Easy Does It - Small-Scale Tricks To Dazzle Your Audience

How to Get Started If You're a Beginner

Whether you've been practicing magic for two days, two years, or twenty, the only effective magic trick is one that actually "fools" your audience. This ability to create a good illusion depends in huge part on one thing: rehearsing!

Let's face it-no matter how great a trick is or how useful a magic prop is, you won't surprise or delight anyone unless it's performed smoothly and confidently. What if you drop your deck of cards or accidentally mishandle a coin? The illusion will be destroyed, and you'll have lost your audience's trust.

When you're just starting out it's understandable that you'll have to practice in front of an audience several times before you get it just right. No one expects you to be perfect right away. But you also can't expect to fool anyone unless you put in the time to practice your skills and work with your props (if you are using any).

The tricks in this chapter were chosen because they are simple, effective, fun to perform, and appealing to just about any audience. You can delight a crowd of schoolchildren with them, or you can test them out on adults. But before you do, practice, practice, practice to get it right!

For now, let's cut straight to the chase and talk more specifically about these simple yet stunning tricks. Then, at the end of this chapter I'll give you some highly effective strategies and techniques I used when I was just starting out!

Sleight of Hand

What exactly is sleight (pronounced "slite") of hand? This term refers to a broad category of magic tricks that relies on your skills and techniques as well as the facility of your fingers and hands. In other words, these are tricks that depend on your skill and dexterity to fool the audience, much more so than on props or gimmicks. It's your fingers that do the work, not a manufacturer's product.

Another way of saying all this is that a sleight of hand is a trick that is performed so well and so deftly that the audience can't tell precisely how it was done!

There's a great word for this that every magician should know: "legerdemain." This word comes to us from the old French phrase "leger de main," in which "leger" translates as light, and "de main" means "of hand." So if you perform with a light touch, that's the ideal form of legerdemain.

This deftness applies to most magic tricks, though, not just sleight of hand! In fact, most of tricks we're going to discuss involve sleight of hand, from shuffling cards to palming coins. Even levitation, which we'll discuss in Chapter 4, involves sleight of hand-although that's more like "sleight of foot!"

Just keep in mind that accomplishing many of the following tricks successfully involves not just a working knowledge of the techniques but also the ability to carry them out easily and without a lot of obvious effort. Another good reason to get in as much practice as you can!

Find out more here... Discover The Magic Trick Secrets You're Not Supposed To Know

Why Showmanship Is Essential to Success

Being successful as a magician relies just as much on your stage persona and your ability to be engaging as it does on the tricks you choose to perform or the technical skills you possess.

The reason for this is because tricks in and of themselves can fall flat if not presented in the right way. A sleight of hand that dazzles when performed by an engaging magician can leave an audience yawning when in the less capable hands of an under-whelming performer.

So if you want your tricks to go over well, you've got to learn how to sell them to your audience.

That means you've got to work on your showmanship just as much as you have to work on the tricks themselves. Learn how to get the audience eating out of the palm of your hand!

If you are not sure how to do this, don't worry. Showmanship is something you can easily learn and improve upon with practice. It's not necessary an inborn trait that you either have or don't have-it's a learned skill that even the best magicians are constantly honing and perfecting.

Here's how to make good showmanship part of your magic routine:

Build a Bridge to the Audience

Whether you are onstage in front of ten people or ten thousand, your success is directly related to how much your audience feels inclined to trust you and suspend their disbelief for you.

To win them over, talk directly to them. Make eye contact. Make use of volunteers. Don't confine your show to the stage. Invite audience members up, or go down to mingle with them.

Don't Wait to Warm Up-Be "On" Right from the Start!

Don't wait to "warm up"-you've got to be "on" right from the start! Most magic shows last only about an hour or less, so make it a point to create your relationship with the audience quickly.

Cultivate a Stage Persona

Ideally, magic tricks should bring about a sense of wonder and excitement, not a sense of being tricked or fooled. And you as a magician should therefore aim to be mystical and wise, not hokey.

Of course, there are many ways to be entertaining. Some of the most successful magicians in the biz are very serious in terms of their demeanor. Others, however, are jocular and love to crack jokes during their shows.

Your "stage persona" is really up to you. If you're naturally inclined toward being chatty and making jokes, go for it on stage.

If you're naturally more reserved and quiet, you can think about adopting a more "David Blaine-like" character when you're performing.

The trick (pun intended!) is just to make sure you approach it as a role or a performance. Give the audience the dazzling entertainment they want and you will always be a hit.

Just Believe

Believe in what you are doing and suspend your disbelief as much as you can. The illusions work best when you truly trust in your abilities and honestly belief that you are creating miracles! In reality you know that they are tricks, but if you act like they're just fakes or frauds then you'll never win over your viewers. Put it this way: if you don't believe in yourself, why on earth should your audience?

How Do They Do It? Learning from the Great Magicians

Just what is this thing we call "magic"? Let's consider the definition that comes to us from Webster's dictionary:

"The art of persons who claim to be able to do things by the help of supernatural creatures or by their own knowledge of nature's secrets...

Something that charms; any seemingly hidden or secret power; as, the magic of a voice; the magic of a great name...

Sleight of hand...

Seemingly requiring more than human power; startling in performance; producing effects which seem supernatural..."

Pretty interesting stuff, right?! In this definition we get a whole bunch of different ideas, all of them working together and yet somehow contradicting each other.

On the one hand, we have the idea that there's something supernatural at work. Something superhuman, or "out of this world."

But at the same time we are meant to understand that it's only "seemingly" so. Magicians "claim" to have special powers, but whether they actually do is up for debate.

Nevertheless, Webster's definition of magic helps to give us a starting point for our journey through this ancient art form.

What Is Magic?

At its most basic, the word "magic" carries with it the idea of special powers, or at least the illusion of possessing such powers.

At one end of the spectrum, the word implies someone who has the ability to do things that few other mortal beings can do. A magician in this sense would be someone who, for example, is able to walk on fire, levitate off the ground, or read other people's minds.

The other end of the spectrum, however, has a more practical or even cynical understanding of the term. It takes the view that magic is a form of trickery, even deliberate deceit. A magician in this sense of the word is someone skilled at lying and who is cleverer than his audience. He is intent on "pulling the wool over" others' eyes.

In reality, and for our purposes, let's come to an understanding of magic that takes the middle ground. Magic isn't pure supernatural power, but it isn't garden variety mean-spirited deception, either.

A good magician is one who gives the appearance of possessing special powers, an impression that both he and his audience agree to believe in together. Magic is meant not to outwit, fool or upset anyone-it's meant to surprise, astonish and delight.

In this view, magic is something wonderful and enjoyable, both for the practitioner and for the audience members who are also involved. It is an entertainment, a diversion, an escape from our mundane, ordinary lives. It is a chance for all of us to brush up against the possibility of something greater than ourselves!

The Magic Superstars

Just as there are movie stars, super athletes, and Nobel Prize-winning authors, there are also some magicians whose talents and skills set them apart from the rest. All of us amateur magicians admire them and can stand to learn a lot from these magic superstars!

Reading Minds - What Is Mentalism, and How Can You Perform It?

Many people have heard of mentalism, but few know exactly what is involved. So let's start with a clear definition.

Mentalism is defined as a sub-category within the field of magic. It has to do with tricks dealing with the mind's power. Rather than relying heavily on tools or grand illusions, it has more to do with try to give the impression that the magician can tap into the minds of audience members, or use his or her own mind control to cause objects to move, etc.

Some people think that mentalism actually depends on some spiritual connection between the supernatural realm and the magician. While there might be a very remote possibility that some magicians actually do have some insight into the spiritual world, most illusionists use mentalism tricks and strategies just like in any other type of magic. Over the next few pages you'll learn some of them!

For example, remember at the beginning of this course when we talked about Derren Brown and his ability to make people fall asleep over the phone? It's not that he actually has the power to control other people's minds - he just knows tricks to get people to do what he says.

