MIchael

Am mar

&

Adam J.FleIscher's

Magical Arts Journal

AUGUST 1986

VOLUME ONE No. ONE

FIVE DOLLARS

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CONTENTS

Performance Material Editor & Co-PubUsher MICHAEL AMMAit * Editar-ln .. Ch •• f. Art Director & Co-Publbher AI)I\..'"1:' rLI:.ISCH['K Df!Uiilig" Conlult'ant PHIL YOUNG * Illustrator CHRIS )lr.::~NER '* Portrattl.lt DA.~ e..u:TEJ..

Japanlll.l,e Publl.5hllllr "O~· ONOSA_KA * German Publisher MA.ROl,.D VOlT

EDITORIAL

Adam J. Fleischer ~atmlWHO IS MAJ FOR?

IT'S 1986 - Why are we starting the publication of a new magic magazine? The paramount reason is that Michael Ammar and I whole-heartedly believe tnar tcday's magicians - and the magic industry - want and truly need it.

Currently. an abundance of information, points of view. material and attitudes remain unavailable or uncirculated for most magicians. Much of this information must be spread and shared and developed in order for the magic community to advance and prosper. This info will also assist individual magicians to gain greater knowledge, understanding and success in magic. looking at magic both as a performing an and as an entertainment Industry.

The Magical Arts Journal - MAJ - is designed to help you become a more successful magician. If you are a performer, this means you will gel new, valuable material that you can perform in today's performing situations. If you are - or want to become - a professional or a semi-professional, you will get informadon that will make you more money and gel. you more work. If you are interested in what magic is. where it is going. who is - and who will be - responsible for the

change to come, what the public think of magic,

CONT(NU£D ON PAGE 2

EDITORIAL

Who Needs MAJ? - ADAM J. FLEISCHER 1

I love Big Commitments - MICHAEL AMMAR 19

WORK & MONEY

Restaurant Magic - CHARLES GREENE 10

What ls A House Magician & Who Should Be One?

Cruise Ship Magic - DOUG ANDERSON _ 10

wno: trs Like To Cruise

Booking Yourself - SAMUEL PATRICK SMITH 10

Why People Will Book You

Michael Ammar ...........____"'""""""-~ RING BAND-IT

Effect

A ring is borrowed and a rubber band is examined. After iI has been confirmed that everything is as it should be. the ring is then visibly linked onto the rubber band, and then visibly snapped off, three different times. In each case the linking is done in full view, and (he ring is clearly seen to be linked onto the band.

To conclude. a pseudo explanation is given as to how the ring links onto the band, by breaking, and then visibly restoring the rubber band. Everything, of course, is examined at the end. with nothing to ditch or conceal.

Comments

This has grown into my favorite impromptu routine these days. The concept belongs to Bill Kalush. who showed me his Rubber Ringer routine years ago. and which Richard Kaufman printed in Richord's Almanac in September, 1983. I loved the effect. but could only remember the key grip he used to create the illusion of the ring linked to the rubber band.

I toyed with the handling for some time. and eventually came up with six different phases for linking and unlinking the CON'I'INU&I) ON PAGI:~

PERFORMANCE

Ring Bond-It - MICHAEL AMMAR - ..

Compressed Pen - lAY SANKEY 6

0- C -I BY JOHN SAMAPAGA .7

The Dissolving Knot - TOMMY WONDER 8

ART

Interview - LANCE BURTON 14

Ideas - JOHN CORNELIUS 18

Coin Finesse - DAVID ROTH 18

EDITORIAL

CONTINU£D rROM PAGE I

and a broad perspective on magic's place in the gigantic realm of the world entertainment market - if these topics interest you, then you will find a modern, sharp forum of information in MAJ that will keep you up-to-date and educated.

Today' world continue to grow smaller - the advent in international comm u nicarlons and travel is nOI unfelt by nie magic world. Convenient and often inexpensive international travel, low-cost overseas telephone and telex rates, along with readily available overnight international delivery services and almost-immediate facsimile services combine (0 make the psychological and relative size of the magic industry - as of the world - smaller and more accessible. What magician has not felt the touch of a foreigner through meetings at magic conventions, rrorn

in tematlonal broadcasts of TV shows, from books distributed or translated in a foreign land, or from information appearing in an international magazine?

I believe this trend will continue to develop a stronger and stronger Impact on magic, While It is the rule, not. the exception. for magic magazines to have international Circulation, all such magazines have an international distribution of an English magazine. and thus is unaccessible to a great part of (he world. MAJ is selting the goal to become Ole most accessible

international magic magazine, with extensive overseas distribution and readership. This will be accompllshed through an effort of international cooperation never before matched in the magic industry.

MAl will have a number of foreign editions. translated and printed into rhe world's major languages. Starting with lhis Premiere Issue. we are proud to be working in cooperation with Ton Onosaka of Magic Land in Tokyo. Japan. who is Publisher of the Japanese edition

ADAM J. FLEISCHER. publlshe. and edits MA.I wltb Michael A.Jlmar. Pletscher Is alsopecducer 01 SymposIum Productions. a ma(Jlc31 and varletl' arts enlertaJ.nment production and manag ement company. The New York MagIc Symposium - a convention for magIcian." he produces - has gained a Stl"ong Inlernallonal repulatlon and 101l0wllIg. and has begun lIB lnternationat npanslon wltb The Tokyo Symposium In August. 1986,

Fleischer was the founding pubUsher and edltor of "The Magic Manuscript." which he sold to Tannens Magic of New York City. Along wltb world ChampIon performers Michael A.mmar and Daryl, Adam Is a member o'''The Ma,glc Hedonlsts," and has pertormed In Japan .... d The Bahamas, and

" U",,· co n tin e nt, twe ntl'. co unll')' world [our 1lI the FaIJ 01 1986.

of MAJ, and with Harold Volt of Zauberzentrale Munchen in West Germany. Publisher of the German edition of MAl. We are currently in negotiations for a french edition.

While it will take a number of issues to smooth out the cooperative international production schedule. each edition of MAl will appear at approximately the same time around the world. As a reader. you will see MAJ offering you a wealth of information on international events and magicians, products, and industry developments.

Who Is MAJ For?

6. MAJ is for performers looking {or a sleady source of original. performance-oriented matettai. Close-up and stand-up and stage material, from (he minds of many of today's greatest magical creators. All performance material is under the expert direction of Michael Ammar. World Champion and award-wi nninq performer and lecturer, besr-sellinp author. and up-and-coming TV personality (Mike has appeared on more than six Merv Griffin shows and two of Johnny Carson's The Tonighr Show in the past year). Michael personally selects. writes and edits every routine in MAl with a demandmp criteria and a keen skill that has already given him the reputation for only printing the absolute best material in lhe world.

6. MAl is for magicians who are - or want to become - professionals or semi-professionals. In the extreme. we use "a pro" to mean one who makes his livelihood solely by working in the magic industry. as performer. author. lecturer. consultant, etc. More loosely. we use the term "pro" to mean anyone

who wants to work and make money - to any extent - with magic. even if it is as a weekend and/or nights only activity.

We believe that success in magic relies on certain attitudes, motivation and methods. In the case of the rutl-nme pro. these skills are absolutely necessary to pay the bills and not be forced to change professions. In the case of the part-time magician. we believe applying these same techniques is what creates optimum satisfaction and fulfillment from being a magician. The purpose of using these skill is not ultimately (0 make lots of money or 10 become a "star", but to use them as a method to achieve personal success, whatever that may be for you.

t:. MAl is for those interested ill modern. clear-sighted. expert and broad-minded views of magicians. magic evenlS, and the stare of magic in the larger world of performance art and en certain men I. It has become an accepted method that magic magazines and book - and therefore most all maptctans - examine magic events/rom a magicians-only point of view and for a magicians-only point of view. There are times when such an approach is valuable. but it has become so predominant in our field today that many rnaqlcrans have an

u nrealistk tunnel vision: and no one is widely distributing much-needed and valuable broader perspectives. MAJ aims to do this.

This should give you an idea of the approach we intend co take on issues In this magazine. I welcome you to the world of The Magical Arts Journal!

ADAM J. FLEISCHER *

The Magical Arts Journal Is ® 1986 by Adam J. Fleischer and Michael A.mmar. A.II dghts reserved. No ponlon of !his publication may be reproduced In whole Or in pan wlthnut written consent permission (rom the pubttshers. MAJ Is publlshed ten times a }ltar - monthly, except lor rwo combined Issues .wry year. SubstrlptlOIl5 In USA and posse.sslons are $40 per year: Canada and other foretgn countries are $.50 per year. 560 [or for,elgn alr·mall. COII01burlo". should be acrornpanled with ~ selj-addressed. stamped enveloped. Ml.J Is not responslble for u MoJten.d contdbudons. AU perrermance m.a[el"1al contributions should be seru direct [0 Michael Ammar at 5259 ~pulveda"'l. Van Nuys. Caillornla 9J411. All orher m81erlal should be sent to MAJ, 2901 Broadway ~ sune 105. New York City. New York 10025. Advertl.o:lng ilales art' available: upon request.

