MARCH 2011

eric jones
Page 44
M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians,
11086 S. Dartmoor Place, Parker, CO 80138 . Periodical postage paid at Parker, CO and additional mailing offces.
POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80138.
26 48
50
31
MARCH 2011
M-U-M Volume 100 Number 10
Cover Photo by Najee Williams
ERIC JONES
PAGE 44
REGULAR FEATURES
24 I Left My Cards at Home - John Ekin by Steve Marshall
34 DIY Gaffed Cards by Chris Wasshuber
40 Under Over by Joshua Jay
58 Basic Training: Stack Em and Pack Em by Ian Kendall
63 Informed Opinion New Product Reviews
72 Nielsen Gallery: The Great Raymond by Tom Ewing
78 Theory & Art of Magic by Larry Hass
80 The Kran-Zone by Nathan Kranzo
82 Anytime, Anyplace Any Deck by Aldo Colombini
84 The Deans Diary by George Schindler
84 Basil the Baffing by Alan Wassilak
85 The Tax Magician by Steve Snyder
86 Confessions of a Paid Amateur by Rod Danilewicz
28 A Magician Prepares by Dennis Loomis
38 Counterpoint by Lee Asher
42 Illusions of Grandeur by David Seebach
44 COVER STORY by Bruce Kalver
50 Impossible Coins Across by Eric Jones
54 7 Steps to a Successful Publicity Campaign by Rick Allen
57 Tech Tricks by Bruce Kalver
74 Unlimited Possibilities by Roger Blakiston
76 Mental Breakdown by Christian Painter
THIS MONTH'S FEATURE ARTICLES
S.A.M. NEWS
6 From the Editors Desk
8 From the Presidents Desk
11 M-U-M Assembly News
22 Broken Wands
23 Good Cheer List
83 Our Advertisers
M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians,
11086 S. Dartmoor Place, Parker, CO 80138 . Periodical postage paid at Parker, CO and additional mailing offces.
POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80138.
24
72
57
38
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,
11086 S. Dartmoor Place
Parker, CO 80138
Copyright 2011
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
Send assembly reports to:
[email protected]
For advertising information,
reservations, and placement contact:
Mona S. Morrison,
M-U-M Advertising Manager
645 Darien Court, Hoffman Estates, IL 60169
Email: [email protected]
Telephone/fax: (847) 519-9201
Editorial contributions and correspondence
concerning all content and advertising
should be addressed to the editor:
Michael Close - Email: [email protected]
Phone: 702-355-0794 Fax: 866-591-7392
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.
MARCH 2011 5
FROM THE EDITORS DESK
MICHAEL CLOSE
T
he genTleman on the
cover this month, look-
ing cooler than any-
one has a right to look, is Eric
Jones, whom some of you may
have seen at the S.A.M. con-
vention in Atlanta last year.
Eric has maintained a high profle lately, with performances and
lectures around the world and the release of a three-DVD set titled
An Extension of Me. After his appearance in Atlanta, I received
several emails suggesting that he would be an excellent candi-
date for a cover story, and I certainly concurred. As youll fnd
out in the article by Bruce Kalver, Erics life has had some ups
and downs, which have forced him to be both resourceful and cre-
ative. Immediately following the cover story, youll fnd one of
Erics favorite routines, Impossible Coins Across, from his lecture
notes Fingertips Part 1. If you own the necessary gaffed coins,
youll happily discover that the routine is not too diffcult. Be
warned, however, Eric is left-handed, and the routine is described
as he performs it. Right-handed performers will have to make the
necessary adjustments.
Things Change. One of my goals for the new year was to
change up the content of M-U-M a bit. Doing so has involved
changing the frequency of some of our regular columnists. Nathan
Kranzos Kran-zone and Norman Becks Ive Been Thinkin
will appear in alternate months. Roger Blakistons Unlimited
Possibilities was squeezed out of last months issue; that column
appears this month. In this issue, Dennis Loomis devotes his
A Magician Prepares column to his Balloon Show. He not only
offers practical, real-world solutions for the problems that arise
when balloon sculptures are part of your kids show, he also gives
you his entire script. This information is easily worth the price of
a years membership in the S.A.M. for anyone doing kids shows.
Because Denniss article is long, I thought it best to move the next
contribution by the Balloon Guys to next month.
Counterpoint. In addition to personality profles, theory
essays, historical articles, reminiscences, and tricks, M-U-M
also offers opinion, and not just opinion on current products in
the marketplace. I have generally given my writers free reign to
discuss whatever topics interest them, with the assumption that
readers will recognize that comments such as brick-and-mortar
magic shops are better than Internet magic shops or books are
better than video are opinions and not facts. Lee Asher (through
Nathan Kranzo) asked for the opportunity to respond to Norman
Becks column on using Twitter during magic lectures and per-
formances (December 2010). Im happy to let Lee express his
opinion; youll fnd it on page 38, in a new section called Coun-
terpoint. If youd like to respond to an opinion that has appeared
in this magazine, please drop me an email. Id like to make
Counterpoint a semi-regular feature.
M-U-M on the Kindle. Compeer Tom Sobotka wrote me to ask
if it is possible to read the M-U-M on the Kindle. It is possible,
but youll have to do a small amount of fddling. First, download
an issue from the S.A.M. Web site; it will be a PDF fle. Attach
the Kindle to your computer with its USB cable. Open the folder
called Documents on the Kindle and copy the PDF fle to it.
Disconnect the Kindle from your computer. Now, when you turn
on the Kindle and press Home, youll see the PDF fle among your
list of books and audio books. You open the PDF fle as you would
open any fle on the Kindle.
The main difference in reading a PDF fle is that the Kindle
displays each page of the PDF fle; it doesnt display raw text the
way the standard Kindle ebooks look. That means youll have
to make use of the text sizing button [AA]. This lets you choose
how much of the page is displayed within the Kindle screen.
Youll have to experiment with this to fnd out what setting works
best for you. Youll also need to make use of holding down the
shift key (an upward pointing arrow) while you use the fve-way
controller in order to encompass all the text you need to see in a
particular column. Its not that hard to get used to, and it certainly
is convenient to have the current issue (or any of the available
issues, for that matter) in an easily accessible format.
Corrections. Last month I managed to mangle Byron Walkers
frst name twice in my editors column. I also made Troy Hooser
into a resident of Indiana (Hoosier) by missing the misspelling
of his last name in one of the Informed Opinion reviews. Mark
Lewiss Web site was incorrectly typed in the Quick Look Book
Nook excerpt. It is www.marklewisentertainment.com.
Contacting the Editor. The Close family will be moving in
late spring. My contact phone number and mailing address will
change. Consequently, it is best that you communicate with me
via the Internet at my [email protected] address, which will
not change. Please do not mail any submissions to me; attach fles
as Microsoft Word docs, JPEGs, or Adobe PDF fles. I know that
some of our members still love the U.S. Post Offce, but in the 21
st

century electronic communication is the way to go. Thanks.
Sad Goodbyes. In just a few days in early February, magic lost
three of its most valuable practitioners. Pavel, one of the cleverest
magic creators, died of cancer. His two-rope trick (popularized
by Daryl as The Jumping Knot of Pakistan) has been part of my
stand-up repertoire for many years. His moving knot trick (used
by many professionals) is one of magics great foolers.
Steve Dacri died of colon cancer on February 11, 2011. I met
Steve in 1976, when we both performed at the I.B.M. convention
in Evansville, Indiana. Steve moved to Las Vegas in 2003 and
spent a great deal of energy trying to do something that is very
diffcult in present-day Vegas establishing a permanent close-up
magic venue. It is a testament to Steves business acumen and per-
severance that he was able to establish himself in several hotels.
Finally, I was hit very hard by the news that Tim Conover
had taken his own life on February 2, 2011. I met Tim in 1980,
when we both competed in the very frst Siegfried & Roy Golden
Lion Award close-up contest. Tims closing trick was to turn
his close-up mat into a ferret. Tim was simply one of the best
magicians on the planet and his drive to work out every detail
in every trick he performed was unmatched. As a mentalist, his
energy and enthusiasm made him one-of-kind. He was just great,
and Im really going to miss him.
6 M-U-M Magazine
MARCH 2011 7

S.A.M. National Offcers
Dean: George Schindler, 1735 East 26th St.,
Brooklyn, NY 11229, (718) 336-0605, Fax (718)
627-1397, [email protected]
President: Mark Weidhaas, 15225 Pleasant View
Drive, Colorado Springs, CO 80921
(719) 637-9965 Skype: mweidhaas,
[email protected]
President Elect: Vinny Grosso, 114 High Bridge
Road, West Coxsackie, NY 12192 (518) 756-1891
[email protected]
First Vice President: J. Christopher Bontjes, 2313
Atwood Ct., Danville, IL 61834 (217)431-4791
[email protected]
Second Vice President: Dal Sanders, 3316
Northaven Rd, Dallas, TX 75229 (214) 902-9200,
[email protected]
Secretary: Marlene Clark, 435 Main Street, Dur-
ham, CT 06422, (860) 349-8149,
Skype: marlene.clark, [email protected]
Treasurer: Mary Ann Blowers, 3 Christopher
Bluffs Court, St. Louis, MO 63129 (314) 846-8468
[email protected] Skype: maryan.blowers
Regional Vice Presidents
New England: CT MA RI NH ME VT
Tucker B. Goodman, 7 Evans Road, #2, Marble-
head, MA 01945, (617) 901-5187,
[email protected]
North Atlantic: NY NJ
Pat Colby, [email protected]
Mid Atlantic: PA DE MD VAWV DC
David W. Bowers, 169 Tobin Dr., Chambersburg,
PA 17201(717) 414-7574,
[email protected]
South Atlantic: FL AL GA MS NC SC
Rick Hinze, (770)471-7558, [email protected]
Central Plains: KY TN OH IN MI
Jania Taylor, (231)242-8242, [email protected]
Midwest: IL MN WI MO ND NE KS SD IA
Jeff Sikora, 13023 Crown Point Ave., Omaha, NE
68164 (402)-339-6726, [email protected]
South Cental States: TX AR OK NM LA
Jeff Lanes, (713)850-1770, [email protected]
Southwest: CA AZ NV HI
Kenrick Ice McDonald, PO Box 341034,
Los Angeles, CA 90034 (310)-559-8968,
[email protected]
Northwest: WA OR UT ID CO AK WY MT
Michael Roth, (503)493-8316,
[email protected]
Canada
Shawn Farquhar, (604)936-1234,
[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, Henry L.
Moorehouse, Frank W. Dailey, Cesareo Pelaez, David
R. Goodsell, William E. Andrews, Robert A. Steiner,
Fr. Cyprian Murray, Michael D. Douglass, George
Schindler, Dan Rodriguez, Dan Garrett, Donald F. Oltz
Jr., Craig Dickson, Loren C. Lind, Gary D. Hughes,
Harry Monti, Jann Wherry Goodsell, Warren J. Kaps,
Ed Thomas, Jay Gorham, John Apperson, Richard M.
Dooley, Andy Dallas, Maria Ibez, Bruce Kalver,
Mike Miller.
FROM THE PRESIDENTS DESKMARK WEIDHAAS
m
arch is filled with
fun holidays, like St.
Patricks Day, the
frst day of spring, and the Ides
of March. Five out of every
three people surveyed celebrate
Multiple Personalities Day. But
we all should celebrate March
24, Chocolate Covered Raisin
Day, not because we enjoy Raisinets, but because it is also Harry
Houdinis 137
th
birthday. This potpourri of information reminds
me of the title of my good friend George Schindlers presidential
columns: Flotsam and Jetsam. Literally, these terms refer to mari-
time wreckage, but metaphorically, they refer to bits and pieces
or odds and ends. Buckle up as we disembark; the cruise may be
bumpy.
January Presidential Travels. I installed the new offcers of
Denver Assembly 37; lectured and greeted members at Lincoln,
Nebraska, Assembly 293; performed and greeted members at
the Wizards Banquet of Omaha, Nebraska, Assembly 7; and
lectured and greeted members at the annual Stan Kramien Stage
Contest for Portland, Oregon, Assembly 59. I also visited with
many members at the 80
th
Columbus, Ohio, Magi-Fest. I saw one
recurring theme at these successful groups: good friends working
together in harmony for all to enjoy. Its supposed to be fun, and I
had a blast. Special thanks to RVPs Jeff Sikora and Michael Roth,
and to Jep Hostetler.
Convention Update. The S.A.M. convention is busting at the
seams, and cant be contained in four days! There have been some
special activities added on Tuesday, July 12. These include an op-
portunity to be the frst to see the international lineup of dealers, a
special late-night lecture, a welcome/mixer program to introduce
and inform members who have never been to an S.A.M. conven-
tion, and a once-in-a-lifetime publicity spectacle. Plan to arrive
early. Check www.magicsam.com for the latest information.
The Magic Center is sponsoring the frst ever Magical Antique
Roadshow program in Pittsburgh. Bring some of your old pieces
of magic, and the S.A.M. will have experts on hand to tell you all
about your treasures. Think of it as an Antiques Roadshow for
magicians.
At Magi-Fest, President-elect Vinny Grosso and I got to spend
some time with our Pittsburgh convention local liaison, Doug
Ries. He told us that the local magicians are really supporting
the S.A.M. and will offer a shuttle service from the airport to the
hotel. This will save you some big bucks! All they ask in return is
a tip to cover the gas expense.
And most important: Get your registrations in before the
deadline of March 7 when the registration rate increases. Do it
now at www.magicsam.com or call Anne Weidhaas (or me) at
719-637-9965.
Military Membership. In January, I mentioned a new reduced
membership rate for our active U.S. military members. I had the
pleasure of announcing this new program at the U.S. Air Force
Academy, and to sweeten the pot, we reduced it further to $35
for the paperless membership. Scott Hollingsworth is the program
liaison, and is planning a special Web page devoted to the
military, including magic downloads made available courtesy of
Bev Bergeron. Dean Schindler reminded me that during WWII,
the S.A.M. allowed servicemen to continue their membership
at no cost. Houdini often provided free beneft shows for WWI
veterans. I am not aware of any other magic organization that
supports its troops like the S.A.M.
Sharing Awareness Mentoring. In February, I introduced
you to this new program. The Wiki site is up and many members
are already adding to it. Although in its infancy, with your help,
it will grow into a thriving community for school educational
performers. Check it out at www.magicsam.com/SAMSAM.
Gifts and Insignia. Craig Schwarz, the chair of this committee,
is working hard to get some new products that you can use to show
youre a proud S.A.M. member. I just received the new S.A.M.
offcial performance/ceremonial wands. These are handsome dark
stained wood wands with brass tips and Society of American
Magicians engraved into the
wand (see photo). They come
in two sizes, one for close-up
and the other for stage. For
more specifcs and pricing,
go to www.samgifts.org.
While youre there, look at
our beautiful polo shirts and the DVD of M-U-M volume 99 (all
12 issues).
M-U-M Volume 101, Number 1. The June 2011 issue will mark
the beginning of our 101
st
year of publishing the house organ of
the Society, M-U-M. Last year was the frst time in a long time
that many assemblies and members advertised in the M-U-M to
offer their well-wishes. The M-U-M is your magazine, so lets
keep it special again. I have asked Mona Morrison, our M-U-M
ad manager, to set aside space in the June issue for you. She will
be contacting all the assemblies to see how they can participate
again this year. Write her directly at [email protected]
for more information. Thank you in advance for your support!
A Free Gift. Expect an email (or letter) from me about two
months before your membership is up for renewal. Ill explain
that your renewal form will be inside the plastic wrapper of your
next M-U-M. However, if you act quickly and renew, well include
with your new membership card a twenty-fve-year-old collectors
coin specially minted for the 1986 S.A.M. convention (see photo
above). We want to reward you for your continued membership
and support of the S.A.M. By registering promptly, you will also
save us the expense of sending further reminders.
Update Your Contact Information. We are in the midst of
creating a new Web site that will be organized and much easier to
navigate. It will link to our national administrators database of
member information. You can log in and revise your own mailing
and email information. If you spend summers in New England
and winters in Arizona, you will be in control of where your
M-U-M is shipped each month. To register, please send
your name, full birthday, email address, and membership
number to the national administrator, Manon Rodriguez
([email protected] or PO Box 505, Parker, CO
80134). You will then receive the easy instructions to access the
new site.
8 M-U-M Magazine
March Council Meeting. You are invited to attend the Spring
National Council Meeting in Orlando, Florida, on March 12 and
an Evening of Magic and Dinner on March 11. You must RSVP
for the show, because tickets will not be available at the door.
More information can be found at www.magicsam.com.
March Presidential Travels. A week before his birthday, I
plan to pay homage to Houdini with a solemn visit to his resting
place at Machpelah Cemetery in Queens. I will be accompanied
by the Dean and his Dame, George and Nina Schindler. Then
Im off to the S.A.M. Japan Cup close-up competition in Tokyo
with Japan International Deputy Shigeru Tashiro, President-elect
Vinny Grosso, and your M-U-M Editor Michael Close.

You have a friend in the S.A.M.
[Editors Note: In preparation for Mark Weidhaass cover story
in the July, 2010, issue of M-U-M, several of Marks friends wrote
a few words of support. Unfortunately, not all of the material
could ft. Since Mark mentions George Schindler this month, it
seems appropriate to present what he originally had to say last
year. And he shares a great magic trick, too.]
It was in July, 2006; magicians were running up the steps and
into the lobby of the Kentucky Center Theater in Louisville in the
pouring rain. Although within walking distance from our con-
vention hotel, there was no choice but to run through the storm,
arriving drenched. While people were shaking out their wet
hairdos, I noticed one man near the doorway, calmly doing card
tricks for small bands of kids and other wet onlookers. Although
I had heard his name, I had never met Mark Weidhaas before. I
joined his audience and watched a very entertaining and quiet
performer at work.
We spoke very briefy and Mark invited me to come to
Colorado. He promised to book a few lectures for me, and being
a man of his word did so some time later. Mark and Anne were
wonderful hosts, and at our frst dinner together, Nina and I
established a rapport with them that still exists. I watched the
Inspector as he developed a true love for the S.A.M. and have
followed his succession from RVP up through the chairs; at each
step devoting his energy to the betterment of the organization.
CALL ME
Here is a trick by Deej Johnson from his forthcoming book
Magic by Phone (used here by the kind permission of Magico
Publishing). Program your cell phones voicemail with a message
that says youre not available but are happy to reveal that the
chosen card is the Six of Hearts. Make sure your phone is off
before forcing that card on the participant. Have him call your
number. Watch the great reaction. And remember to reprogram
the phone for a regular message or different force card.
MARCH 2011 9
SPOTLIGHT ON...
Ross Wasielke
Ross the Mentalist is one of the very few working magicians who is legally blind. He suffers from
a rare eye condition that gives him corrected vision that is less than twenty
percent of a normal persons; yet, Ross has performed over four
hundred beneft and charity shows since 2000. Ross helps raise
money for groups in need by doing these free shows, be it the
local animal shelter, Rotary or lions Club. in 2007, his favorite
charity, The Center For Vision loss, awarded him their Helen
keller knight in shining armor award, in recognition of the
dozens of shows he has performed on their behalf.
a member of the s.a.M. for more than ten years, and a
member of Pa 1 and assembly 277 in Pennsylvania, Ross
also entertains at veterans homes, simply to say thanks and
to give back to others.
Ross sums up his life with a simple adage: one can
be bitter or better about going blind; i choose to be better.
Ross cannot remember a time when he did not perform magic,
but his interest was sparked by the revolution Doug Henning created in the 70s. His
material is derived mostly from the teachings of lee earle, larry Becker, Max Maven, and
Richard osterlind. You can read more about Ross and contact him through his Web site,
www.RossTheMentalist.com.
DaRlene Bull
Darlene is a tireless contributor to magic in the Chicago area. a librarian
with the Joliet Public library, she is the single most important email
touch point for anyone who wants to contact this portion of the
magical community, with an email list containing hundreds of
local performers and enthusiasts. a dedicated member of the
s.a.M., she is the secretary for two assemblies: assembly 3
in Chicago and assembly 106 in Joliet. and shes done this
for years writing the monthly reports, sending out newslet-
ters electronically and through the post, attending meetings,
and tirelessly participating in events for both groups. For
example, although there are few members of assembly 3
who commute farther, she has not missed contributing to a
performance of its Houdini sance since 2001.
10 M-U-M Magazine
ASSEMBLY NEWS
Society of American Magicians Monthly News
MARCH 2011 11
MARCH 2011 Volume 100, Number 10
1
PA 1 SWEARS IN FOUR
NEW MEMBERS

NEW YORK, NY PA 1
Dean Eric DeCamps and
Jordan Linker could be found
trading moves at the S.A.M.
Magic Table this month. They
joined the regulars, PP Isaac
Rodriguez, 2nd VP Bob Fried-
hoffer, PP Jerry Oppenheimer,
myself, Secretary Pat Colby,
and board members Rene
Clement and Richard Bossong.
Jerry and Lee Oppenheimer
celebrated their 65th wedding
anniversary (which was
actually Sunday the 23
rd
) at
the Table on Friday Jan 21. The
Table meets Fridays from 12:30
on for lunch at the Edison Hotel
Caf on 47th Street between
7th and 8th Avenue in Times
Square.
Our monthly meeting was
held on January 7 at Mount
Sinai. President Ken Ferst
started the meeting at 7:30.
The frst order of business was
the swearing in of four new
members by President Ferst.
They were Dr. David Adamon-
vich (The Great Throwdini),
PNP Mike Miller, Dr. Kedar
Sankholkar, and Gary Willner,
who preformed so beautifully
at our 100th Salute to Magic.
They were welcomed by the
assembly. 1st VP Margaret
Steele, producer of this years
Salute, then gave the Salute
Committee report announc-
ing that the contracts were
being signed and the Salute
would be on Saturday May 14.
She reported that the Ticket
Chairman would be President
Ken Ferst. Other committee
reports were given. PA 1 Dean
Eric DeCamps announced the
East Coast Memorial for Bob
Elliot in L.I., which many of
our members attended. They
had over 250 people attend.
I was honored to represent
the PA 1 in the broken wand
ceremony. Then after an email
from PA 1 member Per Eklund
of Sweden was read, National
Dean George Schindler closed
the meeting with ritual.
The after meeting event was
a lecture by Magick Balay. It
started with a flm recently
made on magic that gave us
all a look into the life of this
performer. It was terrifc and
a great way for the assembly
members to get to know
more about Magick before
the lecture. He then gave a
great lecture covering among
other things pen through bill,
Bob Elliotts salt vanish, and
amazing effects using an ITR.
It was a wonderful lecture.
Tom Klem
Parent Assembly Number
One meets the frst Friday
of the month at 7:15 on the
Mount Sinai Campus in
the Goldwurn Auditorium,
1425 Madison Avenue, NYC
www.sampa1.com
2
COINS
SAN FRANCISCO, CA The
sound of coins was apparent
during our January meeting.
The teaching this month was
devoted to coin magic with
Corky LeValee leading the dis-
cussion, which concentrated on
coin vanishes. Tamaka showed
his special shiny manipulat-
ing coins and how he used
them in his coin act and the
Misers Dream. Rich Seguine,
Ed Arce, and Walt Johnson all
contributed to the enrichment.
The magic theme was also
coins and Corky led with a col-
or-changing coin then followed
with a silver to gold and back
to silver and fnally a matrix
effect. Jack Langdell did a
Misers Dream using a tin cup
from Alcatraz (which he hu-
morously said was used by Al
Capone, as were the hundred
others for sale in the gift
shop!). Bill Langdell followed
by tossing invisible coins into
the air and catching real coins
in a plastic bucket. Hippo
Lau, John Caris, Bob Kuhn,
Tamaka, and Brett Langdell all
demonstrated their profciency
with coins.
Cynthia Yee followed Rich
Sequines instructions in a
unique card shuffing and
dealing sequence that lived
up to Richs written predic-
tion. Mike Toy found Joe
Holts selected card in his
pocket. Using a story about a
surgeon doing an operation,
Walt Johnson made a borrowed
ring link on a rope that Brett
and Ed were holding. Nathan
Ng turned ink into water then
drank the water to prove it
really was water and fnally
Safre showed linking and
unlinking rubber bands and
ended with one rubber band
becoming the shape of a rabbit.
Stu Bacon
Golden Gate Assembly 2 meets
frst Wednesday at 7:30 PM at
Community Room of Taraval
Police Station. 2345 24th
Ave. San Francisco. Contact:
Tamaka, 415 531-9332,
[email protected]
4
CHILDRENS
MAGIC NIGHT
PHILADELPHIA, PA Our
January meeting featured four
excellent mini-lectures on the
art of childrens magic. Prior
to the mini-lectures, which
were given by Arlen Solomon,
Bill Brown, Dennis Michael
Dowhy,and Dennis Eleuteri,
President Ed Hanisco held a
brief business meeting during
which National Magic Week
Coordinator Michael Bonacci
presented all thirty-eight
National Magic Week partici-
pants with certifcates of ap-
preciation. Michael thanked
Robert Lamphere and David
Alvord who also participated,
but whose names were not
forwarded in time for inclusion
in last months column. Many
thanks to Michael and everyone
who made Assembly 4 the most
active S.A.M. assembly during
National Magic Week in 2010.
We also celebrated PNP Dick
Gustafsons 80th Birthday by
singing Happy Birthday before
partaking in a delicious cake
made by his lovely wife Joan.
After the business meeting,
Arlen Solomon, who is a delight
to watch, started the program
off by performing a highly
interactive and entertain-
ing Crystal Silk Tube routine,
which he then explained. He
then demonstrated a very nice
silk vanish utilizing a thumb
tip geared toward extremely
young children. After Arlen,
Bill Brown, whose smile and
laugh are infectious, took to
the stage and enlisted the aid
of audience members George
Hample, Ruth Hample, and
Jane Armstrong to perform a
miraculous double silk vanish
and reappearance utilizing
a change bag, the Twentieth
Century Silks, and a Clatter
Box. With the assistance of
Send your reportS to:
[email protected]
Arlen Solomon,
performing a very entertaining
Crystal Silk Tube routine.
President Ken Ferst swearing in
The Great Throwdini (Dr. David
Adamonvich), Past NP Mike Miller,
Dr. Kedar Sankholkar and
Gary Willner
ASSEMBLY NEWS
12 M-U-M Magazine
Phyllis Cuddihy, Bill then
proceeded to demonstrate his
collection of approximately
one-hundred different wands,
which culminated with the hys-
terical production of Creative
Magics Bigger Wands, which
he placed in Phylliss arms,
and the use of a vintage
rabbit wand to turn her into a
rabbit. Following Bill, Dennis
Michael Dowhy demonstrated
a wonderful egg bag routine
that had everyone shouting
out at him like small children.
Dennis then demonstrated his
most effective use of Axtells
Off the Meter. Dennis Eleuteri
then ended the evening with
a very funny sponge ball
routine with the assistance of
Rich Pressel. Finally, Dennis
explained how one can end
such a routine in a most sur-
prising manner by transform-
ing all of the balls into a sponge
rabbit in the spectators hand.
Everyone in attendance had a
great time and learned some
practical tips and routines.
Peter Cuddihy
James Wobensmith Assembly
4 meets third Thursday at
7:00 p.m. at the Bustleton
Memorial Post, 810
(American Legion) 9151 Old
Newtown Road. Information:
www.sam4.org/
6
MAKING 2011 A
MAGICAL YEAR
BALTIMORE, MD First
to report one of our own
members, Dr. Ira Kolman,
had recent surgery and fully
recovered and made it to our
January meeting. We welcome
him back. Also the November
and December meetings were
both well attended and some
great magic was performed.
Thanks again to our wonderful
assembly president, Jeff Eline;
he keeps us informed and
strong in magic.
We started out with the
magic of Joe Harsanyi doing a
wonderful mentalism routine.
Using four volunteers was
able to have them write down
their thoughts and have them
sent to Joe. Next up was Oneil
Banks. He used a deck of cards,
mixing, and displaying nine
cards. A volunteer was able to
match a face-down selected
card that was already inside
a prediction envelope. Ralph
Fowler did a beautiful 4-D
surprise. Showing an empty
box, and using a light shinning
inside, he was able to produce a
Statue of Liberty fgure.
Joe Bruno did a Baffed
Farmer routine using two
props and seven balls of
tissue. Joe was able to
make the balls of tissue go
from one prop to the other,
just like magic. Howard Katz
did a Harry Houdini water
escape trick. Using a small
prop as Houdini and a long
water tube, he was able to
have Houdini escape from
the water tube unharmed.
Alton Knight, a new member,
using two different color decks,
had a volunteer select a card
from one deck. After several
moves, it was determined the
selected card was also matched
with the color deck not chosen.
Closing out was Jeff Eline,
doing a fantastic card routine
using two different volunteers
with two different selected
cards, called the Delia Miracle.
Rudy Jackson
We are always looking for
visitors and new members in
the greater Baltimore area.
The Kellar-Thruston
Assembly #6 meets every frst
Thursday @ 8:00 p.m. each
month. We are at The Magic
Warehouse - 11419 Cronridge
Drive, suite #10 in Owings
Mills, Md. 21117. 410-561-0777
7
STARTING THE YEAR
OFF WITH A
BANG(QUET)
OMAHA, NE A few years
ago the Omaha Magical
Society decided to start a
new tradition. Since then the
Wizards Banquet has always
opened the year with a festive
mood, and good food to boot. It
was also decided that an award
would be created in the memory
of David P. Abbott, a magician
who performed most of his
magic right here in Omaha,
in a house that is still here.
Among his invited guests were
the biggest names in magic. To
qualify for this award one must
meet some stringent require-
ments; I should note that this
award might not be presented
every year. This year Joe
Cole brought his magic to our
event and his credentials are
numerous, including winning
the S.A.M. Close-up contest in
2001 and a special award for
originality that was presented
the following year at the con-
vention. He is one of Omahas
full-time professional enter-
tainers.
To commemorate this
special event the Most Illustri-
ous Mark Weidhass, President
of S.A.M., and Chris Bontjes,
our frst Vice President,
attended the event. Mark
opened the show by mystifying
the audience. Tom Neddo and
Daniel Rasmussen continued
this special program with their
own brand of prestidigitation,
and then Joe Cole closed the
show bringing it to an exciting
climax. It took a lot of work to
produce this event, including
pre-show strolling entertainers
Walt Graham, Gavin Plowman,
Denny Rourke, and Jered
Schaugaard, plus the folks who
produced the show,m including
the lighting and audio, reserva-
tions, decorations, name tags,
menu, and other details that led
to a perfect warm celebration
on a cold night. Thanks to all
for a job well done! A special
thank you to Jeff Quinn for the
reception held the day before
the banquet and The Wizard
for keeping things under
control. (If you want to know
who he is, youll have to come
to a banquet.)
Jerry Golmanavich
Omaha Magical Society
S.A.M. Assembly #7 meets the
third Monday of each month at
the Southwest Church of Christ
125th and W. Center Rd. Right
across from Hooters.
8
HOLIDAY
MAGIC
ST. LOUIS, MO No meeting
for the fourth Thursday of
December, so happy holidays to
all! We also did not meet on the
second Thursday of January,
but then we did have plenty of
snow in St. Louis. We were all
busy with our individual magic
shows and charity shows.
One show was for the Chil-
drens homes and Foster Care
in St. Louis, Missouri. It was
held at the old American
Theater downtown. On the
lineup: Brian Boyd, Steve Fin-
kelstein, Mike
Hendrichs, Jeff Lefton,
Laurence Chuck Levy, The
Great Todd, and George Van
Dyke.
Another was at Shriners
Hospital where Tom Wester-
heide and The Great Todd
performed for patents and
their families. The Great Todd
also performed at several
HDC Community Action
Agency Christmas Parties.
Others Assembly 8 magicians
performed for charity too, but
I dont have specifcs. Thanks
to all magicians who made the
holidays even more magical for
others.
We will have our next
meeting with Magic 101
on January 27
,
and Ill tell
you all about it next time.
Dan Todd
Assembly 8 meets on the 2nd
& 4th Thursday of the month
7:30 PM to 9:00 PM at Mount
Tabor United Church of Christ,
6520 Arsenal, St. Louis MO
63139 Visit www.assembly8.
com for pictures.
11
MAGIC WITH
A STORY
CINCINNATI, OH President
Don Hinton opened the
meeting and noted that S.A.M.
Assembly 11 had received a
memento from the patients
at Childrens Hospital in ap-
preciation for the members
providing entertainment
throughout the year. The
following members were
presented with certifcates of
appreciation: Larry Payne, Joe
Papania, Ron Calhoun, Rick
Gaffney, Leland Pennington,
Bill Pryor, and Don Hinton.
The theme for magician of
the month was magic with a
story. Chuck Arkin told the
story of a Paul a pretty tall guy
(bully) and Mort the short guy.
Mort was stretched tall and
Paul was feeling very small
after all. Joe Papania told the
story of St. Peters cross. The
spirit woke Scrooge up and
gave him a ticket with a stub.
He tore the stub into pieces
that spelled Hell, but the ticket
itself unfolded into a cross.
Ken Klosterman told a story of
a magician travelling through
Cincinnati a long time ago. He
and several others met with
Mark Weidhaas and Joe Cole
Tom Westerheide Performing at
Shriners Hospital
ASSEMBLY NEWS
MARCH 2011 13
him at the Sinton Hotel and
the magician showed them
how to disappear from a stage
using a handkerchief, which
Ken then taught how to do.
Larry Payne told the story of
a teacher who brought an old
box that contained the mother
of all diamonds, which the
teacher would show at the end
of the school year. One student
couldnt wait and knocked over
it and pieces of coal fell out.
The teacher showed how time
and pressure changed the coal
into diamonds proving that
patience is a virtue. Don Hinton
told a story about Santa Claus
wrapping presents and the
colorful paper magically trans-
formed into colorful confetti.
Charlie Cadabra told the story
of the emperors new clothes.
He humorously had a spectator
participate and magically had
the emperors beautiful robe
appear. The meeting ended
with refreshments and fond
memories of another successful
year for S.A.M. Assembly 11.
John Martini
Queen City Mystics, SAM
Assembly 11 generally meets
on the 2nd Friday of the month
at Haines House of Cards in
Cincinnati, Ohio.

