NOVEMBER 2014

INTERVIEW WITH
AMERICA'S GOT TALENT
WINNER
MAT FRANCO
PAGE 36
 MAGIC - UNITY - MIGHT
Editor
Michael Close
Editor Emeritus
David Goodsell
Associate Editor
W.S. Duncan
Proofreader & Copy Editor
Lindsay Smith
Art Director
Lisa Close
Publisher
Society of American Magicians,
18915 East Briargate Lane, #1F
Parker, CO 80134
Copyright © 2014
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4 M-U-M Magazine - NOVEMBER 2014

M-U-M NOVEMBER 2014
MAGAZINE Volume 104 • Number 6
S.A.M. NEWS
6 From the Editor’s Desk
8 From the President’s Desk
11 M-U-M Assembly News
21 New Members & Reinstatements 24
22 Broken Wands
23 Good Cheer List
69 Our Advertisers

54

Cover Story Page 36

Photo by Richard Faverty
68

THIS MONTH’S FEATURES

24 Nielsen Gallery • by Tom Ewing
26 Stage 101 Practicum • by Levent
28 Not Just Kid Stuff • by Jim Kleefeld
32 Ebook Nook: In a Class by Himself • by Jon Racherbaumer
36 COVER STORY • by Bruce Kalver
40 Silent Mora • By Tom Ewing
46 Hit the Road • by Scott Alexander
48 For Your Consideration • by George Parker
52 Cheats and Deceptions • by Antonio M. Cabral
54 I Left My Cards at Home • by Steve Marshall
56 The High Road • by Mick Ayres
60 Informed Opinion • New Product Reviews
67 Tech Tricks • by Bruce Kalver
68 Salon de Magie • by Ken Klosterman
69 Inside Straight • by Norman Beck 48
70 The Dean’s Diary • by George Schindler
70 Basil the Baffling • by Alan Wassilak
Cover photo by Richard Faverty
57
M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians,
6838 N. Alpine Dr., Parker, CO 80134 . Periodical postage paid at Parker, CO and additional mailing offices.
POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80134.

NOVEMBER 2014 - M-U-M Magazine 5

Photo by fivebyphotography.com

has another kid show effect, this one contributed by David (Silly
Billy) Kaye. Mick Ayres offers a simple but effective card trick
from the late John Murray. This one is almost self-working, but
it will probably puzzle your magic pals. (And it certainly will
Editor’s Desk fool laymen.) Finally, you’ll find two not-well-known routines
Michael Close from Don Alan in the Ebook Nook column. The routine for the
Mental Photography Deck is particularly useful. Pay attention to
how Don gets the deck into play and how he gets rid of it before
Season nine of America’s Got Talent concluded on September grabby spectators can examine it.
17, 2014. Included among the usual assortment of singers, con- Finally this month, I would be remiss if I didn’t publicly say
tortionists, acrobats, musicians, comedians, and dancers that goodbye to two old friends who died in September. Bud Dietrich
appeared during the season were four magic acts: Smoothini, was simply one of the nicest, friendliest people I’ve ever met. I
Mike Super, David and Leeman, and Mat Franco. When the ran into Bud all the time when I was much younger and attended
smoke cleared at the end of the season finale, an amazing thing the Midwest Magic Jubilees in St. Louis and Kansas City. Bud
had occurred; Mat Franco had won, beating out singer Emily and his wife Audrey always greeted me with a smile and made
West and AcroArmy, a group of acrobats. This was the first time a special effort to include me in their group of friends. Bud was
that a magician had won America’s Got Talent and its first prize one of the first trade show magicians, and he made a good living
of one million dollars. from it. More important than that, he was generous with his time
Many other magicians have competed on AGT, but Franco’s and his knowledge. If not for Bud, a generation of magicians like
combination of a likeable, friendly personality and classic Shep Hyken and Seth Kramer would probably be in another line
close-up magic effects (Ambitious Card, Out of This World, of work. I was just a kid, but Bud laughed at my jokes and smiled
Cups and Balls) had a special appeal to the viewing audience. So at my tricks, and for that I’m grateful. Aloha, Bud.
how did Mat Franco make it to the finals? You’ll find out in this I met Phil Willmarth more than forty years ago; I’m pretty
month’s cover story, an interview with Mat conducted by Bruce sure Jay Marshall introduced us. Whenever I drove from India-
Kalver, who has known Mat for many years. (When Mat was napolis to Chicago to visit Jay, I’d always make a trip downtown
fifteen years old, Bruce interviewed him for The Magic SYMbol; to see Phil at his office. On one visit, as we were heading out to
he also recommended Mat to Andy Dallas, who used Mat on an lunch, Phil said, “There’s someone joining us that I’ll think you’ll
S.A.M. convention Stars of Tomorrow show.) I congratulate Mat enjoy meeting.” That someone was Eugene Burger, who at that
on his win; his performances put magic in a positive light, and time was just beginning to make his mark on the world of magic.
that’s good for all of us. Phil was involved with The Linking Ring for many years, first
Sometimes current events dictate what happens during the as the Parade editor, and then as the executive editor. He loved
production of a magazine, and that’s certainly what happened working on that magazine, and it benefitted from his dedication. I
this month. As planned, the cover story for this month was to know that one of the hardest decisions he ever made was leaving
be on Louis J. McCord, who is better known by his stage name: the magazine to become the international president of the I.B.M.,
Silent Mora. William Rauscher has a big, new book coming out but there were things he wanted to accomplish for the organiza-
this month on the life, times, and magic of Silent Mora. In our tion. During the twenty years I was the music director for the
other big story this month, Tom Ewing interviews Rauscher about I.B.M. conventions we saw each other at least once a year, and
Mora, who was a big influence on Dai Vernon. If you know Mora’s we always set aside some time to kvetch about the world of magic
name, it is probably because of two of his signature creations and magicians.
that live on in the repertoires of magicians today: the wand-spin Almost twenty-five years ago, Phil, Jay, and Eugene came
vanish of a small object (a core sleight in many Cups and Balls down to Indianapolis to visit Illusions, the magic-themed restau-
routines) and The Three Balls and a Net routine. The latter routine rant. (A photo from that weekend is floating around Facebook;
is a perfect packs-small/plays-big trick for the close-up or parlor you may have seen it.) Jay and Eugene performed on the small
performer. If you have an interest in this routine, there are two stage we had in the bar. It was the first time I had ever seen Jay
excellent sources of instruction: John Carney’s lesson (The Mora Marshall perform for a lay audience, and it was an extraordinary
Ball Routine), which is part of the series Carney 2013 (see my event. Phil said to me afterward that it was one of the strongest
review in last month’s issue of M-U-M); and Johnny Thompson’s performances he’d ever seen Jay give. Phil is also responsible for
handing, which is explained on the DVD Johnny Thompson Com- one of my favorite review quotes. He wrote (concerning a perfor-
mercial Classics of Magic Volume 3. Both men are experts at this mance at an I.B.M. convention): “Jay Marshall was accompanied
routine, and both offer valuable insights. by Mike Close, who knows the act backward and forward, which
I am happy to read in the Assembly Reports that many is good, because that’s how Jay does it these days.”
compeers are performing routines that have appeared in M-U-M. I (and many others) mourned the death of his first wife, Anne.
In fact, Assembly 22 has an annual meeting event that features I (and many others) was delighted some years later when he met
magic from M-U-M. There’s some fine magic in this issue. In and married Robbie. They were a great “magic couple,” and they
particular, kid show performers should check out Jim Kleefeld’s were a pleasure to be around.
routine with a rope in his Not Just Kid Stuff column. (I suggested If the measure of a life is how much you’re missed when you’re
an added bit for this routine; Jim liked it and said he’d give it a gone, then Phil Willmarth lived an exemplary life. Aloha, pal. I’ll
try. If it plays well, I’ll tell you what my suggestion was in the miss you. 
next issue.) Steve Marshall’s I Left My Cards at Home column
6 M-U-M Magazine - NOVEMBER 2014
 THE PRESIDENT’S GOOD WILL PERFORMER
OF THE MONTH: LES COOPER

Les Cooper, a native of Los

Angeles, started his life of magic
President’s Desk more than forty years ago. When he
was eight years old, he purchased his
Kenrick "ICE" McDonald first magic trick, a Ball and Vase.
Later in life, Les joined the Navy.
In line with the “Year of the Member” campaign, this month’s While stationed in Japan he joined
article is dedicated to our members. Each month, members are the Masons, and after returning from
selected by their peers and RVP to receive a Presidential Certifi- Viet Nam, he joined the Shriners.
cate for being an outstanding assembly and/or associate member. Years later he was asked to be a
I am excited and honored to congratulate the following recipients clown at the Shrine Circus, which led
of Presidential Certificates: him to becoming a part-time clown;
Tim Wolf – Assembly 30, Atlanta/South Atlantic Region: this launched his new career as Pupo
Tim Wolf has been a longtime member of the Atlanta magic the Clown at children’s parties.
community. For more than three decades he has shared his Les is a member of I.B.M. Ring 21 in Hollywood, Califor-
special magic by making hospital visits. Through an initiative nia. In the late ‘70s and early ‘80s he was a stage manager for
called Project Magic, Tim and other Assembly 30 members visit the Cavalcade of Magic. He has been a member of the Academy
Shepherd Center, one of the nation’s leading facilities for medical of Magical Arts (Magic Castle) since 1981. That same year Les
treatment, research, and rehabilitation for people with spinal began working with David Copperfield and others to form Project
cord and brain injuries. Their monthly appearances include a Magic in 1982, which resulted in him later being named as a
magic show for the patients along with patient visits and words of Founding Director of Project Magic. In 2005, Les started a home-
encouragement. based magic business called Magic and More. In 2008 he became
Steve Barcellona – Current Vice President Assembly 8, St. the founding president of Assembly 291, the Westside Wizards, a
Louis/Midwest Region: Steve is a very active member, not just magic club serving the west side of Los Angeles; he is currently
at the meetings, but for the assembly as a whole. This past year, the secretary.
he put together their fundraising show and enlisted members who Since 2008, Les has been the New Assembly Coordinator for
had never participated before by helping them select an effect the S.A.M. He formed the S.Y.M. Assembly Y141 in 2010 and
that suited them. This increased membership involvement and remains the group leader. Les entertains clients at an adult daycare
guaranteed new people to be on the show. He set up the advertis- center for folks with impaired memories (O.P.I.C.A. – Optimistic
ing and became a one-man committee to make sure everything People in a Caring Atmosphere). This has become a regular part
was done. Assembly 8 has a Skype or video session at every of his magic life, and he finds it very rewarding. It enables him to
meeting; Steve always provides a video to show, which increases give back to the community by using magic as therapy. For four
the knowledge of the membership. He often leads the discussion decades Les has enjoyed and lived a very magical life and has
on a wide range of topics to provide exciting and informative been an inspiration to those around him.
meetings. He arranged for the assembly to participate in the local
Relay for Life, giving members a chance to perform in public as THE PRESIDENT’S YOUNG MAGICAL ARTIST
well as creating goodwill for the assembly in the community. He OF THE MONTH: TRIGG WATSON
brought money in for the club through a strolling magic gig that
eight other members participated in. He always has something to At twenty-four years
perform, teach, or share at every meeting. old, Trigg has performed for
Ray Goulet – Boston/New England Region: Ray Goulet, audiences from London to
known to many, has helped countless magicians. He has dedicated Las Vegas with his original
his life to the promotion of our great art. He is a magician, magic magic and energetic stage
collector, magic enthusiast, and a great person. He also has been a presence. Trigg has received
mentor, producer, author, and historian. Throughout his life he has several awards for his magic.
assisted many organizations and community causes with a “good Most notably, he was the
will” spirit. His magic shop, his magic collection, and his magic highest scoring American
mini-museum are visited by many who come to New England. magician at the World Magic
John Jennings – Mid Atlantic Region: John is the ultimate Contest in Las Vegas, and was
S.A.M. Deputy. He visits each of the assemblies and potential as- a recent winner of the Texas
semblies in Virginia every year. He stays on top of what each Magicians Stage Contest.
assembly is doing as well as its organizational health. John Last year, he was named the Dallas Performing Artist of the Year
contends with his own personal situation, but never shows it by the RAW Indie Arts Awards. This summer he was selected to
during his work for the S.A.M. He is inventive in ways that con- represent North America at FISM in Italy in 2015. Trigg graduated
tribute to the overall health of S.A.M., such as the recent Regional from Southern Methodist University, where he pursued a double
Growth Award. He is prompt with complete reports as needed and major in business management and theater studies, a combina-
demonstrates an enthusiasm for the S.A.M. equaled by few. tion he likes to call “show business.” He keeps busy performing
I’d also like to offer my congratulations to Presidential Citation at comedy clubs, colleges, and corporate events throughout the
recipients Goldfinger and Dove, the directors of entertainment for United States and internationally. Trigg also works as a magic
the Academy of Magical Arts at the Magic Castle. designer and consultant for his local Dallas theaters. 

8 M-U-M Magazine - NOVEMBER 2014

 S.A.M. National Officers

Dean: George Schindler, 1735 East 26th St.,

Brooklyn, NY 11229, (718) 336-0605, Fax (718)
627-1397, [email protected]
President: Kenrick “ICE” McDonald, P.O. Box
341034, Los Angeles, CA 90034,
(310) 559-8968, [email protected]
President Elect: David Bowers,
(717) 414-7574, [email protected]
First Vice President: Jeffrey Sikora, (402) 339-
6726 [email protected]
Second Vice President: Richard Bowman, 719-
527-0678, [email protected]
Secretary: Marlene Clark, 274 Church Street,
#6B, Guilford, CT 06437, (203) 689-5730,
Skype: marlene.clark, [email protected]
Treasurer: Eric Lampert, (215) 939-5555,
[email protected]

Regional Vice Presidents

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

Living Past
National Presidents

Bradley M. Jacobs, Richard L. Gustafson, Roy A.

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

NOVEMBER 2014 - M-U-M Magazine 9

 ASSEMBLY NEWS NOVEMBER 2014 Volume 104, Number 6

Society of American Magicians Monthly News

GO TO: WWW.MUM-MAGAZINE.COM
and use the easy submission form to file your report

1
RICHARD TURNER
the Oakland Magic Club’s annual
interclub competition. The com-
petition was a great evening of
lecture, President Eric Johnson
and Michael Bonacci presented
workshops on the subjects “Card
LECTURES magic, dinner, and raffles; Rob did to Impossible Location” and
well against some serious com- “Movement in Performance.”
NEW YORK, NY— After a brief petitors. We were very saddened by the
September welcome meeting, Our own meeting began with recent passing of our good friend
Alan Garber and Ariel Stein were Corky LaVallee teaching us how Brian Hurlburt. Brian, who was
sworn in as new members. Our to use a thumb tip to make a bill a longtime member of Assembly
lecturer Richard Turner did not exchange. 4 and who ably served as our
disappoint our members. With two For the magic presentations, Rob president last year, passed away Howard Stevens baffles Reba
spectators sitting on either side of began by performing a version in August after a short bout with Strong (l) and Archie Strong
his table, Richard baffled us his of Bank Night. Buzz Lawrence cancer. A professional photogra- (r) with Sponge Ball Mania
unique display of card moves, such followed with three tricks, a book pher, Brian could often be spotted
as shuffles, controls, and culling test, pushing a quarter through a taking candid shots at our monthly Change, which creates an astound-
techniques. The second, center, solid piece of steel, and an unusual meetings. Many of the photos that ing visible change of one coin into
and bottom deals were highlighted variation of the Diary Trick. have appeared in these monthly another while eliminating the
with various poker deals. And Hippo Lau used a school theme reports over the years were taken traditionally difficult Spellbound
most amazing of all, Richard and put the names of classes in a by Brian. Although Brian never moves.
turner is blind. bag. He then wrote a prediction received credit for them in writing, The most beneficial aspect of
on a piece of paper this writer will be forever grateful Howard’s presentation for those
that Buzz held. to him for his selfless contribution who perform magic professionally
When Walt pulled to this magazine. Brian will be either full- or part-time was his
a class from the greatly missed for his enthusiasm focus on how to blend individual
bag, it matched the and his many contributions to our effects into a cohesive routine.
prediction. Corky organization. A full obituary will Altogether, it was a great lecture.
did a math puzzle/ appear in the next issue of M-U-M. —Peter Cuddihy
prediction using the We were very fortunate to begin The James Wobensmith, Assembly
number seven. the year with an engaging lecture 4, meets third Thursday at 7:00
Walt did two by Howard Stevens who has been p.m. at the Bustleton Memorial
Richard Turner tricks, one being performing close-up and parlor Post, 810 (American Legion) 9151
an interesting paper magic for over thirty years in Old Newtown Road. Contact
Members looked forward to the tear that he challenged the rest restaurants, private parties, and Eric Johnson (267) 317-5675
opening of the Queen’s Museum to duplicate. Few could. Using a corporate events. Howard has also www.sam4.org/ for more details.
exhibit Behind the Curtain, which clock face he predicted the number had effects published in Apoca-
has a display of Irving Desfor’s
magic photos of the 1939 and
1964 World’s Fairs, both of which
that Buzz would land on when he
went around the clock three times.
Stu Bacon put the names of a
lypse and the Trapdoor magazines.
His lecture was chock full of
“workers,” consisting of many fine
6
A FALL FULL HOUSE
had the participation of Parent number of major league baseball card and coin effects in addition to
Assembly magicians. The exhibit teams in his baseball hat. He was some novel ideas featuring the use BALTIMORE, MD— Our
also has a banner from the Devlin able to determine that Hippo had of sponge balls. September meeting brought a full
collection. New member Patrick drawn the Chicago Cubs. Howard taught and demonstrated house and many guests. Joe Bruno
Davis was booked for walk- Throughout the evening we all many of his pet effects including got the magic rolling with his
around magic on opening day. eagerly devoured the cookies The Strike Vanish using a wand version of Steranko’s Follow the
We look forward to the October that Corky’s wife had baked. to vanish a coin, a sponge ball, Leader. He tipped it and provided a
2 meeting with visiting guests —Stu Bacon and other small objects. He then handout, following with his Oil &
Dave Bowers and ICE McDonald. Golden Gate Assembly 2 meets showed how to do the same effect Water. Tony Anastasi performed
—George Schindler the first Wednesday at 7:30 pm using his necktie instead of a wand. an interesting prediction with red
Parent Assembly 1 meets on the in the Community Room of the Jack Stone was very impressed by and blue decks. Craig Feinstein
first Friday of each month at the Taraval Police Station, 2345 34th Howard’s The Invisible Matrix, bravely performed Pop Haydn’s
Mt Sinai Goldwurm Auditorium at Avenue. Contact Corky LaVallee in which four quarters magically classic Linking Rings routine.
Madison Ave and E 98 St in NYC. [email protected] (415) 648-1382 appear under four cards and then Jared Raitzyk brought a very old
Visit www.sampa1.com for more for more details. gathered under one card one at a gaffed deck that had no instruc-
information. time before returning to their re- tions; we all tried to figure it out

2 4
HOWARD STEVENS
spective positions in a mysterious
way.
Donna Horn particularly enjoyed
(All Alike?). Guest Joe Castricone
performed and tipped the card
trick That’s It. Guest Ken Carle
FEBRUARY MEETING LECTURES Sponge Ball Mania – a very visual did the ever popular Hopping
sponge ball production sequence Half. Les Albert first had to ask
SAN FRANCISCO, CA— Our PHILADELPHIA, PA— Our using a purse frame and a silk if anyone in the room had a non-
meeting opened with thanks to September meeting featured handkerchief. Donna was also gaffed deck. Finally finding one, he
our balloon twister, Rob Shapiro, an excellent lecture by Howard impressed with Howard’s Spell- performed and tipped his Think-
who represented Assembly 2 at Stevens. Prior to Howard’s bound-type change called The Top Stop variation of the Clock Trick

NOVEMBER 2014 - M-U-M Magazine 11

Assembly News
and also two clean and simple Lie lecture by Barry Mitchell who meets at 7 p.m. generally on the PNP John Apperson told us about
Detector variations. Howard Katz teaches his audience how to third Monday of each month the nicely made Morgan dollar
had a spectator select one of three behave and participate without at the Southwest Church of imitation coins (for magical use
different sweetener packets. He their knowledge. Before you know Christ near 124th Street and only) that can be found online.
then vanished one of two coins it you’ll find yourself either West Center road, right across Randy Kalin demonstrated the
the spectator selected, the coin talking or listening. He got our from where Hooters used to new magic app C4, with the assis-
mysteriously reappearing inside attention. Although I do not be. Contact Jerry Golmanavich tance of Michael Long.
the chosen sealed packet. Magic perform shows for children I found [email protected] (402) 390-9834 After watching some vintage
Warehouse markets the effect. his techniques captivating and omahamagicalsociety.com for magic on the big screen, Joey
Peter Wood introduced his useful for all audiences. more details. Lortz performed a four-Ace and
silver dollars routine with a flash four-King routine that rocked!
paper coin production. He then
performed “the first trick that
actually fooled his parents” (age
8
MAGICAL WARRIORS
Dan (the Great) Todd performed
Ship Shape, a sponge letter-spell-
ing effect, followed by Prediction,
eight), big nails through a sleeved a new effect utilizing coins and
balloon. Justin Miller was next ST. LOUIS, MO — August 28, cards, with an ending that is a cut
with his OOTW variation with 2014 – Teach-in Night. We all above expectations. Our visitor
prediction kicker (Devon Knight’s enjoyed several videos, including performed a mental sensory effect
Card Sight). Mark Wolfire Hans Moretti Cardboard box and followed it up with a great
followed with a card prediction he illusion. Columbus Smith taught card effect. John Davit provided
courageously (foolishly?) backed a card in balloon effect. Steve us with some great feats of pres-
up with his own cash on the table Barcellona taught us good coin tidigitation.
(Henry Evans’s Art of Winning). Barry Mitchell and Assistant technique with his Two Coin September 17, 2014 – Nathan
He then caused Aces and Queens Tom Neddo routine. Greg Lewis taught us the Kranzo workshop. The workshop
to mysteriously change their back fine art of rubber band effects with covered basic magic with coins,
colors (John Guastaferro’s Out of He started by making things a rubber band vanish! cards, and business cards – similar
the Blue). Moving on to “thought disappear, appear, and change PNP Harry Monti taught us to his lecture but with more time
projection,” Eric Hoffman did with very simple instructions. the fine points of basic sponge for questions and practice. We
his non-ESP six-card version of From the start he explained how ball handling while demonstrat- all received The Grumble Grim
Dan Tong’s Five-Card Mental to make many of his props, and ing with a ball produced from an and Old School Kranzo DVDs.
Test. Mike Parkinson debuted then proceeded to make it easier invisible change purse, then dis- —Dan (the Great) Todd
his improved version of Forget to for some by offering those for sale appearing from someone’s hand, Assembly 8 meets at Mount Tabor
Remember, an interesting card at the end. Those who are skillful only to reappear in his pocket! United Church of Christ located
prediction from Ryan Schultz’s can make most of their own props. Chad Jacobs executed his Money at 6520 Arsenal in Saint Louis,
Effortless Effects. He also has a Facebook group that Paddle routine changing coins to Missouri 63139. Contact Dick
After announcing next month’s offers free videos. $200. Derrick Daniels performed Blowers [email protected]
theme (“Tricks with Venomous Among other things he showed us an interesting card effect with (213) 846-8468 http://Assembly8.
Animals”) President Andy London “silk fireworks” from a rip-apart Joey’s assistance. Dan (the Great) com for more details.
performed an extremely fair-look- bag, a WOW (what others want) Todd, performed Barry Mitchell’s
ing and puzzling think-a-card. Joe
Harsanyi located his spectator’s
card under what seemed to be im-
box and dream bags, from which
all kinds of stuff comes out. For
one effect he showed us how to
Magic Box with the assistance of
Derrick, Joey, Jill, and Columbus,
thus closing the evening of magic.
17
WE’RE BACK!
possibly difficult constraints. make a special accordion fold that September 6, 2014 – Welcome
Cardician Jeff Eline wowed us helps with the illusion. He demon- Home Warrior Summit. We were SPRINGFIELD, MA— Our
with the appearance of Aces one- strated Buckets and Balls in which invited to attend and perform for September meeting was themed
by-one between Jokers. He then different-sized balls came out of and entertain our returning “What I Learned Last Summer”;
debuted his new Ace assembly. apparently empty buckets. He also veterans. Larry Minth, Adam our members came ready to rock!
We all watched like hawks, showed us for the first time a wand Putman, Steve Barcellona, Dan Rich Pinsonnault started us off
burning his hands. But we had with a square cross-section. He Todd, Greg Lewis, Jason Stack, with a new effect called Holy
to conclude that what we had all ended the chock-full first part with Joey Lortz, and John Davit all Blank by Caleb Wiles. Joe Bednar
just seen was...simply impossible! how to fill your heart with dreams. performed and taught magic to the was next. He performed Three’s
—Eric Hoffman After awarding a door prize to veterans and their families. A Crowd, a twist on an ambitious
The Kellar/Thurston Assembly Jane Beckman after intermis- card effect using three Threes.
6 meets every first Thursday at sion he showed us how a magic Brian Dimmock showed us some
8:00 pm at the Magic Warehouse, worm could turn into a butterfly of the fire eating he’s been practic-
11419 Cronridge Drive suite #10 with a simple changing bag. He ing, but for safety reasons he had
in Owings Mills, Maryland. 410- commented on his use of a “stand to show us video on his phone.
561-0777. Contact Andy London still” spot to be used by any as- Brian is now our club’s Resident
[email protected], or visit sistants during his shows, plus the G uy-Willi ng-to -Tr y- O ut-t he -
www.baltimoresam.com for more fact that he sometimes explains Darker-Side-of-Magic-so-We-
details. to the audience that what he does Don’t-Have-to!

7
IF YOU WANNA HAVE SOME
is not witchcraft. He tricked Tom
Neddo into mentally finding three
cards selected by the audience,
Pj Pinsonnault performed the
Diamond Deck by Diamond Jim
Tyler. Our final performer, Peter
FUN, CLAP YOUR HANDS and then explained that it’s good Lennis (formerly Peter Leninis),
to use puppets. opened with Envelope Impos-
OMAHA, NE— This month’s Coming down the home stretch sible, a beautiful production of a
Omaha Magical Society meeting he showed his “loaves and fishes,” Greg Lewis - Magical Warrior deck from a flattened card-box. He
opened with President Tom Zepf plus a frog effect and finished with then shared with us a trick he calls
explaining that our executive a challenge of sorts in which the September 11, 2014 – Magic Force, in which any named card is
board will present revised bylaws “strong man” could not lift what a on TV Night. Columbus Smith shown to be the only odd-backed
and a slate of candidates for office weaker one could. All things con- reached his five-year mark with card in the deck. Finally, the deck
at the next meeting. Jeff Sikora sidered he showed us a complete the S.A.M. and was given a cer- was placed back in the box, the
volunteered to head the nominat- magic show that captured the au- tificate of acknowledgment. As box flattened out again, and he
ing committee. All nominees for dience’s attention. }—Jerry Gol- part of the continuing components ended how he began: clean.
office must belong to the S.A.M. manavich of our meetings, Columbus dem- This was a great start to our new
This month’s program was a The Omaha Magical Society onstrated a Chop Cup routine. year of magic meetings! Thanks to

12 M-U-M Magazine - NOVEMBER 2014

 Assembly News
Rich Pinsonnault for hosting us at
the magic shop! —Pj Pinsonnault
Assembly 17 meets a the RP Magic
22
THE MAGIC
December 1982 M-U-M.
This show was again a demon-
stration of the fact that the pages of
lectures. While their magical
styles are very different, they
share a passion for magic, and
Shop 69 East Street Ludlow, MA OF M-U-M M-U-M contain a wealth of really the ability to both perform and to
Contact Rich Gilbert, President good magic. —Steven L. Jennings teach. —Chris Natale
[email protected] for LOS ANGELES, CA— The Southern California Assembly C. Foster Fenner, Assembly 26
more details. September 2014 Southern Califor- 22 meets the third Monday each meets first Tuesday each month
nia Assembly 22 meeting opened month at 8:00 PM, St. Thomas from September to June at 7 pm.

21
WAYNE HOUCHIN
with a lesson in card magic.
Assembly president Michael
Perovich reviewed the five basic
More Parish Hall, 2510 South
Fremont Avenue, Alhambra,
California Contact Ed Thomas
American Legion Auburn Post
20, 7 Legion Way, Cranston RI
Contact Jeff Smith for more
LECTURE card sleights and then taught/ [email protected] (213) details.