There is definitely a difference between the two. Derren isn't dabbling in the occult or anything like that; rather, he's using human psychology to create intriguing and mystifying illusions!

For many reasons, including the fact that the old "pull a rabbit out of a hat" type of magic is not as surprising and interesting as it once was, mentalism is one of the fastest growing and most popular forms of magic being practiced today. There are many fabulous and highly talented magicians who specialize in this form, Derren Brown being just one of them.

A Brief Explanation of Hypnosis

Hypnosis is one very highly popular form of mentalism. Psychiatrists actually regard hypnosis as an everyday activity or state that we undergo when we are watching movies, reading books, or driving down a long empty road. When we are doing these sorts of activities we enter a trancelike condition in which we are very vulnerable to the power of suggestion and feel extremely relaxed.

Some people are mistakenly under the impression that hypnosis is like being asleep, but it's actually a hyperaware, hyperattentive state. It's also a state of total consciousness.

You know how when you get engrossed in a book you tune out the outside world, paying attention only to the story itself? It's similar to that. You're tuning out extraneous stimuli and focusing in only on one source, the subject or magician who is speaking directly to you. Thus you are very likely to do whatever the magician tells you to do when you're in a hypnotic state!

Find out more here... Discover The Magic Trick Secrets You're Not Supposed To Know

The Business of Magic

Magic may be an art form, but for many of us it's also a way of life-and a way to make money. For all you who are interested in turning magic from a hobby into a career, there are several things you need to know about the business side of magic.

Develop a "Hook"

What makes you different from all the other performers out there?

What is your unique angle? What makes you shine and stand out from the crowd?

Ideally, your show or your persona should strive, in some way, to differentiate from everything else that's out there at the moment.

Now I'm not saying you should go out on a limb and try something totally crazy and overly ambitious. But it's smart to give clients even more of a reason to hire you and not someone else.

So, for example, you could concentrate on one particular area within magic and cultivate it as a specialty. That would ultimately allow you to market yourself as, say, "The Mentalist Magician" or "Merlin the Mind-Reader" (okay, you can probably come up with something a LOT better, but this is just to give you an idea of what I mean!).

Give Them What They Want

Yes, it's important to cultivate a show and a career based upon your own interests. Being passionate about something is the only true pathway to success.

But at the same time, I see so many magicians who are going out of their way to do tricks and illusions that they love-but that audiences hate. Try to steer clear of wildly unpopular areas of the magic profession or of tricks that everyone knows the secrets to already.

Instead, pick tricks that are proven to win people over and that there is great demand for, especially in your region.

Find out more here... http://discovermagic.com

Boost Your Confidence and Your Income with Magic!

Boost Your Confidence, Your Reputation and Your Income, with "A Dream Business in Magic" by Iain Legg and Johnny Blue Star.

These men have been involved in magic and entertainment for over 40 years, as a full time Cabaret performers at the height of the cabaret and variety theatre and club scene and also well known as a musicians, public speakers and all round entertainers.

Packed with information and illustrations, the Dream Business in Magic manual will take you by the hand and show you step by step how to turn your passion into magical profits. For the first time, they'll show you how YOU can make a successful living in this amazing industry.

In addition to their amazing manual, you also receive an onslaught of great tricks to add to your repertoire. This material is tried and tested over many years and, although easy to do, it is chosen for the amazing impact it has on an ordinary lay audience - the very people who build your reputation and who ultimately pay to see you perform.

Get more details about the Dream Business in Magic Manual here: http://www.magicbusinessdreams.com

I recommend it for any performer, salesperson or anyone who just wants to give pleasure to others using the Fine Art of Magic!

Lord of the Ring(s)

Bizarre, as I have said several times, does not always have to be about the ghastly, the gory, or the ghoulish.

This is another venture into the combination of bizarre and comedy.

It plays on the current popularity of the movie Lord of the Rings, based on the first of the Tolkien books. Since there is a trilogy of movies planned, to match the books, this should be able to stand up for a while.

Effect and Presentation:
The mage shows a gold ring with strange symbols engraved on it, as he relates the story of the Lord of the Rings, Froddo the Hobbit, Gandalf the wizard, and so on.

"In the J. R. R. Tolkien classic, Lord of the Rings, the Hobbit, Froddo, is entrusted with a gold ring - like this one - to destroy in the fires of Mount Doom. In the wrong hands, the ring could enable the forces of darkness to rule - and, eventually, destroy - the world.

"Froddo and his band of fellow Hobbits must take the ring to Mount Doom and destroy it in the fires of the volcano, where it was forged.

"The ring has strange and mystic symbols engraved around it, inside and out. The wizard Gandalf says that Froddo cannot read the engraving because it is written in the language of the elves - Elvish.

"The Lord of the Rings trilogy of books relates Froddo's adventures as he tries to reach Mount Doom and destroy the ring.

"Froddo carries his precious cargo in a box, for safekeeping."

Place the ring in a wooden box, show it around, and close the box.

"Unfortunately for Froddo and, possibly, the world, during the travels of the Hobbits, the ring is lost at one point."

Open the box again and show it empty; the ring has vanished!

"Froddo is beside himself with despair; the fate of the world is in his hands and he has allowed the ring to disappear.

"But Gandalf the wizard reminds Froddo that the ring bears an inscription in Elvish around it.

"And what the disappearance of the ring simply means is that: "Elvish has left the building!"

Pause here for reaction to the dreadful pun! (Resume your tale before a lynch mob is formed, though.)

"Eventually, however, Froddo recovers the ring and is able to resume his task."

Open the box again and the ring has returned.

Method:

As usual, let's keep things as simple as possible.

The ring is just that: A ring with symbols engraved around the outside. It can be larger in diameter than a normal ring - since Hobbits are much smaller than humans and this is how big the ring looks to Froddo.
I use a half-inch section of one-inch copper tubing, polished to look like "gold", and with "Elvish" symbols scratched on the outside and inside.

The box in which the ring is stored is simply a small drawer box.

This box is wooden and small enough so it will appear that the ring can't be hidden anywhere inside it.
Open the box and place the ring in the load chamber; close the box and adjust the mechanism to retain the chamber. Then, when you come to open the box again, the ring appears to have vanished!

Reverse the process to make the ring reappear.

Second thoughts:
If you do this, please read the books or, at least, see the movie so that you will be able to intelligently talk about the plot to the audience, if needed, afterwards.

And, for the drawer box, don't use a plastic one. It should be wooden and should also look old and battered - the sort of thing a Hobbit would have. (Use your imagination as to what THAT might look like!)

Have fun with this and, above all, be entertaining!

Does Fashion Matter When Doing Magic Tricks?

Dressed For Success

So you have an awesome magic trick you want to perform on somebody. You've practiced it thousands of times, perfected it in front of the mirror and now are ready to take your act to the streets...ok maybe not the streets but to one of your friends or family members. But wait....what are you going to wear??? You say "What?, who cares what I am wearing?". Let me tell you something, image and presentation is everything, it is like giving your audience the total package. What is the first thing people see?? It's you of course, this is your first chance to make that great first impression on someone before even doing your magic trick bit. You may think, I can wear anything to do my magic trick and it will still wow them and you know what, you are probably right, that is if you perform a great magic trick. But you can take that to a whole other level, and that is with your image. It's like shopping for a car, you first look at the look of the car, the one that looks better is the one you will check out, even though the uglier car may have the same sport suspension and high powered engine underneath its covers, but you see what I mean.

If you are dressed in just your regular jeans and T-Shirt and performing tricks, yes you will still probably get great reactions, but if you stepped up your dress code a bit, believe me, you will leave even a more lasting impression to your audience. Think about it for a minute....think of all the great magicians out there from David Blaine, David Copperfield, Lance Burton, and the list goes on way beyond the people I mention here, you have an image in your head when I mention these people to you, right??? David Blaine, he wears nothing to fancy but he is usually in a nice black collared shirt and black pants, that gives him that mysterious look....David Copperfield, always dressed up to the T for his shows. Now I am not saying go out and wear a tux or your best suede suit to perform, but be aware of what your are wearing, it can be the difference from a good performance to a great performance.