16
TWO FIFTY YEAR
MEMBERS HONORED
AT ASSEMBLY NO. 16
WORCESTER, MA Today,
January 10th, 2011, was a day
for celebration for Assembly
16. We honored two of our own
special members for long-term
service in our society and our
assembly: Arthur Mayou, with
ffty-fve years of member-
ship and C. Parker Swan III
with ffty years of member-
ship. Special guests included:
National Dean George
Schindler, Past National
President, Most Illustrious
Bruce Kalver, Regional Vice
President Tucker Goodman,
Deputy of Western, MA,
Thomas Gentile, and two-time
Gold Award winner, George
Saterial.
Members and guests were
treated to a potluck dinner
provided by our members
and two special cakes with
edible photographs of Parker
and Arthur on each one.
Members were then allowed
to Walk Down Memory Lane
with Parker Swan as they
shared funny and interest-
ing stories about Parker from
their memories as they were
recorded on video. Several
members also took many pho-
tographs to record the activi-
ties.
DVDs of Parker Swan en-
tertained us while we watched
him in a 2001 interview with
Bruce Kalver and another of
Arthur Mayou performing his
dove act from his early career
were shown on the big screen
in the upstairs of the Magic
Barn. Afterwards, Parker and
Arthur were presented with
awards of recognition from
Dean George Schindler, Vice
President Tucker Goodman,
and Deputy Thomas Gentile.
The guests of honor were also
presented $50 gift certifcates
to their favorite restaurants.
Fran Flynn acted as the emcee
for the evening.
Ken Maynard had created
special portraits of Parker
and Arthur and everyone was
invited to sign the surrounding
mats, then the portraits were
framed and presented to the
guests of honor.
A big thank you goes to
Darlene and John Chumsae for
having the special cakes made
and to all those who worked
behind the scenes to make this
a memorable evening. Thank
you also to Peter Lentros for
providing the Magic Barn
for this special event. We are
always grateful to you! Ken
Maynard
Willard S. Smith Assembly
No. 16 meets the frst Monday
of the month except for July
and August at 6:00 p.m. At the
Magic Barn, Ashland, MA

19
LIVING MAGIC
DAY TO DAY
HOUSTON, TX Scott Wells
led our January teach-in as
he discussed magic goals and
plans for not only 2011, but as
a way of living our magic day
to day. He started by sharing a
piece from Wayne Kawamotos
Magic New Years Resolutions
for 2011. This is well worth
looking up and has some very
practical ideas. A nice looking
database from Bob Miller,
MagicBase Pro3, looked to be
very comprehensive and Scott
said he had been using it for
quite some time with good
results. You can track all of
your performances and ev-
erything that goes along with
it, from effects, fees, contact,
etc., to include just about ev-
erything. Also, a database in
which to keep up with your
magic library was also shown.
This was easy to use and a is
useful tool to help keep up
with the books in your library.
Overall, a nice presentation
packed into his allotted thirty
minutes.
The annual Holiday Party
hosted by Gene and Betty
Protas was a great success.
With a maxed out attendance,
great food, and camaraderie,
its a great event every year. We
want to thank our performers
for this month. They include
Scott Wells, Rick Hebert, and
Bill Palmer, who shared a
couple of new additions from
his outstanding Cups and Balls
Museum. You can visit Bills
museum at cupsandballsmuse-
um.com. We have some great
lectures coming up, including
Justin Miller and B Smith,
followed by Michael Ammar in
February. Check out the exact
dates and times at houston-
magic.com. We also have our
annual offcers inauguration
banquet on February 20. This
is always a well-attended event
and we are expecting another
large turnout. Of course, the
magic will be great. On a fnal
note, its great to have Chris
Williams back with us again.
After several months of not
doing so well, Chris is up and
around and looking just fne.
Miles Root
SAM 19 meets the frst
Monday of every month at the
IATSE Local 51 Meeting Hall,
3030 North Freeway, Houston,
TX. A teaching lecture begins
at 7:30 pm with the meeting
beginning at 8:00 pm.
21
BRIAN MILLER
LECTURES
HARTFORD, CT The club
was treated to a lecture by our
newest member and former
Buffalonian, Brian Miller. He
is taking this lecture on tour
and we were honored to see its
debut. He began with an intro-
ductory Sponge Ball routine
done for two spectators. He
then presented an essay dealing
with tricks vs. magic
and judging your success as
a magician. It had some very
thought-provoking ideas. He
then explained the sponges:
only three, plus a toy squeaker.
The third phase of the routine
is a variation of Coins Across.
Other highlights were: Experi-
mental Imagination, a trick
in which a card is signed and
lost, then found, and found,
and found, and found again
fnally in the card box; Copper/
Silver Simple, which used
multiple Bobo Switches; and
Chicken Bones, which used a
gimmicked deck that pretends
to be marked cards. A splendid
lecture that delved into the psy-
chology of tricks and into the
thought behind them. Recom-
mended to all our compeers.
Dana Ring
Bill Greenough Assembly #21
meets 2nd Monday (except
December) at Angelos on
Main in West Hartford, CT.
www.sam21.org
22
GLENN PARKER OPEN
IN LOS ANGELES
LOS ANGELES, CA The
January 17 meeting of
Assembly 22 was a unique and
special event for the Southern
California Assembly: the
Glenn Parker Open. Before
the program started, a number
of magic activity announce-
ments were made by members
regarding their upcoming per-
formances. A second reading
was also conducted for Henry
Springer, who was then unani-
mously elected into Assembly
22 membership. Congratula-
tions, Henry.
Glenn and Linda Parker
performed magic profession-
ally throughout Europe and in
Las Vegas and Southern Cali-
fornia during the late 1960s-
1970s. After Glenn settled
From left: Arthur Mayou, Dean
George Schindler, C. Parker Swan
III and MC Fran Flynn during an
awards ceremony.
Brian Miller emphasizes a
point in his lecture.
ASSEMBLY NEWS
14 M-U-M Magazine
in Southern California, he
became close friends with our
Assembly vice president, Jim
Callen. When Glenn Parker
passed away recently, Jim
helped Linda dispose of the
very large amount of magic
that Glenn possessed. During
several assembly meetings
last fall, most Assembly 22
members purchased some of
Glenns magic with all of the
proceeds going to Linda.
For the Glenn Parker
Open, ten assembly members
performed magic that came
from the Glenn Parker estate.
Attending this performance
were Linda Parker and her two
daughters and their families.
Jim Callen began the program
with a short biography about the
Parkers and their magic career.
Opening the show was the
Dean of our Assembly, Robert
Rodriguez. Robert displayed
his skills at card manipulation
and then performed a card rise
of three selected cards. John
Engman next performed Mis-
sissippi Poker. Jim Callen used
a jumbo 52-on-1 card gag and
then presented the six-card
repeat. Toni Perrine presented
a cute routine with a milk-
vanishing pitcher and paper
cone. Don Hallinger was the
ffth act and presented Make
the Cards Match. Doug Slater
did a split deck card trick and
an effect using picture cards to
tell the story of Harry Lime,
The Third Man. Our newest
member, Henry Springer, did
several card tricks from a book
he acquired: Paul Harriss Las
Vegas Split, Reset, and a rev-
elation of seven selected cards.
Intermission was enjoyed by
the exceptionally large number
of guests and members in at-
tendance. As always, Corrine
Murphy provided a large
array of foods and desserts.
The eighth performer was Jim
Milatello, who performed a
series of card effects including a
full deck to blank deck change.
Michael Perovich, always with
unique magic to present, did
Okitos Elusive (vanishing)
Lifesaver Roll and the Takagi
Blank Card Trick. Closing the
show was assembly president
Bill Yamane with a Dai Vernon
card effect, Taking It Easy.
Steven L. Jennings
Southern California Assembly
22 meets the 3rd Monday each
month at 8:00 P.M., St. Thomas
Moore Parish Hall, 2510 So.
Fremont Ave., Alhambra, CA,
Information: 213/382-8504
24
A VARIETY
OF MAGIC
LATHAM, NY Our January
meetings brought us into a
new year, and with it, the
election of our new offcers.
Congratulations to Joe Goode
(President), David MacDonald
(Vice-President), Bob Connors
(Treasurer), and Cory Haines
(Secretary). We are certainly
prepared for a bright future!
Once the elections were
done, it was time for the en-
tertainment, and our perform-
ers did not disappoint. David
MacDonald opened the show
with an energetic rendition
of the Hip-pity-Hop Rabbits.
Roger Morgan was next with a
grand money mystery based on
the classic vanishing $2.00. (I
noticed a review of a new book
discussing this very principle
in the January M-U-M.) Next
up, Joe Goode showed us
his new work on a retention
coin vanish with tremendous
potential uses. Cory Haines
then performed his rendition
of the classic Silas and the City
Slickers. Next, Eric James, our
resident stand-up comedian,
made us laugh with some
new material. David Clements
wowed everyone with a new
nesting boxes coin routine.
Norb Kosinski played with our
heads (and tails) as he predicted
not only a coin someone would
select, but whether it would
be heads or tails. Slydini then
astounded our eyes with a
beautiful visual silk dying
routine. Bob Connors shared
some history with us from
items he got from the New
England Magic Collectors As-
sociation. Pete Beebles closed
the show with some amazing
coin manipulations. Everyone
had a great time.
Jay Gorham Assembly 24
meets 2nd Tuesday at the
SW Pitts Hose Company,
Latham NY at 7:30pm,
www.sam24.org.
26
LECTURE
CITY
PROVIDENCE, RI As snow
moves into Rhode Island, we
are reminded of the furry of
lectures that have recently
occurred at the club. In a mini
lecture, Cameron Ramsay
taught the Vanishing Fire
Truck. Not to be outdone,
Zach Ivins demonstrated a
great four-Ace trick from Mark
Wilson.
Nathan Kranzo was kind
enough to stop by and present
his current lecture to the club.
With a warm smile and a great
sense of humor, Nathan opened
with his hilarious Thumb Tip
Silk Vanish. He followed with
a three coin effect, and Voodoo
card with the Haunted Pack.
Nates lecture was well paced,
allowing everyone in atten-
dance to follow along.
Next, a very strange ESP
trick was presented, in which
a thought-of card appeared in
Nates, um, fy. He explained
the method, and brought out
the Mene Tekel deck. Nate has
done a lot of research about
this forgotten trick deck, and
presented numerous effects
that utilize it.
Levent stopped by the club
as well, and presented his Fun-
damental Rules of Stage Magic
lecture. Having studied many
of the great stage perform-
ers, Levent has compiled this
extremely useful list.
To start, Levent offered a
short story and some important
words. You are the magician,
not the apparatus. Levent is
very well versed in the history
of magic, and was more than
happy to share his knowledge
of the art. His presentations of
Diminishing Cards and Long
Salt Pour were great.
Following these effects,
Levent gave a fantastic perfor-
mance with billiard balls. The
reactions from members and
guests were priceless. Levent
was nice enough to pass along
the secret location of the rules
on his Web site.
Many thanks to Nathan and
Levent for their great lectures.
Chris Natale
C. Foster Fenner, Assembly
26 meets frst Tuesday each
month from September to June
at 7 pm. American Legion
Auburn Post 20, 7 Legion Way,
Cranston RI
31
UN-GIMMICKED
DECKS
INDIANAPOLIS, IN
Januarys theme was card
magic, using un-gimmicked
decks. President Steve Spence
asked, If the public doesnt see,
why do we care? Responses
included one-up-manship, the
ability to do it with any deck, on
the fy, working with what you
have. The ability to be sponta-
neous when you are asked to
do something was mentioned.
If you have the capability, the
audience can tell, with multiple
examples cited.
Barry Rice did a diffcult
card trick, because usually
the performer either knows
what the card is, or where it is.
Taylor picked an unknown card
and revealed it to the group. Joe
Scott then selected three cards
from the face-up deck, from
which Barry discerned how to
fnd the chosen card.
Jay Newby had made a pre-
diction this morning. Mike
Engle told him when to stop
cutting the deck he was
shuffing. The card on top
was the Seven of Hearts. Jay
opened his prediction envelope,
sharing a photo of him from the
back, including the back of a
card. Then he showed a second
picture, of him smiling and
holding the Seven of Hearts!
Robert Higgins had a
card picked
and replaced,
shuffed the
desk, lost
the card, and
then found
it. Excellent
handling by a
young practitio-
ner.
Steve then
asked the card
sharps how
much time they
spend working Members of Assembly 26
Assembly 22 VP, Jim Callen and
Linda Parker holding a 1970
publicity photo of her and
Glenn Parker.
ASSEMBLY NEWS
MARCH 2011 15
on card tricks. Barry has decks
on his desk, and practices on
and off all day long. Taylors
wife didnt have cards in the
house growing up, nor did
Steve Spence. SYMers seem
to gravitate to cards, possibly
because of poker tournaments
on TV.
Barry shared his selected
card from mouth trick and
Taylor transposed the Aces
with the Jacks.
After that, everyone shuffed
off to go home!
Meets on the frst Monday
of every month at 7pm at the
Irvington United Methodist
Church at 30 North Audubon
Road, Indianapolis. About once
a quarter we have been meeting
at The Forum at the Crossing,
8505 Westfeld Crossing Blvd,
Indianapolis, IN.
35
THERES GOLD
IN THEM THAR
MAGAZINES
POUGHKEEPSIE, NY After
a few big meetings over the
last few months, it was nice to
have a more intimate gathering
focused on magazine magic.
Some may have expected a
lukewarm response to the
evenings theme, but it defnite-
ly ended up becoming an inspi-
rational evening. Our meeting
began with Joe Que showing us
a few of his nifty acquisitions
from Wolfs Magic and giving
all attendees a set of vintage
lecture notes passed along by
Zelig Hammer. Derrin Berger
showed us an amazing false
shuffe that came from the
pages of Genii magazine as well
as a few other nifty things. We
saw a great variation on a Nick
Trost effect presented by Frank
Monaco. Andy Weintraub
showed us a great ring on
string effect. Steve Johnson
brought an illusion he built
decades ago that still had a tre-
mendous impact on attendees
(partly because we couldnt
believe he kept it that long). We
heard about Ed Fitchetts ad-
ventures at an S.A.M. conven-
tion in Cuba a tale inspired
by a recent article in M-U-M
about Del Ray. Les Muldorf
displayed a great variation on
Out of This World with a story
line linked to the Titanic. After
a few hours passed, we came to
the same conclusion there is
an incredible amount of great
magic available the pages of
old (and recent) magazines. All
we need to do is spend time
thinking about how to make the
effect our own and create some
jaw-dropping magic. Thanks to
all of our members who shared
something this month it was
certainly a great evening of
magic. Craig Kunaschk
Al Baker Assembly No. 35
(usually) meets at 7:30 p.m.
on the second Tuesday of the
month at the Milanese Italian
Restaurant, 115 Main Street,
Poughkeepsie, NY. Check out
our website at compumagic.
com/sam35 to confrm time
and meeting location.
37
70
TH
ANNIVERSARY
DENVER, CO Newly
installed President Connie
Elstun acted as emcee, frst
leading the club in a moment
of silence for recently departed
Past President Earl Reum.
After a very funny video that
featured the newly installed
board of directors dancing
the Can-Can, we watched a
video from Past President Brad
Montgomery, who is currently
living in Mexico. Poker chips
miraculously jumped from
hand to hand and Brad didnt
use camera tricks I think?
After sharing some of their
memories, Bruce and Kitty
Spangler brought up the men
from the Wake clan to divide
great wealth in jewels as an in-
heritance. Im not sure how it
worked but all left fabulously
wealthy. See it does pay to be a
magic club member!
Dave Elstun remembered
joining the club in the early
70s when there was a strong
representation of members
from Boulder. Then Past
President Steve Aldrich (one of
the Boulder group) wowed us
with a miracle involving self-
untying handkerchiefs. This
too was presented via video as
Steve now lives in Montana. As
if it werent enough to have the
sitting president of the S.A.M.
at our meeting, past Mile High
and S.A.M. President Dan
Rodriguez wrapped up the frst
part of the evening demonstrat-
ing how we could learn to tear
up and restore a napkin sort
of! Then it was time for a 70th
anniversary cake. Magic has
existed in an organized form
in Denver since 1941, a fact of
which we are very proud.
Bob Larue was not able to
attend due to an obligation
to perform at a magic fund-
raiser, so he too sent a video
dazzling us with card ma-
nipulation. Jerry Stoll, our
long time treasurer, is also a
past president; he gave a rare
but memorable performance,
turning very large ones into
very large twenties. Chris
Manos was in grave danger of
destroying his wifes watch,
but with the help of a young
lady from the audience the
(Rolex?) watch was restored
and harmony was restored to
his marriage. Sharon Nuanes
tried to infuence the decision
of her young assistant, but
didnt succeed until she used
magic. She then wowed us
with a teacup and a ball. Past
President Gene Gordon, one of
our FFFF participants, fooled
me by turning a napkin into
an egg and cracking it open.
How did that happen? Then
he demonstrated how coins
could travel up his sleeve and
into a shot glass. Our incoming
vice president, who has also
served in our clubs top offce,
wrapped things up with a sur-
prising demonstration with
rather large cards.
Mile High Magicians meets the
2nd Thursday of each month
at 7:00PM Riverpointe Senior
Center 5225 South Prince St.,
Littleton, CO 80123-7772
50
WORKSHOP
TIME
NASHVILLE, TN Great
news: two of our members,
Shank Kothare and our
president Wayne Clemons,
won frst place for the stage
competition at the Magi-Fest
in Columbus, Ohio. They have
been working on this act at
our clubs meetings for several
months. The best part is that
our clubs works off the Bob
Fitch workshop theory. It is
safe to bring a trick or even an
act and work on it there. The
whole club then workshops
it, adding and taking out,
etc. The performers have the
right to ask for help, or just to
perform it without the worry
of someone taking your ideas.
If we see this happening, the
club will quickly get the party
that is in the wrong to change
their ways or fnd another club
to join. We have yet to run into
this problem. We feel proud of
Wayne and Shank in that they
have a great idea and we helped
mold it into a winning act. If I
know Wayne and Shank, I am
sure they are not yet fnished
working on it. Congrats to both
of them.
Mike Pyle, who has been
out for several months fghting
his own battle with cancer and
seems to be winning, attended
our club. It was great seeing
Mike even though no one could
touch him. Not like there is a
lot of touching at our meeting
anyway.
Justin Legend worked on
something, as did Tom Novelly.
Frank Deville, a new member,
showed up and not only work-
shoped something, but was
also a great help to all that
did workshop. Jason Michael
and Stephen Bargatze were
also there as a panel to help
workshop material.
Kevin King from Nashville
was also a guest and he did his
new version of Hippity-Hop
Rabbits. Kevin makes all of
his props at his parents house
with the help of his father. We
know that Kevin is over ffty,
but it great seeing him and his
family still working on magic
together. Kevin has plans to get
his own place soon with a room
he said, in the back to do his
birthday party shows. We wish
him all the best of luck.
Assembly 50 meets third
Tuesday of each month.
President is Wayne Clemons
616-418-4635. We meet at
Woodmont Hills, Church of
Christ, on 3710 Franklin road,
Nashville, TN 37204.
52
WHAT I GOT FOR MY
MAGICAL CHRISTMAS
SAN ANTONIO, TX January
7, 2011, Brother John Hamman
Assembly 52 held its monthly
meeting at La Madeleine
Restaurant. President Don
Moravits called the meeting to
order. We had eleven members
present tonight, along with
three wives and seven guests.
Welcome to guests Dan
Nicolella, Nick Nicolella, Joyce
Stewart, Parker Cevallos,
Jennifer Webb, David Pitts,
and Chuck Neubert. Tonights
theme was What I got For
SAM Past National President Dan
Rodriguez who just recently moved
back to the Denver area.
ASSEMBLY NEWS
16 M-U-M Magazine
My Magical Christmas. Don
Moravits started off by per-
forming Daryls Hole Card,
followed by guest Chuck
Neubert and Rocky Raccoon
impersonating the University
of Texas Football Team. Rocky
Raccoon made a second ap-
pearance when Ray Adams
enlisted Rocky to fnd a spec-
tators selected card. Joe Libby
entertained us with his version
of the Insurance Policy, and
Doug Gorman performed the
card effect WOW by Masuda.
Michael Tallon closed the open
performances tonight by en-
tertaining us with Sammy the
Snake.
Brother John Hamman
Assembly 52 meets at 7:30
p.m. on the frst Thursday of
the month at La Madeleine
Restaurant, located at 722
N.W. Loop 410. The res-
taurant is inside Loop 410
on the access road between
Blanco Rd. and San Pedro.
For more information, contact
[email protected].
56
CATCHING
UP
DAYTON, OH Our October
meetings them was Anything
That Will Bum-Squabble.
The assembly was entertained
with performances by Mike
Herrick, Scott Miller, Oran
Dent, and Craig Morgan. Jeff
Porges caught us up on his
China trip, his girlfriend, and
his future China trip.
The theme for our
November meeting was Being
Thankful. We all shared what
we are thankful for this year.
Dave Davis, Carl Day, Oran
Dent, Scott Miller, and Craig
Morgan also treated us to some
fne magic.
Assembly 56 and Ring 5 co-
sponsored a show and lecture
by John Calvert on Saturday,
December 11. I was unable
to attend, but I hear it was a
fantastic time! What else could
we expect from John Calvert?
Our annual Christmas
banquet was held at the
beautiful home of Jim and
Pam Rawlins. Mark Comley
put on a great show for
our compeers and guests!
Paul D. Burnham
Dayton, Ohio, Assembly 56
meets third Friday at 7:30 p.m.
Location varies, so call Barb
Pfeifer for information: (937)
433-8604.
59
PORTLAND PACKS
POST-HOLIDAY PUNCH
PORTLAND, OR After the
holidays January, frankly, can
seem pretty dull, but not among
the members of Assembly
59 in Portland, Oregon. The
frst month of the year is when
we hold our annual banquet,
introduce new offcers, present
awards, and conduct the Stan
Kramien Excellence in Stage
Magic Contest.
The Annual Banquet is
a stylish affair and on this
occasion was graced by the
presence of the Most Illustrious
Mark Weidhaas. This years
menu was catered by member
Kim Cramer, who, with a spell
from her magic cookbook,
conjured a culinary feast.
Mark Weidhaas presented
presidential citations to
Michael Roth for current
efforts to better the northwest
region of S.A.M., Duane
Duvall for ffty-seven years
of continuous, unbending
service and support of SAM,
and Tom Waldrop for extraor-
dinary support and service to
Assembly 59 and local S.Y.M.
assemblies.
Next were the Assembly 59
awards. Gregg Jacot received
a plaque for Outstanding
Service as Treasurer (10 years),
and Tom Waldrop received
a plaque for Outstanding
Service as Secretary (5 years).
Tom also received the Sorrells
Service Award. David Lemberg
(The Magician Who Cares) was
presented the Entertainer of the
Year Award and Glen Bledsoe
the Most Improved Performer.
This was the ninth year of
Stan Kramiens Excellence in
Stage Magic Contest and the
audience witnessed a wide
range of miracles every-
thing from foating wands to
a lady (in fact, this reporters
wife) being sawn in half. Grey
Lerner came in second place
with an act that included ma-
nipulation of golf balls. The
winner, however, was newly
elected vice-president Danny
Schreiber aka Professor
D.R. Schreiber. The Professor
and his lovely assistant Nicole,
dressed in full Regency
costumes, performed magic as
it would have been witnessed
in 18th century Europe. Other
acts included Mel Anderson,
Tom Waldrop, Eartha Green,
Larry Seymore, and Dave and
Helen Emery. The emcees for
the evening were Tom Cramer
and David Lemberg. Donna
Krewson stood in for Stan
Kramien, who was unable to
attend.
Id say everybody went
home dazzled, full, and tired,
and they slept well. On the
26
th
, Assembly 59 met at our
usual digs in the Friendship
Masonic Lodge, where after
a stimulating lecture by VP
Professor D.R. Schreiber and
ShowTime Parlor/Living Room
magic presentations by Art
Manning, Danny Schreiber,
Mel Anderson, Tom Waldrop,
Randy Stumman, and Tom
Cramer, we welcomed two
new members to our ranks:
Neen Fitzwalter and Brian
Brooks. Glen Bledsoe
SAM 59 meets on the
fourth Wednesday of each
month except Jul/Aug/
Dec at Friendship Masonic
Lodge, 5626 Alameida
Street, Portland, OR. Details at
www.sam59portland.org
88
IMPROMPTU
MAGIC

ANN ARBOR/YPSILANTI, MI
Another new year! It looks
like a busy start for the Ann
Arbor Magic Club.
Well have a lecture on
February 9 by Bobby Maveric;
on March 20 we have our
annual banquet; and then on
March 26 our club has a paid
show for the Allen Park High
School.
This months meeting was
on impromptu magic. Our
treasurer, Marvin Mathena,
brought in a box of everyday
objects. There were poker
chips, safety pins, beads, play
coins, strings, etc. All we
had to do was look over the
objects and do a magic trick
with whatever we had chosen.
I started out with a couple
rope tricks, using string. Tyler
Sousa found a lot of the objects
to use, from vanishing coins to
card fourishes. Ken Magee did
a color change with some white
and red balls, in which the
white ball ended up in his cap,
then into a members jacket
pocket. Marvin Mathena had
a nice poker chip routine and
a good three-color-beads-on-
safety-pins trick. There were a
few more tries that didnt work
out, but still just for fun. All in
all, a great way to start off the
year! Randy A. Smith
Assembly 88 Meets second
Wednesday at 7PM at the Faith
Luthern Church, 1255 E Forest
Ave, Ypsilanti, MI. Randy A.
Smith, Phone: 313-562-3875
Email randy.remarkable@
gmai l.commai lt o:randy. re-
[email protected] or visit
www.aamagic.org for more
details.
94
OUT WITH THE OLD,
IN WITH THE OLD
PALO ALTO, CA Our last
meeting of 2010 featured a
viewing of selected videos.
We watched performances
of Chris Capeharts Misers
Dream, Richard Osterlinds
Radar Deck and Thought Scan,
and Six-Card Repeat, Profes-
sors Nightmare, and Card on
Forehead by Michael Finney.
Then John Jones started the
performances with a Triumph
type of effect. Ken Gielow
had spectators select pairs of
envelopes with ESP cards in
them; each pair of envelopes
contained a pair of matching
cards. Len Hallendorf
performed a three-phase Book
Test with The Lost Symbol by
Dan Brown. Kim Silverman
showed a card routine in which
a chosen, signed card was
found repeatedly by two other
cards; to fnish, the signed
card was shown to have been
stuck on the wall since the
beginning. Arthur Hastings
had a card, a number, and a
persons name chosen by spec-
tators, then used the cards to
spell the name to arrive at the
chosen card. Steven Austin
ended the night for us with a
magical, musical piano effect.
We kicked off 2011 with Old
School Magic, performances
of effects at least ten years old.
Kim performed the second
phase of Tarbells Egg Bag
routine, using a Tarbell-style
bag. Stan Sieler performed
Grandmothers Necklace,
which can be traced back
to The Discoverie of Witch-
craft. John Signa performed a
card routine based on Simon
Aronsons Shuffe-Bored. John
Jones presented Catching Five
Coins from T. Nelson Downs.
Arthur Hastings showed how
he uses the Kick Cut in an ex-
planation of how magicians
can fnd cards. Ken Gielow
presented an effect by Larry
Becker and Lee Earle. Kent
Professor D.R. Schreiber accepts
the Stan Kramien Excellence in
Stage Magic Award.
ASSEMBLY NEWS
MARCH 2011 17
Gunn showed the frst real
card trick I ever saw, a Cutting
the Aces routine. Phil Ackerly
showed us Post-Card Predic-
tion, an effect he had published
in Genii in January 1992, based
on the McCombical Deck. Phil
also performed a new presen-
tation for a Ring and Rope
routine from Earl Nelsons
Variations.
In the second half, Kim
Silverman performed the Bow
Knot, sliding and removing
the knot. Then he did Pavels
Jumping Knot (with addi-
tional moves by Daryl). Alan
Leeds did Silk to Egg as a Do
As I Do routine. Perry Yan
did Crazy Mans Handcuffs,
linked one blue and one white
band instantly, and created
various shapes with the bands.
Phil Hensler performed Sleeve
Aces from Variations, a pro-
duction of the four aces. Mike
Toy made a selected card
disappear from the deck. Joe
Caffall, Secretary
Assembly 94 meets at 7:30
PM on the second Monday of
each month. We are currently
seeking a new meeting place
for 2011. Email jocaff@
pacbell.net for info. Meetings
are preceded by a Learners
Workshop at 6:30.
95
VANISHES AND
PRODUCTIONS
VANCOUVER, CANADA
The January, 2011 meeting was
held at the condo common room
of Juan and Marcia Garcia
in Vancouver, BC. Due to a
surprise snowfall, the turnout
for this evening was particu-
larly low. However, after some
nice hot snacks prepared by
Marcia, the brief evening of
magic involving vanishes
and productions began. Lon
Mandrake started off with
a thought-of card by Marcia
that vanished from one packet
of cards and was produced by
Lon from another packet at
a different location. Dennis
Hewson vanished a normal
penny, and produced a jumbo
penny that he then transformed
into a medium penny. Henry
Tom vanished a rubber band
by melding two bands into one
and then performed a broken
and restored rubber band.
Juan Garcia placed paper clips
into a chick pan that vanished
at the same he produced a
long steel chain from the
pan. Rod Chow fnished
by producing a chocolate
bar from a silk and then
vanished it back into the silk.
Rod Chow
The Carl Hemeon Assembly
No. 95 meets the frst Tuesday
of each month at members
homes.
112
AWARDS
BANQUET
CONCORD, CA We had a
good turnout of forty-three
guests in January for our annual
awards banquet (this year at
the Walnut Creek Elks Lodge),
with a theme of White Wizards
Ball. Our special guests were
Alex Ramon, the magical ring-
master for Ringling Brothers
Barnum & Bailey Circus, and
Jay Alexander, the emcee of
our Rock and Roll Magic Show
II.
We received and gave out
over $1500 worth of raffe
prizes, which were gener-
ously donated by Paul Gross
of Hocus Pocus, Ric and Kara
Ewing, Dan Del Bonta, Lee
Grabel, Jay Alexander, and
Stevens Magic Emporium.
After recognizing our two
special guests, we inducted
Stan Riddle (posthumously),
Loren Lind, Leroy Goode-
nough, and Bob Steiner as the
frst members of our newly in-
stituted Wall of Fame. (More
information is available on the
assembly Web site.)
Then President Doug
Kovacich presented a Rock &
Roll Magic Show I & II thank
you to Ric Ewing. Other Rock
& Roll Magic Show II ac-
knowledgments went to Joe
Biernacki, Scott Alcalay, Dave
Anderson, and Kara Ewing.
Roy Porfdo was recognized
for coordinating the First
Annual Labor Day Magicians
Picnic. And Bob Holdridge and
Rudy Adamek were recognized
for their work with our Trick of
the Month.
And then we found out who
had won Magician of the Year.
It was a tie this time between
Rick Allen and Dave Anderson.
The newly instituted Magic
Chalice award for participation
and performances at meetings
went to Doug Kovacich and
Bob Holdridge in another tie.
Performers who had won
Wizard trophies during our
annual competitions received
those trophies at the banquet.
At that point, Mike Stroud,
assisted by Magic Genii and
Alela, entertained us with
spectacular magic. He started
out performing a wonderful
face-mask-changing routine
as Majinga, his Chinese-style
magical persona.
He also performed a variety
of egg productions, culminat-
ing in the production of one
large egg that hatched into
a very large chicken. Other
routines included a very im-
pressive medley of card
fourishes, his version of the
Indian basket trick, the sword-
through-the-neck trick, and the
production of a myriad of fags
from a small trunk.
All in all, the banquet
was a very fun event as
the result of the hard work
of many members, terrifc
raffe prizes, great decora-
tions, and a topnotch show by
Mike Stroud, the prospective
emcee for our upcoming 2011
Rock & Roll Magic Show III.
Dave Anderson
Diablo Assembly No. 112
meets third Wednesdays at the
Round Table Pizza 2960 Treat
Blvd., Concord, CA 94518.