HARTFORD, CT— CCMA was

demonstrated one of them, the top
change. Prior to the opening of the
382-8504 for more details.
32
thrilled to once again host a lecture
by Wayne Houchin. Calling this
his “No Blessings!” tour, he
meeting, early arriving members
had an opportunity to view some
filmed performances by some of
26
TWO EXCELLENT
MENTALISM
MONTH

explained that his subject was the the greats from magic’s past. Mike LECTURES! LYNCHBURG, VA— The
transformation of ideas. He began will continue to feature these theme of September’s meeting
with the transformation of torn pre-meeting viewings in future PROVIDENCE, RI— The club at the Hersy Basham Assembly
bills. One bill was placed in a months. The only item of official was fortunate to have two great as selected by our V.P./Program
spectator’s hand and held aloft. business was a first reading of the magicians stop by recently. Jay Chairman Mike Kinnaird was
Another bill was first torn, and membership application for Bob Scott Berry presented a fantastic mentalism; a lot of the members
then placed in another spectator’s Carroll, recently arrived in Los lecture, performing and teaching already seemed to know that. Well,
hand along with the torn piece. Angeles from Massachusetts. some of his finest magic. He they might have read the meeting
When the torn piece was moved to The program for the evening, stressed the importance of per- notice that was sent, but no one
the hand with the first bill, that Magic from M-U-M, was produced forming live, as well as starting actually said how they knew.
first bill was torn, and the second and emceed by Vice President and ending clean. The consum- Presentations of new effects
bill was now whole. Kim Hallinger. This is an annual mate professional, he fooled us all were a bit low, but John Jennings
program that features the perfor- while changing paper to money, did demonstrate Mental Die II,
mance of magic from the pages of and doing some amazing coin a nicely made brass item picked
our monthly M-U-M. The show effects as well. up from the dealer room at the
had eight performers, with the first Reminding us that we should national convention in St. Louis
two performing effects from their never forget to play, Jay presented over the summer.
repertoires that did not originate a wonderful Ring and Ribbon There was considerable discus-
in M-U-M. Opening the show was routine. Ending the night with his sion as to how we should vary our
Bob Carroll performing Out of Cloaking Device, Jay impressed meetings so as to perk the interest
this Universe, first published in everyone in attendance. of members and also to find new
Close-Up Card Magic, 1962, by Steve Reynolds has a much ones. It was decided to have ad-
Harry Lorayne. Next up was Jim different style, owing to the fact ditional dinner meetings at a local
Callen presenting a nice stand-up that he performs restaurant and restaurant to see it that step might
three-card Monte using jumbo bar magic. He offered plenty of add variety and give members a
cards. advice related to interacting change-of-pace to look forward to.
Matt Savin selected the December directly with patrons. Get into Therefore, on the third Tuesday
2001 M-U-M and reviewed the their heads, and use it to your of October our Assembly will
Harry Riser column, The Riser advantage. And be sure to make meet at Charley’s Restaurant, 707
Wayne Houchin Repertoire, to discuss the cor- the experience about them. Graves Mill Road, Lynchburg,
makes a point ner-short card and its use. John VA. For November, we will be
Engman gave a nice performance back here at Tharp Funeral Home
That was just the first of many of a stand-up coin trick using on Breezewood Drive. The plan
amazing subtleties the Wayne three silver dollars called Elbow, for December is to have our annual
taught us. In an effect called Knee & Neck by Daryl. Originally family dinner meeting at a local
Random Drawing, three specta- published in Spectacle, 1990, by restaurant (there is a good chance
tors closed their eyes and doodled Stephen Minch, it was republished it will be back at Charley’s). The
on a pad. The completed “picture,” in the February 2014 M-U-M in detail yet to be decided is what
after being burned, showed up the Ebook Nook column. Kent day and time the family dinner
again in Wayne’s pocket. With Morgan presented a triple-effect, meeting will occur. Our plans for
that picture burned, yet another thought-reading routine called the New Year will be based on
duplicate was found inside an Numbers Galore by Floyd Shotts the feedback we get over the next
envelope that had been handed to from the M-U-M’s Magic column several months.
a club member before the lecture in the May 1988 issue. Our sixth Steve Reynolds offers a Folks with an interest in magical
had even started. performer was Brian Regalbuto, thorough explanation of an entertainment are welcome
In Helium, a balloon rose and who discussed and demonstrat- effect to visit any of the upcoming
fell on command. After many ed the use of a stacked deck. He meetings of Assembly 32. If
other effects, Wayne performed a used The Shuffled System from All of Steve’s effects are straight- someone decides to do so, it is
needles-on-thread routine with a the High Road column by Mick forward and powerful. Learning recommended that such person
single needle that was a wonder Ayres in the August 2014 M-U-M. from Marlo, Vernon, J.C. Wagner, get in touch with us in advance
to behold. It was a great lecture. John Richmond presented A Slick and Doc Eason, Steve has put to verify the exact location.
—Dana T. Ring Oil & Water card trick from the together a great collection of —John Jennings
Assembly 21 meets the 2nd Share the Magic column, August close-up routines. He advised The Hersy Basham Assembly 32
Monday of every month (except 1996, and A Magical Magic us to “Let the spectator have a (often) meets the third Tuesday
December) at Angelo’s on Main, Square by Ken deCourcy from special moment, without distrac- at 7:00 p.m. at Tharp Funeral
289 South Main Street, West the April 2005 issue. Closing tion.” Putting this into practice, he Home, 220 Breezewood Drive,
Hartford, CT Contact Dana T. the show was Jeremy Williams. performed and taught effects that Lynchburg, VA. Contacting us
Ring [email protected] (860) Jeremy performed a card effect really drove his point home. ahead is suggested. Contact John
523-9888 www.ctmagic.org for called “The End” from the column Thank you to Jay Scott Berry Jennings [email protected]
more details. Card Stuff by Tom Ogden in the and Steve Reynolds for wonderful (434) 851-6240 for more details.

NOVEMBER 2014 - M-U-M Magazine 13

Assembly News

35
A NEW SEASON BEGINS
DENVER, CO— What is more
fitting than a back-to-school night
for a September meeting/show
and his three sons; he hysterically
demonstrated what happens if you
swallow gases like helium. And
it’s still hardly believable.
Our finale was Dr. Phil King’s
mentalism show, during which
AGAIN with real live children? Children’s then he performed a card trick he divined the amount of change
performer Chad Wonder put a call that had the chosen card exploding that various assistants had in their
POUGHKEEPSIE, NY— We’re out to some of his birthday party out of a Pringles can. He had a pockets. The members made him
b-a-a-c-k from our summer clientele and we had a packed couple of reluctant volunteers, es- explain it about a dozen times.
vacation. President Joel Zaritsky house. President Matt Brandt pecially when he told the audience Good times followed at the Not
enticed us with the offerings greeted everyone; Treasurer The (when pounding on his son’s Quite Five Star Bar and Grill,
of what we can expect at our Amazing Dave Elstun acted as back), “Don’t try this at home; where this member was taught
meetings later in the year. We emcee. First up was Chad Wonder. you could die from this stuff!” a new instant card change. He
opened our year with a perfor- He pulled out plenty of wands and —Connie Elstun is devoting at least two to three
mance and lecture from Jason multiple handkerchiefs and even Assembly 37 meets at the minutes per day to working on it.
Ladanye. Jason is from Albany, a thing-a-ma-bob or two. The Riverpointe Senior Center in —Don Beker
NY, just a short distance north of children screamed with delight. Littleton Colorado. Contact Assembly 38 meets at the Westport
us. His short drive led to a great The best line of the night was Connie Elstun connie@ Coffee House, 4010 Pennsylvania
evening for all of us. when Chad asked if anyone comedy magicbu n ny. Avenue, Kansas City, Missouri
With the assistance of Frank could count to three in a foreign com (303) 594-2555 www. Contact Don Becker joydonbeck@
Monaco and Ryan Dutcher acting language and club junior member milehighmagicians.com for more comcast.net (816) 886-6780 for
as participants and straight men AJ shouted out I, II, and III details. more details.
for Jason’s humor, he began his
visual assault on the senses. He
started off with being able to pick
Roman-numeral style. Lewis
Peacock then took the stage and
performed a laid back yet capti-
38
BIG NIGHT FOR
52
TAOM MAGIC
all the Aces out of the deck after vating anti-bullying peace that PERFORMERS
the deck had been shuffled. The gave the youngsters something to SAN ANTONIO, TX— Sept
Aces then changed into Diamonds. think about. KANSAS CITY, MO — 4, 2014, Brother John Hamman
Another effect has the picked card Teacher and Magician Glenn Assembly38 met on September 16 Assembly 52 held its monthly
shuffled back into the deck, only Prioux brought in a little with President Rod Sipe reporting meeting at LaMadeleine Res-
to be found sandwiched between something for the older kids in at- on our August auction, and on taurant. President Ray Adams
the Aces. tendance. He had the audience Magic Week. RVP Shaun Rivera called the meeting to order. We
In perhaps everyone’s favorite mesmerized with a class-room spoke on the Magic Summit. had eighteen present tonight,
effect, Ryan picked a card that Math trick. Next up was Secretary The evening’s magic was begun including members, wives, and
was shuffled into the deck, which (and teacher too) Connie Elstun, by Trevor Korso, who talked to us guests. Welcome to Greg Solomon
was then placed back into the card dressed in a rain-coat with some about “Situational Magic,” that is (Ed’s son), and welcome back to
box. Ryan placed his hand over the very funny science-magic Tesla magic that can be done impromptu guests Matthew Orta and David
box. A moment later his hand then style. Her time machine was met with whatever objects are at hand. and Nathaniel Pitts. Both David
pushed down onto the box, only to with roars of laughter from the Then he did several tricks with and Matthew will be audition-
find that the box was empty, with adults and the children. Especially whatever objects were at hand. He ing tonight for acceptance into
the cards reappearing underneath when she put her rabbit Mr. Edison received a nice hand. Assembly 52.
the table, with his selected card in a time travel box and said she Josh Theno did money magic, This month Don
being revealed. was sure Mr. Tesla wouldn’t mind. catching coins from thin air and Moravits presented Castaways
These were but a few of the After a grand first half it was from on and about an assistant. His by Mick Ayres, which was in the
amazing effects that Jason snack time! four-coin roll-out received a well- December 2013 issue of M-U-M.
beguiled us with. So much so, deserved nice hand. Josh’s twin Don was the second member to
that I spent more time watching brother Nicholas then produced share an article of interest in the
than writing, which explains cards and restaurant coasters M-U-M. Joe Libby volunteered to
the brevity of this report. Any from the air. Bob Goodin did what share an article of interest at the
assembly would do well to have he called a very basic Chop Cup October meeting.
Jason lecture for them. It would routine. It was a great lesson, in The theme for this meeting was
most certainly be worth it. that it demonstrated how all it Something You Bought at TAOM.
With the fall season rapidly ap- takes is “basic” done well to take Starting off the open performanc-
proaching, for those of us in the it to the realm of the exceptional. es was President Ray Adams who
northeast it can be a magical time Then it was John Hicks whose produced canes from a coin purse.
with the changing colors outdoors “Four Zombie Ace Assembly” was Doug Gorman followed with an
that can make people in the rest a most entertaining example of a effect called Open Prediction by
of the country jealous. For the Back to School Night was carefully thought out and executed Boris Wild, and Michael Tallon
more pessimistic it means that cool! presentation. did a card prediction by Peter
we are that much closer to winter. Don Becker showed and demon- Duffie. Ed Solomon told a story
However, for the time being, let us Opening the second half was strated several pieces of vintage first penned by Ernest Hemingway
ponder a thought that I recently Inspector Magic with a some apparatus. The Thayer Dove Pan with only six words guaranteed to
read: “Autumn is the second rhyming magic directed to our and Babcock Die Box sparked a elicit emotion. Paul Amerson told
spring, when every leaf becomes a tiny guests in the front row. He lot of interest. Both are beautiful a story about stranger danger using
flower.” —Darryl Bielski had a guest “Sneech” that the examples of the kind of workman- assistants David Pitts and Fran
Assembly 35 meetings are held children loved and did a clever ship that marked (and still marks) Gorman. John Murphy gave us a
at the Milanese Restaurant in performance with the help of little the best in magic apparatus. lesson in apples and oranges and
Poughkeepsie, NY. Typically, Ava, Even, and Hayden. Next Shaun Rivera exhibited his Paul Mims performed a baffling
meetings are held the 2nd Tuesday up was Sergeant at Arms (and usual mastery of card sleights card effect called Deeper Mystery.
of each month, which begin at 7:30 multi-talented card magician) with an effect that this scribe’s Congratulations to our two
pm. Contact Joel Zaritsky jizdds@ Gene Gordon, who proved that a notes simply call “that turn up newest members, David Pitts and
optonline.net (845) 546-1559 napkin that was compliments of card thing.” Sorry Shaun, but we Matthew Orta, who auditioned
www.sam35.com for more details. Applebee’s could be very magical. all know that in your hands “that for acceptance into the assembly.
He tore the napkin to create a turn up card thing” was excellent. David explained the principle

37
BACK TO SCHOOL NIGHT
lovely snowflake. And then while
crumpling up the snowflake it
turned into a real egg.
Denis Burks did an eye-popping
rope trick! A coiled rope suddenly
transformed into a series of
of misdirection by using sponge
balls, and Matthew did a very nice
version of Dr. Daly’s Last Trick.
IN DENVER The last performer was national separate rope rings. It had to be Our featured performer tonight
television celebrity Steve Spangler seen to be believed, and even then was Sergeant-at-Arms James

14 M-U-M Magazine - NOVEMBER 2014

 Assembly News
Dusek. He completely destroyed
us all with his incredible sense of
comedic timing and outstanding
a fast summer for most of us with
all the usual summer projects and
vacations. Also, we just had the
a minute of silence with the lights
dimmed in the room. He was a pro
and always gave his best at many
88
BARRY MITCHELL
magic skill. After an opening card annual S.A.M. picnic on August of our meetings and shows. Finally LECTURES
trick, he presented one of the most 10. Boy what a great turn out and we passed a few motions at the
original and hilarious versions of way too much to eat. We had about conclusion of our meeting in true ANN ARBOR, MI— After
the Professor’s Nightmare ever forty people in attendance. We had Mystics fashion. a dizzying flurry of magic
performed anywhere. And then eleven people giving us a show, After the meeting we were very picnics over the summer, our
while we were still doubled over including Whitney, Qi, John, excited about our huge lineup of magi convened for the start of
with laughter, he dazzled us again Nicholas, Mel, Glen, Jay, Randy, lectures for 2014-15 and who the fall magical schedule. After
with a Cups and Balls routine Michael, David, and Riley. They better than Kostya Kimlat to kick welcoming new member Carl
that contained original moves of all did a grand job of providing off this important night. He Massie Jr., five guests were intro-
his own creation. It was a great us with magical entertainment. It answered our questions regarding duced: Chuck Kimbrough, Bernie
featured performance. Thanks, was a perfect time to socialize and choices approaching tables for res- Stevens, Joshua Wilde, Ken
James, for a job well done. We are Randy and his wife Myrna were taurant work and speaking the Drumm and Michael Robinson.
honored that you are a member of gracious hosts. We had a splendid lingo in getting work in restau- Our much-anticipated September
Assembly 52. time and the weather could not rants and corporate work. meeting featured noted magician
Door prize winners were Paul have been any better. and lecturer Barry Mitchell.
Amerson, Ray Adams, and Doug Fall Swap Meet/September Barry’s “Think Different Magic
Gorman. Paul won the DVD East Meeting— As fall descends on Tour” promised “useable tech-
Coast Magic by Shawn Robison; us we started out the new season niques and family magic” for all
Ray won collapsible dice; and with our annual club swap skill levels. He did not disappoint.
Doug won a crystal goblet candle meet. There was no shortage of Barry delivered a ton of practical
holder. Many thanks to Don magical treasures on display for effects, presentation tips, and prop
Moravits and Barbara Adams for sale, swap, trade, and giveaway. construction advice within a tight
donating the door prizes. Props lined the tables and all who two-hour lecture. There was
Brother John Hamman Assembly attended enjoyed the fun. Our something for everyone! The
52 meets at 7:30 p.m. on the first September meeting was kicked PP Phil Levy and Pres. Mitch topics focused on silks, sponges
Thursday of the month at La off by President Mel Anderson at Goodkin passing a pin (and not just balls) with a few non-
Madeleine Restaurant, located at 7:46 p.m. One of the first things traditional card effects, pole pro-
722 N.W. Loop 410. The restaurant discussed was that we needed Kostya showed his routines and ductions, and miscellaneous chil-
is inside Loop 410 on the access three members to head up the held nothing back. His opening dren’s’ routines thrown in for good
road between Blanco Rd. and nomination committee for next card routine absolutely floored us measure. In addition to having his
San Pedro. For more information, year’s board. Our own Bob Eaton and when the explanation came, effects for sale, Barry generously
contact [email protected]. addressed the membership in it opened a can of whoop ass to went into great detail on how to
regard to the Desmond Close-up let us know that when it comes to make the props ourselves with
56
SEPTEMBER MEETING
contest next month.
Jay Fredricks presented procla-
mation certificates signed by the
culling cards, Mr. Kimlat is the
master. Other effects that stood
out were M&M Mentalism and a
simple materials available from
local supply sources (think Home
Depot and Dollar Tree). Judging
mayors of Vancouver, WA, and parlor stand-up piece called Who from the activity at his table after
DAYTON, OH— Our September Portland, OR, for declaring the last Killed the King, which is a jumbo the lecture, all the members loved
meeting was held at my home on week of October as Magic Week. card trick that Kostya created after his routines. It is noted that his
9/19/14. We had twelve members On this exciting night we had learning something unusual about unique silks are considered of the
and two guests present. Our guests four guests; a new member, Steve a card from the late Bob Elliot. highest quality on the market and
were my fiancé, Michelle Slattery, Johnson, was welcomed with a Long-time member Harry Mandel are priced reasonably.
and Jo Ann Kinder’s husband, unanimous vote by the member- explained: “Bob Elliot always was
Larry. We had a good business ship. After a few other issues very helpful and generous to me
meeting and discussed the amount were discussed, the meeting was and many magicians. One day I
of magic that is currently on TV, adjourned; all resumed back to the read an obscure article about a par-
such as America’s Got Talent, swap meet and the fun continued. ticular card. Back in 1991, I said
Penn & Teller’s Fool Us, Wizard We have a great line-up of events to him I think I have something
Wars, and Masters of Illusion. coming this fall; it is sure to be that can fool you. I placed a card
We also talked about how it was exciting for all who get involved. face down and said this is my pre-
international Talk like a Pirate —Andy Turner diction. I forced another card on
Day and how several members Assembly 59 meets at the Bob the exact way he taught me.
scored a dozen doughnuts from Beaverton Elks Lodge 3500 When he turned over the predic-
Krispy Kreme for dressing and SW 104th Beaverton, OR at tion he was a little puzzled. Then
talking like pirates. We took a 7PM. Contact Andy Turner I told him to look at what the card
break for refreshments and then [email protected] was holding. He was amazed. He
regrouped for our theme, Classics (503) 975-6139 samportland.org said he never noticed that. I was
with a Twist! We had perfor- for more details. happy I was able to teach Bob
mances by me, Scott Miller, Oran Elliott something. And now to find Barry Mitchell
Dent, Dave Davis, Fred Witwer,
Millie Witwer, Paul Burnham,
Hank Borchers, and John Love.
77
PASSING
Kostya turned what Bob told him
into a routine, I had to buy it in
honor of Bob Elliott.”
Barry and his wife Tracy
delivered a high-energy, high-
A good time was had by all. Until next time, we will see you impact, fun-filled lecture and
—Matthew David Stanley MASSAPEQUA, NY— Our at the diner. —Lou Johnson it is highly recommended. The
Assembly 56 meets in various opening topic for the new season Long Island Mystics Assembly club magic show for the Faith
locations. Contact Paul Burnham of The Long Island Mystics is #77 meets at 7:30PM on the Lutheran Church will feature
[email protected] (937) “Passing.” First was the passing of second Monday of the month at Marvin Mathena, Jim Folkl,
474-0647 for more details. the gavel from PP Phil Levy to Dr. The Community United Methodist Karl and Bill Rabe, Bill Brang,
Mitch Goodkin, which included Church. For more information, Gordon Schott, Scott Kindschy,
59
SUMMER MAGIC
the presentation of the new S.A.M.
president’s pins to each other.
The second passing was that of
check www.limystics.org Contact
Lou Johnson loujohnson@
loujuggler.com (516) 978-7735
Jim Molnar, and Dan Jones. The
theme of our November meeting is
“Money Magic.” December brings
our good friend Joe LeBue. The www.limystics.org for more our festive and always popular
PORTLAND, OR—IT has been broken wand ceremony included details. Christmas party. —Jim Folkl

NOVEMBER 2014 - M-U-M Magazine 15

Assembly News
Assembly 88 meets the second rope. Rod Chow did the Princess with a prediction
Wednesday of each month at Card Trick with a roll-out banner mystery.
Faith Lutheran Church, 1255 displaying images of jumbo Dennis Phillips
East Forest, Ypsilanti, Michigan. cards. Anthony Young did a cal- works as a public
Contact Jim Folkl folkinimagic@ culator trick with everyone’s cell school substitute
yahoo.com (248) 8514839 http:// phone, and was able to get the last teacher and he
www.aamagic.org/ for more number of each cell number and showed several
details. that person’s age. Anthony Young items that he

95
EMCEE MAGIC
also showed a breakaway torn
and restored fan. John MacMillan
did knots off rope. Juan Garcia
carries in
suit coat to use
in the classroom
his

performed a one-handed knot, to maintain

VANCOUVER, CANADA— tying multiple times, and showed interest. One was a
“The Misfits” taste victory over shabby
The September 2014 meeting was patter outs for the trick not vanishing half-dol-
held at the home of Steve Dickson. working. Ray Roch did Dennis lar. He also showed props - Assembly 104
After all the members enjoyed a Hewson’s multiple knots on and his method of
delicious BBQ prepared by Steve off a rope. Jens did a routine with quickly changing the gimmick clip at Diamond’s Magic, in Peabody.
and Paddy, the evening of Emcee mini chicken figurines and a story to another coat. He then showed Christian Painter and wife
Magic or Bits began. This theme of chicken thieves. an effect with a Bic pen. It floated Katalina will lecture and perform,
was chosen by Steve because Tony Chris showed stupid hand up from the palm of his hand; he as will family entertainer Oscar
he has a big theater gig coming tricks. Tony asked to borrow a wrapped it in a paper napkin and Munoz. At this writing, compeer
up where he is privileged to be pair of pants, but settled for a belt, it vanished. He explained how he Matt Blake is developing new,
the emcee in an all-Asian magic which he used to do an impromptu made the effect by combining the very special events just for kids,
charity production. Ray Roch rope through neck. —Rod Chow method of the old P&L floating to supplement an already exciting
showed a 3D card in which the The Carl Hemeon Assembly No. pencil with the method of Dave day. The evening show, which is
card turned inside out in the hands 95 meets the first Tuesday of Powell’s vanishing pen. free for full conference attendees,
of Tony Chris. Jens Henriksen each month at members’ homes. Dan Stapleton showed many will be open to the public for only
did a rope trick involving two Contact Rod Chow rod@rodchow. methods and enhancements to $15 per ticket, four for $50. Our
audience members. com (604) 669-7777 www.sam95. the classic Color Vision cube. He website is now open for PayPal
RVP Canada for 2014 and com for more details. also showed an impromptu cell ticket sales at www.sam104.com.
Assembly 95 President Lon phone vanish. David Friedman We agreed that the current popu-
Mandrake performed an ESP
effect, which, in emcee fashion, he
said was to prepare for the next
99
PHIL SCHWARTZ’S MAGIC
had a randomly selected playing larity of summer magic programs
card appear in a matchbox. on TV can only enhance public
Greg Solomon treated us with interest in our art. Inspired by the
performer who is a mind reader. HISTORY MOMENTS an effect and then gave every competitive creativity of Wizard
This used twelve members of the person present a packet trick of Wars, in particular, it was decided
audience to decide whether a card ORLANDO, FL— President Ian Adair’s – Butterfly Puzzle. to have the assembly take a crack
is red or black, the cards placed in Mark Fitzgerald gaveled the —Dennis Phillips at a similar challenge. Compeer
piles, and then Lon showed that meeting to order. We had twenty- International House of Pancakes, Jim Loscutoff provided piles of
the members did in fact separate six present. Bev Bergeron did a 5203 Kirkman Road Orlando, FL odd and broken props. Two teams
the red from black. Dennis presentation on impromptu magic 32819 meets the third Wednesday of magicians selected items from
Hewson performed a rope-cutting with table knives. of the Month 7:30pm Contact the lots, judges were selected,
routine, and his famous multiple Phil Schwartz, our resident Mark Fitzgerald markaf1949@ and the games were on. After a
knots on and off rope. Henry Tom historian, acclaimed author, and hotmail.com http://www.ring170. half hour of deliberation, the first
showed a two-part rope trick, consultant on Floyd Thayer and com/ for more details. team, “The Petting Zoo,” launched
which he said can be used between other classic props, presented his a series of hilarious routines, led
two acts as a comedy rope restora-
tion explanation routine. Henry
said to wait until the light comes
“Magic History Moment #60.”
Phil is also a collector of antique
magic; this month he brought
104
104 GETS PROPPED UP FOR
by a loudmouth rabbit puppet
that had taken control of compeer
Buso-Jarnis. The second team,
on to show the next act ready, and several props to demonstrate THE NIGHT “The Misfits,” led by cheerleader
then do the first part of the routine. the development of a trick from Debbie O’Carroll, offered their
Glen LaBarre did a repeat cut and prototype to working prop. The WITCH CITY, SALEM, MA— own gallant mix of slapstick and
restored rope routine, each time spotlight was on James Barton, The new magic year for Assembly magic as props tumbled here and
showing the ropes uneven and who died in 1935. Because of his 104 began on September 3 with there. By the end, “The Misfits”
then starting again. patter, he was known as “El Barto, lighter than usual attendance, but were voted the winners and tiny
the Conversational Trickster.” ample enthusiasm. Among the prizes were awarded. Compeer
In Barton’s time the Die Box was missing were our magic teacher Vince DeAngelis has been doing a
a well-known trick and a staple in Len Lazar and Co-President great job as the new proprietor of
Floyd Thayer’s line. Thayer made Bill Jensen. Despite this, newly Diamond’s Magic in Peabody, our
many improvements as well as minted Co-President Rob Snider unofficial magic haven. For details
using the principle in other themes did a credible job of conducting on Assembly 104 and SAMCON
such as the sucker sliding clock a meeting that was fairly heavy please visit our website: www.
and cigarette package vanish. on the business end. The fun end sam104.com. —Bob Forrest
James Barton got the idea to do would more than compensate. Assembly 104 meets on the
the sliding die box trick with a The emphasis of the evening was first Wednesday of each month,
red billiard ball and he made a on our coming thirteenth annual September-June, 7 p.m., at the
prototype. This was given to Floyd convention on November 15. First Baptist Church of Salem,
Thayer, who greatly improved SAMCON promises to be an out- 292 Lafayette Street, Salem,
the mechanism and marketed it. standing all day Saturday event. Massachusetts. Contact Bob
Phil was fortunate to locate and With the extra added attraction of Forrest captainalbrightsq1@
2014 RVP Canada & Assembly buy both original pieces and he manipulation artist Jad joining the comcast.net (339) 227-0797 www.
#95 President, Lon Mandrake brought them to show us! This was roster of performers at the Double sam104.com for more details.
performs ESP with jumbo a real treat for us. Tree Hotel in Danvers, Massa-

110
cards The monthly ring show opened chusetts, the day and night will
with emcee Mark Fitzgerald doing offer something for everyone to
Glen added his idea to cut the a Lifesaver linking on a ring. enjoy. Jay Sankey will lecture and WAYNE HOUCHIN
gimmicked rope off of a spool of Charlie Pfrogner was up next teach a master class the next day LECTURES