)A.paneu Publisher TON OIlOSAKA Mllgl.c Land

YIlItl A[oya Bldg. 3·5·2 Ka~ba·cllo Nlhonbashl. Chuo-ku Tokyo 103 JAPAN

THE MAGICAL ARTS JOURNAL 2901 Broadway - Suite 105 New York, New York 10025 U.S.A.

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German Publlaht'r lIAJlOLO VOl'!' Zauberezentl'ale Munchen came rloherstra pe 72 8000 Munchen 21 WEST GERMANY

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PERFORMANCE

CONTINU};lI FROM VAG}; l

ring. each with their own strengths and weaknesses. I eventually narrowed it down to the wee phases Included here. The great news is that after I showed these to several friends. they in turn improved further on the ideas to the point that I am ecstatic with the results. Everything tits together just as I like it to. with each phase building upon the next. both confirming links and cancelling techniques. If you only work on one new i.mpromptu. close-up/stand-up routine this year. make it this one!

Procedures

The ideal rubber band to use for the rou tine is a#" 19, 5-lIZ" (9 ern) in length by l/5Z"(I mm) by 1116" (2 mrn), Certain finger rings are better than others for the most deceptive linking. I do not use rings with large stones, or large class rings. These, because of the way you have to hold the ring and band during the linking, prevent a clear view of the rubber band passing through the center of the ring. The best rings are also relatively thin at their most narrow paints. allowing you to easily pinch the rubber band around the ring for certain

di plays.

Phase One

Thi j the phase I worked hardest to perfect, yet I still fell prey

to Vernon's observation - "Magician'S stop rhinking too 4

soon!"

It took Mike GiJes from Visalia. California. to come up with what was literally "The Missing Link". Basically. you will be dOing the handling from Harry Lorayne's "Snap" from Reputation Makers. but doing it with the ring on the center of the rubber band.

Begin with the ring on the tip of the right index finger, and

the rubber band stretched between the index finger and thumb of the right hand. The left hand moves the ring to the middle oi the rubber band, as shown in Figure 1.

Continuing the action. the left hand lets go of the ring, as the thumb pushes the rubber band away from you. with the thumb above the ring. as in f'igure 2. The right thumb and index finger now pinch together. and twist clockwise. When you do this, the end of the band slips off of the right thumb.

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and onto the index finger, giving you the position shown in Figure 3. As you wiu notice. the band creates an x as it i pinched between the thumbs and forefingers of both hands, with the ring resting inside the leit sectio n of the x.

The right middle finger now goes tnro the section of the x that contains the ring. and works it over 10 the right. as in Figure 4. (Don't go into the right side of the x. as I constantly tried to do. because this won't work. For a long rime I was just a quarter of an inch away from "The Missing Link!") This allows the right thumb and index finger to grip together what will be [he [WO ends of the band. When done correctly, you will end up with the situation shown in Figure 5,

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Essentially. what you have done is to lake the [WO loop ends of the rubber band between the index finger and rhumb of the right hand, and the center of the band between the pinched thumb and index finger 01 the left hand. By stretching the

band tight and kneedinp it between the fingers. you wiU work the two strands of the band together so they appear to be a single strand. It will lake a bit of work 10 make sure the strands of the band are flush together, creadng the perfect Illuston. bur when the knack. is acquired. you will be well rewarded.

As I manipulate the rubber band and ring into this postrion.

I patter: "What I am about to do is to create a beautiful. but temporary. piece of magic. Beautiful because all l have to do is to" . and {he ring visibly links onto the center of tne rubber band. AS you can see. the ring is unquestionably on llle center of the rubber band. and the band is definitely through the center of your solid ring.

"But I also said the maqic is only temporary .. because just as quickly as the ring went onto the band. it also melts back Off. leaving the rubber band perfectly unharmed." The position shown in Figure 5 is the one which "sets up" all the other links. because in the next rwo phases you will be unable to IN the ring clearly dangle on the center of the band. As I mentioned, each phase has its own strong and weak points, and all cornpltment the other.

1 should also mention why I stress the temporary aspect in the presentation. I do this because in many close-up situations you might be asked to hand QU! the ring and band in a linked

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condition. to be examined. Under structured perfonning situanons you might not be asked to do this, but the illusion i so strong. It would seem a natural next step 10 hand it all out. However. by qualifying it up front as a temporary illusion. you don'[ need to side step the issue later on.

To unlink the ring, gather the whole works into (he left hand, make a flourlshy gesture. and reach into the left hand with the righl fingers. Quickly encircle all the fingers of the right hand with the rubber band and remove the band from the iert hand with it stretched wide, still clearly unbroken. For some time I ended the first phase by, acting as iI I had to break the band. letting the ring slide off one end, having the band (with both strands pulled taut as one .. .) snap back into the other hand. I then made a gesture to restore the band. and continued with the next fWO links. After long thought.

however. I'm now certain this breaking and restoration is much. much better when saved for the kicker at the end.

Please resist the temptation to use it too soon.

"But.for all bad news, there is atso good news. AJrhough the illusion is temporary. I'ue lound 1 can do it as often as I like. so I'll do it again lor you, just in case you uzeren 't sure about what you may have seen."

Phase Two

In this phase. you will basically use {he Kalush Grip. but with a different lead in. penetration, and hold onto the band. Begin with the ring deep on the left little finger. with the band stretched between the left little ringer and thumb.

The right thumb and index finge.r take the ring by its most narrow point. and move it off the finger and onto the center of the band between the two fingers - Figure 6. StH! holding the ring by the thumb and index finger. the right hand places the middle. third. and little fingers over the bottom strand of the band. This is done through the middle of the band, in the section on the far side of the ring from you - Figure 7. Insert the fingers through this section. all the way up to the second joint of the fingers.

Figure 8 shows a slight difference between this grip and the Kalush Grip. You will now bring the right fingers back up to grip the lower strand of the band on the side of the ring closest (Q you. However. instead of purting all three ringers throuph the band. you will only insert the middle and third finger back through the band. In this way, when you get into the ftnal display position. the band will apparently be looped arou nd the

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right little finger. instead of disappearing for no reason into the right hand. 1 find this small difference to be quite important.

Holding onto the ring and band in this way. you will rind that you will be able to conceal the bottom strand of the band along the right thumb and index finger. creating the impression that only a single strand of the band passes through the ring. [ think Kalushs concept behind this grip (which motivated further thoughts on the effect itself) is true gt"nius. Aside from the fact that the right hand has to retain hold on the ring. [his creates the perfect illusion of a borrowed ring linked onto the center of a rubber band - wondertutt

There is only one further step with this phase, and it is provided from my long time friend from West Virginia (who is also one of the best unknown close-up magicians in the country). Gary Plants. Instead of immediately displaying the link. Gary holds the ring above even the top strand of the band, as in Figure 9. When this is done correctly, it will seem as if you have just stretched the band out, and are holding the ring above the top strand.

As 1 maneuver the ring and band into this position. I say.

"So I'll do it again for you, only this time I'll go one step further. NOT only will I tet you see the ring link onto (he rubber band, 1'1/ also let you hear the linking rake place. Watch. Qnd listen closely. One ... rwo ... and three!"

As you count. you act as if you are tapping the ring against the top strand of the band with each count. Actually, the top strand is underneath the thumb and index finger holding onto the ring. On the count of three, however. allow the top strand (the one stretched between the left thumb and forefinger) to snap around the fingers into the center of the ring - Figure

1 O. Duling this phase it is important to hold the ring at the very tips of the fingers, leaving as much of the center of the ring unobscured as possible. to present a clear view of the band passing through the center of the ring. Although the grip may seem tight and a little difficult to get into at first, you will quickly learn it and be able to present a totally angle proof view of what appears to be a I.ngle strand through the center of the ring.

"As you can very clearly see. the ring is unquestionably linked onto the rubber band, which passes through rhe center of the ring But remember the illusion is a temporary one. This time. though. I'll actually let you see the rubber band pass visibly through the metal and clear [rom the ring."

i • ~ " • r " • • • • _ _ • • • • • • • • • • • • • • " • " " - • • ~ • • • • • • • • • • • • • I • • " • • • • • • • • • •

To u nlink the ring, let go of the bottom strand of the band on the side of the ring nearest you - Figu re I 1. Keep hold of the ring with the rig;ht hand" as you also let go of the rubber band with the left thumb. This will allow both sides of the band to pass back through the ring. However. as you will notice. the right index finger is contacting the band against the far side of the ring. Keep pressing this finger and the piece of the band against the ring. The left thumb now swings down inside the band. where the three right Hnners are still keepi.ng it open. The fingers move out of the way, as the left thumb pulls back the end of the rubber band.

