-to-wallet wallet. If you’re spending this kind of money on a utility item, you shouldn’t need to be told what to do with it; you should already have an application in mind (hopefully something more subtle than just blurting out whatever’s written on the card). If you do need a suggestion, look no further than one of two given here: applying the peek case to Magician’s Graphology. If

you’re unfamiliar with the trick, the performer hands out four business cards for folks to write some kind of secret, meaningful info on. Someone shuffles up the cards, and the performer proceeds to divine who wrote what for the first three participants, and divines the unseen info for the fourth. The suggestion here is to place the shuffled cards into the case, where they’re removed one-at-a-time like playing cards from a dealer’s shoe. This makes perfect sense; bring the cards out with the case and hide the cards back in the case. You don’t have to introduce another prop like a wallet or an envelope. The problem with mentalism is always the necessity of introducing props or the need to write things down, when ideally you would be plucking thoughts directly from people’s heads. Here, once you’ve justified writing the info down for whatever reason, everything is – for lack of a better term – organic. Using your business cards and the case is a perfect way to engage in some miracle mind reading whether you’re working in a professional performance setting (or any professional setting) or just casually blowing people’s minds. That’s the good news. The slightly problematic news is an unfortunate byproduct of the material that makes the case work. Like any one-way mirror, one side needs to be dark for it to reflect anything. That means that unless you place the case down on a dark surface, people are going to see a big fat hole in the back of the case and know exactly what you know: that you spent $66 on a special business card case and just blew the trick. With that in mind, The Business comes with a little black velvety bag that you’re supposed to carry the business card case in, and that you can place the case on in order to maintain the illusion. The trouble with that is (as you probably immediately realized), you can’t name one person who carries their business card case in a little cloth bag. That turns this perfectly ordinary personal item into a special prop – or worse, a magician’s prop. And that ruins everything that makes this a strong utility item. Thankfully, if you’re a working pro and work with a dark close-up mat, you’ve already solved the problem. In fact, I’ve discovered that my casino green close-up mat works pretty well in the right lighting. So now we’re back in better territory. But what if you’re the type that eschews a close-up mat, or wants to use this in a more casual setting? There’s a suggestion on the DVD that I think is the real way to go: have a black-backed business card, and hold the cards underneath the case. Even if you don’t use black business cards, just color the back of one, and use it to cover the dirty work. You can save the black velvety bag for the little plastic wallet you carry your packet tricks in. There’s one other thing that I think is worth mentioning that isn’t covered on the DVD. I said the case is a standard design, and they provide a regular, ungaffed case of this type so you can have one case to use regularly, and the gaffed one to switch in to work your miracles. I carry my business cards in a case like this, except mine has a typically gaudy Ace of Spades design on the lid. What I’ve discovered is that you can very easily remove the lid on this kind of case, which means if you have a more distinctive version of this case and can find another in the same design, you can swap the lid out on the gaffed case and have one that matches your regular everyday business card case. Now you’re really living up to that top hat and bunny design your spouse picked out. This is a well-made gimmick, one that should serve the working pro or serious amateur very well. It’s not the kind of thing the average person is going to make in their garage or basement, so consider it money spent on good craftsmanship and to reward a really clever idea. If you’re already batting ideas around in your head for it, you probably want to pick this up. Recommended for the devious.