About Steve Fearson

Entering magic in the early 90's at the age of 21 Steve Fearson won nearly a dozen first place magic awards during his short performing career. He is one of the only magicians to ever win both the IBM and the SAM competitions, receiving first place in both.

He was also awarded the coveted Silver Medal from the SAM. The Silver Medal has only been awarded a few times in the history of the contest. The Gold medal has never been awarded to anyone.

Soon, Steve parlayed his contest wins into his own magic special. In the mid 90's Steve was the star of the very first television special devoted solely to a close up performer. His one hour long special titled "Mr. Creator" was filmed and televised by the NHK network, the largest television network in Japan. This led to many more performances and television appearances. Within a few years though, Steve decided to retire from the performing scene.

Today, Steve Fearson is recognized worldwide by his peers as one of the most creative minds in magic. Several of his marketed inventions have become quite popular, including Fearson's Floating Cigarette which is considered by many to be a modern day classic. You may have seen David Blaine float a leaf on television using Steve's method.

Steve is also the creator of Fearson's Fantastic Floatation which was the first close-up self levitation on the magic market and spawned a ton of imitators. It is still a popular item among professionals, having been used on television by numerous performers like the Amazing Johnathan.

David Copperfield Laser Illusion The creation Steve is best known for recently is The Laser, as performed by David Copperfield in his live tour and on his most recent special. In this illusion, David's body is cut in two in full view with no cover whatsoever!

Steve also created the very first pay for download magic shop, DownloadMagic. Today DownloadMagic.com is a great success and is probably the only magic website you'll find that's been mentioned on the Howard Stern show and sports an endorsement from David Copperfield!

Furthermore, I have recently discovered this secert page on Steve's site. It's loaded with free magic downloads...some great tricks. Well worth a look!

Does it Matter Who Does the Magic Trick?

The magic that you see magicians performing today is really truly amazing. It seems like every year the bar is being raised to put the challenge on the rest of the magic community to come up with the next "big thing". Magic shows are getting bigger; they're getting more elaborate; they're getting extreme. But is bigger always better?

Think about it. What would you rather see, David Copperfield on stage performing one of his unbelievable elusions with all the lights, pretty assistants, and fire and smoke or some ordinary Joe walking up to you on the street and asking you to pick a card, any card?

What's your first reaction? Of course, who wouldn't want to go see David Copperfield? He is the man, well known for all of his mind blowing magic that he has performed on stage and seen by millions on TV. Hey, if I was asked this question, I'd be the first to admit, I would choose David Copperfield in a heartbeat.

But let's take a step back and think about this question, David Copperfield or Ordinary Joe. You've got the glamour versus the struggling street performer. Why would we choose Copperfield over Ordinary Joe? Is it because we know what Mr. Copperfield can do and we know whatever he does is over the top and we will enjoy it? Most likely, but what about Ordinary Joe? Why not give him a chance?

If you really think about it, do you know what this Ordinary Joe can do? Nope. So maybe it may be more exciting to see what he can do over Copperfield. Just maybe this Ordinary Joe has something that you and the rest of the world have never seen before. He may even have the next "big thing" in magic.

Maybe Ordinary Joe isn't so ordinary after all. Now that I have put this perspective into your mind, I'll ask the question again, Copperfield or Ordinary Joe? It's still a tough sell, isn't it? We are still drawn to the glamour and lights of Copperfield because we know what he can do, he is a proven entertainer.

You may be asking yourself, so what is the point in all of this? My point is that David Copperfield use to be that Ordinary Joe and now look at him. He is far from ordinary. So next time, take the time to give that Ordinary Joe a chance to show you the magic he can do because he could be showing you the next "big thing". In the end, magic being performed by some one on the street or on some big stage, it is still magic and that's what counts.

How To Do The Twenty One Card Magic Trick

The Twenty One Card Trick is a trick illusion effect where the conjurer deals twenty one playing cards onto the table, and into 3 card value face up piles of 7 cards each, & asks the observer to try to remember any of the cards viewed. The viewer is not supposed to tell the magician which card is being thought of, but advises the conjurer which stack the card is in. This is executed three times & the conjurer is able to tell the spectator which card they had in mind. The cards are doled out into the piles one after another, like when dealing out hands in a playing card game. Every time they are dealt, after the observer indicates which stack contains the thought of playing card, the illusionist places that pile between the other two. After the first time, the playing card will be one of the ones in positions 8 to 14. When the cards are dealt the second time, the choice will be the third, 4th, or fifth playing card in the stack it finds itself. In picking up the stacks, the conjurer places this stack between the other two again. This guarantees that the choice will now be one of those in position ten to twelve. The third occasion the playing cards are dealt out, the choice will be the fourth playing card in which ever pile it ends up in. On the third deal, as soon as the spectator points out which stack contains the choice, the magician knows that it is the 4th, or centre, playing card in that stack. If the magician collects up the piles again, as before with the pile comprising the selection in the middle, the choice will be the eleventh card in the 21 playing card packet.

Magic Levitation - The Ultimate in Magic

There are all kinds of magic tricks these days that are quite fascinating and amazing. You have your classic everyday card tricks, you have coin tricks, and magic tricks involving everyday objects. But there is one magic trick that blows all other magic tricks away, and that is the capability of being able to levitate some object into mid air.

Of all the magic tricks that I perform for people, when I can all of a sudden borrow a dollar bill from them and magically have it float under my command without any evidence of magnets or strings, and hand the dollar bill back to them, they are always blown away in astonishment. Magic levitation defies gravity and it messes with people's minds because what they are seeing is something you would only see on television or in movies. But there they are, staring at this dollar bill, right in from of their eyes, magically floating up and down.

The best thing about performing magic levitation is doing it impromptu. This adds more to the effect as the spectator will believe more into your magical powers as the questions that they will have cannot be answered. And this is the beauty of being able just to walk up to anyone at anytime and levitate something. They will realize that there was no setup. It just happened, pure magic.

To top off all of magic levitation is the art of being able to levitate yourself into the air. This is ladies and gentlemen, the show stopper. To actually show somebody that you will levitate off the ground and float is one of the best reactions you will get from performing magic.

There are various guarded methods today that magicians use to pull off this effect. Some of them are better than others and have their advantages over one another also. The most commonly used levitation effect is the Balducci Levitation. It's common because it is easy to perform and does provide a great illusion of floating. Another levitation effect used and has become popular is The King Rising. This routine is slightly different than the Balducci effect and can achieve more height off the ground in my opinion. But the latest levitation effect that has come out that really blows all levitations away is the Icarus Levitation. This levitation is truly mind boggling to see in person. It really is hands down the most visual levitation to date. If you really want to make some one faint, this effect will pretty much do it.

So if you really want to take your magic to another level, and I mean literally another level, you should invest your time and practice into magic levitation. In today's world, it is getting harder and harder to shock people as people have seen everything done from watching TV or Movies. Our minds have been programmed to accept what we see for the most part, but the one thing that still will turn heads and make people think twice, is being able to levitate.

Magic Tricks and Kids, What a Combination!

Magic Tricks and Kids

Performing magic tricks for people is always fun. I can honestly say I will never get bored or tired of doing magic tricks for people as long as I live. There is something about getting that reaction of disbelief from people. Having that satisfaction just for a moment that what your spectators just witnessed you do, may have indeed been real magic. To be able to put doubt in their head, even know they know it really is just a "trick", they some how start to question themselves that maybe, just maybe, you truly are magical. Just to watch someone's eyes, the laughter, and even the odd screams, it is something I will always cherish and continue to appreciate when I perform magic tricks. But there is something a little more special when doing magic tricks for specific people. The people that I am referring to are kids.

