The Struggling Magician

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

2011-01-19T23:24:00.000-08:00

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

2011-01-17T17:16:00.000-08:00

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

2011-01-16T23:22:00.000-08:00

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?

2011-01-13T23:34:00.000-08:00

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

2011-01-08T23:37:00.000-08:00

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)

2011-01-08T02:01:00.000-08:00

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?

2010-12-30T00:51:00.000-08:00

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

2010-12-22T15:38:00.000-08:00

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?

2010-12-20T00:58:00.000-08:00

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

2010-12-18T13:58:00.000-08:00

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

2010-12-16T13:16:00.000-08:00

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!

2010-12-16T00:50:00.000-08:00

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

2010-12-14T02:03:00.000-08:00

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)

2010-12-11T20:33:00.000-08:00

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

2010-12-10T13:23:00.000-08:00

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

2010-12-08T00:56:00.000-08:00

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

2010-12-07T01:11:00.000-08:00

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

2010-12-02T10:58:00.000-08:00

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

2010-11-28T14:10:00.000-08:00

"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

2010-11-27T03:58:00.000-08:00

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

2010-11-25T23:33:00.000-08:00

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

2010-11-25T00:18:00.000-08:00

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

2010-11-21T22:03:00.000-08:00

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

2010-11-20T20:09:00.000-08:00

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

2010-11-15T14:05:00.000-08:00

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

2010-11-01T10:04:00.000-07:00

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

2010-10-28T12:52:00.000-07:00

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

2010-10-22T00:06:00.000-07:00

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

2010-10-20T12:55:00.000-07:00

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

The Sorcerer's Stone

2010-10-19T17:37:00.000-07:00

With the best-selling success of the Harry Potter books - kids and adults alike will be familiar with them -- the following makes a logical tie-in to a popular phenomenon.

One of the series of books is entitled Harry Potter and the Sorcerer's Stone.

And, not surprisingly, this routine is titled:

The Sorcerer's Stone

Effect: The magician relates a tale of ancient alchemists trying to find the Sorcerer's Stone, which would turn base metals into gold. Showing three stones, he puts two in his hand and one in his pocket; when he opens his hand, the three stones have appeared there.He repeats this. The third time, he puts one stone in his hand and the other two in his pocket; when he opens his hand, the stone has turned to gold. Both hands are empty.

Working: This is a dressed-up version of the old two in the hand, one in the pocket routine.

You'll need four stones - any pebbles will do, as long as they look approximately the same - and a gold nugget. Don't worry, you don't need an actual gold nugget (although I do use a bar of gold from a pendant!); a fifth stone, spray-painted gold will do, or a fake gold nugget from a piece of costume jewellery. The gold is in your right pocket, three of the stones are on the table, and the fourth is concealed in your right hand. Pick up one stone with your right hand and toss it into your obviously empty left hand; pick up the second stone and toss it into your left hand, too, secretly adding the stone concealed in your right hand. Pick up the third stone from the table with your right hand and pretend to put it into your right pocket, secretly palming it. Open your left hand and show the three stones have magically come together. Repeat, but this time, when you put the last stone in your pocket, leave it there and palm the gold. The third time, pick up one stone and pretend to toss it into your left hand, actually switching it for the gold (the Bobo switch). Pick up the other two and put them in your pocket. When you bring your hand out, casually show that it is empty. Open your left hand and show that the stone there has magically turned into gold.

Presentation: "For centuries, ancient alchemists sought something called the Sorcerer's Stone, which was believed to be able to turn base material into gold.

"But, in our scientific world today, we know that there is no such thing - or maybe there is.

"These three stones on the table may look normal but - is it possible? - they may actually have ancient, mystical powers.

"Watch carefully as I put two into my hand and one in my pocket.

"And yet, the stones - even though they were separated - magically come together again. (Open left hand)

"Let me show you that again. (Repeat, this time palming the gold from your pocket.)

"But, while this may appear magical, it is still not what the ancient alchemists were looking for.