Bound Trick By SansMinds

Available from: sansminds.com Price $35.00 REVIEW BY CURTIS KAM This is interesting, and likely useful. I imagine that magicians have wanted to really link two bands together since about five minutes after they started performing with rubber bands. This is not the first published method for achieving that goal. As with many clever things, the original solution traces back to Michael Weber (Flash Link/ Linking Stanley, Richard’s Almanac 1983-1984 Winter Extra). Weber’s solution involved altering regular rubber bands in a rather delicate operation that left you with linked bands that could be handled by the spectator, but you probably wouldn’t let him take them home. Next, magic dealers stepped in, offering pre-linked rubber bands. As of this writing, Paul Harris’s Souvenir Linking Rubber Bands and Alan Wong’s Souvenir Linking Loverbands are both still available, and they were released several years ago. (And there are likely others.) So what does Bound have that the others don’t? I can’t confirm, because I’ve never owned either of the prior products, but Herman (as in, “Hey; it’s Herman from SansMinds.”) says that Bound offers two distinct advantages. First, Herman says that the bands have been specially formulated to keep a “more beautiful” appearance when they are displayed with one band dangling from the other. And these bands do, in fact, feel “stiffer” than the ones usually used for rubber band magic. Compared to the promotional photo of the linked Harris SLR bands, the Bound bands do appear to hold a more circular shape when linked. I’m not sure they offer any advantages in this respect, however, over the heart-shaped bands produced by Alan Wong. After all, the point of the Wong bands is the shape, so I presume they are stiffer, as well. Second, a routine is provided that is designed to exploit the stiffer bands. The thing that makes this product different, Herman says, is that the link is performed entirely by the spectator. It’s a simple routine in which a pile of bands are held on the performer’s hand and the spectator is invited to choose two of them. These are taken back from the spectator, the other bands are put away, and then the spectator is asked to hold the two chosen bands at her fingertips. From this position, she is told to rub the bands together, and then release only one of the bands while she hangs on to the other. Assuming she’s able to perform this task (which is made simpler by the stiffer bands) the result is one band hanging from the other. There is nothing wrong with that effect, and since you are provided with fifty gaffed pairs of bands, you could, if you like, allow the spectator to keep the linked bands. Aside from a little bit of extra “rubber” on a band here or there (and this is easily removed prior to performance) there is nothing for the critical spectator to find. Is this in-the-spectator’s-hands routine unique? I can’t say, since I don’t own the other products. However, I’d be surprised if that’s the case, since an in-their-hands link seems to be an obvious goal for anyone capable of producing linked bands. I can say that this routine is very simple, and the fairly simple matters of prop management are nicely covered. There is a switch that, while it SEPTEMBER 2014 - M-U-M Magazine 63

doesn’t come at the best moment, seems workable with a little trial and error. As for drawbacks or reservations, I suspect that the stiffer bands will not be able to perform some of the other rubber band magic that you already do, making it unlikely that you will be able to work this link into your existing routine just by using the ungaffed bands for the rest of the effects. However, it’s entirely possible to carry an assortment of bands with you, including these, and work the routine that way. Also, other reviewers have noted that the set of bands they received did not quite match the assortment promised on the DVD. They mention refill packs, but I don’t know what those are composed of. Finally, although there is a “Credits” section on the DVD, no credits are given, not even the cursory history that I rattled off at the top of this review. This is not the first time I’ve said this about a SansMinds product.

Red Bull with a Twist Props, audio CD, and instructional DVD By Robert Baxt Available from: www.robertbaxt.com Price $90.00 REVIEW BY DAN GARRETT Many magicians have taken the classic vaudeville gag that confuses the word “bandana” with the word “banana” and converted the gag into a comedy magic routine. Robert Baxt notes that comedy character actor Cliff Norton performed this funny routine on screen without using magic. Baxt also correctly credits East Coast actor Tom Yarborough as being one of the first to use the gag in a magic context. I actually saw Yarborough perform the routine at one of my very first magic conventions in Atlanta in 1972. He used the classic Square Circle production box and read the printed instructions aloud. His persona, with costume and makeup, was that of a country bumpkin trying to perform his first magic trick. In the intervening years the routine became quite popular with magicians. Many have used a Change Bag. Tom Ogden cleverly used a lady’s purse in his routine. The routine became very popular among magicians when David Copperfield performed a version of it on television. But Baxt felt the big drawback to this idea was that an intelligent and clever magician would certainly be able to distinguish the words bandana/banana, making the traditional presentation believable only for the Yarborough bumpkin character. So, Baxt created a clever new gag: Red Bull with a Twist. Now, the old comedy routine has a new, modern day presentation. In context, the performer has purchased a new trick from overseas. It arrived in the mail that very day and there was no time to practice. But, he or she will perform it anyway. (Sadly, this situation is all too true with real-life amateur conjurors.) So, with a freshly-opened box of props and the help of a heavily-accented female voice “audio download,” a hilarious romp of comedy ensues with a very magical finish. The comedy stems from the confusion between Red Bull, the energy drink, and a red bull puppet. The soundtrack and props provide the comedy situations, and your actions and expressions provide the rest. The funny custom-made puppet is included. This is the critical prop that really makes the routine work. All of the props needed to perform are included. You can even use the box in which everything is shipped, or pick one up at your post office. The only thing you need to buy is the actual can of Red Bull. Baxt explains the optimum size of the can you need, and they are readily found in most grocery stores. 64 M-U-M Magazine - SEPTEMBER 2014