The Imagination of Kids

Magic tricks and kids is quite a combination. Kids seem to have a very different perception of the world than adults. What goes on in their little minds, I don't think we will ever understand or grasp but it is pure entertainment and just plain innocent fun. For instance, when I performed a very famous coin trick for a little boy, the boy was maybe 6 years old, his expression and the words that came out of his mouth were priceless. I made the coin disappear in front of his eyes and did the classic move of pulling the coin out from his ear. Well, this boy's mouth went as wide as the moon, I mean I could of just put my hand in his mouth and easily removed his tonsils for him, hopefully he won't need that done down the road, but it's those type of reactions that I love. Then, the words that end up coming out that mouth are even more priceless. Something that you can never prepare yourself for, and I quote, "Wow, can you pull more money out of my ear so I can buy a new bike!". Well, I couldn't stop laughing for about a minute, I am not sure if he understood what just happened but it's instances like these where reality just doesn't matter, just pure innocent fun.

Magic in their Eyes

Kids alone, just being themselves, bring their own type of magic to us. One place that comes to my mind is Disney World. When kids see or hear about Mickey Mouse or Donald Duck, their eyes light up, a smile comes to their face, just a magical glow all around. I get this same look when I pull a rabbit from a hat, or make a worm crawl out of my pocket and onto my arm. It's really not hard to make kids laugh and be astonished at what you do. You know they are not out there to try and figure out how you did that or try and spoil your magic trick, they are there to be entertained, they are there for the magic.

REBIRTH OF THE PHOENIX

The late, great Eugene Poinc was a firm believer in two things, when it came to bizarre magic:

1: He used props that were so basic, so simple that no one else would given them a second glance; consequently, he was able to pull off some wonderful things, given all his thought to the presentation.

2: He believed that bizarre magic didn't have to be ghoulish, ghastly, or ghostly. In fact, it could be downright funny at times.

As a great believer in those two things myself, I have taken one of Gene's routines, put some of my own spin on it, and - even though it finishes with a joke, I add a second punchline, to:

REBIRTH OF THE PHOENIX
By Fredrick McValentine and Gene Poinc

The magus places an empty, silver pan on the table and takes a piece of paper.
With a few deft folds, he turns the paper into a bird, which he places in the pan.

"Among the ancients, was the belief in the phoenix, that mythical bird that could never die. When it lived out its lie span - usually about 100 years - it would burst into flames and then, when it appeared to be totally destroyed, it would rise again - young and virile - from the ashes of its former self.

"Phoenixes are hard to come by and don't always self-immolate on command. So I will use this piece of origami paper made into the shape of a bird in its place.

"When its time came, the bird would burst into flames!"

Set the paper bird in the pan on fire and put the lid on the pan.

"And then, when the ashes had cooled, the phoenix would be reborn."

Remove the lid from the pan, showing a scrawny rubber chicken. Look slightly puzzled and give the audience time to react.

Take the chicken out of the pan and old it up by the neck.

"Well, it appears they aren't making phoenixes like they used to."

(First laugh - we hope - attributed to Gene Poinc.)

"Gee, the magic catalog was right - it said I'd get a laugh just by showing this rubber chicken.

(Another laugh - we hope)

"Now this reminds me of the old question: Why did the chicken cross the road. Well, it appears that all of them didn't make it."

As you say this, you turn the other side of the chicken to the audience, showing a tire tread across its middle.

(Third laugh - we again hope, this one attributed to me, Fredrick McValentine.)

Working: Okay, this shouldn't even be necessary.

The pan is, of course, a dove pan and the rubber chicken is stored in the load chamber in the lid.

In the bottom is an origami bird; this can be made of flash paper or regular paper. (For the making of the bird, check any of a dozen or so origami sites on the Internet; many explain how to make a basic swan. And the nice thing is, it's free!)

On one side of the large rubber chicken, use a Sharpie marker to draw two lines, about three inches apart; the lines should be about a half-inch wide, at least. Between the lines, do a cross-hatching effect so that the finished product looks like a tire tread.

Have fun with this; I know your audience will enjoy it.

Hire a Magician? (...continued)

Questions you may like to ask any prospective performer you are engaging are...

How long have you been a professional?

Some magicians may seem great on paper but as all know paper doesn't refuse ink. Experience is the key in this industry so make sure they have cut their teeth.

Can I see you perform?

The answer depends on the type of performer you are considering engaging. If it's a cabaret magician he may well work at comedy clubs where you can go and see him perform and close-up magicians often work at hotels, restaurants and bars as the resident entertainer several times a week. If it's open to the public then go and see them work. However if the performer works mainly at corporate events, weddings and/or trade shows you may find it impossible to see him work live as these are closed events.

Have you got a brochure/video I can see?

Most professional performers will have promotional kits including photographs, video and brochure. A good promo kit doesn't mean they are a good magician, it may just mean they know somebody who works at a printing press. A cheap and tatty looking promo kit doesn't definitely mean the performer is bad, but it does show a lack of professionalism and that is a warning sign. In this day and age some performers have no hard copy for promotional use as it dates so quickly so there website acts as the brochure. If the website looks like it was made from cut outs of magazines then they are not interested in making a good first impression. Would you trust somebody who didn’t make a good first impression at your event?

Does the price include VAT and any other charges?

When in negotiations don't forget to clarify if there as any other expense other than fee quoted.

What magic tricks do you do?

You should be able to gain a good idea of the style of the magician from any online or hardcopy brochure but if you want to know what kind of effects he/she performs - go ahead and ask!

Are you a member of any magic societies or performer bodies?

Many magicians will be members of different magic clubs around the world. In the UK the most prestigious is the The Magic Circle where there are only 1500 hundred members world wide and you have to perform in front of experienced peers to gain membership. Again in the UK you will find many magicians are members of Equity the performs union which is another sign of their professionalism.

Have you got any referees I could phone?

This may seem like a reasonable question but a lot of magician's work mainly in the corporate area and are not permitted to pass out the contact details of their bookers. You should be able to see testimonials and letters from clients on the websites/brochures. Of course the best way is personal recommendation; ask friends if they have ever hired a magician.

Have you got public liability insurance?

This is crucial. The magician will be in close contact to your guests and maybe borrowing objects from them for effects. You don't want to end up with a magician who isn't covered!

I hope this all helps to give you a better idea of the different types of magic that are available for you to hire for your next event and what to look out for when hiring.

Hire a Magician ? Definitions and Tips

For a lot of people the last time they wanted a magician at their party was when they were 8 years old but magicians don't just work for children. Adults have always been a great audience for magic because they have defined critical thinking. They "know" it isn't "real magic" but if the performer does his job right he can bring about the childlike state of wonder in an adult. A good magician can bring you right back to experience the fuzzy feeling you had as a kid when your grandfather pulled a coin out of your ear.

There are 3 types of magic that are most often hired for events where adults are in the majority.

Close-up magic (the most popular choice for people hiring magicians)

Cabaret shows

Drawing room shows

Close-up magic is often seen at cocktail parties where the magician mingles amongst the guests performing miracles with borrowed objects and simple objects he has on him. He works without a table and uses people hands when he needs to. This is an excellent choice if all the guests will be standing with drinks and eating finger food.

Another type of close-up magic that is closely related to strolling magic is table magic. Table magic is performed between the courses at dinners, wedding breakfasts, balls and banquets. You are more likely to see a short (between 3 - 8 minutes) mini cabaret act that has a structured feel to it. The magician may use the table but it will be as unobtrusive as possible because at banquets there is a premium on table real estate.

Close-up magicians are being hired more and more for Trade Shows to draw people to the stand with customised magic presentations. Presentations are designed to showcase the features and benefits of the stand they are representing but with amazing magic and not just dry sales pitches.

Cabaret Shows are a great way for a lot for people to see some great magic in a relatively short space of time. Often a close-up magician who has performed strolling/table magic before hand will also do a 20 minute cabaret act after dinner.