16 M-U-M Magazine - NOVEMBER 2014

 Assembly News
NEW CUMBERLAND, PA— 110, meets 2nd Thursdays, the Stage Act contest with a and his Hundy 500. Andy Dallas
In place of our regular September 7:00pm, at John’s Diner 146 mentalism routine demonstrating took the floor again by telling us
meeting we enjoyed a lecture by Sheraton Drive New Cumberland, his powers of precognition. Zappo his method to push an egg through
Wayne Houchin. We do mean PA 17070 Email: Secretary@ correctly predicted the color of a the space between a door frame
enjoyed, because Wayne presented sam110.com selected card and also was able to and door. Justin Dudley changed
his “Strange Ideas” lecture in such produce a pre-selected photo of a one-dollar bills to fives in his
a smooth and professional style
and the lecture material covered
ideas from those suitable to kid
112
STAGING MAGIC
celebrity randomly selected from
among dozens of names.
Remaining contestant, Christo-
hand, prompting some variations
from the group, including a nice
transposition in the spectator’s
shows, through general magic pher Douglass, took the stage to hand using Andy’s favorite bill
to stage mentalism, if one was PLEASANT HILL, CA— Our perform a routine that included switch. Jim Percy showed his take
listening and used just a little August meeting was stage magic cards, matches, and dollar bills. on Done with Mirrors and more
imagination. contest night, with competitions in Christopher magically trans- discussion ensued – one topic
The first half of the lecture two categories. posed two black Aces held by one being “Do you define the trick or
consisted of the transportation of a First contestant in the one-shot assistant with the red Aces in the does the trick define you?” Andy
torn bill from one side of the stage contest, Bob Holdridge, performed hands of another. He followed Dallas brought this topic up and
to the other. The torn bill trans- a trick he calls Big Bills. Bob with an excellent presentation of asked “Would you rather people
posed with an un-torn bill while displayed four numbered an effect known as Inferno, and say he is a magician, or he did a
each was held in spectators’ closed envelopes to the audience and with a demonstration of reality nice trick?”—Ken Barham
hands. advised that one of them contained versus illusion by changing a torn The Andy Dallas Assembly,
A card effect called Unshuffling a $100 bill. Three volunteers each dollar bill into an undamaged bill Assembly 12 meets the third Wed.
R, which Wayne developed from freely selected an envelope, but and vice versa. 7pm, (except Nov. and Dec.) For
Paul Harris’s Unshuffling Rebecca Bob ended up with the money Winner of the One-Shot contest location call Jim Percy at 217-
that incorporates additional ideas while they ended up with gag was Roy Porfido, who had amazed 494-2222 or Ken Barham Sec,
from Paul Harris was next. The rewards like an electric bill. everyone with his escape trick. 2318 Winchester Dr, Champaign,
effect is to create order from the Next contestant, Ric Ewing, Winner of the Stage Act contest IL 61821 217-841-5616 email:
chaos of a deck wherein some performed minor miracles with a was Zappo. [email protected]
cards are right side up and others borrowed $20 bill, first causing the Following a brief intermission,
upside down, similar to Triumph.
The righting of the cards is quick
and magical, but leaves two chosen
bill to magically turn upside down
when folded and unfolded in the
reverse of the original folds. He
Bob Holdridge conducted the
monthly workshop. This month’s
trick was Behind Your Back,
141
CONJURORS PLAY WITH
cards face down. then poked a pencil through the a variation of You Do as I Do. BALL MAGIC
An enchanting trick with a bill and even ripped the bill —Bill Marquardtr
helium balloon on a ribbon plays sideways with absolutely no harm Diablo Assembly #112 meets on COLUMBIA, MD— The
as well for adults as it would for to the bill. Following Ric was Jose the third Wednesday of every Columbia Conjurors opened their
youngsters. Plus, a spectator Ramirez, who performed a routine month at the VFW building September meeting with a dis-
scores a balloon as a gift at the in which he not only bent a solid in Pleasant Hill, California cussion of the recently completed
end. metal spoon with his mental Contact Larry Wright Zappo@ member survey and planning for
Drawing to Impossible Location powers but also twisted and zappothemagician.com (925) the coming year. With Jerry Lee
is just that, but the method is so untwisted it at will. 685-5129 http://www.sam112. Lewis rocking in the background,
slick and easy you will want to com/ for more details. the magic then began with the
do this ASAP. However, please, theme “Great Balls of Fire: Magic
please put in the necessary
practice to both the scripting and
the method so you don’t diminish
120
TALES FROM THE
with Balls.” Eric Hoffman opened
by utterly ignoring the theme to
perform his version of Dan Tong’s
a very powerful effect. TRENCHES Five-Card Mental Test using
The second section of the lecture oversized playing cards. Taking
began with Houdini’s Influence, CHAMPAIGN, IL— We had a inspiration from Eric, Peter Wood
which uses a MasterMind or great meeting in September with followed by crumpling up a piece
Monte Christo deck. The effect is lively discussion on many topics of paper into a “ball” to justify a
very strong and Wayne does have including quite a few tales from card trick, tossing his ball around
some of the hard-to-find special the trenches. to randomly for a card he then
decks for sale. First up, our next club show is at proceeded to locate in a chosen
French Kiss is an effect in which the VA in Danville on November deck. Matt Neufeld did the stop
signatures on a folded pad paper If you didn’t know better, 9 at 2 p.m. Join us in entertain- light card trick, pattering about
held in the spectator’s and per- you would think that Ric ing this very worthy and very “balls of light,” followed by
former’s teeth change places. Ewing had just poked a pencil appreciative group. Talk to Chris Rob Niccolini’s version of the
The handling is straightforward through a borrowed twenty Bontjes for more details. Ring 239 three-ball trick with elements
but devious and the props are dollar bill is bringing in the new year with from David Roth and Johnny
minimal. This plays much larger a show at the Hoagland Center in Thompson.
than the props. Next up was Roy Porfido. At Springfield, IL at 6:00 p.m. as part Wayne Miller had fun with a
Wayne’s finale was his single Roy’s direction, a volunteer of the Springfield First Night Cel- single cup and numerous different
needle swallow – very well-craft- escaped from two ropes that had ebration. balls, and then George Bradley
ed ideas in this one from start to been run through the arms of The topic this month was magic did his own version of the three-
finish. a sport jacket he was wearing with something from your kitchen. ball trick. Kenny Wadrick pulled
If you have not seen a Wayne even though they were secured Andy Dallas demoed a salt shaker out a child’s Ball and Vase trick,
Houchin lecture than you have with knotted handkerchiefs at his for vanishing/appearing salt and a but then made the ball disappear,
missed some very fine magic. He wrists and metal rings. coffee cup with pictures of a bound along with a half-full shot glass,
is thorough in his preparation and Final contestant in the One-Shot, Houdini who escapes when a hot in an impressive cloud of smoke.
his effects are strong. This lecture Jerry Barrilleaux, entertained beverage is placed in the mug. John Gazman did a “magical fil-
had something for everyone and with a unique device he calls the Chris Bontjes showed us his dis- tration,” moving balls of paper
was a delight from start to finish. “sooey stick.” Jerry had no trouble appearing butter knife in a napkin, and money between and through
Wayne’s words of advice at the making the stick’s propeller spin a straw penetration, and spoon two paper bags, followed by Theo
close are worth remembering, and even reverse direction upon bending variations (prompting Rushin using the mind ball to
“Respect your audience.” Very command, but no one else could many other methods from the humorously predict cards. Bob
well done Wayne, Thank you! do so. group). Professor Higgins did Leedom then brought us home,
Joe Homecheck, SAM Assembly Larry “Zappo” Wright opened some spoon bending, a silk to cane, reading Webster’s definition of

NOVEMBER 2014 - M-U-M Magazine 17

Assembly News
“anti-climax” for us, and then il- been to a garage sale (a local ma- he was going to
lustrating with a Cups and Balls gician’s wife demanded he divest disregard the theme
routine he hopes to actually learn himself of some props or her). idea as he held up a
one day. The conjurors had a great Mary showed us her purchases, pack of cards, but he
time, and managed to keep the including an ingenious box that just wanted to show
off-color ball jokes to a surprising changed one item to another in off a new Scorpion
minimum! —Rob Niccolini the course of assembling the box deck available at his
Assembly 141, the Columbia from a bunch of wooden slats downtown shop. On
Conjurors, meet on the second She also displayed some colorful the magishing side, he
Monday of each month at 8:00 production silks and a did a most offered his take on
pm in the basement of the Parish unusual Professor’s Nightmare. What’s Next? or “the
House (on top of the hill) at Christ Next month, we’ll have another devious domino.”
Episcopal Church in Columbia, mini-lecture and a program of Frank Levy tore up a Installation of 2014-15 Officers
Maryland. For more information mentalism and mental magic, plus, single card, restored it
or to contact an officer, visit www. no doubt, a debate on the differ- (very smoothly) piece by piece, more, and adds face totals, deals
sam141.org for more details. ence. —Tony Noice and wiped the printing off an down to total, is chosen card.
Assembly 148 meets every entire deck – both sides, leaving Dick Recktenwald had a “Black

148
CLOSE-UP NIGHT
third Monday at the Evangelical
Epiphany Lutheran Church,
downstairs, on the corner of
every card transparent. Unable to Bag of Mystery” and wand. He
stop showing off, he transported has two participants hold ends of
his cell phone inside a balloon. two ropes, gives two scarves to
Spring and Vallette in Elmhurst, Tony Dunn got his usual flurry of two people, gives two rings to one
ELMHURST, IL— The IL Contact Tony Noice noicea@ laughs as he put two small boxes person. Dick ties wand to rope,
magicians really came for the net.elmhurst.edu (630) 993-3740 inside each other (yes, both of ties scarves around ropes, rings
magic, so our business meeting WWW. SAM #148.com for more them!) and kept taking sponge placed on rope. He pulls out wand
was, as usual, very brief (as details. balls out of their emptiness. and scarves and rings are off.
in three minutes). One of our Making a rare, but always Eric Davis presented Crazy Man’s
recurring features is a mini-lec-
ture given by a member, and this
month Don Clancy performed
150
SMALL TRICKS PLAY BIG
welcome, appearance, Brian Boyd Handcuffs by demonstrating how
demonstrated how to confuse a to use them and how to use with
bank teller by changing one-dollar a ring. Doug Ries demonstrated
and explained the strolling act he bills into fives and twenties. Then Out of Order, four cards riveted
does for various charitable events FORT MYERS, FL — In an effort he showed how his friend, the late together (two red backs, two blue
in the area. First he described his to get variety and fewer card tricks John Calvert, taught him to silence backs, faces are two red and two
wardrobe, a multi-pocket fishing into a series of summertime hecklers by “teaching” them to tie black). He showed how they could
vest out of which came cards, meetings – which have low atten- a knot without letting go of the be moved around even though
silks, dollar bills, and rabbits of the dance because many “snowbirds” rope’s ends. riveted together. Jim Weyand
collapsible variety. He proceeded stay up north – the performance On the business side, the cost of told everyone he paid $24.50 for
to do his full set, starting with theme for September’s meeting providing housing for future his shirt. He then showed how he
rolling up a dollar bill so it was “parlor magic.” Still, as young lecturers (possibly Fielding West hypnotized clerk by showing her
formed an obviously empty cone magician Mat Franco demonstrat- in November, etc.) was discussed, five ones, which he turned into
from which a silk appeared and ed in winning the top prize on along with signing up performers five fives. Clerk, still hypnotized,
vanished. He then presented his America’s Got Talent recently, for the annual Christmas party. said “Here’s your change,” and
Chop Cup routine with a “double almost any well-done card trick —Don Dunn fifty cents falls from bills. Ray
fruit” climax, followed by Max becomes “parlor magic” or even Assembly 150 meets 2nd Tuesday Lucas had a participant pick a
Maven’s wonderful B’Wave. For a “arena magic” with the right pre- each month at Myerlee Manor card. He then showed a bag with
finish, Don did the sponge rabbit sentation and props. (Who’d have on Winkler Rd., at 7 p.m. (Come cards all over it, turned it inside
trick, arguing for its effective- guessed when your correspondent at 5:30 for special-price dinner.) out, and chosen card is what is on
ness regardless of the claims by learned Out of This World from Contact Sec. Richard Payne the inside. Jack Greenberg gave
detractors that it’s childish. As is Merlin Eifert in 1949 that it could [email protected] (239) a calculator to participant, had
appropriate in such a program, all one day be done on the stage of 433-6885 FMMaOnline.org for someone pick a one-digit number,
demonstrated tricks were fully Radio City Music Hall and draw more details. hit times key, pick two-digit
explained. cheers from 6,000 people?) number, hit times key, three-digit
After the mini-lecture, addi-
tional performances ensued. Don
Dvorak presented his version of
157 and times key, hit equal key. Jack
stated total was 4,6,3,5 with bonus
INSTALLATION OF OFFICERS number. He dealt out five piles,
Peter Kane’s Jazz Aces. He also AND MAGIC TO DO each holding number according
decided to tell some jokes, some to total. He turned the piles over
were funny, some were groaners. BEAVER, PA— The Mystic and they equaled a royal flush.
After the last one, we were ready Magicians of Beaver Valley (157) —Judy Steed
to have the sergeant-at-arms eject installed the officers for 2014-2015 The Mystic Magicians of Beaver
him until we realized that Don is with Ray Lucas as installer. Valley (157) meet the second
the sergeant-at-arms. Next, Rudy The GPMN Picnic is 11/28/14 Thursday of every month at the
Alfano performed one of his effects at Brady’s Run Park with a Flea Towne Square Restaurant in
that wowed the spectators at our Market, 50/50 Raffle, a special Beaver, PA. Contact Judy Steed
annual Vets show arranged and Raffle, a pick up magic show, and [email protected] (330)
emceed by Mr. Alfano. Then John Now for the hard part... lots of fun and entertainment. 525-5389 none for more details.
Hausheer did a card location based Doug Ries has been appointed by
on a math principle that was so
completely concealed that no one
even realized math was involved.
Starting the night’s show, member
Wally Feather settled for a smaller
parlor-size audience for his nice
Arlen Soloman, our representative
for the S.A.M., as deputy represen-
tative for Western PA. He also will
170
HOLIDAY MAGIC
Gordon Gluff followed with his multiplying-bills routine followed be attending the Magic Summit in
own approach to the Named Card by a quick Triumph card effect. November as our representative. COLORADO SPRINGS, CO —
effect; in Gordie’s case, the freely And Alan Banspach got away with The performances were emceed Holiday Magic was the theme for
selected card was named Oscar, as a die-in-box prediction and sec- by Merlin Olson. Don Moody had September. Magic Santa – aka
predicted. To wrap up the evening, ond-sight divination that despite a participant cut a deck of cards, Larry Mahan – took the helm as
our very busy kid show magician/ its expense seemed better suited pick a card, replace, and give emcee for the night, showing us all
clown, Mary Ziemba, did a sort for close-up. deck to Don. Don pulls card from how virtually any magic effect,
of magical show and tell. She had Tony Chaudhuri looked as though pocket, not chosen one, then three store bought or original, may be

18 M-U-M Magazine - NOVEMBER 2014

 Assembly News
made to fit the holiday or special
occasion of choice. To help guide
the lecture, Magic Santa used the
Colorado 80916 Contact Dave
Wintermute bwintermute@juno.
com http://www.170sam.org/ for
a Matt Mello dropping-coin effect
and then an original card predic-
tion.
200
SEAHAWKS CAUSE
acronym SANTA to show how to more details. Dean Hank Strasser showed MEMBERS TO DISAPPEAR
take said effects and help create
the holiday based magic. Set the
theme; Adopt a color; New tricks
181
PERFORMING
a rising card effect and Archie
finished the performances with the
Bicycle Built for Five card effect.
SEATTLE, WA— The Seattle
Seahawks prevented most of our
already themed; Theme-able A CLASSIC Our November meeting will members from appearing at our
tricks; Advertise. Magic Santa include a lecture by Harry Allen September meeting since it was
showed us several effects that he HIGHTSTOWN, NJ— of Daytona Magic. Harry is one of the opening game of the 2014
had changed up to fit many themes, Returning from our summer the funniest people in magic and season and they chose football
including a Temple Screen, Card vacations, Assembly 181 kicked he has a line for every situation. over magic. They should have
Match Trick, and even Hippity- off a new magical year with a You might want to stop by if you come to the meeting because most
Hop Rabbits. For example, instead workshop by Jeff Carson on a are in the area. —Dave Zboray of the cars had disappeared from
of using rabbits, Magic Santa magic classic – the Linking Rings. Assembly 181 of Hightstown the roads and there was no traffic.
made his own effect in which he Jeff has been doing magic since meets the first Thursday of every Four of our wizards resisted the
can print and stick different styles he was eight years old, and after month, September thru June at the Seahawks allure and gathered
of pictures on either side. Abso- graduating college, he immedi- First United Methodist Church, for an intense review of some
lutely brilliant in the design, and ately became a full-time profes- 187 Stockton Street, Hightstown, excellent new and old magic.
thank him for sharing these secrets sional magician. Since then he NJ 08520. Doors open at 7:00PM. JR Russell started us off by
of his own design. has appeared on talk shows and Contact Stephan Sloan lands10@ cutting the top off of a Ziploc bag
documentaries showing off his optonline.net (732) 757-5337 and making it move magically. No
original performance style. He http://www.magicsam181.com/ for strings attached! He then shared
has performed for corporations, more details. the “how” with the group and gave
colleges, cruise ships, and casinos, us some baggies to practice with.
as well as countless private parties
across the country.
Everyone has a favorite Linking
191
NEW OFFICERS
The trick is called Baggie Puppet
by Julian Mather. It not only looks
cool, it’s fun to do. JR then put a
Ring routine and there are many FOR SAM 191 ribbon visually through a ring
to choose from. Jeff begins his showing us what real magic looks
with music and recommends that DANBURY, CT— Magic Mo, our like. This was Ring & Ribbon by
you consider adding music to president, is back and was voted Shigeru Sugawara. Finally he blew
your routines. When you see how in as our new president for 2014- our already blown minds with
Magic Santa and his silk smooth he performs his routine, 2015; Magic Marty is VP again. Unleashed Dog Tag by Gregory
changing apparatus you have to ask, how one gets to Members talked about our Wilson.
that point, to which Jeff answers upcoming holiday banquet Jim Earnshaw is focused on per-
Other performers took the stage “practice more than you think that at Chuck’s Steak House, fecting his routines; he showed us
between the lectures to help fit you need to.” That is good advice. on the third Monday in January. a Coins Across effect and some
the theme. As to hit up on some Each meeting at Assembly 181 Tony Spiro performed a comedy additional coin moves that were
Halloween since the holiday is has time set aside for member routine in progress – a card perfect for our small audience. We
fast approaching, Larry Scott performances. Silly Reba opened effect ending in pocket, or wallet, also discussed a very cool effect he
came out and showed an effect that segment of our meeting with or shoe with a comic surprise is working on with Mark Paulson
from a book called Spooky Magic, a Block and Cord effect. The ending. President elect Magic Mo, for our upcoming club dinner.
in which two glasses are shown Amazing Randy showed Martin performed a classic Spectator Cuts Larry Dimmitt presented a
to magically adhere to a book Lewis’s Sidewalk Shuffle with the Aces effect. creative routine using cards and
wrapped in a handkerchief. The jumbo cards. characters from the board game
book was passed around for the Our resident children’s entertain- Clue. We randomly chose a room,
group to look through. Jack Hart er, Dennis Thomas, performed an character, and weapon only to
performed his original jumbo card effect from his Friends at School discover that Larry had already
effect called Santa’s Elves and show called Fishing for Friends. solved the crime showing us
Reindeer, in which the Elves and The effect uses several funny that his prediction matched our
Reindeer were found magically props, includes a diversity choices. He also showed us a slick
moving from and to different message and ends with a spectacu- book test and even let us inspect
stacks. As an added bonus, Jack lar twelve-foot silk. the book. It’s fun to be fooled, but
printed out the notes for those of it’s also fun to find the secret.
us who came out to take home for Chuck Kleiner showed his ability
free. Thanks Jack! to scale an entire deck of cards with
As part of the monthly matrix, only one hand. He also predicted
we did have a couple of other the exact card that was chosen. He
performers who shared a magical is working on combining this skill
effect outside of the holiday theme. VP Magic Marty Age 6 demonstration and magic into a
Tom Paine performed a levitation new routine.
trick that still has me bewildered. Magic Marty performed a Throughout the meeting JR kept
Not sure how he made that lady freely selected card effect following the score of the game
float, but from the look on Tom’s followed by a number of slick on his phone but Chuck insisted
face during the levitation, it took Ambitious Card moves. that he not tell the group since
all of his inner strength to make it Frabk L. back from Florida he was recording the game to
all possible. The night ended with held our attention with some watch after the meeting. Everyone
Jeremy Chisum performing a card A man and his rings great magic mental math. predicted that the Seahawks would
trick in which the spectator selects —Magic Marty Steinberg be victorious, but what would you
a card that matches a pre-selec- Rocco, another famous name Methodist Church 5 Clapboard expect from the Seattle magicians’
tion. Thanks to all who joined at Assembly 181, brings his cre- Ridge Rd. Danbury, CT., in the club? We were all correct.
and shared on this holiday magic ativity to the effects he performs. back of the church 7:30 Contact —Chuck Kleiner
night. —Larry Scott His first prediction effect used a Martin Steinberg magicmarty@ The Emerald City Wizards
We meet at the Sand Creek Police homemade Himber wallet, made aol.com (845) 797-8363 FB meets 1st Thursday 7:00 PM
Station, located at 4125 Center from items purchased at the local Danbury Top Hatters for more each month at a branch of the
Park Drive Colorado Springs, dollar store. Rocco continued with details. King County Library. Check

NOVEMBER 2014 - M-U-M Magazine 19

Assembly News
website for locations: www.
emeraldcitywizards.org
Contact Chuck Kleiner
the June 2014 M-U-M was the
subject of discussion as President
Keith Pass opened the September
266
MYSTERY MAGICAL
tion, all happening in November.
We started out the meeting
with some great close-up magic
[email protected] (206) meeting. Keith, an accomplished GUEST including a “Back to School”
236-0608 for more details. kid show magician, recom- routine from S. Patrick. These
mended everyone study the Jim LAKELAND, FL— Our included three routines starting

226
POOL PARTY!
Kleefeld kid show article in that
issue that focused on variations of
the “magician in trouble” theme
September meeting was short on
attendance and business but long
on powerful magic...just the way
with a homework version of
Timothy Wenk’s Misled, in which
he wrote the answer to a math
that works well with children. we like it. Al D’Alfonso was up problem on a slip of paper and
WILLAMSBURG, VA— In lieu Alec Negri followed with an first with some show and tell then proceeded to poke a pencil
of a monthly assembly meeting we update on the Assembly 252 items. Al showed off a series of through it with no harm done.
had our second annual pool party, website progress. The group also glow in the dark magic tricks from This was followed by a cool cal-
and what a difference a year discussed a change in the meeting Dollar Tree. Then he presented a culator trick using “backwards
makes! The weather was warmer room setup in order to make the Barbie magician and magic kit that technology.” He then used the
(actual swimming weather), more performing situation more relaxed was sold during the holiday season calculator on his Smartphone to
magicians showed up to perform, and less formal. last year. With an iPhone app arrive at an answer with a series of
and (same as last year) there was a Tom Bohacek opened the Barbie was able to do tricks for the calculations, which coincidentally
great audience to enjoy magic. The evening’s magic performance with group. Al also showed a Japan matched the answer written on the
Poor Prestidigitator (aka President a card effect in which a selected import he picked up at the last flea piece of paper at the beginning.
Ron Grossman) started off with a card was found in a spread deck by market – a deck of cards that We then adjourned to the main
trick in which he divined the color a wind-up toy vehicle. Steve Keyl became a camera to reveal a room for our “Body Magic”
of poker chip the volunteer choose stunned the audience with a selected card. themed performances. Ricardo
when Ron had his back turned Woody Aragon effect in which was up first with a rising card
toward the volunteer! Michael packets of cards torn in half by effect. Joseph Raven was up next;
Heckenberger then did several each and every spectator in the Joe is currently polishing his
card tricks. including one in which room ended up in an incredible Psychic Detective character with
the selected card pops out of the matching finale. a story about a crime. A selected
deck while the spectator had his card was lost in the pack, but with
finger on the deck! Joe’s psychic powers he found the
criminal.
Our own S. Patrick was up next;
he showed off three “Body Magic”
tricks. The first was a classic
of magic and S. used his new
grandson Isaiah to show it. S. then
showed everyone the classic “Got
Your Nose” effect. S. then got
down to business and shared his
The Mystery Magician shows Hypno Disk, which is of course,
Tom Bohacek looks for the off for Jerry Kardos the Growing/Shrinking Head
The Poor Prestidigitator at selected card. Illusion made popular by Bruce
work! President Jerry Kardos then Kalver. S. then showed Hang’em
Richie Klein underscored the presented his friend the Mystery High by Bob Sheets, in which a
Larry Lessner did some great evening’s “oops” theme with a Magician; this automated marvel rope held by two spectators was
coin work, making a silver card effect in which the selected discovered by Jerry did a complete passed straight through his torso.
dollar disappear and re-appear at card couldn’t be found even with show for the group that left us
will. Larry also did some great repeated tries. Bob Malinchock shaking our heads.
mentalism effects. Scott Fridinger performed a Hippity-Hop Rabbit Once again another great get-
followed with a hilarious escape routine he adapted from the book together by Lakeland’s finest.
routine in which he was tied tight Magic Comedy Text Book by Be sure to visit the next time
with rope but managed to get out David Rogers. The group had fun your plans bring you to Central
with the greatest of ease. Last, but acting like an audience of four- Florida; you’ll be glad you did.
certainly not least, was Watt Hyer year-olds for Bob’s kid show trick. —Al D’Alfonso
who amazed the audience with his Alec Negri did his variation on Jim Zachary Assembly 266 meets
skill with rope! the Chicago Opener that involved the second Monday of the month
If you ever find yourself in Wil- two spectators, allowing the spec- at 7PM at the Lakeland I-HOP, I-4
liamsburg in August, I hope tators to select any card, “but not & US 98. Contact Al D’Alfonso
you have the chance to join us! that one,” a line delivered in a [email protected]
—Michael Heckenberger shout. Greg Clements concluded (321) 437-3814 for more details.
Assembly 226 meets the fourth the evening’s performances with a
Wednesday of each month (except
for August and December) at the
Williamsburg Library, Room B,
poker routine in which he proved
he could read Tom Bohacek’s
“tell,” i.e., the cards in the oppo-
277
“BODY MAGIC”
Our newest member Isaiah
didn’t like the Apple iPhone so
515 Scotland Street, Williamsburg, nent’s hand. Greg’s effect worked he upgraded to the Banana!
VA. Meetings start at 7:00PM. perfectly, although he admitted he STROUDSBURG, PA— The
Contact Michael Heckenberger couldn’t achieve the same results PMMC met in September at
[email protected] (757) when he rehearsed it at home. the “Gallery” for their monthly Our final performer was Odes
812-3299 https://sites.google.com/ —Alan Wheeler meeting. After some discussion Odhner, who took on the theme of
site/samassembly226/Home for Assembly 252 meets at the about their upcoming Community “Body Magic” with two routines.
more details. Knights of Columbus Hall behind Day booth activity, the upcoming First he showed his non-gimmick
St. Leo’s Catholic Church, 3700 Big Brothers/Sisters Telethon version of how to slow your pulse

252
OOPS!
Old Lee Highway in the City of
Fairfax, Virginia. Contact Tom
Bohacek [email protected]
performances, and who is going
to any of the upcoming magic
conventions including the ICBM
rate. The routine was a real gas!
Next Odes showed us his hilarious
version of Shinkoh’s Twisted Arm
(703-754-2005) for more Gathering, the Bob Little Conven- Illusion made popular by Meir
FAIRFAX, VA— An article in details. tion, and the Kutztown conven- Yedid. Odes used two volunteers

20 M-U-M Magazine - NOVEMBER 2014

 Assembly News
from the audience and twisted his He had lectured the evening Many effects were familiar with a funny flash paper and hot
hand over one and a half times. before in Kansas City and then “workers,” but he had honed and dog stunt leading to “smoke” from
If you are ever in our area, give drove straight through to Greeley. improved them by adding new a thumb tip. More coin manipu-
us a call and stop by. —S. Patrick In spite of being exhausted, moves and clever touches. lations, and then came two book
Assembly 277 meets each 3rd he gave a fine lecture. Nate is Nate began with a mini-show. tests. One was his Coolest Book
Friday at the “Art Space Gallery” humorous, informal, and very per- He opened with flash paper, cards, Test Ever, with two different-look-
(18 N. 7th St. Stroudsburg PA. sonable. and a disclaimer that a card rev- ing novels. Nate has a DVD out on
18301). Starting At 7:30 pm. elation would play best for open- book tests. He used Stan Skrabut
Contact S. Patrick damagician@ minded adults. He performed for one test, and Lew Wymisner
verizon.net (570) 242-6821 www. two coin effects: 3-Fly with half for the other.
pmmc.webs.com for more details. dollars, and then, with Stephen Nate closed with a card in
Pichoff as the spectator, Silver, wallet with Stan Skrabut. Nate

292
KRANZO’S LATEST
Copper, and Brass. Then came
some uses for Burling Hull’s Mene
Tekel Deck (which was given its
showed not one but two quality
wallets made by Tony Miller: the
Complete Peek Wallet, and the
LECTURE Bible-miracle name by one of versatile The Badger, the only au-
your scribe’s childhood heroes, thorized Mullica no-palm wallet.
GREELEY, CO— James Lopez Herman Hanson). Nate has a DVD Afterward, Nate had some of his
chaired a brief September business out on Mene Tekel. The closer tricks, DVDs, and publications for
meeting over lunch. We welcomed Nathan Kranzo (left) and was an ingenious and stunning sale. —Ron Dutton
new member Marquis Loflin. James Lopez magazine test, TRU-Test, origi- The Dr. Ronald P. Dutton
Our sister group, IBM Ring 250, nally by U.F. Grant but greatly Assembly 292 usually meets at
The Presto-Digitators, jointly Even though Nate speaks rapidly, improved by Nate, with James Kenny’s Steak House, 3502 West
sponsored the lecturer, Nathan the lecture’s pace was leisurely. Lopez ripping a page into little 10th Street (corner of 35th Avenue)
Kranzo. He is an inventor, televi- He credited originators. The pieces to select a word. Then Nate at 11:00 A.M. (lunch optional), on
sion shows consultant, and popular tricks were neither very technical explained so clearly the details of the second Saturday of the month.
lecturer around the world. Nate’s nor knuckle-busters, so most how to perform each effect that Contact Jim Pope jlp1616@
creations have been published in magicians could perform all of there were only a few questions, comcast.net (970) 339-3277
many magic magazines, including them. A few effects were suitable which he answered thoroughly. www.SAM292.com for more
M-U-M. for restaurant tables or strolling. Following a break, Nate opened details. 