The right hand will need to slightly reqrtp the ring. and band at tnls point for the final display, What you have actually done is to have maneuvered the band out or the ring and around the back side of the ring. Now you wHl need to pinch the band through the center of the ring, creating the impression that it still passes through the center of the ring. This rs actually the same grip used in many ring and string or rope routines.

The left hand now stretches the bottom strand away from you, causing the top. pinched strand to stretch, as iJ you were going to shoot the ring from a sling shot as in rigure 12.

With the ring pointed directly at the spectators, the top of (he band seems to be pressed against the upper inside edge of the ring. To cause what seems to be a visible penetration from the front side of the ring, simply release the pressure on the band, allowin g it to quickly shoo t a round. tree trom the ring. Be sure to hold the rIng firmly .here! When done correctly, the illusion

I is perfect.

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"But just incese you still aren'C convinced, I'll do it just one more time. But before I do. let me show you ttte band an all sides. the ring, and both hands. Now. just by touching the ring onto rhe bond. I make it melt through the band. creatiru; a perfect link. BUI as always. it is a temporary illusion. because just as quickly. if pops back off and into your hand."

The Flna.1 Phase

Hold the band stretched around the lett fingt'Cs as shown in rigure 13. Notice that the left middle finger is on the outside of the band; this is to help hold the band with tension on it in a certain way, Once you get into fhis grip, pull the strand between the left index finger and rhumb wry tightly .. and

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retain the tension on the lower section of the band with the left fingers. Release the upper strand. and you will find the section between the thumb and first finger to have the majority of the slack me band has to offer.

Hold the ring by the index finger and thumb of the right hand. as Figure 13 shows. but do not have the very tips of the fingers pressed together yet. They are, In fact. poised to press together. because you are about to pinch the band through the center of the ring once again.

To get into the grip with a minimum of motion. press down on the strand of band between the index finger and thumb of the left hand, the section which you worked the extra slack into. As Figure 14 shows, press down on the strand with enough pressu re to allow you to lightly pinch the band with the tips of the finger through the center of the tubber band. Your grip on the ring should be such that rne very tips of the fingers meet righl at the center of the ring.

As soon as you have the band properly pinched. return the top strand to a parallel position between the index finger and Ihumb. Pause for a beat. with the strand passing right through the very center of the ring. Again. you are in one of the traditional grips for the standard ring on rope moves. yet as you are here using the rubber band. you are able to perform a bea u titul additio n to the deceptiveness of the grip. rig u re r 5 shows how the ring can now be passed back and. forth along the rubber band. apparently showing the band traveling freely through the center of the ring .. What actually takes place is rna: the band is stretchlnp and contractine on etther side of the ring. where you have it pinched. However, because at the slack in the strand. the lllusion of the band remaining stationary as the ring passes along if Is flawless!

Conclusion

To cone] ude, once again perform the u nlin k as described in th e second phase. and drop the borrowed ring back tnto the hands of the spectator who loaned it to you.

I certainly hope you practice this well. because if you do. you will have a priceless routine for use any time, any place. for groups of up to 100 people as well as for one on one!

MICHAEL A!>lMAR *

WAJ 5

. . .

Jay Sankey

COMPRESSED PEN

Effect 1

At the end of some routine which makes use of a pen, the performer nonchalantly pushes the pen into the cap, as if it were collapsable. Commenting that it saves space, he tosses

the cap onto [he table, and goes into his next routine. Spectators, upon looki ng i nsrde the pen cap, are amazed to see the very end of I he pen deep inside, veri fyi ng that the PI" n was somehow crammed into the cap.

Effect 2

This rime, instead of the pen just being pushed into the cap, the pen is first pushed into the cap, and then pulled out, and all can be examined.

Effect 3

The performer. needing a pen during a routine. fishes around in his pocket and removes just the cap. Re,allzing that the pen may have just "settled" inside the cap, the performer reaches in and pulls out the pen, relieved at having found it. After using the pen, he then pushes it back into the cap before ret urning it to his pocxet,

Comments

This is typical of the visual. creative impact Jay has become known for. AU three are easy to do, practical, and quite startling,

Procedures

All three effects employ basically the same method, namely the old cig1ar vanish made famous by Flip Hellema. in his flip Slick routine

To perform. hold the pen by the non-writing end at the finger lips of the right hand. It is held at the very end by the thumb and first two fingers, and is pointing straight to the left. The left hand is holding the pen cap with the same grip, with the opening pointing 10 the right. See Figure 1,

To create the Ulusion of slipping the entire pen iruo the cap. smoothly move the pen towards the cap, tapping it fi.rst onto the outside back edge, pausing for a beat for this visual picture to sink in. The rtght hand now moves smartly to the left. with rhe pen apparantty going directly into the cap.

What actually happens is that the pen is quickly pivoted back. aJong the palm and wrist of the right hand. The right second finger pivots the pen back in an action much like

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snapping the fingers. The left hand remains perfectly still as [he right hand is thrust to the left, As this is done. the right fingers snap the pen back soqutckly thai the eye simply cannot follow it. Figure 2.

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The lett hand continues the action by turning palm up, displaying the cap and removing any heat from the right hand, which falls naturally 10 you r stde.

Those already famil.iar with the move will instantly set' the commercial value behind this application. Those who have nor played with it will surprise themselves in the mirror, after JUSt a few rehearsals, because of the srrenjuh of the illusion.

As you try this remember that the right hand holds onto the very end of the pen, never lelring go nor moving up the pen. Also, at the completion of the push into the cap, the right finger tips should be touching the left finger rips. This is only for an instant, but.it helps give COV('f for the pen as it pivots. Figure 3,

Reverse the moves for the wonderful illusion of removing the pen from the cap.

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Additl.onol Comments

As a convincer, rake a second pen and cut oU about half an inch tram its end, and glue it inside a second cap. Place it JUSt inside the lip of the cap, but don't let it protrude. Thus, after compressing the pen lnto the cap. the cap can be examined and the end of the pen will be seen in the cap. This subtlety forces the audience to draw the funny and absurd sotu tion themselves. This takes the routine out of the impromptu category., but it is quite a bizarre sight.

If you should need to clean up after the insertion. simply dltch the pen into the pocket as you go for somethinp else, or lap it.

This effect makes an excellent follow-up to David Williamson's "Coin In Pen Cap" (published in Michael Arnmar's Encore ll). After the coin appears inside the pen cap, conclude it logically by pushing the pen in 10 the cap also. *

John Samapaqa

O-C-I

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Effect

Tluer cards are shown and placed flat onto the left palm With one card remamtnp flat on the palm to (arm a base, the top card begins [0 float several inches above the hand, The middle card is passed all around to prove there is nothing beneath the card for support, To conclude. the card floats back to rest flar on the palm,

Comments

This is a beautiful, deceptive piece of magic, Also, it is probably unlike any card effect in the repertoire of ninery-nine percent of cardworkers worldwide, These things add up to a very worthy addition to this Premiere Issue ot MAJ.

John begins by taking Out the three cards from his pocket, Iloats the card, then places the cards away, [ feel this type or handling may often too strongly imply the use of gimmicked cards: but here the visual impact is so stunningLy strong and the handling so convincing it is perfectly OK. However. I'm sure with a little thought many of you will be able to work out a handling to fit the flow Of your routines with a regular deck. AL the end 1"11 giv(' one example.

Procedures

Begin by preparing two cards as in Figure I. The first card has a square hole cut into the center: rhe second card is cut with a rectangle cut from ihe center of the right long side, with the short edge of tile rectangle on the long side. You will also need a third, unprepared card, When the three cards are laid out as in Figure 1. they form the letters O·C-[. hence the title of the errecrt

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Begin with the three cards face down and flush in the left hand, The regular card is on top. the C card is in the middle, with the opening Of the C pain led to the right, and the 0 card is on tile bottom. Gesture with the three cards, fanning them out to the right. being careful not to reveal the gaffed nature of the cards,

Square the cards up from above with tile right hand: you are now going to put them into tile proper position for the card to tJoat, You will need to be very careful as you place all tile cards inro their proper positions, in order not to expose their condition. Start by pivoting the top two cards clockwise for one quarter turn - see Figure 2. Now move the top card back a quarter turn counter-clockwi e. and flush with the bottom card. placing you into the po ition shown in Figure 3.

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As you place these cards onto the left palm, the lert first and third lingers ace straight out. and curled slightly upwards. The middle finger, however, is curled in and the middle knuckle held down, with the tip of the finger ready to go up through the square hole of the bottom card, Place the cards along the fingers so they are able [0 lay flat on the hand. and lift the top two cards by the narrowed 91' of the middle card, As yo u do this, the left middle ~inger pushes up through the square hole of the bottom card, as shown in figure 4.

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All you need to do now is balance the top card on the tip of the left middle finger, but you must be very careful here because the card will tall off if it isn't balanced correctly. You will rind yourself in an embarassmq situation if this should happen! o. to prevent this, use the middle card to move the top card around and test tor the perfect balance. ee Figure 5.