There are many different styles of cabaret magician - comedy, traditional manipulation act to music, mind reading etc. The type of event you are organizing will dictate the type of cabaret magician you will require. If you would like lots of audience participation and laughter go for a comedy magician, if there will be lots of non-English speakers present then go for a visual act like the manipulator and if it is a very business orientated environed maybe a mind reader would be more suited.

You also see cabaret magicians at comedy clubs, cruise ships and also occasionally at motivational events where the magic is combined with a motivational speech.

Drawing room shows were almost a dead art for nearly a 100 years. They were immensely popular with the Victorians where the gentry would all gather to watch a conjurer perform magic. In recent years it is coming back into fashion at private parties where a magician may perform after dinner for 30 minutes or so. This is a taste of days gone by and is close enough for apparently no shenanigans to be going on yet far enough away to use larger effects for everyone to see. This kind of show is most related to a cabaret show but the effects are smaller and it is more interactive as the audience in only a few feet away.

When choosing a professional magician it is important to choose wisely as in any industry there are "cowboys".

How To Do The Best Magic Tricks

If you are a newbie magician and you want to improve your magic tricks, follow these tips and you are guaranteed to perform magic tricks that will amaze your audience.

Be Natural

The secret in having a great sleight of hand is your naturalness. There should be no hand wagging, no hand waving, jerky or quick motions. You should work naturally, deliberately, and slowly. If you master this, balls, coins, rings, cards, and coins will begin reappearing and disappearing at the tips of your fingers.

Watching your angles

You should be aware of your angles. Angles refer to the sleight lines between the item that you have just palmed off and the eye of your spectators. If you do not have the right angles, the audience could take a glimpse or see the object in your hand and your trick will be caught.

Practice your palming skills wherever you go

The most necessary skill of a man with a great sleight of hand is the ability or skill of palming an object that goes undetected. You could perfect this after some time of practicing palming small objects like coins in your everyday normal routine. You could palm a small object or item in both of your hands or either while writing, eating, watching TV, walking around, or doing other activities. If you practice care about the angles, no one would notice what you are doing, and after some time, what you are now doing self-consciously would later become almost natural to you. From then on, you could be able to palm objects or items more confidently, boldly, and successful each time.

Master your presentation

Practice your presentation. A small trick that is well presented could work wonders even without the most sophisticated of techniques since the audience would most likely relate to your trick or understand it.

What good is a magician if nobody understands or enjoys his or her tricks? The presentations therefore should be straightforward, simple, and understood easily so that your viewers or watchers could understand and enjoy the complete meaning of what you have been saying and doing.

Do not replicate a trick

Do not repeat the same trick for the same viewers or watchers. That is one of the basic rules in doing magic. When you repeat a trick, your audience would immediately know what you are going to do next. What may have been a miracle for you when you did your trick for the first time may not be quite satisfying or dazzling the next time around.

A Brief History Of Magic

With magic, illusions, spells, tricks and ceremonials are usually performed for entertainment. It is a supernatural power which makes the seemingly impossible occur.

'Looking Back'

In ancient Egypt, there was a magician named Dedi who performed in front of a crowd, where he supposedly beheaded two birds and one ox. He eventually restored the heads of these three animals.

Because of this, the Egyptians were considered to be the first magicians recorded in history.

As the popularity of magic developed, tricks involving cups and balls were shown to the public. Then, playing cards, silver coins and dice were added to their slew of magical tricks.

Later on, ancient Greek magicians invented tricks involving the human body. A trick where a performer thrusts a dagger through one's arm without being hurt has been developed and shown in public places.

The ancient Chinese civilization also paved the way for magic. The "linking rings" is one of the earliest tricks ever invented. To begin with, a number of rings link themselves. The rings are made up of solid metal and the illusion is that they eventually unlink themselves.

'Famous Magicians'

One of the greatest magicians of all time is Harry Houdini. He started as a trapeze performer in the late 1800's and eventually became famous for his magical abilities.

He was an "escape artist" who bonded himself using locks or ropes and eventually extricated himself.

Spanish, Italian, British, French and American magicians presented their acts as magic regained popularity in the 1920's.

'Sawing a Woman in Half'

In 1921, the world first witnessed a magician saw a woman in half. British performer Percy Tibbles cut through a box containing his woman assistant. After the trick, she appeared without a harm.

This trick became even more complicated when the woman assistant was 'operated on' with her hands, head and feet in full view of the audience. The assistant was sawed in half using a power-driven saw, and was later restored without a scratch on her head.

'Reaching a Wider Audience'

Before, magicians only performed in theaters which were open to the public where food and drinks were offered but the magic tricks were performed without any fee given by the viewers.

By the mid-1900's, they paved the doors for magicians to be 'professional performers' by requiring the public viewers to pay for watching magic shows.

In the 1950's, television was invented so magicians were able to reach an even wider audience spectrum.

During the 70's, Siegfried and Roy re-ignited the interest in magical tricks by making large animals disappear. David Copperfield is also a major player in the field of magicians who offered great entertainment to the viewing public.

The Goblet of Fire

This could work well as part of a Harry Potter-themed show (just be careful not to tread on any copyrights!).

It works equally well for kids and for adults. It is purposely brief because most of the presentation will depend on the type of show you do and the type of persona you want to create.

Effect: The magician shows an old drinking goblet -and, talking about the Harry Potter books, he refers to it as "The Goblet of Fire" -- to be empty. Pattering about ancient alchemists trying to turn base elements into gold, he adds the basic elements - air, earth, and water. The fourth element, fire, is added with a match and the whole thing bursts into flame. The magician then covers the goblet, pointing out that the ancient alchemists never succeeded in turning base elements into gold. "However, with a little magic, we may achieve today, what the ancients could not: the basic elements - air, earth, fire, and water - turned into gold."

The magus removes the cover from the goblet and it is brimming with gold coins.

Working: You'll need a chick pan (don't use a dove pan; it is simply too big and will look ridiculous).

To the base, hot glue or solder a short, cheap candlestick, making the whole base look like a medieval goblet. In the load chamber, fill with fake gold coins. If you are doing a kids' show, you may want to use the chocolate covered coins and distribute them later. For adults, there are plastic or aluminum coins, colored gold. The point of the fake coins is weight: Heavy, metal coins would simply be too awkward for the load chamber. When adding the "elements", the air is, of course, all around; the earth is a pinch of sand, taken from an antique bottle; the water is lighter fluid (use only a small bit); the fire is, naturally, a match.

Presentation: As in the effect, above. As I said, it is purposely sketchy because you can do this as part of a themed show or can build it up to be a feature number.

LI(E)ghten up

"Oh, what a tangled web we weave, when first we practice to deceive!"
-Sir Walter Scott

Over recent weeks I've had quite a few incentives to write this article and interestingly not from magicians but from real people who live the real world. I'm going to discuss the practice of lying - possibly the downfall of most magicians, and quite a few human beings as well. I hope it gives you something to think about.

Just yesterday, I spent the day with a good friend of mine and the conversation turned to how we are perceived by others. I told her that I believe people recognise her as a beautiful, fun and intelligent human being and she immediately frowned and asked, "Why are you lying?" The truth is, I wasn't. She is all of that and more, but that really isn't the point. The real goods are this; what would I have achieved by not being honest to her? Nothing. And that's the entire point of lying - it's simply a step backwards instead of forwards.

So far this all sounds as if I'm looking to start a new religion...what does all of this actually have to do with magic? I think there are two main areas that should be discussed; what we say and do and how the audience perceive what we say and do. Lets take them one step at a time...

When I perform for an audience I like to share a part of my life with them and afterwards many spectators speak to me as if they're a friend and have known me for a long time; my performance almost seems like a conversation (although the performer (i.e. me) should have an edge of authority). I would feel extremely fraudulent if they befriended someone that wasn't actually me but some kind of cheeky character or perhaps a caricature of a magician. That's not the Fredrick McValentine that my friends know, so why should anyone else feel that they have met a different person?