118
OPEN HOUSE IN
NASHUA
NASHUA, NH On January
9, 2011, members of Assembly
118 held an open house at
the Nashua Public Library.
Lord BlackSword (Joseph
Caulfeld, Esq.) recounted
the tale of Duke Verona, whose
compassion was so great it
survived across the ages. Then,
Lady BlackSword (Kathy
Caulfeld) demonstrated the
preternatural abilities of her
Incredible Mind-reading Dog,
Baxter (Baxter) who, even
when blindfolded found the
card with a picture of a bone,
from among the other cards
held high by the children in the
audience.
Bob Bodman shared the
diffculties a piece of rope
presented and exactly how
those spots multiply on that
card.
Don Sanborn demonstrat-
ed his psychic abilities with
cards and then taught several
magic effects to the audience
with the hope that they would
continue their learning by
joining the S.A.M.
A contest was then held for
the amateur magicians in the
audience with cash prizes being
awarded the winners.
Ken Wilson
Walter Gibson Assembly #118
meets the third Wednesday
of the month at 7:00 p.m. at
the Nashua Church of Christ,
97 Farley Road, Nashua, NH.
http://sam118.com
120
SNOWY
MEETING
CHAMPAIGN, IL The
December meeting found us at
the beginning of a snowstorm,
but that couldnt dampen the
spirits of those made it in. This
is always a lot of fun and they
really appreciate our coming
over
After the VA show, we
will head east to Covington,
Indiana, for lunch at the Beef
House with the Indianapolis
group. I imagine that will be
a load of fun as well as very
tasty.
Pedro did our DVD review
this month giving Armstrong
Card Magic two thumb tips up.
It is a three-DVD set.
In Tales from the Trenches,
Andy discussed his concept of
a False Start to a show. This is
a bit of show before the show
to change the dynamics of the
performer/audience relation-
ship. This brought about a lot
of interesting ideas, comments,
and questions.
Andy also discussed
Close-Up Card Magic by
Harry Lorraine. A great read
with some great tricks in it.
Chris showed us a program
he bought called Magic
Database, which catalogs ev-
Juan Garcia and his own built
custom table producing a chain
from the chick pan.
Majinga, assisted by Magic Genii,
produces a chicken.
ASSEMBLY NEWS
18 M-U-M Magazine
erything you have. He is very
happy with it.
In the magic portion of the
evening, Paul discussed his
Card in the Balloon routine and
some problems that may arise.
He also did his version of Color
Monte. Pedro did a nice version
of a selected card turning face
down in the deck.
The idea was brought up
that at each meeting, a card
move be taught and practiced
with variations. This would
allow us to improve or increase
our skills and techniques.
Ken Barham
Assembly 120, Champaign, IL
The Andy Dallas Assembly
meets the third Wed. 7pm,
(except Nov. and Dec.) For
location call Chris at 217-431-
4791 or Ken Barham , 2318
Winchester Dr, Champaign,
IL 61821 - 217-841-5616 email:
[email protected]
129
JANUARY
MEETING
PENSACOLA, FL The
January meeting got off to a
great start with member Gene
Burrell conducting a teach-in
and sharing with us some of
his seventy-eight years of
knowledge.
The business meeting was
called to order with thirty-
three members and guests,
welcoming our newest member,
Noelle Paige, and our new
youth co-coordinators, Nathan
Nickerson and Beau Broomall.
The club made another
purchase of raffe items from
David Ginn. Thanks, David.
Februarys theme is Work
in Progress (tricks you are
currently working on), March
is our annual open house (all
are welcome). Bill Mikulas will
be doing mini lecture on a date
to be announced. The Round
Table has returned to Oscars
on Saturdays at noon. Charles
Moody donated magazines to
the members.
Al Grimm suggested we
start planning for this years
Christmas Party. Tony Miller
gave out a few magic gizmo
prototypes to a few members to
try. Beau Broomall volunteered
for the teach-in for February.
We held our raffe with about
ffty-fve items; the winners
got some cool stuff. Thanks
to all who brought the refresh-
ments! After the break we had
a creative magic show. Six
members volunteered and were
given a bag with various items
and were told to come up with a
routine with the items. Nathan
Nickerson, Beau Broomall,
Brian Drake, Al Grimm,
and Parry Vath all came up
and performed wonderfully
creative acts. Wow, what imag-
inations. Up next, the theme of
the night will be Gadgets and
Gizmos. Isaac Brady, Bruce
Walstad, Al Grimm, Gene
Burrell, and Nathan Nickerson
all shared some strange items.
Bill Metsch
The Gulf Coast Magicians
Guild Assembly 129 meets the
3rd Thursday of the month at
the Bay View Senior Center,
Pensacola, Florida. At 6:45
pm. Contact: Secretary Bill
Metsch- [email protected]
131
FOOD, FUN,
FELLOWSHIP
DANBURY, CT 2011 starts
with the annual January
holiday dinner party at the local
Steak House with spouses,
friends, and other guests.
December is such a busy
season for our working
performers that the new
year provides the perfect
welcome to our partying.
The stellar entertainers for
the evening were presented by
our genial emcee, Assembly
131 President Walter Burrows.
Bob Able (in full evening
attire) opened with a showy
production from his top hat,
vanished his pet dove, produced
a melody of colored silk hanks
from an empty wooden box,
and vanished a pitcher of water
in the Telegraph and brought
it back in an instant. With
the help of Kellie Mohan he
presented the Houdini needle-
stringing miracle as his fnale.
Past President Dick Kohfeld
brought us a gem of a card
effect starring Gale Alexander
as the spectator who tagged the
missing King in a merry case
of deuces wild. Des Desmond
presented a trio of effects,
including an appearing wand,
Blackstones Vanishing Horse
(solid state anecdote), and
Herkimer the invisible church
mouse, who not only untied the
hanks, but tied one on.
Russ Strasburger brought
us the exploding wooden
piggybank box direct from his
workshop. Mo the Magician
(Kevin Mohan), returning to
the club spotlight after a near
decade of wandering wizardry,
brought us open fames, a
clever signed card to water
glass (from his restaurant rep-
ertoire?), and following a few
deft fourishes with the deck
of cards, moved into a golf ball
manipulation routine. Kevin
was welcomed home to 131
with much appreciation for his
skillful artistry.
More suave dexterity was
the mark for Tony Spero as he
wove a magical mystery with
two solid silver rings which
linked and unlinked at his
wish, with ringing tones, as
well as in complete silence. We
loved it.
In an abrupt change of
pace, Gale Alexander, our
resident mind freak, took
us on a tour to the edges of
belief and psycho science as he
presented magical applications
of Las Vegas Pulse Reading.
Gale was able to identify truth
from fction using only a deck
of cards and the human pulse.
Gale concluded his stint, and
our holiday magic party by
reading in thoughtful suc-
cession a handful of freely
chosen cards (15 or 20) held
by Kellie. A fne time was had
by all. Food, fun, and friends
ingredients of our holiday in
January.
Danbury Top Hatters
Assembly #131 meets the third
Monday, 7:30 p.m.; United
Methodist Church (downstairs
at the back), Clapboard Ridge
Rd. (North at Exit 5 off Rt 84),
Danbury, CT President: Walter
Burrows, 4 Hawking Ave., S.
Norwalk, CT 06855. 203-838-
9808.
138
BIZZARO
LECTURES
FORT WORTH, TX Our
January, 2011, meeting featured
a lecture by Bizzaro. There were
thirty-eight people in atten-
dance. Sergeant at Arms Logan
Stadtman started off by intro-
ducing our guests. President
Bill Irwin made several an-
nouncements including talking
about a special show put on in
Roanoke that featured John
Hatzenbuhler, Hal Hudgins,
and several other members
of the Fort Worth and Dallas
magic clubs. Ash Adams made
announcements regarding
the Lone Star Magic Auction
on February 19. Aaron Stone
shared his experience of going
on the road with a traveling
illusion show. We had several
new members perform their
qualifcation acts including
Michael Rubino, Brendan
Hartman, and Tommy Garbin.
Ash Adams shared a book and
told the interesting story of
Stewart James.
Dallass own Bizzaro
was in town and shared his
fantastic lecture. Most of his
show involves comedy and
his lecture was just as funny.
He showed a quick gag using
a sixth fnger. He performed
Foiled Again, in which he
peels back a foil wrapper off
of a metal jumbo coin and
the coin looks like chocolate.
The wrapper is sealed back in
place and the metal coin can
be handed out. He showed us
a card effect he calls Babys
Got All-backs, that is a logical
All-backs card trick. Part of
this trick is an original move
to spin a card around to reveal
a chosen card. Next Bizzaro
shared his original Color
Changing Sponge Ball routine.
This is a must-have gimmick
if you perform sponge balls.
He showed us another card
trick with some great Sharpie
gimmicks, an original spring
move, and a card control. Next
was Non-Toxic, which is a glue
bottle that looks like you are
pouring glue out of the bottle,
but is completely safe and
non-toxic. Last for the per-
formance part, Bizzaro showed
us his appearing and vanishing
bottle that is very inexpensive
to make and totally fooled us
all. This uses a regular glass
bottle, but you would swear
its a Nielsen! The second part
of his lecture was a talk on
creativity and character that
was very inspirational. Much
thanks to Bizzaro for sharing
his time and years of experi-
ence with us! Albert Fox
Bruce Chadwick SAM
Assembly 138 meets on the
frst Thursday of each month at
7:00 P.M. at the Tarrant County
College River Campus. See
fortworthmagiciansclub.org for
more information.
146
ALAIN NU
LECTURES
CHESAPEAKE/NORFOLK,
VA Septembers meeting
was devoted to Alain Nus
new mentalism lecture. Using
subtle techniques rather than
apparatus or sleights, Alain
seemed like he really was
reading minds, divining words
selected from a book, and
making spoons bend mys-
teriously. Going beyond the
mechanics of his magic, he
made sure we understood the
performing conditions for each
effect and its place in a show
(closer, etc.). No wonder the
lecture drew Ed Fowler (who,
as E. Raymond Carlyle opened
the Sance Room at the Magic
Castle) and other members of
ASSEMBLY NEWS
MARCH 2011 19
Elders East to see Alain lecture
on frst-rate material, much of
which is in his current act. .
The following months
featured magic with Dave
Rosado, Ney Austin, Wayne
Taylor, and Paul Creecy per-
forming spooky magic in
October and general magic
in November. Both of these
sessions quickly became
teach-ins for our youngest
member, Caleb Cherry. With
coaching on everything from
how to improve performance of
sleights to how to connect with
the audience, these sessions
provided invaluable lessons for
Caleb and demonstrated the
value of coming to assembly
meetings.
Although Decembers snow
cancelled that meeting,
January witnessed a warm
welcome back for Christopher
Sharp and his fanc, Mandy.
Pauls story of twins (Queens)
using only four cards and his
handling of a transposition
that David Blaine presented
in his frst TV special were
amazing. Even more amazing,
he taught us his unique top
change and gave tips on how
to present this miracle. Wayne
baffed us with an Oil-and-Wa-
ter effect with the four Aces,
a Triumph effect, two egg bag
quickies, and he showed new
decks from his collection of
playing cards. Ney discussed
some Valentine routines for
the egg bag, and demonstrat-
ed how spirits turned an old
key placed in Mandys hand.
Daves use of a Jim Page
Portable Stage sparked a dis-
cussion of the clip-on device.
Chris performed Dr. Dalys
Last Trick. Now that he is
returning to magic, we also
discussed the sorts of magic
he might choose, not only
in terms of his likely target
audience but, as Dave stressed,
developing a likeable magic
character, a piece of advice
Dave has already taken to heart
in his weekly performances
at a nearby Chilis restaurant.
Dr. Bob Albertson
Assembly 146 meets 3rd
THURSDAY 7:00 p.m.,
Hyatt Place Hotel. 709
Eden Way, Chesapeake VA
23320. Contact: President
Paul Creecy [email protected]
757-724-5483 www.sam146.
com
157
TAKING CARE OF
BUSINESS
BEAVER, PA The Mystic
Magicians of Beaver Valley
(Assembly 157) had several
items to develop and take care
of. David Bowers, Regional
Vice President of Mid-Atlantic
States for the S.A.M., visited
the meeting, detailing 2011
convention plans and suggest-
ing a shuttle service to/from
the airport for conventioneers.
New jackets were distributed.
GPMN banquet reservation
forms were available. Dis-
cussion was done on badges
for local members for the
convention and getting the
club brochure printed. The
Riverside HS fundraiser is
coming together. 2010 Awards
were presented. The Morrison
Award (most points for a
members participation): 3rd
Doug Ries, 2nd Don Moody,
1st Eric Davis. Bert Pickard,
Jr. Award (extra effort award):
Judy Steed.
Tom Chidester emceed
the performances. Don
Moody presented two
things he put together. Quad
Penetration has a book, two
rings, and two ropes that all
become entwined when ropes
are pulled. His other effect was
the Ghost Catcher, which is a
box in which marshmallows
are placed and when opened
has a cage with a ghost inside.
Rich Howard did a packet
trick with fve cards in which
he had a participant chose the
cards, remember one, and Rich
found the chosen one. Doug
Ries presented a gospel trick
with twelve cards depicting
various religion idols. Jim Tate
pulled sponges from the ear
of a participant, causing them
to disappear and appear in
various ways. He then showed
a card with a top hat that
kept producing bunnies. His
magical Elmers glue helped
him keep his teeth in and his
hat on his head. Eric Davis
showed a set of blank cards to
a participant. In his movements
with the cards a bear appears
and disappears. At the end it
ends up on the back of the par-
ticipants hand. Frank Kietzke
had a participant place three
scarves into a velvet bag.
When they pulled one out, it
was a mismatched fag. He did
it again and it was the real fag.
Judy Steed
The Mystic Magicians of
Beaver Valley (#157) meet
the second Thursday of every
month at the Towne Square
Restaurant in Beaver, PA.
170
THE SHOW
WENT ON
COLORADO SPRINGS, CO
VP Jamie Doyle started the
meeting with a vote to hold
the Clubs fea market in the
following month. We also in-
troduced a Members Matrix,
where each month different
members will share their
insights in a variety of magical
subjects (newest magic trick,
favorite magic book, teach a
trick, magic magazine article,
explain a gimmick, a magical
memory, and a master of cer-
emonies for the sharing).
The show had each of the
past offcers performing a
short routine while Jamie, as
emcee, kept the show on track.
Dick Bowman described a ma-
gicians competition in which
rings jumped onto ropes in
increasing diffculty. Dave
Wintermute donned a wizards
cap and cape to perform his
Book of Spells, in which the
spelling of words created
startling effects. Frank Klein
performed an Enveloped Card
Prediction and Tamarizs
Rabbits, a packet trick, for our
young guest from S.Y.M. Chris
Faria did church mentalism,
in which a volunteer was told
which religious object he was
thinking of. Chris followed
this with a quadruple card pre-
diction.
After the show, the learning
began. Each of the presenters
taught the rest of us how to
perform a few tricks from their
show. Dick described a few of
the ring on rope moves, such
as how to get the ring into a
loose knot and then a tight knot
that is already in the rope. Dick
also taught us his Poor Mans
Hundi-500 approach, in which
various small bills are substitut-
ed for the $100 bills. The cost is
reduced from over $500 to less
than $200. Dave taught his Pick
Sticks effect in which a chosen
number from four different
Popsicle sticks (each with
eight numbers on them) can
be correctly discerned. Frank
taught us how the Enveloped
Prediction Card could always
match a freely chosen card.
Chris taught the Tri-Mental
Effect (read this in your past
M-U-M) in which three people
have their cards discerned in
successively diffcult manners
and then a prediction at the end
that matched all three chosen
cards. Our emcee, Jamie, also
explained some of his between-
presentation effects such as his
Magicians Challenge, in which
a silk-in-the-fst routine is
twisted into a silk in a pill bottle
routine. He also explained Co-
lombinis Rope Puzzle effect to
our S.Y.M. visitor.
SAM Magical Assembly 170
is the Pikes Peak Prestidigita-
tors and meets 4th Tuesday
monthly in the Community
Room at Sand Creek Police
Dept - 4125 Center. Park Dr.,
Colorado Springs, CO 80916.
172
SCIENCE
IN MAGIC
PORT ST. LUCIE, FL After
our usual business and our
50/50 deal, we welcomed and
inducted our newest member,
Robert (Bob) Wheeler. Always
a pleasant job!!
Our president Ed (Edmund
Malinowski) was frst up with
his fne presentation (of the
announced subject) science in
magic, and vice versa.
Ed spent a large part of his
working career in a northern
university studying and
teaching chemistry and elec-
tronics as applied to things
nuclear. He achieved the title of
Professor, which we are sure is
no small task for anyone. I will
not even attempt to cover any
part of his presentation, except
that he was a research associate
in the magnetic resonance
laboratory. He brought several
interesting things to show us,
all related to his knowledge of
this subject. He started a small
metal top spinning on top of a
small plastic box that contained
an electro-magnet; the top kept
spinning all during his presen-
tation. He also demonstrated
the effect of static electricity
by holding a small light bulb in
his bare hand, which lit up as
he shuffed his feet across the
carpet.
Danny Eisen was our frst
performer after Eds lecture,
doing what he does best a
card effect. He was able to
pick out the two cards chosen
by a spectator from a number
of cards laid out. Then new
member Bob Wheeler, using
his mental powers, picked
out a card chosen by a spectator
from sixteen cards placed on
Alain Nu lectures
ASSEMBLY NEWS
20 M-U-M Magazine
the table. Well have to watch
what we think in front of that
guy!
I was next up showing
Chinese Sticks, two sticks with
a cord running through each
end. But when one of the cords
was cut in the middle between
the two and touched with a
magic wand, it was magically
restored! That particular device
was invented by and made by
Al Letize, a former member
of our assembly, but now
deceased. Following the usual
after-meeting discussions and
the friendly camaraderie, plus
the announcement of a heavy
storm approaching from the
west, we called it quits for the
night and hurried home.
Alan Greenwood
Come see us!! We meet
on the fourth Tuesday of
every month at St. Lucie
Lanes--on U.S. 1 in Port St.
Lucie--at 7:00 p.m Contact:
[email protected]
181
JIM STRAUB
LECTURE
HIGHTSTOWN, NJ
Greetings from snow bound
New Jersey! Our January
meeting was well attended as
members and a few new faces
turned out for an excellent
close-up lecture by Jim Straub.
Jim is one of the best, unsung,
close-up guys on the East
Coast. His rapid-fre delivery,
timing, and steady patter keeps
him one ahead (or better) of the
spectators. His humor covers
his misdirection and he is a
delight to behold. In his lecture
he teaches a lot of non-complex
tricks, largely cards. He did
touch on some coin work as well
as a routine using cups. There
are no complicated moves or
sleights, but he does show how
patter, timing, and misdirec-
tion are used to create magic.
Unlike a lot of card guys, Jim is
very entertaining. As he stated
at the beginning of the lecture,
everything he shows can be
easily learned by everyone in
the audience. He sells an $8
homemade DVD that serves as
lecture notes, which people can
use to learn the tricks. Between
a full-time job, family, and
magic gigs, Jim is a very busy
guy, but if you can get him for
a lecture; do it!
Rich Westcott, former
member and President of SAM
181, attended and had more
magic stuff to sell/give away.
Rich is retiring to Ecuador to
practice his double lift and sip
screwdrivers on the beach.
We signed up two new
members: Harry Anderson
(no, not the Night Court guy
from Ashville, NC) and Luba
Dziubas, mother of Magic
Mike. We have our laugh
track back! Before Magic Mike
was old enough to drive in NJ,
Luba would bring Mike to our
meetings. Luba loves to laugh,
and of course, magicians love
to get laughs. Welcome back
Luba; we hope we see a lot of
you.
Assembly 181 meets on the
frst Thursday of the month,
September thru June, at the
Hightstown United Methodist
Church, 154 Stockton
Street, Hightstown, NJ. For
more information or direc-
tions, visit our web site:
magicsam181.com
184
JANUARY
MEETING
ISRAEL The joint monthly
meeting of the Holy Land
Assembly 184 and the Israeli
magic society took place on
January 11 in Tel Aviv Mofhet
hall.
The meeting was opened by
Izyk, who performed a mental
routine, fnding a chosen watch
and a chosen city name.
Yaron Frezi gave a most in-
teresting lecture on presenta-
tion.
Molik did a comedy
mental exam show; he found
the volunteers chosen juice
and gave him the orange juice
bottle.
Our guest, John Woolfson
from NY, performed a family
show. John performed a
splendid routine with an egg
and a chicken, a silk to a vodka
bottle, and fnding and cutting
chosen cards from a newspaper.
After good food and dealer
shopping, we fnished a very
lovely magic meeting.
Yosi Notkowitz
188
COLORFUL
MAGIC
OREM, UT The January
2011 meeting was called to
order by Assembly Secretary
Al Lampkin, who explained
President Kerry Summers was
held over.
The theme was color, but
since Al Lampkin was sick in
November, he insisted on doing
the routine he wrote for that
month when Thanksgiving was
the theme. He is such a turkey.
Brian Daniels showed us his
latest creation from Creative
Magic, Invisible Paint. It is a
Square-Circle with endless
possibilities; it comes with a
DVD packed with ideas for a
phantom paint can and/or the
square circle, specially printed
silks for a few of the routines,
and a custom carrying bag.
Defnitely true to the theme of
the evening.
Curtis Hickman also stayed
true to the theme by doing
a color change routine with
cards. The thing that blew us
away was that the backs of the
cards changed color. What a
guy.
We were pleased to have six-
teen-year-old Benjamin Jones,
along with his mother, Erin,
join us. Benjamin did a ring
on a chain effect, twice. He did
it once from the Utah side and
then turned and showed us the
same trick from the California
side.
Bob Christianson pulled a
bunch of stuff from a little box
he said Mel Bobcock built. The
items he produced included
sausages, silks, a fre hydrant,
a door knob, a bread box, and
a live dog, or something like
that. He also showed us a magic
frog that gave ESP ability to
whoever was holding it. It also
gave them a wart.
Dave Magical Johnson
showed us a Harry Potter-
themed routine plus used a
mirror box with a Five Keys to
Baldpate twist.
Dave Goodsell showed us a
bunch of bags, unfortunately
somebody stole his zipper
banana, so he couldnt eat from
his lunch bag, but he did have
his old bag. Hmmm. Sounds
suspicious. He fnally produced
a beautiful bunch of ribbons
from his red bag. He said it was
a Supreme creation. Very nice.
Always creative, funny, and
clever (and I hate him for it),
Steve Dawson told us about a
big drug bust and then showed
us a prediction routine using
colors that was extremely
creative.
The next meeting is a work-
shop-type meeting. Everyone
is invited to bring an unusual
effect or routine and explain
how it works to the assembled
multitude.
The assembly meets every
second Thursday, except July,
at 7:00pm at The Courtyard
at Jamestown, 3352 North
100 East, Provo, Utah.
Guests are welcome.For ad-
ditional information contact
Kerry Summers at 801/372-
7776 or go to our website at
www.utahmagicclub.org
200
A VARIETY
OF MAGIC
SEATTLE, WA The club
was pleased to welcome Ron
Olmsted, a visiting magician
from Miami. Ron was in
Seattle visiting his daughter
Angela and they both attended
the meeting. Ron and Angela
presented a wonderful mind-
reading routine, with Angela
blindfolded and revealing
various chosen cards from the
audience. When asked about
the method, Angela revealed
that they had come up with it
when she was seven years old.
J.R. Russell seemed to be the
magician of the evening! He
presented a wonderful array
of packet tricks that were very
entertaining. J.R. had a very
amusing presentation featuring
a New Years resolution to lose
weight by lifting cards.
Joe Toles presented a routine
in which he was able to stop
his pulse, while another visitor
to the meeting, Joes friend
Cameron, performed a baffing
two-card revelation in which he
correctly identifed two cards a
spectator placed in his pockets.
Mark Paulson performed
a couple of nice mentalism
effects including a revelation
of book pages selected by spec-
tators with a twist, as well as
a great revelation routine built
around an invisible deck.
Bill Murray did a nice
presentation of Richard
Sanders Supercards routine.
Bill had only been working on
it for a while, but already had a
good handling.
George Zuk performed a
couple of variations of ring
on straws that were different
in approach and took the time
to teach the members one of
the versions. It was a good
impromptu trick to learn.
Jim Earnshaw continued
to develop his coin work and
presented various coin routines
including a one-handed copper/
silver transposition based
on the recent Earl Presto
Bob Christensen demonstrates a
Mel Babcock Mirror Box.
ASSEMBLY NEWS
MARCH 2011 21
Johnson article in Genii.
John Cameron performed
a funny fake invisible deck
routine, leading the magicians
to believe that he was going
to use an invisible deck when
he really crumpled up the
deck and threw it away. The
thought-of card was actually in
his pocket the entire time.
The Emerald City Wizards
Assembly 200 meets at 7
p.m. on the frst Thursday of
each month at the Bellevue
Branch of the King County
Library, Bellevue, WA.
www.emeraldcitywizards.org
210
RECAP
OF 2010
PUERTO RICO Hello magic
friends all over the world. Here
in Puerto Rico we have had
a very busy year. In a little
summary I want to present
what has happened here a
lot, in a few sentences
starting on September 9, 2010,
with our stage competition
Fantasa Mgica 2010 at the
University of Puerto Rico in
Bayamon. Congratulations to
the winners: Gold Medal, Rudy
Andrews; Silver Meda, Jorge
Noda; Bronze Medal, Mago
Hansel; and Special Mention,
Mago Albert.
Then came Octobers ex-
traordinary meeting. We chose
our new assembly offcials:
President, Reynold Alexander;
Vice President, Jose Delgado;
Treasurer, Bary Rosa; and
Secretary, Marcos Puchols.
Then, on the last Wednesday
in October, we had a very
cool meeting during which
magician teams chose an
envelope and performed the
effect in the envelope, which
was easier said than done.
We had a great meeting in
November with a similar topic,
but with different props. Lastly
in 2010 we had the December
meeting/holiday dinner, with
great food and awesome magic.
We had dinner and a magic
show performed by some of
our members: Reynold, Bary,
Angel, Karlo, and John Morillo.
On to our January meeting:
an auction. Keep posted for
what happens on the auction.
On a last note we also want to
congratulate our friend Jorge
Noda on being a reality show
semi-fnalist on Quiero Ser
Estrella on Univision. Goodbye
for now. Markos.
CLUB DE MAGOS DE
PUERTO RICO - We meet
the last Wednesday of every
month at 8:00 pm, at the
house of Assembly Past
President Professor Lulu in
Calle Cristobal Real EG-18,
6ta Seccion, Levittown, Toa
Baja, Puerto Rico, 00949.
Email: [email protected]
266
A NEW YEAR
OF MAGIC
LAKELAND, FL The frst
meeting of 2011 picked up
right where we left off, with
loads of entertaining magic
for all. After a record-breaking
business meeting helmed by
president Ed McGowan, we
were off and running.
First up was Dean Bob
Macey, who wowed us with
black and red Aces that switched
places in Elmo Bennetts hand
before changing to Kings. Al
DAlfonso followed by showing
off the parlor-size Phoenix
cards that were included in this
months Genii magazine. The
simple Find-the-Ace routine
fowed well with the larger
sized cards. Elmo expanded
upon Bobs effect by showing
Kings that switched places
with spot cards over and over
again. The fnal surprise was a
perfect demonstration of mis-
direction by an expert.
Next was a play
session with one of Als
Christmas gifts. We broke
open Als as seen on TV
Wanderama. The toy uses
static electricity to suspend
lightweight pieces of foil
above it, making it appear they
are foating by the magic of
Wanderama. In the most enter-
taining session we have had in
ages, a group of magicians with
close to 300 years total experi-
ence between them tried to
make a childrens toy work.
As a group, we spun our
wheels for thirty minutes
with no results except plenty
of laughter. Undaunted, Ed
continued well into the night
but was still unable to make
things foat, but the enter-
tainment value was pretty
magical.
While the Wanderama
attention was dying off,
Elmo cranked up
his laptop and we
made contact with
Steve Marshall
via Skype. We
discussed Steves
new M-U-M
column and Ed
demonstrated a
possible contribu-
tion. The room
was flled with
magicians trying to
duplicate the rubber
band trickery
shown by Ed. Even
though Steve was
still waking up in
Japan, he was able to fnally
get his fngers to join up with
ours during this international
teach-in session. Another great
year of magic has begun in
Central Florida; make sure to
join in the fun when visiting
the area. Al DAlfonso
Jim Zachary Assembly 266
meets the second Monday of the
month at 7PM at the Lakeland
I-HOP, I-4 & US 98. For more
info contact Al DAlfonso at
[email protected]
274
PACKET AND
POCKET TRICKS
BOCA RATON, FL On
Jan. 3, 2011, the Sam Schwartz
Assembly 274 featured an
evening of packet and pocket
tricks. Also an auction was
held of the magic of our late
president, Paul Sifen.
Emcee Sheila Rubin opened
the show with a bill production
from cards. Next, President
Mel Panzer showed the classic
Color Monte followed by a
card turnover effect. The
versatile Billy Byron brought
his own music and showed
us a giant wand effect, a
color-changing truck, and a
vanishing coin routine. Barry
Rubin performed a handker-
chief production and topped
it off by showing a piece of
cheese followed by a mouse
production. Dan Sterling did
a mentalism effect with cards.
Mel Baskin did a nice ESP
effect. Simon Carmel wowed
us with an excellent cigarette
production routine.
VP Arnie Rosen performed
a mental effect involving one
hundred countries. Henry
Epstein performed a Color
Monte-type effect using cards
with shells, ending with an
8 ball. He was followed by
Fred Apel, who caused Jokers
to change places. A classic
effect of McDonalds Aces
was peformed by Herb Cohen.
Marshall Johnson showed a
nice packet effect, Gamble
Amble, involving a series of
card changes. Phil Labush
turned to mentalism involving
teleportation and disintegra-
tion (what no money?). A most
unusual effect was shown by
Ronnie Reckseit. His effect
involved covering his eyes
with spoons; he could still
identify the number of fngers
held up by a spectator. Ronnie
then offered members special
spoons. Manny Riskin dem-
onstrated how to reveal cards
merely thought of by spec-
tators. Manny then told us
how the system works very
clever! The show was closed
by emcee Sheila Rubin. She
showed us picture cards of
famous magicians. Guess
whose picture was chosen!
Marshall Johnson
The Sam Schwartz Assembly
274 meets at the JCC in Boca
Raton, FL the frst Monday of
each month. President, Mel
Panzer (561) 304-7091
292
STRIVING FOR
DECEPTION
GREELEY, CO As I sat in
earnest, waiting for the lecture
to begin, I quickly remem-
bered how great the previous
lecture by Mark Strivings was.
Just three months earlier, he
brought great material, but
what impressed me the most
was his honesty and willing-
ness to explain the workings
behind his effects. Mark was
gracious enough to bring an
entirely new lecture to the
wizards of SAM 292, but was
still willing to help us with
the effects from his previous
lecture. It was nice to have the
option to get one-on-one help,
something I am extremely ap-
preciative for. Beyond the
great effects, Mark shared his
wisdom about the concept of
layers within an effect by using
Members of Assembly 210
22 M-U-M Magazine
ASSEMBLY NEWS
BROKEN WANDS
mixed methods for deception.
He also talked about the as-
sumptions that spectators bring
when viewing a magician.
While most people think there
is only one solution for an
effect, by bringing in multiple
methods their train of thought
becomes distorted. After a
collection of great mentalism
effects, Mark also shared some
childrens magic, which was
an interesting contrast. The
Rubber Chicken Monte was
hilarious. I was also pleased
to see a lot of new faces at our
club, as the lecture was well-
attended, with over twenty
magicians of all levels. Mark is
a real working professional and
both of his lectures have been
phenomenal. Its great to walk
away from a lecture with so
much practical material, in the
hope of striving for deception.
Chris Kobayashi
Assembly 292 meets Second
Saturday 2:00 PM at Kennys
Steak House, 3502 W. 10
th
Street.
Greeley, CO 80634 Contact in-
formation Chris Kobayashi
([email protected])
293
MARK WEIDHAAS
LECTURE
LINCOLN, NE We were
honored to be visited by a
contingent of national offcers
from The Society of American
Magicians. National President
Mark Weidhaas was here,
along with First National
Vice President Christopher
Bontjes, Midwest Regional
Vice President Jeff Sikora,
and State Deputy for Missouri
and Kansas Shaun Rivera.
Mark gave us his lecture,
which he calls Anatomy of a
Kids Show.Mark performs
under the name of Inspector
Magic. He taught us about
the warm-up by doing a bit
about the magic word; he then
performed a Rigid Hank. He
talked about doing effects for
various age groups. He did a
Buddha Screen as something
fun or silly. He talked about
callbacks and moving from
effect to effect. He taught us
to show our talent with the
two-rope magic trick. Next
he performed The Worlds
Worst Trick. He also did Gene
Andersons Newspaper tear
and Mike Bornsteins Parlor
Polaroid Money. He suggested
that we get carpet squares
with painted feet on them.
This tells the child assistant
exactly where to stand.
The squares can also be
used as a barrier, telling
the children where not
to go. He discussed
the value of writing
down our routines and
changing them as time
goes on. He demon-
strated Monster Mash
Mix-up, the Amazing
Rising Card Trick, and
the Mis-made Flag. He
cut Gus Schaeffer in
two with the Cords of
Fantasia. He did some puppet
work as his closer. Assembly
293 heartily thanks Mark for
his wonderful lecture and
highly recommends him to any
assembly. Bob Katz
The Lincoln Magic Club,
Assembly 293 meets the
frst Saturday of each month
at 1:00pm at MagicKits.
com at 1125 N. 10th
Street, Lincoln, Nebraska.
[email protected]
Jim Baker
James W. Jim Baker passed away on Feb. 7,
2011. He was born in 1926 near Emporia, Virginia,
to the late Hazel and Otis Baker, and grew up in
Portsmouth, Virginia. He joined the Marine Corps
at age seventeen, and served two years, including a
year in Tientsin, China. He enrolled at the College
of William and Mary after World War II, graduat-
ing in 1951 with a degree in Government. While
at William and Mary, he met his future wife, Elaine
Campton. They were married in the college chapel
on Dec. 15, 1951.
Baker joined the staff of The Richmond News
Leader as a reporter after graduation and remained
on the newspaper for twelve years. At the News
Leader, Baker was the recipient of several journal-
ism awards from the Virginia Press Association.
In 1963, Baker resigned from the News Leader and
joined the foreign service of the U.S. Information
Agency, then headed by Edward R. Murrow. He
remained with the USIA for twenty years, serving
three years in Washington, D.C., and seventeen years
overseas in India, Turkey, Pakistan, the Philippines, and
Tunisia. Most of his work involved editing magazines
distributed abroad by USIA. He was the


recipient of several meritorious honor awards,
and was the frst recipient of the USIA Direc-
tors Award for Outstanding Creativity in 1972.
Baker retired from USIA in 1983 and moved to
Williamsburg, Virginia. In retirement, he worked
part-time for the Virginia Gazette, writing hundreds
of feature stories, 150 columns about life in the
foreign service, and more than 200 Gazette editorial
page columns called Bakers Dozen.
His lifelong interest in magic led him to perform
magic shows in hospitals, orphanages, and other
venues around the world. He also performed profes-
sionally and wrote thirteen how-to magic books for
children. He was a member of the Order of Merlin
of the International Brotherhood of Magicians
and co-founder of Baker-Temple Assembly 226 of
The Society of American Magicians. At one time
or another he served as president, secretary, and
historian of the assembly, and the members consid-
ered him the soul of the club. He was loved by all.
Jim had a special gift for making friends; he was the
special kind of friend who comes along just once in
a lifetime. Phil Thorp
Mark Weidhaas Lecture
MARCH 2011 23
GOOD CHEER LIST
Send additions, changes, or deletions to: Anthony Antonelly, Chairman, Sick and Convalescent Committee,
(215) 820-3192 ext. 1512. Email: [email protected]
Please take a minute and spread a few words of cheer with a card or note to one of our less fortunate members.
Ben Benjalini Ankri
3111 Aurelia Ct.
Brooklyn, NY 11210
Peter Anthony
5100 OBannon Dr. Apt 72
Las Vegas, NV 89146
Roger Barr
883 B Leverpool Circle,
Manchester, NJ 08759
William H. Brewe
1698 Montrose
Cincinnati, OH 45214
John Clark
603 W Country Club Rd.
Egg Harbor City, NJ 08215
Lawrence Clark
204 Hazelwood Ave
Buffalo, NY 14215
Daniel Cudennec
Dany Trick
225, Stang-ar-Veil-
dan-Traon, Mellac-29300,
Quimperle, France
John Kermit Dickerson
10809 Balentine,
Denton, TX 76207
Dan A. Dorsey
98 Woodvalley Dr.
Fayetteville, GA 30215
Joe DuPerry
1947 North Soldier Trail
Tucson, AZ 85749

Joseph H. (Ben) Grant
400 Commonwealth Ave, Unit 9
Warwick, RI 02886
Jerry M. Grey
P.O. Box 25245
Houston, TX 77265
Charlie Gross
16745 Gertrude Street,
Omaha, NE 60136-3023
Roy Horn
c/o Siegfried & Roy
1639 N Valley Drive,
Las Vegas, NV 89108