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6

Once the card is balanced, lower the middle card away from it to convey depth, and. using the CUI-out square. move the middle card around (Q show there is no means of support below Ihe top card. See Figure 6.

To conclude. place the middle card down onto the bottom card. and lower the middle finger slowly back through rne cut out in the bonom card. Slowly the top card will lower until it is flat on lop of the other two cards. which are squared ro end.

Alternate Lead In

The gaffed cards could be made out of jokers, and placed into the deck. facing the same way as the res! of the cards. near the top of the deck. Thumb through the deck face up. asking the spectator to touch any card, Time this so the touched card comes before the jokers. Up jog this card for half its length. then thumb down to the jokers. up jogging them as well Pull the three cards trorn the deck. taking care not to flash their condition. and 110at the freely elected card.

This effect does have some angle resrrictions. It is best pertormed while standing with a small group of spectators al 0 standing. so that they are looking down at your hands. In such a situation. you have a real mind blower in your hand ! *

. . . . . . . . . . . . . . . . . . . . . .

Tommy Wonder

THE DISSOLVING KNOT

8 WAJ

Hold the rope in the left hand at the parr where the pin extends trorn the rope. The right hand places the other end of the rope crosswise over the pin. as in Figure 4. If you were going to tie a rea] knot. you would go forward over the rope. back toward yourself. and then back. over the rope, However. you continue here by placing the right section underneatn the pin. and continue in the direction of the arrow in Figure 4.

. . . . . . . . . . . . . . . . . . . . .

Effect

A knot is tied in a piece of rope. As the ends of the rope are pulled. the loop forming the knot is seen to get smaller and smaller. Suddenly. .. poof!...the knot dissolves!

Comments

Tommy tells me the method for this effect was inspired by a trick of Tenkai called the "Knot of Foam". In the Tenkru method. a piece of thread was used; the method described here is much easier to handle.

1 hope rhe drawings convey the beauty of this illusion. and my description convinces you to give it a try. It's really \ beautiful!

Procedures

You will need to prepare a gimmick for [he rope, made from a piece of wire 2" long and 1/32" in diameter (5 ern long and 1 mm in diameter) Pan of the wire has small cuts notched into the side. as shown in figure 1. to make one half of the wire rough, Place this wire into the rope so that about 1/2 inch

3" i-----z <J' ----'

(.1.25 ern) is still outside of the rope, The wire should be parallel to (he rope. as in Figure 2. The rope should be about four fee t 10119 (I 20cm) a nd the pi n is abo U ton I.' root (30 em I from the end - see Figure 3.

2

4

This puts you in [he situation shown in figure 5. with the hands holding the rope at the points marked x. When rhe ends are pulled. the loop of the rope will ride ver the pin, and tr will look as if there is a normal knot in the rope - Figures 5 and 6. To prevent the loop from falling off the pin. rwtst the right end of the rope up and away from you. in a clockwise direction.

6

3

As the loop gelS smaller you will see the shape of the knot begin to distort at a certain moment. lust before this happen. twist the right end of the rope up and toward you. in a counter clockwise direction. This will turn the pin down. the loop will

CONTINU~D ON PAGE 13

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Samuel P. Smith BOOKING YOURSELF

- Why People Will Book You

h.is series of articles is designed 10 help you get more bookings and get paid more for [hem. I am convinced that you, as a reader of The Magical Arts j(JUmal. are interested in doing more. having more. and being more, in the industry of magic.

I have met many magicians with

these same desires who are frustrated. They tell themselves and others, "t would love /0 be doing more shows. but for some reason. I'm not gerting them. J think I need a good aqent, but I naoen '( been able to find one. and one basn't discovered me yet." Agents are wonderful. but if you are waiting for one to discover you and catapult your career to the top. you all' likely to wait a long time. You will be like the fellow who is always waiting for his ship to come In. when he never sent one out!

The good news is that you do nOI need an agenl. In roday's industry, wailing for an agent is the wrong thing to do. IJ you want to get work. and if you are willing to learn the basics of being your own agent. you can book yourself This series of articles will teach you how to be your own agem. which is the "secret" to booking yourself.

There are v ry few agents in the Industry today who are looking tor talent - espectally magicians - who haven't already acquired a fair amount of recognition lind success. This initial success you must create on your own.

The very rtrs: rule of being a good agent is having a good act to represent. In this case the act is yours. so you must star! with beillg a good performer and with having Slrong confidence in this. If you don't know you're good. then you will have a difficult time convincing others.

First of all, why will anyone book your act? There are at least three good reasons: 1. You let them know about your act; 2, They need what you have to offer; and 3, They like you, An act is usually booked as a result of all three reasons, bu [ the first reason is the most important - You must let people know about your (let,

The first step in "leg!.Pg them know about your act" is determining YOllr market, determining JUSt who "they" are. Your market is determined, in part. by the type of act you do. If your act is a ten-minute. slick. sophisticated routine with doves and music to be done on stage. then working tables at restaurants is not your market. Instead, your market might include hotels. banquets. conventions. theatres and nlght clubs. If you do a half-hour show with lots of sucker tricks and a live rebbit. birthday parties is your most Lik.ely market; U1e birthday party market is as distinct and legitimate a market as night clubs. in any case the principle is to go after me markets you are best suited for, make sure you clearly define and u ndersta nd the rnarke t, and then make direct contact with the people of the market.

Once your market is chosen and identified. many people are stymied. The big question in their minds Is, "Where do 1 find the nClmes of people to

call tact? " Excellent question! The simple but not always easy answer is to do some thinking. Let's say you have a fifteen minute stand-up comedy magic act and you have picked comedy clubs

as your market. Ask yourself how far you are willing to travel to present your act Then order the Yellow Pages telephone directories for all the cities

CONTINUED ON PAGE: 12

10 IWIAJ

. . . . . . . . . . . .

We support and encourage those IOOf The pleasures and rewards that Micha have experienced are numerous, and opportu nities available now for all int

Charles RESTAURAI

# 1- What Is A f Who Shoul,

When other magicians find our I do magic for a Jiving. and that the basis of my work is in restaurants. J am deluged with questions. From "How do J get hired?" to "What kind of materia) should J perform? ''. these questions are sometimes easily answered. sometimes difficult; but all have answers that have proven to be effective.

Tills series of articles will clear a path for those who desire to be a house magician in a restaurant. The validity or all the information presented here IS based on two irnportan I things. First, luck or chance plays no parr in becoming a house magician. This information works when learned and applied correctly and diligently. If you desire to become a house magician at a restaurant. you can. and you will. using this series as your guide. econd, it is assumed that you are a proficlenr perrorrner.

This series is not the definitive. last and only words on working restaurants. Based on my experience. this series will give you information, techniques, theorie and perceptions on a unique market - a market that I have been successfully working in for the last six years.

What Is A "House Magician"?

A house magician works regularly at a restaurant entertalnlngthe customers with magic. You may work at one

f,g to magic as a means oi uvelihood. and I and many of our associates

e believe there are great

.rested - AJF

Greene

\JT MAGIC

ouse Magician & '1 Be One?

restaurant one night or five nights per week: or you might work one night a week at five different restaurants. You can generate as much work as you desire.

I currently work seventeen hours each week as a house magician at five dnrerenr facilities - two are major hotels. two are restaurants. and one is a cou ntry club. I prefer this as il assures a varied range of spectators and it gives me a change of atmosphere every day. I prefer this as I find it more in teresti ng and enjoyable and it keeps me on my toes. You may find that working the same location five nights a week can become a grind: since this is not necessary. 1 avoid it. and 1 recommend thai you do also.

You may only want to work one or

two nights a week as a house magician.

) due to a day job or other commitments. Even by only working one night. you will still be able to realize many of the benefits of bein!) a house maqlcian, The benefits include development of your

performing skills, increased private parry bookings. and of COUISe financial return .

Who Should Be A House Mpgicipn? Let's start by discussing whom should not be a re tau rant magician. If you do not like people, or if you do not have a

CONTINUED ON PAGE ,2

•

Doug Anderson CRUISE SHIP MAGIC

# 1 - What It's Like To Cruise

I'm sitting on the back deck of the Cunard Countess, wearinq a pair of shorts and flip flops. We are docked in the beautiful bay of t. Maarten island, As I look over the aft end of the ship. I see passengers fr~ another ship - the Sun Viking - tendering ashore. While I watch, a seagull breaks a striking contrast against a brilliant blue sky, The su n is beating down reten tlessly; 1 humbly compliment myself on my exqutstte tan. Wasted Away In Margaritauille and Son of a Son of a Sailor transcend song and are reality,

ThankS to magic and cruise ships, I'm living it. It makes me realize how wonderful this world can truly be, Saturday we were in Puerto Rico, Wednesday in St. Lucia. and Friday we'll be in 51. Thomas. And during this week. I've had to perform for dose to two hours! And a few short months ago I was freezing in an American winter!