New Members and Reinstatements

NEW MEMBERS Letelier, Matias Solomon, Joel Bauman, Shannon

New York, NY Staten Island, NY Anglin
Abello, Alejandro Lewis, Robert Thompson, Cherylyn D Rockledge, FL
San Carlos, CA Aurora, CO Aldie, VA Berman, Darryl
Barr, Jon Mahn, Paul Varghese, George Johns Creek, GA
Portales, NM West Allis, WI Bangalore, Karnataka, Bravo, Dorothy Dietrich
Beem, Timothy Malvagno, Victor India Olyphant, PA
Columbus, OH Dingmans Ferry, PA Weng, Jeremy Christopher, Robert
Cray, Dan Martin, Lance Cupertino, CA Bettendorf, IA
Los Angels, CA Pikesville, MD Williamson, Jacob Dehart, Kevin
Davenport, Michael Meyers, Warrin Canal Winchester, OH Tampa, FL
Dallas, TX Sanibel, FL Yoder, Jim Kriss, Gary
Di Quollo, Carmen Moras, Tony Riverside, CA South Salem, NY
Valrico, FL Carlsbad, CA Medows, Jeremy
Elliott, Dirk Orta, Matthew REINSTATEMENTS New York, NY
Oakley, CA San Antonio, TX Schwimmer, Steve
Fox, J Gary Page Jr, Dr Joseph T Aldridge, Clarke Syosset, NY
Princeton Junction, NJ Kapolei, HI Hanover, PA Trillo, Arthur
Fyfe, Jackson Paul, Joe Ammar, Michael Tucson, AZ
Newton, MA Dallas, TX Windermere, FL Vanderbilt Brady, Philip
Goldstein, Stephen Sack, Jude Anderson, Nathan Georgetown, SC
Atlanta, GA Seattle, WA Tucson, AZ Wax, Ken
Graham, Ted Sander, Stephen Atkinson, Douglas Needham, MA
New Orleans, LA North Fort Meyers, FL Forest, VA Ziegler, James W
Green, Gary Santillo, Tye Aust, Kevin Platine, IL
Delray Beach, FL Nutley, NJ Kensington, CT
Hoch, Willis Singer, Lawrence Austin, Robert
Wayne, PA Syosset, NY Melville, NY
Lancaster, Steve Siqueiros, Leticia Badik, Adam
Tulsa, OK Tucson, AZ Somerville, MA

NOVEMBER 2014 - M-U-M Magazine 21

 Broken Wands

PHILLIP WILLMARTH
AUGUST 19, 1931 – SEPTEMBER 16, 2014

On Tuesday,
September 16, 2014,
Phil Willmarth died
peacefully at his home
in Durham, North
Carolina, surround-
ed by family. He was
eighty-three. Phil dis-
covered magic as a boy, Robbie and Phil Willmarth (Photo Courtesy
with Will Lindhorst’s of Mona Morrison)
book, A Bag of Tricks.
Shortly thereafter he Carolina), Ring 326 (Burbank-Glendale-Eagle Rock-
saw an ad by Douglas Pasadena, California), Ring 2100 (The Universe), The
Magicland in Dallas, Society of American Magicians, and the Magic Circle
Texas, and sent ten (MIMC with Gold Star).
Phil in his office (Photo courtesy cents for their catalog. Among survivors are his wife, Robbie; his children,
of Samuel Patrick Smith) From it he bought Janet and John; and her children, Eldridge and Lelia,
Professor Hoffman’s and their families.
Modern Magic, then More Magic, and Later Magic. He
was hooked on magic, especially magic books. CARL “BUD” DIETRICH
Raised in New Castle, Pennsylvania, his interest in MAY 7, 1922 – SEPTEMBER 24, 2014
magic continued through high school, college, and into
the U.S. Army; he married his first wife, Anne, in 1955 The magic
while still in the service. Following his discharge, they community has lost
moved to Chicago, where he worked in advertising another legend.
and marketing research. Chicago was in its heyday as Carl “Bud” Dietrich
a magic mecca, and he was in magic heaven, surround- died peacefully on
ed by magicians. His magic interests developed and he Wednesday evening,
became an active performer, lecturer, and author. He September 24, 2014,
became active in both the International Brotherhood at the age of ninety-
of Magicians and The Society of American Magicians. two. He was born
In 1978 he became assistant editor and Parade May 7, 1922, in East
editor of The Linking Ring. Following his wife’s death in St. Louis, Illinois; he
1985, he continued his work for The Linking Ring while was always known
also running his marketing research company. After he as Bud. He attended
remarried, Phil and his wife Robbie moved to Durham, Bud as Mr. Hoyle
Central Catholic High
North Carolina. As he became active in the I.B.M., he School and graduated
earned his way up on the board to president-elect. from East St. Louis High School in 1941. He attended
But in 1992, when The Linking Ring needed his help, St. Joseph’s College in Rensselaer, Indiana; following
he resigned his officership to become executive editor World War II he attended Shrivenham University
and business manager. After fifteen years of keeping in Swindon, England. He was a World War II Army
the journal on a solid foundation, he stepped down Veteran, serving as an instructor in the Pack Artillery
in March 2007 after his successor was selected, to at Fort Sill, Oklahoma; he spent eighteen months
prepare to become I.B.M. international president. He overseas with the 12th Armored Division. He ended
was inducted in July of that year in Reno, Nevada. his service as an Intelligence N.C.O. in Germany.
Phil was the author of several books and booklets, For sixty-six years he was married to Audrey
including The Magic of Matt Schulien (1959), Fun with (Effinger), who passed away last year. She would travel
a Handkerchief (1969), The Ring and Rope Book (1975), with Bud to many magic conventions and on many of
Jim Ryan Close-up (four volumes, 1980-81), Trevor his international trips. She was as big of a fan of magic
Lewis ESOLC (1981), The Knot Collector (1989), and The as Bud was; they were the perfect magic couple.
Impostress Princess Expanded (2011); he also published He was well known in magic and lectured to
several books by other authors. Phil was a popular magicians all over Europe and America. He served on
emcee and lecturer throughout the country. the Board of Directors of the International Brother-
He was a member of Ring 199 (Raleigh, North hood of Magicians and was a lifetime member of that

22 M-U-M Magazine - NOVEMBER 2014

 Broken Wands

organization. He ally, he took time to engage with the magic community.

was also a member He loved to help other magicians become success-
of The Society of ful. I remember making the decision to get into the
American Magicians corporate world as a speaker in 1983. His sage advice
and was a former is still as relevant today as it was over thirty years
member of the ago. He said that to be successful you had to work
Magic Castle. at least forty hours a week. Practice and rehearsal
Bud loved magic don’t count. The real work is picking up the phone
as much as he and calling on clients. Spend forty hours a week doing
loved life, perform- that and you can’t help but be successful. He was right!
ing professionally Bud was one of the most positive and upbeat
for forty-four years people you would ever meet. His charisma and en-
until he retired in thusiasm for life were contagious. I remember back
November 2000. in the late ‘80s we were in Chicago working a trade
He was one of the show together. He had a car, and we decided to go
pioneers of trade to Dick Jarrow’s home. Dick was a close friend and
show magic and Bud’s co-author of The Tradeshow Handbook, one of
was often called the go-to books for any magician interested in learning
the Fortune 500 about booking and performing magic at trade shows.
Magician. For many years he was the spokesman for We seemed to be lost, and I asked Bud, “Where are
Hoyle Playing Cards. His signature routine was the we?” He smiled and said, “I don’t know, but we’re
Linking Rings. He would use the noise of the rings making good time!” We couldn’t stop laughing and
to draw attention to his client’s exhibit, accompa- had to pull over to avoid an accident.
nied with humorous patter that worked in his client’s He was my friend and mentor. Carl “Bud” Dietrich
product features. He was truly a master at building a will be missed by his daughter Joan, son Paul and his
crowd and holding an audience captive with his magic. wife Laura, his extended family, and the thousands of
As Bud traveled the world performing profession- friends he made throughout his life. —Shep Hyken

Good Cheer List

Please take a minute to spread a few words of cheer with a card or note to one of our less fortunate members. Send additions,
changes, or deletions to: Anthony Antonelly, Chairman, Sick and Convalescent Committee, (215) 820-3192 ext. 1512.
[email protected]
Daniel Cudennec Dick Kohlhafer James J. Morrisey Pat Ryan
“Dany Trick” 408 Century Vista Dr. 24 Grove St. 43 Fairbanks Rd.
225, Stang-ar-Veil- Arnold, MD 21012 Wayland, MA 01788 Churchville, NY 14428
d’an-Traon, Mellac-29300,
Quimperle, France Stanley R. Kramien Nahmen Nissen Matt Savin
11205 SW Summerfield Dr. PO Box 1856 P.O. Box 7693
Dan A. Dorsey Apt 161 Colfax, CA 95713-1856 Alhambra, CA 91802-7533
98 Woodvalley Dr. Tigard, OR 97224-3391
Fayetteville, GA 30215 Allen Okawa Jack White
Richard Laneau 2101 Nuuanu Ave., 4288 Arguello St.
Charlie Gross 4020 55th St. N. Tower 1, #2203 San Diego, CA 92103
16745 Gertrude St. St. Petersburg, FL 33709 Honolulu, HI 96817
Omaha, NE 60136-3023 Jim Zachary
George Gilbert Lott Jim Relyea 2801 South Creek Dr.
Roy Horn 1725 Great Hill Rd. 241 W. Lakeshore Mulberry, FL 33860
c/o Siegfried & Roy Guilford, CT 06437 Rockaway, NJ 07866
1639 N Valley Dr.
Las Vegas, NV 89108 Frank J. McNaughton, Sr Harry Riser
1926 Apple St. 11755 N. Michigan Rd. #313
Bob King Williamsport, PA 17701 Zionsville, IN 46077
304 Suburban Ct.
Rochester, NY 14620

NOVEMBER 2014 - M-U-M Magazine 23

 The Nielsen Gallery Handy-Bandy - Levitation
Dimensions: 2-sheet European: 27” x 54” • Lithographer: Adolph Friedlander
Date: 1926 • Nielsen Rating: Unique
After the unfortunate shooting death of Chung Ling Soo at back inside the outer box, Nadia-Nadyr would appear from the
the Wood Green Empire Theater on March 23, 1918, a number previously empty boxes. It was an effect that could be done sur-
of magicians tried to capitalize on his approach of impersonating rounded.
magicians from the Far or Mid East. Prior to Soo’s death, some The first improvements to this illusion were made by Horace
had been at it, even dating back to the turn of the century. Most of Goldin, who dispensed with the second showing of the inner
these were westerners who decorated themselves and their stages box, which sped up the pace considerably. He also added large
to appear exotic. One, however, was an actual Egyptian who casters on the table legs allowing the illusion to be easily turned
appeared as Handy-Bandy, assisted by Nadia-Nadyr. by the magician without the suspicious aid of an onstage assistant.
In the long line of exotic magicians at that time, we had Handy-Bandy’s contribution to the illusion was to add slats to
A.N. Dutt, who used the stage names “Ishmael,” “Ram Bhuj,” the inner box that supposedly allowed Nadia to appear instantly.
and “Linga Singh,” who appeared as “The Mysterious Hindu.” The effect, however, was lost on the audience, who could not
There was also A.W. Hartopp, who first came to notice in 1909 determine what they were looking at.
as “Amasis” and sometimes “Ben Said the Algerian Funjurer.” Writing in a January 1976 issue of The Magic Circular,
Without a doubt, the most successful of these was Albert Marchin- Fred Maldino, a professional German magician from the 1930s,
ski who called himself “Rameses.” For all their beautiful posters, discussed the Mignon Illusion and the suspicious second showing
very little is known about this month’s subjects. Here’s what of the inner box. He found it unnecessary and noted a Nelson
the magic trades tell us. Handy-Bandy’s actual name was Fuad Hahne cartoon in The Linking Ring showing a couple in a theater
Makarius and he was born about 1899. While his wife’s name is watching a magic show and the gentleman whispering to his date,
unknown, she was an American. “If he (the magician) shows the box once more to be empty, I will
They reached the height of their popularity in the late 1920s get suspicious.”
and early 1930s. They were inspired by the magic of Okito The Sphinx magazine reported in November 1931 that Handy-
(Theodore Bamberg) and first appeared in theaters around Berlin Bandy and Nadia-Nadyr were appearing at the Wintergarten in
as a Japanese act. After being criticized for the imitation, they Berlin with six or seven wonderfully executed “decorations” in
took on the guise of Egyptian wonder workers. the “old Egyptian style,” which must be referring to backdrops
The first review of the act appeared in Billboard on July and other stage dressings. The reviewer, P. Sheldon, praised the
28, 1928. The headline read: “Handy-Bandy, Egyptian Mystic, magician but added that his tricks were “more or less old and seen
Favorably Received in London.” It went on to say: here many times.” In the May 1932 issue of The Sphinx, Sheldon,
“The latest foreign illusionist to visit England is Handy-Ban- president of the German magic club, Der Magische Ring, reported
dy, who opened at the London Coliseum, where his presentation that many new members had joined, including Okito, Amac, and
was more than favorably received. He repeated his success at the Handy-Bandy.
Bristol Hippodrome, Shepherd’s Bush Empire, and the London The last reference to Handy-Bandy and Nadia-Nadyr appears
Alhambra last week. Handy-Bandy, who is an Egyptian, has in The World’s Fair for Saturday, May 9, 1936. Beneath a pho-
as his featured assistant Nadia-Nadyr. He has performed his tograph of “Madam Stromboli, the Human Volcano” is a note
illusions thru the Orient, toured extensively in Greece, Italy, and that Handy-Bandy is playing in Berlin. In August that city would
Germany, and is now in the early stages of a tour of the Stoll be the site of the Summer Olympics. Hitler saw the games as an
theaters. His illusions are on a big scale, for the most part cleanly opportunity to promote the Nazi party and his ideals of racial
executed, with good showmanship. His feature effects include supremacy. There was considerable discussion that Jews and
‘The Confetti Trick’ and ‘The Egyptian Sarcophagus,’ both of African-American people should not be allowed to participate
which he is the originator.” in the games. American athlete Jesse Owens, an African-Ameri-
By September, he was in Holland, then on the continent. In can, was allowed to compete and dealt a crushing blow to Aryan
November, he was appearing at the Friedrichsbau Theatre in supremacy by winning four gold medals in the 100 meters, 200
Stuttgart, Germany, and then, in December, was taken seriously meters, long jump, and 4 x 100 meter relay.
ill and advised to take several months and return home to Egypt There is no record of what became of Handy-Bandy and Nadia-
to recuperate. Naydr. As “foreigners,” perhaps they perished in the Holocaust.
There are practically no descriptions of the effects he featured All that exists are examples of their wonderful lithographs that
in his show, but we know for a fact that he featured the Mignon played upon erotic imagery of the scantily clad Nadia being
Illusion, which was built and sold by the German firm of Conradi- cremated, levitated, and hypnotized, all set amidst Egyptian
Horster about 1930. pyramids and temples. 
It was kind of a double-box illusion, one being inside the other —Tom Ewing
and both set atop a table. First, each side of the outer box would
be opened and dropped down, revealing the inner box. Then the Sources include the Conjuring Arts Research Center; David
inner box would likewise have all four doors opened and dropped. Price’s Magic: A Pictorial History of Conjurers in the Theater;
In the original version, the inner box was closed again, then the Christopher Woodward’s Rameses the Forgotten Star; and other
outer, and finally, the inner box was lifted out of the top of the references.
outer box, shown empty one more time, and after being placed

24 M-U-M Magazine - NOVEMBER 2014

 Stage 101 Pr acticum
By Levent

THE FIRST in the ancient world, the art of magic was

ENTERTAINERS more closely aligned with religious cere-
monies than other forms of entertainment.
“All work and no play make Jack a THE BIRTH OF VARIETY
dull boy.” – Old Proverb
“For millions of years, mankind lived
just like the animals. Then something At some point in history, the business This all changed about two thousand
happened that unleashed the power of our of entertainment began. At first, in ancient years ago during the Western Han Dynasty
imagination. We learned to talk…” times, people gathered around a campfire in China. During that time China had a
– Stephen Hawking and engaged in oral storytelling. This well-developed understanding of science
communal activity fulfilled a human and medicine compared to most of the
THE DEVELOPMENT OF need to understand the meaning of our world. And with their relatively enlight-
HUMAN SOCIETY existence; it also gave people pleasure ened view, the Chinese saw the perfor-
to witness a well-crafted narrative. The mance of magic tricks for what it really was:
The day-to-day life of our early telling of a story was not limited to verbal pure entertainment. During that period
ancestors was a difficult one, no doubt recitation; many cultures around the world it was common for troupes of magicians,
consumed by the constant struggle to hunt also expressed narrative with dance, song, musicians, acrobats, and jugglers to travel
and gather enough food to satisfy the bio- and drawings. Sometimes these tales told throughout Asia to entertain the people for
logical need to survive. The one gift that of what was collectively remembered to money. Today we would normally classify
separated mankind from the other animals have happened in the past. Other times these artists as variety entertainers.
was our ability to verbally communicate they related myths created from the imagi- For much of the first two millenniums,
complex ideas. This led to the retention of nation of the storyteller himself; these the variety entertainers in Asia and Europe
ideas and the transference of valuable in- myths were used to explain the mysteries were itinerant artists who performed
formation from one generation to the next. of the world. When people developed outdoors for tips. Additionally, there was
For instance, a person might have seen music and written language, the storytell- also a much smaller group of entertainers
someone die as a result of eating a certain ers wrote and recited poetry, sang songs, who were employed by the royal courts
type of plant. That person could then warn and performed dances; thus entertainment, as jesters, minstrels, or troubadours. It
others about the presence of poisonous as we know it today, was born. was during the eighteenth century that
vegetation, thus helping their social group variety artists began to perform indoors
or tribe to survive and multiply. Much later, THE ROLE OF at theaters. And in the nineteenth century,
with the invention of written language, the MAGIC IN EARLY as permanent outdoor equestrian shows
constant accumulation of ideas accelerated began to evolve into traveling tent-based
and led to great advancements in agricul- ENTERTAINMENT shows, the circus as we know it today was
ture, medicine, engineering, weaponry, born; it became a venue for all kinds of
and animal husbandry. A byproduct of the When the storytellers told myths variety acts.
confluence of these technologies was the about the origins of man, his place in
creation of complex societies that were the universe, and the nature of death, the THE BLENDING OF
much greater in size and scope than the storyteller became a priest in primitive THE ARTS IN
typical tribe. One important feature of religions. Some of these priests practiced
a complex society is the creation of the medicine; they evolved into shamans. VAUDEVILLE
division of labor and its social byproduct: Sometimes the shamans performed magic
the class system. This meant that instead tricks to convince the people that they had In the 1880s vaudeville began in earnest;
of everyone being hunter-gatherers, like supernatural powers. This occurred most it became common to see a variety of
in the days of primitive man, people could notably in ancient Egypt, where the priests artists all working in the same show. Soon
have different jobs. For instance, a person reinforced the military and political power the acrobat, the magician, and the juggler
might be a farmer, or a soldier, or a basket of the pharaohs. It should be noted that in became brothers in the common quest to
weaver. All of these professions would be Egypt the magician/priests belonged to make a living by entertaining the masses
necessary to expand and sustain a large a specific caste that was part of the state in the early industrial age. The competitive
civilization. And as for the class system, religion. But the dancers, musicians, nature of vaudeville also engendered the
many would be poor and some would be jugglers, and acrobats of the Nile region cross pollination of the variety arts. This
rich kings and rulers. were usually there to entertain. In general, meant that sometimes performers blended

26 M-U-M Magazine - NOVEMBER 2014

various skills in order to distinguish them performers. Johnson was a short, stocky tion of all of these things that made his act
from their competition. Furthermore, some man with a mane of wavy white hair. He amazingly strong, unique, and memorable.
performers changed their acts completely, opened his act with a silent manipulative
until they found something that would routine in which he produced a multitude THE DOWNSIDE
succeed. Take for example, the vaudeville of lit cigarettes at his fingertips. Next he
performer Suzy Wandas-Bennett (1896- got two men up on the stage and proceeded On occasion the combination of various
1986). At the beginning of her career she to have them tie his two thumbs together arts within a single act can cause problems.
was a dancing violinist who at various with a length of cord, while he told funny I’ll explain by relating my personal experi-
times worked as a trio, a duo, and a solo jokes. The volunteers then threw colored ence. Not long after I started performing
act. But eventually she became one of the Plexiglas hoops to him as he made the magic, I learned how to juggle; before long
finest female manipulators of her time and rings magically penetrate his tightly I included juggling in my shows. To be
performed a magic act for the latter half of bound thumbs. The cord was then cut completely honest, I was (and still am) a
her show-business career. and Johnson began to pick the spectators’ terrible juggler, but I learned enough to do
pockets in a hilarious interlude. Next he a couple of entertaining juggling routines
THE POWER OF did a comedy routine with a vanishing and in my act. When I was a kid doing birthday
VERSATILITY reappearing ashtray. And for his finale, parties, my juggling was good enough,
because I was the only entertainer at the
“You’ll use everything you ever knew.” venue. Later, when I was a comedy club
– Johnny Carson performer, I was usually on the same
bill as stand-up comics who did not use
For the past thirty years, I’ve performed props. So my good comedy magic and
on cruise ships. I have worked with many mediocre juggling were the only variety
acts on these vessels; the one act that on the show, and it was fine. Later, when
impressed me the most was Jerry Lewis, I started performing on cruise ships, I
whom I saw in 1992. I certainly knew of Mr. sometimes worked alongside world-class
Lewis from his many comedy films and his jugglers. And I knew that the deficiency of
hosting of the Muscular Dystrophy Asso- my juggling technique (as compared to the
ciation annual telethon. But frankly, I was real jugglers) would be readily apparent
not expecting much from his live show and to the audience. So I quickly took the
planned to watch only one performance. juggling bits out of my show. But if I am
But I found his act to be so entertaining not working on the same ship as a juggler,
and educational, from a professional point I can always put the routine back in!
of view, that I watched all four of his per- From what I understand, Johnson, aka
formances. Jerry Lewis sang, told jokes, Count Della Ragione, passed away a long
danced, juggled, performed pantomime, Count Della Ragione time ago. The last time I saw him was
and even did a comedy-magic routine. at a magic shop in Manhattan in the mid
In a way he was a one-man vaudeville Johnson announced that he was going to 1980s. On that occasion, Johnson told me
show; his range of talent was astonishing! play the violin. With a fanfare an assistant that among the tricks in his repertoire was
I should point out that in my opinion he brought out a closed violin case that rested the multiple production of goldfish bowls.
was not fantastic at any one specific skill. on a four-legged wooden stool. He opened He added that Richiardi prevented him
There were certainly funnier comedians up the case and feigned shock that his from doing the goldfish bowls in the show
or better dancers or mimes than him. But prized instrument was missing from the that I had seen. The reason was because
few could do so many different things in container! To solve his predicament, he Richiardi was the star illusionist of the
such an engaging manner. It seemed that removed a stool leg and attached a single show and had felt that the goldfish bowls
each skill in combination acted as a force piece of wire and a matchbox to the leg, was too big a trick and would conflict with
multiplier. enabling it to function as an “improvised” his illusion act. But since Johnson was
The first time I appreciated the power one-string violin. He played Johannes the only magician on his cruise ship, the
of versatility was while attending a show Brahms’s “Hungarian Dance No. 5” beau- goldfish trick was back in the show! I never
in 1978 at The Village Gate in New York tifully and tap-danced at the same time. worked on the same ship as Johnson, but I
City. The show was called The Incredible When he stopped, the audience exploded guess (speaking figuratively) we were both
World of Magic and Illusion; it starred the into a tremendous ovation. in the same boat.
illusionist Richiardi and a few other per- Johnson was a very powerful act; even In the next column I will teach the
formers. One of the other performers was to this day, my eighty-six-year-old mother magic-and-juggling routine from my
an older Italian magician who was billed talks about that performance. He was a comedy club act in the 1980s. 
as “Count Della Ragione,” but he was fine pickpocket, musician, magician, and
called “Johnson” by his friends and fellow comedian. But in truth, it was the combina- © 2014 Levent Cimkentli

NOVEMBER 2014 - M-U-M Magazine 27

 Not Just Kid Stuff
By Jim Kleefeld

Theatrical timing is not a new concept,

nor is it specifically relegated to children’s
magic shows. Samuel Beckett and Harold
Pinter both made a huge impact on live
theatre, partly because they focused on
existentialism, but also because their play
TIMING IS CRUCIAL scripts depended strongly on many sig-
There is a qualitative difference that nificant pauses that allowed the audience
separates a good magic show from an time to wonder what the characters were
average one. A show can have many good thinking. Pinter’s plays, The Room and The
ingredients, but still not be well received. Dumbwaiter, with their numerous pauses,
Sometimes the number of tricks you are excellent scripts for a stage performer
perform is a factor, as well as the amount to read. Buy them and study them. Waiting
of time (or even money) you spent on for Godot is groundbreaking because it is
your tricks. But many magic shows I have about waiting.
watched have one common flaw: poor If you really want to attract your audi-
timing. ence’s attention, pause. Stop at a critical
Timing is Crucial. It is important not moment and look directly at the audience
only between routines but within a routine. as if you were daring them to believe
Moving too quickly means you miss laugh what is about to happen. Then provide
points or “wow” moments. Moving too the magical moment. By employing this
slowly means people lose attention. More technique you build anticipation. The
important, timing needs to fit both the magic becomes stronger or the laughs
physical action and the sequence of human get funnier because people have time to
thought. It’s a hard thing to teach, (par- think about what is about to happen. Jason
ticularly in a written article like this one) Latimer is an expert at this technique. Try
but here are three basic tips. Slow down. it for yourself. Slow down as you near the
Pause. Speed up. We will get to the how critical magical moment in a routine. Pause
and the why of this idea in a few moments. right before it occurs. Speed up and make
But for now, remember them while you the magic happen.
read. Slow down. Pause. Speed up. Here is a routine that exemplifies the
Most magicians, like most consumers, use of slowed action, pauses, and quick end of the rope hanging from the back of
think that more is better. Do ten or twelve action. All you need is one piece of rope the hand. As soon as it is pinched, tip the
tricks in a show and the audience must about five-feet long. You also need to be hand downward, letting the rest of the rope
have been given a better show than if able to perform a one-handed knot and a slide off the back of the hand, forming a
you had done six or seven tricks. Do your Chefalo knot or other similar vanishing knot at the center of the rope. A general
tricks quickly, non-stop, one after another, knot. I’ll go over those two sleights briefly, down and up arm movement will help the
and the audience will be breathless from but I suggest you dig out your Abbott’s En- knot form and slide off quickly.
laughter and enjoyment, right? Not nec- cyclopedia of Rope Tricks and practice.
essarily. More tricks do not make a show CHEFALO KNOT
better, any more than doing everything ONE-HANDED KNOT
faster makes a better show. Children’s This is a self-dissolving knot. To tie
shows need proper pacing. Hold your right hand palm up with it, simply tie a square knot and then pass
A magician I saw at a kid show con- the fingers spread wide. Place the rope the free end through both knot loops in
vention really wowed the crowd. He was diagonally across the palm from the the same direction. Step-by-step, it goes
ecstatic that the audience loved his per- thumb to the little finger. The center of like this: Hold both ends of the rope. Place
formance. The audience was ecstatic that the rope should be at the little finger joint, the right end over the left and then pass it
he had so many quick, funny routines. I and half of the rope should be hanging around and under the left side to make a
was one of the few who thought he could down, passing between the ring and little simple single knot. Now place the left end
be better. I think what everyone missed fingers. The rope should pass over the over the right and pass it around and under
was that he was very entertaining to the thumb crossing it at the knuckle, with the the right side to make a simple square knot.
audience of adult magicians. But I did short end hanging down over the outside Do not pull the knot tight, but leave a small
not feel his act would work as well for of the hand. Turn your hand palm down bit of space between the two loops. Take
lay people, particularly kids. I believe his quickly, rotating it at the wrist. The little the right end of the rope and pass it from
problem was timing. He worked fast and finger should catch and hold its end of rope the back (your side) to front (the audience
non-stop; we barely caught our breath without actually moving. The thumb and side) through the bottom loop. Keep hold
between the many gags and bits. first finger will be free to pinch the short of the same end and pass it the same way,

28 M-U-M Magazine - NOVEMBER 2014

from back to front through the top loop. Speed up your action again as if you of the right term. Use your fingers to count
You can tighten the knot to a small twisted were getting impatient to get on with the to four in the air. Point as if touching and
bit and it will still hold together, but if you trick. “Thank you. Now if you, young lady, counting four invisible floating objects in
pull hard, it will come completely untied. could just hold on to this end of…” Notice front of you. “...a ‘ fourple’ knot?”
the third knot and pause. Very slowly turn The boy will usually say yes. Turn the
THE ROUTINE back toward the boy and freeze. Just stop rope over and cover the knot with your
and stare at him. People will laugh. Then hand, but insert one finger into the bottom
Bring two volunteers up on stage. Have start removing the knot while you speak loop. Then pull both ends so the knot
them stand on either side of you. This and quicken your pace as you go. “I see tightens around your finger. Speed up the
works well using a boy and a girl about what’s happening here. You’re putting pace. “Well maybe you could now because
the same age. Hand the rope to the boy. these knots in this rope when I look the it’s loose. But if I pull hard on both ends
“Would you inspect this for me, please?” other way. I turn to her, and there’s a knot. of the rope, do you know what happens?”
No matter what he says, act slightly I take this from you and there’s a knot. The boy will either say, “No,” or “The knot
contrite. “You see, I have to use it for this Every time you get the rope there’s a knot. disappears.”
next magic trick and if it’s not inspected, I I wouldn’t have asked you to help if I’d Act pained and let go of the knot,
could lose my magic license. You are the known you were a ‘knotty’ boy.” Pause and holding your hand up to display the caught
Rope Inspector, aren’t you? I thought so.” let the audience react to the gag. finger. “No. I get my finger caught in the
Take the rope back, and hold it in prep- Hold the rope in both hands so the knot!” Pull your finger out of the knot with
aration for the One-Handed Knot. “Thank entire unknotted length can be seen. great difficulty and shake your hand as if
you very much.” Keeping your eyes on Pause. Then begin speaking at a steady it really hurts. Stick your finger briefly in
the spectators, perform the One-Handed pace. “I’ll tell you what; since you like your mouth, and then glance back at the
Knot as you turn toward the girl to hand knots so well, I challenge you to take out rope. “Oh, and the knots get tighter.”
her the rope. “If you could just hold on to The World’s Most Difficult Knot.” Tie a Turn to the girl and address her con-
the short end here?” Notice that a knot has new single overhand knot and hold up the spiratorially in a stage whisper. “Hey, let’s
appeared and draw the rope back from the rope between outstretched arms. Pause as make it really difficult for him. I’ll hold the
girl before she can get a grip on it. Pause if to indicate that the single knot is “the knot and you grab hold of this end.” Cover
and look perplexed. world’s most difficult knot.” the knot with your fist and hand her one
Turn toward the boy. “Excuse me, I “Not this knot, of course. This is an free end. Then turn to the boy and pleas-
forgot to explain. The Rope Inspector’s easy knot to take out. This is a single antly begin to hand him the other end.
job is to take out the knots.” Hand the rope knot.” Tie a second single knot on top of “Here, you hold the other end.” As he goes
back to the boy so he can untie the knot. the one in the rope to form a square knot to reach for it, let it go so that it falls down
Pause and look straight out towards the in preparation for the Chefalo knot effect. and he misses the grab.
audience. Waiting and acting patient here “But do you think you could get out this Pick up the end and repeat the business
gives the audience a chance to focus on double knot?” Hold it up as if it were a of letting the rope fall before he can grasp
the boy untying the knot. As soon as he is great challenge. The spectator will usually it. “You can hold onto this end.” Repeat
done, speed up your dialogue and actions say yes. the business once more, this time letting
again. Take the rope from the boy and Turn to the girl. “He could get out a him get hold of it. As he does, cover the
perform the One-Handed Knot again as double knot!” Push the right end of the knot with your hand and stick a finger in
you turn toward the girl. “Thank you. Now rope loosely through the bottom loop as the loop again. “Grab the rope!”
if you could just hold on to this end of...” in the Chefalo Knot effect. “How about Address both spectators quickly. “On
Notice the knot and pause. Slowly turn a triple knot? Could you get out a triple the count of three, both of you tug on your
back to the boy. Pause a brief moment and knot?” Since the knots are loose and end of the rope. One...two...three.” As
then hand him the rope. “I meant take visible, the boy will usually say yes. Turn soon as they start to pull, act pained and
out all the knots.” Pause and stare at the to the girl. “He can get out a triple knot.” let go of the rope, holding your hand up so
audience while the boy unties the second Push the free end through the top loop they can see that your finger is caught in
knot. Take the rope back and perform the to complete the Chefalo Knot. “Well then, the knot.
One-Handed Knot a third time as you turn do you think you can get out a…” Pause “Ow! Ow! Ow! I got my finger caught
toward the girl. and look a bit confused as if trying to think in the rope!” Pause and turn to the girl,