"They wanted a single stone (pick up stone and, as you toss it into the left hand, switch it for the gold) that would create a precious metal, like gold. (Put the other two stones in your pocket, casually showing your right hand now empty.)

"That magical stone would be the Sorcerer's Stone - and would have the power of creating untold wealth, in the form of gold." (Open your left hand and drop the gold on the table.)

Second thoughts: This could be done with any stones, although I use rough core slicings of iron pyrites (fool's gold).

If you want to produce something else - a diamond, for example - you could use a fake diamond for the final load and pieces of quartz as the other four stones (You can probably get quartz chunks at hobby shops, that sell rock samples.)

Vampire Bat

2010-10-17T12:56:00.000-07:00

A question was raised a while back as to whether bizarre magic could include comedy.

Well, I don't see why not - provided it's done properly. After all, the great Ted Annemann, in his full evening show of mentalism, did a cut and restored rope trick right in the middle of the act. And, by all accounts, it worked. So the following offering combines (or attempts to combine) bizarre magic with comedy.

Effect: The magus relates a story of vampires:

"High in the mountains of Pennsylvania - or was it 'Transylvania?' - no matter; high in the mountains, there was a castle that towered over the local village.

"By day, the castle was inhabited by the infamous Count Dracula. (The magus takes out a nine-inch silk with a picture of Count Dracula drawn on it.) The villagers lived in fear of Dracula for, while they could prove nothing, it was rumoured that the count possessed supernatural powers, the kind of powers that mere mortals did not even dare to think about.

"For much of the time, at night, Count Dracula appeared to be normal - or as normal as a count could be in far-off Pennsylvania - or was it Transylvania?

"During the daylight hours, the count would live in a cave underneath the castle. (The magus tucks the vampire silk into this closed left fist.)

"But, once a month, the moon would be full.

"And, when the moon would rise, the count would leave his cave and be transformed into - (pause here and let the audience add the words "a bat". If they don't, carry on, adding the words yourself.) - a bat!"
The magus then opens his closed left fist, showing that the vampire silk has vanished, to be replaced by a bat - a tiny baseball bat!

Working: This is fairly straightforward and I assume most of you are ahead of me already. When you reach into your pocket for the silk, the left hand palms the small bat and a thumb tip. The silk is pushed into the left fist (the thumb tip) and the tip is then stolen out.

The left hand is then opened and the baseball bat is allowed to drop to the table.

Second thoughts: To make the silk, get a picture of a vampire (I got one from clip art on the internet) and tape a nine-inch while silk to the picture.

With a black Sharpie marker, use light, brush-like strokes to trace the picture; the brush-like strokes will keep the ink from bleeding into the silk.

With a red marker, add touches of blood to the lips and fangs.

Let dry for at least 24 hours.

For the bat, I found a baseball bat and ball key chain at a flea market; however, larger craft stores also carry tiny, wooden bats (along with a whole range of other cool stuff that can be adapted to magic).

This is one of those routines that is 90% presentation and 10% mechanics.

The entire routine - until the punch line - should be done semi-seriously and pompously (even the Pennsylvania-Transylvania gags). You are leading the audience in the wrong direction here, so pause and freeze at the end, when the baseball bat appears, to give them a chance to understand what has happened and to get the gag.

Don't be in a hurry to rush into the next routine; remember a cardinal rule of entertaining (or comedy): Never step on applause (or a laugh).

Don't Let Them See You Sweat! The Art Of Performing Magic!

2010-10-13T11:15:00.000-07:00

The Art of Performing Magic Tricks

We've all been there. Our hands are sweaty, your heart is racing and your hands are shaking like a leaf. Yes, I am talking about trying to pull off your first magic trick that you just learned. You are excited to show your friends and family your amazing trick but then when the time comes, boom! its like you are standing on stage in your underwear and everyone is laughing at you! Even though you have practiced the trick hundred times or more and in front of the mirror, it's never the same when you are about to do it to real people.