The big laughs come from the performer’s interaction with the audio instructions, scripted by Robert and expertly performed by Yumi, Robert’s talented Japanese-born wife. Yumi speaks unaccented English rather well, but for the purposes of this routine, her accent is greatly exaggerated. The other thing you obviously need to do (besides practice the routine, of course), is to have a system to play the audio soundtrack. It comes on an audio CD, so you really only need a CD player. I had no trouble putting the track into my iPhone and playing it through a Bluetooth speaker. Baxt explains everything in detail on a DVD, and you get to see a studio performance as well as a performance in front of a live audience. This will give you the best look at the timing and laughter spots in the routine. Although some handling and familiarity of the props is required, there is no real technical skill needed. Where the practice is most needed is for the pantomime and facial expressions. Some will do this better than others, but just about any magician, regardless of skill level, can perform Baxt’s routine and get plenty of laughs and applause. This review is for the English version, but Baxt also provides versions in German and Italian, with a Spanish version soon to be released. Visit the website for more information. Recommended for comedy and family magicians.

Traveling Deck 2.0 DVD By Takel

Available from: www.MagicTao.co.uk Distributed by Murphy’s Magic Supplies Price $30.00 REVIEW BY JAMIE SALINAS An entire deck of cards vanishes in an instant, leaving behind just one card. This is the basic effect of the Traveling Deck 2.0. What makes this version different from the first version? Well, you can also make a boxed pack of cards vanish while leaving just one card behind. The effect is visual, quick, and startling. Included with the DVD are gimmicks for a deck and for a box of cards. The gimmicks are made of the same material as playing cards and card boxes, so they look very good. The effect featured in the promotional trailer is very good. A card is selected and signed by a spectator. The magician shows two Jokers and explains that they will help him find the selected card. They are returned to the deck. The signed card is placed face up in the middle of the pack. The pack is squeezed and the entire deck vanishes with the exception of three cards – two Jokers and the selected card, which is between them. You are supplied with two gimmicks, one for the vanishing deck and one for the vanishing card box. The gimmicks should last a long time, but they will become worn with use over time. The gimmicks come in Bicycle design but can be changed to other decks of card designs. In addition to the supplied routine, you are also provided with eight routines/ideas using the gimmick. You are also taught how to create a customized gimmick and to repair your gimmick if needed. First of all, the gimmick cannot be examined. Audience man-

agement will resolve this situation. You will also have to watch your angles very carefully. The vanishing of the deck/box looks great. Reset is quick and easy. The main routine removes any desire for a spectator to want to examine the gimmick. The vanish of the deck or box is excellent. The routine with the two Jokers finding a selected card is great. You will have to watch your angles as stated above, but this situation is very manageable for the experienced card worker. The gimmick is versatile if you want to use different brands of cards, and should last a long time. This trick is reasonably priced for the card worker who does not mind using gimmicks.

The Floating Ball DVD By Luis de Matos

Available from: EssentialMagicCollection.com Distributed by Murphy’s Magic Supplies Price $40.00 REVIEW BY PAYNE Let’s be honest here. Most of you reading this review will never perform this trick. And when I say never, I mean never ever, ever – which is a pity, because it’s a truly wonderful effect. Little else says “magic” like a silver sphere floating effortlessly through the ether. And when I say silver sphere, I don’t mean a cheesy Zombie ball flitting about the stage under a tattered foulard looking about as mystical as a wad of aluminum foil stuck to the end of a stick. No when I say floating ball, I mean the full-on, no-holds-barred, Abbott\Okito-style of ball that floats ever so mysteriously about the stage without the aid of a dragondecorated scarf or a coat hanger with a bit of cork on the end. Of course, there are many reasons one seldom sees this classic of magic performed these days. First and foremost was the fact that it usually takes two or more people to operate the thread that guided said sphere through its magical gyrations. Luis de Matos has solved this conundrum by modifying the rigging in such a way the ball is under the complete control of the performer at all times, which is something that anyone who has seen this routine will find hard to believe, because the ball seems to move independently of the magician. It is a truly beautiful act to behold. Sr. de Matos has also solved the issue of setting up the necessary rigging. His system allows you to quickly and quietly set up the trick behind the curtain while the emcee is introducing you. This is an extremely valuable asset for the working variety performer who often finds himself in review shows. The downside to this routine, the issue that will keep virtually all of you from ever performing this trick, is the fact that it has to be performed on a stage – a stage with a proscenium, a main drape, and a full range of theatrical lighting at ones disposal would be preferable. One isn’t going to be able to perform this in a banquet room, village hall, or living room. Well you could perform it in any of those locales. But you won’t fool a soul, because everyone will see exactly how it is done. But don’t let this keep you from purchasing this DVD. There is a certain thrill just seeing how this thing is rigged and all the wonderful possibilities one can do with it. It is unlikely that I will ever be in a situation where I could perform this. Nonetheless, I set up a couple of backdrop stands, dug up an old Zombie Ball,