NOVEMBER 2014 - M-U-M Magazine 29

NOT JUST KID STUFF
smiling broadly and speaking slowly. The knot will dissolve underneath the a signature routine. It works because of
“You did a very nice job on your end of the cover of your fist. Release your hand and timing. Places where you slow down and
rope.” Turn to the boy. “You jerked on the step back from the taut rope. Do not look let the audience think or react are crucial to
rope. Just tug. A tug is a smooth, steady at the rope, but turn to the boy. “Now, let’s their enjoyment of magic routines. Pauses
pull.” see you get that knot out of the…” Turn and let them anticipate and build up the effect
Let them pull the ends of the rope look at the rope. Pause again. Then turn to in their own mind.
again. As soon as they start to pull, repeat the audience and finish the routine quickly. I assume you are familiar with a rela-
the business of acting pained, letting go of “They did it! How about a big hand for tively new catch-phrase: “wait for it,” as in
the knot, and holding your hand up so they the Rope Inspectors!” Coil the rope up and “Last night we ate at Lola Bistro and we
can see the caught finger. Pause. Turn to spread your arms to give an applause cue talked to…wait for it…Michael Symon!”
the girl and smile brightly. “You did a very to the crowd. This capitalizes on the commonality of
nice job! Again!” This reads like a long routine, but anticipation. People enjoy anticipation. So
Pause for two full beats. Then very it does flow quickly in performance. It build that into your routines. Sometimes
slowly frown, turn, and stare at the boy requires a lot of active participation by you need to move your show quickly
for a full three seconds. This timing will the two spectators, so you must be careful through fast actions and rapid patter. But
get a laugh every time. Don’t move or to pick good-natured children who will to make the most out of each trick, you
say anything. Just stare at the boy. “You go along with you – children who are not may need to slow down when you get near
did it again. Do you know the difference overly eager to help usually work well. the end, pause before the big moment, and
between a ‘tug’ and a ‘ jerk’?” Excited or eager ones often pull the rope then end by revealing the magic quickly.
Turn and indicate the girl. “She’s the out of your hands and destroy the knot too This will increase the audience’s attention
tug…” Slowly turn and point towards the early. Play this for good-natured fun. It is and their anticipation. That makes your
boy, pausing for the audience to complete best received if everyone, including the show better.
the thought. The audience will be thinking audience and the volunteers, know you are Watch your show on video with an
“…and he’s the jerk.” If you stop and say joking around. No one seriously wants to eye towards where you should slow down
nothing, they will laugh. Wait until the fail at untying a knot or be called a “jerk,” and also where pauses would be effective.
laughter has just begun to die down. so proceed with a bit of a wink and a smirk Think about your pacing within each
“...and that makes you the tug-ee.” to let them in on the frivolity. routine and throughout the show, because
Pause again and you will get another laugh. Some of the moves and gag lines are Timing is Crucial. 
“Let’s try it one more time. One two three, Blackstone’s, but the refining and polishing
pull!” Let the pair pull on the rope ends. I’ve done over thirty years has made this

30 M-U-M Magazine - NOVEMBER 2014

EBOOK NOOK
PRETTY-SNEAKY
Excerpt From: NUDIST DECK
In A Class By Himself
Written By: Ralph W. Hull’s mechanical deck endures because it is cleverly
Jon Racherbaumer made, produces quick visual effects, and follows an easy formula.
Description: The deck is semi-automatic, but without an amusing, snappy
Ebook, 312 pages narrative, the deck begs to be examined. It is obviously an unusual
Available From: and special deck. Don Alan used the deck as a pretext to create
www.llepub.com laughter. It was one of his pet routines during his early career.
Requirements: R.W. Hull’s Mental Photography deck.
I wrote a review of In a Class by Himself: The Legacy of Don Set-up: Place the cards into the case with the faces uppermost
Alan in MAGIC magazine way back in April of 1991. This was the and against the side of the case with the tab opening. When you
longest review I have ever written about a single product. Here are open the flap to slide out the deck, it will come out face up. Since
three brief paragraphs from that review: both sides of the deck at the outset can be shown to be blank, you
“I cannot truly appreciate Don Alan, in the same way that I need to know which side needs to be uppermost at the beginning
cannot truly appreciate the fact that gravity holds us to the earth’s of the routine.
surface. For me, Don Alan has always been there, and I cannot Method: Remove the deck from your pocket, take the cards
imagine what close-up magic was like before he appeared on the out of the case, and hold them with the starting-side uppermost
scene. in your left hand. Say, “You know, I’d love to do a card trick for
“In the 1950s Chicago was home to a superlative group of you, but I can’t...”
magicians who defined a style of magic that was not found Quickly spread the cards between your hands, thumbing over
anywhere else in the country. Johnny Paul, Johnny Platt, Clarke roughed pairs to ostensibly display blank-faced cards. Continue:
Crandall, Jim Ryan, and Matt Schulien established the salient “I hate excuses, but look at these cards!” Close the spread and flip
characteristics of Chicago Bar Magic – tricks that were fun, easy over the deck, then spread them again to show more blank-face
to understand, and laced with a dose of edgy attitude that could cards. Add: “As you can see, they’re a little behind in production
keep inebriated customers in line. Bert Allerton infused the style this year.”
with class and at the same time established the concept of the Close the spread and square the deck. Flip the cards face up
magician as “guest” – the clever and charming visitor who sat and hold them in a left-hand dealing position.
down at the table and became one of the party. Don Alan absorbed “What are you going to do with a deck like this? Well, I can
all these influences, and in the hot forge of real world performance tell you about the trick I usually do...But first, I must shiffle the
shaped an approach that appealed to both laymen and magicians. cards...always shiffle!”
Laymen loved the routines; magicians wanted the routines, and Position the deck for an overhand shuffle, and then rapidly
Don Alan became (in the words of Mike Rogers) ‘the most copied run the cards. This should be a speedy, exaggerated shuffle; be
professional close-up magician in history.’ sure to press firmly against the cards with your right thumb as the
“Don Alan achieved success in his chosen field. He appeared cards are chopped off in bunches. This ensures that the roughed
on national television many times and he was a top trade show pairs stay together and do not split. Freshly roughed cards tena-
and corporate performer. Unfortunately, he also carried with him ciously cling together, but humidity and frequent use reduces
a great deal of bitterness and anger toward the world of magicians, the adherence; hence, firm pressure against the pairs maintains
whom he felt had not treated him with respect. His health began alignment.
to decline, and he moved to Las Vegas in 1990. He later moved to Continue: “Notice how I shiffle? I used to be a chicken-pluck-
a nursing home in Escondido, California, where he died on April er.” As the spectators laugh, turn to the spectator laughing the
15, 1999, a victim of Alzheimer’s disease.” loudest and add: “You, too?” Square the deck and again hold it
In a Class by Himself suffered from the fact that, by the time it face-up in your left hand. Spread the cards between your hands
was in active preparation, Don had lost interest in the project and to offer a selection, saying: “Usually I have a card selected.” As
did not participate. Consequently, while the book does contain a spectator starts to reach for a card, pull back the spread, close
fairly complete information on the “how” of Don’s routines, it it, and flip the deck over. Spread them between your hands again,
is missing the “why.” As I wrote in my review, “Anyone who showing blank faces. Say, “I can’t remember if the cards are face
carefully studies In a Class by Himself will discover that, tragi- up or face down. Oh, well..I guess it doesn’t really matter, does
cally, the one person missing from the book is Don Alan.” This is it?”
not to say that you won’t be able to learn from the book; you will. Close the spread and flip the deck over again, adding: “Let’s
But if you’re serious about studying this material, you might want assume you’ve taken a card. You look at it, remember it, and
to invest in the Stevens Magic video about Don and the Magic return it to the pack. My job is to find it.” Perform a straight
Ranch videos. cut, lifting off about half the deck in a right-hand overhand grip.
For this month’s Ebook Nook, I’ve chosen two lesser-known Merely lift at one of the short cards near the center of the deck,
routines from the Alan repertoire. The first is his routine for the which permits you to split one of the roughed pairs to expose a
Mental Photography Deck (also known as the Nudist Deck). Two printed face. Continue: “Let’s say you chose the ________.”
key points of this routine are the way Don gets the deck into play Name the exposed face card.
and the way he gets it out of play before curious spectators can Transfer the right-hand section underneath the left-hand
make a grab for it. The second routine is a humorous demonstra- section, hence, cutting the printed card to the top. Suppose it is
tion of cheating at Blackjack. My thanks to L&L Publishing for the Ten of Diamonds. Immediately add: “The Ten of Diamonds is
allowing these routines to appear in M-U-M. —Michael Close very easy to find...”

32 M-U-M Magazine - NOVEMBER 2014

 Spread the cards between your hands, showing blank cards the card trick I had in mind!”
and only the Ten of Diamonds on top. Continue: “...since it’s the Close the spread and hold the deck in a dealing position.
only card in the deck! ( Pause) I hate to do things the hard way!” Perform any standard color change by dislodging the bottom
Close the spread and hold the deck in a left-hand dealing position. blank card and slipping it to the top (face) with your right hand. A
Flip the top Ten of Diamonds over to show its blank back, adding: nice color change is explained in Expert Card Technique (1940),
“Unfortunately there’s one problem. Cards should have designs pp. 161–163. After performing the transformation, say: “But if I
on their backs!” Flip the Ten of Diamonds face up, then casually had some cards, I’d be happy to do the trick for you!”
spread the cards again and square up. Spread the cards between your hands to show nothing but
Say, “A guy could go snow-blind looking through these! blank cards. Show both sides of the spread, then square up and
Actually, I worked out a system. I hold the deck in my right hand...” place the deck into its case, saying: “Maybe next time we meet,
Grasp the entire deck from above and by the ends with your right I’ll have the proper cards and I’ll do the trick for you. A person
hand. Extend your left forefinger, then sharply tap the bottom of can’t work without the proper tools. I guess they just don’t make
the deck against your upright forefinger and continue: “...and tap them like they used to.” Smile and place the cased deck into your
it against the tip of my left forefinger. This does two things: First, inside coat pocket.
it breaks my fingernail if I hit it too hard. Second, it gives us a Notice how Don overcame most of the drawbacks inherent in
nicely colored back!” gaffed deck tricks. By using a tongue-in-cheek approach and ex-
Turn your right hand palm up to show a back design. Name plaining why he cannot perform a trick, he took the bitter bite out
the appropriate color, then replace the deck into your left hand of any subsequent bafflement. Yet the visual impact of the trans-
and say, “This back matches the face, which isn’t as confusing as formations remain intact.
it should be. It would really be confusing if we had others cards, The routine is designed to be a quick series of surprises. When
as well!” Intermittently cut off sections of cards with your right one surprise registers, another quickly follows it. The audience
hand, holding them from above and by the ends. Each time you never fully recovers. The routine is also cyclical. It begins and
cut, you will reveal a different printed card. Name each revealed ends with blank cards. Because blank cards are strange and
card when it appears. Cut and expose three cards in this manner. useless, it makes sense to put them away. Although you performed
Suppose the cards are the Seven of Diamonds, Jack of Diamonds, several transformations, you act as though they are not relevant to
and Five of Hearts. Adjust your patter accordingly. To wit: “... the real (?) trick you apparently want to perform. Afterwards, the
like the Seven of Diamonds...Jack of Diamonds...or the Five of gaffed deck is in your pocket and out of play. If you wanted to take
Hearts!” the time and trouble, you could have a legitimate deck of blank-
Continue: “But unfortunately we don’t have these cards. It faced cards in the same pocket. If a skeptic wanted to examine the
would be nice...” After revealing three different cards, immedi- deck, you could simply remove the ungaffed blanks.
ately spread the deck between your hands to show blank faces
again. Close the spread and flip the top Ten of Diamonds over to BLACKJACKED!
show its blank back, adding: “It would also be nice if the Ten of
Diamonds had a design on its back.” DON ALAN/EDDIE FIELDS
Flip the top card over to bring the face of the Ten into view. Effect: The magician explains the ways professional gamblers
Ask the spectator to tap the face of the Ten of Diamonds, and then can cheat using marked cards and special glasses. He offers to
grasp the top two cards from above and by the ends in overhand permit the spectator to cheat by letting him wear the special
grip. Due to the construction of the deck, this double lift is semi- glasses. In this way he can read the markings on the backs of the
automatic. Turn your right hand palm up to flash a printed back, cards. In spite of this, the magician wins every hand except for the
adding: “You’re a terrific tapper!” first two dealt. The final hand is won by the magician, who hits
Quickly replace the right-hand card(s) onto the deck, and then twenty-one with the Seven of Spades and the Fourteen of Spades.
flip over the top Ten of Diamonds to show a blank back, saying: Requirements: 1) A regular deck of cards. 2) A black marking
“Before you terrifically tapped, the card didn’t have a back.” Flip pen. 3) A pair of eyeglasses with the lenses removed. 4) A case
over the top card and extend the squared deck in your left hand. for the fake eyeglasses. 5) A man’s white handkerchief, cloth or
“Will you place all four fingers of your hand on the face of the Ten silken. 6) A gag-card, the Fourteen of Spades (14S).
of Diamonds? Now wiggle your fingers up and down as though Preparation: Remove and discard the Two of Diamonds (2D).
you knew what you were doing.” The gag-card (14S) will replace the Two of Diamonds. Using the
After the spectator wiggles his fingers a little, earnestly look marking pen, boldly mark the backs of each card with the name of
at him and ask: “Have you done this before? ( Pause) Know why the card at both ends, so that the printing can be read regardless
I asked you to do that? Because it makes you the Liberace of of the orientation of the ends. Do not mark the 8H, KS, 10D, 9H,
playing cards!” 4H, and the 14S.
Take the deck, hold it in readiness for the Svengali riffle The fake eyeglasses are referred to in the patter as “Sneaker-
display, and then riffle-release cards off your right thumb, letting Peepers.” Because the lenses have been removed, you can perform
“doubles” fall off into your upturned left hand, revealing nothing a bit of business henceforth called the Hank Bit. This consists of
but printed faces. Add: “By wiggling your fingers, we have nothing taking the handkerchief, partially unfolding it, then putting the
but normal-looking cards.” glasses on it to simulate cleaning the “lenses.” Place your thumb
Perform the riffle display a couple of times, then square the on one side, your fingers on the other. Do this is a casual, offhand
cards and quickly spread them between your hands to again show manner. They’ll get the idea. Put the eyeglasses and handkerchief
blank cards except for the top Ten of Diamonds. This is a shocking in the case.
transformation. Patter: “Before you wiggled your fingers, we Set-up: Arrange the cards in this order from the face: KD, 3S,
didn’t have any other cards. ( Pause) That’s the reason I can’t do 7S, 6S, 14S, QS, 5D, AH, 4C, 9S, 10S, QD, 8D, JH, KC, 7C, 6H,

NOVEMBER 2014 - M-U-M Magazine 33

EBOOK NOOK
2C, 3C, 5H, AC, 4S, 9D, JS, 10H, 8S, 10C, KH, 7D, 6C, 2H, 3H, kerchief Bit, then put the glasses on and continue: “Ah, now I can
5S, AD, 4D, 9C, JC, QH, 8C, JD, QC, 7H, 6D, 2S, 3D, 5C, AS, see the little markings. I can tell by looking at the back of this card
4H, 9H, 10D, KS, 8H. The King of Diamonds will be the bottom that it is the Eight of Hearts!”
card of the deck; the Eight of Hearts will be the top card. This Turn the Eight of Hearts face up and say: “Let’s play a little
stack was devised by Eddie Fields. The suits do not matter. The game. In Blackjack you turn the first card face up and you put it on
Tens, Jacks, Queens, and Kings have a value of ten in Blackjack. the bottom of the deck. That’s to prevent anyone from cheating!”
Consequently, they are interchangeable. When you play the game, Put the Eight of Hearts face up on the bottom of the deck and add:
point out that Aces count as one or eleven. “I’ll deal one card face down to you and one face down to me...”
Method and Presentation: Throughout this routine you will Deal out two cards in this manner. Continue: “I can tell that you
deal out Blackjack hands. Each time you deal a face-down card have the King of Spades and I have the Ten of Diamonds. That’s
to the spectator, then a face-down card to yourself. On the next because I’m wearing the glasses. In Blackjack we would then each
round, you deal a face-up card to the spectator, then a face-up get one more card dealt face up!”
card to yourself. After each round of “play,” push the dealt Deal a card face up to the spectator and one face up to yourself.
face-up cards aside into a discard heap. Because this is a repeti- Note that when you do this, you will reveal the markings on the
tious activity used during the routine, instead of describing the Ace of Spades. You don’t want to reveal this yet. Therefore,
entire procedure each time, it is henceforth designated as “Deal necktie the deck and turn the left hand palm down as you deal the
Blackjack.” last card to yourself. Do not permit anyone to glimpse the back
It is also important to explain the advantage the spectator has of the Ace of Spades. Say, “I see that you have a Nine of Hearts
when you play this game of Blackjack. Because he wears the showing and I have a Four of Hearts. However, because I have
special eyeglasses, he sees every card being dealt by reading the the glasses, I can tell that you have a King of Spades and I have
marked back or by actually seeing its face. Keep stressing this the Ten of Diamonds as hole cards.”
point throughout the routine. If necessary, call attention to the Turn the hole cards face up and add, “See? Only with these
value of the next face-down card on top of the deck. glasses can you read the little markings. They are certainly worth
Begin by saying, “I was in Las Vegas not long ago; one of the the money I paid for them. Here! Why don’t you try on the Sneaker
big problems when I’m there is that they never let me touch the Peepers?” Hand the glasses to the spectator. Continue: “Are the
cards! I never play or gamble because they know I’m a magician. lenses too heavy for you? Let me know if the prescription is too
It’s a lose-lose proposition. If I lose playing a game, they say strong for you. You can see through the glasses all right, can’t
I’m a lousy magician. If I win, they say I’m a cheater. Now I’m you? Good! Now, can you read the markings on the back of the
going to show you something that has been kept a secret for cards?” Turn the deck so that he can actually see the markings,
years. It’s something that very few people really know about or adding: “Excellent! Remember, I can’t read the markings now
believe: gamblers cheat! It’s true. A lot of people don’t know this, because I’m not wearing the glasses!” Ask, “Can you see the
but it’s true. And what’s more, you can only tell when a gambler markings on the rest?” while spreading some of the top cards face
is cheating when he wins. If he loses, you can’t be certain he’s down.
cheating or not. I ’m going to teach you how to cheat!” “Since we are breaking the rules by playing with marked
Reach into your pocket and take the cards from the case, cards, there won’t be any limit on whether you have to draw or
saying: “This box contains a very unusual pack of cards. They stand pat. You can take as many cards as you want, as long as you
are called Marked Cards!” Take cards out of the box and add: don’t go over twenty-one. Now you can cheat all that you want to,
“Can you read the markings on the back of the top card? No? I because you have the glasses. You’ll know what your hole card is,
can’t either. That’s because you can’t read them without special and you’ll know what my hold card is. You’ll know what the next
glasses.” card on top of the deck is, so you can take as many cards as you
Remove the glasses from their case and add, “Here they are. like, or you can stand pat. Let’s try it now.”
They’re called Sneaker Peepers. With these glasses you can read Deal Blackjack (round one). “I can see that you have a Three
the markings on the backs of the cards. It’s necessary that the of Diamonds face up and I have a Two of Spades. Look at what
glasses are clean. (Pause) They should be kept clean at all times. you have, look at what I have, and look at the next card. Let me
You clean them with a special handkerchief.” Perform the Hand- ask you, do you want a hit?” The spectator will affirm. Continue:

34 M-U-M Magazine - NOVEMBER 2014

“All right, you’re sure that you can see the markings?” Deal a Deal another round of Blackjack (round 7) and say: “Let’s see
card face up to the spectator and say, “Okay, there’s your hit. Do now, you have a four showing, and I have an Ace. Do you want a
you want another hit?” The spectator will say “no.” Add: “You’ll hit?” (He’ll say “yes.”) Continue: “You want a hit and you’ll get it.
stand pat then?” It’s a five! Do you want another hit?” (He’ll say “no.”) Say, “What
Peek at your hole card; never let them assume that you can do you have? Nineteen? I have twenty! What do you want from
read it. Say, “I’ll take a hit.” Deal a card. Continue: “I’ll stand me? I’ll ask you one more time...can you read the cards? Look,
pat; I don’t think I could stand one more card. What do you have? I’ll tell you what. We’ll play this last hand according to Western
Twenty? (If he didn’t turn his hole card face up, ask him to do it Rules. That means that you can double your bet. All of the money
now.) “You’ll have to turn your card face up! I can’t read them, that you’ve lost, you can double! What’s more the dealer has to
you know. I have only fourteen, so you win. See how easy it is to stand pat at seventeen! That seems fair enough, doesn’t it?”
cheat with the Sneaker Peepers? Let’s pretend that we’re playing Deal a final round of Blackjack (round 8) and say, “If you
for money now.” don’t mind...can you see the markings?” (Your face down 14S is
Deal Blackjack (round two) and continue: “Before we start, unmarked, so he can’t read it.) Say, “What’s wrong? You can’t see
are you sure you can read the markings? Fine! Do you want a the cards? Hell, that’s what I’ve been saying all along! Oh, you
hit?” (He’ll say “no.”) “I’ll look at mine. I don’t want a hit either. can’t see one of the cards. Let me check the Sneaker-Peepers for
What do you have? Eighteen? I have twenty. Are you sure you can a minute!”
see the markings...maybe you don’t understand the game. Let’s try Take the glasses, “clean” them, and quickly inspect the 14S.
again. Remember, you’re supposed to win, not me!” If he says that he can see the markings on the other cards without
Deal Blackjack (round 3) and say, “Do you want a hit?” The the glasses, comment that it’s due to temporary sight retention –
spectator will affirm. Continue: “Ah, there’s a big five for you. You it’ll quickly pass. Shake your head, put the glasses back on the
have nine showing. Do you want a hit again?” The spectator will spectator, and say: “Son-of-a-gun, do you know what this means?
say “no.” Look at your card and add: “I’ll see what I have here. It means that they forgot to mark that one card. Well, that’s all
What do you have? Nineteen? No good, my friend! I have twenty. right, because you can read all of the rest of the deck, can’t you?
I’m sorry, but are you sure that you see the markings? Don’t lie We’ll continue. Let’s see what I have.” Look at your face down
to be polite. If you can’t see them, I’ll clean the glasses for you.” card and add: “Isn’t that funny? We’re playing by Western Rules,
Deal Blackjack again (round 4) and say: “Now, sir, do you right? Do you want a hit?” (He’ll say “yes.”)
want a hit?” The spectator will affirm. Continue: “All right, you Continue: “You have a nine showing, all spades – Six of
have a King. You have sixteen showing. Do you want a hit?” The Spades, Three of Spades. I can’t take a hit. What do you have?
spectator will say “no.” Add: “You’ll stand pat.” Peek at your Nineteen? Dealer has to stand pat at seventeen...Western Rules!”
card, then say: “I’ll take a hit. What do you have? Nineteen? Turn your card face up and say, “Well...I have the Fourteen of
That’s what I have! Nineteen! You’re doing better, but that’s still a Spades and the Seven of Spades; that’s twenty-one! Sir, are you
push. My gosh, you haven’t won a hand yet! Do you realize that? sure you understand the rules? You didn’t win one hand. Will
I would have a lot of money right now. You’re sure you can see someone please give him a lesson on how to play Blackjack?”
the markings? Let’s start again. I just don’t know. You either don’t The stack was Eddie Fields’s idea and Don Alan developed the
understand the game or you’re a terrible cheater.” routine and patter. The basic routine was devised and marketed in
Deal another round of Blackjack (round 5) and say: “Careful 1976. When it was released, it included a gimmicked card box with
now, do you want a hit?” The spectator will reject a hit. Continue: a flap concealed along the red border of its Fox Lake label. The
“Let me see what I have...I don’t want a hit, either. What do you flap was hinged at the top and its sides were held down by dabs
have? You have eighteen...I have nineteen. Are you putting me of wax. The flap could then be lifted by placing your thumbnail
on? You still haven’t won one hand! Even I’m confused. Let’s try under its bottom edge and prying up. When raised, it revealed a
again!” printed paper that listed the stack used in the routine. It was handy
Deal another round of Blackjack (round 6) and ask: “Do you to furtively consult or when it was necessary to reset the deck.
want a hit?” The spectator will take another card. Continue: “You [Editor’s note: This routine offers the potential for a lot of fun
have a big seven. Do you want another hit?” The spectator will and audience interaction. However, since the assisting spectator
take another card. Say, “It’s a six...that’s thirteen showing. Do you always loses, you have to play this with a light touch, otherwise
want another hit?” The spectator will reject another card. Add: you may find yourself in a situation in which the spectator simply
“I’ll check what I have. I’ll take another hit. Let’s see, I have ten quits or demands to shuffle the cards.
showing and an Ace underneath. I have twenty-one! What do you You don’t need lens-less glasses; any tinted sunglasses will
have? Twenty! Come on...you haven’t won one single hand! Maybe work. Simply refer to them as “luminous readers.” If you use the
it’s your eyes? Have you had them checked lately?” lens-less glasses, you might want to allow your finger to pass
Continue: “I don’t want to keep reminding you, but are you through the eye-frame as you clean them the last time.
sure that you can read these cards? Not just the ones on the table, Unless you are a particularly gifted performer (or you are
but the ones on the deck, too. Do you want a hit?” (He’ll say “no.”) working for a captive, friendly audience) you may want to reduce
“You don’t want a hit...So, I’ll see what I have. I’ll stand pat. Show the number of rounds of dealing. This is easily done. Also, for the
your hand. Eighteen? Look, I have twenty. Something is wrong final hand, instead of saying that the dealer will stick on seventeen,
here! I’ve given you all of the advantages. You can read the cards you might want to say that for the final round the dealer cannot
from the back and you still lose! Seriously, don’t you like me? Are hit at all – you can only play your first two cards. If you do that, it
you doing this on purpose?” looks like the assistant can’t lose.] 

NOVEMBER 2014 - M-U-M Magazine 35

 MAT FRANCO:
A Star of Tomorrow Whose Dream Came True
By Bruce Kalver

Y
ou know the kid. You can pick him out in a room full of SYMers.
He’s not the one who is there just to learn the secrets. He’s the one
who walks around the room taking in all that is offered. He asks a
lot of real questions and makes you show him a move over and over.
When he goes to bed he is the type who is not under the covers with a flash-
light reading comic books. Instead, he is reading Houdini biographies or poring
through the latest magic magazine for the umpteenth time, absorbing the contents
of each page like a sponge. He’s the teen who was always paying late fees for not
returning magic books on time to the library. This was Mat
Franco.
Back when he was fifteen years
old, I interviewed him for the
SYMbol newsletter
Magic SYMbol because I featuring
felt that this was an Mat Franco
exceptional magic
student who one day
could be working
conventions and
more. He kept
winning the local
magic contests and
took some master
classes
with Jeff
McBr ide.
When I introduced
him to the Stars
of Tomorrow
show producer,
Andy Dallas, he
booked him for the very popular SYM
convention show at the S.A.M. convention in
Las Vegas.
Mat continued his magic, performing
throughout his college years while he majored
in marketing and minored in communications.
After graduation, he took on magic full time and has
been performing the college circuit. Then last February, his friends
suggested that he try out for America’s Got Talent.
By now, the name Mat Franco is known by laymen as the winner
of AGT. Overnight, he became famous. Local comedian Nick
Albanese joked, “Half of Rhode Island actually knows Mat Franco,
and the other half will claim they do!”
Each year, while magicians appeared on AGT doing large stage
illusions, the judges dismissed the magicians as lower class acts
and kept telling them they had to do something “bigger, more
dangerous, and flashier.” Much like David Blaine, who went
in the opposite direction during an era of stage magicians with
dancing girls and sequins, Mat took the unexpected route of
performing close-up magic in big theaters and connecting with
the audience by showing off his warm personality. His persona on
Photo credit: stage, his looks, and his skill won the judges – Howie Mandel, Heidi
Richard Faverty Klum, Howard Stern, and Mel B, who stated, “he makes magic sexy.”

36 M-U-M Magazine - NOVEMBER 2014

The audiences responded by voting for him over the other finalists certain code that I had to say, and they brought me in immedi-
– four musical acts. ately. I was in and out in fifteen minutes. It was super fast and
One week after the win, I spoke to him on the phone. He was super easy. Part of that was because it was in Providence, so it was
preparing for the America’s Got Talent Live Las Vegas show and a smaller crowd. It wasn’t like going to New York City. I went in
was still trying to process his new-found fame. He was so excited the audition room and did a couple of bits for them.
that each sentence could have been typed out with exclamation
points. Because Mat is the first magician to win America’s Got
Talent, I pointed out two facts about his win: 1) He is the first Stars
of Tomorrow performer to become a “star” among the general
public. 2) In one night, Mat has been seen by more people than
Houdini had in his lifetime.