My performance character is the same person as my friends know for most of the time. Just like everyone else, I get in different moods and mindsets, but the fun and almost mysterious Fredrick comes out to play in my performances and as often as possible in my real life. Of course, audiences also accept obvious character acts since they understand and know in the back of their minds that just like in a play, the character isn't real. I like to let the audience meet the real me, so simply steer away from being an actor playing the part of a magician.

Lying about your character is a very large-scale example to prove my point. It's also an extremely important one. Just as important though are those minor, white lies that magicians seem to tell because, um, well...it's their job. If you learn one thing from this article, please let it be this - your job is to amaze your audience and not lie to them. Lying to our audience has got us into all sorts of trouble in the history of magic so I purpose that instead of lying we simply don't say anything! Brother John Hamman used to say that instead of talking too much, just let the audience work out for their selves as they will believe their own thoughts a lot more than they believe you.

Although its very extreme I try not to even tell an audience, "And I place your card into the center of the deck." Sometimes I have to, but I try to steer away from it whenever possible. The first reason is that they already know that the card is going into the centre of the deck since they can see you placing it there. The second reason is quite simple - you act quite a lot differently when you lie to someone.

Anyone who has studied NLP will understand about eye accessing cues, which are often used to identify remembered from imagined data. I won't go into detail here, since a study of almost all NLP courses will reveal a lot of information. For those who want a brief outline that is even associated with magic, take a peak at Derren Brown's Pure Effect book.

For a quick experiment, try asking a friend to picture a blue triangle inside a maroon square and then ask them to picture the colour of a mutual friend's hair. Traditionally, when asked to picture two shapes, their eyes will move up and to the right since they are forced to construct the image for their selves. In the second question they have to remember an image so will look up and to the left.

Anyway, I digress. Of real importance is that you change as a person when you tell a lie. For those who have trouble fooling their friends and family, this is the reason - because they know you so well that they can identify when you're not being totally truthful.

Steve Fearson's Goodbye Vanish

About 12 years ago a very creative magician by the name of Steve Fearson had a sort of magic revelation. Like a voice it cried out to him, "Magicians have been stuffing people into boxes since the dark ages...It's time someone shed some light on the subject."

Steve was that someone. He made it his duty to wake up magic by taking 3 classic illusions and bringing them into modern times. Up close.. full lights.. no more boxes.. no more BS!

The first was the levitation. At that time there was no close up self levitation on the market. Zip.. nada.. nope.. none. The idea was to be able to levitate himself in a close up situation, in full light, without any weird props. Just over 2 years later he eventually released Fearson's Fantastic Floatation.

The next target was the Sawing in Half illusion. When people think of magic they think of sawing someone in half. It is the definition of modern magic. Sawing yourself in half close up without a box proved to be a huge challenge. But after a couple years he had a workable method and could perform it.

However, Steve only got to perform it once before it was purchased by David Copperfield and became his "Laser Illusion". I know there is a copy of his original performance floating around on the web, a quick search for "fearson sawing" on google turns up a few sites where you can see it.

The final chapter in his magical odyessey was to be the Self Vanish Illusion. So many times while performing I have heard people joking, "Can you make my wife vanish?" or, "if you're a magician let's see you vanish." Well as it turns out the vanish was the tougest of the 3 illusions to accomplish close up without props. Steve had been tossing around different ideas for years and felt none were worth pursuing seriously. None met the "no BS" requirement. In fact, untill very recently he had all but abandoned the project.

Several months ago, while was lying awake in bed one morning, Steve had a shift of perspective regarding the vanish. Suddenly he saw a real, workable solution. One with no props or gimmicks that could be done virtually anytime, anywhere by anyone. He was able to perform a rough version of the trick for his wife that very day!

Since then his core idea has undergone a lot of "fine tuning" by a very select magicians. Angelo Carbone and Paul Harris, two of today's forerunners in creative magic, are among the few to have played with it and help refine it. And now it has been released, in a brand new downloadable format! And, best of all, due to the ingenious simpliciy of it's design, it is very inexpensive. The Goodbye Vanish, as it has been named, is now availible, as well as many other ingenious tricks, at Steve Fearson's website.

Books vs. DVD

More and more video releases are taking place now due to technology. Lest people assume a wizard gets frumpy about new advances, I thought I should address a common struggle in learning these days. Should we learn magic and mentalism from watching video in some form, or by reading?

The easy guess would be watch video. Video is easier; reading takes a little work and brainpower. Video you can look at and be completely numb. That would make video a big plus for some people.

One good thing about video is that it allows us to see an actual performance and performer's style. The bad thing about video is that it allows us to see an actual performance and performer's style. We already have far too many people doing reenactments of other performer's performances. Video allows us to clone another performer completely. True, the real artist would never do such a thing, but the lazy surely will and do.

Video gives us visuals that are far clearer than any illustration or description. Exceptions are those illustrations, which allow us to see through hands, or remove a finger for better viewing. That can be a tad messy on video. Video overall is better to see complex movements and sequences, and so to learn such things.

Having authored books, videos and audio, I know what I can put into video and what belongs in print. Is there much of a difference? You bet! I could never put on a DVD all the psychology involved in some of my work. Video is great for an overall impression, but exacting details and the real work of subtle secrets - these go into books.

Who wants to watch someone on a screen talk at you for hours, and not do much? Books allow more detail to be condensed into a few pages that would otherwise be laborious on DVD. A few people have tried this on video, but it can become boring even to the enthusiastic viewer. Reading allows time to contemplate more intense thought. How often do we watch videos and then hit "pause" to stop and ponder and idea for an hour or so? Most will not do that a dozen times or more watching any video. These same people will do precisely this without thinking about it however when they read a book or manuscript.

Today, pros know few people read the way we were taught to do. Many names are being asked to put out multiple videos which thousands rush to buy. But most of what you get on these videos are not the original working material of these pros, but rather snippets of the basic books they read that perhaps you did not. It is very amusing to me to hear people rave about certain people's videos and effects that are straight out of Tarbell, Bobo, Rice's, or any other basic reading foundation most real pros have. I do not think these names are wrong in what they are doing - I think it a fine thing. But they will tell you too - this is not meant to replace the actual books or reading.

We have become a group awaiting the latest video rehash of classics by our favorite performers, rather than having to sit down and read the breakthrough thoughts of others. Yes, reading takes a little more effort. Reading isn't like just buying a trick that you can immediately perform. Video is very much like that. We like to see the trick so we can go out and do it. If we can't do it right away, then we call our magic dealer and ask when we can buy the ready-to-do version.

Reading forces you to imagine, think, and even misunderstand. Do you have any idea of how many classic ideas in magic have come out of a misunderstanding of what someone has read? Video doesn't allow for such "mistakes". At first glance, this appears to be a good thing, but in truth, it is stifling.

Anytime I have performed for video, I later realized that I had forgotten to say certain things in my explanation. Even with everything clearly scripted, other details have slipped by. When you are writing a book, such details can still get into the book even at the last minute. That's not what happens in videoland. Ever hear a lecturer who said "I meant to say this on the video" or "I didn't put this on the video but"? If he had put this in print, such details would have been more likely present.

So, for a quick fix, fast absorption rate, and general overall basic idea, video is the way to go. If you want the rest of the work, the real details, the hidden secrets, the "real work", read something. I am telling you this based on my own experiences and those of some of my friends. If you wish to be even a little professional, at some point reading is going to become important. If you wish only to entertain friends and family and do not care about whether you are sloppy, or a clone, video is enough I suppose. You will never know the thrill of a new idea that has not been beaten to death this way, but you will be able to do good tricks just like the person you are watching. If that's all magic is about to you - popular tricks - video alone will work. You may even get portions of the basics taken from books on the videos, and learn parts of these books that way.