set up the rig, and spent a delightful afternoon playing with it. It almost made me want to build a full theater show so I could do this in front of a real audience. Nearly everyone who is going to buy this DVD will do so simply to see how it works, for the sheer delight we share in big time illusions. But for those of you who are seriously contemplating adding this to your stage show, here is what you need to know. The DVD is from Essential Magic, so of course it is up to their usual high quality. To say it’s nicely produced is understatement. You get the DVD, a length of the “special thread” (which is far from invisible), and “the secret gimmick,” which in reality is something you can pick up at any fishing tackle shop. No ball is provided, and there are no detailed instructions on how to build your own. They recommend purchasing the Don Wayne Floating Ball or obtaining their ball for a measly $1200 extra. There are some items you’ll have to obtain from your local hardware store as well. Fortunately these items won’t run you very much at all. The routine also requires that you wear a ring. The rigging, setup, and moves are all clearly explained. They even show you what type of knot to use to secure the ends of the thread. A piece of royalty-free music is also provided. The history of the Floating Ball is discussed and everything is attributed and proper reference given to the creators. There is also a nice chat with Gaetan Bloom on the disc as well. The only deficit that I found, at least in my opinion, was that there wasn’t quite enough advice or instruction given on the correct way to light the thread, which is the make-or-break factor in any floating object routine that employs thread (or in this case string). I think a little more information on what types of light to use and how to use them would have made this a much more informative and complete DVD. If you have a theater in which to perform this, you’ll probably have time to experiment with lighting as you rehearse. Apart from that minor complaint, everything one needs to know about performing this exquisite routine is here for your perusal. 

If you wish to have your product reviewed, please send it to:

Bill Duncan, P.O. Box 50562, Bellevue, WA 98015-0562

SEPTEMBER 2014 - M-U-M Magazine 65

Par anormal happenings By Charles Siebert, MD

WHY ARE WE SUPERSTITIOUS? Have you ever bent over to pick up a penny only to leave it when you saw it was tails up? Or knock on wood after saying something so as not to jinx yourself? How about refusing to walk under a ladder or open an umbrella indoors? If you do these things you are not alone. A new CBS News poll for Sunday Morning finds more than half of all Americans (fifty-one percent) knock on wood to avoid bad luck; sixteen percent won’t open umbrellas indoors; thirteen percent carry a good luck charm; and one in ten (ten percent) avoids black cats. However, when asked why they do these things most people cannot give an answer or simply “don’t want to tempt fate.” Before we can delve deeper into understanding why we are superstitious, we first need to define it. After all, not all rituals or beliefs are superstitions. Stuart Vyse, PhD, and the author of Believing in Magic: The Psychology of Superstition, defines superstitions as “one event causing another without any natural process linking the two events – such as astrology, religion, omens, witchcraft, prophecies, etc., that contradicts natural science.” The dividing line is whether you give some kind of magical significance to the ritual. For example, if an athlete develops a ritual before a game, something Vyse says many coaches encourage, it may help to calm and focus him or her like repeating a mantra. “That’s not superstitious,” says Vyse. On the other hand, he says if you think tapping the ball a certain number of times makes you win the game, you’ve entered superstitious territory. Some of the more astute of you out there might now be wondering “why are some of these repetitive behaviors not just signs of OCD (obsessive compulsive disorder)?” People with OCD often have compulsions to do rituals over and over again, often interfering with everyday life. Good question. The difference is that people with anxiety disorder don’t do their behaviors for any sort of superstitious or supernatural reasons; they do it irrational66 M-U-M Magazine - SEPTEMBER 2014