Well, have no fear, as this you'll be glad to hear it can be conquered and you will pull of your trick like the pros! You see, it is natural for our body to tense up when the spotlight is on you, now not everybody is the same, some people are just naturally gifted to have that knack of performing for people, they love the spotlight, then there are the other 90 percent that have to work at it to get comfortable of the beading eyes watching there every move.

So, what do we do about this nervousness? Here are some quick tips for you:

When performing any kind of magic, be it card magic or a certain illusion...the best way to get your audiences attention so they are not focusing on what you are sometimes trying to cover up, is to use your hands as they will always follow your hands when you talk. The other thing is to always look into their eyes, this makes them focus on you also. Last but not least, in your routine, ask your audience questions, this gets them even more distracted and not so focused on trying to find the secret to your magic trick!

If you do all the above magic trick tips above, you will also notice that you will loosen up in the process knowing that your audience is in your control! No more sweaty hands, shakiness, or standing in your underwear feeling:)

You just have to learn some "patter", as in small talk, learn some jokes, some one liners, this will take your magic performance to the next level.

Practice these tips and you will have no problem with your future performances.

Las Vegas: The Best Magic Shows

2010-10-12T16:16:00.000-07:00

Las Vegas is the premiere destination for those wanting to sit back and be entertained. If magic is what you want to see, then Las Vegas is the right place because it offers the very best magic shows in the world.

The essence of magic is illusion. Things that are there one minute, but disappear the next. This is the magic that kids love best, so if you are visiting Las Vegas with the family, reserve a place for yourself and your family where Lance Burton the 'Master Magician' will suspend your disbelief.

If you like your magic with a dash of comedy then Penn and Teller are the guys for you. They are the supreme crowd pleasers. They'll befuddle you with their tricks, let you in on some of their secrets and then confound you once more.

Rick Thomas invites you into his world of magic, which he calls, "The Art of Dreaming". He performs the most evocative magical illusions with his team of dances, birds and even, a Bengal tiger.

The Showgirls of Magic show is the prime Las Vegas experience. Gorgeous showgirls performing virtuoso illusions. The show is a cabaret of magic, dance, and comedy.

For more comedy and devious sleight-of-hand action try the Mac King Comedy Magic Show. King is a magical whiz and loves to include the audience in the fun. So it's the perfect magical show for all the family to enjoy.

Magic Trick For Free

2010-10-09T01:40:00.000-07:00

There is a number of fun and easy-to-do magic tricks which a budding magician can learn to perform.

The key to showing off a magic trick is to practice until you have it perfected.

Here is one free magic trick for budding magicians. By trying out the basic magic tricks first, you can later move on to more complicated tricks and stunts to make you a joy to watch.

'The Magic Bottle Trick'

This is how the trick would look to a spectator:

First, the performer would ask for a volunteer from the audience. The volunteer would look inside the bottle that the magician is holding and show it off to the rest of the audience as a typical, empty bottle.

Then, the volunteer would return the bottle to the magician and also examine the magic wand.

The magician will drop the wand into the bottle, then turn the bottle over and let go of the wand.

The trick is for the wand to remain suspended inside the bottle.

Here are the supplies needed to pull off this magic bottle trick:

An eraser.
A bottle with a large opening where the wand would fit into. The bottle should be opaque.
A 'magical' wand which is taller than the bottle. Once you drop the wand into the bottle, part of it should stick up through the opening.

Cut off a piece of the eraser and make it be just big enough for you to wedge the wand into the bottle opening.

The eraser is the key to make the trick work.

This is where the trick comes in:

The magician would pass the bottle to a volunteer in the audience to make sure that the container is empty.

Then, the magician will take the bottle back and give the wand to a participant in the audience.

He would then slip the eraser into the bottle in such a way that it is hidden from everyone in the audience. The wand is taken back and later dropped into the bottle.

Afterwards, the wand and the bottle are picked up very slowly, upside down.

Then, the wand is slightly pulled while the bottle is being turned over. The eraser then gets wedged into the opening, then the magician lets go of the magic wand and voila!

The wand does not fall out. Slowly turn the bottle upright again, let go of everything and the wand remains suspended in the bottle and more importantly, it does not fall back down.