So you want to travel. see the world?

Is London still covered in fog? Why do they call Australia the "Land Down Under"'? Which way does the Leaning Tower of Pisa lean? You wonder what the Great Pyramids of Egypt look like up close'? Maybe you want to try your gambling luck in Monte Carlo or see how American tax dollars are helping

the spice islands of Greneda? Perhaps you've dreamed of making a pilgrimage (0 Jerusalem? But you may have the same problem that most of us have - lack of time and money! There is a way you can visit all these places, and get paid to do it, That' what this series will teach you.

This series of articles will infonn you about the field of providing magical entertainment on cruise ships, 111 cover what it's like to cruise. what kind of acts

WAJ 11

you need. how to get booked. how (0 stay booked. and many of the little-known ins and outs of working the ships,

First and foremost. what is it really like to crui e? Yes. I'll whet your appetite. I'IJ tease you. and I'll make you madly envious by talking as 1 did at the start of this article, You'll walk into any travel agency and you'll see brochures depicting all the glorious sites, romantic interludes. and JUSt plain fun that is inherent to ship life, Look in any newspaper travel section and many magazines. and you will see some very beautiful places. and often you'll see some very beautiful women. Turn on your TV and catch an episode of the Love BaaL. which will show you even more of this wonderful fantasy. The tired old cliche "",(he swaying palms along white sandy beecnes.:" seems to come to lHe.

BeIore you decide that you want to become a magician working the cruise ships. it is imperative that you frankly examine the Validity of these images. 1 cruise ship life really so wonderful?

Life is not a fairy tale - of course it is not so wonderful! If is a very surprising fact that many - if not most - magicians who spend extended rime workinq cruise stnps come 10 hate them, This is true: ask the pros who have spent six months a year on cruise ships for a few years, Listen to them groan when it is time (0 go back to the seas. Before saying "Hogwash! I wouldn'( be fhat way!", please open your mind and listen to the facts, Yes. there are many magicians who enjoy being on the ships year after year. and you may be one of them, But make sure this is an educated decision based on the facts.

CONTINUED ON PAG C ':3

Booking Yourself

COIl1'!.NUED FROM PAGE 10

WORK& MONEY

and areas you want to play. Just call the operator and ask her how to order them. The phone company will usually put the COSI on your monthly bill and mail you the directories. Another option is that many large Ilbrarle have rues or telephone directories. Before looking in the directory for Timbucktu. you should approach a limited and defined section of your market, such as all clubs within a 50 or 100 mile radius of your home base.

Look in the Yellow Pages under "Comedy Clubs" and "Niqht Clubs" and "Entertainment." You will t'ind the

name of clubs. their addresse and phone numbers. ext call up the club and - without identifying yourself - ask for the name of the person who books the talent for the club and the complete mailing address tor rne

person. The Yellow Pages does not include zip codes. so calling the club will get you this. or you can look in a zip code directory. Occasionally the talent booker for a club will have an office address different from that of rhe club.

If they ask what you want it for or who you are. simply say you are an agent and you have some information on performers to send the club. It is valuable to get the talent booker's complete name; once you have it. you can powerfully direct your calls and letters direcc/y to the person who makes

the decisions on hiring talent.

You now will have a list of direct contact names. clubs and [heir addresses and phone number. This is your chosen and defined market. and now you want co let (hem know aboUi your ncr. Send a cover letter. addressed to the person you ve ide ntified as the club's talent booker, along with a brochure. photo. press clippings. possibly a video of your act. and so forth to each contact. lEditar·s Note: An upcoming issue of MAl will naue a fearure on promotional video tapes - in what situations should you send one, and the basics 0/ low-budget, high·impact promotional oiaeo production. )

A few days after they should have received your information. call each person. Ask ir they received your pack.age and what they think of working together. They will probably have many questions, and you should be prepared to answer them all with positive, concise. professional answers.

You have successfully let them know about your act. The next steps are to find out if they have an immediate need for what you do. In fact. what you m US! do. is convince them that they do have a need for you. And follow up with step three. being sincere, friendly and

pleasant. so rhey will come 10 lik.e you.

We have shown how to start acting as your own agent. which will start to generate bookings. You have seen how 10 choose and identify your market. how to contact the market. and how to start telling people about what you do. We have used a basic example to demonstrate these ideas, but the ba ic process can be applied to any marker by any performer. There are some markets where the yellow pages won't be your source of information. but perhaps the local newspapers will. The important point is to understand the principles involved.

Does it rake time? Yes. Is it easy?

Sometimes yes. often no. Will it take persistence? Absolutely. Is it worth it? Only you can decide. My job is to show you the way ... your job is to get into action today! As Lao-Tse Said. ··The journey 0/ a thousand miles begins with a single step. ,.

Future articles in this series will include BOOking Yourself By Phone, Booking Yourself By Mail. Making It Pay. Inspiring Yourself To Succeed. and The FuJJ 'rime Preelancer, along with answers to the questions and comments that you are welcome to send in,

SAMUEL PATRrCI( SMITH. Post Office Box 769, rauares. Florida 52778, *

T .... S S£RII::; I,S ilA.r.;r.D ON !:~.;!:KI'1S I'1WM. T}! C AU1'tu.'Hc"S

CASS[TI'f:- TAP£ ALDU"I. BooKfNG YOllHSJ:LF: now TO 00 IT

SUCCESSrUlJ.:.Y. *

SAMUEL PATlUCK SMITH is a busy tull-tlm." prolesslonal magician based In F1odda. Las! year Samuel performed 340 shows. including "'ork on cruise shlps. af restaurants. and schools. He has produced two cassetre tape album series: ·'Booklng YourSI'll: Ho·", To Do It Successtutly." whlcll this series Is based On. and ··Make It Happen - New Ideas On 600k1ng YourSI'll:·

Restaurant Magic

CONTINUI:D fROM I'AG& 1 I

fair amount of patience. do not apply for this job. As a house magician you will be in direct contact with many different types of people, and you must get along with everyone. Without a real feeling of delight in entertaining the guests of the restaurant. and in working for the restaurant manaqernenr, this work will be unenjoyable. And if you don't sincerely enjoy it. it is difiicult and unlikely [hat you will be successful.

( do not ttunk a restaurant magician should be a clown posing as a magician. You know the type - winky-blinkies on the lapel. balloon animals and a battery of gags. but little magic. There are places for such people to work. but not in a nice restaurant posing as a magician. Unfortunately. the public has

seen a 101 of bad "rnaqlcians". Seeing someone just described usually reinforces the public's disdain for all magicians.

In general, a house magician's image should be as a re pectable. classy gentleman (or gentlewoman!. There are exceptions to this, but a house magician should generally not be in a "costume": your clothes and your immediate physical appearance should be as a "contemporary" - as if you were another customer at the restaurant. but dressed better than most of the customers and with impeccable manners, We will cover more on how to dress and behave in a future Issue.

If you like people and have patience. if you want to and enjoy performing, if you want to improve your performing

CHARLES w. GREENE Ul. based In Houston. TI'X>lS. makes hls living doing close-up magiC at restaurants. Charles also keeps a busy schedule of private parties. comedy clubs, and lndustrlalrrade Shows. He has won several awards .or hls ctose-up ma,glc. Including the Desert Magic Seminar's Silver LIon Award and two Awa.rds of Merit from fhe Infernational Brotherhood 01 MagicIans.

skills. increase private party bookings. and reap financial rewards. you are a prime candidate to become a house magician.

Next issue will cover how to tind potennal tocanons. how to choose where to work, who to contact and how to contact them. Further installments of this series will cover how to get booked and how to stay booked. low budget promotion. what to perform and how to perform It, what to wear, how to please the re tauranr, long term plans, and answers to your questions sent in.

This article is dedicated to John Henderson, a close and great friend - Thanks John. He was responsible for my iirst engagement as a house magician. I hope that I can do the same for you.

Magical Innovations. Post Office Box 37 176, Houston, Texas 77237 - (713) 977-0026.

CHARLES W. GREENE III *

12 WAJ

Cruise Ship Magic

COI<TI.NUEO r:ROM PAGE I'

There are many serious negative aspects to cruising. and ( will take some time [Q focu on them now. Unless you understand the neqarlve side to cruising before you get into it. you are bound to be disappointed. There are two main sources for the neparive aspens of cruising. first. when on the ship. you are not a tourist on vacation. You are a hired employee of the cruise line and you are expected to work and act In certain ways. Second, being on cruise ships for long periods of time. say six months, is not the same as being on a short-term. ay two week. cruise. These £\VO facts have many implications.

I will detail in a future article lust the type and amount of work (hal is usually expected from you working on a ship. But most cruise tines expect a great deal more from performers than just shows; as a performer. the passengers get to know you. You usually spend extended time on board soclaliz.ing with these passengers. You are expected to always be friendly, cordial. interesting and entertaining. U you don't truly like people. this will become very difficult. You will be asked the same questions over and over again. If you are ever angry or in a bad mood, you better not show this to anyone on the ship. "The customer is always dght" - being friendly to people you naturally dislike is difficult and takes a great deal of energy and patience. Make sure you are

the type of person who can act this way. and enjoy it. before you decide you want to cruise.