Edward Kelly
224-15 64 Avenue,
Bayside, NY 11364
Bob King
304 Suburban Court,
Rochester, NY 14620
Robert D. Knigge
PO Box 5,
Jones Borough, TN 3765
Stanley R. Kramien
11205 SW Summerfeld Dr.
Apt 161
Tigard, OR 97224-3391
Richard Laneau
4020 55th St. N.
St. Petersburg, FL 33709
Joan Lehr
4324 Woodbuff Dr
Mesquite, TX 75150
George Gilbert Lott
1725 Great Hill Rd.
Guilford, CT 06437
Frank J. McNaughton, Sr
1926 Apple Street,
Williamsport, PA 17701
James J. Morrisey
24 Grove St.
Wayland, MA 01788
Anthony Murphy
11 Angel Rd.,
North Reading, MA 01864
Nahmen Nissen
PO Box 1856
Colfax, CA 95713-1856
Cesareo Pelaez
The Cabot St. Theatre
286 Cabot St.
Beverly, MA 01918
Larry Poague
34221 West 90 Circle
Desota, KS 66108
Jim Relyea
241 W. Lakeshore
Rockaway, NJ 07866
Harry Riser
8505 Woodfeld Crossing
The Forum
Indianapolis, IN 46240
Irwin Royes
907 N. Hullen St.
Metairie, LA 70001
Dale Rumsmoke
430 Perrymont Ave
Lynchburg, VA 24502
Pat Ryan
43 Fairbanks Rd.
Churchville, NY 14428
Matt Savin
P.O. Box 7693
Alhambra, CA 91802-7533
Helene Schad
2440 Viginia Ave.
Bensalem, PA 19020
Grant Schofeld
(The Great Granzini)
9303 Quailbrook Ct.
Bakersfeld, CA 93312
Sybill Simons
65 West 95 St. Apt 3A
New York, NY 10025
Sam Stecher
1000 Loring Ave Apt. C-23
Salem, MA 01970- 4253
Mario Susi
6 Bristol Rd.
W. Peabody, MA 01960
Larry Taverner
805 LaPaz Ct.
Bakersfeld, CA 93312
Jack White
4288 Arguello St.
San Diego, CA 92103
Jimmy Yoshida
3644 Puu Mauka Dr.
Honolulu, HI 96819
John Ekin
one of the perks of writing a
monthly column for a magazine
is that sometimes you get to write
about your good friends. This is
the case this month; John ekin is
one of my best friends in the world.
By the way, if you want to learn
even more about John please
look for the november 2008 issue
of M-U-M; John was featured on
the cover with an eight-page story
written by yours truly.
John has been practicing and
performing magic for almost forty
years. He is a consummate professional who is always
thinking not only about what he should do in his show but
also why he should do it. over the years, John and i have
had a lot of conversations about magic and show biz in
general, and most of those conversations center around
what needs to be done to entertain an audience, not just
about what magic tricks we should do.
To understand Johns thinking we need to look back at his
magic upbringing.
John was raised in Baltimore, Maryland. When he was
eleven years old his mom took him downtown to the Yogi
Magic Mart to gather some tricks to perform for his Boy
scout troops magic month event. John says that he was
hooked on magic after that event and started skipping lunch
at school so he could save his lunch money to buy more
tricks and books from the magic shop. Phil Thomas, then
owner of the Yogi Magic Mart, became Johns mentor and at
an early age impressed upon him the importance of studying
magic books. With any large purchase of magic props that
i would buy, Phil would usually insist that i buy a magic book
as part of the purchase. John went on to become a dem-
onstrator and eventually wound up running the Yogi Magic
Mart before it was sold in later years.
John also became a regular performer at the White House;
he has made thirty-six appearances there.
These days John enjoys performing on cruise ships all
over the world. i really love meeting the people when im
not performing. We have coffee chats and game shows that
i can be involved in and i really love the travel. it has given
me the opportunity to see so much of the world.
When asked if there were any challenges to performing on
a cruise ship, heres what John had to say: it doesnt happen
that often, but the seas can get rough at times. i remember
one ship where the stage was all the way forward on the
ship, where it moves up and down more than in the center
of the ship. i wasnt feeling good to begin with, and then i
made the mistake of spending the time between shows in
my dressing room, which was forward of the theater. By the
time it was getting close to my show i wasnt sure if i was
going to be okay or not. i put a bucket offstage and told the
sound operator four times, if you see me run offstage during
my show, make sure you turn my headset mic off! John
says that he made it through that show without having to run
offstage, but he now spends his time between shows closer
to the center of the ship if the seas are rough.
another challenge these days is that airlines have reduced
the maximum weight for suitcases, so he has to bring fewer
props. sure it can be a challenge, John said, but i keep
thinking about how stand-up comedians can go onstage
with nothing but a microphone and entertain people for two
hours. For me it just emphasizes the importance of your
character and your personality. Thats what youre really
selling; youre not selling a bag full of tricks. Thats what im
trying to concentrate on these days.
This thinking has paid off. John has become a popular host
at Walt Disney Worlds epcot theme park for their annual
Food and Wine Festival. For this event, world-renowned
chefs are brought in to give cooking presentations; John is
there to keep the presentations moving along and entertain-
ing. its amazing how magic has taught me about pacing
a show and keeping it running within the allotted time. This
has really helped me out here, even when i wasnt doing any
tricks.
When asked if he had any advice to give from all his
years of performing, John said, Make sure you involve your
spectators in whatever you do. Dont just do magic at them.
involve them in what you are doing, and they will enjoy it
more.
Silver/Copper Surprise
Contributed by John Ekin
The frst time i went to the Yogi Magic Mart in Baltimore i
was just eleven years old; the owner, Phil Thomas, showed
me this trick. it really surprised me. Years later he taught it
to me and its something i use to this day.
EffEct: The performer shows a u.s. copper penny and
an old u.s. silver dollar. The dollar is placed into a specta-
tors hand to hold and the penny is held in the performers
hand. after some byplay, the performer states that the two
coins have changed places and that he now holds the silver
dollar and the spectator holds the penny. The spectator
disagrees, because she can feel that shes still holding the
larger coin. The performer opens his hand to reveal that he
is indeed holding the silver dollar. When the spectator opens
her hand, she discovers that her penny has magically grown
to the size of a silver dollar!
ProPs: one ungimmicked silver dollar, one ungimmicked
penny, and a good quality jumbo penny. The jumbo penny
should be silver-dollar sized, not the larger, fve-inch size
24 M-U-M Magazine
i lEft my
CardS at
by StEvE
marShall hOmE
(Photo 1).
Presentation: This is
a great effect and, like
the sponge Bunnies, it is
one of the few effects that
will often elicit a scream
of amazement from the
spectator who discovers the jumbo coin in her hand. Guests
are amazed by the jumbo penny and love to pass it around
among their friends after the trick is over. it requires minimal
sleight of hand and is instantly reset and always ready to go,
which makes it perfect for table-hopping.
i prefer to use a lady to help me with this; my experience
is that ladies will give you a louder, more honest reaction.
start with the jumbo penny secretly classic palmed in the
right hand as you show, and talk about, the other two coins.
its good to mention the size of the coins, of course; the
silver dollar is the largest u.s. coin and the penny is one of
the smallest.
Patter about the dollar with a couple of gags if you can,
while you casually toss the dollar from the right fnger-
tips into the palm of your left hand, closing the left hand
around the dollar with each toss. on the third or fourth toss,
execute a Bobo switch. This simple sleight is well described
in Bobos New Modern Coin Magic.
Basically, after several real tosses of the dollar (which
cause the audience to relax its attention), you retain the
silver dollar as you relax your grip on the classic-palmed
jumbo penny, tossing it into the left hand on the down stroke
of the toss. as your right hand comes back up after the toss,
you move the silver dollar from the fngers into classic palm
or fnger palm position in the right hand.
of course, your left hand immediately closes around the
jumbo coin as it catches it. The audience believes youve
simply tossed the silver dollar into your left hand. Be careful
that the coins dont hit each other, making a noise, as you
do the switch. This, as they say, would not be a good thing.
ask your spectator to hold one hand palm down, about
a foot above the table, or at waist level if youre standing.
Gently hold her fngertips with your right hand. Bring your
closed left hand, holding the jumbo penny, under her out-
stretched hand. once her hand covers yours, push the
jumbo penny from your hand into her palm and then gently
close her fngers into a fst around the coin as you ask her
to please hold the dollar tightly (Photos 2-4). she keeps
her fst closed, palm down. This is a really simple move but
one i use anytime i have to put something into a spectators
hand. i dont know why its not standard, but doing it this
way, using her hand as cover, prevents the jumbo penny
(or rabbits, or whatever) from fashing as you put it into her
hand. if she holds her hand palm up as you put the object
in her hand, theres a good chance the object being placed
will fash. also, this gives you the opportunity to make sure
her hand is really closed before you let go with your hands,
preventing premature disclosure. Finally, if she starts to
open her hand, she has to turn it over to look, giving you a
split second to stop her. (note that in Photo 4, John places
his right index fnger on the back of the spectators hand to
make doubly sure that the hand will not be turned over and
opened prematurely.)
now pick up the real penny with your right hand and begin
tossing it into your left hand just as you did with the silver
dollar. again, perform the Bobo switch so you wind up with
the silver dollar in your left hand. The spectator believes
you should be holding
a penny and that shes
holding a silver dollar.
an old, but good,
gag is to declare that
youre going to make
the coins switch
places between your
hands, but warn the
spectator not to open
her hand until told to
do so. after proclaim-
ing that the coins have
switched, state that
the real challenge
is to make them go
back! its a groaner,
but it still plays.
Finally, declare that
youve actually done it
and that you now hold
the silver dollar and
she has the penny.
open your hand to
reveal the dollar in
your hand (Photo 5);
when she opens her
hand shell be amazed
to fnd the jumbo
penny.
final thought:
Magic that happens in
the spectators hand is
great, but the danger
is always that she
may open her hand
before youre ready.
one ruse is to place
some magic object
such as a business
card or a lighter on the
back of her hand to
keep her from ruining
your fnale. Whatever
you do, make a big
deal of how she must
be holding the penny
and focus all the attention on her hand before revealing the
change and youll get the strongest reaction.
Steves Stuff:
John did this effect for me a few years ago and it really
surprised me; i was sure i was still holding the silver dollar
when he said the coins had changed places. ive remem-
bered this trick over the years, and i knew that it would be
great for this column. Pay attention to Johns tips about
how to place an object that you dont want the audience
to see right away into a persons hand. i started using this
technique and it makes things a lot easier and safer! Thanks
for contributing this John. i owe you one!
Photos courtesy of John ekin
MARCH 2011 25
2
3
4
5
1
The Balloon Show
While I was still in high school, I had the opportunity to work
with the late Donald Monk Watson at a show I produced in
my hometown. While chatting, he asked me what I charged for a
show; I told him $25. He asked, What else? I didnt know what
he meant. It turns out he was asking for my other price, and he
explained the salesmans psychology. Simply put, if you have one
price for a show, the potential client will be choosing between
hiring you and not hiring you. But, if you have two prices, they
will be choosing between the $25 show and the $40 show (1960
prices for birthday parties). Ever since, I have had two or more
prices for a client to select from.
Of course, you need to justify the different prices. Salesmen
call this the up-sale. You sell the $25 show frst, and once they
agree to that, you can introduce the idea that you have a special
show that is $40 (Only $15 more!). This up-sale can be as
simple as the running time of the performance, perhaps a thirty-
minute show and a forty-fve-minute show. Or, you can include
something special in the higher priced show like rabbits and
doves. For childrens birthday parties the added content can be
making balloon sculptures for the youngsters after the magic
show is over. In those days, I used the live animals because I
didnt know how to do balloons. A few years later, my friend Dick
Oslund showed me how to make a one-balloon poodle dog and
shortly thereafter Gene Anderson taught me how to make a little
yellow mouse. I was surprised to see how easy it was to twist these
simple balloons. You can also point out to the potential client that
some people hire both a magician and a balloon sculptor. You can
save them money by doing both.
But, there are problems that balloons can create if you make
them for children in a party situation. If the kids are given the
balloons early in the party you could run into the following
problems.
Little kids pull them apart, and the children or their parents
come to you to fx or replace them.
Bigger kids break the balloons by fghting with them; sometimes
they break them intentionally and come to you for replacements.
The kids put the balloons down while they do something else
and then get into fghts about which balloon is theirs.
The kids see a different balloon and they then want that one
instead.
It can take a long time to get away if you get sucked into making
more balloons until everyone is happy; often you have another
show or an appointment following the party. Ill share the methods
Ive developed over the years to solve these problems.
The basic solution is to delay handing out the balloon sculptures
until the end of the party, when the kids are actually on their way
out the door. This also means that the kids are much more likely to
get home with their sculpture intact. Of course, it also means that
by the time the kids have their balloons, you are gone.
This is easy to set up, requiring only three plastic bags and the
cooperation of one or two of the adults at the party. You must
set this up in advance with the client who hires you, usually the
birthday childs mom or dad. I explain this briefy when I book the
party over the phone. When I arrive at the party, I locate the client
and talk this over. Its important that they understand why handling
the balloons your way is
vital to a successful party.
I start by pointing out to
them that its very diffcult
for the youngsters to hold
their balloon in their hands
throughout the party. They
get in the way during games,
while a meal is served, and when
the kids jump in the backyard in
the jumping house. Also, if each balloon
is handed out to a child as its made, the kids who get the frst
balloon do not know what else they might have gotten.
And so you ask for an adult to assist with the passing out of
the balloons. Its often better to get an aunt, uncle, or a grandpar-
ent so that mom and dad are free to supervise the party. I ask to
speak to the person who will assist right away so that I can explain
the simple duties. I tell the person that I am going to bag up the
balloons as I go, and that when I am done there will be two black
bags of balloons that will be closed with a balloon or a twist tie.
Ive brought to the party one such bag to show her. I explain that
its very important that the bags not be opened until the end of the
party when the guests are beginning to leave. I ask her to station
herself by the exit door with the two bags of balloons, allowing
each child to select a sculpture just before going out the door. I
also ask the adult to please watch the part of the show when I
make the balloons so that she will know which balloon is which.
I also have magic trick booklets for the youngsters and ask her to
see to it that each child gets one of those at the same time. If the
client has goodie bags for the children, the magic trick booklets
can be put into them.
When I fnish the show, the very frst thing I do is to close the
tops of the balloon bags with twist ties or un-infated or broken
balloons and put them where I can keep an eye on them. I pack my
props as quickly as possible and load my van. If I have any reason
at all to suspect that some of the children might open the balloon
bags, I may take the bags of balloons out to the van on my frst trip
and leave them there. After everything else is loaded I will take
them back inside and say my goodbyes and leave.
I use three plastic bags for each show. Two of these are the large
black lawn and trash bags that are forty-fve gallons each. One
of them is brought along empty; I clip it to my balloon case with
two clips. I will put balloons I make at the party into this bag
(Figure 1). The third bag is a smaller, white garbage-can-liner bag
with a drawstring closure
system. As I pre-make
balloons for the party, there
will be two kinds: dupli-
cates of the balloons that
the children will see me
make at the party, and the
somewhat slower-to-make
ones not made during the
party. The frst kind goes
into the remaining big black
trash bag, which is left open
for a moment. The fancier
28 M-U-M Magazine
A Magician Prepares...
by Dennis Loomis
1
Photo 8
balloons go into the white plastic bag and the top is closed with the drawstring. The
closed white bag goes into the black bag (Figure 2) on top of the balloon sculptures
that are inside and the top of the black bag is closed.
The actual sculptures Im using for this right now are: horse (Figure 3), unicorn
(Figure 4), fowers (Figures 5 and 6), teddy bear (Figure 7), rabbit (Figure 8),
Spiderman (Figure 9), turtle (Figure 10), Weeble (Figure 11), and mouse (Figure 12).
The Weeble is a toy that you are going to present to the birthday child as the grand
fnale of the show. Its action is very surprising and both kids and adults are intrigued
by it. How to make the Weeble is explained in the book Balls N Balloons by Tom
Myers.
My full balloon act requires that I take along
my balloon case with un-infated balloons,
my pump (Figure 13), the plastic bag with the
pre-made sculptures in it, and one empty black
plastic bag, which I will use during the show.
The pump I use is a large size hand model;
the nozzle is removable. I keep the nozzle and
one or two spares in my balloon case, because
dropping the pump can damage the nozzle.
One of my show preparations is to screw the
nozzle onto the pump. Im capable of blowing
up balloons without the pump, but I speak a lot
during the balloon show and I dont want to have
to stop talking while I infate the balloons.
Some kids have seen twisters online who can
make any animal asked for. I cant, so I need a
way to deal with requests for things I dont do.
Sometimes older children want to play the game
of stump the balloon guy. They will ask for
some exotic or rare animals or toys just to see if
you can do it. Watching someone twist balloon
after balloon is only interesting for a couple of
minutes and then attention fades.
I avoid this problem by turning the balloon
sculpture into a performance. I have lines, bits
of business, and gags to say and do. I always
make the same balloons in the same order using
the same colors. I have a script for this show,
just as I have a script for the magic show, and
Im always on the lookout for new gags, lines,
and bits.
The basic premise is that I give the kids a
hint about what Im making and then they get to
guess. Often, they guess right and I always com-
pliment them, particularly when its the birthday
child. I never, ever, ask a child what balloon he
would like, and I defnitely do not pass out any
balloons at this time.
As I start the balloon show, I clip the empty
black bag to my table so that the mouth of the
bag is held open (Figure 14). Each time I fnish
a sculpture it goes right into the bag. If a child
MARCH 2011 29
3 4
5 6 7 8
9
10
11 12
13
2
asks to be given the balloon, I simply dont hear him. As I put
the fnished sculptures into the bag, I occasionally comment that
someone will get to take that balloon home at the end of the party.
The balloon show takes about ffteen minutes.
Here are the sculptures I make during the show: a snail that
becomes a swan (Figure 15), poodle (Figure 16), sunglasses
(Figure 17), a dachshund (Figure 18) that becomes a giraffe
(Figure 19), two different simple hats (Figures 20 and 21), light
saber (we used to call these swords, Figure 22), parrot on a perch
(Figure 23), and hummingbird (Figure 24). The kids see eleven
different sculptures, but there are only nine in the bag since the
snail becomes the swan and the dachshund becomes the giraffe.
After I make these, I open the big black plastic bag that I brought
with me and take out the closed white plastic bag. I open it and
show the children the balloons that are inside so they can see the
choices they have, using any of the lines or gags I have. After each
sculpture is displayed, I put it into one of the open black plastic
bags with the exception of the fnal one, the Weeble. I show the
Weeble and how to make it go. Then I present it to the birthday
child and let him play with it. I get a big round of applause for
him and thats the end of my show, unless I will be getting out the
rabbit and letting the kids pet him.
What follows is an outline of the bits of business, gags, and the
patter for the balloon show.
Swan: As I infate the balloon I ask the kids, Do you remember
the story of the Ugly Duckling? Who can tell me what the Ugly
Duckling became when he grew up? Usually one of the kids will
know and will say, A swan. I congratulate them on being so
smart and by that time the body of the swan is done. I say, A swan
needs a graceful, curved neck. I hold up my right hand and arm
in the shape of a swans neck, and I get some chuckles by having
the head (actually my hand) look around at me and at the kids.
Then I roll up the balloon, holding the beak of the swan and
curling it around itself until it reaches the body. At this point it
looks very much like a snail, and I point this out to the spectators.
Then, by releasing my grip, the spiral shell of the snail becomes
the swans head and neck. I hold up the completed swan and say,
A beautiful white swan, which one of you will get to take home
after the show. I drop the swan in the black plastic bag.
This is the point where one of the kids who has not listened
carefully will expect that you are going to give the swan to
someone. He or she may ask for it, which is fne. If someone does,
I look surprised and say, Well, you are going to have a lot more
choices, so why dont you wait and think about which one youd
like. Youll get to choose your balloon at the end of the party.
The next balloon is usually the poodle, but sometimes I make
a poodle for the birthday child during the show. I usually use a
pink balloon for girls and a blue one for boys. The poodle patter
is based on getting the kids to guess what Im making; I twist the
animal very quickly. I leave the fairly long un-infated tail and do
the old gag of having the birthday child blow on the end of the tail
as Im holding the balloon. As she does so, the pom-pom on the
end of the tail suddenly infates as if she did it. Old as this gag is,
it gets a big response from both the kids and the adults.
Next Im going to make a pair of sunglasses. I get out a red
balloon and infate it as I ask the kids, How many of you go to the
beach in the summertime? Throughout the following exchange,
my hands stay busy fnishing up the sunglasses as quickly as
possible. What do you take with you when you go to the beach?
A MAGICIAN PREPARES by Dennis Loomis
30 M-U-M Magazine
14
23 24
15 16 17 18
19
20 21 22
Photo 8
There will be a variety of responses from the kids, and you con-
gratulate them. You might get hungry while youre at the beach,
so what would you take? Again, acknowledge the responses. If
its a very hot day, what would you rub on your skin to protect
it? They will say sunscreen or suntan lotion. And, if the sun was
really bright, it might hurt your eyes, so what would you wear?
At this point the sunglasses should be fnished, but I hold the
sculpture so they cant really see what it is. Quickly I put them
onto my head and say, Righta pair of sunglasses. They are
put into the black plastic bag, and I may again comment about
someone taking the sunglasses home at the end of the party.
As I get out an orange balloon and infate it I say, Im going to
make another dog. Can you guess what kind? The orange color is a
hint. Occasionally someone says, A golden retriever. I tell them
no, but its a good guess. Then someone might say, A hotdog. I
respond by saying, Thats right, a hotdog, or a wiener hound.
Does anyone know the offcial German name for this dog? Only
rarely does someone get it right and say dachshund. By this time
Ive usually fnished the head and the front legs, leaving a lot of
balloon left. I say, Heres the part that usually gives it away, the
body goes all the way over here. I grasp the balloon next to the
front legs with my index fnger and thumb and pull it along the
balloon making a squeaking sound until I get close to the end.
Then I quickly twist the rear legs, leaving a short tail. I hold it
right side up; either a kid guesses correctly, or I tell them what it
is. Then I say, Ill show you something magical, if I turn the nose
around like this, so it could be a tail. And, if I turn the tail around
like this, so it could be a nose, we have a completely different
animal. Its a longneck giraffe from the zoo. As I put it away
in the black plastic bag, I comment, Ill leave it as a giraffe,
because I already have another hotdog in the other bag.
Next, while getting out and infating a yellow balloon, I say,
Im going to do something different now; Im going to make
something you can wear. I bet you can all guess what it is if I tell
you that you wear it on your head. Most everybody yells, Hat!
I say, Yes, its a hat. But it can be worn many different ways.
This hat is very simple, but you get some time out of it by showing
all the ways you can wear it.
Hat #1 is simple, but it can be worn four ways. Look at Figures
25 28 to see how its worn. I say, If you wear it like this, you
have a Davy Crockett hat with a raccoon tail going down your
back. I turn it in a circle so they can see the tail. If you wear
it like this, you have an Indian headdress with an eagle feather
sticking up. If you wear it like this, its a drum majors hat from
a marching band with a big plume sticking up. I grab my magic
wand and hold it like a baton and march in place a few steps as I
say this. Finally, you can wear it like this and pretend youre an
elephant and this is your trunk.
As I put the hat away, I get out another yellow balloon and say,
Id like to do another hat for you, just so you can see the choices.
I need to measure my head. I wrap the balloon and gauge where to
twist it for the well known helmet-style of hat. I complete the
helmet, put it on top of my head, and say, If you wear it like this
its an Admirals hat. Some people call it Napoleons hat (Figure
29). As I say that, I put my hand partially into my coat in the
traditional Napoleon pose. Then I move the helmet in front of my
face and say, If youre a baseball player, its a catchers mask
(Figure 30). Then I take it off and get ready to give it a little
toss, like passing a football, and say, If youre a football player, it
can be your football. It just takes a good imagination. Do you all
have good imaginations? Dont worry if you dontjust imagine
that you do! The helmet is put away, and I get out a blue balloon.
Im now going to make a light saber. There are many different
versions of this. They are all very easy and fast to make. Boys
from six to ten years old love these, so when Ive booked a party
for a boy in this age range, and Im pre-making sculptures, I will
include at least four light sabers (even more for larger groups).
Heres my patter as I twist the light saber, And now Im going to
do something differentnot an animal, or something to wear
this will be a toy a toy from the movies. The movies where you
see these are called Star Wars. By the time Ive said this, the
sculpture is done and usually the kids are yelling out, Light
saber. I compliment them and say, Yes, its a Luke Skywalker
light saber. Usually I am greeted with cries of I want that from
some of the boys. Ill say, Dont worry guys; Ive already made
a whole bunch of light sabers in the other bag. As I put the light
saber in the bag, I again mention that several people will be going
home with these when the party ends.
Im getting close to the end of the sculpturing part of the balloon
show; I have just two fgures left to make. Both are birds: the
parrot on a perch and the hummingbird. The parrot is actually the
more interesting fgure, but I have a stronger ending for the hum-
mingbird so I close with it.
As I get out a purple balloon and infate it I say, And now,
Id like to make a bird for youa bird that can talk. Can you
guess what kind of bird it is? Generally, a lot of kids respond
with parrot or parakeet. By this time the parrot is almost complete
and I say, Youre right; its a parrot on a perch.
MARCH 2011 31
25 26
27 28
29 30
I bag up the parrot and get out two more balloons, a purple one
and a bee-body balloon, which is the Qualatex 321Q. I am careful
to hide the nozzle end on the bee balloon; I put it down on my
tabletop as I infate the purple balloon, which will become the
wings of the hummingbird. After the balloon is infated, I tie the
ends together.
Heres my patter for the Hummingbird. I almost forgot; did I
tell you the magic show was brought to you by the letter O? Once
I tie the ends of the balloon together I hold it up, covering the knot,
and it looks like the letter O. Still holding it in this shape I say,
Or a Steering Wheel. I turn the balloon just as you would turn a
steering wheel. I continue, Or a fgure eight, but its not going to
be a fgure eight (Figure 31). I quickly twist the balloon into the
fgure eight. I then hold it and move it appropriately as I say, Or
a butterfy, but its not going to be a butterfy. Or a hair ribbon
but I have no hair
to tie it to. No, the
purple balloon
is going to be
the wings of our
hummi ngbi r d .
But I need one
more balloon.
I pick up the bee-body balloon and get ready to infate it with my
mouth. I keep the nozzle or tip of the balloon hidden for my fnale.
As I twist the sections of the balloon I keep the tip folded against
the side of the balloon, hidden by my fngers. This balloon will
become the body and the head of our hummingbird (Figure 32).
It will also become his beak (Figure 33). As I say the word beak,
I release the tip and it springs into view. To fnish the sculpture
I say, I just twist the wings in and adjust it a bit and theres our
hummingbird. Sometimes a child will comment that its a bee or
a dragonfy. I agree with them and say, It can be whatever you
want; it depends on your imagination.
After I bag up the bee, I get the small white bag of balloons,
open it, and say, I want to show you a bunch of other balloons
you can choose from. Watch closely; Im going to go fast. I then
take the balloons from the bag in no particular order, since they
are all tangled up. I save the Spiderman and Weeble for the last.
I hold up each sculpture and slowly turn it so they get a good
look at it as I tell them what it is. I usually say the name of the
sculpture just before I pull it from the bag and then I pull it into
view. Spiderman is probably the best looking of the sculptures
that I do for kids parties and I take the time (at home) when I
make it to draw on it with black and silver Sharpie markers. I close
with the Weeble, which gets a round of applause for the birthday
child. If Im going to let the kids pet the bunny, I go immediately
into that.
The sculptures I use could easily be changed. The balloons that
are not made in front of the spectators can be as complex as you
like. But the longer each one takes, the more preparation time you
will need. When I am really pressed for time I may leave out the
Spiderman balloon.
The balloons I use, other than the bee body, are all Qualatex
260Qs. The colors I use come in the standard assortment. I buy
them in bulk from a Web site, but you can fnd these balloons in
many party stores. I said that I always make the sculptures with
the same colors, but if I fnd that I have an excess of a color, I will
use that color to make light sabers and the wings for the hum-
mingbird.
Heres an example of how I calculate the number of balloons I
need to make for a party. I start with the upper limit of the moms
estimate and add six. So, if a mom tells me there will be twenty to
thirty children, I want to leave the party with thirty-six balloons
bagged up and ready to be passed out. The extra six make up
for the fact that occasionally one of the bagged up balloons may
pop from changes in temperature or humidity. It also means
that the last child will have several balloons to pick from. The
number thirty-six does not include the Weeble that you give to the
birthday child or the poodle (if you made it during the magic show
and gave it to the birthday child). During the balloon show itself
I will make nine sculptures, so I have to pre-make twenty-seven.
Of these, eight are the more complex ones for the small white bag.
I make nineteen sculptures for the large yard and garden black
plastic bag (these are all duplicates of the ones they see me make
during the balloon show).
Years ago I was friends with Don Burda, who worked as Homer
the Clown. Most of the sculptures I do are from his book Homers
Rubber Bubbles. I still have my inscribed copy, which is falling
apart from use. If you cant fnd a copy of this book, the simple
sculptures I do are in many balloon books, and most of them can
be deduced from the pictures or drawings in this article.
When I book the occasional fair or festival where I have a line
in front of me, I never ask the kids what they want. Nor do I listen
when they tell me. I make whatever I wish, I hold it up, and then I
say, Who would like a parrot on a perch (or whatever model Ive
made)? The kids near the front soon catch on that the game is not
Can you stump the balloon guy? If they want to get a balloon,
they have to take one I offer.
This may sound harsh or mean, but Im a very friendly guy
and have smiles and little jokes for everybody; this is just how I
operate. This works better, of course, where the event is paying
me and I am not selling the balloons. They are presents to the
kids, so their parents dont expect to be able to specify what I do.
Only once or twice in my life have I gotten into a situation where
I sell balloons. I dont like it. However, I know that there are many
balloon sculptors who do this and enjoy it. Its just not my thing.
When the line is very short, I will make some of the more compli-
cated and beautiful sculptures, but when the line is long I churn
out the one balloon creations as fast as I can to minimize the time
the people have to wait.
A problem with fairs and festivals is getting away when your
time is up. If the event is still going on, you can never get rid of the
line in front of you. This idea probably has been shared before, but
Ill mention it for those who havent tried it. It works beautifully.
About fve to ten minutes before your time is up, grab a handful of
balloons and put them all into one side of a Change Bag. Close up
your regular balloon case so that no balloons are showing; make
the last few balloons by taking them out of the Change Bag. When
your time is up, and if there are still people in line, say that you
are out of balloons and turn the Change Bag inside out. No one
can beg for more sculptures if you are out of balloons. If there
is another sculptor working, give the people who remain direc-
tions on how to fnd the other balloon guy. You can, and probably
should, let the people in line know that you are going to quit soon,
but this method is the only surefre way Ive found to get you away
on time.
Text and Photos Copyright 2011 Dennis Loomis
A MAGICIAN PREPARES by Dennis Loomis
32 M-U-M Magazine
32 33
31
Part 2: Designing Cards
As I mentioned last time, I worked on the designing of cards
after I had finished the printing, coating, and cutting process.
However, since it is the first step you must take to actually print
your own cards I want to cover it before we get into the other
things.
Actually, before you can design your cards, you must have an
idea of what you want to do. Do you want to create a complete-
ly new design for a deck and design every card face as well as
the back yourself? Or do you only want to create a few gaffed
cards to match an existing deck? Or perhaps you want to print
your own business cards that look like playing cards. Or maybe
you want to reproduce an old collectible deck. Or print a small
packet trick. Or prepare custom cards for your corporate client.
Or design a deck for a special anniversary or commemora-
tive purpose. There are many ideas and many reasons why you
might want to print your own cards. Once you know what you
want to do, you can start to look for solutions to make a printable
design.
Of course, you could hire a designer who can wield Photoshop
and splash some digital paint on a digital canvas to create pretty
much anything you want but for what price? Since this series
is aimed at DIY (Do It Yourself), I will show you how to create
professional-looking card designs without the need for a design
degree. I have no formal education or experience in design. I am
not good at drawing or painting. But I know a thing or two when
it comes to computers. So we will make use of the computer and
I will share a few tips and resources along the way.
Free Online Card Design Tool
If your goal is to create gaffed cards, then I have already done
all the hard work for you. Ive created a free online design tool;
with a bit of clicking, you can create pretty much any gaffed card
you can dream up. You want a diagonally split face showing the
Queen of Hearts and the Two of Spades and a horizontally split
back with a red and blue back? Or do you want a mis-indexed
card with a standard back? Or do you want to upload your own
image and incorporate it into your card design? Follow along
and I will show you how to do all of that and much more. If you
want to dive into using the online card designer right now, then
surf to www.lybrary.com/card_designer/ and get started. If you
need a bit of hand-holding, then follow along.
The starting screen is shown below. It allows you to choose
how you would like to print your cards on a sheet. Do you want
to print nine cards in a 3x3 layout, with or without bleed, or do
you want to print eight cards in a 2x4 layout? I typically use the
3x3 layout without bleed. So lets select that one.
This will bring you to the screen shown below. We do not need
to do anything on this screen for the time being. We simply click
on the card we want to design. Go ahead click on any one of
the nine cards.
This will bring up the following design environment:
34 M-U-M Magazine
This card designer, I hope, is pretty much self-explanatory. You
see the front and back of your card, which starts out as a blank
canvas. The basic design concept is that you have two layers to
work with, a light gray and a darker gray layer. For each layer,
you can select a card face or a card back. You can then mix
these layers in different ways. The ten mixing patterns are shown
on the left and right sides. On the left side, they apply to the
front of the card, and on the right side they are for the back of
the card. You see the standard split cards: split horizontally, verti-
cally, or diagonally. There is also a non-centered horizontal split.
You can mis-index a card or overlay two designs. If you do not
want to mix two designs, then choose the pattern in the lower
right, which will only show the dark gray layer.
Once you have chosen the mixing pattern, select the faces or
backs you want to apply to the layers. For example, I chose the
diagonal split mixing pattern and I chose the Jack of Spades for
the light gray layer, and a red Bicycle back for the dark gray
layer. If you do the same, you should see the following:
It is best to play around with the various mixing patterns to
see how they affect your design. The little double arrow button
allows you to quickly swap your selected cards. What was first
in the light gray layer is now in the dark gray layer and vice
versa. Mixing two designs together is just the start. There is a lot
more you can do with this tool. For example, if you click on the T
button you can add text over your entire design. Use empty lines
to position the text vertically. You can choose font, size, color,
orientation, and justification of the text. Below I have written the
word DEMO in yellow diagonally over the card.
It is easy to see that this allows you to design all kind of cards
with text for various small packet tricks or gags. Even a simple
business card is possible. However, the text editor is quite limited
and is not meant for much more than a few lines of text in one
uniform style. You can also upload your own raster image and
use it in one of the two layers.
You can now design the back of the card in the same manner.
Or leave it blank if that is what you want to do. In my example I
choose to make it simply a blue Bicycle back.
Once you are happy with your design you save it. Clicking
Save will save the front and back design and will take you
back to the sheet overview. Save for all will save the identical
design to all the cards on the sheet. This is useful if you want to
print several cards of the same design on one sheet.
If you are unhappy with your design, you simply click again
on the card and you can again edit it as you wish. Or click on
another card on the sheet and design that one. This way you
can design all nine cards. In the sheet view, you only see one
side of the sheet. Clicking on Show Backs turns the sheet over
and presents the back. When you are happy with the entire
sheet, it is time to export your design. You can export front and
back as a JPEG file at three resolution settings: 75dpi, 150dpi
and 240dpi.
Exporting a design takes time. The higher the resolution the
longer it takes. At 240dpi it will take somewhere around eight
minutes. Why does it take that long? Because there are several
steps the tool has to do for each of the nine cards. Information
has to be sent to our servers and back to your browser. I would
rather not bore you with the technical details, but know that
several smart software designers worked very hard to make
this as fast as possible. We had to work within the limitations set
by current Internet technologies. After all, it is a free tool and
waiting a few minutes for the final export should not be a big
burden.
However, you dont necessarily have to always export at
240dpi. To give the tool a spin and see how everything works
you should use 75dpi. For a test print 150dpi is good enough.
And only once you are ready for your production run do I
suggest you go with 240dpi. What you do with the exported
JPEG files will be the subject of part three next month.
I am working on version two of this free online card designer.
For example, it will allow designing of cards larger or smaller
than a poker-sized card as well as expand on some of the
design features.
Other Ways to Design Your Cards
If this online card designer does not satisfy your needs, I have
a few other suggestions for you. You can subsequently modify
the exported JPEG files with any image editing tool. Any digital
camera today comes with simple image editing software or you
can invest in a Photoshop license if you want to use a profes-
sional tool. But be warned, it is quite expensive and it requires
time to learn.
If a raster image is not good enough for you and you want
MARCH 2011 35
to design with vector graphics, you will first need to get a tool
that can deal with vector graphics. My suggestion is Inkscape,
which is free and quite capable of handling the job. However,
there is a learning curve with this type of tool. It is not a simple
click-and-play utility. You will have to spend at least a few hours
to understand the basics of how these tools behave and what
can be done with them. The advantage is that a vector graphic
can be easily blown up without loss of quality. For example, if
you want to print a jumbo card or if you want to squeeze out the
last bit of resolution from your printer, then a vector graphic will
allow you to do that.
The basic process to design a gaffed card would then look
something like this. Start with a raster image. You could use the
raster images from the online design tool or scan in a card
yourself, or perhaps even find something useful online. Then with
Inkscape, you can convert a raster image to a vector graphic.
There are a lot of settings to play with, depending on what
you want to do. You can then modify and combine these vector
graphics as you please. Inkscape exports to a number of formats
and can also send a design directly to your printer.
If you do not want to do all this work yourself, but still want to
use vector images, then you can purchase the vector designs for
all 52 standard American card faces from Lybrary.com for $15.
For details see www.lybrary.com/33036.html. I also offer a col-
lection of other designs: ESP, numbers, letters, etc.
Resources
You might find the following resources very helpful in your
card making projects:
DeLands marked and gaffed card creations, New Conjurors
Magazine Vol. 1, issues 2-12; Vol. 2, issues 1-4. These articles
written by Walter Gibson are a good place to get ideas as
to what type of gaffed cards you could be making. Also know
that Richard Kaufman is working on a book on DeLand, which
will be required reading for any card maker. You can find New
Conjurors Magazine as a PDF download product on Lybrary.
com. 36 Tricks With Fa-Ko Cards by is Ronald Haines. This is
a book on tricks with gaffed cards that is also available as a
PDF ebook. Antique Playing Card Designs CD-ROM and Book,
Dover. This is an interesting collection of historic playing card
images. If you want to design your own cards then this could be
a starting point.
Feedback
Please send your questions and comments directly to
[email protected]. Next time we will tackle the essential
part of printing and on what cardboard to print.
DIY GAFFED CARDS CONTINUED
36 M-U-M Magazine
MARCH 2011 37
Comedy mentalist/magicians Christian and Katalina have been added to the great talent lineup at the S.A.M.
convention in Pittsburgh. Watch M-U-M columnist Christian Painter and Katalina perform and youll fnd
yourself in a bizarre, carnival-like world where they twist and change the laws of physics. At one moment
you will sit in jaw-dropping amazement as this powerful duo predicts your every decision and then laugh out
loud as Christian tickles your brain. The act will appear at the traditional International Awards Banquet on
Saturday evening, July 16. Dont miss this event: a dinner, a show, and the prestigious Christopher Foundation
awards presentations.
The Stars of Tomorrow Show is among the most anticipated events of the S.A.M. annual convention. This
year will be no exception. Performing in it allows young magicians to showcase their talent, experience the
magic of a convention, achieve international exposure, and earn a fee. The Society of American Magicians is
seeking young performers for the Stars of Tomorrow Show, a professional stage show that features magicians
ages seven through seventeen. All the details are available at www.magicsym.com/sot.asp or contact Marlene
Clark at 860-349-8149 or [email protected]. The deadline for applications is April 20, 2011.
Hank Moorehouse, the 2011 honoree of the S.A.M. convention, is not only an honorary member, a Past
National President, a producer, and a fne magician, he is also a magic dealer. Dealers are really great perform-
ers, and often the most colorful attendees at any convention. Why not get an early-bird treat in Pittsburgh? The
dealers will be open the night before (July 12) for people at the convention. More than twenty dealers from
around the world will be there. See the list and register early at www.magicsam.com.
S.A.M. National Convention Updates
RADICAL NOTIONS
Editorial by Lee Asher
In the December 2010 issue of M-U-M, Norman Beck
wrote about an encounter with a reporter who, he was
told, tweeted during live magic shows. He goes on at
length about how disrespectful this practice is and how it
has the potential to ruin a live theatrical experience.
According to Normans M-U-M article, if he ever
found someone tweeting during his show, he would feel
it prudent to break his or her arm. Admittedly though, he
believes that that causes problems.
While I appreciate Normans point of view, a charitable
analysis would fnd it shortsighted almost myopic. He
does a barely adequate job of pointing out the uncouth
behavior of some tweeters and texters, but in his mad rush
to appear like a shining knight of orthodoxy, he fails to
seriously consider the underlying question hes posing:
why tweeters are moved to tweet in real time, during
actual live performances.
Heres a news fash: Im the reporter he was writing
about. Its no secret that Ive been using Twitter quite a
bit, and I have seen what a valuable tool it can be for both
audiences and the artists we support.
As an M-U-M reader and member of The Society of
American Magicians, you need more than a bitter diatribe
against the unknown. You deserve to understand what this
new technology can do for you and how it can empower
all of us to support the art that we love. Heres my frst-
hand perspective on this subject and Normans rant.

WHAT IS TWITTER, REALLY?

For those of us over the age of thirty-fve, Twitter at
frst seems like something to distract us another media
conceit designed to waste our time. Many think of Twitter
as a way for someone to brag to the world about the size
of his latte. If thats what you think its for, get ready to
expand your mind.
At the core, Twitter facilitates open communication and
conversation. Its a tool that helps us connect. Its about
living vicariously through those you admire, have interest
in, and have a real dialogue with. Its about interaction,
plain and simple. For the purpose of clarifying our topic,
lets look for a moment at how, over forty years ago, per-
forming artists used concepts we now associate with new
media, like Twitter, long before the Internet ever existed
For over one-third of a century, the most successful
touring act in the world was the Grateful Dead, and they
achieved their success by using social networking strat-
egies years before anyone had ever conceived of that
term. During Grateful Dead shows, at any time, you could
use your recording device and capture a bit of the unique
experience to share with your friends later. The band not
only allowed it, but encouraged it. They put a special
tapers section behind the sound booth, where any
fan could bring in the best sound recording equipment
he could afford, plug in directly to the mixing board, and
share the music as he pleased for the rest of his life. The
Dead still allows this.
For amateurs who enjoy performing before friends
and family, the sanctity of the theater remains supreme.
Anyone trying to sell tickets in the current market under-
stands, however, that without people in the seats, there
is no show. For this reason, artists all over the world
are coming to understand that these new media tools
are far from the enemy. Quite the opposite, they are the
equalizing tools that allow performing artists, including
magicians, to connect and create fans and supporters
around the world.
This brings us back to Twitter a way for people to
glean information of interest in real time. Its such a
powerful way for people to share in the moment. Even
Broadway has seen ft to break from orthodoxy, and put
special tweet seats in every house, where audiences are
encouraged to share with the world in a way thats re-
spectful and, whats more, truly benefcial to the produc-
tion.
Many venues even go so far as to offer free Wi-Fi,
just to ensure you share your experience with the world
before, during, and after the show. Like the Deadhead
tapers of old, these fans are not only supporting the pro-
duction, theyre promoting, reviewing, and sharing it with
fans and potential ticket buyers all over the world.
Twitter allows us to come together and support what
we love.
THIS ISNT ROCK AND ROLL ITS MAGIC!

If this concept still makes you uncomfortable, thats
completely understandable. After all, theres a differ-
ence between tweeting images of Mick Jagger and Keith
Richards in a 20,000-seat arena surrounded by screaming
fans and a smaller theatrical production, or the even
smaller and more privileged air that flls a magic perfor-
mance. After all, the rules cant possibly be the same in
every situation.
Just like any new form of interaction, Twitter users
are slowly, but surely, developing the etiquette required
to ensure that Twitter is part of the solution, not part of
the problem.
Here are the two most sacred rules which must never be
broken while attending a live show:
You cannot disrupt the performer(s) with your electron-
ic device.
You cannot distract the audience with your electronic
device.
This is exactly why ringing cell phones are socially un-
acceptable during live theatre; it breaks both rules. On the
other hand, what if you could somehow capture a part of
your amazing experience and share it with the world, all
without annoying a single soul?
38 M-U-M Magazine
You can.
When used appropriately, Twitter can support the work
of an artist without bothering anyone on stage or in the
house. Staunch critics, like the esteemed Mr. Beck, will
surely demand proof if they are to reconsider their frst
opinions. A real world example from last year immedi-
ately springs to mind.
In July 2010, with less than one hundred in attendance,
the Golden Gate Gathering held its fourth annual magic
convention. This get-together has garnished a reputation
for having small venues and intimate performance situ-
ations. It just so happened that one of the performers on
the bill was none other than Norman Beck. Unbeknownst
to Norman or the audience, I tweeted three separate times
during the course of his ffteen-minute act. Each of my
tweets was accompanied with live photos of him in mid-
performance.
At the time, my tweets (see below) went out to over
one thousand fve hundred (1,500) magicians and magic
enthusiasts.
Would Norman Becks case against Twitter be stronger
if he had been distracted by my actions that day? Of
course. But the simple truth is, Norman (and everyone
else) was oblivious to my tweeting because it was done
in a very unobtrusive way. Theres a decent chance that
right here and now Norman is learning for the frst time
about my tweeting during his show. Smile Norm, youre
on Twitter!
If anything, my tweets were healthy for Norman Beck.
He was exposed, in a positive light, to ffteen times the
amount of people actually sitting in his live audience.
Other magicians from around the world felt as if they
were present, virtually, experiencing him in real time.
When used properly, Twitter offers a genuine feeling of
unifcation.
In my opinion, humankind deserves as much of this as
possible right now.
Keep this in mind; the next time youre on stage and
someone is tweeting without disturbing anyone, to make
sure you give the best performance of your life. You never
know, he might be sharing his unique experience with the
entire world!
Id now like to end this article in the exact manner
Norman Beck began his. He kindly asked everyone to call
him both old-fashioned and a curmudgeon.
Done.
But I forgive you and still love you for who you are,
Norman.

Sincerely, Lee Asher
@LeeAsherMagic

P.S. Note to the reader: Go see what all the fuss is about.
Spend some time playing around on Twitter.com. Trust
me, its magical.
SIX NEAT TWITTER FACTS