The wand is slightly pushed to release the rubber, and it is slowly taken out and finally removed.

What Kind Of Magician Can I Hire?

2010-10-07T23:18:00.000-07:00

Are you thinking of hiring a magician?

There are various types of magic and magicians. Most magicians now specialise in a few areas of magic although some perform only one type.

Here is a general guide of what types of magician are available for a predominately adult audience although a good magician will take you back to being a child.

Close-up magic/strolling/mix and mingle/table magic can often be seen at cocktail parties, corporate events, banquets, wedding receptions and generally any party event where the magician mingles amongst the guests performing tricks and inter acting with guests. This is ideal for a reception and then when guests are seated at their tables and enjoying the meal.

Cabaret magic is a great way for a large or small audience to see some bigger or more involved magic tricks. Cabaret magic is suitable for most events but is most popular as an after dinner entertainment. Sometimes the close up magician will double up and also perform the cabaret. If you are looking for larger, flashy magic then it is ideal to hire an illusionist. Cabaret magic acts last between 20 and 40 minutes and normally perform for audiences of 20 to 600 however their are two rules that should be noted. The magician should be able to be seen and heard by everyone. Bear this in mind if booking after dinner entertainment in a hotel conference room. If you have lots of non English speaking guests you may prefer to have a silent magic act either manipulation or illusion however a comedy magician always plays well for an English speaking audience.

Corporations and companies are hiring magicians more and more to perform at Trade Shows and exhibitions. Magic is a great form of interactive entertainment where a message can also be presented in an interesting manner. The magician draws people to the exhibition space where the benefits and features of the product or service can be show cased. The magician can also present and provide suitable magic give aways that are branded for the company exhibiting.

A Bit Of The History Of Magic

2010-10-03T15:12:00.000-07:00

One could enjoy watching magicians perform their amazing tricks. Whether they are in a circus, in a school program, a friend's birthday celebration, or in a favorite television show, magicians are among today's top entertainers.

Here are a few of the top magicians in their times:

The history of using magic as a form of entertainment may have begun with magician Chevalier Joseph Pinetti. More than three centuries ago, Chevalier Joseph Pinetti, wowed his audiences worldwide with his bag of magic tricks. And that was in 1782!

Among his tricks was the ability to produce an orange tree blossoming on stage that bore fruit. Pinetti's wife even acted as an assistant, helping the magician to do his mentalist and escape tricks. Known as the "Professor of Natural Magic," he was known for his great magic tricks, tricks that belonged clearly to the modern era of magic.

Come the nineteenth century. The said century welcomed the use of technical-assisted magic, with some of the magicians developing various devices that would aid or help in their illusions. Using optical aids or devices, electromagnets, as well as various stage lighting forms, these magicians were able to amaze audiences from time to time with their very elaborate and dazzling tricks.

One known magician in the nineteenth century was the magician Hermann the Great. Alexander Herrmann was his real name, and this German magician did his tricks with all of the kinds of stage magic he had known, even from super close-up productions to fill-stage events. An American rival, Harry Kellar, took over Herrmann's popularity for some time and became the most prominent magician for more than 10 years.

Other magicians in the nineteenth century included T. Nelson Downs and Howard Thurston. Downs is originally a vaudevillian by trade, but had become great and famous in his magic tricks that he became known as "King of Koins."

Thurston, on the other hand, invested much of his money in building an extravaganza, which is a show on magic. It reigned over the American entertainment magic scene for over twenty-five years.

Probably one of the more known magicians in recent times was Harry Houdini. Known as one of the best American magicians, he was known for his great escape acts, including his own famous creation, the "Chinese Water Torture Cell."

Another famous American magician is David Copperfield, who until recently performed numerous magic acts in shows and TV programs.

Bell, Book, And Candle

2010-10-01T10:38:00.000-07:00

A while back, in a One-Man Parade in the Linking Ring magazine, Max Maven offered a wonderful routine involving those tools of exorcism - bell, book, and candle. He called it Toll, Tome, and Tallow (which is stretching alliteration a bit far, even for the Maven!).