The wonderful tsolauon and "take-it-easy" atmosphere of a ship can turn against you. After months at sea. a cruise ship becomes very small. and to many performers. very boring. There is little to do on board a ship. A two-week vacation "away trom it all" is wonderful: six months with nothing to do and no one to really talk to is not so wonderful. An exotic port of call may become, after a few visits. just another beautiful tourist trap with profiteering natives everywhere.

From a career point of view. working cruise ships offers little chance of advancement, IJ you are working toward gettjng higher paying work in better venues. you are unlikely to get anywhere performinq to tourists in the middle of the ocean. Important people - agents. producers. directors - will not see you on the ships. While some magicians are happy to have the final goal of performing on ships fuU time. most have higher aspirations. A performer must be careful that working the ships doesn't become a one-way street leading to a dead end.

The im po rran t poi nt is to en ter the Held with understanding, not fantasies.

If you enjoy being with people and being personable. if you enjoy a casual lifestyle. if you don't mind having little privacy. Ii you enjoy spending a great deal of time Sitting in the sun and eating wonderful food. then cruise ship work just might be for you.

As for myself. I love every minute of it. During an average two week tour. I give four performances. I've seen fakirs in Egypt. I was in France for the Cannes Film Festival. in Monte Carlo for the Grand Prix preparations. Scuba diving in Grand Cayrnen. waterskiing in SI. Lucia. And I enjoy the people.

Next issue I will discuss the performance situations on ships: the type of rooms you'll be working in. what type of effects work best. and I'U include detailed programmes and analysis of two of my regular shows. In the issue after the next. I will discuss how to gel booked. and I will include the name. address and phone number of the largest booking agency [or cruise ships in the world!

Until then. good times be yours. and BEWARE TH.E ARMADILLOS!

Please feel tree [0 write with questions and comments to me c-o 212 Lake Thomas Drive. Winter Haoen, Florida :33880.

DOUG ANDERSON *

DOUG ANDERSON has spent twelve or the last twenty months a( sea, workinll ror Canard Cruise Lines. Royal Crise Lines. Ocean Crutse Lines. Home Lines and Eastern CruJse Lines. PrevioUS ro tus work at sea. Doug starred In a number ot theme-park mallie shows. chockJng up more than 6500 performances t Doug Is the au!.hor of ··Stralg he Talk About Theme Park MagiC" and IS currently working on "Straight Talk About CruIse ShJp Maille."

The Dissolving Knot

CONTIN ED FROM PAGE 8

*

T OL E A

~T

or E A C HT

ow o N D

E

~

Slide off the pin. and the knot will dissolve, leaving you as In Figure 7.

The trick works a bit easier with tightly woven rope. but with loosely woven rope you just need to twist the right end more to prevent the knot from dissolving too soon. In any

case. you wiU find each type of rope works a blt dlfferen Ily. so a little experimenting will make every tiling clear. If the rope is rather thick. you must have the pin extend a bit more. so the end of the pin does not get Stuck into the loop of rope, which would prevent the knot from being pulled smaller.

As rnenrloned earlier, just a few tries will convince you how beautiful the illusion is.

WAJ 13

Lance Burton

INTERVIEW

During a recent visit to Las Vegas, I ' visited Lance Burto n backstage at The Tropicana Resort Hotel & Casino between shows, Lance continues to star in The Follies Berqere review show, continues to add new material to his performance, and continues to refine his art. Getting Lance to start talking about his art earnestly was not easy ...

FLEISCHER' Whaf are you focusing on during your tirst thirty seconds on stage?

BUI~TON: I'm looking for where the good-looking girls are in the front. The first thirty seconds will make you or break you - find the pretty girls in those first thirty seconds ...

FLEISCH ER' Lance, be careful .. ,you 're giuing me exoc/ly (he type of material T want for this new magazine ...

BURTON: 1 can 'r really see the audience ... can't see anything (because of the lights). I pretend to look at the audience. Mostly just listening to them, Listening t see what kind of a crowd it is - a laid back audience or a real high energy crowd or if they're in the mood to laugh or what. Sometimes they just like to sit and watch, sometimes lIley like to talk - not about the weather, about the show. I listen, size them up, and then act accordingly.

FLEISCHER: Earlier we were talking about a performer's "subtext" - the "script" for the stage character of a performer. You said you are constantly focusing on this sub text - hauing an inner dialogue wah yoursell - during performance. This subtext defines the stage character and (lcting out the dialogue helps create the character as well as the magic. Did you put' conscious effort to crenre your subtext "script." or did it just naturally come (0 be?

BURTON: At first it just developed,

ow, if I don't think about what I'm doing (acting ut my subtexr) and I'm thinking about somellling else, I just kind of get lost. If something screws up. then one must really foCUS.

When you're doing the same act every night for several years rhis is the only way to keep from going crazy - (0 keep from getting bored with lt. You

. . . . . . . . . . . . . . . . . . . . . . . . . . . .

"I think the important thing for me right now is to do something that nobody expects. I think the challenge is doing something new - trying to figure out what would be the last thing anybody would expect me to do now." - LANCE BURTON

dont want to go out and just kind of go through the motions and get oared with it. So you have to be thinking about what you're supposed to be doing ... take card manipulations. If you just whip the cards OUl from the back of your hand to the front of your hand, after about a year at that - twice a night. - you'll get bored with it.

Bu t If you are creating (he llluslon of pluckl ng cards au ( of the air, you have to look and see the cards in the air. and then reach out and grab them. Then

look over at somewhere else and see the cards before you produce them. This helps create the illusion of plucking cards OUI of the air. ..

FLEISCHER: And it's not boring, adding to the effectiveness of doing it night after night?

BURTON: Right. If you watch an old tape of me, like the first Carson show appearance, you'll see me producing single cards and I'm looking ar the audience! My head is turned looking at the audien e. I'm just popping the cards OUI-

FLEISCHER: Just technique? - BURTON: Yeah. And I cringe when I watch that tape now. I won't watch myself on the early tapes because I cringe when I see all the bad stuff, the mistakes.

Whe n [ firs t came ou t here in 198 I I looked at the audience more than I looked at what J was doing ... because all Lhe manipulation acts L had ever seen up to that paint were always watching their hands, and never really acknowledged the audience. So J decided I wanted to be a little different, so J turned and looked at the audience.

Now I see other magicians doing this (looking at the audience at the wrong

14 WAJ

times or too much). having copied my mistakes! I feel real guill)' mat now there's a bunch of people out mere looking straight at their audiences popping cards. out from behind their hand ...

FLEISC HER' Of course there ore rimes when n1OS/ aets should acknowledge the audience, but not, for example, when you are producing single cards? ...

BORTON: Right. Now, when I produce single cards. Ilook ... and Ilook ... and I see the card in the air before I produce

it. Look first. see the card there ...

FLEISCHER: Earlier we lalked aboul Marcel Marceau. Tt sounds to me like you are talking about doing mime, and then actualizing if with magic.

BURTO : I learned more from watchinq Marcel Marceau than L did from watching most magicians. Marcel create walls and chairs and ropes and everytnlnp without any props. just with his body, his mime.

FLEISCHER What do your have planned for the future? Any new material in the works?

BURTON: Yes. I think the important lIling for me right now is to do something that nobody expects. I think the Challenge is doing something new - trying (0 figure out what would be the last thlnq anybody would expect me to do now.

FLEISCHER' Thank you Lance. We await your developments and surprises wirh anticipation.

AIF *

it

Louis Tannen Inc. Hardcover

1985-1987 Catalog of Magic # 1 5

Dedicated To That Superstar Of Magic

Harry Blackstone Voted Twice Magician Of The Year by the Academy of Magical Arts - OVER 850 PAGES-

CLOSE-UP MAGIC

MAGIC FOR YOUNGSTERS

STAGE MAGIC

HUNDREDS OF NEW ILLUSTRATIONS

GIANT BOOK SECTION SILK MAGIC

UNDREDSOFNEWITEMS

CARD MAGIC COIN MAGIC

Included FREE Card Manipulation By Hugard Vol. 3 - 13 Value

Bigger and better than ever before. ornpl [ely typeset from cover [0 cover with easy to read print and completely indexed. We are extremely proud to offer our 15th Gianr Catalog of Magic to the Magic Fraternity. Hundreds of new illustrations by Bob Schroerer, Joe Wierzbicki and john Feliciano as well as hundreds of illustrations in the classic Style of Ed Mishell and Greg Webb.

Also many thanks to Paul Osborne for his great drawings in separating the different sections of our catalog and most of all for his great contribution to our Illusion Section.

The Book section cataloging all of the worthwhile books available on the an of magic is the most comprehensive listing ever published!