Twitter is free for everyone to use.
A tweet is defned as a post or status update on Twitter.
140 characters is the maximum length of a single tweet.
As of April 2010, Twitter has over 106 million users.
As of April 2010, Twitter has 55 million tweets per day.
As of April 2010, the Library of Congress acquired the
ability to archive ALL Twitter messages for historical
record.
Text and photographs copyright 2011 by Lee Asher
MARCH 2011 39
Norman Beck teaches his magic and theory at the
2010 Golden Gate Gathering.
Is this your card? Says Norman Beck at the
2010 Golden Gate Gathering.
Norman Beck leading us down the garden path at this years
2010 Golden Gate Gathering.
40 M-U-M Magazine
OVER
UNDER: WHAT
SHOULD I
TALK ABOUT?
Your tricks, and the manner in which you perform them,
should be an expression of your life, not a substitute for it.
Michael Close
So, you ask yourself, sitting on the oor surrounded
by all your magic props, what am I going to say while
Im doing these tricks?
I would ask the following questions rst. What are
your other interests? What do you hate? What do you
love? What is the most memorable vacation you have
ever taken? If you could make anything in the world
disappear, what would it be? Every answer is a trick
waiting be discovered.
Any time you can use a prop or tell a story that conveys
something about yourself, you become an artist! At its
best, magic is a form of self-expression. It sounds silly
and its hard to come up with examples because most
adult magicians never learned this. But magic tailored
to you is automatically tailored to your age.
Most magic tricks are invented by adult magicians
(hereafter referred to as old people). Old people buy
most of the tricks. And since old people invent most
of the tricks and old people buy most of the tricks, old
people write most of the instructions. That means that
when you buy a trick, you have an extra step to carry
out. You have to adapt your magic.
A perfect example is the Cigarette through Coin
effect, mentioned last month. You and your friends
arent allowed to smokeso you have to adapt. What
small round object can you nd in the places you hang
out in? A pencil? A crayon? A paintbrush? (I published
a handling of a paintbrush through coin in Joshua Jays
Magic Atlas. The unique feature of a paintbrush is that
since the bristles of the brush are soft, the trapdoor in
the standard gaff closes smoothly around the bristles.
As you pull the brush through the coin, the hole visibly
gets smaller and smaller and closes without a sound.
I performed the trick on national television on Lance
Burtons Young Magicians Showcase and got a great
reaction during the phase of pulling the brush from the
coin.) What about a shoelace? A French fry? These solu-
tions may seem ridiculous, but part of being a magician
is being able to adapt to your surroundings.
I developed an interest in gambling material long
before I was allowed in casinos. I loved that most people
were familiar with poker and blackjack, and most were
interested in demonstrations of cheating. But I couldnt
claim to be a cheater or even an expert at a game my
audiences knew I wasnt allowed to play. This is an
example of how, at seventeen, I tailored an old people
trick to t my age and personality. (See Paradise Aces
Plus from my lecture notes, A Teens Routines: Updated
and Expanded, 2003 or Volume Three of my DVD series,
Close-up. Up Close.)
People always ask me the same thing. They dont ask,
How do you do that? They dont ask me to teach them a
card trick. What people want to know is: How would you
do in a game of poker?
Well, to be honestI have no idea! Im only seventeen!
I cant even get inside a casino, let alone cheat! But I got to
thinking one day, and so I developed a game that I could
practice in my room to test my cheating abilities. Heres
the idea: Im going to try to locate the best poker hand I
can possibly nd in one shufe and four cuts
I adapted lots of classic tricks to t my style. I some-
times used cookies instead of coins and baseball cards
instead of playing cards. My script was more fanciful
than older magicians. The stories I told with my tricks
were not about outsmarting a cheater or swindling a
guy on the street; they were about outsmarting my
parents or making my homework disappear.
GETTING INTO MAGIC
How did you get into magic? My dad was the one who
introduced me to magic, but for many, it all started with
a magic set. I was already interested in magic when I got
my rst magic set it was a crummy one with plastic
tricks and instructions I couldnt understand. But magic
sets have been inspiring kids for hundreds of years, and
I have developed a fascination with older sets, from a
time when more care was put into the packages. Many
by Joshua Jay
MARCH 2011 41
magicians who grew up in the rst part of the 20th century
were given Gilberts Mysto Magic sets. These boxes were
lled with wooden and metal props: linking rings, springs,
gaffed coins, specialty cards, and a beautiful wooden
wand. They even came with posters. The child would ll
in his own name and the date of his performance, and he
could advertise himself to other neighborhood kids. Even
though I am more than fty years too young to have been
given a Mysto set, I collect them now and marvel at how
fun it must have been to build a show with these charming
props.
OVER: HOW WILL MY
CHILD GET SHOWS?
Hat #3: Manager
Youre not expected to have a degree in marketing, but
you are expected to know more than your child about
the subject. Marketing magic is a learned skill, just like the
performance of magic. And right now, the performance
of magic should be your childs priority. Marketing magic
should be your priority.
First, you must determine what type of magic interests
your child. If your child wants to be a childrens magician,
cater to this demographic. Go to all the grade schools,
after-school centers, and kid-gyms and ask if you can
provide entertainment for events and display promo-
tional materials. Call all your friends and ask if they need
entertainment for their childs next party. And be on the
lookout for charity events, church and scout functions, and
block parties.
You arent responsible for your childs continuing
performance success. His good magic will increase his
business. But the rst few shows dont appear like magic;
you have to do the sleight-of-hand.
WHO WILL BE MY
CHILDS AGENT?
Hat #4: Agent
You. By serving as your childs agent, youll be able to
secure fairer, higher prices. When work starts coming his
way, your child will be in an unfair position. Never having
dealt with money or negotiation, he wont know what to
charge. Never having driven a car, he wont know how
to write down directions. Never having done a show, he
wont know what questions to ask the client. You can help.
You will take the calls.
Stealing candy from a baby is easy for an adult, and so
is cheating a young magician. As your childs agent, youll
be able to conduct a level-headed conversation with your
childs clients and make sure a fair transaction occurs. For
some reason, even ethical adults have a hard time taking a
child seriously when it comes to money. When a fourteen-
year-old quotes a three-digit number, the inclination for
some adults is to move immediately into barter-mode.
Some adults think that since the magician is half the age
of last years entertainer, he should be half the cost. Some
adults think that a childs performance means an amateur
performance, and the price should reect this. Some adults
feel that they are doing your child a favor by giving him an
outlet in which to perform.
Clients will be far less likely to try to negotiate a price
with you, and so you should make a point to conrm book-
ings for your child. Sometimes you can work together on
the phone. The client can talk to your child about the show,
and then pass the phone to mom or dad for pricing.
My father set up an excellent system. He kept a neat stack
of carbon contracts by each phone in our house. When he
wasnt home to help, I had a cue sheet on what to ask and
what to say. No matter who booked the show or took the
call, we had all the basics (in triplicate): directions, pricing,
audience size, etc.
WHO
DRIVES?
Hat #5: Chauffeur
While the limousine and British accent arent required,
time and patience are. Unless youre in Los Angeles or Las
Vegas, your area is likely decient in magicians. That keeps
all the working professionals busy on the weekends. Some-
times you have to accept shows outside the city lines, and
sometimes a high-paying performance will entice you to
travel farther than usual. Before your child accepts a show,
you have to make sure you or someone trustworthy can
transport him.
Gas money adds up. One Christmas season, I had almost
twenty shows in the month of December. Thats a lot of
shows and a lot of driving! My dad and I agreed that the
next Christmas season, I would reimburse him for his gas
mileage. When I booked shows in Cleveland, I anticipated
another two hours of driving. I always cleared this with my
parents to make sure someone could take an afternoon
off. I also built in the added cost of a half-tank of gas.
In the beginning, its fun to watch your child perform
magic. But like any frequent repetition, it gets tedious. My
mom and dad often alternated taking me to shows. If I had
two shows on a Saturday, sometimes I would have a differ-
ent driver for each one. That said, both my parents told me
in my college years that they missed the times we spent
together, driving to shows.
An Inside Guide for Young Magicians and their Parents
Once again, our topic this month was suggested by Floridas
Dan Stapleton. Dan wrote me about an illusion I alluded to several
months ago. Apparently it piqued his curiosity, because I intimated
how very diffcult it was to do. As you are about to discover, that
is a gross understatement.
By the way, Dan will be performing this August at Abbotts
Magic Get-Together in Michigan. Besides appearing onstage, he
will be doing a blindfold drive in downtown Colon. Ill predict it
will be a very short drive, not because Dan is not up to the task,
but because its downtown Colon, Michigan! This could be the
shortest metropolitan blindfold drive ever! And, odds are, I will
be there to witness it.
The diffcult illusion is a unique offering from Californias
Owen Magic Supreme. Its their Tea for an Oriental Potentate.
When I was a teenager, I discovered this effect in their classy
purple-and-gold-bound catalog. The description featured an illus-
tration of a prop that vaguely resembled a Costume Trunk Illusion
with shallow trays of tea stacked up on a deceptive base.
Heres what the audience sees: On a decorative base is a chest
of tea destined for the ruler. The tea chest is brightly decorated.
Assistants enter carrying three additional tea chests. These chests,
however, are for the common citizens. They are less colorful. The
common tea chests are stacked atop the chest of royal tea, a grave
insult to the ruler. With royalty approaching, and no time to fx
their faux pas, the assistants lift a cloth banner to hide the stack of
tea chests from view. The ruler, however, demands to see what the
banner obscures. When it is lowered, it is seen that the royal tea
chest is now atop the stack in its rightful position.
The ruler nods happily and the banner is raised again. When it is
lowered, all of the tea chests are gone. In their place is an elaborate
throne with a beautiful princess sitting on it.
I recall this fanciful illusion was priced at $750 back then (mid
1960s), a princely sum.
I learned it was the creation of Owen Magics loveable curmud-
geon owner, the late Leslie Smith. He had built this for himself, but
the prop was lost in a fre. It had never been rebuilt. It appealed to
me because it was so different from the sawing/stabbing/dividing
effects and was so much more than a simple production.
During my frequent visits to Owens I would often ask about
this item and Id be told that if I ever wanted one that they would
be happy to build one for me.
Then, in the early 1980s, I learned that one had been completed.
It was built by Les and his crew on spec in the hope that someone
would buy it. I made hasty plans to fy to southern California and
see frsthand the illusion I had dreamed about for more than a
decade.
What I discovered, though, was something very different than
that line drawing in their catalog. The prop did not resemble a
Costume Trunk Illusion. What it looked like was a Stack of Boxes
or the well-known Owen Mis-Made Girl. The tea chests were cube
shaped.
Now, theres nothing wrong with that at all; it was an attractive
piece of illusion apparatus in the classic style that Owen Magic is
famous for.
The beautiful assistant begins concealed within the deceptive
base and the lowest tea chest, just like the Stack of Boxes. The other
individual chests are introduced and placed in position. When the
banner goes up, the hidden assistant operates some spring-loaded
releases from inside at both the very top and very bottom of the
stacked chests. Half panels on the front of the illusion fip down,
causing the change of royal-to-common or common-to-royal tea.
It worked well and could be easily done.
The next maneuver, however, stretched all my credibility. The
top tea chest was constructed of extremely lightweight plywood; it
was hinged to fold absolutely fat. The assistant had to do this from
within the stack and somehow had to slip the fattened chest all
the way down into the base. Then, she had to operate a dizzying
number of catches and releases that caused the remaining tea
chests to behave like one of those Transformers toys. These mech-
anisms, which had to be operated in a specifc sequence, would
have made Rube Goldberg smile. The budget for spring-loaded
hinges must have been terrifc.
But, piece by piece, the tea chests rotated, spun, collapsed, and
revolved, and the elements of the elaborate throne sprung up and
out. The assistant had to fgure out
how to get perched on the throne as
she worked all the releases.
All of this took time lots of
time. It was many things to behold,
but silent was not one of them.
Bang! Snap! Pop! Clunk! Thud!
Im sure you get the idea. All of
this disappointed me greatly. I had
wanted to love this illusion. Instead
I immediately decided, This isnt
for me.
Apparently, Harry Blackstone Jr.
felt differently. He bought the prop.
I know he used it, but Ive found
42 M-U-M Magazine
by David Seebach
Its Impossible!
The Illusion Youll Likely Never See
few people who actually
witnessed it. However, those
who did, like Abb Dickson,
said it was something less than
effectiveor even impressive.
Even Alan Zagorsky, who
now owns Owen Magic,
admits it was a dud. It took
forever and you heard all this
noise. By the time the banner
was dropped, it just was not
impressive. Owen has never
built another one and Alan hopes he never has to.
After Harrys death, this item came up for auction; I had to
admit that it still cast a spell over me. I thought if I could get it at
a reasonable cost it would be a challenge and a dream fulflled. I
made several bids, but buyers with deeper pockets quickly steam-
rolled over me. I wondered if any actually knew what they would
be getting.
A day or two later Alan called me. Did you see who won the
auction for the Tea illusion? he asked. I told him I had no idea.
Its your friend! he announced. He mentioned a local home
builder who had briefy been an onstage assistant for me in the
1970s. He was someone whom I had told all about this illusion and
how I coveted it. He lived only a few miles from me!
I contacted him and local comedian/magician Glen Gerard and
I drove over to see it and all the other swag in this rich collectors
possession. The illusion, somewhat beat-up from Harrys road
show, was just as I remembered it. It still wasnt for me.
Enter Mary
A year or two later I told a new assistant, Mary, about this
illusion that had so captivated my imagination. I thought it was
absolutely Seebach style. Im the one guy (well, perhaps not the
only one) who relished acts like this, with brightly-painted, old
fashioned props that are enhanced by captivating introductory
patter, colorful costuming, scene-setting music, and so forth. She
saw it as a challenge.
Mary and I discussed it at Abbotts Magic Get-Together. She
wanted to learn more about it. Well, Gay Blackstone was not hard
to fnd, so we sat down with her and she told us about her experi-
ences with the illusion. It just served to whet Marys appetite.
A month later I contacted my ex-assistant and he quickly agreed
to loan the prop to me. It should be yours and in your show, he
admitted. Youre the guy who can pull off acts like this. We
trucked it home and set it up. It needed some minor repairs and ad-
justments. It needed cosmetic work where paint had chipped off.
A local sign company produced a great adhesive appliqu with my
name SEEBACH in Oriental lettering. Its subtle on the thrones
back.
That collapsing top chest was a major issue. Mary was short and
this one aspect of the transformation was problematic. I decided
to change the script; after the royal tea chest travels to the top of
the stack magically, it would be openly removed. Thus, only three
tea chests changed into the throne. This cut the transformation
time down.
But, it was still l-o-n-g. And the noise was considerable.
I solved this problem with proper scripting. Sound the drum,
became a line; I had a costumed Oriental character onstage
pound on a ceremonial drum I obtained. Two female assistants
crisscrossed the stage with poles that had ribbons on them like
those seen during rhythmic gymnastics. We also set up the
entire Abbotts Spectacular Finale prop. It features two stylish
pagodas that erupt in colorful parasols, silk streamers, and folded
paper displays. It also features twelve banners, about eighteen
inches wide and eighteen feet long, that all fy down at once. If
youve ever attended the opening night show at Abbotts Get-
Together, youve seen the ones decorated with the WELCOME
MAGICIANS lettering. We made a new set of banners of shiny
black fabric, thirty-six inches wide and eighteen feet long. They
unrolled in front of a fame-red eyelash curtain that had a giant
Oriental dragon hanging in front of it. My long-time assistant,
Peggy, had painted the black banners with shimmering glitter to
suggest exploding freworks. We added an audio cue of freworks
that played over the music I selected for this illusion.
Does this all sound like a little much? Well, nothing succeeds
like excess! If we hadnt been using our pyro system and confetti
cannons at the end of the entire show, I probably would have
added them too!
So, as the three chests were covered for the surprise transforma-
tion, the drummer began pounding. The girls waved their poles
and crossed the stage. The two pagodas sprung open and then the
freworks banners fell, accompanied by the audio track. It ate up
all the time required and covered all the noise.
Without assistant Mary, I would never have attempted this
illusion. She applied herself to this as a personal challenge and
lived with the prop in her tiny studio apartment so she could
rehearse on her own time. Marys speed was exceptional; seeing
the backstage view of everything operating was very interesting
and entertaining. This was much like Abbotts Hole in One, a re-
markably clever prop that is amazing when you see exactly how
its done.
How Efective was It?
This illusion is not going to replace Asrah or the Modern
Cabinet in audience impact. We crossed our fngers for Mary at
each performance, but it worked perfectly every time. I told the
audience that it was a unique illusion; I think it was safe to say
that no one had seen it beforenor is likely to ever see it again. I
am glad that we have a broadcast-quality TV recording of the act.
Its now preserved for all time. I sent a DVD copy to both Alan
and Gay. Alan said he was surprised we got it to the point we did.
The illusion is safely stored in my warehouse, where it will
likely stay for awhile. I couldnt do it without Mary, a full stage,
two costumed assistants to tote the chests, a Chinese drummer,
two young women with poles and ribbons, overhead scenery pipes
for rigging the Spectacular Finale, an audio engineer for both the
music and audio effects cues, and the time to rehearse it all back
up to speed.
The illusion remains in Owens catalog. I bet you could buy
onefor about $15,000.
If you have an idea for a future column, please feel free to
contact me just as Dan Stapleton has.
David Seebachs Wonders of Magic
[email protected]
MARCH 2011 43
This photo shows all the wear
from the Blackstone show.
44 M-U-M Magazine
hen you think of coin magic, a few names
come to mind: T. Nelson Downs, J.B.
Bobo, and David Roth. Sure, Dai Vernon had
some coin stuff and Dean Dill has been known
to fip a few silver pieces in his barber shop, but
for the most part, coin magic was pretty much
covered. Then about ten years ago, a chance viewing on televi-
sion changed a college students life and rejuvenated miracles
with the change in your pocket. The magic community is at the
dawn of adding a new name to the change purse: Eric Jones.
Eric burst onto the magic scene in the past few years, creating
a great impression on young magicians as well as seasoned
professionals. His technique is fawless. His teaching skills
are special. He makes the diffcult easier to understand. Eric
is instantly likable; his charm wins over any audience. Think
about the frst time you saw Doug Henning or Michael Ammar
perform. Eric emits those same good vibes.
It is surprising that he is so accomplished, because he has
only been studying magic for ten years. His performances,
lectures, and advice on Internet bulletin boards are shaking up
the close-up scene. But even with all the buzz, very little is
known about this future superstars past. Although there have
been many highs in his life, Eric Jones has encountered many
bumps that caused him to reevaluate his future and reinvent
himself.
EARLY YEARS
Born in Richmond, Virginia, Eric spent his childhood in East
Orange, New Jersey. His father was a corrections offcer; his
mom was an administrative assistant. Rounding out the family
was his younger brother Jerrod. Erics formative years were not
terrible, but family circumstances made it necessary for him to
grow up quickly. The turning point in his life occurred while
Eric was unwrapping his presents at his thirteenth birthday
party celebration. During this party, his mom packed up, got
in her car, and moved back to Virginia. His parents were now
separated. Eric and his brother ended up staying with his father.
School was always a good experience and Eric was a good
student. During this time, Eric was what he called a social
introvert. He was studious and joined a lot of clubs. He was
very happy to be in the FBLA Future Business Leaders of
America. While at the Governors School, which is an honors
school, I was in the National Honor Society. Eric also joined
THE PERPETUAL REINVENTING
OF ERIC JONES by Bruce Kalver, PNP
Photo by Mark R. Morris
the geek clubs like chess club and the debating team, and
was art editor for the yearbook. Planning for the future, he also
joined the ROTC (Reserve Offcer Training Corps). I became
a battalion commander and a lieutenant colonel. I was the
youngest battalion commander in the history of our ROTC.
Eric was very interested in ROTC because he expected to join
the service after he graduated.
Unfortunately I had a problem. I was severely overweight,
weighing 320 pounds. On top of that, I have fat feet. My
recruiter tried very hard to get me in. With his help, I lost ffteen
pounds, trying all kinds of diets, including a water diet, a soup
diet, and fasting. They did this thing where they wrapped my
entire midsection with Saran Wrap. They really tried every-
thing. He scored very high on the admission tests, and could
have gone into military intelligence, but alas, he was way too
big. The Army was important to him. He had several family
members who served in the Army and Marines. I thought I
would serve in the military for a few years to get the money I
needed to get to college. When that didnt work out, he was
granted a couple of partial scholarships and ended up going to
Ithaca College in New York, where he studied drama.
Ithaca is in the middle of nowhere, and seemed small and
quaint enough for an introvert like Eric. His frst semester was
fne, and he actually made a few friends. Still overweight, he
worked hard to lose the pounds so he could again try to get into
the Army.
THE BUG STRIKES
In 2000, Eric was studying for midterms and turned on the
television for a break. There was David Blaine doing his frst
special. He was fascinated by what Blaine did. He did the Coin
Bite; that was the trick that got me hooked. After the special,
there was a quick ad for the Ellusionist Web site, so I went to
the library and got on a computer to check them out. Truthfully,
I didnt like what I saw. It seemed like a weird site, so I checked
the library for some magic books. I dont remember which
books I found, but I know they were flled with a lot of history
and at the end they gave a few simple trick explanations. These
books showed tricks like a shoebox Tip-over Box and a Square
Circle made out of an oatmeal tin; they taught how to make a
silk vanish up a persons sleeve with a holdout. After reading
these books, Eric left magic alone. If this is what magic was,
I was not interested.
REINVENTION
To help with the fnances of staying in school, Eric got a
job at McDonalds, and while there met a girl. They hit it off
and became a couple. One day she announced that she was
pregnant and Eric was the father. Shocked, but ready to take on
his responsibilities, he decided to get married. I dropped out
of school before completing my second year and took a job in a
factory for $17 an hour. I got a place for us to live, planned for
our wedding, and plotted out my future taking on the responsi-
bility of being a father.
After the baby was born, Eric was looking for something in a
desk when he found some medical papers with the babys blood
type. Mom was type AB; Eric was type O. The baby was not his.
She told me that the hospital made a mistake. We tested again,
and the baby was defnitely not mine. We had been together for
two years. The relationship didnt last much longer.
When Eric found out the truth, he sent his girlfriend packing
to the real father and he moved to Buckingham County, Virginia,
looking for work so he could make some money to go back to
school. Thats when my father became ill with three reoccur-
ring brain tumors, two heart attacks, and a stroke. I ended up
moving back in with him. Erics father passed away in 2005.
I never went back to college. I became complacent and once
again began looking for some good paying jobs.
THE BUG STRIKES AGAIN
Around Thanksgiving, Eric turned on the television to
fnd another magic special, The Worlds Greatest Magic, and
watched Ren Lavand do It Cant Be Done Any Slower, Michael
Ammars Cups and Balls routine, and Jeff McBrides masks act.
After seeing this, Eric thought, I need to try this again.
Going back to the library for more magic books, he discov-
ered that you could buy magic
props at a magic shop. I
had never even heard
of a magic shop, so I
looked in the phone
book and found
one in Richmond,
Virginia Divine
Magic and Novelties. I
drove out there and met
a guy named Hun Woo.
He did an interesting
presentation
MARCH 2011 45
Photo by
Dale Farris
46 M-U-M Magazine
REINVENTION 2
Eric was driving with a distant cousin late at night on a dark
road that had no lines in the road or any kind of safety refectors
or lights. Without warning, an oxygen truck coming from the
other direction hit Erics car head on at full speed. His cousin
took immediate action by jumping from the car, leaving Eric.
His cousin jokingly stated later that he was afraid that the
oxygen was going to explode, and there was no need for both
of us to die.
Of course, he had no thought about helping or saving me,
said Eric. I was pinned in the car with no way to move. He
fractured several vertebrae in his back; when his teeth hit the
steering wheel, it pushed them back on a forty-fve-degree angle.
When the fremen fnally removed him from the vehicle, he had
them grab the book from his back seat. It was Troy Hoosers
DesTROYers.
Eric was now held up in the hospital with a long recovery
ahead. While in the hospital bed, he watched the World Trade
Center towers fall. During this time, the pounds started to shed;
after years of trying, he fnally lost the excess weight. I went
from 300 pounds to 240. Over the course of about a year and
a half, he went from a hospital bed to a wheelchair to a walker
to crutches and then to a cane. When they brought me to the
hospital, I made them put the book in the bed with me because
I knew that I would need something to occupy my mind.
DesTROYers was the book that got me started in card magic. Im
left-handed, so this advanced book was even harder because I
had to learn everything right-handed.
Leaving the hospital, Eric moved in with his Aunt Maureen,
who took care of him for the next three months while he was
unable to move or work. I spent my days reading diligently.
I devoted the next six years to coin magic. I used Bobos New
Modern Coin Magic as a text book and made meticulous notes
in it. I then used Michael Ammars tape as a visual reference to
see what things looked like. It took me about a year and a half
to develop a decent classic palm; I ended up performing every
single trick in the book with the exception of the things with
special props such as the Coin Wand and T. Nelson Downss
Misers Dream. Eric was submerged in learning everything he
could about coin magic.
The recovering magician kept moving around from one
relative to another. When the settlement check came from the
insurance company, he bought a car and found a place to live.
Now that I had the weight off of me, I tried again to sign up for
the military. Unfortunately, the injuries put a stop to that forever.
I would have to have the metal rod taken out of my leg and that
involved additional operations that I wanted no part of. I would
have to learn how to walk again. No way. It was evident that the
military was never going to be in my future.
THE FIRST SHOW
In 2005, Eric Jones did his frst magic show. It was a half-hour
show...all coin magic. I will never do that again. It was a kids
birthday party and it sucked. I soon realized that I was doing
something wrong. From this show he realized he had to branch
out if he was ever going to perform again. In came the sponges
and assorted card magic. That birthday party woke me up. I
was cool for the frst ten minutes and then the kids attention
span went right out the window.
of the Dime and Penny. He had a jelly jar and showed me a dime
and a penny. He asked me how much was in there and I said
eleven cents. He shook them up and showed me two dimes. He
shook them up again and now there were two pennies. The total
kept changing inside the sealed jar. All he did was put two Dime-
and-Penny gaffs in there and shook them up until they changed.
I was amazed at the shop and the fact that he was doing
magic with just a couple of coins and a jar. I didnt have any
money on me. I just wanted to check out the magic shop. The
Dime and Penny trick stuck with me, so when I got home, I tried
to replicate what I saw and came up with a way to do it. In my
method, I was clipping and switching real dimes and pennies. I
didnt know that Hun Woo was using gimmicks.
When Eric went back to the store, he showed Hun what he had
come up with, and Hun was impressed. As a prize for his hard
work, Hun gave him a Dime and Penny trick. I was disappoint-
ed that he used a gimmicked coin, Eric recalls. That incident
started Erics love affair with sleight of hand. He bought Michael
Ammars The Complete Introduction to Coin Magic DVD
along with a few sleight-of-hand books.
Eric with Wayne Dobson
Eric with David Blaine
It wasnt entirely Erics fault. One of his frst sleight-of-hand
books was Sleight of Hand by Edwin Sachs. It stated that a
beginning magician should learn coin tricks frst to learn nat-
uralness, how to hold things, and how to palm. Card magic
follows, teaching how to tell a story. Finally, the student moves
on to stand-up magic. I felt I was doing the right thing and
naturally progressing because thats what Sachs said to do. I
guess I took the coin thing to an extreme. At my rate, I would be
an old man before I did my frst show!
REINVENTION 3
Eric was again trying to fgure out how to get back to college
when he got a job selling Electrolux vacuum cleaners door to
door. I was really good at it. I used magic to sell them and sold a
lot! They gave us really big steel balls to demonstrate the suction
power, and I did Chink-a-Chink, making it appear that the balls
were being sucked towards the vacuum cleaner. It was a sales
pitch that the customers loved. I gave my business cards out a la
the UFO spinning card.
The pitch using magic got him many sales as well as invi-
tations to a lot of cocktail parties. At one party, he met Boyd
Tinsley (a member of the Dave Matthews Band). Boyd asked
me how I liked selling vacuum cleaners; I told him that it was
paying the bills. He asked me about my other performing experi-
ence. There was an opening in a company called Music Today,
which was owned by the Matthews Bands manager Coran
Capshaw. They needed someone at their fan club who could talk
to the fans and take care of customer complaints. I was happy
selling vacuums, but I took the contact info anyway.
Soon after, Eric had a falling out with his Electrolux manager
because he wouldnt pay him for a vacuum cleaner that he
had sold, depriving Eric of about $1,700. I couldnt trust him
anymore, so I left that job. Eric tried to fnd work elsewhere,
but nothing came through. Then he remembered Boyds offer. I
called him up and asked if the job was still available. I went in
for the interview and instantly got the job. He worked customer
service for a year and a half and then was promoted to Client
Contest Services. I was the guy who few to concerts to present
prizes to fans. I got to randomly select the winners.
Since this company managed over a hundred artists, Eric got
to give prizes away at concerts for not only the Dave Matthews
Band, but also for Shania Twain, Carlos Santana, Britney
Spears, Kanye West, and John Legend. He made about ffty
fights during the three-and-a-half years he worked for them.
Then the company was sold and he was once again out of work.
During this time, I performed magic at two restaurants: a
Hibachi Grill and an International House of Pancakes. I used
a lot of fash paper at the Hibachi Grill. Following the advice
in one of Eugene Burgers books, Eric took the approach that
he would never go to a table unless asked. The wait staff asked
the customers if they would like to have the magician come by.
If they said yes, the waiter would come and get me. I would
do fve to seven minutes of magic. It was phenomenal and great
practice. IHOP was guerilla performing.
In 2006, magician Vinny Marini had what he thought was
a good idea. He wanted to put out a homemade DVD called
La Familia; he asked people to send him videos of tricks that
he would then compile on a disc. I sent him my Three-Fly
routine and was surprised to see that he included it on the disc.
According to the few who saw it, the disc was poorly produced
MARCH 2011 47
P
h
o
t
o

b
y

M
a
r
k

R
.

M
o
r
r
i
s
48 M-U-M Magazine
because it had seven different video and sound qualities. It was
a fop. After that, Gene Taylor, in his magazine, Antimony,
published Erics Flash Coin routine. It was this contribution to
the magazine that made people aware of Eric Jones.
REINVENTION 4
Things were beginning to look up for Eric. He had a girl-
friend, a place to live, and prospects for the future. I was
dating a girl named Paula; after three months I discovered
that she had a pretty bad cocaine addiction. I caught her in my
bathroom taking cocaine and I realized where all her money
was going. She had a better job than me, yet she was always
asking to borrow money. We talked and I ended up helping her
shake the habit. It was important that we were not apart, so I
held on to all her money. I helped her get into a program to
wean her off cocaine. I stayed with her and after about a year,
she kicked the habit.
During her recovery, Paula replaced her craving for cocaine
by eating all the time. Late one night she was in the kitchen
cooking Tater Tots by heating up some vegetable oil on the
stove top. She forgot about it and left the oil burning. The pan
fared up and the fre hit the walls. She threw water on the fre,
trying to put it out, but this only made it spread. The cabinets
were now on fre (including the one that had the fre extin-
guisher). By the time she ran for Eric, the whole kitchen was
engulfed. Smoke was everywhere in the apartment. I grabbed
my insulin, her purse, my cell phone, and an extra shirt. Now
that the door was open, more oxygen came in and the fre
consumed the whole place. Eric lost everything.
The next day, I wrote to Steve Brooks at The Magic Cafe.
I sent him pictures of the fre and told him that I was in a
hotel room with nothing. I had lost everything. Eric asked if
he could advertise his lecture notes to help get some money,
because at this point he was desperate. Steve said that he would
take care of it. That day, Steve sent out a letter to everyone
on the board telling them about Erics fre and that he needed
some help. Steve mentioned Erics PayPal account. By the next
morning, Eric discovered that lots of people had donated; there
were considerable contributions and they just kept coming in.
I cried for two hours and didnt go to work for two days. My
boss didnt ask about my well being, only when I was coming
back to work. My employers didnt do anything to help me, but
perfect strangers sent me money out of the kindness of their
hearts. I am forever grateful.
So was anything saved from the disaster? The books were
severely smoke damaged. All the DVDs and three six-foot
bookcases flled with Erics worldly possessions were
destroyed. All of my early photographs are gone. I lost my
entire history.
Eric had to start from scratch. And the girlfriend? She never
apologized and thought it was Erics fault for not being there
quick enough. Three days later we broke up. She moved back
to her home and I jumped from one friends couch to another
for six months before I was able to get another place. The new
apartment was small, but since I didnt have anything, it was big
enough for me. The problem was that the apartment complex
sued Eric for the damages, not only to his apartment, but also
to the apartments above and below. They won the case and
I had to pay $50,000, which I continue to pay to this day. My
ex-girlfriend was not part of the lawsuit because her name was
not on the lease. She refused pay anything. I will be paid up in
2027. Eric considers it the school loan he never had.
In 2007, Eric was once again out of work and took a job
restocking shelves overnight in a supermarket. He also did
part-time work as a bouncer in hip-hop clubs and Latino clubs
for $100 a night. It wasnt too bad, I only got shot at once...
but I did get cut twice. Erics new girlfriend suggested that he
accompany her to a job fair. After visiting the various booths,
Eric ended up getting hired by State Farm as an insurance
adjuster for auto claims.
It was around this time that Eric was asked to lecture for
the local magic club. I didnt feel qualifed, because I had
only been doing it for seven years. He fnally said okay, but
Eric performing at the S.C.A.M. convention.
P
h
o
t
o

b
y

M
a
r
k

R
.

M
o
r
r
i
s
MARCH 2011 49
felt funny about charging them for the lecture. Rather than
charging for the lecture, he put some notes together that the
attendees could buy. Eric dedicated the notes to his music idol,
Stevie Wonder. His frst lecture in Richmond, Virginia, was for
I.B.M. Ring 180; seventy-fve people showed up. People came
from Washington, D.C., and West Virginia. Eric printed ffty
copies of the notes and sold out immediately. The attendees
went wild over the material. Eric was stunned. The next day,
word of Erics lecture was all over The Magic Cafe.
The lectures really took off. I would do one and from that
came fve more. That turned to twenty. Many magicians
suggested that Eric put out a DVD of his routines. He was only
selling lecture notes and realized that he did need some products
to survive. A magic distributor told me that if I hadnt had the
word lecture on my notes, they would have been good enough
to sell as a book. They wanted me to change the cover and they
would buy it. I turned them down because I didnt think it was
worthy, and after all, I hadnt been in the game very long. Tim
Trono from Murphys Magic Supplies suggested that Eric talk
to Kozmo about putting the material on DVD.
As Kozmo remembers, The frst time I learned about Eric
was from Tim Trono. He called me and said that there was
this guy down in Virginia who was very, very smooth and he
wanted me to work with him. So I called Eric and talked to him,
but he didnt feel he was ready. We kept in touch and agreed to
meet at Magiwhirl in Washington, D.C. I hadnt seen his stuff,
but was committed to doing a project on Tim Tronos recom-
mendation.
Eric will never forget that meeting. Kozmo and I went to the
bar and I showed him thirty-fve routines. He agreed that we
should do a project, but I still wasnt sure. He explained all the
benefts of putting this out. I fnally agreed. It took three years
to get the three-DVD set out. In the meantime, Eric put out
Mirage et Trois (a Three-Fly routine). Kozmo is a great guy,
and thanks to him I fnally had a product to sell. In 2010 they
put out the DVD set An Extension of Me. The DVDs were shot
at Erics old stomping grounds at Ithaca College and around
Cornell University.
Kozmo describes the experience of working with Eric:
When he showed me his stuff, I was just blown away. His coin
and card work was fantastic. He is so smooth and had a way
about him so confdent and articulate. In my opinion, Eric
Jones is one of the top fve or ten pure sleight-of-hand magicians
in the world. Hes a creative genius and continues to amaze me
every second that we are together. His products are best sellers
around the world and I think we have just scratched the surface
of his creativity.
Two of Erics goals in life were to be able to work at The Magic
Castle and to be invited to FFFF (Fechters Finger Flicking
Frolic). This past December, Eric made his second appearance
at the Castles Close-up Room. In 2009, Mark DeSouza and
Dave Neighbors sponsored Eric at 4F, where Stephen Bargatze
snipped off a piece of his hair for his murderous knife routine.
Tim Trono also helped Eric fulfll another dream; he initiated
a lunch with David Blaine at Magic-Con 2010 in California.
David had seen the trailer for Erics three-DVD set and wanted
to meet him. David asked me to show him something, so I
did a coin routine and a card routine. David was blown away
and asked if I would teach them to him. This affected Eric
very deeply; after all, if he hadnt seen Davids TV special,
he wouldnt be in magic. David is a very funny, outgoing,
outspoken individual, whom I now consider to be a friend.
Whenever I am in New York City, we try to connect.
In May of 2010, Eric Jones decided to go full-time and
leave State Farm. Melissa, (who is still his girlfriend) and I
discussed it, and we decided that even in this recession, I could
make money selling my products and performing full time.
My girlfriend does not watch my magic. I rarely show her
anything. To me, magic is my job, and you dont bring work
home. Magic stays in my offce and doesnt come out to the rest
of the apartment.
So far, Eric feels that he has made the right decision; his
calendar is flled four months in advance. What if it doesnt
work out? If the datebook clears out, Ill look for another job.
Chris Capehart warned me that if I wait too long, I wont be
employable.
For a summer, Eric tried busking, with Chris Capehart
helping him out. Eric remembers it as a great time; he learned
a lot about himself while working the streets of Philadelphia.
What Chris taught me was how to take my close-up routines
and turn them into parlor routines. He taught me to project my
voice and to make eye contact with people in the crowd. He
taught me how to stop doing magic at waist level. He taught
me that the smallest close-up trick can be played bigger for
crowds.
Eric feels very fortunate that the magic community has
embraced him and encouraged him. He also thanks the Internet
for speeding up the process. No matter what happens in his
future, he has proven, many times, that he can pick himself up
and start again. If you have the opportunity, be sure to catch
Eric Jones. Hes a legend in the making.
Eric performing at Fechters Finger Flicking Frolic.
P
h
o
t
o