I loved the routine, the props, the handling, the works. But it was a bit long for table work and so I came up with the following. It is completely different from the Maven's routine; the only similarity is the props - and they are crucial; the more charismatic the better, because the routine is 99% presentation and 1% working.

Effect: The wizard gives an ancient scroll to a spectator and then puts three items on the table: a tiny bell, a tiny book, and a tiny candle in a candlestick. The spectator has an absolutely free choice of any of the items and yet, after the choice is made, when she unrolls the scroll, it confirms her choice.

Working and Presentation: As I said, the props here are critical so you'll need a miniature bell, book, and candle. I got a tiny brass bell in a curio shop, the book and candlestick at a shop that sells doll-house miniatures. The scroll is about an inch or two wide and three or four inches long, parchment paper, burned on all edges to give the appearance of age. On it is written, in calligraphic-type script, the words: "Ye shall choose the candle."

Giving the scroll to the spectator, you say: "In the 16th century, a wave of witch hysteria swept Europe. In England, seeing a golden opportunity, one Matthew Hopkins set him self up as a self-styled Witchfinder-General. He would go from town to town, village to village, seeking alleged witches and proving them to be just that - or blameless. There were very few who were found to be blameless.

Hopkins used the traditional tools of exorcism in his rituals - a bell, a book - usually the Bible - and a candle. (Put the three items on the table.)

"To our modern minds, such simple things would seem unlikely to have any power. But, to show you the inherent magic in these three items, I would like you to pick up one and give it to me. (If the spectator chooses the candle, ask her to unroll the scroll and read it aloud. The routine is over at this point. If, however, she chooses one of the others, continue:)

"Now I would like you to pick up one of the remaining two items . . . (she does so - if it is the candle, continue as follows) . . . and hold it yourself. I will now eliminate the book. So what has happened here? You chose the bell (if that was the first choice) for me, you chose the candle for yourself, and you eliminated the book. Now please unroll the scroll and read it. (She does and it names her choice.)

(If the spectator chooses, from the two remaining, the piece that is not the candle, continue as follows:)

". . . and give it to me as well. You may now pick up the candlestick, since you have eliminated the other two items. Now, unroll the scroll and read it aloud."

At this point, all the ensemble fall down and worship you, as you so well deserve.

Second Thoughts: This is, of course, just the Magician's Choice dressed up to go out and go dancing. I said earlier that this is 99% presentation; the props should be as authentic as you can make them - calligraphic, aged scroll; brass or gold bell, miniature Bible, brass candlestick with tiny candle. Please do not use a Christmas bell, a paperback book and a birthday candle. You want to take the heat off the method and put it on the innocent props. Also, the wording is important. It must sound to the spectator that she is making all the decisions.

Have fun with this - and scare the knickers off your audience!

The Unforgiven

2010-09-28T13:03:00.000-07:00

I thought I could use this blog as a way to showcase a few effects I've been working on. Feel free to take whatever you can from these "brainstroms" of mine...and if you could leave some comments on what you like or what needs improvement that would be wonderful.

Effect:
The word 'shrive' means to absolve of sin. It's from that word that we get the day before Ash Wednesday - Shrove Tuesday - meaning the day Christians are forgiven of their sins.

"Years ago, the worst possible thing that could happen to a person was to die unshriven - or to die with sins still unforgiven."

The magus takes out a small packet of cards.

"Here are some notables of the past who very likely died unshriven."

The magus shows each card and comments on the name:

"Jack the Ripper. Identity and date of death, unknown. In the fall of 1888, this serial killer held the metropolis of London in the grip of fear as he murdered at least five women, seemingly at will. He was never caught and his identity is still unknown.

"Attila the Hun, died 453 A.D. Known as the "Scourge of God", he conquered half the world, leaving the fragments of the Roman Empire cowering before him. The blood of countless people is on his hands. And yet he died in bed, on his wedding night.

"Macbeth, died 1040 A.D. He became king of Scotland for a brief period after murdering the rightful king, Duncan. His actions plunged the country into war. Some argue that he murdered the king to satisfy the demands of his wife, Lady Macbeth.