Also included is a full color photograph of Harry Blackstone on our cover, as well as an in depth story on Blackstone by our Master Interviewer Jennifer Spina.

Over 850 pages crammed full of the latest and most complete line of Magic, Magic Books & Illusions ever offer d to the magic fraternity. We have been in constant (Ouch with our suppliers so that the prices contained herein will be the latest and most accurate ever. We will maintain these prices till Dec. 1985 (any price increase duringtbis period will he absorbed hy us, this is our guarantee /0 you).

These features make this NEW Number 15 Tannens Catalog of Magic without doubt the Greatest and Largest Catalog of magic ever to be puhlished in rile history of Magie! Two years in the making.

ORDER YOUR ENCYCLOPEDIA OF MAGIC NOW - (Scheduled/or shipment in. Sept. 1985).

Beautifully Bound - A Real Coilectors votume!

PRICE ANYWHERE I U.S.A '6.00 Plus $2.00 P stage & Handling

FOREIGN SURFACE MAIL ............• 10.00 lncludes Postage & Handling

LOUIS TANNEN INC. 6 W. 32nd St., 4th Floor New York, N.Y. 10001

(212) 239-8383

James Lewis is Thinking About Magic, and the Professor's Nightmare is only one of eight hot items you will be using after you get this book. Audience proven, professional material, completely explained and clearly illustrated. Isn't it lime you got Thinking About Magic?

""ALL MAGICIANS WHO PERFORM THE PROFESSOR'S NIGHTMARE WILL WANT TO GET THIS BOOK."

Cene Gordon, Falhu of the Proresso.r's Nighlmare "Jhn'» presentation of the Professor's Nightmare is so outstanding tha: I now open my stage show with it." - Mike Arnmar

"This is something special." - Michael Weber. Inside Magic.

Thinking About Magic- Eight Effects By James Lewis

$8/ $1 del ivery, $2.50 for foreign air-mail

James Lewis Presents

"3 ,,,,,,,,,, l'F;~i

~~ '--_"; 12 v,-e.

More than a magictrick, (he MisMadc Dol.lar Bill breaks new ground, These bill are genuine dollar /)111.1'. but the corners are in rhe middle and the middle is JI the comers. The MisMade Dollar Bill is one piece - there are no seams. They are nOI cut. glued. taped or photo copied. These are rea I dollar bills! The MisMadc Dollar Bill can be incorporated into just about any routine using paper money. Even just a' a conversation piece these bills create quire a sur. I ncludes several ideas for usc.

Dai Vernon - "Ghu the Torn &: Restored 8iU Trick a lIt'1\' SkUH. I ke~p Dne in my wallel."

Mike Ammar - ·'Wo.rth u smoll !OrfWH/ jU.Ji' (IS (I (.'OfH'trSaamj pi.f.>ce." Pete Biro - "Fred f(aps woutd Iune toved 'his,"

Roger KI.use - "1(. 100 good. Don't sel! it.:'

Mike- Skinner- - "'1'.1' sreal. I'm goi/'8 '0 use i, m the CO'dt'/1 NU1;gec" Paul Ho .. ls - "Sertoust» £f'iffJ'. Sdl it,"

$12.50 each- 3 ror 530

* SPECIAL OFFER *

Thin.king About Magic & 3 Mismade Dollar Bills

Only $35 pOSI paid. $37 forforeign air-mail

Order Direct From:

James LeI,,, is

P.O. Box 3241 Santa Monica, CA 90403 U.S.A.

True. my c up are not wood. but a very nicely molded plastic - and they work like a charm ...

Also. they come with my real routine: They were a complete sell-out when I demonstrated them at the British J B M Ring convention.

This is the original effect which inspired the Marlin Cups marketed by Collector's Workshop, .. however. th is version is nOI $75,00'

AI Cohen's

QUARI'ER SORI'ER

Here's the effect: Three quarter dropped into one cup and the cup is placed on top of the other inverted cup. One at a lime the coins pass right through the bottom into the lower cup. It's an uncanny effect. The coin go from the pocket back under the cups and finally you end up producing a whole stack of nickels.

It's an easy knock -out close -up trick that you II love doing. And .•. how can you beat the price??? $12 postpaid-

$14 for overseas air -mail

We'U be there ...

and also many friend

to Harold's Magic of Bavaria

in Cannisch-P"r1enkird,en (OCI .. 2" - Oct. 5" i9 86)

... you tOO?

....". Harold VOil - Zauberzentrale Munchen JIIIIICL_ Camerfohersualle 72' 0-8000 Munchen 21

~L,I~til\lll'.le Mill"lt:~

SUBSCRIBE TO THE JOURNAL

* One year (ten issues) for $40. $50 foreign, $60 overseas air-mail.

Mich3(>1 Amm3r & Actam).Flcischer's

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M.~Q.i~al.~.~~, Iournal ...

2901 Broadway - Suite 105 New York, New York 10025 U.S.A.

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David Roth

COIN FINESSE

. . . . . . . . . . . . . . . . . . . . . . . . . .

What Is "Finesse"?

Webster's Dictionary defines FINESSE as, "adroitness and delicacy of performance." And ADROIT is, "skillful in a physical or mental way ." Such skills make the difference between a good performer and a great performer, between a trickster and a performance artist. Many limes tile litrlest of things count the most.

This series will focus on the t'INESSE of performing close-up magic with coins. FINESSE in coin magic falls into two main categories: First. the actual execu lion of specific sleights ~

powerful touches, clever subtleties, lillie convincers. In coin magic, this is euerything! Second. the construction of magical routines - the overall building of the effect. the flow of the routine. the timing. the impact of the climaxes, buill-in misdirection, and so forth.

Thus. FINESSE is important to both the physical performance of sleight-ot-hand, and to the mental decisions made in constructing a routine. This series will begin by looking at the nrst type of FINEsse - the grace of your slelqht-ot-hand - by examining a number of basic coin moves. pecitlc recommendations of how to add FINESSE to these moves will be given,

What Is A Magician?

It is important to understand where you are coming from and where you want to go. before you begin the journey. Specifically, where will learning FINESS.E: take you? [I is a way [0 be a better magician. [ believe that the best definition of a magician ls S1iJJ Robert Houdin 's: "a magician is an actor playing (he parr of a magician." Maskelyne and Devan: modified this to be the defirution of a greal magician, since so few magicians even try to play the part at all.

It All Comes Down To Being Natural As an actor playing a magician. it is imperative that you are natural. You 've seen actors on stage and in movies who just aren't nat ural: and you JUSt don'( believe in them or what they do. You

musi be natural, as a magician. and so must your actions. Every time you pick up a coin or any object, every time you move, you must be above suspicion. If you aren't natural. your audience won't believe in you, and they won't believe in umat you do.

Performing magic with FINE-SSE is a very personalized thing ~ what works

for one person, may not work for another. It is the same with acting natural. Certain gestures and motions will work only for you. Another's FINESSE is not yours. Thus, you can't copy it. And it can't aJ ways be specifically taught. Bu t the genera] rules and techniques to learn your own style can be taught. and that is what we will

• attempt here.

It is not Simple to act and appear completely natural, especially when one is doing difficult steiqht-ol-hand. But, if you want to become great. rather than be mediocre. it is necessary.

Next issue I will begin examing basic palming techniques with coins and how they can be done with FLNESSE.

DAVID ROTH *

John Cornelius

IDEAS

18 WA.J

. . . . . . . . . . . . . . . . .

an ashtray into a napkin to clean il out, This allows for an excellent situation 1O bring in a switch. Dump the ashtray into the napkin to use the ashtray for a trick: switch the napkin full of Cigarette butts with a balled up napkin that you previously prepared without any butts in it. After the trick with the ashtray. unfold the napkin and show that the ashes and butts have vanished.

Always Prepare A Blockbuster! When working in restaurants or hospitaJity suites, load the deck wi h the Queen of Hearts on the top, and the Ace of Spades on the bottom, with the other three aces followi ng it. This will put the odds in your favor when you ask a spectator to name any card in the deck, Often enough they will name the Ace of Spades, and the next most often called card is the Queen of Hearts. This allows you to stan without having them "pick a card," but with having them "name any card in the deck."

If you hit. you are in the position tor a blockbuster. a you palm out or produce the card to starr your routines. If not, then continue with an effect where you take out the selected card. Don't plan on things like this working, bur always plan for them and be prepared for when they do happen.

JOHN CORNELIUS *

Torn & Restored Doodle

Do you remember doodles? It's when you draw a bizarre little picture of something. When you ask what it is, you gel an answer like it's a spider waJking up a mirror. You mi.ght casually draw one of these 10 open a conversation, perhaps on a cocktail napkin or on a piece of notepad paper. An example might be a line and then a series of shorter sections. What is it? A worm crawling over a razor blade.