I suggest that watching video, listening to audio, and reading combined is the best way. What can't be put into a video is in the books. What you may not grasp in the books, or what sneaks by you as a minor idea, will come to light by watching video. What you hear someone say on audio or read in a manuscript will enhance what you see on DVD. I do not think it is an either/or situation. All of these tools are valuable.

If you watch video alone however, you will never know all of my real secrets, I assure you. The best of my best gets in audio or book form. Where you have to think, imagine, and even misunderstand. In short, so you learn - not just mimic. In fact, I think instead of doing several videos of secrets of mine, I will do a few small booklets. This way those select secrets will be safe from careless performers. As these are more visual items, giving up these secrets in print will force experimentation. Not everyone will do the same thing the same way. Only the wise will read and stop to ponder the deeper implications of what at first appears to be simple notions. Readers know that there is more than meets the eye - that the black and white on a page is a range of colors of which can be dreamed only. Yes, I will hide some simple, effective, easy to do, commercial, visual work in a few booklets. Then I will have them to myself. Until someone else decides they should make a video of them. But I will still have the upper hand, as will my readers. For we will know more in thought, imagination and actual detail than can be stolen. We will know the truth that one may read between the lines, but only lasers can scan between the edges of a DVD.

Discover The Magic Of Doing What You Love

Do what you love to do and give it your very best. Whether it's business or baseball, or the theater, or any field. If you don't love what you're doing and you can't give it your best, get out of it. Life is too short. You'll be an old man before you know it.

~Al Lopez

Since childhood we are coerced to follow the conventional path. Along the way, through happy accidents we discover small pockets of doing what we love. Unfortunately, due to the tremendous strength of our conditioning, we relegate our attention to doing what we must to survive.

Only twice have I met people who have done what they loved and both events shook me to the core. Inspiration is watching someone doing what they love.

The first time, I was introduced to a dentist. My mother had sent me to see him because I was about to graduate from high school and I wanted to choose a profession for college. She had been a patient of the dentist and had been highly impressed by him.

The dentist showed me around his office. It was evening, and the office had closed. He was so enthusiastic that I could barely follow along. He showed me a variety of instruments, he showed me textbook after textbook of the most horrific dental conditions and rhapsodized about how dentistry could fix them, and -- he showed me what it is like to be happy.

The second time, I was introduced to a surgeon. Unfortunately, I was his patient. This man used to be a general practitioner, and then fell in love with surgery. He just loved helping people. Besides saving my life, he also showed me the power of doing what you love. He was always laughing, joking, and appeared to be having the time of his life.

Both these men enjoyed tremendous wealth and success. I met them socially, too, and learned more about them. Life and joy just emanated from them. They were the most charming and amazing people in any social setting. Their charisma emanated from doing what they loved all day long.

If you're not doing what you love, then you're at the wrong place, with the wrong people, and doing the wrong thing. Your life is heavy with repressed desire. And the weight of your unlived life will not let you have a moment of true spontaneity.

But--how do we just throw away the entire fabric of what we consider our safety and plunge into doing what we love? How do we probe past the layers of self-denial that have what we love to do?

There are three things to do to live your life on your own terms doing what you love.

The first is to spend some time in introspection and find what you love to do.

The second is to begin where you're at to do it. Do it as recreation if you don't have an outlet. The main thing to do is to let it happen.

The third thing is to let it expand by itself to fill your life. Your skills will improve, your hobby will attract opportunity, and one day, you'll find the joy of living your life the way you want and be a blessing to all those around you.

The Telltale Heart

With the current flood of movies, TV shows and video games featuring vampires, werewolves and other monsters, horror writer Edgar Allan Poe remains the most frightening of all, even though he has bee dead for more than a century.

Poe, who lived from 1809 to 1849 and was credited with writing the first true detective story, manages to chill a room full of people, even though his characters rarely spill blood, or even kill anyone.

However, one yarn that does both is The Telltale Heart; in it, the "hero" kills his landlord and buries his body under the floorboards. When the police call to check out the disappearance, the "hero" slowly breaks down under his own guilt and thinks that he hears the heart of the deceased pounding. Finally, he breaks down and confesses his crime to the two policemen, who never suspected him in the first place.

Compare the crude slashings of today's so-called horror films with just a few words from Poe: "Presently I heard a slight groan, and I knew it was the groan of mortal terror."

Here are two business cards that are similar to the ones Poe carried - writing on the front and nothing on the back. (The magus shows two cards, one in each hand and, with clearly empty hands, fully shows both sides of each card.)

(The magus puts the cards, together, one on top of another and puts the bottom edge on the table. When he lifts the two cards, there is seen a red, pulsing heart!)

Working:
This is based on a very old idea, used by the late Milbourne Christopher. A Poe card is held in each hand, writing side put and roughly parallel to the floor, with fingers underneath and thumbs on top. The red heart (more on this later) is hidden behind the left card, resting on the fingers of the left hand.

When the cards are both turned over, and the hands, to show the backs of the cards to be blank, the fingers of both hands slide up the cards until the fingers are almost off the face of the card. The right hand does this to match the left, while the left does it to hide the heart: As the fingers slide up they take the heart with them, concealing it behind the fingers.

The writing sides of the cards can be shown again and, as the hands and cards are turned over, the fingers are extended behind the cards again. The right simply matches the left, while the left actually slides the heart behind the card and holds it there.

The right-hand card is now slid under the left card, between it and the heart. The right hand releases the cards and turns over (palm down) so that the right hand fingers can grasp the front of the cards and the thumb can reach over and hold the heart.

The left hand now turns over the match the right and grasps the cards in a similar fashion. With both hands holding the cards, they are placed bottom edge on the table.

As the cards are lifted, the right hand releases the heart, letting it fall to the table.

Second Thoughts:
The heart can be just about any type of glass or plastic heart, available just about everywhere around Valentine's Day and at many places year-round.

I use a small, battery-operated red plastic heart that I can set alight and pulsating as I drop it to the table; it was part of a key chain that I picked up around Valentine's Day.

Enjoy this - and spook your audience!

The 6 Things To Look For When Buying A Kids Magic Kit Online

You want to get the best magic kit for your kids. I don't want your kids to be disappointed by an inferior or inappropriate magic kit.

Here are six things to look for when shopping for a kids magic kit.

1. Specific suggested age range: Every kid should have an age group that it was created for. For example a lot of magic kits are sold for "ages 4 to 104". Well, what that means is that half of the tricks are appropriate for kids and half are good for adults. The problem with this is that most kids will get frustrated because 50% of the trick are too hard for them to learn. Kids want to learn all of the tricks in the magic kit...not just half.

2. Instructions that are fun: You want to have the instructions for your kids magic kit to be fun and exciting. For example, you don't want a magic kit with just printed instructions that have no illustrations.

Studies have show that over 61% of kids learn best visually, so getting a kids magic kit with DVD instructions is ideal.

3. Item should ship out within 24 hours: If a website doesn't have a product in stock, it shouldn't be listed on their website. You don't want to wait 2 weeks for them to get the item instock, you want your kids magic kit promptly! A surefire way to tell if a site has an item in stock is that their shopping cart checkout page will have their realtime stock listed of each item they carry.

4. Lots of Testimonials: Every site should have testimonials or reviews from actual parents about their kids reactions to the magic kits. An endorsement from someone like David Copperfield is impressive...but he doesn't have kids and isn't necessarily a good judge of what kids nowadays think is cool, but other parent know what kids like!

5. Secure check out: When you begin the checkout part of your order, make sure the page is secure so that your information can't be stolen. Most online shopping carts only operate in secure mode during the part of checkout when you enter your personal information, and that's fine.

Here are two ways you can tell if you are submitting your information at a secure site:

#1 look at the address bar in your internet browsers window it should begin like this https:// The "s" in the https means secure.

#2 a closed (locked) padlock will appear at the bottom of your browsers window.