"Blackbeard the Pirate, died 1718. His real name was Edward Teach and he was the most feared man of his day. A mass murderer, his wanton cruelty knew no bounds. He ended his life on an American gallows.

"Lizzie Borden, died 1927. She was accused of murdering her father and her mother with an axe, a crime that shocks the world even to this day. A jury acquitted her but the public did not and she spent the rest of her life in seclusion out West.

"Ivan the Terrible, died 1584. Ruler of Russia, he was the classic feudal despot, bringing misery, destruction, and death to his people.

"Nero, died 68 A.D. Emperor of Rome, he was accused of starting the great fire that destroyed the city; and was also accused of doing it to provide inspiration for a song he was writing. The populace eventually rose up against him and he died by his own hand.

"Guy Fawkes, died 1606. A member of the famed 'Gunpowder Plot', he attempted to blow up Parliament and the politicians in attendance, during the conflict between Catholics and Protestants. He was executed by the very government he tried to destroy.

"Stalin, died 1953. Absolute ruler of the Soviet Union, he held the world in the grip of fear. He led his country through World War II but at a terrible cost; he also killed millions of his own people by forced famine, banishment to Siberia, and his notorious secret police."

The magus asks that the packet of names be cut several times to mix them up.

"These people, I believe we can safely assume, all died unshriven - or unforgiven. But you (to a spectator) look like a very good person and, perhaps, you can save just one of these horrid people. Give them a 'second chance' as it were, in eternity."

Have the spectator cut the cards, completing the cut, and remove the new, top card. The magus picks up the remainder of the cards, so they won't be a distraction.

"You could have selected any one of these fiends, whose crimes put them outside the bounds of human decency.

"And yet, being a basically decent person, you have decided to give a chance at redemption to - (here you pause dramatically and then reveal the name, along with some further details of the person's life, if you wish).

The selected name is shows to match your announcement.

The magus retrieves the card and continues with whatever he is doing.

Method:
This is an old principle, dressed up in a new and bizarre set of clothes.

Note the first initial of each of the names; the letters spell the nonsense word JAMBLINGS.

That is all you have to remember. (That, and to keep the cards in the right order!)

The cards can be cut, and the cut completed, as often as you like; it will not change the cyclical order of the word JAMBLINGS.

When the spectator cuts the cards and removes a card at the cut, you pick up the top cards of the packet and then put the bottom cards on top. The bottom card of your packet is now the card immediately before the one that was chosen.

Casually glance at the bottom card of your packet and you know the next card.

For example, if the bottom card is Lizzie Borden (and her first name starts with the letter "L"), you know the next letter must be "I" for "Ivan the Terrible".

Everything else is presentation.

You may want to embellish the profiles of each one by adding more historical details. That's fine; just don't overdo it. Remember, you are doing a wonder of magic, not giving a lecture or a history lesson!

Performing Magic For Kids

2010-09-22T18:19:00.000-07:00

You have just discovered the wonderful world of magic. Trip after trip to the magic shop has added to your ever growing arsenal of magic tricks. Thirty-three days later the credit card bills arrive to remind your wife that this IS an expensive hobby.

No problem! You will make back all of the money you've spent and more by becoming a part-time professional magician. Looking around for places to hone your craft, you suddenly remember that you niece has a seventh birthday coming up. You call you sister and offer your services in lieu of a gift.

Two weeks later the performance time arrives. You pack all of your "A" material into two large cardboard boxes. You start the show for sixteen first graders and all of your relatives. The show goes well. Everybody is laughing and having a good time. You take some theatrical pauses to build suspense as you search your boxes for the next great trick. Finally, your fifteen minute show concludes after fifty-three minutes. You never realized you had that much great magic. The kids cheer and applaud for your debut magic show. Even your sister, wiping the tears from her eyes, says, "I have never had more fun than I did watching your magic show. It was great. John got it all on tape."