ly for no apparent reason. So why do we believe? One reason seems to be that superstitions are generally vague enough that no particular case will ever be clearly false. Many superstitions involve getting good or bad luck. Since we don’t know what form that luck will take, or what would have happened if we didn’t have the luck, there is no way to be sure the prediction was false. Superstitious people also are very good at finding excuses for why things didn’t work out as expected. They can easily imagine other magical effects that might cancel or modify the superstition. If the evil eye didn’t seem to bother them, maybe it was because somebody said the right prayer or some charm warded off the effect. Since

there usually isn’t a time limit on when the effects of a superstition will take place, we can often assume that the effect just hasn’t happened yet. Eventually we will forget that anything was supposed to happen. Occasionally, however, there will be cases where the expected effect of the superstition does come true. Somebody will be carrying that rabbit’s foot when they win at the casino, or some child will contract a serious disease after some strangely behaving woman might have cast a witch’s spell on him. Not only will this reinforce the superstition for the people involved, the story is likely to be passed around, reinforcing it for many others. This is an example of “confirmation bias.” Evidence that supports the superstition tends to be well circulated while evidence that denies

it tends to be unnoticed. There are some benefits to superstitious thinking, including a sense of security and confidence we might feel while carrying a lucky object or wearing a lucky shirt. This “placebo effect” can be positive, because there is a tremendous amount of power in belief. It can also relieve some of the anxiety you might feel before a particular task by knowing you have your “lucky” item with you. However, this can also be detrimental if you happen to lose your item or can’t do your usual routine, which can lead to an increase of anxiety and poor performance. Phobic (fearful) superstitions can also interfere with our lives, causing a lot of anxiety. For example, people who are afraid of Friday the 13th might change travel arrangements or skip an appointment because of unnecessary anxiety. These types of superstitions offer no benefit at all. Another problem is that our willingness to embrace non-factual beliefs makes us vulnerable to other people who want to manipulate us, sometimes for their own gain. ABC News reported in 2010 that Americans spend about two billion dollars a year calling psychic telephone hotlines, where they eagerly pay $3.99 a minute to self-proclaimed clairvoyants for a glimpse of their futures. But to a large degree, psychics depend upon their clients to fool themselves with confirmation bias. “They’re already superstitious – they’re just looking for a so-called ‘professional’ to reinforce their superstition,” Vyse explains. “That’s why a psychic can stumble, but people don’t seem to notice; their brain has already discarded what it doesn’t want to hear.” So where does it all come from? Jennifer Whitson at the University of Texas in Austin says superstitions grow out of our need to take charge of situations, and to reduce anxiety. “We become very anxious when we lack control. And one of the ways, if we can’t regain it objectively, is to try and regain it perceptually. Maybe I can’t actually keep something bad from happening to me. But if I knock on wood, then I’ve done something. I’ve taken action. And that can help someone feel less anxious as a result.” Another theory relies on the hard wiring of our brain. The premise is the brain is a sophisticated pattern-recognizing system.

An Extra Large Medium

We generate explanations to make sense of the patterns that we discover in the world. So when we see two events happening in close proximity in time, the tendency is to think that one causes the other. You have a thought about someone that you haven’t thought about for a long time, then you get a phone call from them out of the blue; the immediate assumption is that you somehow have some psychic connection, when in fact you’ve probably forgotten

every instance where you’ve been thinking about someone and no one has contacted you. So we pick up on what we perceive as being significant events and we interpret them in some sort of causal effect. Your brain is so intent upon spotting patterns, though, that it sometimes will see them where none exists. Studies have shown that if you present people with random information – whether it’s visual noise or a string of numbers – they’ll try to give it a meaning and organize it into what they think is a meaningful pattern. The brain also is prone to utilizing a shortcut called the priming effect, in which it interprets stimuli based upon an expected model. If you’ve been told for years that Friday the 13th is unlucky, you have an inclination to interpret things you see and hear in a way that confirms that belief. Psychologist, author, and paranormal debunker Michael Shermer calls this phenomenon “patternicity.” It’s the same process that nurtures superstitions, as well as conspiracy theories and belief in occult phenomena. “Sometimes A really is connected to B; sometimes it is not. When it is, we have learned something valuable about the environment from which we can make predictions that aid in survival and