And the winner is...

Photo credit: Peter Kramer/NBC

Mat Franco performing his college show

Mat with the AGT judges Mel B.,Howard Stern, Heidi Klum, and
Howie Mandel - Photo credit: Peter Kramer/NBC

BK: What did you audition with?

MF: I auditioned with the story card trick that you saw on TV.
It was a little different, but essentially the same thing. I had to
Bruce Kalver: How did you get on the show? Did they recruit change the address based on where I was performing as part of
you? the Sam the Bellhop plot. Each time I auditioned I had to add the
Mat Franco: They tried recruiting me in the past. This year address of the theater. The other bit that I did was Cards Across.
they did not. In the past I declined because I didn’t have material
that was ninety-seconds long and appropriate, and probably BK: You auditioned February 1 in Providence. Did they call
because I was just scared to. So this time around, I decided to you right away after the audition?
reach out to them. It was back in November of last year that I MF: I didn’t hear back from them for a very long time. They
started thinking about it. I went to the open audition in Provi- didn’t contact me until late April. It was sort of like a final exam.
dence, Rhode Island; it turned out to be a preliminary audition. You take the test and then you wait a long time to see what the
BK: Did you have to go through a few phases or did they move grade is. They flew me out to Los Angeles to audition again. They
you right through? called me a few days before. I later found out – because it seemed
MF: I went directly to the last phase because I had sent them so last minute and I seemed like such a low priority – that I was
some videos ahead of time. They had an appointment for me. I brought in on the final day of shooting auditions.
thought it was going to be nonsense and that I would be there They did some auditions with the judges in New Jersey and
all day. It wasn’t true. They were great. I showed up and had a New York. The last was in Los Angeles. When I got called

NOVEMBER 2014 - M-U-M Magazine 37

days before, I realized that I was a replacement for someone want to know from the get-go what you would do if you went
who cancelled. When I asked my producer about it later on, she through. Do you have some thoughts for the later rounds? So I did
admitted that there were dropouts and she pushed to bring me in. my best to produce ideas that I could pitch. I don’t think we used
any of those, but I made sure I had ideas that showed that I had
BK: On your second audition did you do the same tricks? some depth and that I had concepts in mind that could be used for
MF: Yes, they told me to be prepared to do the same thing I the live shows.
did in Providence. I showed up and they said that they still didn’t
know which trick they were going to film, so I had to be prepared BK: What kind of magic works on AGT?
for either one. They eventually said that they were going to go MF: Very few things can. It is so ridiculous. They want things
with the story. I agreed. They filmed it and that is how it all began. that have never been done on the show before. The show has been
on nine seasons, so a lot has already been performed. The trick
BK: You must have been memorizing that story in your head has to be less than ninety seconds long and it has to be appropriate
all day long. for television. It’s really, really challenging. I loved the challenge.
MF: Yes I was! In fact, I was rewriting and adjusting it on the
plane ride to LA. You don’t simply change the address in the story. BK: Were there ideas you pitched that they said no to?
You have to change what cards appear to match the story. I had to MF: Many! In fact if you think about it, when you present
figure it out each time. five ideas each time, they are only going to go with one of them.
Sometimes I went back to one of the options that I previously
BK: So when did you know that you were going to be on the pitched. What I was careful to do was to only pitch things that I
show? would be happy doing. A lot of acts on these types of shows will
MF: The judges vote on the spot to give you a yes or no, which complain, “They made me do this song or they made me do this
may or may not be the official final word. About a week later, I routine that I didn’t want to do.” I made a conscious effort to pitch
received the official email saying, “We want you the end of April.” things that I would be comfortable and happy doing.
The letter asked, “What are you going to do in the next round?” I
then pitched my ideas. We shot “Judgment Week” mid May. The producers were very helpful making the ideas become
reality. Many times they had positive changes that helped con-
BK: Now that you made it, do you start thinking about a few tribute to it and other times they just said, “That’s good,” and I
routines to do in case you get through? kept it as is.
MF: I was thinking that from the very beginning even though
it was on a very “just in case” basis. I was very careful not to get BK: How did they feel about Cell Phone in Seat Cushion?
ahead of myself mentally. I still really expected nothing, which is MF: When I pitched that idea, they said, “Okay, that sounds
where I was really coming from. However, the producers would good.” I said, “Wait a minute, are you sure? That’s it? No input at
all?” The effect that I did the previous
round had morphed into something
completely different. When they liked
the cell phone idea with no input, I was
a little worried.
I love impossible location routines
and wanted to use a cell phone. It was
my girlfriend who said, “Wouldn’t it be
great if you cut open a seat and found
a cell phone inside?” I didn’t think they
would let me do that. Then I realized
that Radio City repairs seats every day.
We ended up cutting up several since
we had to rehearse the camera angles
many times.

BK: The Cell Phone in Seat

Cushion was the one trick laymen went
wild over.
MF: That routine is the one I’m
most proud of. We worked on it for a
long time. After a while, you lose per-
spective and you focus too much on
the logistics. I remember wondering if
this routine is gold, or is it boring? You
really lose track. In the end I was so
happy with how it turned out.
Method-wise and sleight-of-hand-
Photo credit: Richard Faverty wise it was extremely gutsy, especially

38 M-U-M Magazine - NOVEMBER 2014

for live television. A lot could have gone wrong. In the end, I was been written. A novelty act, including a magician, has to create
very happy with it. something new each week. They actually brought attention to
that, especially Howard Stern. It was great for magic. It was great
BK: There was a lot of camera work involved in that routine. for the direction of that show. I was so happy to be a part of that.
MF: We rehearsed with the cameraman a lot to make sure BK: Your life changed the minute they announced the winner
it was YouTube-proof. AGT’s production crew was fantastic to be Mat Franco.
about protecting the secrets and worked very hard not to expose MF: The million dollars has not sunk in yet. (Mat gets either
anything. $350,000 in one lump sum or $40,000 in forty years of payments.)
I am still the same Mat Franco. I’m just trying to stay organized.
BK: So all in all, the staff on AGT was nice to work with? I don’t have time to get too caught up in
MF: They were all great to work with. One guy designed much of anything. You get pulled
special effects for Cirque du Soleil; I asked him if he could build in all kinds of directions and
a hair dryer that spews out smoke. Within five minutes, he said he the decisions I make over
could…and he did! the next few weeks are very
important for my future.
BK: Did you have anyone advising you at the show? I am trying to take a step
MF: There was no one onsite with me. I get advice from a back and evaluate. I really
lot of non-magician friends who said, “Wouldn’t it be cool if this need to focus on the many
happened.” In terms of magic input, Eric Dittleman was definitely opportunities and decide on
instrumental in helping me with some of the ideas. Another friend which ones I want to tackle.
was Corey King, whom I called many times to bounce off some I am taking time to reflect
ideas. and see how I want to use this
new fame. I mean this is not
BK: Do you think that being a member of the S.Y.M. as a kid what I planned on happening.
helped you become a better magician? I planned on being on the show
MF: Absolutely! You can’t dismiss the whole interaction with during auditions for fifteen seconds
other magicians. The Internet is great, but to communicate with and using that to promote my college
people in person makes everything faster. There is nothing like shows. Once I won, I literally said to
going to a magic shop and interacting with the people there. Corey myself, “So now what am I going to do with
King and I got to know each other at S.Y.M. and S.A.M. events and my life?” It’s only been a week, so my focus
bonded with other people who also love the craft. It’s inspiring to hasn’t defined itself yet. I’m working on
be around people like that. getting a manager to help me organize.
That’s the toughest thing.
BK: So do you believe that magic meetings and conventions
are a better way to learn magic rather than combing the Internet? BK: Will you be doing a Vegas
MF: It is tough for me to even relate the two because I have show like past winner Terry Fator?
never learned magic from the Internet. I surf the web to watch old MF: That’s one of the directions
classic magic clips. I get inspired by watching them. I could do. I just don’t know yet.
Six days ago that was something
BK: Why do you think you won? I couldn’t even consider. People
MF: (Big laugh and then a long pause) I really don’t know. expect it, but I have to think about
I would say a combination of luck and timing. I was surprised what I want to do, what would be
that a singer didn’t win. Look at magic now on television. It is best for me, and what I would enjoy.
once again becoming more popular. Another factor was that I was
competing against four music acts, which may have caused those Mat Franco has a lot to think
votes to be split up. about. Will his win cause a resurge
Many people view magic as a challenge. They immediately in the popularity of magic? Time
turn it into a puzzle. This makes it challenging to have a magician will tell. Whatever he decides,
win. I made sure that I worked hard to connect with the live Mat Franco will be represent-
audience, as well as the viewing audience. I don’t have a character ing the art of magic in a
on stage. I’m just me. I felt that this might be a problem for me. way that we can all
I felt that I wouldn’t be memorable because I don’t have much be proud of. 
of a gimmick. I hoped that for at least a few seconds I made the
audience care about and appreciate the magic art.

BK: I wrote a blog for magicsam.com saying that a magician

would never win AGT. Of course, you proved me wrong! All the
things I mentioned in the article about the judging were wrong
this year, because the judges took the right approach this time. Photo credit:
MF: Yes, the judges this year acknowledged how hard a Fernando Martinez
magician has to work. A singer can pick a song that has already

NOVEMBER 2014 - M-U-M Magazine 39

 Silent Mora
He Who Makes Silence Eloquent
By Tom Ewing
I believe in ghosts, or should I say magical ideas and the magic world knew
“spirits,” and feel strongly they walk his name and greatly admired him.
among us. I say this because I have “Like so many performers of his
too many examples among family and time, his image faded after his death,
friends to conclude otherwise. And, only to surface fondly in conversation.
after reading a new book by William In Mora’s case, however, his name was
V. Rauscher on the life and times of immortalized when Boston Ring 122
“Silent” Mora, I’m even more convinced of the International Brotherhood of
that if B.F. Keith’s vaudeville theater in Magicians (I.B.M.) named their club in
Boston still stood, a visitor backstage his honor. This occurred on September
peering into the shadows would surely 15, 1952, and was the undertaking of
see the specter of Mora, resplendent in Ray Goulet, Mal Robbins, and Irving
Chinese robe, waiting to perform. But Weiner. Today Mora is recognized by
that theater, vaudeville, and Mora are, magic collectors, who eagerly seek out
of course, gone. However, with the pub- his handmade props, such as his custom-
lication of Silent Mora: The Story of made and decorated bamboo Chinese
Louis J. McCord, he walks among us wands, fans, and other effects as shown
again – still gone but now not forgotten. in this book.
Over the last two years, Rauscher, a “Few magicians ever attain the status
noted biographer and historian, gathered of household names and Mora is not re-
every story, reference, or magic trick membered like Houdini, or even Kellar
about Mora published in magazines like and Thurston, who were America’s
M-U-M, The Sphinx, Genii, Tops, Con- favorite magicians in their time, but
juror’s Magazine, The Linking Ring, and who are forgotten by the general public
many others, as well as Mora’s personal today. He was, in a sense, a magician
letters and correspondence. Magic historians around the world who was popular with the magic fraternity and certainly a star
provided him access to their files on Mora. He even tracked down within certain entertainment fields, but not the wider world. He
and befriended Mora’s grandchildren and just barely missed led a full and active life of dedication to the magical arts, was a
meeting Mora’s daughter Augusta, who passed away in 2010 at internationally recognized master of billiard ball manipulation,
the age of 101. What emerges from all this effort is the story of and was a creator of magic novelties, but there came a time as in
a perfectionist, an artistic magical genius, an inventor, a talented the quote from Shakespeare, ‘And then is heard no more.’
pantomimist, and a major talent of Chautauqua, Lyceum, and “He deserves a brighter spotlight in magic history and this book
vaudeville. He was a magical insider who befriended and influ- is an effort to resurrect him and to imprint his magic and name in
enced the greatest names in magic. theater history. So let the curtain rise again for the talented and
In the preface of his new book on Mora, Rauscher writes: widely admired Silent Mora, who may have struggled offstage,
“In the first half of the previous century, the popularity of but who onstage was radiant and perfect in performance. Perhaps
vaudeville, Chautauqua, and Lyceum kept thousands of perform- his friend, the noted magician Joseffy, captured it best when he
ers, magicians included, fully employed. These venues, coupled inscribed a book to Mora and wrote, ‘To Mora, he who makes
with nightclubs, private dates, and clubs produced heady days of silence eloquent.’”
success. However, the advent of silent motion pictures and then I interviewed Rauscher at his Woodbury, New Jersey, home,
‘talkies,’ combined with the Great Depression, World War II, and which is a jewel of a repository of magic history and which
the dawn of television, changed all this, and many performers overflows with theater trunks of magic, poster-lined walls, and
were left to wonder where they could work and how they would shelves of conjuring collectibles, each of which are threads in the
survive financially. tapestry of magic history.
“Such was the case of Mora, who was a well-known star of
Chautauqua and a popular and creative vaudeville entertainer Tom Ewing: What prompted you to write about Silent Mora,
with expert manipulative skills. He knew all the top magicians of who died over forty years ago?
his day and carried on an extensive correspondence with them. He William V. Rauscher: It was several factors. The idea was
traveled the width and depth of the United States by rail, car, and suggested to me by another admirer of Mora’s, David Haversat,
even wagon, staying in hotels, keeping in touch with his family, former president of the New England Magic Collectors’ Asso-
and sending his earnings home whenever he could. Even with his ciation. He has an extensive collection and a number of Mora’s
busy schedule he was a major contributor of articles and original original props and costumes; he felt a book on this talented
tricks to magic magazines and a frequent correspondent with magician was well deserved and long overdue. Second, I have
many of the magic stars of his day. He had a prolific mind for always been fascinated with the heyday of vaudeville and that

40 M-U-M Magazine - NOVEMBER 2014

period in American history when institutions like Chau-
tauqua and Lyceum kept thousands and thousands of en-
tertainers, especially magicians, fully employed in a na-
tionwide network of theaters and performance venues.

TE: We should remind readers that his actual name was

Louis J. McCord. How did he first become interested in
magic?
WVR: He didn’t start out with magic, but rather with
Punch and Judy. As a twelve-year-old he sat enthralled
while watching two men perform at the German Hall on
East Street on the north side of Pittsburgh. Earlier, cards
announcing the show had been passed out at his school and
he discovered that for ten cents he could gain entry into a
world of wonder. The experience never left his mind and
led him in a direction from which he never wavered. After
the Punch and Judy there was a magician, John Lawrence
McKissock, and that got it started. McKissock witnessed
performances by Kellar, Herrmann, Thurston, and even
met Houdini at Huber’s Theater in New York. He was a
magician of the old school and became Mora’s mentor and
teacher. The first trick he taught Mora was the four balls
under two hats effect, an impromptu version of the Cups
and Balls.

TE: Why did he call himself “Silent,” and where did the
“Mora” come from?
WVR: The “Silent” was a reference to his performanc-
es of magic in pantomime, and the “Mora” was “Maro”
with two letters transposed. Early in his career, McCord
was impressed with the performances of Walter Truman
Best, who adopted the stage name “Maro.” He always felt
bad about creating a stage name so close to Maro’s; after
that magician’s death in 1908, he wrote a piteous letter to
Maro’s widow begging forgiveness for having pirated her
husband’s name.

TE: So how popular was Mora back in the day?

WVR: One of the largest Chautauqua circuits in the
U.S. was the Redpath Bureau; Mora was a headliner from
1917 through 1929 and received glowing reviews on his
performances. He wasn’t what you might describe as a goose headed toward him in anger. Ed saw the mood of the goose
vaudeville headliner who only played the big time. However, he and led it on a ‘goose chase’ around and around the stage. Finally,
was very successful. He worked the Keith Time and the United Ed ran into the wings with the goose in hot pursuit, and the goose
Time. He played theaters in Chicago, Detroit, New York, and was captured by the stage crew. The audience was hysterical with
across the country. In my opinion, anyone working vaudeville laughter. Some thought it was part of the show; it was suggested
theaters in major cities like that is not exactly playing “the sticks.” to Ed Wynn that the bit be kept in the show. Ed hurriedly vetoed
In 1913, Mora played Proctor’s Theater in Newark with Mae West that suggestion.”
headlining the bill. He played coast to coast and north to south.
Prior to the end of his career in Chautauqua, he moved his base TE: What were some of the main features of Mora’s act?
of operations to Boston, where he continued to seek bookings and WVR: His act was developed over the years, tried and
performed in clubs and other venues. He still considered Pitts- perfected in every possible performing venue. It almost always
burgh his home, though, and often visited his family. included a vanishing lamp of his own design, appearing bowl of
water and its vanish, a masterful performance of billiard balls, the
TE: Tell us about the Ziegfield show and the incident with the floating ball, Linking Rings, and his most famous creation, Four
goose. Balls and a Net.
WVR: In his book, Magic: A Pictorial History of Conjurers
in the Theater, David Price recounts that in 1930 Mora was TE: Some of his early sleight of hand inspired future greats of
employed to design some magical effects for Florence Ziegfield’s magic, didn’t it?
show Simple Simon; Ed Wynn was the headliner. One Mora bit in WVR: Yes, especially Dai Vernon. Mora created the Four
the show involved the production of a goose. Price wrote, “One Balls and a Net effect wherein small rubber balls placed in one
night, the goose popped out from its hiding place before the time hand magically travelled to the other hand. Among other things,
for its entrance and landed unceremoniously on its backside. Ap- it involves placing a ball on top of your closed fist and appar-
parently thinking that Wynn was responsible for the mishap, the ently removing it. Actually, the ball drops into the closed fist as

NOVEMBER 2014 - M-U-M Magazine 41

the other hand supposedly carries it away. Vernon used Mora’s
move for many years in his Cups and Balls routines. More sig-
nificantly, Vernon heard about Mora’s Wand Twirl, a move Mora
used beginning in 1904. Mora noted that drum majors or band
members often twirl their drum sticks. Mora used it as a flourish
to vanish an object in his hand. Mora used it at Tony Pastor’s
Theater in New York in 1905 to vanish a ball during his act, but
he also used it over the years to vanish other small items.
Speaking of Mora, Vernon said, “Mora was one of the finest
handlers of billiard balls I ever knew. His wand spin vanish of a
ball is well known by magicians. It was part of my lecture and
I always gave him credit for the move. Mora saw me do this in
Boston one time and said that it was a little different from his
method and he liked the way I did it. This remark coming from the
master was very flattering to me.”

TE: You write that he was an inventor of magic effects. Can

you give us some examples?
WVR: During my research I discovered a handwritten card
by Mora in his scrapbook that lists a number of tricks he created.
They include:

• Floral Cabinet as presented by Kalmar & Co.

on the Keith and Orpheum Circuits
• The Vanishing Chinese Wind Bell
• Vanishing Lamp
• Houdini’s Ten Alarm Clock Vanish and Reappearance
• Single Kerchief Color Change
• All sleights with Ball and Silk
• Twirling Wand and Vanishing Ball
• Black Art Table with no front cover
• Vanishing Giant Brass Water Bowl
• Table Top Changes to Chinese Fan

Reference to the Alarm Clock Vanish is interesting because

Houdini always claimed he invented it. If, in fact, Mora gave the
idea to Houdini for what came to be known as The Flight of Time,
it contradicts Houdini’s publicity that reads, “The Last Illusion
Invented by Houdini.” I am inclined to believe Mora. Collectors
know that the alarm clock trick was built by craftsman Rudy
Schlosser, but the revelation of Mora originating the illusion is
interesting. He also originated Chinese Wands constructed out of
bamboo, sets of which today are highly collectible.
party with his handkerchief knots and Chinese Rings. He has
TE: Was Mora close friends with Thurston? amazed a group of spectators with his net and white rubber balls.
WVR: Yes, they corresponded over the years, including on He has entertained laymen with his close-up effects. And he has
February 28, 1917, as World War I raged in Europe, when Mora been admired and idolized by magicians for all these talents.
helped Thurston out of a jam. Thurston was having trouble finding ‘Silent’ Mora is truly everybody’s magician.”
the right kind of wire to use in his Levitation of the Princess There was also an undated statement in Mora’s scrapbook
Karnac. Knowing of Mora’s connections in magic, he wrote to written by Mr. Otto Harbach, the American lyricist and composer
him asking him to obtain several one-pound spools of wire. Mora for some fifty musical comedies. He was Oscar Hammerstein’s
found the wire and sent it to Thurston’s agent in New York City. mentor and believed that songs should be woven into a show, not
Mora saw to having the wire chemically colored to remove the just placed there. Writing of Mora he said:
bright steel finish. “I saw you do your act at the Alvin Theater (NYC) tonight and
as I watched you, I was wondering who it was you reminded me
TE: Vernon admired him but what did other magicians say of and now I can tell you – Your timing as you worked with the
about him? Palace Theater Orchestra was so perfect, it reminded me of the
WVR: George Corregan Jr. wrote in the November 1962 issue Great Nijinsky when he was dancing with Pavlova.”
of The New Tops: Then there was a reviewer in the March 1930 issue of The
“They tell about a baseball player’s ballplayer, about an actor’s Sphinx who wrote:
actor, and a musician’s musician; but ‘Silent’ Mora is more than a “His Chinese costume and settings furnished a different and
magician’s magician. He is everybody’s magician. He has thrilled attractive atmosphere. Billiard balls, which Mora handles at least
an audience of fifteen hundred in a theater with his pantomime as beautifully as the best; candles, the Chinese Sticks, fire-eating,
magic act. He has delighted hundreds of children at a Christmas the Linking Rings, the ball on the fan, and many other interesting

42 M-U-M Magazine - NOVEMBER 2014

and skillful demonstrations made this act one of the outstanding
successes of the evening. Silent Mora spoke to the Chinese Sticks
with bewildering effect and they responded to his suggestions like
things alive.”

TE: Obviously, Mora was an active and incessant letter writer.

In fact, you describe his closing years as a time when illness kept
him from performing and writing letters was his only means of
communication. Were his letters interesting?
WVR: Yes, they are filled with his reminiscences of magicians
he knew and worked with, his opinions on what constituted great
magic, and the importance of showmanship and practice. But
what comes through most clearly is how depressed he was when
vaudeville ended. Here with his own punctuation and capitaliza-
tion is what he wrote one time:
“I am speaking of those days of vaudeville, at one time
the happiest profession in the whole world. We don’t have that
privilege anymore and it seems to me that we are losing one
freedom after another. As I dislike getting old, I also dislike losing
so many things that were so beautiful and beneficial to all the
people. I dislike seeing great, really great artistes working under
‘canned sardine’ conditions and I hate to see magic relegated to
the unfair and cramped atmosphere of the Night Clubs and what
is just as bad…to see a great profession like magic confined to the
classification of parlor entertainments.
“At least, we of an older generation have seen a marvelous
period in the theater, to have seen such wonderful shows and to
have taken part in so many of them. Vaudeville was killed, long
live vaudeville. Those were happy days and theaters were all
playing vaudeville and Drama and many thousands of acts and
actors came to tour in all America bringing the greatest personali-
ties of the theater to these shores. There were many magicians and
kindred novelties playing the theaters all over this broad land of
ours, spending their money in every town and no one can say they
were not all good spenders, leaving money in every town, and
magicians were only one branch of entertainment.
“This was in the days when great horse-drawn trucks laden
with trunks and scenery brought the baggage from the Railroad
Stations to the Theaters and Hotels and many of the shows had to
carry great loads of paraphernalia for the proper presentation of
the shows, while the vaudeville actors used to carry from two to
twenty trunks just to be able to use the right apparatus for a single
vaudeville act.
“There were few automobiles in those days, for you had to pay
cash for them, and there were strict clauses in theatrical contracts
that forbid anyone from travelling to the towns and cities in auto-
mobiles. They were a little uncertain about getting to the towns
and there were many break-downs with many of the better paid and there were no double features and independent Movie Exhibi-
acts missing their shows. You travelled by train each Saturday tors were privileged to buy exactly what they wanted and nothing
night and Monday morning the great Railroad terminals were else, and sometimes you could buy reels from $1.00 to $3.00 per
filled with actors, buying tickets to distant points and others reel, and in relation to that I would say that time when the old
coming in from far flung cities. ‘White Rats’ Actors Union was in existence, I told the several
“At a recent actors meeting lasting from 2 a.m. until 5 a.m., hundred actors assembled there would be a day when these
I did not hear the name vaudeville mentioned once and many of Movies would sell for $1,000 a day, and at this remark there was
those gathered there would hardly have believed it possible there a ‘belly laugh.’
were great shows presented at the Hippodrome in N.Y. City, often “This was a time before it was possible for any single group of
employing hundreds of people. These shows were the means of people to gain control of the theater and where there was much
bringing many thousands of out-of-towners into the city where more freedom in the entertainment fields than there is at the
they spent money far in excess of the theater admission, for they present time in 1939.
made this visit to the theater also the occasion for buying from the “The European War started, involving England, France,
stores in N.Y. City. This principle also holds good for thousands Germany, Russia, and Belgium, and as at that time the vaude-
of other cities all over America – the people came to see a show ville artists were really Internationalists and travelled in all those
and buy in the city. countries, and suddenly found they were no longer Internation-
“This was the time when Movies were Movies and not Talkies al travelers, but their Nationality was either for them or against

NOVEMBER 2014 - M-U-M Magazine 43

 them. Germans who were in England were not allowed to return to
Germany – so came to America. English artists who were working
in Italy, Germany, or Austria were not permitted to go to England, so
came to the U.S. So it was, that great personalities, great vaudeville
acts that formerly found continuous work in all those countries found
a haven only in America.
“With all this influx of the greatest talent in the world into these
United States brought the salaries of all talent down, with special
favoritism shown the foreign acts, and at a price that in other times
would have been laughed at by these vaudevillians. They were glad
to be able to work here even at the lowest figure they had ever worked
for.
“As a result of this opportunity, which was appreciated by the
managers of theaters, the American Public was treated to some of the
very finest talent ever to appear on the American stage, but that same
condition brought great hardship on the American Actor and there
were many times that some of our greatest entertainers went hungry,
believe it or not.
“This condition was rendered doubly hard because commodity
prices were high, and rents began to rise. That period was a dis-
tressing one for everybody, whether they were actors or preachers
or plumbers. Then came the entry of the United States into the War,
with everyone acting as a spy on the other fellow. The theater started
to pick up a bit for the American vaudeville actors for the reason that
many of the Foreign Acts were recalled to serve their own country, so
the American born actor was once more in demand. But even at that
time the theaters were starting to run a double feature (silent picture)
and fewer and fewer acts were required.
“There was not any quarter shown when this move was made and
thousands of people found their living taken away from them. Not
only actors, but people in the tent shows; on the Lyceum and Chau-
tauqua’s; Musicians, Stage Hands, Railroad employees, Transfer
workers, Wig makers, Stage shoe makers, Property builders, photog-
raphers, lithographers, printers, Theater cleaners (theaters used to be
scrubbed clean every week). These are only a few of the many indus-
tries affected by the change from lighted theaters to dark ones.
“Today, that is all changed and no longer do the actors come to
town and no longer do the people from out of town come into the big
cities to see a show and do some shopping. No longer do the Railroads
have the great passenger traffic, nor are their baggage cars filled with
trunks. No longer do the actors spend their money (they have not any
money now). No longer do the great Circuses parade for the school
children and pack the tents.”

TE: What were Mora’s last days like?

WVR: Mora continued club work and appearances at magic
conventions in the Boston area until sometime in the 1960s, when
his health forced him into the Long Island Hospital in Boston. He
remained hospitalized for many years. By that time B.F. Keith’s
vaudeville theater in Boston was a distant memory, but not for Mora.
Before it was torn down, he obtained large swatches of the front
curtain and for years afterward sent small souvenirs of the material
to friends and admirers. It was a gentle reminder of those magical
days when everyone worked and live theater ruled. After his death
on August 5, 1972, his body was returned to Pittsburgh for burial. 

Silent Mora: The Story of Louis J. McCord contains most of Mora’s

published magic effects, his personal hand-colored scrapbook, and
over two hundred never-before-seen photographs from his infancy to
his closing years. It is available directly from 1878 Press Company,
a division of Zanadu LLC ([email protected]) or through magic
dealers.