Introduce this or some other doodle drawn onto a napkin in a social Situation for a good opening laugh. Then crumple it up and throw it away. Unknown to everyone but you is that you have a duplicate napkin with the same doodle already drawn on it. You are in an excellent psychologicaJ

position now. because the doodle seemed like a spur of [he moment idea - a joke. Later, pick up the originaJ napkin, uncrumple it. perform the rom and restored napkin: using the duplicate prepared with the doodle on it. When

the napkin is restored. the doodle is till on the napkin, powerfully eliminating the rhought of a second napkin being used!

Where Do The BuHs Go?

A natural action used in many bars and restaurants is the waitresses dumping

- A Monthly Newsletter -

U you are tired of reading about a magician on television or on tour in yoor area AFfER it happened, subscribe today to INSlDEMAGIC.

Here's what they're saying about INSIDE MAGIC ...

"1 am l!lcky (his month (0 have Stan Allen's INSIDE MAGIC monthly newsletter as I go (0 pre 5. Stan is very good about being the first with the news and his letter is published promptly on the first of each monm,'

Bill Larsen - Genii, March 1986

"Stan continues (0 marvel me. He never fails to get this trendy and valuable pub out and ill my mail box on time, This is (he way (he lates: news, magical or otherwise, should be delivered. iuu so rarely is. "

Rick Johnson - The Linking Ring,

January 1986

"III INSIDE MAGIC. Stan Allen does a remarkable job of gathering all (he news about magic and nwgicians ... I read every issue ... do yourself a favor and sign up." Frances Ireland Marshall - The

New Tops, April 1986

Remember, INSIDE MAGIC comes to you FIRST class mail, the FIRST of every month, with all the news, FIRST!

One year subscription is $15.00. overseas $25.00. Also available at

elect magic shops.

Stan Allen's

INSIDE MAGIC

P.o. Box 963

Los Alamitos, CA 90720

......................... , .

Michael Ammar

I LOVE BIG COMMITMENTS!

. . . . . . . . . . . .

I love to make big commitments.

To dream great dreams. make big plans. and take da.ring actions all add a zest to life that I find exhilarating. This magazine you now hold is a part of that grand philosophy.

It may seem to be JUSt a magazine to you. but through my eyes and In my dreams it is much. much more. My vision of this project is exciting and clear. r want to tell you something about it now. in the Premiere Issue. because you are to play an important role in it.

Just imagine a regular source of

p rae tical. 9 fa u nd breaking material. concisely explained and pictured. Not just material focusing on cards, or even just close-up. Amazingly enough. there has been an almost unanswered need for practical, commercial. stand-up magic capable of being pe norrned for between fifty and five-hu ndred people. Impressive and unique effects which pack small and play big are desperately needed by todays performers. but there are very few sources for trus type of material. We alm (0 become the source for this needed material. as well as Supplying exceptional. performance oriented close-up and stage material.

Add to this regular features beyond what any magic magazine has ever offered 10 the field. Features zeroing in on how to work and profit in all of the currene outlets for magicians available today. Plus detailed looks at the different performing situations - information for magicians of all levels of skin. Articles from top professionals working comedy clubs. restaurants, night clubs. cruise ships and private parties. But then add more, much more.

Maybe you have enough material to keep you busy. What then? How about the top technical workers in tne entire world giving you details. insights and finesse on specific card and coin moves integral to your magic?

Already technically proficient? Need more new ideas than moves? Imagine you could have a think session each month with the most creative minds our field h21S to otrer. New ideas and thoughts. some Iully developed. and some still JUSt raw concepts. Not only

WAJ 19

. . . . . . . . . . . . . .

the best American minds. but magic Innovators from differen t, far reaching corners of the world.

On top of all this. givt' it a state-of-the an design. Take ou I all {he filler material. club meeting reports. and limit and review all advertising before we run It. Delivering just the meat, in easily digestable chu nks. NOI Ihick. intimidating magazines that pile up unread. Just important. to the point,

~ell edited material - every single word worth reading.

By now. you might be wondering JUSt what you might have to do with all this.

irnple. first. support us. If you like us. subscribe and (ell your friends too: Give us your feedback - what do you like, what don't you like. what type of material and information do you want to find in the pages of MAl? What information do you need that will make you a happier. more successful. more proficient. more knowledgeable magician? Let us know and we will deliver.

We heartily welcome letters of agreement and dissent all. OUf opinions. along with contributions of articles and performance material. You now know the criteria. You know what standards you want this magazine to have and you can see the standards we are setting with this Premiere Issue. If you have material that fits the blll and fills the need. let us know. Like the t-1arines say. be amoung the few, the proud.

We also sincerely request that you do not allow your copy of MAl to be xerox copied - with the specialized. small group of readers in this marker. it is easy to understand that' such copying is against the best interests of both the publishers and the readers. We thank you for your cooperation.

So there you have it. My big commitment. my glorious dream. Thank you ior letting me share it with you. If some of you. j US! some of you, share the dream with me. we can move

mountains, and maybe we can help change the shape of the magic world for the better. Wouldn't that be wonderful!

t>lICHA£L Al'1l'1AR *

Robert Jackson's

ZIG ZAG BILL

'. Show an ordinary bill and then insert it into a wood frame covered by three doors,

* One at a time remove the doors to reveal the bill inside .

.. Now. push on the center section of the frame and the midd Ie portion of the bill completely detaches itself from

the ends!

• Reposition the center section, replace the doors and remove the restored bill from the frame,

Another in a series of superbly-crafted close-up illusions from the hands of Robert Jackson, the ZIG ZAG BILL frame is handmade from select hard and soft woods, then varnished and rubbed to perfection. And the effect is astounding!

The ZIG ZAG BILL is available in any denomination. The standard version is the dollar and is yours for $75.QO.lf you wish something other than the standardthere is an additional charge of $30.00 plus the value of the bill. For example, if you want a $20 bill, the total price is $125.00.

[RLfULRTEO • OEClSlON'

THE EFFECTORY PRESENTS:

~.~ I!] It] Computers are in and so is CALCULATED t: ICE- .; C.CJ· B' E·.··

m EKl m:J Q] DECISION. Mer shuffling an ordinary '""

IN] rn [[lIT] deck, have a spectator select a card, share .Jw

[[] rn [!] i]] it. with the audience and place it face down '""

OO~~~ in front of them. Shuffle and cut the deck iC

~ ~ ~ again and reveal the two top cards, .Jw

placing one face down in front of your '"" spectator and the other face down In front of yourself. Now. have . iC your spectator slide the unknown card back into the deck which iC you then cut while it is face up. iC

To help you find the selected card in the deck, have your .Jw spectator tum over their "Jocator'tcard If s blank! Now tum over '"" your locator card and it" s changed to the face ora calculator. Tap iC the keys a few times and the value of the card they selected ~ appears in red in the dIsplay window. To prove the calculator is '"" right., fan the deck to reveal that only one card isface-up: the one it they selected! -tc.

CALCULATED DECISION takes only seconds to set up, has iC excellent visual impact,and is very topical. Complete with .Jw thoroughly illustrated instructions, and calculator keyboard, you '"" can custom-tailor CALCULATED DECISION to reveal the card it of your choice for just $5.95.

Hand the wood case containing 6 cards (ace (06) and an ordinarydie to a spectator. With your back turned, ask him to select a number between one and six and then place the die with that number facing upward in the square hole in the center of the case fer everyone to see and remember, Before you tum around, have him remove the die and hold it tightly in his hand.

Retrieve the case and remove the cards. Ask your spectator to concentrate en his number. Pick one of the cards and place it face down on the table. Have him reveal his number as you tum over the card to shOll{ thai it matches his selection,

DlEL.£Y.MA. employes a unique and unusual gimrnk:k which is completely self-workinq and instantly repeatable .. Great for tebtehoppers, order yours for .only $30.00.

Steve Dusheck's DIELEMMA

1\ table-hopper's dellqht, ICE CUBE is actually a crystal-clear lucite cube with a hole through the center which you may pass out for inspection. Thread the cube onto a length. of red cord, then take one end of the cord and thread it through the hole again, thus entrapping the cube on the cord.

Of course, all of this is accomplished in view of your audience. They can even see the cord as it wiggles through the center of the cube. There's nothing to hide! To further prove the cube is entrapped by the cord, take one end of the cord in your hand and give the other end to a. spectator. Now pull. It's definitely tied on the cord. And yet when YOU are rea.dy, a few magic words and the cube visually melts off the cord and both cube and cord are passed out for examination.

No sleights, switches or funny moves, ICE CUBE is instantly repeatable and comes with everything you need to perform for only $]3.95. Order yours now.

Add $2.00 for shipping

$4.00 per item for Airmail

STERJ.JNQ c/W"AQIC CR_?ATlONS, INC

Po. Box 5204,. Santa. Rosa, CA 9540.2 Call (707) 829·5511

VISA· [(-'V~I

LEADlNG MANUFACTURERS OF PROFESSIONAL QUAUTY COIN MAGIC