reproduction. We are the descendants of those most successful at finding patterns.” “In an uncertain world, natural selection can readily favor making all kinds of associations, including many incorrect ones, in order to make sure that the really important associations are made,” says Dr. Kevin Foster of the Center for Systems Biology, Harvard University. He adds that humans are not alone in this; many other creatures are superstitious, too. “Any decision-making organism faces the same challenges of identifying causal relations, that is, will event A mean that event B is coming soon? In the case of a prey species fleeing from loud noises, “it is clearly advantageous to run from all sorts of loud noises – including many that are not associated with predators – to make sure that when a predator comes, they are in a burrow or other such safe place.” The results are clear: superstitions are a part of adaptive behavior in all organisms as they struggle to make sense of an uncertain world. So while this may not stop you from avoiding cracks in the sidewalk or carrying that rabbit’s foot, it may make you think about why you do it!  Illustrations by Charlie Frye

SEPTEMBER 2014 - M-U-M Magazine 67

Treasures from the Salon de M agie By Ken Kloster m an

GERMAIN’S MAGICAL MOCHA

This month’s treasure belonged to a magician who bespoke elegance. “Graceful” was the word many used to describe his work on stage. Success was his reward for the short time he appeared before the public. Karl Germain was the name he used in the theater. He was born in 1878 and made his debut as a stage magician in 1898. Born Karl Mattmueller Jr., Germain was raised in Cleveland, Ohio, by first-generation German immigrant parents. Like many other magicians, a penchant for the conjuring arts developed at an early age. His enthusiastic parents encouraged their young son to pursue his passion for magic. Their support and Germain’s artistic imagination led to his creating a unique brand of stage magic. Each aspect of Germain’s performance was distinctly his; the minutest details were attended to, each one as important as every other in making an exquisite whole. He was a wizard who created novel, intriguing playlets on stage and who built simple, direct plots around truly wondrous themes. Most of his props were built by his father, Charles Mattmueller, an artisan who spent twenty-five years manufacturing hand-carved, beautifully crafted picture frames. His understanding of woodworking and his son’s visions made him the perfect builder. The Salon de Magie contains many examples of Germain’s magic, certainly a full evening show’s worth, including his Asrah levitation built by the Martinka brothers, his Flower Growth, Butterfly, Clock Dial, Card Sword, and many others. The item for 68 M-U-M Magazine - SEPTEMBER 2014

this month is his Magical Mocha. The trick was startling in Germain’s hands. It was similar to an effect popularized and sold by many magic dealers, the Coffee Vase Trick. Lesser magicians bought the dealer-made props and made a feature of the effect in their programs. Germain performed it as just a brief interlude, but as with every trick given the Germain “touch,” Magical Mocha was something special. The properties were a twelve-inch metal canister and a cardboard cylinder to cover it. At the outset of the trick, both were handed out to the audience for examination. Once returned to him, Germain began stuffing the gleaming canister with cotton batting. He offhandedly joked, “The ordinary kind used in woolen suits,” as he pattered about the trick to his audience. He then set fire to the cotton and covered the canister with the cardboard cylinder.

When Germain lit the cotton, a puff of steam would escape from the top of the cylinder. Spectators often swore that just before the canister was covered, they saw the visible transformation of the cotton to steaming hot coffee. Removing the cardboard tube revealed the cylinder now full of exactly that: piping hot coffee. When the coffee was revealed, an assistant immediately moved to Germain’s table, filled cups with coffee, and served it to interested parties in the audience as Germain proceeded directly to the next trick, his intricate billiard ball manipulation routine. All possibility of scrutinizing the apparatus used to accomplish the coffee trick had been eliminated. The ownership of Magical Mocha went from Germain to Paul Fleming, who took over Germain’s show when blindness prevented him from continuing to perform, to Fleming’s widow, who sold it to Landis Smith and then to the Salon de Magie. For more information on Germain, search for two booklets published by Stuart Cramer, The Secrets of Karl Germain and Germain the Wizard and His Legerdemain. Or, try and find a copy of the sold-out book, Germain the Wizard by Todd Karr, an enlarged and greatly enhanced story of his life. 