This is how many part-time professional magicians attempt to begin their career. They look around and decided that doing kid shows is the best way to start. Performing magic for kids is one of the most difficult areas of magic to do well. This article explores some of the challenges of performing children's magic.

YOU ARE TRAINING CHILDREN

Children don't understand many of the common cues in a live performance. Most children are raised in the age of television. Not a bad thing, except the laugh tracks prompt the children when to laugh. No laugh tracks and the children are left out in the cold. They are quick and will get up to speed in no time. But they need your help.

The same issue is even more problematic with applause. Children are not used to clapping. They don't understand applause cues. Those wonderfully timed applause cues will leave you and your audience with a lot of uncomfortable silence.

What can be done? Everything. One of your most important tasks as a children's magician is your opening. The beginning of your show must do four things:

Establish audience control
Teach the children to react to applause cues
Set the tone for the show
Introduce your performing personality

The audience needs to be warmed up prior to your magic show. It seems hokey and a waste of time, but it can make the difference between a great magic show and a horrible one.

Children love to have fun. Even in school children are taught to obey those in authority. For some reason, many magicians forget to establish authority early in the show. The result resembles a saloon brawl in the wild west.

When you step out for the start of your show, you have the perfect opportunity to establish the ground rules for the show. I don't mean that you should bring out a list of house rules for the show. Instead come out with confidence and warm up your audience.

After you welcome everyone to the show, look out over the audience and say, "This looks like a really great crowd. Let's see how loud you can clap. On the count of three ONE. . . TWO . . THREE . .Not bad! Let's try it again. On three . . ." After some byplay conclude by saying, "What do we do when we like the magic? (pause) What do we do when we LOVE the magic?" (pause and react strongly to the crowd)

Four things are being done by that warm up. You have taught the children to clap when they like the magic. It also trains them to react to the applause cues in the rest of the show. The warm up establishes that you are in control for this show. Finally, it sets a fun tone for the show. This is the first time your audience gets a sense of your performing personality.

YOU ARE NOT PERFORMING FOR THE KIDS

You will learn quickly that the most difficult task facing the children's performer is to design the show to appeal to children and adults at the same time and at different levels. No I don't mean filling your performance with phrases that have sexual double meanings. Nothing is more pathetic and unprofessional than the performer that gets a child on stage and slyly eyes the adults in the crowd and says "Do I have a big magic wand or what?"

Children's cartoons provide the best examples of the point I am trying to make. Take Loony Toons or Spongebob Squarepants for example. These cartoons work for children and adults on different levels at the same time. This is what you must achieve to be a successful children's magician

This is very difficult thing to pull off. This is one of the main reasons that doing children's magic is so difficult. You must DESIGN your show for both audiences. One key to the show design is your performing personality.

YOU ARE NOT YOURSELF TODAY

When you perform magic for children, you must have a distinctive and appealing performing personality. Long gone are the days when the children's magician can come out on stage in a second hand tux and wow his audience with a formal magic show. Look at Silly Billy, one of the most successful children's magicians. His performing personality is fun and engaging. His show tone is fast paced and humorous.

Even beyond children's magic, examine the performing personalities of children's television. Captain Kangaroo, Mr. Rodgers, and Peewee Herman are examples of compelling performing personalities. Each one was successful, yet, had very different performing personalities. The common factor was that each performer engaged children through fun.

Your performing personality must engage you audience, children and adults, with fun and wonderment. You must draw your audience into the show by your performing personality, but you must wow them with a well designed show that delivers great magic. This is why doing children's magic is so tough.

If you want to start your career in magic as a children's magician, think again. Kids are brutally honest. There is nothing tougher or more satisfying than have a great children's magic show. Being a children's magician is not the best way to become a part-time professional magician.

What is Close-up Magic?

2010-09-18T19:17:00.000-07:00

Close-up magic is magical entertainment that happens right in front of you, magic you can not only see but feel and touch. This intimacy is what makes it so different from other types of magic. An expert close-up magician will involve and interact with the audience far more than a stage magician (or any other form of entertainer for that matter).