b
y
D
a
l
e

F
e
r
r
i
s
50 M-U-M Magazine
Effect: With his sleeves rolled back, the conjuror
produces four coins, one at a time, showing the
hands empty during each production. He then causes
the coins to travel from place to place under test
conditions. The coins visibly travel in and out of the
spectators hands, giving the impression that real
magic is taking place.
Commentary: Im a technician. I admit it. I seek
out new, cleaner methods to existing plots. I try to
solve problems to make the magic I perform seem
more impossible. While the process often involves
taking several steps backward to make a single step
of progress, I can say with confdence that the con-
struction in Impossible Coins Across is far ahead of
most standard linear Coins Across effects. This
routine personifes the word fairness.
The problem with most Coins Across routines is
that there is entirely too much repetition; the struc-
tures of such effects are mostly the same. This routine
breaks the mold, in that the magic gets progressively
more impressive as the routine continues. There is no
set rhythm to the magic, meaning that you can take
your time so that your audience can really appreci-
ate each and every peregrination. You can utilize
several spectators during the course of the routine,
which, when performing in an intimate setting, gets
everyone involved.
Props: Three regular coins (in my case I use
Walking Liberty halves); a gravity fipper coin (that
matches the regular coins); an expanded shell (that
matches the other coins); a coin clip (optional). (See
Figure 1.)
Distribution: Begin with the three regular coins
and the fipper coin classic palmed in the left hand.
The fipper coin is closest to the palm. It doesnt
matter which side of the fipper coin is nearest the
palm. The expanded shell is in your left front pants
pocket or on a clip on your jacket on the left side.
I mpossI ble productI on
The routine begins with the production of four
coins into a spectators hand or onto a table. As you
patter, bring the hands together and allow one of the
coins to fall from classic palm in the left hand into
fnger palm in the right hand. The hands separate,
and your attention focuses on your left sleeve. Your
right hand (with the coin fnger palmed) approaches
the left sleeve and produces the coin from the fabric
of the sleeve. This move was originally published by
David Williamson in his Money Talks routine.
Move the right hand back to the right,
displaying the coin, as you drop one coin to fngertip
rest position in the left hand. This happens as your
left hand rests naturally by the side of your body.
Reach forward a bit to place the frst coin on the table
or in a spectators hand. Your left hand reaches to
the right sleeve to produce its coin from the cloth
of the right sleeve. As you produce the coin, use the
Malini/Kaps subtlety to imply that the left hand is
otherwise empty.
The next action will appear as if you place the left
hands coin on the spectators hand (or on the table) as
the right hand reaches up to the left sleeve to produce
another coin. In this larger action, a coin will be
loaded from left classic palm, through the right-hand
thumb hole and into right-hand fnger palm. To ac-
complish this, you lean forward to place the left-hand
coin onto the hand/table as the right hand comes back
toward the sleeve. The hands approach each other,
the left hand above the right. As they approach, the
left hand releases one of its palmed coins; it passes
through the curled right hand and into right fnger
palm position. The hands never stop their individual
movements. The right hand continues up toward the
left sleeve and produces the just-loaded coin as the
left hand drops its coin on top of the coin already on
the spectators hand.
Show that the right hand is empty except for the
visible coin it holds; place that coin onto the other
two. Your left hand drops the fipper coin to fngertip
rest, and then the left hand reaches up to the right
sleeve to produce this coin, showing that the hand is
otherwise empty. Place the fourth coin with the other
three and show both hands empty.
I mpossI ble coI ns Across
Pick up the four coins, forming them into a stack;
the fipper coin is the top coin of the stack, with the
seam of the insert face up. Spread the coins a bit so
I mpossI ble coI ns Across by erI c J ones
MARCH 2011 51
that they are in Spellbound position; all four coins
can be seen in your right hand (Figure 2). You then
adjust the fipper coin so that the lip of the fipper (the
part of the insert that doesnt move) can be contacted
by the left index fnger as all four coins are taken by
the left hand.
In my routine Flash Coins Re-Lit (Antimony #4), I
published a move I called the Clip Placement, which
is a concealment/half-move for the fipper coin. With
all four coins held by the left index fnger and thumb,
the left hand turns palm down to place the coins on
the palm-up right hand. As it does this, the left hand
ficks at the wrist, opening the fipper coin (Figure
3). The insert slides in between the middle and ring
fngers of the right hand; the left hand releases the
other three coins and they fall on top of the fipper
coin.
Openly take one of the real coins from the right
hand and display it in the left as you patter about the
premise of the trick. Flip the coin in the air a couple
of times. Use the left hands action as misdirection to
retrieve the insert so that it looks as if you have four
coins resting on the right hand. Pretend to toss the
left hand coin back into the right hand, but retain it in
classic palm in the left. Make sure that you actually
tap the left-hand coin against the coins in the right,
reinforcing the illusion that the coin actually arrived
in the other hand. Show four coins in the right hand.
The First Coin Travels: Toss the four coins on
the right palm upward a couple of inches and imme-
diately close the right hand over them. At about the
same time, close the left hand. Open the left hand
frst to show that a coin has traveled across. Hand
out the coin for examination, and then open the right
hand to reveal only three coins.
Take advantage of your spectators examination of
the frst coin to prepare for the next coins transit.
Show the three coins in a vertical fan at the tips of the
left fngers. The top coin should be the fipper coin
and the insert side of the coin should be facing you.
Place the three coins onto the right fngers, again
performing the Clip Placement as explained above.
The right hand is palm up, ostensibly displaying
three coins.
Pick up one of the regular coins from the right hand
and give it a fip in the left hand, as the right hand
retrieves the insert of the fipper. The right hand curls
in so that spectators cant see how many coins are
in the hand. Perform any false transfer from left to
right, and open the right hand again to show three
coins (one real half and the open fipper coin). Classic
palm the half-dollar in the left hand as you take back
the frst coin from the spectator (or from the table).
The Second Coin Travels. You will apparently
place three coins into the spectators hand. In fact,
you place the single real coin and the open fipper
coin. (Make sure the fipper coin is beneath the real
coin.) Instruct the spectator to use her other hand
to cover the coins, cupping her hands together. You
demonstrate by example, in a quick sequence that
drives home what youre asking your spectator to do,
while at the same time concealing the second coin in
the left hand.
As you initially cup your hands together, drop the
coin palmed in the left hand into fnger palm in the
palm-up right hand. Turn the body toward the left,
allowing the spectator to see the coin inside your
cupped hands. As you turn, the right fngertips
wiggle the coin to the back of the left hand so the
hands can separate; the concealed coin is held by the
right ring fnger (Figure 4). As you cup your hands
together again, allow the coin to fall back into the
52 M-U-M Magazine
right fnger palm.
Instruct the spectator to give her hands a few
gentle shakes to mix the coins around. She should
not pay attention to the sounds she hears in her
hands, but should focus her attention on your hands.
As you both shake your hands, you release the fn-
ger-palmed coin onto the coin in the palm-up right
hand. After your spectator reacts to hearing the coin
arrive, open your hands frst to show that a second
coin has gone across. Then instruct her to open her
hands (Figure 5). She will freak to fnd one coin has
vanished. This is the point when the most heat is on
the gimmick, but a well-constructed gimmick will be
able to withstand the momentary scrutiny of the most
skeptical spectator. I know this may seem unnerving,
but allowing the spectator to briefy look over the
coins is a nice bit of reverse psychology, leading the
spectator into thinking, The coins must be legit.
Why else would he let me look at them?
Take the two coins from the spectator and hand
her your two coins to examine while you set up
the two coins into Clip Placement, for a third time,
showing two coins on the palm-up right hand. Once
the spectator has examined the other two coins, take
them back and drop them onto the two coins already
on the right hand. Ask your spectator to extend both
hands in preparation for the third transit.
The Third Coin Travels. Status check: You appear
to have four coins on the palm-up right hand. The
bottom coin is the fipper coin (insert clipped between
middle and ring fngers) and the three regular coins
are above it, stepped toward the fngertips.
Allow your right thumb to contact the topmost
coin, sliding it toward the palm until it complete-
ly covers the third coin (the coin second from the
bottom). Once in this position, the left-hand middle
fnger and thumb grasp all three coins (as two) by
their edges, showing them to the spectator (Figure
6). The right hand curls in and retrieves the insert
during this action. Ask the spectator to take the two
coins in your right hand (really the open fipper coin)
and hold them between her middle fnger and thumb.
Place your right hand beneath her left hand and your
left hand above her right hand. She apparently holds
two coins above your hand; you apparently hold two
above hers (Figure 7). This is a very convincing
display.
On the count of three, you will both allow your
coins to fall into the others awaiting hands and still
one coin will travel. When you let go, your coins
will spread as they hit her hand, revealing three; the
spectators fipper will nest, vanishing one as it hits
your hand.
Immediately place the fipper coin back into the
spectators left hand and allow her to examine every-
thing again. As she does, steal your expanded shell
from the clip or from your pocket and move it into
left-hand fnger palm, with the mouth of the shell
away from the fngers.
The Fourth Coin Travels. Take the fipper coin
back with the left hand. Nest the fipper coin into the
shell as you take the other three coins back with the
right hand. Place the three regular coins on the left
hands coin as you turn the left hand palm up. Spread
to show all four coins, and nothing else.
Ask the spectator to open her right hand. As you
count the coins openly into her hand, the shelled
fipper will go on top of the stack, mouth down. Show
your hands empty and ask the spectator to hand you
one of the coins. She will hand you the shell. As
MARCH 2011 53
she does so, you instruct her to close her hand over
the other three (actually four) coins (Figure 8). This
move is credited to Robert Bengal and can be found
in his notes. You are now holding the shell; she holds
four coins, while she believes she has only three.
Perform any complete vanish in your repertoire.
Depending on my situation, I will perform either a
top pocket vanish, a pocket vanish from Bobos New
Modern Coin Magic, or my Imagination Produc-
tion/Vanish. While those vanishes are worth your
research if youve never used them, Ill describe a
slightly more novel approach.
Place the shell on the palm of your left hand, in
open classic palm position, as you show that both
hands are otherwise empty. Perform a classic palm
false transfer, retaining the coin in the left hand.
Allow the left hand to drop by the side as you bring
attention to the closed right fst. Quickly drop the
shell into fngertip rest position, and use the thumb to
fip the shell over, mouth down. Re-classic palm the
shell as you reach up to the spectators right shoulder.
Make eye contact with her as you ask her to watch
very closely.
The moment you make eye contact, deposit the shell
on the widest portion of her shoulder. Then bring the
left hand into her line of vision, snapping the fngers
over the clenched
right fst (Figure 9).
Slowly open your
right hand to reveal
that the coin has
vanished. Ask the
spectator to guess
where the coin
could have gone.
Point to her fst as
you place the palm
of your left hand
directly over the
shell. Prepare to
re-classic palm it.
Keep the hand on
her shoulder until she begins opening her hand. This
gives you plenty of physical misdirection to palm off
the coin. You can either ditch the shell or you can
fnger palm it and add it to the spectators coins when
she hands them back to you.
thI ngs to mAke you go hmmm
You wont have to worry about the spectators
wanting to examine the props, because they have
been looking closely at them throughout the routine.
Place everything in your left pants pocket and youre
reset.
Here you get two routines for the price of one.
The frst is a slick production sequence that gives
the audience the impression that your hands are
empty before and after every production of a coin.
The Coins Across, while not particularly diffcult to
perform, will require a bit of timing to effectively
transition between phases.
The last coin vanish Ive dubbed the GODHAND
move. It stands for Grand Open Deception and
Handling of Apollos Nefarious Ditch. The basic
concept (as the name would imply) came from the
Apollo Robbins technique of producing a coin on the
shoulder. I thought that if you can leave it there to
produce, surely you can retrieve it after showing the
hands empty. I use it to switch coins in and out of play,
for color change sequences, body load sequences,
and for complete vanishes. Later I noticed that a very
similar technique was employed by Max Malini as
described in Malini and His Magic by Dai Vernon.
Lastly, Id like to thank Dan Watkins, Ron Jaxon,
and Mike Powers. While this routine was indepen-
dently conceived while experimenting with the
various props, there are antecedents. Ron Jaxon, (an
excellent conjuror in Michigan) published an ebook
called Flip-M-Out that featured a trick in which four
coins are placed into a spectators hands, covered,
and one coin travels to the performers hands. Mike
Powers published two phases of Rons routine in his
book Power Plays in a routine called Flipped Out.
While the premise of the three is the same, Flip-M-
Out, Flipped Out, and Impossible Coins Across are
completely different. Dan Watkins has an excellent
routine called Four Coins, Your Hands in which four
coins travel between the spectators hands; it also
utilizes a Gravity Flipper Coin. All these effects are
worth your consideration.
Editors Note: Eric Jones is left-handed. The above
routine is described for a left-handed performer.
Text and photos copyright 2011 Eric Jones
54 M-U-M Magazine
M
y name is Rick allen; ive been a full-time
professional magician for over twenty years.
Before that i was sales/advertising planning
manager and PR head for the second largest publishing
company in the u.s.a. after that i owned my own PR
frm and direct-mail advertising company. i mention this
to establish my credentials as a successful business-
person.
i have been a member of The society of american
Magicians for almost thirty years. Being a member of
assembly 112 (Concord/san Francisco area), i watched
the membership struggle to put together a yearly fund-
raising show; usually it broke even or lost money each
year. about four or fve years ago, i helped them with
media coverage, and they made money each of those
years.
over the years, ive discussed how to garner free
publicity for their yearly show with my fellow compeers,
but many seemed not to get it (or they didnt want to get
it). They almost always have had a good show, but that
wasnt the problem. The problem was building a paying
audience, which is the key to bringing in the money!
show Business is two words, and the emphasis is on
the larger word. its also the most important word if you
are doing it, as i do, for a living.
ive realized for some time that the vast majority of
our members had little or no business experience;
almost none of them had ever run their own
business and most of them had never worked for any
professional sales organization. everyone knows
different things about different subjects. There is no
reason why they should know about promoting a show.
The following wont make you an expert on promotion,
but it will give you tools to set you on the right path.
all publicity is very similar to advertising. The
difference is that advertising costs money. Publicity
is often free, except for the work of putting it together
and the work (a lot more) of getting the media to pay
attention. You better have a good hook and a solid
foundation (such as a really excellent show).
all media will work with you if you can give them lively,
interesting, and legitimate news and you can explain
how this news can beneft their readers, viewers, or
customers. Your hook for a magic show could tie in
with Halloween. Houdini is always a good door-opener.
Create a tie-in with a highly thought-of charity or
hospital in your area. Charities that work with children
are always a good possibility; the show helps raise
funds for the charity, and the charity helps your group
sell tickets.
Your publicity needs good strong graphics and/or
photos. There are a few photos in magic that are almost
guaranteed to get space. number one is a levitation
photo or danger shot, such as sawing a person in half.
You may think that viewers of your photos on TV, in
print, or on Web sites may fnd this old hat. This is only
old hat to magicians; the media and lay people are
fascinated.
By Rick Allen
StepS to A
SucceSSful
puBlicity cAmpAign
MARCH 2011 55
Heres some advice on how not to get space on TV
or other media. every year prior to my getting
heavily involved with the PR for our assembly
show, the people in charge chose to use email
to get information to all media. The results were
zip. Before you start sending out information,
get to know your local editors and segment
producers; you can then use email once
they know who you are. Call your local
TV station or network affliate and say,
We are doing a magic show several
months down the road and we want to
make sure we send the right material
to your channel. Could i meet with one
of your segment producers and make
sure we are doing this right? all TV
stations and major newspapers
in metro areas get as many as
four hundred emails a day for
stories or TV time for worthy
causes. if they dont know
you, your group, or your worthy
cause, they wont even read your
email message. and forget about
sending photos via attachment. TV,
radio, and newspaper personnel
have orders not to open unsolicited
attachments. so there goes your great
idea of depending on email.
i dont have the fgures on the number
of people reached through our radio, TV,
and internet presence, but i know for a
fact that our print photos reached over
one-and-a-half million paid subscribers.
We flled the venue, produced a fnancial
success for assembly 112, and brought
positive attention to The society of american
Magicians in the san Francisco Bay area and
beyond.
7 steps to a successful
Publicity campaign for a Major
local Magic show
1. introduce yourself to media people. Months
before your event, make friends with your local editor
of the strongest newspaper in your area. Call your
national affliate TV channel (Fox, aBC, CBs, and
nBC) and your most popular local TV channel and
fnd out how they operate. Find out who the segment
producers are and what their deadlines are. Find out
who the feature editors are and when the best time to
see them is. stay away from their deadline times when
calling or making appointments. Plan your internet
presence. Have all your ducks in a row for easy ticket
sales. keep it simple. offer group sales, for example,
fve tickets for a reduced price (this is currently quite
popular). Folks need a fnancial incentive to part with
their money during the current fnancial slowdown.
2. Read some books and do some research on
how to write a simple press release. (see the example
on page 46). its not that hard to do. WHaT, WHeRe,
WHen, WHo, WHY and HoW are the key points to
cover.
3. Get the best photos and graphics from your
performers; having good photos makes designing a
good poster a lot easier. Make sure the photos look
professional; bringing in photos that are not profes-
sional immediately marks you as an amateur and will
hurt your recognition factor. editors are looking for
excitement, fun, and/or possible danger. Dont use or
submit photos that are too clever; sometimes those are
hard to understand.
a small sampling of the
print media coverage
56 M-U-M Magazine
4. Photos that catch the editors eye: levitation;
a well-dressed or well-costumed magician with rabbit
(yes, its corny but it works!); a dangerous-looking
illusion sawing in half, sword through neck, or an
escape. Make sure you do not use anything dated like
the Razor Blades in an ad or a story. The blades dont
show up and the public doesnt get it. Please dont take
in a photo of the assembly board of directors making a
decision to have a magic show. This is boring!
5. Photos with spectators reacting to the magic
are excellent to submit; shoot photo over the shoulder
of the magician amazing some folks on the street or
in some other casual crowd scene. David Blaine and
Criss angel originally built their careers on this. it was
the expressions on the spectators faces that sold the
effect! if your show is family friendly (and i hope it
is), use kids as your subjects. stay away from posed
photos with this idea. Professional photographers or
camera staff know how to do this. listen to them.
6. set a timetable; be organized and professional.
Put yourself in the shoes of the editor, feature reporter,
and/or segment producer.
7. Finally, do not think that everything is fne just
because you had a good interview with the right media
person. Hard news (that is, real news: fres, crimes,
disasters, etc.) can bump you off the schedule. one
time we had stories ready for a big show coming up.
some of our publicity was supposed to break on the
same day as the big loma Prieta earthquake that hit in
the san Francisco area and brought down a section of
the Bay Bridge. Talk about bad timing. This disaster hit
about ten days prior to our show, so it all worked out.
Good press agents never give up!
rick allen lives in the san francisco Bay
area. he performs 200 shows a year. send
any questions to his secretarial service at:
[email protected] or call him at
707-745-0100.
FOR IMMEDIATE RELEASE CONTACT: RICK ALLEN
(Phone number)
(Email address)
or JAY WEISBERG
(Phone number)
(Email address)
Rock & Roll Family Fun, Magic Show
El Campanil Theatre in Antioch
Antioch, CA The Rock & Roll Magic Show II is presented by The Society of American
Magicians. This is a professional magic and illusion show for the whole family. In its second
annual show, this one-night-only show features seven of the areas best, award-winning, profes-
sional magicians, backed by classical rock band Biernacki and the Illusion.
The 2010 Rock & Roll Magic Show II will star the amazing magic of Ric & Kara, Douglass the
Magic Man, Magic by Danielle, Roy Portido, the comedy of Jerry and Reggie, illusionist Gerald
Joseph, and rock band Biernacki and the Illusion.
Special guest this year will be Jay Alexander. Jay is a master magician and mentalist who has
done command performances for rock and roll stars like Bono of U2, David Crosby, the Rolling
Stones, and comedians Robin Williams and John Cleese. This years Rock & Roll Magic Show is
a tribute to Harry Houdini, October is Magic Month, and Antioch is Magic.
Heres good clean family fun with stunning music effects and hilarious, eye-popping magical
illusions. This special, one-night event, happens Saturday, October 21st. It will appeal to all ages
from 5 to 105. Bring the whole family.
The show is sponsored by The Society of Magicians, Contra Costa Chapter. This worldwide
fraternal organization was established in 1902. Its frst president for nine years was Harry Houdini.
The Rock & Roll Magic Show II, El Campanil Theatre, Saturday, October 21st at 7:00 p.m.
Tickets are $15 - $25 and can be ordered through the El Campanil Box Offce at (925)
757-9500.
Web site: www.elcampaniltheatre.com
###
[Logo or banner of your organization goes here]
above: Poster from the Rock and Roll
Magic show.
left :sample Press Release
TECH MATERIAL
Sewing some new
costumes? Need a special-
ized backdrop? Sure, you
could get an artist to paint
your logo. Better yet, try out a
new Internet company called
Fabric on Demand. They
will be a lifesaver for you.
Upload your design and they
will blow it up to any size that will ft on the fabric. You can
also upload a design and they will repeat it all over the fabric.
They then print out the fabric by the yard. The price for a yard
of fabric averages around $16 and there are no minimums.
They offer unlimited continuous yardage, permanent color,
and the fabric is washable. They print on cotton, feece,
micro-suede, Lycra/spandex, and polyester/satin, which is
ideal for decorative scarves. Learn all about their services at
www.fabricondemand.com. Bookmark this Web site; youll
probably have a need for it.
PARANORMAL PRANk
Barry and Stewart are very
clever U.K. magicians. Their
popular television show is
now available to view here in
the States if you subscribe to
Hulu Plus. As an April Fools
Day stunt for the BBC, the
duo set up a great scam for
people to trick their friends.
Your friends will actually think that they have psychic powers.
This link takes you to the scam: http://tinyurl.com/bbc-espt-
est33. Before you go there, point your browser to YouTube at:
http://tinyurl.com/bbc-esptest33-explanation. Watch the expla-
nation frst; it shows hidden camera reactions from laymen and
then an explanation on how to use the frst link. Essentially,
your friends will watch a grainy Russian ESP experiment from
the mid 1960s. They will fnd that they are amazingly accurate
in guessing ESP signs. Try it out.
WHO NEEDS A WALLET?
Card to Wallet is a standard in my
close-up repertoire; now your iPhone can
take the place of the wallet. Although,
there have been other similar apps, this
one is very clean with no excess baggage.
Essentially, the folded signed card ends
up in the window of your iPhone or iPod
Touch. Wiggle it around and then pull it out
of the phone. Hand it to the spectator; its
the signed card that they selected moments ago. This app is
well written with lots of choices, including many back designs,
face-up folded cards, and coins from various countries.
There is also a deluxe version with other objects, including
Sweet and Low packets, Oreo cookies, matches, and more.
Watch Jakob Halskov demonstrate this app and see his fip
move to throw a card or coin into the phone. His Web site is
www.cards2phone.halskov.com. Cards2Phone is $3.99 at the
iTunes app store.
POP GOES THE BALLOON

This app is a real fooler
and Ive been having a lot
of fun with it. Remember
the old trick where you
have four different-
colored silks tied on a
ribbon? The spectator
names a color and that
silk falls off the ribbon.
Balloons Magic app uses four different-colored balloons. A
spectator names a color. All you do is clap your hands and the
selected balloon pops. Do it over and over again. I thought this
would be great for kids, but adults are also amazed at the effect.
It looks great on the iPad but also works on the iPhone and iPod
Touch. Balloons Magic is available at the Apple iTunes store
for 99 cents.
BuTTERfLy IN A JAR
Remember when you were a child
and you ran around felds with a glass
jar catching butterfies? I never did that
either, but a company called Gemmy
has come out with a really neat novelty
item that looks great on stage or on
your desk. Its a glass jar containing a
butterfy. Tap the lid and the butterfy
fies around the jar. Tap it three times
and it futters its wings. No its not
real, but it sure looks it. Its mesmer-
izing, magical, and has lots of possi-
bilities for your act. You can see it in
action at www.gemmy.com. Butterfy
in a Jar sells for $16 to $20 and is
available at Amazon.com, Thinkgeek.
com, or possibly your local toy store.

Bruce is always on the lookout for computer magic, iPhone/
iPod Touch apps, and tech toys that can be used in magic
applications. If you have any suggestions for future columns,
write to Bruce at [email protected] or call him on
Skype. His Skype name is revlak.
MARCH 2011 57
Hello again. This month I want to have a look at one of the
stepping stones of magic, and by that I mean a skill that, once
mastered, makes further progress to a slightly more advanced
technique all the more enjoyable. We are going to be working with
stacked decks cards that are prearranged into a known order that
enable us to know, relatively easily, the values of the cards in the
immediate vicinity. There are many stacks out there, but today we
are going to look at two of the more famous, the Eight Kings and
the Si Stebbins stacks.
A Distinction
First off, lets clear up one important point: There is a real dif-
ference between working with a stacked deck and working with
a memorized deck. With a stack we can calculate the position
of a particular card in a deck, but this takes time (depending on
your mental faculties) and for many people these calculations
are accompanied by some interesting facial contortions. With a
memorized deck, when one has achieved the required ability, the
position of the selected card is known in an instant. With practice
you can then know the relative position of another card the cal-
culation aspect fades into the darker reaches of the mind. This is
not what we are talking about here, but that skill is attainable with
a stack; it will just take longer. For now, we will be sticking with
the simple calculations. (If you want to explore memdeck work,
there are several essential texts Mnemonica by Juan Tamariz,
Workers 5 by Michael Close, Tangled Web by Eric Mead, and
pretty much anything by Simon Aronson).
So What is a Stack, Then?
Good question. Imagine you take a new deck of cards from its
box. The cards are in a known order we call it new deck order,
and its a run from Ace to King twice, then King to Ace twice.
This is, for all intents and purposes, a stack albeit a fairly useless
one. (Theres a fun thing you can do with a new deck if you can
throw in a casual false shuffe; have a card selected in the fairest
manner possible. Have it returned in the extra fairest way you
can. Show your fellow magicians that you are holding no breaks
or crimps. Fan the cards towards you; the selected card is the
only one out of sequence. Concentrate for as long as your acting
classes will allow, then remove the card, ask for the name from
the spectator, and display. Dont be put off by the simplicity of the
method. This works due to Editor Mikes notion of Unconscious
Assumptions: magicians would not expect you to have a deck in
new order, and will be looking for fancy peeks or controls. Trust
me on this one)
So, new deck order is not that useful to us, and we need to
arrange the cards into another order, one that is easy to remember
yet does not scream out, Hey, Im a stack. Ideally, we should be
able to tell, by knowing the value of the top or the face card, the
value of the next couple of cards quickly and effciently. Finally,
the stacks should be cyclical, so that if the deck is given straight
cuts, and no matter how many times it is cut, the order is preserved
(if a little offset).
How Many kings?
The frst stack we are going to look at is called the Eight Kings
stack. Its old originally described in the book The Expositor by
a magician called Pinchback in 1805 but is one of those things
that has passed the test of time. Although I learned the stack when
I frst came into magic, I was not convinced of its deceptiveness
until I saw Pat Page demolish a roomful of magicians with it at a
mini convention in Edinburgh in the late 80s. That persuaded me
to work on the stack, and I used it on stage in the early 90s.
The stack is described by a short poem: Eight Kings threatened
to save ninety-fve ladies from one sick knave. (There is another
version nine fne ladies but that wasnt the one I learned, so we
will stick with the former, if its all the same with you.) The values
of the cards, therefore, are 8, K, 3, 10 (three-ten/threaten see?),
2, 7 (seven/save), 9, 5, Q, 4 (four/from), A, 6 (six/sick), J. The suits
can be in any order that alternates, the most common (and the
one I use) is CHaSeD Clubs, Hearts, Spades, and Diamonds.
This means the start of the stack is 8C, KH, 3S, 10D, 2C, 7H, 9S,
5D, QC, 4H, AS, 6D, JC, 8H (see Photo 1). You can see that after
the last card in the poem the Jack of Clubs we go back to the
start with the Eight of Hearts (because Hearts follow Clubs in
the CHaSeD order). No matter how many times the deck is given
straight cuts, internal order of the cards is maintained.
58 M-U-M Magazine
BASIC TRAINING
By IAN kENDALL
STACk EM AND PACk EM
Photo 1
Heres a wee tip for getting the deck into stack order without
stress. Take your deck and sort it into suits, and then into the Eight
Kings order within each suit. Lay these cards out in four rows
on your table and then, moving from left to right in the CHaSeD
order, recite the poem as you collect the cards into a deck. It may
seem long winded, but its a heck of a lot faster than searching
through a shuffed deck.
using the Stack
Now that we have our deck in Eight Kings order (from here
on Ill just say 8K) we can practice using it. Cut the deck a few
times, completing the cuts, and then turn over the top card. I see
the Seven of Diamonds. If I run through the poem, I know that the
value of the next card has to be a Nine (because we Saved Ninety
Five ladies, remember?). The next suit after Diamonds is Clubs,
so I know that the next card is the Nine of Clubs. Going the other
way, I know that the face card is a Two (because we threatened
to save) and it is a Spade, the suit before Diamonds. See how that
works? Lets try it with another card: my top card is the Ten of
Clubs, so the next card will be the Two of Hearts, and the face card
is the Three of Diamonds.
When you start out there will be a short pause as you work
out the values back and forth. This pause will diminish with
practice, until you will be able to name the cards on either side
in a split second. Spend some time at this point cutting to cards
and naming the two cards on either side of it. Dont cheat; make
sure that you name the card before you look. When you can hit
the cards rapidly every time (and this could take anything from a
couple of hours to a couple of days) try determining two cards on
either side. Remember that the faster you can know the card, pref-
erably without frowning, the more deceptive you will be. Having
said that, the tricks that we will be looking at later do have some
built in time misdirection, which gives you more breathing, and
thinking, time.
Maintaining the Stack
Sometimes its nice to know that the top card of the deck is the
frst card in your stack. Certainly this comes in very handy when
you make the jump to memdeck work, so its a good habit to learn
at this stage. Basically, we need a way to reliably cut the Eight
of Clubs to the top of the deck, and have a method for being able
to tell the value of the face card without looking. To do this we
borrow a couple of techniques from the gambling world (believe it
or not) the scalloped short card and the punch. To make a scallop
short we need to slightly hollow out the short ends of the Eight
the easiest way to do this is by scraping the edge of the card with
a fngernail and then smoothing things out with a fne fngernail
buffng stick. The amount that needs to come off is relatively tiny
around a sixteenth of an inch would be on the large side but
this is enough that if you cut the deck at the short end you will
naturally cut at the break and the card above the short card the
Jack of Diamonds will be cut to the face. (For more information
on the scallop short, see Dennis Loomiss column in the January
2011 issue of M-U-M.) So that we know that we hit the cut at the
right place, we punch, or peg, the face of the Jack. To do this, you
can buy a proper card punch, but these can be expensive, and we
can do the same thing by pushing a sewing needle into a bottle
cork. Then, with the blunt end of the needle, press down on the
outer right corner of the back of the Jack, around the vicinity of
the angel on a Bike deck. You dont want to go through the card,
and the card should be on something soft like a close-up mat, but
if you practice on a Joker or a spare card you will be able to gauge
how much pressure you need to use so that the bump is noticeable
by touch on the face of the card. Trial and error is the key here,
and if you can position it so that the bump is on the blue line that
goes around the Jack, then so much the better. Do this at both
ends of the card and you will be able to tell, just by running your
fnger over the index corner of the face card whether you have the
Jack or not.
false Shuffes
Its always useful to have a casual false shuffe that you can use
before anything has started, to give the impression of mixing the
cards. Its important but not essential that you do not draw
attention to the shuffe. Remember, you are just shuffing cards,
another of those innocuous acts that does not require any par-
ticular concentration to do, and so you need not concentrate (at
least, on the outside) when you do it. I am aware that I say that so
many times that the column should be renamed Its Innocuous,
Ignore It, but it is a very important point if we are still striving for
naturalness. There is a very useful false overhand shuffe in the
December 2009 column if you joined us late for the party you
can still look this up on the S.A.M. Web site.
When you want to start using your stacked deck, take it out
of the box (again, this takes no effort) and run through a couple
of loose overhand shuffes (false, of course) as you address your
audience. Since you are just talking and shuffing the cards, they
will tune out the shuffing and concentrate their attention on the
important thing, which is what you are saying.
The Other White-bordered Cards
Lets take a look at the other stack for the day the Si Stebbins
stack. This is a numerically incremental cyclical stack, which is a
long way of saying the cards go up in value as they go through the
deck. Si Stebbins (or William Coffrin to his mother) was a circus
clown who performed at the end of the 19
th
century. He learned
a cyclical stack from a Syrian magician named Selim Cid and
published it, albeit in a slightly different form, as the Si Stebbins
stack.
If we start with the Ace of Clubs the suits are in CHaSeD
order as before, so its a good place to start the value of the next
card will be three higher, in this case a Four, and the suit will
be Hearts, so the second card is the Four of Hearts. Following
this is the Seven (4+3, math fans) and a Spade, and then the Ten
of Diamonds. Photo 2 shows the frst thirteen cards of the Si
Stebbins stack.
MARCH 2011 59
Photo 2
To get familiar with the stack, we can play the same game as we
did with the 8K stack set up the deck and cut several times. Turn
over the top card and then calculate the cards either side of it. For
example, I turn over the Ace of Hearts; I know that the next card
down is the Four of Spades and the card at the face is the Jack of
Clubs. Spend some time working through the calculations. One
happy coincidence the face card of both the 8K and SS stacks is
the Jack of Diamonds, so if you punched the card for the 8K stack,
it will still work for the SS (although youll need a different short
card, of course).
Adding an Extra Layer of Sneaky
There is one other thing to consider before we look at some
routines to learn, and its an extra level of deviousness that takes
a powerful tool and makes it even better marking the cards. If
we put some effective marks on the backs of the cards, we dont
even need to glimpse the top or face card to know where we are in
the stack the information is there to see on the back of the deck!
There are almost as many ways to mark a card as there are
magicians (give or take a couple), but for beginners there are few
better than the Ted Lesley method, or one of the variations that are
out there. The Lesley marking method involves tiny transfers that
are put on the back of the card to indicate its value; if you think
that would be obvious, I can tell you that the frst time I encoun-
tered one of these decks the marks few right past me, and I knew
about the system! Boris Wild also markets a version of this system
in which the marks are printed onto the cards. Since the USPCC
has decreed that no one can mess with the back design of the 808
deck anymore, now would be a good time to stock up on these
decks while they are still available. If you dont want to buy your
decks ready marked, you should defnitely pick up a book called
Marked for Life by Kirk Charles, which goes into many different
marking systems for cards.
I Learned the Stack, Now What?
Lets look at some of the things we can do with a stack. The
worst thing you can do is simply to have a card selected and then
announce its value to the world. This is not the most deceptive
thing we can do with a stacked deck, so please put that idea out
of your head. What we can do, however, is use our acting skills to
dress up the revelation and make it into a miracle.
At the start of the column I described a silly thing with a new
deck; luckily, this works well with a stack, although you will need
to think a bit more! Have a card selected, and make sure that you
do not see the face card; you dont want anyone suspecting that
you are using a key card in this trick. Have the card remembered
and replaced in the deck. You want to make sure it does not go
back too near its original position; if by fuke it goes back in the
same spot it came from, you wont be able to fnd it. Be extra fair
in how you take back the cards. At this stage you dont want to
do anything that could be construed as sneaky. Look through the
cards with the faces towards you, being mindful of roughly where
the selection came from, and you should be able to spot the break
in the sequence quite easily. This tells you the card; either it will
not be where it should be (there is a gap in the sequence) or it is
where it should not be (the selection is an interloper). Have a look
at Photo 3 and see if you can spot the selections. Dont cheat by
looking ahead; take your time and make a decision before you
look at the solution.
Once you spot the gap, cut the cards at this point to bring the
card that follows the selection in the sequence to the top of the
deck. Again spread the cards with the faces toward you. Find the
selection, up-jog it, take it out, think a moment, close the deck into
an open position, think some more, and then, with the card well
away from the deck, ask for the name of the card. Show the card
for the miracle. Because we cut the deck before the revelation,
placing the selection on the top of the deck resets the stack.
As for the problem in Photo 3, the top cards are in 8K, and if you
look, the Ace of Spades is missing, so that must be the selection.
In the lower cards, which are in Si Stebbins, the Eight of Hearts is
not where it should be, and so that must be the selection.
A Bit of Marked Mind Reading
This is a fun experiment if you have marked your stacked deck.
Place the deck on the table, and address your three spectators. Ask
spectator one to cut the deck and complete the cut. This effective-
ly provides us with a new face card of the deck, but make sure that
no one sees this card yet. Ask spectator two to cut the cards again,
but to carry his packet over to the side of the deck so we have two
piles. Its not essential, but you want the cut-off packet to be a bit
more than half the deck. Now ask spectator number three to cut
this second packet in half, so that we have three piles of cards on
the table. Im going to assume that the cards were cut from right
to left from your point of view; as long as you keep tabs on the
order, its not that big a deal. Because the cards are marked, we
know instantly the values of the face cards of each packet, but we
are not going to say anything just yet.
Reading from the right, the top card tells us the value of the
middle packets face card; its the card above it in the stack. The
top of the middle packet tells us the value for the left packet, and
the top of the left packet tells us the right-hand packets face card.
Look at Photo 4 for a visual aid.
Reading the marks, I know that the card on top of the left-hand
packet is the Five of Spades. Since I am using 8K here, I know that
the face card of the right-hand packet is the Nine of Hearts (since
that is the card before the Five in the sequence). Moving on to the
60 M-U-M Magazine
Photo 3
BASIC TRAINING
right-hand packet, I see that it is the Three of Clubs. This tells me
that the middle face card is the King of Diamonds. Finally, the
middle top card is the Six of Diamonds, so I know that spectator
three cut to the Ace of Spades. Now that I have worked out the
three face cards, all that remains to do is dress it up with a little
cold reading; I talk about personalities and how I can tell where
someone is going to cut the cards. Another fun presentation is to
get the three spectators to look at the faces of their packets and
remember their cards. Now you can go into a poker tell dem-
onstration as you whittle down the options to their card, getting
them to lie or tell the truth to whatever bizarre questions you can
think of. Reveal their cards with all the gravitas you can muster
and watch the reaction.
Another good thing about this method is that by invoking the
idea of Unconscious Assumptions again the suspicion of marked
cards is negated, because they are looking at the face of the
packets. If you ask them to look at the top cards, the effect is not
nearly so strong, because one probable solution is marked cards.
By burying the cards at the bottom of the packets we get to be
extra sneaky, which is a good thing.
Thoughts
Its worth spending some time with the stacks to get comfortable
with them. The time spent now will go a long way to making your
transition to memorized deck work a good deal easier. Choose
the stack you fnd the easiest to work with and practice with it,
but its certainly a good idea to try both at frst so you can make
an informed decision. Its also a very good thing to download
StackView, which is a free PC program that lets you practice and
learn many different stacks (www.stackview.com).
Last week I got back from my frst trip to the Magic Castle, and
Id like to thank everyone in L.A. who made my trip so enjoyable.
I hope to be back some day.
MARCH 2011 61
STACk EM AND PACk EM
Photo 4
BASIC TRAINING
62 M-U-M Magazine
secreT agenda Book
By roBerTo gioBBi
Available from Hermetic Press: www.HermeticPress.com
Distributed by Murphys Magic Supplies
Price $55.00
REVIEW BY ANTONIO M. CABRAL
One of the great pleasures of magic as a
social engine is the opportunity to spend
time with the people in the craft whom
you admire. I dont mean just attending
lectures, or the occasional handshake and
thank you at a meet-and-greet. I mean
actually sitting down, having a meal or
a drink, having conversations about
a shared passion, and justspending
some time. It could be an evening, a
weekend, or years of your life. Maybe
youre lucky enough that its with some of the
people whose books are on your shelves, or maybe its someone in
your area or at your local club whos a well-kept secret the person
who just seems to know everything from the right way to load the
fruit at the end of your Chop Cup routine, to which effects are the
real foolers in The Royal Road to Card Magic, to the proper way
to tie a full Windsor knot. Its easy to simply name-check these
people for the social cache, thinking it somehow makes you better
(the school of I Spent Time With So-and-So and All I Got Was
This Lousy T-Shirt), but when you reach the point where you
open up, relax, and fnd yourself really learning, you fnd yourself
actually getting better. Thats a singular, wonderful feeling and
theres nothing like it.
Secret Agenda comes close.
Giobbi calls Secret Agenda a notebook, comparing it to
other collections like The Jacob Daley Notebooks, or the recently
released Castle Notebooks of Bruce Cervon. And like any other
notebook, its not 100%, top-to-bottom gold. However, the stuff in
there that I consider gold might not be the same stuff you consider
gold. Its simply a collection, at worst an accumulation, and at best
a treasure trove. What sets Secret Agenda apart is the day book
structure, encouraging the reader to take just a thought or idea a
day andspend some time. Its like being a year-long houseguest
and every day hearing something from your host that sticks with
you, or piques your curiosity, or just makes you think. Im a little
sad that I had to read the whole book in one go for the purpose of
this review; it actually feels like cheating.
If youre familiar with Giobbis other works, then youre a
little familiar with his personality, tastes, and preferences. Hes
just as likely to discuss Anatole France and Chef Paul Bocuse
as he is to describe the proper way to handle a double-undercut.
And it should surprise no one that the author of Card College
tends to focus on card tricks, moves, and subtleties. But there
are also a number of non-card items in Secret Agenda, as well as
thoughts on note-taking, organization, productivity, stage fright,
marketing, and how to dress for a show. My favorite trivial item
might be the advice on the proper way to place ones hand in ones
pocket so as not to draw unnecessary attention to ones waistline.
My least favorite items are the ones of the puzzle variety, little
brainteasers and bits of logical gobbledygook that allow you to
demonstrate how you have eleven fngers on your hands or how
logically a ham sandwich is better than amazing sex. Okay, I like
that last one, but the rest just arent my cup of tea. And yet, I
dont mind them as part of the whole because I see them as part
and parcel of the kind of conversation Giobbi wants to have with
the reader, and advocates having with ones audiences. Granted,
it speaks to a much more relaxed atmosphere than we might fnd
here in the United States, but who knows? Maybe those items are
just the sort of thing you could fnd useful at your next restaurant
gig.
I suppose Secret Agenda is what youd get if you were a
graduate assistant after Card College. Its a beautifully produced
book, well-written, and contains some terrifcally stimulating
ideas. My only complaint is that the structure doesnt make it easy
to dive back in if youre looking for a specifc item. Then again,
maybe I should try to look up some of the tips on note-taking and
organize my own notes a little better (right after I make the list of
my own preferred approaches to different card plots). I very much
recommend this book.
BulleTproof Book
By andy nyman
Hardcover with dust jacket, 287 pages
Available from The Miracle Factory: www.MiracleFactory.net
Price: $250.00
REVIEW BY CHRISTIAN PAINTER
As I was handed this hefty tome to
review, I was told the price was $250.
Noticing the wrinkling of my brow and the
instant fash of skepticism, this person told
me, but it includes a bunch of gaffs, a
DVD, and a CD. Upon hearing that, and
knowing that Todd Karr published the
book, it did alleviate my immediate ap-
prehension.
As I skimmed through the book,
the frst thing I noticed was that it is a
high quality book: the paper, the layout,
the print, and the feel are all top notch. Attached to the back cover
are two discs, and interspersed throughout the book are various
gaffs/props. The book is professionally done; there is no question
about that.
The frst 145 pages are Andy Nymans lecture notes from 1997,
1999, and 2002. You can buy these lecture notes for around $60. It
is true that they have been updated when necessary (for instance
VHS is no longer used, so DVDs have been substituted) and the
addition of photos and clearer illustrations have made understand-
Latest Product Reviews
Compiled and Edited by W. S. Duncan
INFORMEDOPINION
MARCH 2011 63
ing the tricks much easier. But if you have these lecture notes,
then half of the book is redundant.
I have mixed feelings about the effects from these lecture notes.
The frst trick in the book, Deep Red Prediction, is a movie pre-
diction. It reads as a fun romp; however, it works because of a
preshow force. I am not a big fan of preshow forcing for many
reasons, one being that it is not very clever. I can make many
of the tricks in my show look like miracles if I carry out some
sort of clandestine before-the-show-magic. It will only take a few
people to ask the volunteer about the miracle after the show to
learn that some kind of extra work had taken place. The result for
the audience will be disappointment.
Another effect called Magicians Graphology is a simple
reworking of Larry Beckers Sneak Thief, without adding much to
the effect. Witness for the Prosecution is Mr. Nymans work on an
Annemann effect. Whenever I read about someones reworking
of someone elses effect, I look for one of two things: That the
method has been reworked to make it simpler or more deceptive.
Or, that a very entertaining presentation has been added to make it
something you will want to perform. I did not feel that Mr. Nyman
accomplished either with Witness for the Prosecution. He wants
us to mark our targets/people with a rather large and obvious
device, but does not explain how we will accomplish this surrep-
titiously. Nor does he explain how the medium will observe the
markings without arousing suspicion, nor how to get the device
back after the effect.
Before you think that I dont like anything in the book, there are
fashes of brilliance. I can see Mr. Saturday Night getting over-
looked for its simplicity of method. The strength of this routine is
the presentation and how it will play to laymen. It is three pages
in the book that could easily be the highlight of the right show.
Con Air is diabolical. It is a living-and-dead test with billets that
makes sense. The blocking and moves are all logical and well
thought out.
As I read Mr. Nymans newer material, I felt it to be the same
quality as his older material. Mazeltov is a trick that Mr. Nyman
challenges you to come up with your own presentation for;
however, the trick is very similar to Joseph Curchillos Time is
of the Essence. What made Mazeltov interesting was the script,
which Mr. Nyman does not want you to use. So all you are left with
is a method and premise that is fairly well known in mentalism.
The Stalking of Marie Ambrose is a very good script with some
clever ideas. It is a sance piece. Mr. Nyman strives to make this
piece as gruesomely realistic as possible. The story alone will
send shivers down the spine of many audience members.
As you read the book you get a peek inside the mind of Andy
Nyman. You get the feeling that he is the type of guy you would
like to have as a next-door neighbor. His depiction of how
to change your pants in a bathroom stall will have hobbyists
laughing and professionals knowingly nodding. Mr. Nyman cites
references and inspirations for his tricks. He also supplies many,
but not all, of the gaffs for his effects throughout the pages. I like
Andy Nyman. He comes across as a very humble person, passion-
ate about mentalism and about acting.
The DVD that comes with the book is a look behind the scenes
of one of his movies. You will watch him go through all the
make-up and special effects that need to happen in order for him
to be devoured by zombies. Although it is interesting, I would
much rather have had a DVD of him performing some of the tricks
within the pages of this very expensive book.
The CD is a forty-seven minute interview between Todd Karr
and Andy Nyman. The interview meanders along and only oc-
casionally captures Mr. Nymans deeper ideas or philosophies
of performing. The ideas and thoughts seemed unfocused and
scattered.
As I read this book it is evident that Mr. Nymans strengths are
in his presentational ideas and most likely his acting skills. The
book is a fun read; if you are a fan of Mr. Nyman, I am sure you
will be more than happy. While I was writing this review, I was
told that only one hundred copies of the book remain. By the time
this review sees print, I am sure the book will be sold out. I am
also sure this book will hit the auction sites very soon at infated
prices. Why do I say this? Because people who have purchased
the book have already stated this on some of the magic forums on
the Internet. This is what happens to limited run books. Their
scarcity becomes more valuable than the information within the
pages.
So, if your goal is to purchase the book for the material, then I
would suggest you purchase Andy Nymans lecture notes frst to
see if these are the types of effects that would interest you.
mock up Volume one: shaTTered realiTy Book
By lance richardson
Distributed by Murphys Magic Supplies
Price $35.00
REVIEW BY PAYNE FIFIELD