6. Customer service phone line: Every site should have a phone number you can call to ask any questions you might have about their kids magic kits or to place your order over the phone. Having a phone number to call is basic customer service, and I would be skeptical of any site that doesn't want you to call.

Now that you know the six things to look for, I'm confidant that you will find a kids magic kit that is fun, and age appropriate for you children.

I Am Here

Effect:
In a seance-type situation, the magus brings out a business card with a small Ouija board printed on the back, in an attempt to contact one who has passed over to the other side.

The magus goes into a trance and asks if the spirit is with the assembled group.
He then sprinkles some ashes over the card, brushes them across the Ouija board, and the words "I Am Here" are seen to appear on the back of the card.

Method:
This is simplicity in itself.

The business card back, above the small Ouija board, is apparently blank. In fact, you have written beforehand, the words "I Am Here", using a white crayon from a standard box of Crayola crayons.

The words, written in white on white, cannot be seen in normal light but, when the ash is rubbed across them, the ash adheres to the wax, making the words visible.

Presentation:
"Almost everyone has someone who has passed over to the next level of existence that they would like to contact one last time.

"The Ouija board is a common way of doing that, as is the seance. But what if we combine them both?"

Bring out your business card and show the back with the Ouija board on it; bring out a vial of ashes or ask someone to write the name of a deceased relative on a piece of paper and burn it. Spread the ashes over the back of the card.

"If we concentrate on the spirit of the departed, perhaps - and only perhaps - we might be able to make some form of contact."

You feign a trance, in which you rub the ashes over the back of the card and the words appear.

"We appear to have made contact. Now let us listen to what the dearly departed has to say."

Second thoughts:
This is the ideal time to polish your cold-reading abilities and give a reading of the querent.

Or you might try a reading with Tarot cards, or palmistry, or rune stones.

In any case, this makes a logical lead-in to a psychic type of reading.

The bottle of ashes are used in case you are at a venue where an open flame is not possible, for whatever reason.

If using the ashes, claim that they are the pulverized and mummified remains of an ancient seer, who had the ability to contact the dead.

Or you may want to use some other explanation; do whatever fits you and the circumstances.

This piece could possibly stand alone as part of a bizarre routine but works much better as the opener for a seance-type routine. Of course, once you are into the routine, you can go as "bizarre" as you wish!

But this must be played absolutely seriously and as if you really were channelling the spirits.

As the late, great close-up artist Tony Slydini used to say: "You must gotta believe!"

Balloon Animals

More then ever before, I have seen the rise in restaurants providing table side entertainment. While you wait to be seated, or for your meal to come, you can be entertained by a skilled magician or a fancy balloon animal.

This is wonderful. It provides the restaurant with a bit more time to get everything ready, it helps pass the time for the customers and the performers usually gets a nice tip.

As you have probably guessed by now, I am such a performer. I twist balloon animals and cartoon parodies. They are quite wonderful. But I can't help but wonder why I am tipped the same for a one balloon dog as I am for a 12 balloon monster truck that takes considerable amount of time. I understand that there are some who are only skilled enough to make a balloon dog. I think that there should be a difference in what he is tipped and what I am tipped.

What determines what someone is tipped? Is it the amount of skill they have at their craft? Is it how fervently they worked to please you? Or is it simply the lowest amount that you think you can get away with?

Well for those whose policy is the latter, I have bad news for you. Poor tipping leads to Balloon Flatulence.

Top 3 Magic Trick Tips to Performing Magic

Magic has been around for as long as one can remember. Magic is something that can take people from reality to fantasy. I have been interested in magic since I was just little toddler. I'll never forget the day when I actually thought that my very own ear could produce nickels and dimes, real money! I was amazed at how my uncle could just reach out to my ear and pull out a dime at will. This was unbelievable in my eyes! What was more unbelievable was that my uncle actually let me keep the money that he kept pulling from my ear. I would run down to the local candy store and get my favorite sugar coated candy and would be on cloud nine for the rest of the day. Funny thing was, is when I tried to reach into my ear, there was no money coming out. How was it that my uncle could do such a thing and I couldn't? Well that is when I needed to find out how this was done and was introduced to the wonderful world of magic!

Over the years I have learned many magic tricks. From getting my first magic trick set, you know, the 50 magic tricks in one box set, classic stuff. They still sell the same magic tricks in that one box that I learned 25 odd years ago. Nicer packaging of course and just slightly more expensive, but still a great introduction to magic. The one thing that is not taught in these magic trick sets is the actual art of performing the actual magic trick. We can all follow the instructions on how to do to the magic trick, but no one really tells us what to say or how to act before, during, and after the magic trick. I have learned over the years through experience and from watching the masters of magic first hand, on exactly what it takes to create the moment of astonishment and disbelief. I present to you, The Top 3 Magic Trick Tips to Performing Magic! These will guarantee great reactions and memorable moments when performing your future magic tricks.

1. Patter: This is the most important piece of your routine when doing magic tricks. You can take an ordinary magic trick and turn it into a whole theatrical event if you can come up with the right dialogue to assist your magic trick. Now this is hard to teach but there are some common rules you should follow. One is to always look into your spectators' eye. Make sure you have their attention and they are listening to your every word. Second is humor. Humor is what gets people in a relaxed state and sets them up to be caught off guard as to what you are about to perform.

2. After Effect: Once you have performed your magic trick and your spectator is freaking out as to what they have just witnessed, do not say nothing to them. Just stay quiet for a minute and just stare at them. I do this all the time and it drives people nuts! They will just flip out, wanting to know what just happened but you are not saying a word. You just let them talk and talk and they will build up what just happened even more just by themselves. Try it, it works, you’ll see what I mean.

3. Confidence: You have to go in knowing that you are going to pull off one of the biggest magic tricks ever. You can't be going in nervous or weak, it will show and take away from the trick as the spectator will suspect something right from the beginning. Practice, practice, practice until you can do it blind folded. You need to come across as you truly are magical and have no doubt that in your mind that you can show someone something truly amazing. Your spectators will feed off this energy and will give you more respect for it.

Cheap Trick to Drop the Girls' Jaws

The Grand Illusion - Large-Scale Magic Tricks That Won't Fail to Impress!

Have you ever watched a TV magic special and wondered, "How is that possible?" have you ever been curious as to how the top magicians accomplish some of their most extraordinary feats?

Soon you won't be wondering; you'll be trying them out for yourself!

Let's start with one of the oldest tricks in the book, but one of the best and most vividly compelling - levitation!

Levitation

Since you're interested in magic and illusion I'm going to bet you've heard of levitation before. Perhaps you've even seen a magician perform this incredible trick and wondered, "How the heck is he doing that?!" Well, hold onto your hat, because you're about to learn how.

First off, what is levitation? We all know what it looks like - the act of floating off or above the ground. It's sort of like flying. All the great magicians try to perfect this trick because it's one of the most simply visually arresting illusions in existence. And it's actually not that hard to do...

We practical magicians know that there is some trickery involved in levitation as a performance. However, there are those who believe in the real phenomenon of levitation as a form of psychokinesis, or the ability to move objects just with the power of the mind. The only people said to be able to perform levitation in reality are the spiritual elite, or those possessed by spiritual forces, like shamans, people in trances, or those possessed by a devil.

Now I don't know anyone who's actually seen a REAL levitation outside a magic performance, so take this for what you will...

I mean, you can sit on the floor and meditate and wait to "lift off," but unless you're really in possession of some special supernatural forces I don't think you're going to have too much luck!

What I am here to show you is how to perform the trick of levitation, to give your audience the impression that you are floating, or else causing some other object to float.

Levitation as a magic illusion has recently been practiced in the public sphere by such magic superstars as David Blaine and David Copperfield. Copperfield even performed a spectacular stunt in which he appeared to float over the Grand Canyon!!

All smoke and mirrors? TV special effects? Not exactly...

This article is extracted from the book 'Discover The Magic Trick Secrets You're Not Supposed To Know'. Full details can be found at http://www.discovermagictricks.com