INSIDE STRAIGHT BY NORMAN BECK

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YOU DON’T BRING ME FLOWERS ANYMORE I got flowers today at the office! No one died, I am not getting married, and it’s not my birthday. The card simply read, “Glad you are feeling better.” I have not a clue who sent me this gift. I am not often at a loss for words; am I never at a loss when it comes to figuring out where something came from. But in this case, my investigative skills are out the window. Not counting the times I was in the hospital, this is only the second time in my life that I have ever received flowers. I am not a flowers kind of guy. I was once asked what my favorite flower was; I said, “It would have to be Pillsbury Self-rising.” But I have to be honest: those flowers made my day. I can’t tell you why, other than the fact that some human being, who didn’t even want to be singled out, thought enough about me to send me flowers that weren’t dead, and for no apparent reason. I am going to give you a way to make your day if you don’t have anyone you like well enough to send flowers to. Go eat dinner at a Luby’s Cafeteria (a very popular restaurant chain in Texas) and go early. When you go, the first thing you should do is to sit so you can see the faces of the people as they get to the cashier to pay the bill. The second thing you should do is to give the cashier a hundred-dollar bill and tell her that, until the money runs out, she is to use that hundred to buy the dinner of every single lady over sixty who is not with a man. The cashier is not allowed to tip them off that it is you who bought the meal. She is only allowed to say that her was dinner was bought and paid for by someone who wanted to pay it forward. You simply get to sit and watch the looks on the faces of the women when they get this information. I have never paid for a therapy session; I would rather use the money to buy strangers dinner and see how happy it makes them. I have heard of people paying the toll for the car behind them, but I want to see the look of happiness when the person finds out that dinner was on me and they don’t even know me. Don Alan once told me that he performed magic just for the looks on the spectators’ faces; his fee was only for the time it took him to travel to and from the event. I never forgot that, and I never tire of the looks that the people give me when I perform. It is one thing when we do something (or something happens to us) that might warrant a gift, but when we get a gift for no reason, that is a gift with a feel that is extra sweet. As a side note, I want to mention that I went to the Ricky Jay Congress of Wonders and had a great time. I came away with five thoughts. Thought number one was how little I know about anything. Thought number two was how nice all the people who were at the event were. Thought number three was that it was nice not having a dealers’ room. Thought number four was that it was nice not seeing any boring card tricks. Thought number five was how often the talks made me think. 

SEPTEMBER 2014 - M-U-M Magazine 69

The Dean's Diary By George Schindler

OCTO AND NONAGENARIANS I have never met an old magician! Even at age 102, John Calvert was not old. His body gave out, but his magic was still there. We are fortunate that our fraternity is made up of people who keep ourselves young by learning and performing magic. People like Gene Cowell, Loren Lind, Jerry Oppenheimer, and Ed Fitchett are all nonagenarians, and they still attend meetings and lectures and come to conventions. Jimmy Grippo was still active at ninety-four. Sam Schwartz, who died at age ninety-six, did card tricks until his last

days. Len Vintus, a founder of the I.B.M., was still writing letters to magicians until his passing at age ninety-six. And how about all my octogenarian contemporaries? Ray Goulet has his magic museum and Magic Arts shop in Massachusetts. Dick Gustafson has a magic theater and still performs his illusions in Philadelphia. Brad Jacobs, our “Ambassador of Magic,” is still working closely with the FISM committee and shows up at conventions around the world. Howard Schwarzman attends lectures and always has a comment on how to do the “move” a better way. Al Cohen sold his magic shop, but he writes a magic column every month. Bev Bergeron does the same.

Some of my “not so old” friends have left us, but they were very much involved with their magic into their eighties: Al Flosso, Patrick Page, Leslie Guest, Frank Daily, Billy McComb, Amedeo Vacca, Parker Swan, Ronnie Reckseit, Jay Marshall, George Sands, Ken Krenzel, Jean Hugard, Ron Reckseit, Carl Ballantine, Bobby Baxter, and Slydini.

Amedeo Vacca

Brad Jacobs

George with Ed Fitchett - 2012

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Although he says he retired the act, Johnny Thompson (whose eightieth birthday party this summer was a spectacular occasion) continues to consult with TV magicians. Marvyn Roy is still working at the Magic Castle, where Mark Wilson still teaches a magic class.

I am so lucky that I had the chance to meet all of the people mentioned in this column. Every assembly should seek out its older members and spend an evening allowing them to reminisce about their experiences, tricks, and the magicians they met. Videotape these evenings; their oral histories will enhance the highlights that we see in the magazines. I remember John Calvert’s advice on how to live to be hundred: “Get to be ninety-nine and then be very careful. Stay positive.” Our magic fraternity will help you do that. 

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