I normally like to try out the effects
I review before putting (virtual) pen to
paper. Ill either infict them upon my
wife, my magic club, or present them
in front of a lay audience. Im a regular
performer at a free monthly magic show
at a neighborhood bookstore here in
Seattle, which is a perfect venue to try
out many of the effects I am given to
evaluate. However, since this illusion
requires more time and money to
construct than I was willing to shell out,
I can only imagine how it would play.
The effect is this: The magician enters the stage carrying a large
21 by 28 inch framed mirror. This is placed in a contemporary-
looking stand and then covered with a piece of cloth. A hammer
is then brought out and used to smash the mirror. The audience
hears the glass breaking and sees shards of shattered mirror
falling to the stage foor. The cloth is then removed and the frame
that formerly held the mirror is seen to be empty. The frame is
recovered, the shattered shards vanished, and the mirror revealed
to be miraculously restored.
I would really like to see this trick performed. Seriously, before
writing this review I looked online for a video demo. None was
to be found. One would think that this would be Marketing 101
when releasing an item of this nature to the magic community.
The lack of an online demo video raises suspicion of the validity
of this effect. So does the wishful Photoshopped image that is
not only used to promote this effect but also adorns its cover. At
no time during the presentation of this illusion can you show the
mirror cracked or broken in its frame. To repeat: You show the
mirror, cover it with a cloth, and smash the cloth-covered mirror
with a hammer. The audience sees the fractured mirror fragments
fall to the foor; you uncover the frame to show it empty save for
a single shard hanging from the top of the frame. The image of
the performer standing next to a broken mirror with a beautiful
spiders web pattern is wishful thinking.
Other drawbacks to this effect are that it can really only be
64 M-U-M Magazine
performed on stage, and you will need the use of a sound system
if you want to have the sound of breaking glass accompany the
actions of you smashing a mirror. You will also need to record
the sound of breaking and falling glass yourself, because no link
to an appropriate sound effect fle is included. It seems to me that
the drawbacks outnumber the benefts of this illusion. It looks as
if there are still a number of bugs to be worked out before it will
become a workable and truly deceptive piece of magic.
magical Things i really do lecTure noTes
By chrisTopher manos
Available from Christopher Manos: www.safetymagicshows.com
Price $20.00
REVIEW BY NORMAN BECK
These notes came in a brown envelope,
and were somewhat nondescript. The
tricks are not pipe dreams, or new
fancy sleight-of-hand moves, or crazy
routines. If that is what you are looking
for, just move on down the line. On the
other hand, if you want routines that get
the money, tricks that Mr. Manos uses
in the real world, then this product is for
you.
One of the best routines is Rub-a-Dub-
Dub, a Cups and Balls routine that was
originally done by Jack Bateman. Phil Willmarth, who holds the
copyright on the original Bateman routine, gave permission for
this to be in the notes. It is a great routine. Fred and Other Folks is
a very bold card trick in which you predict the name of a card. My
favorite routine is titled Vegas 21. This is a magic square that has
a gambling theme to it, and it is just great. I could go on and on,
but you get the idea. If you want commercial magic that gets the
money, you have come the right place.
When ThursTon came To ToWn dVd
By William V. rauscher and rory feldman
Available from Rory Feldman Productions:
www.whenthurstoncametotown.com
Price $100.00
REVIEW BY MARC DESOUzA
I enjoy the history of magic, so I was
eager to view this DVD. Bill Rauscher
and I have been friends for many years
and I have always enjoyed his perfor-
mances and lectures. This package is
no exception. This is a very classy pro-
duction. The packaging is beautiful,
and includes a thirty-two-page booklet,
which is a biography excerpted from
Thurstons 1928 manuscript. The
DVD itself is beautifully produced,
and runs for over two and a half hours.
This was truly a labor of love for Feldman, who has amassed the
largest Thurston collection in the world. The music throughout is
provided by the Paragon Ragtime Orchestra and is authentic to
the period. It is a wonderful addition to the production.
The DVD is advertised as a part of the William V. Rauscher
Lecture Series, but this is far more than just a lecture. Bill serves
more as a host for this DVD, and his lecture was totally rewritten
for this project. His presentation is perfect for the purpose. He
often reads from letters or articles about Thurston written by a
number of magicians. The text is also superimposed on the screen
for further clarity during Rauschers commentary, as well as
during historical audio clips, which may be a bit muddled due to
age. There are audio and video interviews, and commentary by
John Booth, John Calvert, George Goebel, Walter Gibson, Dorny,
Maureen Christopher, Tom Ewing, Ray Goulet, Rev. Robert E.
Olson, Charles Reynolds, James Wobensmith, and many others.
There are over ten video clips of Thurston himself as well as addi-
tional audio clips of him. There are hundreds of images of Thurston
throughout the disc. The fnal piece is a wonderful recording by
Jane Thurston Sheppard, who toured with her fathers show for
many years.
This is not so much a history of Howard Thurston as it is an
homage. There is not a lot of new information given from an his-
torical perspective, but it becomes very apparent that Thurston
was most infuential on aspiring magicians of the time. Everyone
involved refers to him as The Worlds Greatest Magician, and
idolized him. Performers such as Blackstone, Birch, Milbourne
Christopher, and John Calvert state that they felt Thurston was the
best they ever saw, and all felt he deserved the title far more than
Houdini. I came away from viewing this DVD wishing I had had
the opportunity to see Thurston perform in person. I guess this is
the closest I will ever come to that.
The one thing that seems to be missing is Rory Feldmans story.
Although he does speak on screen about Thurston, I would have
liked to hear him talk about how his interest in Thurston began
and some of his own history. He began to collect the materials at
a very young age, and has an amazingly extensive archive of this
fantastic performer. He has expended a lot of time, effort, and
money pursuing his interest and sharing it with the magic world,
which is something to be commended.
This is an absolutely sumptuous product. If you love the history
of magic and learning about the past masters, you will enjoy this
immensely. I feel that every magician should watch this DVD. We
should all learn for our past masters. My only hesitation in highly
recommending this product is the price. At $100 for a single disc,
it is no bargain. I am certain Mr. Feldman had to look at the con-
siderable costs involved in producing this marvelous project and
analyzed how many people would likely purchase such a niche
product. There are no tricks taught, and this is priced higher than
the typical multiple-disc sets currently on the market. I person-
ally feel, given these factors, that the price is justifed. It is a joy
to watch and to be inspired by. Given all of that, I do recommend
this product, especially for those with a love for magics history.
projecT Zero dVd
By daVe forresT
Available from Full 52: www.Full52.com
Distributed by Murphys Magic Suppliers
Price $40.00
REVIEW BY DANNY ARCHER
The prolifc Mr. Dave Forrest is back with Project Zero, a dou-
ble-disc set featuring ffteen effects involving holes punched in
playing and business cards. Dave has obsessed over the moving-
hole plot for years, and this compilation brings together the best
from his notebooks. You will fnd holes that move, jump, slide,
multiply, appear, and disappear.
Dave shows you a number of routines with holes in cards
MARCH 2011 65
and envelopes. There are too many
effects to cover each one in detail,
but I will mention a few of my
favorites. In Void Voyage
a selected card is held in
between a spectators palms.
The performer introduces
a blank card with a large
hole in the middle. The hole
is removed and ends up in the
card that the spectator has been
holding.
Holy Ambition marries a hole in the card
case to an Ambitious Card fnale. A signed card
placed in the middle of the deck, is seen to appear on top of the
deck through the hole cut in the case.
In Shadow Zone (created by Peter Duffe), the hole is in a
manila envelope. The black Jacks are placed inside and stapled
together, while the signed selection is between the red Jacks. The
selection ends up inside the envelope, stapled to one of the black
Jacks. This is a serious fooler. The DVD also includes contribu-
tions from Cameron Francis, Liam Montier, and James Went. The
camera work, sound, and DVD navigation are all up to par.
The use of holes in playing cards and business cards is by now
an established plot in modern close-up magic. With business
cards, M-U-M editor Michael Close created the seminal routine
The Pothole Trick over twenty years ago. Mike Powers and Paul
Wilson have also created moving-hole effects with playing cards
that have stood the test of time.
This is not an encyclopedia of the whole art of hole routines, but
Project Zero is a good place to start exploring this type of effect.
World Xcm champions Vol. 1 dVd
Available from Handlordz: www.Handlordz.com
Distributed by Murphys Magic Supplies
Price $39.95
REVIEW BY DANNY ARCHER
On this two-DVD set, two
former world champions in the
art of extreme card manipulation
teach you a slew of eye-popping
extreme card manipulations.
Over ffty different moves are
explained. First up, on Disc One,
is J.S. Lin (the 2006 and 2007
World Champion) who starts
off by teaching his BF Grip, the
basic grip on which all his work
is based. The format is that frst
the move is performed several times accompanied by music, and
then explained in silence, followed by the performer giving the
viewer words of advice on how to accomplish the moves. Mr.
Lin demonstrates various cuts, fips, fans, and card productions,
which have to be seen to be believed. He shows over a dozen
moves that range in diffculty from I think I could do that, to
How can anyone do that? The camerawork, sound, and menu
navigation are uniformly excellent on this production.
Next up is Max Vlassenko (also a World Champion, while still
a teenager) who begins by spreading two halves of the deck on
one arm and then throwing the cards up and catching both halves
with two hands. Max goes on to show and teach thirteen different,
seemingly impossible catches, spreads, spin-outs, and tosses. The
format is the same, as he shows and explains his moves. Disc
One concludes with bloopers and credits. Here we also see Jerry
Cestkowski The Flourishman (from my home town of Denver)
who is one of the early pioneers of this art form.
Disc Two is mostly Max with some Jerry. The moves here are
fans, juggling, L-cuts, pressure cuts, shuffes, and more. Once
again the skill level is off the charts; these moves are not for the
faint of heart. In one sequence, Max shuffes the cards by holding
the deck between his forearm and bicep!
Some magicians like this type of manipulation and some dont.
I think that what these guys can do is fascinating to watch, and I
loved seeing the crazy and impossible things that they do. This is
not magic, but it has its own charm and place in the entertainment
world. For anyone interested in this unique art form, these DVDs
are a must-have. And for anyone looking to see what is possible
(and seemingly impossible) with a deck of cards, you may want to
take a look at what these talented card handlers can do.
dupes dVd
By gary jones and chris congreaVe
Available from Big Blind Media: www.bigblindmedia.com
Distributed by Murphys Magic Supplies
Price $32.00
REVIEW BY NORMAN BECK
I dont know Gary Jones or Chris
Congreave, but I wish I did. I
like them both, and I liked the
project Dupes. So, you might
ask, what is it? This is a DVD
full of card tricks in which
every trick uses at least one
duplicate card.
In all there are twelve tricks,
and while they are not what I
would call self-working, all are
within the reach of most magicians. I
could tell you what the effects are and which
ones I liked the best. Or, I could just tell you that I have
watched the DVD twice, and that I plan on doing so again. And I
will predict that I will enjoy it the third time as much as the frst.
Did I love all twelve effects? No. Was there anything that I will
actually do? Yes. Is there more than one effect I will add to my
bag of tricks? Yes. Is this uncommon for a DVD? Yes. Will I go
out of my way to meet these clever guys? Yes. Should you buy the
DVD? An emphatic yes! The best part of Dupes, for me, was not
the tricks as much as that it made me think about this type of card
magic. I liked this DVD a bunch.
cosmos card BoX Trick
By cosmo solano
Distributed by Murphys Magic Supplies
Price $20.00
REVIEW BY ANTONIO M. CABRAL
Cosmos Card Box is a simple, clever idea a simple, clever
idea that works. The problem with it is that its too simple, and not
clever enough for its price tag.
Cosmo Solano came up with a way to switch cards isolated
inside an ordinary card case with a very simple gaff. Its a handy,
66 M-U-M Magazine
casual-looking alternative to something like a Himber wallet or
the fap card box many of us had in our early magic kit days. The
box you receive is pre-gaffed, but once you get the idea, its very
easy to make yourself. And its not a one-trick wonder; it doesnt
himber (HAH!) the cases utility
for other things. In other words, you
could very easily gaff any and every
fresh deck you open and have this
useful utility at your fngertips ready
to go as part of your regular arsenal.
The only problem I experienced with
it is that a fresh gaff is going to
require a little breaking in; otherwise,
when you close the card case the gaff
tends to stick in the on position. But
otherwise, this has the makings of a
pretty good utility device.
The bad news is that this isnt a $20
idea. In the preface to the instructions, Cosmo openly admits that
youre paying not so much for the pre-made gaffed case supplied
as for the idea itself. The gaff is easily made, so youre obviously
not paying for craftsmanship. The suggested tricks using the case
are very basic applications, so theres no added value there. Plus,
you receive a handful of gaffed cards for the accompanying tricks:
a duplicate card, an extra Joker and a set of McDonalds Aces
gaffs (i.e. double-faced cards) stuff you likely already own. If
you dont, heres your shopping list: one regular deck of cards
($3), one deck of double-facers ($7). Thats dozens more reflls
for half the price of this whole product. So, all thats left is the
idea. Heres a hint to anyone else attempting to put their idea out
in the marketplace: If you feel like you have to include readily
available gaffs or objects in order to provide extra value, your
idea isnt worth the price youre thinking of asking.
Its a shame, because this wouldve been a terrifc little idea to
stumble across in a magazine column like Josh Jays Talk about
Tricks in MAGIC, or David Acers Magicana in Genii. Or in the
very magazine youre holding. A $20 offering, its not.
delorian Trick
By daVe forresT
Available from Full 52 Productions: www.Full52.com
Distributed by Murphys Magic Supplies
Price $30.00
REVIEW BY DANNY ARCHER
The camerawork, sound, and
menu navigation are well done,
as we have come to expect
from Full 52, on this seventy-
minute DVD.
On this DVD (with an
accompanying something
extra), Dave Forrest takes you
through his signed card under
cellophane routine. Using time
travel patter, the effect starts off
as an Ambitious Card routine with
several steps leading up to the climax in
which the signed card vanishes from the deck and is
found folded in quarters beneath the cellophane on the card box.
The cellophane is removed, the card extracted, and it is the signed
card. You end clean and all can be examined.
Next, Dave shows you how to make the DeLorian gimmick
using a regular playing card. This is very easy to do and takes
just a few minutes to prepare. He then explains the full routine
he performs, but of course you can adapt this ending to practi-
cally any signed-card routine. The effect can be performed at any
point in your act. The basic sleights he uses (shuffes, double lift,
etc.) are all explained, with the hardest move being the venerable
Mercury Card Fold. You probably already fgured that part out.
DeLorian Deluxe uses the accompanying something extra to
make an alternate version of the gimmick. The deluxe version
makes the handling a bit easier to clean up and makes the initial
show of the folded card a bit cleaner. The downside is that the card
box is gaffed, but even so it should withstand casual examination.
Dave shares some other ideas he came up with while creating
the routine. One idea allows you to show the box all around before
starting the effect. It uses another gimmick and while it would
make resetting a bit longer, it improves the overall effect. Another
idea changes the presentation into a prediction in which the folded
card beneath the cellophane is shown at the start. Using an odd-
backed folded card and having them sign the face of a matching
odd-backed card yields another interesting effect.
There are many, many ideas, gimmicks, and presentations for
ending a signed card routine by having the card found in an im-
possible location (either folded or unfolded). I think the handlings
in which the folded card is shown in advance are stronger than
having the card appear there without foreshadowing. DeLorian is
a worthwhile routine and addition to this classic magic plot.
The Wild deck
By jim kleefeld and mark Wood
Available from Jim Kleefeld: www.jimkleefeld.com
Price $30.00
REVIEW BY DAVID GOODSELL
Many perform-
ers feel a bit awkward
using regular poker- or
bridge-sized playing
cards when perform-
ing for children, feeling
that they run the risk
of offending parents
with props associated
with gambling. And
while it is possible to
use game cards, such as
Old Maid or Snap, those
cards seldom slide easily over one another and dont handle well.
Kid-show master Jim Kleefeld and Mark Wood have designed a
lovely deck of playing cards for the family audience. Yes, they
have indices for the traditional numbers and suits, but each card
has attractive, kid-friendly artwork on the face depicting wild
animals of the world ffty-fve different ones, counting three
Jokers, with their names printed beneath the artwork. Since each
card is different, the child can just remember the animal, and not
worry about the suit and number. The original images are by U.K.
artist Peter Wood. The back design follows the Wild Deck theme,
showing a giraffe, a tiger, and a scarlet macaw peering through
the window of a bamboo cage. Above them, amidst bright green
foliage, is a sign that reads WILD.
While the poker-sized deck does not have the feel of Bicycles,
they are of excellent quality and handle well. You will have no
MARCH 2011 67
trouble with double lifts or slip forces with these cards. The backs
and faces are one-way. Painted into the artwork of each spot card
are markings that match the value and suit of that card, although
some are more subtle than others, and almost each painting
includes a hidden snail or two yes, snail which is a kind of
trademark for these cards.
To summarize, these handsome playing cards are designed to
attract and keep the attention of kids and adults alike, and enable
you to perform any number of clever tricks in a close-up or parlor
setting. Yes, certainly they can be used on stage, but the attractive
nature of the cards would be lost there.
With the cards comes a colorful thirty-page, saddle-stitched
booklet printed on quality paper, explaining the nature of The
Wild Deck and how to perform eight simple routines. These are
fairly standard card tricks that have simply been adapted for use
with The Wild Deck. You will quickly see many more possibili-
ties. In addition there are six pages of jokes and witty lines to use
when using this deck and naming selected cards. Every kid-show
performer knows the value of these! Finally, the booklet contains
animal name strips for use with one of the tricks and a colorful
chart showing twelve of the animals for use in another of the
tricks. While I didnt read the text with a blue pencil, I did note
one instance where the number 14 should have been 12. Without
this warning you might scratch your head for fve minutes before
fguring it out. If you work library shows, kids parties of any
kind, close-up strolling magic at family restaurants, or any similar
venue, you will want The Wild Deck. Be aware, only one hundred
book and deck sets have been manufactured. Dont miss out!
karTis VisiBle Bill change dVd and gimmicked Bill
By Tango magic and karTis
Distributed by Murphys Magic Supplies
Price $30.00
REVIEW BY JIM KLEEFELD
If you are interested in money or street
magic, you might consider the
Kartis Visible Bill Change.
You receive an American
one-dollar bill, pre-folded
and gimmicked for a very
quick and visible change
from a blank piece of
paper to a bill. You also
receive a ten-minute (yes,
ten) DVD showing the simple
handling from several angles.
The video is very convincing.
You simply hold a blank piece of
paper at your fngertips, show it on both
sides, and instantly change it to a real dollar. You
can show the bill on both sides before you pocket it and walk away.
Pluses: The change is instantaneous and startling. The paper is
completely blank on both sides. The bill is real. The trick works
either way, changing blank paper to a dollar bill or changing a bill
to paper. The instructions are in both English and Spanish.
Minuses: You cannot hand the bill for examination. There is no
semblance of patter or routine given. Both the bill and the paper
show similar creases or folds. You cannot use a different denomi-
nation of bill. Yes, you made money, but geez, its only a dollar.
Overall Kleefeld Meta-critic Rating: 78.43 out of 100.
Kartis Visible Bill Change is interesting and workable. It is
fashy and magical. It shows what magic should look like. One
instant you hold a blank piece of paper; the next instant it has
turned into money. What keeps it from getting a higher rating is
the utter lack of routining. The trailer video shows a guy walking
up to some kids on the street, changing white paper to a bill and
walking away. No dialogue, no prep, no story, no explanation, no
transition, no climax. While the bill change is fascinating (you
can watch this in a mirror and fool yourself), it is simply too
quick to be useful without something more. You could change
the money back to paper, but who would do that? You could buy
two and make a transposition routine in which a bill and a paper
switch places instantly, but then youve spent $60. If you choose
to segue into another bill routine, youll have to switch out this
bill for another one. Its not a bad prop and it does exactly what
the name implies, but before you plunk down your cash to learn
the very clever secret, you should fgure out a way to use the trick
in a routine.
impossiBle enVelope dVd and gimmicks
By paul sTockman
Distributed by Murphys Magic Supplies
Price $28.00
REVIEW BY JIM KLEEFELD
The Impossible Envelope
can provide you with a
worker routine if you
do shows. It is ridicu-
lously underpriced,
not for the contents,
but for the concept.
This could have been
held in reserve and sold
at high prices to a select
few high-end mentalists. The
premise is that any free selection is
predicted and found inside a nest of sealed envelopes.
The Impossible Envelope is a utility device that allows you to
do many routines. One is performed and described: You distrib-
ute several different newspapers to audience members. A random
spectator chooses any newspaper, another spectator calls out a
page number, and the spectator who has the newspaper turns to
that page number. He calls out any word he sees on that page.
You hand out a large manila envelope. It is opened and inside is a
smaller envelope, and another, and another. The spectator opens
the smallest sealed envelope and removes a piece of newspaper
with the freely chosen word and page number circled. Yes, it
is that clean and that impossible. When you buy this (and you
should), stop the DVD after the performance and try to work out
the method. Ill bet you wont be able to fathom the working.
The DVD is set up and flmed in a straightforward way: it shows
you a routine and then describes how you can make the props and
set it up to perform it yourself. The camera work and explana-
tions are clear and very easy to follow. Peter Nardi joins Stockman
in helping to explain the nuances of using and working with the
Impossible Envelope. After you learn how to construct the props
and set up the routine, you will easily see how you can adapt the
materials and concept to many other routines. If you have any
need at any time for a prediction effect, this would probably
suit you well. You do not need pre-show work, an assistant, or a
stooge. And let me remind you that there is no force involved. Any
word, number, or picture can be found inside the sealed predic-
68 M-U-M Magazine
tion envelope, which is opened by the spectator. You can predict
a string of lottery numbers, a newspaper headline, a compiled
shopping list, or seven words chosen by seven different spectators
from seven different ungimmicked books. I will surely be using it
in one or more of my shows. I love Stockmans thinking. The trick
premise is very clear and looks impossible.
Dont let the fact that there is construction involved scare you.
You simply need to fnd a few different-sized envelopes and spend
a few moments with tape and scissors. If there is any caveat to the
product, it is regarding the intended audience. Its for people who
do shows. This plays well as a stage routine, and can be adapted
to close-up routines, but to make the most of the product, you need
to be performing a show. That is, the premise feels like it would
work best in a more formal setting with at least a few people
in audience mode. Its not the kind of routine you can, say, pull
out of your pocket and launch into as an impromptu feat on the
street. Also, the magic seems to me to be too impossible for a
comedy act. Then again, the Impossible Envelope is utilitarian; I
can see some performers working out a use for it in either of those
settings. Besides the DVD, you get a couple of gimmicks and a
nice PDF that replicates the video instructions in clear and simple
step-by-step photographs. This is really one of the best new magic
products I have come across in a long time. Its a worker. Even
if you end up not using the routine, you get a valuable lesson in
magical thinking for a meager price.
memenTo Trick
By daVid regal
Distributed by Murphys Magic Supplies
Price $55.00
REVIEW BY JIM KLEEFELD
Regal fans will love this, and so
will a lot of card guys. A spectator
freely selects any card as their
favorite card. Then you take a
solid block of acrylic from a card
box, and a card exactly matching
the spectators card is found
embedded in the block with the
words My Favorite Card written
across the face in black marker.
Ive only had this for a few days
and only performed it a few times, but it has delivered a big
impact each time.
The video is sharp and clear. It shows a live performance
followed by Davids concise explanation. His moves are stream-
lined and easy. Anyone can do this with just a little practice.
You can use any deck, and any card can be selected (really).
The routine and movements he teaches have been honed in both
substance and psychology. The explanation is not the only bit
about Memento that is thorough. Regal has provided you with
duplicate card gimmicks to use, two different printed prediction
cards, a template, and a Sharpie so you can write a personalized
message. He even supplies alcohol wipes should you later decide
to erase and change the message. Kudos to Mr. Regal for com-
pleteness and value. Memento is an excellent example of a good
commercial card trick. There are some nuances, though, that you
may want to consider before you buy this.
In 1980, Michael Ammar gave his Command Performance
lecture tour in which he taught The Iceman Cometh, a routine
in which a selected playing card was discovered frozen inside a
solid block of ice. (Jamy Ian Swiss recently performed a version of
this trick on the Late Late Show with Craig Ferguson.) Everybody
loved the trick. Few performed it, though, because of the compli-
cated preparation requirements. Memento has some of the same
look and feel as that trick. How does the right card end up sealed
inside a solid block of acrylic? There is, however, a signifcant
difference between the two solutions. In Ammars preparation, he
describes how to have the card appear to be encompassed in the
center of a block of ice. The card in ice can be shown all around and
even left with the spectator. There is clear ice above and below the
card, and surrounding it on all six sides. The Memento gimmick
cannot display the card in the same way that is, showing clear
plastic on all six sides. The block, in fact, is similar to photo
frames that are heavy clear acrylic slabs. These crystal clear, half-
inch-thick blocks stand upright on the mantle and you slip a photo
into a slot on the back. Similar items, such as glass paperweights,
have been around since 1845. Many had elaborate colored-glass
designs worked into the interior, but they have also been sold as
clear rectangular blank blocks, with a recessed section wherein
the buyer could place a family photograph. To give you an idea
of their provenance, Oscar Wilde and Truman Capote were both
avid paperweight collectors. So the block in Memento resembles
a familiar item. And therein lies the rub.
If the spectator recognizes Memento as a familiar picture frame
or paperweight, then she will likely conclude that the card is not
in the block, but rather simply being held behind it. This does
not diminish the fact that it is her card. You have still magically
located a specifc freely selected card and caused that exact card
to appear. In addition, she sees that the card she selected and that
is now in the block has a message (such as My Favorite Card)
written across its face. So take Davids advice concerning what
to emphasize and what to downplay. If you follow his script and
suggestions, your audience will love this. If your presentation
wanders and you try to change the premise, you may fnd the
effect called into question.
The annihilaTion deck dVd
By cameron francis
Available from Big Blind Media: www.bigblindmedia.com
Distributed by Murphys Magic Supplies
Price $30.00
REVIEW BY MARC DESOUzA
About eight months ago my
friend Jim Sisti asked, You
want to see something
cool? When Jim pulls a
David Blaine on me, Im
curious. He performed
the Annihilation Deck
for me. And I loved it.
I contacted the creator,
Cameron Francis to obtain
the ebook and was told it had
been taken off the market,
pending the release of the DVD.
He sent me a copy anyway. I made up
the required deck and tried it out a few times.
The reaction was really good, so I continued to perform it, and it
has now become a piece in my regular working repertoire. Thats
something that doesnt happen all that often. When the DVD
came out, I bought it immediately, and was even more pleasant-
MARCH 2011 69
ly surprised. It not only contained the original work and lots of
variations, but a number of bonus effects that make this product
a must-have.
Heres the basic effect: A deck of cards is shown front and back
as the performer states that it contains two predictions. The deck is
spread face down and a card is freely selected and tabled without
anyone looking at it. The performer now removes two cards from
the deck that will reveal the selection when combined. Lets say
the cards are the Five of Spades and the Queen of Diamonds;
therefore, the selection could be either the Five of Diamonds or
the Queen of Spades. The selection is turned face up and it is the
Eight of Clubs. Bummer. But wait, there is a third possibility. The
prediction cards are turned face down. One has an 8 drawn on the
back, while the other has a Club drawn on it.
This is a novel card revelation. A regular Bicycle deck is
included to make your own deck. There are no gaffs per se, but it
will take thirty minutes or less for the one-time setup. It can be
performed in a strolling situation. It is instantly reset. There are
no sleights. There is no memory work involved; the deck does
all of the work for you. There are several variations, including
one in which the predictions are seen when spreading through
the face-down deck and another in which the prediction cards are
from a different color deck. Although clever, I dont think either
of the variations add anything appreciable to the effect except
making the showing of the deck a bit more problematic.
Among the bonus routines are two real winners that could
easily have been released on their own. The frst, Convergence, is
an Any Card at Any Number effect. A blue deck is placed in front
of a participant. A red deck is removed from its case and shown to
have a number written on the back of each card. A second partici-
pant is asked to name any card, which is removed from the pack.
Another card is randomly selected and the number on its back is
noted. The frst participant is asked to remove the blue deck and
count down to the number. The card at that number is the card
freely named. There are no gimmicks involved and everything
can be fully examined. Again, there are no sleights, no memo-
rization, no complicated calculations, no cribs, and the pack is
instantly reset. This is a great solution to a neo classical plot.
The second great bonus is Do as I Do Predict. It is based on a
Stephen Tucker idea. Two blue cards are tabled. A deck is shuffed
by a participant who then cuts it in half. Both halves are spread on
the table. The performer chooses one card from his half and the
participant does the same. The selections are shown to be mates
and the predictions are shown to match them. The effect is far
more dynamic than it reads. It is extremely fair looking and very
simple; there is just one move involved. This is a real worker.
The production values are what weve come to expect from
Big Blind Media: well shot and fun. Cameron Francis is a very
engaging performer and an excellent teacher. This gets my highest
recommendation. Its my favorite trick of the year.
hoT & cold dVd
By nefesch
Distributed by Murphys Magic Supplies
Price $39.00
REVIEW BY MARC DESOUzA
Hot & Cold (Heads or Tails Control over Long Distance) is
sort of a one-trick DVD, but its really not. The effects and tech-
niques taught on this disc are related and allow you to predict or
control the toss of a coin. Nefesch has marketed a number DVDs
and booklets on the subject of
mentalism. I will confne my
review to the product at
hand. The frst routine,
Heads or Tails, is a three-
phase routine in which
you predict not only the
outcome of a coin toss,
but the participants own
thoughts relating to the toss.
Nefesch uses three different
methods, all of which have been
used before, but not necessarily in this
combination. The frst phase is the weakest, and
would likely not be performed by most, as it is a risky psychologi-
cal force. He attempts to explain it, but doesnt do a very good
job. Nefesch then uses a method that involves a controlled toss
more about this later in the review. His fnal method requires a
gimmick that is easily found and used. The concept is sound, but
its application I fnd a little questionable. As a bonus, he teaches a
controlled coin spin on a table and an idea using two coins.
The second part of the DVD teaches more coin tosses. This
is the most valuable part of the product. Nefesch executes these
tosses perfectly. The basic toss allows you to hold a coin on
your fngertips and toss it up. It looks like it is spinning, yet you
control the outcome. In the advanced handling, he holds the coin
in the more traditional manner, on top of the fst. It looks like
he is spinning the coin in the air, yet it is under full control. He
also describes how to toss a coin to your participant, still keeping
it under control. This is a far riskier proposition, and I wouldnt
want to depend on someone else catching the coin in the proper
manner. I had seen several of these techniques before, but was
not able to duplicate them. Despite what I thought were minimal
descriptions, I was able to execute all of the techniques success-
fully and fairly consistently with the information put forth on this
DVD. I guess you really cant ask for more than that.
Now for the negatives. I really dont care for Nefesch as a
performer. He comes off as pushy and arrogant. That aside, this
DVD is horribly produced. The audio on this disc is about the
worst Ive experienced and the video is almost as bad. When you
are trying to show a coin toss, the least you can do is make certain
that the viewer knows if the coin is heads up or tails up. If they
are going for urban and gritty, they should look at products by
Ellusionist, Theory 11, or Dan & Dave.
Concerning the value of the material, as mentalism, it is
mediocre. If you have a touch of larceny in your blood and want
to use this to win drinks (or something else), this DVD will pay
for itself many times over. What Im saying is, if you want to be a
cheat, this one is for you, despite the really high price tag.
freefall dVd
By andreW mayne
Available from Shock Magic: www.andrewmayne.com
Distributed by Murphys Magic Supplies
Price $14.95
REVIEW BY PAYNE FIFIELD
Of all the single-trick DVDs Mr. Mayne has extracted from his
earlier Shock FX video, this is perhaps the best and most justif-
able for a solo production. Unlike Hook and Brain Damage, where
the changes and modifcations made to the original concepts were
70 M-U-M Magazine
minor and not worth re-releasing
on their own, the improve-
ments and variations made
to the Freefall effect since
its inception are well worth
reevaluating.
The effect was perhaps
my favorite on the original
Shock FX tape. An open paper
grocery bag is seen sitting on the
ground or on a table. The magician
lifts it up and turns it upside down.
He rattles the bag and holds it up to look
inside. Though the audience is never shown the
interior of the sack, the way the magician effortlessly handles the
bag clearly implies that it is quite empty.
The magician then holds the bag upside down well away from
his body and, to the amazement of one and all, a bowling ball
falls from the interior of the bag. It is essentially a poor mans
version of the bowling ball from the briefcase trick. The angles
are remarkably good, the setup nearly instantaneous, and the cost
of construction minimal. All thats needed is a grocery bag and a
bowling ball.
Several variations on the basic effect are shown on the DVD.
Instead of a bowling ball, a fsh bowl full of water and living
goldfsh can be produced. This is an especially clever use of the
method as no rubber cover of any kind needs to be used. There
is also a clever brick from lunch sack and a mug full of coffee
from bag production as well. The brick from lunch bag is versatile
enough that you could use it in a table-hopping or even walk-
around situation (if you watched your angles). Not that youd really
want to do walk-around carrying a brick all night, but you never
know when you might need such an effect for an offce party at a
construction company.
This is a fun and versatile effect, and if Mr. Mayne continues
to put this much thought into variations and improvements on the
other effects that he will undoubtedly re-release from his Shock
FX tape, I am confdent that the reviews will be kinder.
sporTs Trick
By dean dill
Available from Dean Dill: www.DeanDill.com
Distributed by Murphys Magic Supplies
Price $45.00
REVIEW BY NORMAN BECK
What is Sports? It is a
small packet card trick that
revolves around games using
a ball (baseball, football,
pool, tennis, and basketball);
it concludes with the produc-
tion of a real eight ball from a
billiard table.
John Bannon had a similar
effect (Trick Shot Production,
Smoke and Mirrors) in which
you produced the eight ball
to reveal a forced selection (a
black eight). In Deans routine you receive cards that have fve
different balls from fve different sports. The spectator selects one
(via a clever force), and you produce the eight ball from the card
(with the picture of the eight ball vanishing). Sports comes with
a very short DVD that clearly explains everything you need to
know. If you have a spot in your close-up repertoire for a sport-
themed packet trick, you dont mind the weight of carrying around
a pool ball in your pocket, and you dont mind spending $45, this
could be for you.
MARCH 2011 71
If you wish to have your product
reviewed please send it to:
BIll Duncan
P.O. BOx 50562
Bellevue, Wa 98015-0562
72 M-U-M Magazine
The Nielsen Gallery
The Great Raymond: Weird Witches Cabinet
Dimensions: Half-sheet 22 x 32 Lithographer: Alf Cooke Ltd., Leeds, London, and Glasgow. Date: Circa 1915
Nielsen Rating: Rare
Not all great people are famous and not all famous people
are great. However, in the case of Morris Saunders, who became
Maurice Franois Raymond The Great Raymond there
seems to be enough evidence to support the use of both great
and famous. So writes historian and biographer William V.
Rauscher in his book, The Great Raymond.
Rauscher notes, He had an enormous show, tons of baggage,
numerous assistants, a farmyard of animals, excellent reviews,
trunks of scrapbooks and photos, exciting personal experiences,
and a track record that shows him to have been a heavyweight
of his era. From all reports he had a bright personality, a winning
smile, a wonderful sense of humor, and a sensitive temper. These
attributes were to serve him well in a career that resulted in his
being billed not only as The Man Who Made the World Laugh,
but King of Entertainers and Entertainer of Kings.
He was born in Akron, Ohio, on May 30, 1877, and, according to
his publicity, received his early exposure to magic by assisting an
uncle. He reportedly knocked about with several circuses, played
the small-time in the U.S. for many years, offered a handcuff
escape act along the lines of Houdini, and really didnt come to
the attention of the theatrical world until 1907 when he began
his third world tour. By the time of his seventh record-breaking
world tour he had played all the principal theaters in Egypt, India,
West Indies, Africa, Australia, China, Japan, North and South
America, Spain, France, Italy, Germany, Russia, and everywhere
in between. He appeared before King Edward VIII and King
George V, King Albert of Belgium, the King of Italy, the Mikado
of Japan, the Czar of Russia, and the Empress of China. He was
appointed Court Illusionist to King Alphonso XIII of Spain.
For a full account of his travels and achievements I suggest
you acquire a copy of Rauschers wonderful book. The poster
at the right features one of Raymonds most popular illusions,
titled Weird Witches Cabinet. This was better known as A Trip
to Spookville.
Noted magician and collector Dr. Richard O. Mossey saw the
Raymond show at a Milwaukee theater as a teenager in 1938. He
describes the effect as follows:
A curtained, cabinet-like enclosure was let down from the fies,
its size about six by six feet. With several men from the audience
seated on stage, Raymond explained that the greatest challenge
to professed spirit mediums was the use of a restraint consist-
ing of a securely tied length of bias tape. This, he maintained,
was far more restraining than ropes or shackles, since it could be
bound more tightly, did not stretch, and did not slip. Accordingly,
he allowed himself to be restrained at the wrists with his hands
behind his back and his legs, secured to the chair on which he
was seated, all enclosed within the cabinet. No sooner were the
curtains closed than strange manifestations became apparent; the
curtains shook and objects were cast asunder. The enclosure was
immediately opened to reveal Raymond securely tied as before;
this verifed by the committee, who ensured that the tapes still
indented the fesh of his wrists with the same pressure they had
been encouraged to apply in making the ties. Several repeated
closings of the curtains brought forth equally baffing and often
humorous manifestations, ranging from the beating of drums, the
sounding of horns, and the clash of tambourines, to the discarding
of objects over the top of the enclosure, including the magicians
divested tailcoat. Each time, inspection revealed the magician to
be securely tied. Finally, Raymond invited one man to accompany
him into the cabinet; to protect him from the spirits the man was
quickly blindfolded. Within fve seconds of the curtain being
closed, it was whipped open to reveal a disheveled volunteer still
seated beside the smiling entertainer, but with his coat removed,
necktie askew, trouser legs rolled up, and metal pail inverted over
his head.
This led to the fnale of the show, Metempsychosis, and involved
the same committee of volunteers on the stage. Mossey continues:
A large theatrical trunk, slightly scarred and dented and covered
with express labels and steamship stencils, was brought forth.
Raymond explained that it was his custom to utilize a fancy trunk
with chromed hardware and ornate dcor for this next featured
trick. The original had been damaged in shipping, however,
and had been sent for repair and refnishing. With apologies, he
explained that he was substituting this old property trunk since it
was about the size and shape necessary for what he was about to
present. The trunk was examined inside and out by the committee;
the sides and bottom were thumped to prove their solidity, and
a set of padlocks and keys entrusted to the gentlemen. Also
examined was a large cloth bag. One of the men was asked to doff
his suit coat so it might be temporarily worn by Litzka (Raymonds
wife and assistant). Upon donning the oversized garment, she
proceeded to hand the man the contents of his pockets, consisting
of a babys bottle, ladys hosiery, and other ludicrous but inoffen-
sive artifacts. She was then handcuffed by Raymond and placed
in the black bag. Its top was tied with cord and the knots secured
with sealing wax; then it was placed into the trunk, which was
locked, roped, and put into the opened cabinet. Raymond removed
his coat, stepped into the cabinet, drew the curtain with only his
head and neck exposed, and alerted the audience to a surprise to
be anticipated on the count of three. Raymond pronounced the
words, Onetwo, and retracted his head into the cabinet as
Litzkas face instantly appeared to say, Three! The cabinet was
fung open; Raymond was not in evidence. Immediately the ropes
about the trunk were untied, the locks released, and the trunk top