44 M-U-M Magazine - NOVEMBER 2014

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

nameless. His jacket was hanging on the wrinkles will fall right out of the shirt.
wall just offstage to “air out.” I noticed a Your shoes are important, too. Some
distinct, pungent odor and looked around people say that you can judge the financial
to see if a squirrel had died in a trashcan status of a man by the quality of his shoes.
APPEARANCE IS nearby. But alas, it was the bespangled Going on stage with scuffed-up or dull
EVERYTHING jacket that was the offender. It smelled shoes is a major no-no. If you are working
like a twelve-day-old bologna sandwich. on a raised stage, your feet are right in
As Billy Crystal used to say as Fernando I wanted to grab a bottle of Febreze and people’s line of sight. Keep your stage
on Saturday Night Live, “It’s better to look douse that thing with half the bottle. If shoes polished and nice. When you have
good than to feel good, dahling.” You may you don’t know about this magical elixir, finished the show and you head off stage
be having a terrible day, your flight may Febreze is a spray-on fabric freshener to pack up your gear, take them off and
have been late, or you got a flat tire on the available in the laundry aisle at most slip them into a cloth bag; this will keep
way to the gig, but you still have to go out grocery stores. It gives your fabrics a them looking good. If you wear sneakers
on stage and look like a million bucks. Or fresh, clean smell onstage between proper on stage, as many do these days, they
at least the three-hundred-seventy-five cleanings. It is mainly sold in larger bottles, should not be the sneakers you mowed the
bucks they are paying you. but little travel bottles are also available. grass in last Thursday. Also, take a little
Regardless of your fee, you are still Another cool tip is to buy disposable, Gold Bond or Dr. Scholl’s Foot Powder and
in show business – which, from the audi- stick-on, underarm absorbent pads. These sprinkle it in there after each show to keep
ence’s viewpoint, is supposed to be profes- are simply stuck inside your coat before the those sweaty dogs from barking.
sional and polished. How do you keep the show; they suck up any flop sweat you may
illusion of looking fresh, pulled together, produce. You just throw them away after IT’S IN THE BAG
and ruggedly handsome on stage while the show. These can really extend the life
hitting the road? Let’s examine how you of your wardrobe; they can be purchased at Jenny introduced me to the concept of
can live on the road, without looking like a Joann Fabrics and other stores. having a “show bag.” This bag has all the
rough stretch of highway. essentials that we would need for personal
LOOK BETTER THAN grooming and make-up. This bag is always
YOUR COSTUME THEY DO packed and ready to go at a moment’s
notice.
When living out of a suitcase, as I do You should always look better than The show bag includes the following
about twenty weeks a year, it is important your audience, even if you are one of the items: shoes into their own little cloth
to do your best to pack that suitcase with new skinny-jeans, hoodie-wearing punks bags, deodorant, toothpaste/tooth brush,
the idea of keeping everything looking as of the new school of casual magi. If you fishnet stockings (for Jenny, not me!),
wrinkle free as possible. When choosing are “dressing down,” you still have to dress socks, Febreze, sewing kit/safety pins (for
your costume (either off the rack or custom it up. Buy the best quality of these casual emergencies), makeup, undergarments,
made), make sure that the fabric will wear clothes you can. People can recognize name breath spray/mints, hair products, nail file,
well and will be as wrinkle free as possible. brands and designer casual wear, so make and shoe polish.
Fabrics such as polyester or synthetic sure you spend the dough to look good. If you have a show bag ready to go, you
fabrics tend to wrinkle less. There are If you are going to dress like a slacker, at won’t be running around the house fever-
even suits that are made with wrinkle-free least look like a slacker with good taste. ishly gathering up all this stuff from your
fabrics. I was just walking through Macy’s Make sure your jeans and shirt are wrinkle daily stash. Don’t overlook packing the
today and noticed one brand called Travel free. You are performing for people who breath spray or mints. You want to make
Guard specifically made with the traveler paid you good money, so don’t be a hot, sure you are minty fresh when convers-
in mind. Buy clothes that are permanent wrinkled mess. It is always a good idea to ing with your audience members on stage.
press – no cotton clothes for traveling. travel with a portable plug-in or battery- You don’t want them to say, “Hey, that
Don’t buy dry-clean-only fabrics; buy powered steamer. Your hotel room may not magician was great, but his breath smelled
acrylic, washable silk, washable wool, always have an iron; a portable steamer like the floor of a taxicab.”
rayon, polyester, nylon, microfiber, or can be just the thing to keep you looking
some blend of those types of fabrics. wrinkle free on the go. You can go from DOES YOUR FACE HURT?
suitcase, to steamer, to stage in a matter
SMELL THE MAGIC of a few minutes. In a pinch, put your shirt Please don’t overlook the makeup! You
on a hanger, hang it in the bathroom, and may be devastatingly handsome, but stage
I remember walking backstage while turn on the shower water to as hot as it will lights can wash out even the most ridicu-
working in repertory with another well- go. Close the door and let it steam up in lously good looking among us. If you are
known magician who shall remain there for five or ten minutes. Most of the a lady, you most likely have the whole

46 M-U-M Magazine - NOVEMBER 2014

makeup thing covered. If you are a dude night before. Quite different, I assure you. to sweat more than Kim Kardashian at a
and you are on stage, guess what? You If you don’t know the first thing about spelling bee, carry a small towel with you
need make up - or at the very least powder makeup, then seek out someone who does. on stage in your prop case. Use this towel
to keep you from looking greasy and shiny There are MAC cosmetics stores in most from time to time to wipe your brow if you
under the lights. Everyone on TV, stage, “hoity-toity” malls around the country become exceptionally leaky. Not only does
and the big screen wears makeup for a who have experts that are happy to sit it make your face look better, but it gives
reason. It makes you look better than you down with you and walk you through the the impression to the audience that you
are. You would be surprised how different process; they can recommend products are working really, really hard for them. I
a well-known stage performer looks in for you and teach you how to apply them hear that audiences tend to like that sort of
perfect makeup on a beautifully lit stage, properly. thing. 
as opposed to 8:30 in the morning in a Here is one last little tip on looking
Las Vegas Starbucks after three shows the your best. If you are like me, and tend

NOVEMBER 2014 - M-U-M Magazine 47

 For Your Consider ation
By George Parker
rope magic for one year and studied ev- four inches for that reason.
erything I could afford to buy and could Fold it together in equal pieces and hold
borrow. Inevitably, I came across the it between two hands (Figure 2). Apart from
Professor’s Nightmare. I liked the visual reasons that are explained in my scripts,
aspects of it and the clarity of the effect. But I do this because of the symmetry of the
I wanted a full circle type of routine that routine. I hope to seduce my audience into
started and finished with one, single rope. remembering that I introduced one piece,
VERSATILE OPENERS After a lot of experiment-
(PART 1) ing, I succeeded in creating
In the early 2000s I spent a great a routine without using
day roaming the streets and canals of gimmicks. The deception
Amsterdam with Max Maven. We talked relies on technique and
nonstop about all kind of things, including rhythm. The impact relies Figure 2
magic. One of the condensed lessons I took on how the script and the
away was about creating the opening of a multiple effects comple-
show. Max said (I’m paraphrasing): “In the ment each other.
first few minutes of a show you need to For the audience it’s a
answer three questions that are on the au- clear, straightforward, and very deceptive cut it into two pieces (which never really
dience’s mind. They ask themselves: Who effect. But there’s a lot going on behind happens but the picture is there), and then
is this guy? What does he do? And why the the scenes. That’s why I will need two cut it into three parts, only to bring it back
hell should I care?” He may have phrased columns to teach it. to two pieces (which actually happens),
it that way or it may be my mind that im- finishing with one piece.
mediately rephrased the last question that 12321
way (and worse ways I might add). THREE EQUAL PARTS
So I started to work on routines that I’ll describe the effect in shorthand so
would include introducing myself (who is you get the symmetrical design. This is The next move makes it look like
he and what does he do?) and would draw what the audience sees. A piece of rope you fold the rope into three equal parts
the full attention of my audience and create is shown. It’s first folded into two equal while you’re actually folding it into three
context for the show (why should I care?). parts, and then in three equal parts. The unequal parts. I have never read about
Opening routines are also vital to setting three parts turn into three unequal parts. this move, but I remember seeing some
the tone, allowing the audience to settle The three unequal parts become equal footage of Slydini doing something like
in and break the ice. On top of that, I’ve parts again. They turn into two equal this. I figured out what he must have done.
always found that getting past the first act parts. Those parts are tied together, the I might be way off though. But this is what
successfully helps me to completely relax knot vanishes, and it becomes one rope I came up with.
and work better. again.
So openers are important to me on more The working title is 12321 for that
than one level. One of my favorite ways to reason. The actual title depends on what
create versatile openers is to develop one script I select. I’ll talk about that next
or more alternative scripts. I talked about month.
this idea in the July issue of this magazine You will need a piece of rope of about
(Exercises in Style). I introduced the idea sixty-six inches (about five-foot five). The
of multiple scripts for two reasons. First, three unequal pieces that you’re going to
playing with multiple approaches to the create without the audience noticing will
premise, the script and the delivery will be about eleven, twenty-two, and thirty-
boost your creativity. Second, it will help three inches.
you to get more mileage out of the same Introduce the rope by holding it between Figure 3
basic routine. When you have a serious your two hands (Figure 1). Hold the left
version, a funny version, and a dramatic part between your left first and second
version of a specific routine, it will allow fingers. This prepares you for folding it
you to select the appropriate version into three parts later. I let it protrude about
(depending on the situation) without
having to develop brand new routines for
those situations. Take the right side of the rope in your
I will explain one of the routines I Figure 1 right hand (Figure 3). Bring that right part
developed for the above purposes and will between your left first finger and thumb.
include a couple of my scripts. It’s my When it has arrived, immediately stretch
version of the Professor’s Nightmare that your left hand thumb, put it behind the rope
I developed in the mid 1990s. I focused on that’s in your left hand, and lift it (Figure

48 M-U-M Magazine - NOVEMBER 2014

 to the far left, between the first and second
fingers of your left hand. At the same time
you grasp the looped long-and-short rope
between the thumb and first finger of your
right hand (Figure 9). Once the right side
of the looped long-and-short rope clears
your left hand, grip the left strand of the
Figure 4 long-and-short rope with your left fingers.
Give it a tug and count “two” (Figure 10).
Figure 6

4). In the illustration I used different shades

of red to clarify what happens. Don’t be
confused by that. It’s still the same rope.
Pull the rope through and down. Figure
5 shows you the end situation; note that
this is an exposed view. In reality your left Professor’s Nightmare. You will mimic the
hand is a bit lower and covers the suspi- first count two times to add to the illusion
cious parts. The audience sees a loop and that you’ve counted three equal pieces. Figure 9
a loose end on both sides. Take out a pair Take the first rope with your right hand
and pull it to the right. Hold on to it with
your left fingers until it reaches the end
(Figure 7). I always give an extra tug when
it’s completely stretched out. I count “One” Take the rope that’s in your left hand and
at that moment. I will repeat that with the handle it the same way, stretching it and
other counts to reinforce the impression of giving it a tug as you count “three.”
counting three separate, equal pieces.

Figure 5
Figure 10

Figure 7
This all happens in a nice, rhythmical
of scissors and cut the loops. The audience way. If you rush it, it will look suspicious;
just saw you fold a piece of rope into three there’s no reason to do this quickly.
parts and cut it to get three equal pieces.
In reality, you have cut the rope in pieces In the next phase you will put the first EQUAL PIECES TO
of about eleven, twenty-two, and thirty- rope back into your left hand while taking UNEQUAL PIECES
three inches. If you are a bit off, it is not the looped long-and-short rope with your
a big deal. The audience pays attention right hand. Figure 8 shows how to clip the Put the three ropes back into your
to the difference in length, not the exact first piece of rope between the first and left hand. Arrange them as in Figure 11.
length. The only phase that looks a little bit second fingers of your right hand. Move The long-and-short rope parts are on the
awkward when you’re off is the phase in your right hand to the left as you open the outside; the middle-length rope is in the
which you show the two pieces at the end. gap between the first and second fingers of middle. In each of the scripts there is a line
You can easily camouflage the discrepancy your left hand. Push the right-hand piece about reducing one of the three parts that
by not holding the ropes closely together is relevant in that particular script. You’re
and moving them up and down slightly
while you’re talking.

COUNTING THE THREE

PIECES
Put away the scissors while holding
the three equal pieces (as the audience
perceives it) in your left hand (Figure 6 Figure 8 Figure 11
– performer’s perspective). Start to count
the three pieces one by one as in the

NOVEMBER 2014 - M-U-M Magazine 49

FOR YOUR CONSIDER ATION
going to visualize that by taking the rope
on the right and pushing it into your fist.
Figure 12 is the exposed view and shows
you how I fold it in an accordion-like way.
For reasons of clarity, I only drew two
loops. In reality there are three or four
loops. You want the audience to see you

Figure 12
Figure 13 Figure 14

Keep your thumb on the messy part.

Figures 14 and 15 are exposed views;
reduce that piece to about eleven inches. again, I used a bunch of different shades of
Take the left rope and start to pull. I red to make it clearer. I was doing a lot of Figure 15
don’t do that smoothly. I yank it out a few street shows when I developed this routine.
inches at a time. It fits my physical style a I added it to my street repertoire because audience of the fairness of what you’re
bit better. But you can, of course, pull it it’s a perfect, visual routine to do when doing.
out smoothly. Just pull it down until all the surrounded. This is one of those moments You’re now ready to count three
loops are gone (Figure 13). The audience that you may want to flash your side by unequal pieces just like you counted the
just saw you shorten one rope and stretch turning around or swinging out your left equal pieces.
another, ending up with three unequal arm in order to flash the side you’re seeing. (To be continued) 
pieces of rope. It’s a moment that helps to convince the

50 M-U-M Magazine - NOVEMBER 2014

 Cheats & Deceptions
(For Entertainment Purposes Only)
By Antonio M. Cabr al
itly state mine are – are purely cardboard- I try to give my audience in tricks of
based. this nature, it always comes back to the
For me and my performing style, it’s performer. That’s not an ego thing; it’s a
more or less easy to explain things away by necessity. Your role as “the sorcerer” is
saying “It’s sleight-of-hand,” or “I cheat,” to make wonderful and mysterious things
MY MIRACLES, YOUR even for tricks in which I clearly don’t happen. If your audience thinks even for
HANDS manipulate the cards. But what about a second that what’s happening is easy
effects like a torn and restored card, or or in any way doable without whatever
I’ve had some very interesting discus- Card Warp, or an Anniversary Waltz- arcane knowledge you possess, you the
sions recently with magician friends on the type fusion, in which the results are light performer become superfluous. A few
subject of agency. Not in the “who repre- years beyond what can be attributed to years back I reviewed a collection of card
sents you, and what’s their cut?” regard, manipulation? How do you reconcile the tricks that were intended to come across
but in the performance of magic. Simply set of skills that allow you to manipulate as if the audience did the magic; instead,
put, “agency” is the question of “where do cards on a superhuman level, with the it was clear that the performer was simply
all these amazing events come from?” near-supernatural ability to turn playing walking his participants through self-
Most of the M-U-M readership is likely cards inside out or fuse two playing cards working, procedural tricks. If someone
familiar with the Robert-Houdin adage that into one? (This relates to the part of last figures out that they could go home, grab a
“a magician is an actor playing the part of a month’s column, where I talked about deck of cards, recall all the steps, and make
magician.” What it means is that a conjuror knowing exactly what’s going on in an the trick work, that’s not magic. That’s a
(i.e. a performer, a “fake magician”) is an effect in order to present it effectively. Not science demonstration.
actor playing the part of a sorcerer (i.e. a only do you need to know how to relate it Contrast that with one of the strongest
“real magician”). The question that often to your audience, you need to know how it tricks I’ve ever performed, my friend
gets overlooked is: just what exactly are relates to your role as a “sorcerer.”) Andrew Wimhurst’s Spectator Estimates
these powers and where do they come This is particularly important in any the Aces. If you’re conversant with card
from? If you haven’t somehow defined trick that involves magic accomplished by magic, you probably know Ed Marlo’s Es-
what “being a magician” means for your the audience. That’s different from magic timation (or Miracle) Aces. It’s a classic of
audience, it can just as easily mean “a fas- that happens in the audience’s hands. card magic, in which you actually do what
cinating person with arcane thaumaturgi- You can cause a card to change under you claim to do: you dead cut the four Aces
cal powers” as “a person who spends a lot someone’s hand, or cause the four Aces from the middle of the deck – no crimps,
of time and money at the magic shop.” to assemble in someone’s pocket, or make no finagling, no fooling. Andrew put that
This is a particularly important the selection vanish from your hands and power in the audience’s hands, so that they
question for anyone who performs with appear reversed in the deck while someone actually cut to four Aces, no fooling. I’ve
cards. Playing cards have been used to else is holding it, but in those examples had conversations with other magicians
tell fortunes, they’ve been used for recre- you’re still the agent. I’m talking about who worry that, by letting the audience
ational game play, and they’ve been a ma- tricks in which the audience is empowered do the cutting, you’re communicating that
gician’s prop. In modern times, as society and creates the outcome. Someone names it’s somehow easy, or that anyone could
has moved away from both superstition a number; he deals the cards and finds his do it. My actual experience with the trick
and recreational card playing, playing card at that number. A woman shuffles is that it freaks people out more that any
cards are more and more seen as a magi- the deck; she does all the dealing and Spectator Cuts the Aces I’ve ever done. My
cian’s prop. This is a problem, because the makes all the decisions, yet somehow she participants know they’re not card experts,
worst reason to do a card trick is “because separates all the red cards from all the and they have no idea what they’re doing.
I’m a magician.” black cards. Another example that came And yet, they find all four Aces. I haven’t
It’s a little easier to skirt the subject up in conversation with a friend is the Ten performed the trick in years, but the people
if you’re more of a general-purpose Card Poker Deal. Your opponent does all who remember it, remember it. And they
performer. If your audience sees you of the shuffling, dealing, and choosing of still ask me the same question: “How did
make liquid vanish into thin air, cut a cards for you and him in a game of poker, you do that?”
rope and restore it whole, penetrate solid and somehow you always end up with the I was inspired to write on this topic
through solid, turn a one-dollar bill into a winning hand. The question my friend after a recent dining-out experience with
hundred-dollar bill, and then transport a brought up about the Ten Card Poker my wife. In conversation with our server,
signed card inside an orange, they’ll more Deal applies to all these examples: who’s my wife mentioned that I’m a magician,
readily buy your wide variety of abilities the magician here? If your audience can and our server asked to see a trick. I
as happening “because you’re a magician.” suddenly do these miraculous things, what performed a couple of quick memorized
If you’re presenting a bunch of card tricks, the heck do they need you for? deck miracles that put all of the action and
you’re in a different arena. After a while, This leads to one of my favorite results in our server’s hands, under the
your audience is going to wonder why all paradoxes I’ve encountered perform- guise of “testing her luck.” Again, rather
your supposed superpowers – as I explic- ing magic: no matter how much credit than being swept up in her newfound

52 M-U-M Magazine - NOVEMBER 2014

magical powers and running off to fight with your left thumb. You’re now going Now you milk the suspense. You point
crime, our server clearly realized I was to turn a couple of screws that always out that she could’ve stopped on any of the
the source of her newfound “powers.” The get a nice reaction. Say that you’ll let her cards on the table. Turn over the top card
result was that I got a new customer for choose: she can take the last card back, of the remainder of the deck to show what
my bar gig. The first routine I performed deal one more, or leave everything the way would’ve happened if she had gone one
was Darwin Ortiz’s Test Your Luck (from it is. Regardless of the eventual decision, card further. Ask her to repeat which card
his latest book, Lessons in Card Mastery), I find just being at that crossroads has a she named, and reveal it.
which is a card stab in which the participant really weird effect on people.
finds a card she freely named. I followed If she chooses to leave things as is, fine.
up with the following simple Stop effect If she takes the last card back or opts for
inspired by my friend Michael Vincent. one more, do as she asks, and push the
Begin with a memorized deck in play, subsequent top card halfway off the packet
in one to fifty-two order (or a few cards off with your left thumb. You’re in position
in either directions, as per my June 2014 to do a very well-covered bottom deal, in
column). Ask your participant to name the style of Larry Jennings’s TNT bottom
any card in the deck she likes, and stress deal. Under cover of the side-jogged top
that she has a completely free choice. (I card, push out the bottom card with the
encourage people to change their mind left second, third, and fourth fingers. Photo 2
as much as they want before settling on a Bring the left hand to the right hand, and
card.) Once she’s named a card, you have rest the right thumb lightly on top of the
to cut that card to the top of the deck. The side-jogged top card while the right first While my participant and any other
best strategies I’ve learned for this can be and second fingers contact the side-jogged spectators are reacting to this, I reset the
found in Darwin Ortiz’s Lessons in Card bottom card (Photo 1). deck as follows. I drop the selection on the
Mastery, and Michael Close’s Workers 5. If face of the face-up spread. I sight-count
you do this kind of Open Index card work, six or seven cards from that end, and as
I highly suggest getting these sources. I I scoop up the spread I place my thumb
find the trick plays stronger if you can get down at that point so I can get a break.
to the named card with as little finagling I do an overhand shuffle and run all the
as possible. cards above that break singly, reversing
Once you have the card on top, place the order, and throw the rest on top. I turn
the deck on the table. Place your left hand the top card of the rest of the deck face
palm up directly next to the deck. Ask her down and drop the packet face-down on
to take a card from the top of the deck and top. Then I do another overhand shuffle,
to place it face down in your left hand. Il- Photo 1 running six (or seven) cards singly to
lustrate this by taking the top card yourself finish reversing the order, then finish with
and placing it into your left hand; have an Erdnase Overhand Blind Shuffle. All
her imitate what you just did. Once she’s Once the left hand delivers the packet of this is done briskly but casually, as
done that, have her do it again, and then to the right, several things happen at we’re between tricks and people are still
again. Tell her to keep going as much as once. The left hand moves forward and freaking out over the previous one. 
she wants; whenever she feels like it, she to the left, turning palm down to spread
should simply stop. (Choose your wording the packet on the table. The right first and I welcome any questions or comments. If
carefully; you don’t want her to get ahead second fingers take the bottom card of the any M-U-M readers want to get in touch,
of you and take a card or stop with one in packet as the left thumb pulls the top card please feel free to contact me at antoni-
her hand.) back flush with the rest of the cards (Photo [email protected]. I look forward to
When she stops, you’ll have a short pile 2). Timed correctly, it looks like the left answering your questions and opening a
of cards in your hand. The bottom card of hand delivered the top card to the right dialogue or two.
this pile is her named card. Push the top hand, then spread its packet face up on the
card of the pile about halfway off the top table.

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NOVEMBER 2014 - M-U-M Magazine 53

 I Left My Cards At Home
By Steve Marshall

While performing on the streets, David magic conventions and places where there
started getting the question, “Do you do may not be too many kids in the audience.
children’s parties?” Although David was He started thinking of a more “grown
doing mostly magic for adults and families up” Silly Billy look. I got to spend a great
at the time, he accepted the shows because, afternoon in the famous Harajuku section
as he put it, “That’s what you do.” He went of Tokyo helping David design this new
straight to Tannen’s magic shop and bought look. (He still wears the classic Silly Billy
DAVID KAYE some standard children’s magic tricks. wardrobe for all of his kid shows, though.)
(AKA SILLY BILLY) “I did my first children’s show and I In 2005, David’s first book Seriously
must have been good, because that show Silly was published by Kaufman and
turned into more shows. The more I was Company; it has become a best seller
on the streets performing, the more people around the world. (The book has even been
saw me, and the more children’s parties translated into Spanish and Japanese!)
I would book. Eventually I was doing so This book has a wealth of knowledge, not
many private parties that I stopped street only for kid show performers but for other
performing.” types of performers as well.
At the time he was known as “David David has recently come out with a
the Magician” and performed at the parties line of products for magicians. All of his
in a tuxedo and tails. At this point he was props and routines have been personally
just happy to perform magic wherever he tested hundreds of times in his own shows,
could and to make money for it. so he can include all of the “real work” in
After a few years of performing, and an the instructions and DVDs. (To paraphrase
ever-growing number of children’s shows, an old Orson Welles commercial, “He will
he decided that he needed to come up with sell no trick before it’s time.”)
a more clown-like outfit for the kids. “I David is finishing up a new book that
went to my parent’s house where I had two includes his one hundred “Turn It Around”
Whenever the subject of performing things: my costume from my high school columns from MAGIC. It is slated for an
magic for children comes up, more than production of Godspell, which included early 2015 release from Kaufman and
likely either the name of David Kaye or his rainbow suspenders and colorful pants, Company. He also currently writes a bi-
alter ego “Silly Billy” will come up as well. and some old stock left over from when monthly column for Genii magazine.
This is because David is one of the most I sold novelties and magic tricks at flea Oh yeah, and he does children’s parties,
prolific writers of our time (and arguably markets when I was in high school. Among too!
any time) on this subject. How did he come this stock was a battery powered, blinking
to know so much about this branch of our bow tie and some really big glasses.” David SNEAKER JUICE
art? By being out there and performing for took all of these things and created his first
children for over twenty-five years! costume specifically for children’s shows.
BY DAVID KAYE
His love of magic began when he Now that he had a new look, he felt that Effect: The magician borrows a child’s
was just six and his father took him to a he needed a new name to go along with sneaker and pours water into it. The water
magic show; young David was picked to it, so he made a list of funny names; after really goes in! Then the magician shakes
go onstage and help the magician. This his shows he asked kids which name from the sneaker a little, mixing the water inside
encounter led to magic sets as gifts, and the list they liked the best. Out of all the the sneaker. He then places a plastic cup,
ultimately to David studying sleight-of- names, “Silly Billy” was the one they con- mouth up, into the sneaker. When he
hand magic through his junior high and stantly picked. And thus, a new character removes the cup, it is full of sneaker juice –
high school years. was born. brown and wet! He then drinks the sneaker
David then put his magic studies aside After coming up with his look and juice to the disgust of his audience.
and attended Northwestern University, name, David thought that he could change Preparation: You need two clear
where he enrolled in a program called the color of his costume from time to time. plastic cups that hold about three or four
Communication Studies. After graduat- He then realized that cartoon characters ounces of liquid. They are about three
ing, David got a job in marketing for a and certain corporate icons were always inches tall. Make sure the cups are clear.
book publisher – a job that would only last dressed the same way. He decided to stay You may have trouble finding these in a
for nine months. David recalls, “I couldn’t with this concept and has kept the image store. If so, then look for a food store that
stand the nine-to-five work schedule, so of Silly Billy a constant throughout the sells drinks; cups this size might be used to
I quit my job and started street perform- years. This “branding” of the character has give out samples. Try a coffee bar, a juice
ing in New York City. I had always been a helped him stay easily recognizable and bar that sells shots of wheat grass, a super-
fan of street performers and had grown up has kept kids saying, “I don’t want just any market samples stand, even your dentist.
watching great street magicians like Presto magician or clown; I want Silly Billy at my These cups are small enough to fit into
and Mal Cross who performed regularly party!” the sneaker of a child. If you can’t find the
on the streets of Manhattan.” Recently, David has appeared at more small cups, then buy the smallest clear

54 M-U-M Magazine - NOVEMBER 2014

cups you can find and use the shoe of an in the sneaker that it is not visible, but high
adult. enough that you can pour the water in ac-
Take one cup and cut off the rounded curately (Photo 4).
top, just under the rolled lip. This is Cup A. 5
Cut out the bottom of the other cup. Leave
a little lip, but cut out the middle of the
bottom. This is cup B (Photo 1).

1 4
Place a sprinkle of grape Kool-Aid
powder drink mix into the bottom of Cup Take another cup filled with water or a
A. Slide Cup B into Cup A. This now looks bottle of water and pour it gently into the 6
like only one cup (Photo 2). sneaker and into Cup A. Try to hold the
water bottle about five inches or so above
the sneaker so the audience can see that the
water is actually going in (Photo 5). Place
the water bottle on the table.
Now shake the sneaker gently, like
you are trying to stir up the water in the
sneaker. The Grape Kool-Aid powder will
2 mix with the water and make the water
look black. Point to the toe area of the
sneaker and say, “All the sneaker juice is
accumulating down here.” This is a nice
visual to reinforce the impression that the the left so you are in profile. Bring the cup
water is really in the sneaker. slowly to your lips and slowly drink the
Performance: In the middle of your Wave your hand over the sneaker and contents. Keep your fingers clear from the
show say, “It’s time for my afternoon say some magic words. Then take Cup B cup so the audience can see that you are
snack.” Ask to borrow a child’s sneaker. and place it into the sneaker and into Cup actually drinking it.
Borrow one that closes using Velcro. A. The cups will nest. Hold the top of the To end the routine, finish drinking the
(When you return the sneaker, you won’t two cups tightly between your thumb and sneaker juice and then smile and start to
have an “I can’t tie it” situation.) index finger and remove both cups (Photo say, “Deeeelicious!” But only say the
Pick up your prepared cup(s), holding it 6). Keep your other fingers away from the “Deee” part. In mid-word make a sour
around the bottom, thus hiding the hole cups so the audience can see the black face and finish by saying, “Disgusting!”
and the Kool-Aid powder (Photo 3). Say, “I water in it. Say, “All the sneaker juice (It will sound like deeeee-sgusting.) Say it
have to make sure your sneaker is big jumps into the cup, and the sneaker is nice and loud and end as though you have
enough for my cup.” Place your cup(s) into dry!” Turn sneaker upside down to show swallowed something gross.
the sneaker just for a second and leave Cup that it is dry. Toss the sneaker back to child.
A behind. Make sure Cup A is low enough Look at the audience and say, “And now STEVE’S STUFF
I will drink the sneaker juice.” Then look at
the cup, consider it, and change your mind. The attention to detail in David’s
“This is disgusting. I don’t want to drink routines proves he has performed the
it. Do you think I should drink it?” Kids effect many, many times. In this effect,
will yell, “Yes.” Bring the cup to your lips, the advice to borrow a sneaker that closes
pause, and then change your mind. “No, using Velcro so you won’t have an “I can’t
I can’t drink it!” Kids will insist. Wave tie it” situation later is great advice for any
your hand at your nose as if you smelled trick in which you borrow a tennis shoe.
something awful. Bring the cup back to I saw a video of him doing this live; the
your lips, pause, and then change your kids go wild at the end, chanting, “Drink it,
mind again. “No, it’s disgusting.” The kids drink it.” David milked it for all it’s worth.
will insist again. This trick might not fit everyone’s style;
3 Hold the cup in your right hand and hold if it fit’s yours, you will have a lot of fun
your nose with your other hand. Turn to with this one! 