Most close-up magicians use common props such as playing cards, coins, sponge balls and rope. And all magicians perform the same basic magical effects with these props, making them appear, disappear, change, levitate, break and restore, and penetrate other objects. What is amazing about close-up magic is that it happens so close to you, sometimes while you are holding the props!

There are many standard close-up magic effects and standard routines used to present them. For example, the 'Ambitious Card' where a chosen card repeatedly rises to the top position in a deck of cards without any shuffling or cutting, or the 'Sponge Balls' where the balls move invisibly between the magician's hands and those of the spectator's. In fact, these routines are freely available if you care to look. Anyone can search the internet and buy books and DVDs on close-up magic, or even the props and standard routines.

What really sets one close-up magician apart from another is how they present their magic. In fact, presentation is the key - it is what makes close-up magic entertaining. A really good, professional magician will be creative and present their magic in an original and entertaining way. Sometimes humorous, sometimes mysterious, sometimes just plain weird and freaky. The magic becomes a vehicle for the personality and ideas of the performer.

This is what makes close-up magic great entertainment. An interesting, strange and funny person demonstrates the impossible, weird and wonderful, right under your nose!

Why Do Magicians Wear Tuxes?

2010-09-10T13:24:00.000-07:00

This wonderful question has rarely bothered magicians for decades. It should. Some possible answers might include:

He is getting married today.
He just got off work as a waiter.
He is going to the prom.

Wait! The man is about to do magic. Surely anyone doing great magic wears a tux. It logically follows that a person dressed in attire not worn generally by the public in nearly sixty years must be a well trained and entertaining artist.

I encounter responses such as:

"People won't know we're magicians if don't wear our uniform," bemoan penguin-like prestidigitators.

"Real magicians must wear tuxes," cries the part-time professional in his ill fitted and second hand attire.

The question of what magicians should wear has been around for more than a century. The correct answer has been around just as long. Unfortunately, many magicians don't get it.

Jean Robert-Houdin, the father of modern magic, looked around at how his fellow magicians dressed. The common uniform for a "real magician" was to dress up like a wizard complete with a conical hat. Robert-Houdin chose to view magic as an art. He devised many wonderful effects. He would go out on a bare stage to present his magic dressed in formal evening attire. The attire was appropriate and commonly worn for evening theatrical productions. Instead of dressing in way completely different from his audience, Robert-Houdin dressed just like his audience.

The point being made is simple. If you want magic to be viewed as a fine art, take your performance and dress seriously. Let the quality of your magic performance speak to the level of your magic artistry. If you want to be a magic clown, then dress like a penguin.

What about Lance Burton? Great question, thanks for asking. Lance's performing personality makes wearing a tuxedo appropriate for his performance. Mr. Burton consciously links back to magic's historical roots. Figuratively speaking, he wears the mantel of magic passed down through the ages. He portrays the great magician out of our past. Lance performs classical magic effects while donning the classical magical attire.

This is completely different from the approach of 99.998% of the other magicians wearing tuxes. Most part-time professional magicians wear a tux without regard to their performing personality. The key to what to wear is your performing personality. Begin with the assumption that a tux is not an option. Examine the key elements of your performing personality that you want to communicate to your audience. Tailor your dress to consciously communicate those key elements.

Another factor to consider is whether you want to stand out or blend with your audience. Let's say you want to blend with your audience. This is common approach for the restaurant or corporate magician. What will your audience be wearing? Try to dress a little above your audience. Let's say you want to stand out. Find ways to contrast with your audience that communicates positively to your performing personality. For example, assume your performing personality is that odd middle aged uncle that all the kids love but make parent roll their eyes. You know the type, every family has one. His style sense will be decades out of style but he will be clueless that he isn't the hippest guy around. If that is your chosen performing personality, then the performer's style will match the outfit. The point again is that the outfit chosen by the magician must relate to performing personality.

Let's get back to the original question. Why do magicians wear tuxes? Nobody knows including the magicians. Know your performing personality. Select your dress to complement your venue and performing personality. Treat your magic performance like the artistic performance you want it to be.