thrown open. A fgure within the black bag stood upright. The
sealed knots were identifed and untied and the top of the bag
allowed to fall open. A smiling Raymond was seen standing within
the trunk, securely handcuffed and wearing the borrowed coat.
The committee was graciously dismissed and a beautiful evening
of mystery was brought to a close.
This wonderful globe-trotting magician survived two World
Wars and several revolutions. A bullet went through his hat during
a street skirmish in Portugal; another penetrated a Mexican
theater wall and struck the tip of his bow tie. He died in New York
on January 27, 1948. Litzka went on to marry Walter Gibson,
ghost writer for Houdini, Thurston, Blackstone, and Dunninger
and creator of The Shadow. She died in 1996.
Tom Ewing
73 M-U-M Magazine
Secrets to Growth
i
haVe no doubt that the excitement is
mounting and you are hungry to know
what Jolly Roger has tucked up his
magical sleeve for this months feast! I
am going to attempt to go deeper into the
psyche and uncover, what I feel, is one of
the secrets to what makes a good childrens
entertainer. I will also discuss the problems
that many entertainers have with ego and
the limitations and obstacles that this can
create.
Look at each day as a chance to invest
life into life. A chance to share your
experience and deposit it into someone
elses conscience. Each day is a chance to
work miracles in the lives of others. Jim
Rohn
While speaking to one of the attendees
on the last day of a convention for en-
tertainers, he mentioned to me that he
found that many of the magicians present
would gather into exclusive groups.
His perception was that if you were not
part of one of these groups, you felt a
bit isolated and possibly missed out on
some valuable experiences. The result
was that he did not enjoy what would
have otherwise been a good convention.
I found this so unfortunate. This got me
thinking that maybe this is more common
than I realize in the world of magic.
Because of my outgoing personality, I
have always found it easy to make friends
quickly, and I feel comfy in a room full of
people, even if I do not know any of them.
However, I am aware that even at local
S.A.M. meetings I attend there are some
members around the room who may not
be as outgoing and could indeed feel that
they were not welcome. It has been my
experience that generally the magicians
at the top of our profession are willing
to talk and share their experience
with anyone who approaches them.
Keep away from people who try to
belittle your ambitions. Small people do
that, but the really great make you feel that
you, too, can somehow become great.
Mark Twain
Last year I attended a fabulous
convention called Innovention in Las
Vegas, put on by my old friend Paul Stone.
There were many big names attending like
Criss Angel, Teller, Mac King, Siegfried
& Roy, and Johnny Thompson. They
all came across as delightful, genuine
people, and willing to share. I generally
fnd the true stars of magic do not have
a problem with ego. They are at the top of
their profession, and are willing to elevate
others. A problem lies with those who are
not at the top and who are full of their own
ill-conceived importance.
I am going to suggest that the next time
you attend a club meeting or convention
you go out of your way to speak to some
of those people on the sidelines, who may
not be as outgoing. I should also mention
that if you are the one feeling left out, try
being more assertive and open yourself up
to new people. Include yourself in conver-
sations and do not worry about feeling
like you belong. You will probably be
quite surprised at how welcoming the
group will be. You will be amazed how
quickly you will gain new friendships, and
you may fnd yourself an ambassador for
enriching the lives of others. Each of us
has something to share, something to give.
People are always blaming their circum-
stances for what they are. I dont believe
in circumstances. The people who get on
in this world are the people who get up
and look for the circumstances they want,
and if they cant fnd them make them.
George Bernard Shaw
It is likely that the children we entertain
have not yet discovered the negative aspects
of ego. So, to fnd out what makes a good
childrens entertainer, it may be necessary
to go back to your own childhood. It is
my experience that adults generally take
themselves and life too seriously. Children
are full of fun and laughter. Have you
ever observed a young child in his or
her own little creative world? They are
oblivious to anyone or anything around
them, lost in their own imaginative land
of make-believe. They might be singing to
themselves, or scribbling without thought
on a scrap of paper, or playing imagination
games, or maybe creating towers in their
room out of their toys. Often a childs toy,
a toy that to us adults is quite simple, is the
toy the child will play with the most. They
enjoy toys such as simple building blocks,
where all the pieces are of about the same
size, shape, and consistency. Out of this
simplicity they can create magnifcent
structures boats, airplanes, castles. With
this knowledge, how does this affect the
way you interact with children in your per-
formances?
Many children are likely to think that
74 M-U-M Magazine
ROGER BLAKISTON (AKA JOLLY ROGER)
UNLIMITED POSSIBILITIES
grown-ups such as their moms, dads,
or teachers could be quite boring. So I
believe it is important in your role as an
entertainer to have a childlike quality in
your performance. The children will in
essence be meeting someone who is an
adult, but is more like them. Also, just like
these children make towers from building
blocks, as performers you can take the
simplest of props and turn them into a
masterpiece.
Can you can recall the kind of things that
made you laugh as a child, but upset the
adults? It might have been when your sister
spilled gravy at the dinner table. It could
have been when you saw the cat eating
out of the fridge, because your mom had
left the door open. It may have been the
time that you witnessed a mouse running
across the living room foor. Children
fnd it funny when accidents happen, or
the unexpected occurs. Translate this into
your childrens shows, and you will be
on the right track. There have been many
occasions when I have done my show for
children, and the kids have laughed hys-
terically throughout the show. At the same
time, the grown-ups have stood at the
back with very little reaction. They are
delighted to see that the kids are laughing
and having fun, but inwardly there is a
degree of bewilderment, because they are
puzzled as to why the little ones are fnding
me so funny. This is why it is so important
that you think about your own childhood
and you try to see life the way a child
sees life; transcribe this information into
the way you structure your performance.
This is one of the secrets to being a great
childrens entertainer.
Many of you may believe you are the
best in your feld. I am hoping it is not ego
that is making you draw this conclusion,
because the truth is that none of us are
perfect. One of the biggest mistakes that
people make is to believe that they can
never improve. However much praise you
get after all your shows does not mean
that you can never be better. Siegfried and
Roy are good examples. Siegfried thought
small, and Roy thought big. Siegfried liked
the idea of using a dove in the act, and Roy
suggested a tiger and an elephant might be
more interesting. From a small act touring
minor clubs in post-war Germany, they
became the most famous magic act of all
time, performing for years at top resorts
in Las Vegas. What made them legendary
and successful was that Roy never stopped
pushing himself to the limits. The act was
a constant work in progress through the
years. I am going to suggest you adopt this
same approach in your childrens shows.
Allow me to summarize this months
offering. I invite all of you, whether or not
you are childrens entertainers, to show as
much respect to this branch of magic as
any other. Take a long hard look at yourself
and decide whether your ego is keeping
you from exploring new avenues of magic.
This is likely to be the case if you think
you are brilliant, and that you have no
room for improvement. If you are honest
with yourself while evaluating whether or
not you do have a problem with ego, and
you conclude that you have, I would urge
you to keep it in check. Do not go around
telling everyone how wonderful you are.
If you are wonderful, others will discover
that for themselves. Without ego you will
be more likeable both as a person and as
a performer. Try to reach out in a positive
way to all in this great art; the rewards will
be plentiful. The next time you go out to
perform at a birthday party, try to be aware
of your ego. If the client tells you that
you were much better than the magician
they booked last year, simply thank them
without further comment. Do not be
tempted to put down your competitors;
that is negative and destructive. Even
with a new client on the telephone, never
badmouth other entertainers or it will
come back to haunt you.
On a sad note, a dear friend and member
of our local Assembly 248 in Scottsdale
died on November 17, 2010. His name
was Al Garvey, and he was eighty-seven
years old. He was run over by a drunk
driver while crossing the street near
his Phoenix home. Al was a part-time
childrens entertainer and a wonderful
man. He was possibly the most popular
and well-liked member of our assembly.
He was a great example of an egoless man.
All the members knew him, and everyone
loved Al. He had an infectious sense of
humor, and a heart of gold. What made Al
so special was that he was always true to
himself, and never cared what anyone else
thought of his little eccentricities. Each
time my article in M-U-M was published,
he was the frst person to call me up and
talk about it. I shall miss him terribly.
I am now into my second year of writing
for M-U-M, and I would like to thank you
all for your nice comments and support.
If there is any topic that is related to
childrens entertainment that you would
like me to cover, please drop me an email
and I shall look into including my thoughts
on the subject in a forthcoming column
([email protected]).
I leave you with these positive words by
Christian D. Larson:
Promise Yourself
To be so strong that nothing can disturb
your peace of mind.
To talk health, happiness, and prosperity
to every person you meet.
To make all your friends feel that there is
something in them.
To look at the sunny side of everything
and make your optimism come true.
To think only the best, to work only for
the best, and to expect only the best.
To be just as enthusiastic about the
success of others as you are about your
own.
To forget the mistakes of the past and
press on to the greater achievements of the
future.
To wear a cheerful countenance at all
times and give every living creature you
meet a smile.
To give so much time to the improvement
of yourself that you have no time to
criticize others.
To be too large for worry, too noble for
anger, too strong for fear, and too happy to
permit the presence of trouble.
To think well of yourself and to proclaim
this fact to the world, not in loud words but
great deeds.
To live in faith that the whole world is on
your side so long as you are true to the best
that is in you.
MARCH 2011 75
Roger and Criss Angel
at the Innovention 2010
a
couple of years ago Joe Stevens
showed me Katsuya Masudas Wow
card trick. You take a playing card
and place it into an interesting transparent
plastic sleeve. The spectator watches as it
visibly changes into another card. You now
take this new card out of the sleeve and
hand it to the spectator. I was foored when
Joe demonstrated this to me. It looked like
pure magic.
I purchased the effect and played with
it on and off for many months. I was
searching for just the right presentation
for this little gem. The major problem was
that the plastic sleeve looked like nothing
anyone has ever seen; if you perform this
effect, it is almost a certainty that many
of your spectators will want to touch or
look at this funny device. I believed that
if I could overcome this problem, I would
have quite a stunner.
While sitting in Baltimore, I was dis-
cussing my dilemma with Denny Haney of
Denny and Lee Magic Studios. He stopped
puffng on his ever-present cigarette,
laughed out loud, and told me that Masuda
was now selling an ungimmicked sleeve
as well one that could be handed out
to spectators to examine all they wanted.
With that problem solved, I came up with a
clever presentation:
Recently, I was at a convention for psy-
chological advertising. They gave us these
expensive name tags to wear. (I show
the gimmick with a double-blank playing
card inside. The blank playing card has my
name written on it with a black Sharpie.)
The interesting feature about this
name tag is that if you were to put your
name in backwards, because of the blurry
design, you could still read it; however,
it is a bit more diffcult. This action is
performed for the audience. I have ad-
ditionally found that if the word you are
trying to read is a little fuzzy and just the
right thought is introduced into your sub-
conscious, your mind can be manipulated
to see something that is not there. Let me
demonstrate.
I take out a pack of playing cards and
have a card selected (actually forced). The
audience does not know what card has
been selected. It is taken out of the deck
face down. For my gimmick and presenta-
tion the selected/forced card is the Three
of Hearts.
I do not want you to know what card
this is just yet. I will divide all of you into
two groups. We will call these people group
A and those people group B. I would like
group A to clear their minds and simply
count from one to ten over and over again.
Only concentrate on counting.
For group B, I want you to add one
plus one. Then I want you to add two plus
two, and then three plus three, and so on
until you have added all the numbers up
to ten. So you will be thinking, One plus
one is two. Two plus two is four. Three plus
three is six, and so on.
Both groups begin doing this while I
slide the playing card into the name tag.
I slide the Three of Hearts into the name
tag face down. My Masuda gimmick has
the image of the Six of Hearts on it. Once
inserted, you will look up at group A.
Have you counted through all the
numbers more than once? Good. I now
want you to look at this name tag and
remember the card you see. I fash the
Three of Hearts to the group for a second.
I now look at group B. Have you all
performed your mental exercise? Good.
I want you to look at the name tag and
remember the card you see. As I prepare
to show the name tag to group B, I engage
the gimmick to show the Six of Hearts. I
show this to them for only a second.
I then repeat the above procedure again,
and then I pull the card out from the
gimmick and place it face down on the
table.
I look at group A. What card did all of
you see? They will state that they saw the
Three of Hearts. Group B will be surprised
to hear this. I show no emotion at this point
(this is important). I ask group B what they
saw. They will state that they saw the Six
of Hearts.
During this time I casually pocket
the Masuda gimmick. The heat from the
audience will be on the card sitting on the
table and on the other group. I try to have
a little fun with them. I ask each group if
they are absolutely sure; most of the time
they will respond in the affrmative to
these questions.
After playing with them a bit I will say,
Before I turn over this card to see which
group is correct, are you sure you could
see clearly enough through the blurry part
of this name tag to make out the card? It
didnt look funny or bizarre did it? As I
say this, I casually take the ungimmicked
Masuda sleeve out of my pocket. I show
the blurry side and I drop it on the table
next to the playing card.
At this point everyone is usually foaming
at the mouth to turn over the card to see
who is correct. I wait for that moment
of anticipation, and then I reach down
and turn over the card. It is the Three of
Hearts. Pandemonium will ensue. People
(especially from group B) will grab both
the card and the name tag and examine
them. AndI can let them.
Finally, they will look to me for an
answer. I say, Group A merely counted.
However, group B doubled each number
from one to ten and they did this a number
of times. Since I only let you see the card for
a moment, the cognitive part of group Bs
brain doubled the number. They couldnt
see it clearly, and they saw it only for a
second. Had I let them see it a bit longer,
they would have seen the actual number.
Youll notice this cognitive hiccup only
occurred with the number and not the suit.
It is a very specifc hitch in the cognitive
thinking.
After I say this, people are amazed;
many times they will ask me to do it again.
I tell them that I cant, because I have
made them aware of this thinking hiccup.
Bummer.
When I move the gimmick from one
group to the other, I hold the gimmick
horizontal to the foor as I engage and
disengage the gimmick. This is important.
I hope you have fun with this little gem;
drop me an email and let me know how
you are using it in your presentations.
[email protected]
76 M-U-M Magazine
CHRISTIAN PAINTER
MENTAL BREAKDOWN
MARCH 2011 77
Magic in the funhouse
T
hese pasT TWo weeks I have been
deeply immersed in a study of the
great Don Alan. This was entirely
unplanned; in passing, I started reading a
few pages of Jon Racherbaumers excellent
book on Alan, In a Class by Himself (L&L,
2000), but quickly I found myself hooked
and I plunged into all the Alan books and
DVDs.
My head is buzzing about Don Alan
these days, so I thought I would share
some of the lessons and inspirations I am
taking away from this detailed study. I
believe there is great value in this kind of
analysis of the masters because it is easy
to get stuck at the level of surface impres-
sions about them, or their tricks. My
goal in this column is to articulate what I
see as fve deep, essential features of Don
Alans magic with an eye toward seeing
what they suggest for improving our own
performances.
1. Pace - Don Alans magic moves. You
will fnd one or two pieces that stretch
toward four minutes, for example, Ranch
Bird Deluxe, but most of Dons material
clocks in at two minutes or less. This
includes his legendary presentation for the
Chop Cup (99 seconds). How did Don do
it? Well, he did it the old-fashioned way.
As Jon Racherbaumer says, he used a
timer and trimmed the fat. Relentlessly. As
though his life depended on it.
But objective clock-time is only half of
the pace issue. As Jon shows, Don Alan
also was concerned about the subjective
feel of it. Alan understood that introducing
props, having cards selected, and putting
things away all feel slower than they are
because they are so pedestrian. Jon under-
scores how Alan used questions and quick
jokes to keep the mind moving during
these establishing acts. Also observe, for
example, how briskly Don shuffes and
how precisely he handles his props. There
is no waste and no waiting. It is a beautiful
thing to behold.
And so, honestly, I have been losing
some sleep these days. How sluggish is
my magic? How sluggish is a lot of magic
we see? Probably too sluggish: too many
words, too much set-up, too long before
any magic happens. Studying Don Alan,
it occurs to me the problem may be less
that attention-spans are getting shorter
than the simple fact that magicians have
gotten slower. All the way back from 1961,
Don Alan opens up a forward path. I am
inspired.
2. Timing - When you study Don Alans
handling of even well-known tricks and
techniques, frequently you will be fooled.
Thats because Dons timing for these
things is extraordinary. Sometimes, the
technique is handled so quickly that even
the pre-conscious mind cant register it.
(For just one example, try to catch either
of the Chop Cup loads on the Stevens
video shoot, flmed in 1988.) More often,
it is that Alan creates both objective and
subjective gaps between a sleight or a load
and its payoff.
An objective gap, again, means clock-
time; Alan typically composes his pieces
so maximal time passes between the
secret technique and the magical moment.
For example, there are seventy seconds
between the load of the twelve-pound nut
and its revelation 110 seconds between
the vanish of the fnger ring and its appear-
ance on the keychain. Wow!
Subjective gaps are created by the
way Alan changes gears with off-beat
questions, novel props, or sudden requests
for audience participation. Decades before
Ascanio articulated his parenthesis of
forgetfulness concept, Don Alan was a
master of its practice.
3. Whimsy - When you study Don
Alans magic, once piece after another,
you will quickly discern The Alan
Touch. Some of this special quality is
Dons talent for selecting frst-rate, deeply
deceptive material. (If these tricks hadnt
been so widely disseminated by imitators,
dealers, and manufacturers, I suspect we
would remain utterly fooled by most of
Don Alans material.) Some of the touch,
too, is how invisible he keeps the technical
level of his work, including all those loads.
But above all, there is Dons incredible
sense of play.
Don Alan doesnt simply use the common
props of magic (cards, coins, rope); he
cross-pollinates them with strange and
funny toys, gags and shtick, stuff from the
funhouse: a wind-up bird who fnds the
selected card, a lunch bag with a toy worm
inside, a charming monkey hand-puppet
named Stanley who does a card trick, a
joke wallet made out of paper, little cards
and big cards, tennis balls (not fruit) for
fnal loads. Studying Alans repertoire, it
is clear that the driving force in his artistic
decisions and selections is the fun he could
make with a trick.
4. Banter - Here is where we get to a
problem, dont we? I doubt we can watch
Don Alan today and feel entirely comfort-
able with some of what he says and does
with his participants. Alan offers a barrage
of banter (quips, jokes, and lines) and
asks lots of questions, yes, but he doesnt
seem interested in any genuine reactions
or answers. And in the Stevens shoot, the
act is peppered with innuendo and edge
in a way that many people today, and es-
pecially women, would fnd distinctly
off-putting. (For example, just try using a
switchblade like that today.)
Now, to be sure, times change and so too
do the standards of humor; Dons heyday
was the roarin 60s and 70s. But some
of the problems are caused by Alans
fogging the pace and yucks no matter who
gets in the way. In this regard, I think, Don
Alans work may pose for us a different
kind of inspiration: how can we maintain
the pace of our show while, at the same
time, building relationships? After all,
that is how you get hired and hired back
these days, at least by educated, successful
people, prestige companies, and universi-
ties.
5. Compelling. Even so, watching Don
Alan perform magic is intoxicating. His
magic is high fun and funny, fast-paced,
technically brilliant, visually compelling,
utterly astonishing. How could you get
enough of this particular funhouse? Who
wouldnt want to come back, week after
week?
It is easy to understand how an entire
generation of close-up magicians wanted
to be Don Alan. It is easy to understand
how so many close-up magicians started
performing his material, doing his lines,
and adopting his style that eventually they
could forget who they were all channeling.
Such is the compelling presence and
power of Don Alan and his magic. He truly
was in a class by himself.
78 M-U-M Magazine
THEORY & ART OF MAGIC
LARRY HASS
Have you ever played
with a Mene-Tekel Deck?
T
he mene-Tekel deck is essentially
a deck of cards that has random
duplicate pairs of cards from top
to bottom. The order of the cards does
not matter, just that they run in duplicate
pairs. For example: Ace of Clubs, Ace of
Clubs, Queen of Hearts, Queen of Hearts,
Two of Diamonds, Two of Diamonds, etc.,
until you have assembled ffty-two cards.
The basic concept and set-up was created
by Frederich Willheim Conradi in the late
1800s. Burling Hull marketed it and popu-
larized it in the early 1900s.
For the last few years I have been addicted
to the deck and researching its use. I must
thank Reinhard Mueller for his great
research on the deck. Bravo, Reinhard.
Eugene Gloye has also researched the deck
and its uses. He was kind enough to give
me permission to use one of his ideas.
Gloye wrote a long-running column in The
Linking Ring. I highly recommend you
read Eugenes old columns.
One of Gloyes columns had the fantastic
idea of having a half-and-half pack part
normal and part Mene-Tekel. A dozen or so
cards at the top and bottom were normal;
only the center stock of cards was in pairs.
If you are using roughed pairs, this deck
is much more deceptive for close-up work.
Later, I combined Gloyes idea with
the idea of using a pseudo duplicate a
dummy signature on a card that looks like
it could be anybodys signature. The idea
of the pseudo duplicate is very old; Billy
McComb used it with a signature on a bill
for years. The pseudo duplicate can create
a dual reality, sometimes referred to as the
Rashomon effect, basically creating two
different perceived truths at once. One
truth is perceived by the audience and one
is perceived by the spectator on stage.
In the case of this card effect, the
audience believes they are seeing the
signature of the volunteer, but they arent.
The volunteer believes the audience
is looking at his signed card, because
everyone near the card confrms it is signed.
A brilliant ploy! (Guy Hollingworth uses
this ploy to great effect in several routines
in Drawing Room Deceptions.)
Another great use of the Mene-Tekel
Deck combined with the dual reality
principle is Kiss and Tell by Dell ODell
and Jimmy Herpick, which was published
in Bruce Elliotts Phoenix #17. It is a very
well constructed routine that is nearly
self working. A woman cuts the deck to
a random card. She gives it a kiss, and
the card is shown to the audience with
the lipstick impression on it. This card
is caused to vanish and it appears on her
chair under her bottom. It really is the
same card she just marked with a kiss. Its
great; look it up.
The dual reality idea as applied to the
Mene-Tekel Deck goes back to Burling
Hull who did the same thing by tearing a
corner off the chosen card while secretly
tearing a corner off the duplicate. Burlings
effect is also very well constructed and
worth seeking out. (See Burling Hulls
Sealed Mysteries.)
And now I offer you my effect; you will
be using my version of the Gloye Deck.
This is thirteen normal cards on top,
thirteen normal cards on the bottom, and
the paired set of thirteen duplicate pairs in
the middle.
The center stock of paired cards is also
prepared with roughing fuid so that each
pair handles like a single card. The back
of one card and the face of its duplicate
must be treated. These cards can also be
purchased from me if you need them.
The face of the rear card of each roughed
pair has a pseudo (dummy) signature. I
just take a Sharpie marker and scribble a
signature that is not really legible. There
will be thirteen of these dummy signed
cards; the face of each of these is roughed.
The roughed back of each duplicate is
paired up and your deck is ready to go.
Have one of the cards in the center
stock (the roughed pairs) either touched or
named. Its very easy to remove the pair,
or you can just cut the pair to the top. Turn
it (actually two cards) face up and have the
card signed. You can hold the deck for this
or you can deal it off, hiding the duplicate
with a wrist kill.
Have the card signed nice and big.
(Avoid having the spectator initial it the
size of a dime.) Receive the signed card
and place it back, face up, onto the face-up
duplicate taking care not to fash the dupli-
cates presence.
Turn the double over face down and deal
the top card off into your free hand. Hand
the spectator the face-down deck and ask
him to pocket it; make sure he puts it in
his pocket and not somewhere else. You
now tear up the card. You can very openly
fash the torn pieces face up; everyone will
believe its the signed card.
All you have to do now is vanish the
pieces using your favorite method. You
can eat them, use a Devils Hank, a utility
pull, a clip on a reel, a gimmicked box, or a
tip-over trunk whatever foats your boat.
I usually take the pieces and pretend to
place them in my left hand. I then pull up
my left sleeve and in the process ditch the
pieces in my left side jacket pocket. This is
an old ditch of Max Malinis.
Okay, lets say the card has now
vanished. Ask the spectator to reach into
his pocket and quickly pull out a card. He
will usually go for the path of least resis-
tance and pull out the top card. This has a
double kick. Not only is the card restored,
but he just produced his own card. The
signed card vanishes and appears in his
own pocket.
This idea of reaching in and grabbing
the card is very old and it kills when it hits.
If the spectator doesnt go for the top card,
but digs into the deck and brings out some
other card, I just say, Well, that would
have been cool! I ask him to take out the
deck and turn over the top cardvoila.
If you enjoy reading this column, take
a peek at Kranzos Newsletter. Stop by
www.KranzoMagic.com to sign up. Thats
all for this month. Thanks for reading.
80 M-U-M Magazine
NATHAN KRANZO
THE KRAN-ZONE
ALDO COLOMBINI
ANYTIME, ANYPLACE ANY DECK
Riddle
i
mprompTu Tricks are always wel-
come and this goes into that category.
You need just a deck and you can amaze
your audience with this routine.
Effect: The shuffed deck is cut into two
piles. From one half a spectator selects a
card. From the other half you produce two
cards: one indicates the suit and the other
indicates the value of the selection!
Performance: Take back a shuffed deck
and spread it with the faces of the cards
toward you. Glimpse the top card (at the
left of the spread). Lets assume it is the Six
of Diamonds. In the middle of the deck you
look for any Six and any Diamond that are
next to each other. If there are none close
to each other, simply move cards around to
reach the needed situation.
You now cut the deck into two
face-down piles; on top of one pile is the
glimpsed card (in this example the Six of
Diamonds), and on top of the other pile are
the Six and the Diamond in any order. (For
the beneft of this description, lets assume
that the Six of Clubs is on top followed by
the Ten of Diamonds).
Pick up the pile with the Six of Diamonds
on top. Hold it face down and with a dou-
ble-undercut bring the Six of Diamonds to
the bottom. Force it on a spectator using
Jerry Sadowitzs slip jog as follows: Hold
the deck face down from above in your
right hand (Biddle grip). Slightly buckle
the bottom card with your left forefnger
and secure a break above the bottom card
with the right thumb. With the left thumb
start peeling off cards one at the time from
the top of the right-hand packet into the left
hand, requesting a spectator to say stop.
When he says stop, you appear to peel
off the next card, out-jogging it over the
left-hand portion. In reality, the left fnger-
tips contact the right side of the forced card
and quickly pull it over to the left, as the
right hand moves quickly to the right. The
left thumb simulates pulling the top card
of the right-hand packet but really takes
nothing. It is quite impossible to tell where
the card comes from. (Rocking the two
hands downward, almost like bomb-bay
doors opening, aids in the deception. It is
also important that no fumbling occurs as
you do the fake take.)
Allow the spectator to take this card.
Assemble the two piles (the one in your
right hand and the cards in your left hand)
and place these cards aside. Pick up the
other pile and hold it face down in left-hand
dealing position. Perform any simple, in-
the-hands false cut. (For example: The
right forefnger swing cuts the top half
into the left hand. The right hand drops its
portion face down on top of the left-hand
cards but the little fnger of the left hand
keeps a break between the two piles. Dou-
ble-undercut to the break, bringing the
deck back to its original order).
Perform a double turnover showing the
Ten of Diamonds. Leave the double face
up on top of the pile. Grip the packet from
above in the right hand. Your right fore-
fnger swing cuts the top half of that pile
into the left hand. The right-hand cards are
brought over the left-hand cards and the
middle fnger of the right hand is placed
onto the face-up Ten of Diamonds. Square
the right-hand cards with the left-hand
packet, but in so doing the middle fnger of
the right hand pushes the Ten of Diamonds
forward, forcing it to be out-jogged.
The Six of Clubs remains face up
between the two packets. The left forefn-
ger pushes all the cards below the Ten of
Diamonds backward (toward you) so that
the Six of Clubs appears in-jogged on top
of that portion of the packet. Remove both
face-up cards and drop them on the table.
One reveals the value of the selection, the
other reveals the suit.
Note: Instead of the in-the-hands false
cut and double turnover described above,
a simple revelation of J.K. Hartman can
be used. Obtain a break under the top two
cards of the pile in the left hand. Grip the
packet from above with the right hand and
take over the break with the right thumb.
Undercut half the packet with the left hand
and fip this portion face up onto the right-
hand cards. The right thumb maintains the
break. The left hand come under the cards
to hold them as the right hand out-jogs
all the cards above the break. The right
hand then retakes the out-jogged packet
at the front end and turns it over, end for
end, revealing the Ten of Diamonds. This
little production of the Ten puts you in the
same position as before, with the Ten face
up on top and the Six face up underneath.
Proceed as explained above.
Until next time, best always,
Aldo Colombini
[email protected]
82 M-U-M Magazine
MARCH 2011 83
OUR ADVERTISERS
Allesis International Magic Auction 83
Axtell Expressions 61
Balloons to You 62
B. Happie Entertainment 83
Bradbury Books 7
Burgoon Magic 21
Card Shark 2
Christian Painter 62
Colombini Magic 77
Elmwood Magic 85
GENII Magazine 79
Hot Trix 3
Ian Kendall 23
Jim Stott 76
Joe Mogar - Magic Stars 71
Klamm Magic 36
La Rocks Fun & Magic Outlet 27
Leaping Lizards Magic 85
L&L Publishing 88
Loomis Magic 77
LotaBowl.com 80
Magigadgets.com 37
Maxello Magic 71
M-U-M Advertising 26
Mystic Moose Magic 82
Nielsen Magic 5
Noesis Publishing 87
Rich Hills Illusionshop 71
S.A.M. Convention 2011 81
Show-Biz Services 7
Signature Pieces 33
The Balloon Guys 77
The Tax Magician 7
T. Myers 77
V.I.P. Conference Extravaganza 9
VENT-O-RAMA
e
ach summer i look forward to vis-
iting the Abbotts Get-Together in
Colon, Michigan. One of the en-
joyable events is the Vent-o-Rama, where
magicians, would-be ventriloquists, and
real vents join a jam session of adlib fun.
It used to be held under an open tent on
the grass outside of the elementary school,
but nowadays the Abbott showroom is the
venue and I am the moderator. Like three
degrees of separation, I was amazed to look
back at the chain of events that led to my
doing this, so read on.
In 1939, a Democratic candidate
running for the governor of Kentucky got
143 write-in votes not bad for a vent doll
who called himself Winn D. Higgins. That
wasnt his real name of course, which was
Windy Higgins. He had been carved back
in 1913 by the Charlie Mack Company.
In 1938, magician/ventriloquist Paul
Stadelman had traded up from a smaller
puppet to a molded Shaw fgure and later
ordered a wooden head from Pinxy. He
then named him after his hometown judge,
Henry Higgins, who dubbed him a windy
little so and so. Windy Higgins resided
with magician Stadelman for thirty-two
more years.
This had all started back when
Stadelman, once known as Sandu,
a working magician in Kentucky, was
asked to perform a dummy act. He had
never seen a ventriloquist, but listened
to Edgar Bergen on the radio. His friend
Percy Abbott fxed him up with a small
puppet and his new career was born. By
the early 40s he had moved to Chicago;
his penchant for honest publicity got him
loads of work. In 1944 he took Windy to
a blood bank and offered to donate a pint
of sap for the war effort. The story was
a great one, with a four-column photo of
Paul giving blood while Windy sat on a
nurses lap. He then had Windy sitting in
a barber chair getting a haircut for his new
wig (another great photo op).
In 1949 Paul Stadelman, in his magi-
cians hat, won the originality award at
the I.B.M. convention in Chicago for his
new effect called Polka Dot Paint. It was
later marketed by Mazda Magic and was
one of the greatest selling effects that year.
A board is shown blank on both sides.
The magician dips his brush into a can of
polka dot paint, and paints one side with
polka dots. He then turns the board over,
and using striped paint, continues to paint
stripes on the board. The trick sold for
only ten dollars. Years later, in 1967, Paul
lectured on vent at the Abbotts Get-To-
gether. The lecture was so successful they
decided to do it every year since. And that
was the birth of Vent-o-Rama.
I am sorry that I never met Paul in person,
but I did have some business dealings with
him in 1968 and 1969. I arranged to market
his ventriloquism audio tapes and books.
As a comedy writer who also wrote scripts
for ventriloquists, I was often asked about
getting vent fgures, and Paul became my
supplier. I advertised and sold his books
and puppets. When he died in 1971, his
wife Trudy, who was also a vent, suggested
I contact Pauls fgure maker directly. That
is how I met Howard Olson of Madison,
Wisconsin. We worked together for many
years, and through my Show-Biz company
I became his wholesaler.
Howard, the son of the Great Chester-
feld, took over the Vent-o-Rama after Paul
died, and ran it very well, both teaching
and demonstrating the art. One year,
Howie couldnt make the event and I was
his substitute. After Olson passed, Bob
Jepson flled the spot, and after his demise
I inherited it. It is so great to see the young
people and not so young people learning
and having fun at the event. I enjoy the fun
performers who show up, such as Romaine,
whose character Woody amazingly sounds
the same each time we give him a new
fgure to work with. Vent-o-Rama has
traveled full circle, and I invite you to
bring your puppets and talents and spend
an hour talking to yourself.
84 M-U-M Magazine
GEORGE SCHINDLER
THE DEANS DIARY
Are You Covered?
Im curious. By a show of hands, how many of
you have ever spilled your OOM? How many of
you have ever had your rabbit or other working
animal bite or scratch a child? Or maybe your bird
got away and pooped on something or someone?
Or perhaps youve selected a child volunteer (who
maybe wasnt a volunteer in the rst place) who
was so nervous they wet themselves (dont laugh
it happened to a friend of mine). Okay, you can put
your hands down; I cant see them anyway.
What many of you may fail to realize is that you
have just created a liability situation. And if youre
lucky enough to have avoided those situations,
youre an accident waiting to happen.
Lets look at the most horric situation I can
think of all of which is made up, of course. Youre
performing at a ve-year-olds birthday party.
One of the children, thinking hes cute, bursts a
balloon. The noise startles you and you drop your
milk pitcher, spilling the contents all over a rug and
sending shards of glass everywhere. In an effort to
contain the spill, you knock over your rabbit cage,
and your cute bunny gets out creating a panic
among the children as it scampers around the
room. In her panic to either get to your bunny, or
away from it, one child falls and cuts her lip. Want
to guess whos responsible? Ill give you a hint: it
wasnt the cute child who broke the balloon and
created this entire situation. You, my friend, are
about to be sued.
Its okay, you say to yourself, you have homeown-
ers insurance. It should cover this. But it wont.
And you have just put everything you own, your
home, your car, and all your belongings at risk.
If you are a regular performer, whether as a
hobbyist or a professional, you need liability
insurance. And you needed it yesterday.
Liability insurance is available from many es-
tablishments some advertise right here in this
magazine. Prices vary, and so do the limitations.
Some will cover your animals, others wont. You
need to do your homework. And prices will vary.
When I lived in Chicago and worked for about
thirty park districts, many of them wanted to be
named as additional insured on my policy. My
insurance company charged extra for that; other
insurance companies dont.
Some companies work on a calendar year;
others work on a scal year; but none that I re-
searched pro-rated their fees. That means you pay
a full years fee regardless of when you make your
purchase, even if its only one month until renewal.
So you may be tempted to wait until that month. If
you think thats a smart move, maybe you need to
re-read that awful scenario above. Is it worth not
paying the fee and putting everything you own at
risk? It wasnt for me. And I am pleased to say I
never had to put in a claim and I hope you never
will, either.
Steve Snyder has a BS in Accounting and an
MBA. Let him put his knowledge to work for
you. Send your business or tax questions to him
at: [email protected]. Please put
M-U-M question in the subject line. Steve is
also the author of several books, all of which are
available at: www.thetaxmagician.com.
MARCH 2011 85
The Tax Magician by Steve Snyder
Busi ne ss and Tax Advi c e for t he Se l f-Empl oyed Ent e rtai ne r
i
n my opinion, books are superior to
electronic media as a means of learning
magic. I can see how a move is done
on screen but to learn how to do it myself,
I need to read the book. Hidden within the
word learn is the word earn. If you are
serious about attaining knowledge, you
have to work at it.
The last three issues of M-U-M contained
favorable comments about books from
Eugene Burger, Joshua Jay, and Byron
Walker. My emails confrm Mr. Burgers
belief that a preference for books is based
on generational differences. Like him, I
am a radio person.
Those who grew up on radio learned to
develop the theater within the mind. You
can get comfortable inside a book. Thats
not possible while watching someone
else perform. A visual medium does your
thinking for you. You cannot inject your
own creative input while your brain is on
hold.
Years ago, I was the traffc helicopter
reporter at my hometown radio station.
When the listener used his mind to
visualize what he was hearing, the illusion
was perfect. Had he seen me beating my
chest while speaking into the microphone
the effect would have been lost.
In my lifetime, books have been
around forever. On the fip side, I have
gone through vinyl records, eight-tracks,
cassette tapes, VHS, CDs, Walkmen, and
MP3 players. I am beginning to question
the value in buying something that will be
obsolete next week.
In theory, a book or a DVD serves
the same purpose. Both describe moves
created by someone else. With a book, you
become personally involved. You must
handle the cards or coins. When you sit
back and watch you become the audience.
You absorb the performers routine and
persona.
That is my primary problem with
watching magic lessons. I had a video
devoted to a single effect. The performer
appeared to be proud of his work but every
routine began with the same faw a move
that made no sense to get the gimmick
into position. If everyone who watches
this DVD mimics the teacher, we are
perpetuating bad magic.
I occasionally buy an instructional
video. Most often they are forced on me
with the trick in lieu of written instruc-
tions. Mostly, I end up disappointed. I
only have three videos that have merit as
keepers. The rest have been palmed off
to our club library.
Books, however, become old friends. You
can go to them anytime for sound advice.
Everyone will have their own opinion as
to what books are must-haves. Card men
will not collect the same books a childrens
performer fnds essential. I doubt that any
two of us part-time magicians would come
up with the same titles.
My current library consists of thirty-
one books. If I pare that down to those
I consider mandatory reading, the list
is reduced to just twenty-four individ-
ual books. If you classify the sets as one
continuous work, then I only have nine
books that I feel every part-time magician
should have on the shelf.
From these few volumes anyone can
develop an act that could earn him a good
living. Almost everything being created
today is a variation of something that
appears in one of these books.
Should I fnd myself marooned on that
island in the Pacifc, besides a Lota Bowl
full of good scotch, I would take the
following books: Tarbell, my hardbound
set of Apocalypse, Fitzkees Trilogy, and
S.H. Sharpes four-volume set of secrets.
Individual books would include; The Mark
Wilson Course, Bobos Coin Magic, The
Royal Road to Card Magic, and Expert at
the Card Table.
I have several other volumes that
everyone considers classics, but they
wouldnt make it onto the raft. A value
should be placed on a book commensurate
with the knowledge it imparts to further
your particular endeavors. The more infor-
mation a book contains that I can use, the
more valuable that book is to me.
If I am interested in Cups and Balls, I
buy everything I can fnd on the topic. I
walk past autographed collectors editions
on fre eating or driving a railroad spike
up your nose. Of the seven magic books I
read this winter, two made my keeper list:
Sleights of Mind by Macknik and Conde
and Magus by Thomas Chilton Meseroll.
Most part-timers are prop driven. We
seek tricks, not knowledge. When I frst
started I was the worst offender. Books are
not high on the list of any neophyte. The
situation is worse today, since the written
word has been reduced to abbreviations on
a one-inch screen (LOL).
I shy away from electronic teaching
methods. There is a danger in absorbing
the inane patter and bad technique along
with the work. Not only are you setting
yourself up to perpetuate bad magic, you
are subliminally stealing someone elses
act. When I encounter a serious youngster,
I give them the hard sell about buying
books.
When they ask how a trick is done, I
tell them in which book they can fnd the
secret. Those raised on computer generated
special effects think creating a virtual he-
licopter with your bare hands is way cool.
I tell them I found that in a book as well.
By the way, I lived on an island in the
Pacifc for several years and it wasnt
all that great. Alcatraz is cold even in
the summer months. But thats another
story. Let me know which books you fnd
essential and why. If you prefer videos, Ill
share your viewpoint. I realize there is a
place in magic for both mediums. In fact
I know people with learning disabilities
who rely totally on visual learning. It just
does not work for me.
[email protected]
86 M-U-M Magazine
ROD DANILEWICZ
CONFESSIONS OF A PAID AMATEUR
Books become
old friends. you
can go to them
anytime for sound
advice. Everyone
will have their
own opinion as to
what books are
must-haves.