NOVEMBER 2014 - M-U-M Magazine 55

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

By Mick Ayres

audiences that way, too? Well now, that people could not be unknowingly influ-
would change the face of this art, wouldn’t enced, a few advertising agencies, some
“Nothing is as common as the it? car salesmen, most preachers, and all
wish to be remarkable.” An act of this construction would not politicians would be out of work. In fact,
– William Shakespeare; Hamlet necessarily require every effect in the professionals in those fields will often tell
show to be completely original. One can you the more gentle the effort, the stronger
Who doesn’t love a good Cinderella use a strong existing effect as the foun- the influence.” Take a step toward your
story? You know, when the underdog dation, coat it with a relevant script, and guest who is mixing the cards and extend
rises to a challenge and overcomes the tweak the handling until it slides smoothly your hand toward her. “Would you like to
insurmountable obstacle. Personally, I into the new act. participate in a harmless example?” With
don’t have a favorite football team for Once upon a long time ago, the magician a nod of her head she will finish shuffling
that very reason; I always root for the John Murray had a fine store called the Up the pack and hand it to you. “Thank you.”
guys nobody expects to win. If the team the Stairs Magic Shop in Greenville, South Say, “This demonstration begins with
surprises everybody by rallying together Carolina. Though it was a six-hour, across- the isolation of one card. I have a specific
and somehow pulls out a victory in the last the-state drive away, it was always worth card in mind already. Think of it as my
few minutes, it gets so exciting I can’t help the trip. Anyone who knew John in those ‘burden of proof.’ I’ll bet it's closer to
but hoot and holler at the television. days would tell you he had little patience the other end of the pack. That would be
What does this confession have to do for magicians “who have decided medioc- my luck. Okay, I found it. I will show it to
with conjuring? It has to do with where I rity is acceptable.” But John was always you later.” Suiting action to words, you
hope to evolve as a performer. For some generous and willing to share with a young will search for the prediction card in the
time now, I have been working to construct man who traveled far just to sit and listen. following manner. Spread the deck with
and script an act that gets the audience Eventually John Murray closed his the faces towards you. Note the value of
rooting for me. The final few words in shop and relocated to the city of Charles- the card at the back of the spread (this
that last sentence are critical. The goal is ton, closer to my neck of the woods. There is top card of the deck when the deck is
to convince the guests that what they are I visited with him often at his favorite bar. face down). Let us assume it is a Queen.
witnessing is so difficult, so crazy, and so In his later years, John would often press Beginning with this back card, silently
impossible that they spontaneously drop me to conjure for his friends; he particu- spell the word Q-U-E-E-N by pushing one
their inhibitions and leap to their feet as larly enjoyed a mentalism approach I gave card for each letter into your left hand.
they cheer and shout encouragement. to his self-working effect Four-Card Co- Your left hand now takes this block of five
In other words, they are not expecting incidence. John is gone now, but you can cards, turns the packet face down, and
success – they are hoping for it. I want to enjoy more of his thinking by finding tables it.
convert my guests from a passive, seated the book Inside John Murray. Before his Keep pushing cards from the back of
audience into a solid mass of crazy cheer- passing, John graciously gave permission the spread into your left hand until you spot
leaders. The heck with polite applause; I’m to share his brilliant thinking blended with the second Queen. Your left hand takes the
looking for foot-stomping, palm-stinging, the following script. second Queen and all the cards behind it
throat-aching chaos to rule the room when away. Again, this packet is turned face
the show hits the finale. FOUR CARD INFLUENCE down and is dropped casually on top of the
A show with that level of emotional tabled pile. Continue searching the deck
impact is going to change everything Hand a deck of cards to a guest. until you spot the third Queen. This time,
about the way one performs, and the way Pantomime an overhand shuffle and however, do not take the Queen. Instead,
the guests judge the performer on stage. In ask her, “Would you mind giving these remove all the cards behind the Queen,
the world of conjuring, I privately believe cards a simple mix?” As she does this, turn them face down, and drop the packet
it is mentalism that will get me there. address the rest of your audience and say, on the tabled pile. Search the remainder of
It will take a lot of study and practice, “Here’s a question: Can you be made to the deck for the fourth Queen. When you
pages of creative writing and long hours do something without your knowledge? spot it, jog this Queen up and remove it
of rehearsal, but it is a very reachable, Most adults will say, ‘Of course not; I am from the spread. Lay this card face down
very doable goal. Now consider this: an intelligent human being and wise to the off to one side as your other hand turns the
What if every conjurer tried to affect their ways of the world.’ Hmm, think again. If balance of the deck face down and drops

56 M-U-M Magazine - NOVEMBER 2014

it on top of the tabled pile. Although this “When you stopped dealing you created guests in turn: “Think about this; you
search is brief and appears innocent to two groups of cards. Did you feel influenced shuffled the deck. I was careful to not
the guests, you have effectively stacked in any way?” He will answer no. Smile and disturb the order and only took one card
the deck right under their nose. There is explain yet another bogus statistic, “Pro- from the pack. Next, you divided the deck
a Queen on top of the deck. Two more fessional poker players tell us that when into two piles. Then you found a Queen,
Queens are side-by-side a few cards from given the choice, the average person will and you used that Queen to find another
the bottom and the last Queen rests on the stop dealing about six cards after instruc- Queen. That’s one heck of a coincidence.
table. tions are given, which is exactly what you You guys made every decision. No one
Pick up the deck and hold it face up. did. Perhaps it’s an internal rhythm thing. ever felt influenced.
Say, “Remember, this experiment is about Let’s get another person involved. Sir, “But I’ve been claiming all along that
influence.” Look at the guest who shuffled please point to someone you don’t know.” people can be influenced without their
the cards and ask, “Ma’am, when you He does so. knowledge. So believe me – the current in
mixed the cards did you feel influenced in The choice he makes provides an op- this particular river was moving in only
any way?” She will answer no. Smile and portunity for humor. If a man is chosen, one direction today.” Turn the prediction
mime another overhand shuffle as you say, grin and quip, “You know, statistics also card over to reveal the third Queen. Smile
“Remember when I asked you to shuffle show that after learning of that earlier and quip, “See what I mean?”
how I moved my hands to show you how statistic, one-hundred percent of the popu- Drop this card next to the two piles so
– and you cooperated. Also, at the end of lation will be contrary!” However if a lady all three Queens are nicely displayed. Take
my monologue I stepped forward and held is chosen, say, “We all hope to be normal, a step back and wait. The audience will
out my hand. You handed me the pack. So, but isn’t it nice to know for sure?” take this pause as a cue to applaud and will
even though you did the work, how you Let’s say the newest guest is a lady. do so generously.
shuffled and how long you shuffled were all Address her by gesturing to the packets When the applause begins to diminish,
influenced. Now, would you please point to on the table. Say, “There are two piles. interject and say, “Now, it’s my job to know
someone in the audience you don’t know?” Which one should we work with? Choose what you’re thinking, and right now some
Let’s say she selects a gentleman. either one.” It doesn’t matter which pile of you are thinking, ‘What if…?’” Again,
Comment on her choice by again asking, the guest selects. Ask, “Do you feel influ- address each guest in turn. “What if I had
“Did you feel influenced in any way?” enced at all? Because half the time fifty- shuffled the cards a different way or not
She will again answer no. Smile and say, percent of the population will point to that as long? What if I had stopped dealing
“Studies show that when asked to point same group of cards.” Deliver this line as sooner or kept going for a few more cards?
to someone they don’t know, over half if you are perfectly serious and the guests What if I had chosen the other pile? Any
the population will choose a member of will laugh when it dawns on them how you other decision would have changed the
the opposite sex; I don’t know why, they have stated the obvious. outcome completely. So, that’s why it is
just do.” (If she selected a woman, adjust If she pointed to the pile of dealt cards, good to have a back-up.” Reach over to the
this bogus statistic to declare: “...will say, “Pick up that pile and hold it. Now discarded pile and turn over the top card
always choose a member of the same sex. turn over the top card of the other pile. We to reveal the fourth and final Queen. Enjoy
Maybe it’s a birds-of-a-feather thing; who have been given a Queen? This is good.” the astonished looks, the generous laughs,
knows?”) Smile and add, “This means you However, if the guest points to the pile of and another round of applause.
are above average!” un-dealt cards, say, “Turn over the top The construction of John Murray’s
Turn the deck face up and hand it to the card of your pile. We have been given a original effect has not been changed.
new guest. “Sir, please start dealing cards Queen? This is good. Pick up the other However, this script and choreography
one at a time.” Once he begins dealing, pile and hold it.” Either way, despite her blend with Murray’s method to emphasize
continue, “Deal the cards into a face-up “free” choice, the first Queen has made an an important theatrical element. Your
pile. You will divide the deck by stopping at appearance. guests assume the drama is over three
any time.” You will see the pair of Queens Continue your instructions to the guest. times: at the initial coincidence, at the rev-
get dealt, but ignore them. When you finish “Please deal one card for each letter as elation of the prediction, and the appear-
giving your guest the instructions, silently you spell the word Q...U...E...E...N and ance of the fourth card. 
count the number of cards he deals from make a small pile on the table. When
that point. Let’s say he stops after dealing finished, just put the remaining cards off to Four Card Influence copyright 1996
six more cards. Say, “Thank you. Please the side.” Spell aloud with her as she deals by John Murray and Mick Ayres. The
turn that pile face down. Flip the rest of the five cards face down. Once she puts the effect was previously published in S’lie:
the pack face down as well, and put it here balance of the packet aside, ask her to turn Book Four in the Act-Series (c. 2010).
beside the others.” More often than not, over the last card she dealt. With a startled Mick is a conjurer, tunesmith, and tale-
the balance of the deck will be the larger look, exclaim, “Hey…another Queen! swapper. He welcomes dialogue and
of the two groups. Either way, this latter What a coincidence!” sophomoric humor. He can be reached at
pile has a Queen on top, so remember its Build up the impossibility of this co- [email protected].
location. incidence by giving a rapid-fire recap of
Now address this gentleman and say, events as you point to each of the three

NOVEMBER 2014 - M-U-M Magazine 57

 INFORMED OPINION
LATEST PRODUCT REVIEWS
Compiled and Edited by W. S. Duncan
Bravura 4-DVD Set results. This is explained in the context of his famous Electric
By Paul Daniels Chairs act. Paul covers this highlight of his show step-by-step and
Available from: www.EssentialMagicCollection.com gag-by-gag. He explains how to pick the right subjects, how to
Distributed by Murphy’s Magic Supplies gain their trust, and how to take control over them. Of course, he
Price $150.00 also tips the secret workings of his remarkable routine, in which
two spectators appear to be receiving shocks from their chairs,
REVIEW BY CURTIS KAM without any apparent cause. Finally, one of the spectators finds he
can’t get up out of his chair, and the other, who is standing behind
I think most of us should his chair, can’t let go of it. Paul has carefully crafted the routine so
purchase these discs about the that the performer is never seen or heard directing the spectators
magic of Paul Daniels, and here’s to do these things. But it’s also not hypnosis, and the shocks aren’t
why: Paul Daniels is a speaking coming from the chairs.
performer who does a solo stage Or what about scripting and presentation? If you’ve ever
act featuring proven, practical wondered how a seasoned pro crafts a presentation that makes
magic, audience interaction, and the small play big, or that makes a child’s trick feel like a stage
comedy. I’m a speaking performer illusion, then you’ll find your answers here. I know I did. Paul
who does a solo stage act based on tips the secrets that turn the simple vanish of a coin into a strong
classic effects, audience participa- piece for the stage. I had to try it myself to believe it, but Paul’s
tion, and comedy. And odds are so right. This little trick stuns people on stage, and it has found a
are you. permanent spot in my act.
Paul Daniels’s act is designed The first disc gives us a performance of Paul’s solo stage
to pack small and play big; it works act from start to finish. All of the gags and bits of business are
with the basic sound and lighting available in your included, from his famous opening Chop Cup routine to his cel-
average club or hotel function room. That’s what’s practical for ebrated Electric Chairs, and ending with a bulletproof borrowed
me, and, I expect, for most of you. bill in walnut, in egg, in lemon. The show is performed in a casino
Paul Daniels’s stage act is light entertainment and his perform- showroom in Lisbon for a live international audience that appears
ing persona is a guy much like himself, only a bit friendlier and to be about fifty percent magicians. The effects are all familiar
funnier. That sounds pretty much like my approach. Yours, too? to close-up and parlor workers: The Chop Cup, the Professor’s
Paul Daniels’s stage act was developed in front of loud, rough Nightmare (aka Equally Unequal Ropes), Card to Wallet, the Baby
audiences with short attention spans and a tendency to throw Gag, the Electric Chairs, and the Bill in Walnut, Egg, and Lemon.
things. Does this sound like your worst crowds? Even if it doesn’t, However, Paul does this all on stage, and how he manages that,
wouldn’t you like your act to work for even the toughest crowds? and why he bothers to, make up the lion’s share of the revelations
Paul Daniels turned his solo stage act, and the skills he learned on this project. Of course, these effects will also play in a close-up
from doing it, into a successful career that made him a household or parlor setting, if that’s your venue. And there are a few items
name in his home country, a television personality, and an inter- that will perplex even the most seasoned card and coin handler.
national celebrity. Wouldn’t you like to do as much with your act? In one instance, Paul has a card chosen while he’s holding the
If I’m right, you’ll find these discs as engaging and informa- deck behind his back. He immediately mentions that the chosen
tive as I did. Paul Daniels does the kind of act that you and I do, card is the Six of Clubs. Just a gag, he says, and offers the deck
only better. He has learned a great deal about performing that act, to the spectator to make a free choice, but he chooses the same
and has made a good living at it. On these four discs he shares Six. Finally, Paul hands the deck to another spectator, asking him
all of that with us, including, for instance, a three-word phrase to offer a card to the first spectator. That first guy takes a card,
that will silence a room. It’s that simple. You walk out on stage, and he gets the same Six again, even though Paul’s nowhere near
utter these three magic words, and you have everyone’s attention. the deck. On disc three, Paul explains how he makes this happen
This is essential knowledge for the speaking performer, and not with an ordinary deck and two lay spectators, neither of whom is
something I would have thought of. In fact, it runs counter to stooged.
some traditional wisdom about openings. Paul explains why this There are interviews with Luis De Matos at the end of each
works, even in the rowdiest of clubs, and I believe him. disc, and the interview on disc one covers the basic biographical
Then there’s the matter of applause. Most of us lack any formal material: Paul’s real name, his childhood, and how he came to
training in it. But on this subject, Paul has much to tell. Among magic. A delightful extra is an additional interview with Debbie
other things, he covers how to prompt the audience to applaud, McGee.
how to get a standing ovation without begging for it, and how to The Act, and most of the thinking behind it, is dissected and
take the applause when you do get it. explained on disc two. Yes, he explains how one does the Chop
And what about rapport? Paul reveals how he builds a rela- Cup on stage, why he opens with it, what to look for in a cup, how
tionship with the audience, and how he gets strangers from the to get the proper balls, how to handle the loads on television, and
audience to follow his directions without question, to hilarious his systematic way of generating a presentation for this, and all of

60 M-U-M Magazine - NOVEMBER 2014

his tricks. Paul’s advice on the timing of the final loads is essential for as long as I have been in magic. However, Paul has applied the
knowledge for anyone doing a cup load, regardless of venue. His expert advice of Ken Brooke to this simple trick and the result is
discussion of the importance of your nose in misdirection is inter- a coin trick with the impact of a vanishing birdcage. There are
esting, as is his description of how and when he knew the routine also other lessons, like the card trick that Paul uses to “make an
was finished. But he also covers how The Act is packed and set audience out of them again” when everyone returns from inter-
up, how the tastes of the audience dictate the props you use, and mission.
things everyone needs to know about how to use a microphone. Disc four is titled The Real Secrets; Paul addresses things like
The other effects in the Act are also examined in depth, with Paul surviving in the business, professionalism, nervousness, taking
throwing in the occasional poignant or enlightening story, such applause, working the venue, knowing your audience, knowing
as the one about the one trick in the Act that was successfully yourself, and how one develops a funny and interesting presenta-
performed in the hands of a blind girl. tion. These are the sorts of things I wish an experienced profes-
As the explanations proceed, we learn that some of the tricks sional had told me years ago, and whether you’re just starting out
in the Act serve a dual purpose. The Equally Unequal Ropes was on your career, if you’re right in the middle of it, or if you’re just
included in order to allow Paul to bring two people up on stage wondering if, you’d be crazy to ignore the information that Paul
in an entertaining way. The Card in Wallet is a solid mystery, but is giving us here. He also has much to say about his Theory of
also serves to make the two volunteers comfortable on stage, and Shapes, basically addressing the visual aspects of the different
to become accustomed to following Paul’s directions. The way phases of a spoken act.
that these tricks are woven into the blocking, psychology, plot, In the end, this project is, as I’ve said, essential information
and pace of the Act is the real education here, especially for those for anyone with any interest in presenting magic as commercial
who are building acts for the first time. Even the hoary baby gag entertainment. Granted, that doesn’t describe us all, but even if
is given an upgrade, in this case involving a vanishing eggbeater you are a close-up performer who occasionally gets asked to do
and lessons in scripting and acting. And he does explain the secret a bigger show, or a businessman who does a larger presentation
to The Electric Chairs, which is as simple and as wonderful as every now and again, or a grand illusionist who needs to actually
one could hope for. This is one of those tricks for which every talk to the audience between numbers, you’ll find much to think
possible method you can imagine might work, and the only way about and a lot to use.
to tell good from bad is to try it. In this context, I value experi-
ence over ingenuity, and the lessons of years of experience are Master Course Sponge Balls 4-DVD Set
what’s offered here. Paul discusses some of the other methods as By Daryl
well, and his reasons for not using a chair that actually shocks the Available from: www.daryl.net
spectator might surprise you. If you’re interested in this effect, Distributed by Murphy’s Magic Supplies
this is the best resource I’m aware of. The Act closes with a very Price $80.00 for the set or $20.00 per DVD
practical handling of the Lemon, Egg, and Walnut, an effect that
is open to endless variation in the handling of the vanishes and the REVIEW BY DAN GARRETT
loading. This handling requires less preparation than most, and
relies almost not at all on mechanical aids. So there is little that can If you think you already
go wrong; as long as the performer has reasonable command of a know all you need to know about
toss vanish (Paul’s is excellent), this handling gets the borrowed sponge ball magic, think again.
bill inside a walnut, inside an egg, inside a lemon, in a magical I’m sure you do know that any
and reliable way. magic that apparently happens
The second interview features the experience of perform- in the spectator’s hands is the
ing magic on television, in particular, a weekly television series strongest magic of all. Whether
that Paul performed for many years. While many of the things you do sponge ball magic or not,
Paul learned from his experience are probably limited to televi- the study of this genre is essential
sion in his particular time and place, I found this discussion to be to all magicians in order to gain
valuable, and certainly entertaining. insights into magic psychology
On disc three Paul covers basics of card handling, notably the and sleight-of-hand techniques.
classic force, the classic force behind your back, and the secret to Daryl already has the reputation of being a “magician’s
that moment I alluded to earlier, where one spectator forces a card magician” and one of the finest teachers of magic in the world.
on the other. This is something I’ve never seen discussed before, These DVDs are a part of his Essentials in Magic – Master
and it’s brilliant. Paul then covers the tricks he holds in reserve, Course, produced by Murphy’s Magic Supplies. The videos set
in case more or less time is needed, and for other emergencies. the highest standards of performing, teaching, and inspiration for
This includes one of his best-known routines, the Linking Rings, magic students of all levels.
which he performs along with a little girl from the audience. He From a production standpoint, everything is as close to perfect
states his goals for the routine at the outset, and then dedicates as one can expect. There is great camera work, picture quality,
every moment towards achieving them. Many of the pretty moves and editing. The lessons are delivered with skill, precision, and
that magicians love are discarded, and the result is a focused and humor. Daryl has that special knack for holding your attention as
commercial piece of magic. If you are looking for a Linking Ring he teaches. Every section is well scripted and rehearsed. It is sad
routine for stage, street, or parlor, I recommend that you start with that all DVDs on the magic market cannot achieve this standard
this one. Paul also covers some impromptu tricks and stunts that of excellence. The material is taught in three languages: English,
come in handy, including the little-seen rapping pencil effect. Spanish, and Japanese.
These are good, but the standout for me, and the piece that went Is everything there is to know about sponge ball magic on
immediately into my act, was his handling of Malini’s vanishing these DVDs? No, of course not. There is so much in print about the
coin. This is a remarkable effect with a method that I have ignored subject, that this goal would be impossible. Even though Daryl’s

NOVEMBER 2014 - M-U-M Magazine 61

teachings cover the subject like an encyclopedia, they don’t work went into these DVDs, yet they are offered at a ridiculously
cover everything. But, it is safe to say that (whatever your level low price by today’s standards. Although the DVDs are packaged
of expertise) these four discs cover ideas that you don’t already separately, I strongly suggest that you get the full set of four. They
know. Even if you are a seasoned sponge magician you will find should be available from most dealers, but I saw that Daryl offers
many surprises on each disc. They are that good. a significant discount if you buy them from his website.
On Volume 1 Daryl sets the stage with a brief history of This volume of work is encyclopedic in nature. Daryl has done
sponge ball magic. One name he doesn’t mention, however, is extensive research, and a finer reference on the subject cannot be
New York City magic dealer and magician Al Cohn, known as the found anywhere else. This earns my highest possible recommen-
“Sponge Ball King,” not to be confused with retired magic shop dation.
owner and legendary demonstrator Al Cohen of Washington, DC.
Daryl then teaches various productions, vanishes, and routines – Aurora – Modern Card Flourishing DVD
classics with some new twists. There is a wonderful section on the By Scott Thomson
Sanada Gimmick, including one of my own handlings with this Available from: www.BigBlindMedia.com
clever device. I was delighted when Daryl included some sponge Distributed by Murphy’s Magic Supplies
ball techniques of Al Goshman, whose company Magic by Gosh Price $25.00
has supplied the world with quality sponge balls for the last few
decades. REVIEW BY DANNY ARCHER
The first half of Volume 2 deals with different approaches to
sponge productions, vanishes, and color changes. The disc opens Scott Thomson is a well-known
with a nice production idea from our late friend Aldo Colombini. “cardist” who created, and runs,
Various moves and variations with sponge balls and other sponge Essential Cardistry, YouTube’s number
items are covered, always with full credit. Included are some one cardistry channel, which is closing
great ideas from the likes of Flip Halema, Gary Ouellet, Gary in on one million views. He performs and
Darwin, Peter Samelson, Roger Klause, Steve Spill, Ray Grismer, teaches eight jaw-dropping flourishes on
Paul Kozak, and many other great thinkers in magic. There is a this DVD from Big Blind Media. The
fun foray into magical squeaking sponge balls and other sound flourishes have names like Golden Gate,
effects. Daryl asked my permission to include a few of my ideas Monaco II, and Merengue, in much the
in this area. same way that jazz songs have titles. His
Next Daryl explores ideas with the routine called by many “the card work is incredible and it’s captured
most commercial close-up magic trick of all time,” namely, the beautifully on camera. Not a word is said
sponge bunnies. Daryl’s own signature bunnies and baby chicks during the performance or explanations
routine is not here. Fortunately for all of us, he teaches this routine as the cards in his hands seem to slip, spin, and swirl, defying
in the next volume. gravity and making pleasuring patterns in the air. The desk tele-
Volume 3 contains more great ideas and routines by many scopes outward while cards flip, flop, and fly before coming to
fine magicians, including Dan Tong, Mark Leveridge, and Jack rest.
Chanin, to name but a few. I particularly enjoyed a funny idea For learning purposes, the explanations are offered from four
with “spaghetti” from Steve Spill. There is a wonderful section different camera angles. Straight on, over the shoulder, over the
on handling spectators, which applies to all magicians. This is shoulder in slow-motion, and over the shoulder combined with a
something rarely seen in magic videos, but it is sorely needed. straight-on shot. Looking at the action from different angles really
Daryl also surveys various sponge props, from rabbits to helps facilitate the learning process, and the camera work is ex-
mushrooms to hot dogs to bananas. I like bananas. ceptional.
In Volume 2 Daryl mentions the Benson Bowl routine, but on With flourishing, you are trying to show your skill and
Volume 3, he teaches it. What a classic! Al Goshman’s sponge artistry, unlike with magic where most people try to conceal their
routine is here. Several other great routines are taught on Volume technique. And from its humble beginnings, with fancy cuts,
3, including my favorite sponge bunny routine, Daryl’s own Papa people come along who takes things farther than you would have
Rabbit Goes to Town. This volume also gives advice on cleaning thought they could. These routines are not easy to learn but will
and storing sponges, as well as cutting your own. The advice is reward the student who takes the time to learn and perform them.
brief and incomplete, but it is a good start. As a self-proclaimed Although flourishing is not something I perform, I enjoy
expert on the subject, let me say that the enemy of sponge ball watching it performed, especially if the performer is skilled.
longevity is oxidation. The two main contributing factors are air I would definitely recommend Aurora to anyone of the proper
and sunlight. So I further recommend storing sponge in Ziploc- skill level who is looking to learn some incredible flourishes. On
style plastic bags, out of sunlight and fully expanded. Colors second thought, maybe I will try to learn one of these routines.
should be separated to avoid bleeding of the dye.
The final volume is every bit as good as the previous three, The Evolution of Card Manipulation DVD
with new productions, vanishes, transformations, and routines by By Lee Ang Hsuan
more great magical minds. John Carney, Slydini, Aldo Colombini, Distributed by Murphy’s Magic Supplies
Duane Laflin, Karrell Fox, and others not as familiar are rep- Price $35.00
resented. Fred Kaps’s Chinese Chow routine, a variation of the
Benson Bowl routine, rounds out a fabulous series of DVDs on REVIEW BY MARC DESOUZA
magic with sponge.
In a recent conversation with Daryl, I got the impression that I had the pleasure of watching Lee Ang Hsuan perform in the
the Essentials in Magic projects were quite a labor of love. A lot of stage competition at the combined convention in St. Louis this
time, money, energy, research, writing, rehearsal, performing, and past summer. He performed under his stage name, Anson Lee,

62 M-U-M Magazine - NOVEMBER 2014

 and although he did not make the finals, on the disc. Fortunately, he teaches not only these techniques,
he gave a fine performance. The but also shows the holders he uses, as well as body placement
entire act was comprised of card and steal techniques. If you have any interest in performing card
manipulation with regular-size manipulation, I heartily recommend this DVD as a great first or
cards and jumbo cards. Lee second step (right after Jeff McBride’s wonderful set). And if this
was a part of a sizeable Korean disc has whet your appetite for more, you will want to check out
contingent who made a fine Lee’s second DVD, The Revolution of Card Magic, in which he
showing at the convention. We, teaches his jumbo card manipulation techniques. Watch for my
as magical citizens of the world, review of that disc, too.
are fortunate that part of the Korean
way of doing magic is to share their Deep Shadows Book
ideas with others. Many of the Korean By Dee Christopher
magicians have shared techniques and effects Distributed by Murphy’s Magic Supplies
right out of their working acts with us. This DVD, The Price $75.00
Evolution of Card Manipulation, is a fine example of this sharing.
Lee shares a variety of techniques that he uses in his act. The REVIEW BY JOSHUA KANE
contents are broken down nicely into three categories: Basic,
Moderate, and Advanced. There is only a musical audio track, I do not believe that anyone deliberately releases a bad book
no spoken word. The teaching is handled by repeated views of or product. It is clear, though, that many authors and “creators”
the techniques from a number of angles, coupled with subtitles. would benefit from having their materials proofread and tested by
There is a very good idea utilized: Lee teaches in front of a mirror, their enemies or critics rather than their friends, who may be too
allowing for simultaneous performer and audience views. This close, or too kind, to offer the sort of feedback needed before one
works really well. The techniques are taught slowly, allowing for releases something to the public.
easy grasp of the material. If there is a fault to the production of Though I am sure I would enjoy chatting with Mr. Christopher
the DVD, it is that you must return to the menu after viewing each over a pint, I did not enjoy his book. Deep Shadows comprises
technique to get to the next one. Also, I found that there were a the elements that I dislike most about many of the self-published
few techniques that would not play on my DVD player, but worked books put out by mentalists over the past few years. (Yes I realize
just fine when I popped the disk into my computer. One positive I I sound like Old Man Kane wearing his cranky pants.) Those
must mention is the exceptional crediting of all of the moves. Lee elements include: derivative material presented as bold and new;
has done a superlative job of this, as opposed to many others who lack of crediting or crediting without obtaining permissions; poor
seem to feel that a big ol’ “thank you to all of the creators” without editing accompanied by non-standardized syntax or word choices
detail is acceptable (it isn’t). (e.g., Mr. Christopher is fond of using the word “sat” as a substi-
Lee’s performing style is of a moderate pace that is most likely tute for “seated”); an over-fondness for cutsie-pie epic naming of
more in keeping with the average performer, as opposed to the sleights and routines that would have made Al Mann blush; refer-
very slow deliberate style of Yu Ho Jin or the rapid-fire pace of encing works from previous volumes as if they are Holy Grails but
Hyun Joon Kim. This pacing makes the material on this disc seem not explaining them in the work at hand; and presenting oneself as
much more accessible. In the Basic section, Lee reviews a single an expert while the text itself reveals just how much learning the
card vanish, single card productions from back palm position writer should have done before presuming to present his work to
(Cardini) and front palm (Juliana Chen), and split fan productions. the buying public.
Moving to the Moderate section, he covers the Twirling Card Pro- We are told in the ad copy that the book is “a collection of
duction (originally created by Vlademir), the vanish of several techniques, tools, and effects discovered by mentalist and psycho-
cards one by one, and two different front-palm, single-card pro- kinetic expert Dee Christopher over ten years of study, creativity,
ductions. One is referred to as the Perfect Single Card Production, and performance as a professional magician and mind reader.” The
while the other is executed from a Tenkai palm position. Both are word “discovered” feels inaccurate. There is a feeling of déjà-vu
meant to be performed by the right and left hands simultaneously and previously trod paths. In short, the material feels derivative.
and can be used to produce single cards or two cards in each hand. His methods are not new; in fact, he often refers to the works
Both of these are really good, and not terribly difficult. of others being inspirations when presenting his independent
The final section, Advanced Technique, covers simultaneous creations or versions. If you have a reasonably sized library you
split fan productions from back palm and front palm positions, will not gain much new knowledge from this book. Methods aside,
Simultaneous front palm fan productions with both hands from his routining does not interest me: there is nothing as presented in
what can only be described as a modified JW Grip (the coin guys this volume that I would add, as is, into my repertoire.
will all know what I mean) and the impossible-looking vanish of I also find that his writing style and voice get in the way of
a single card with some incredible hand washing that actually a fluid read. There is too much meandering and burying of
looks pretty good, though I can’t imagine doing this for laymen. important points. The volume captures the feeling of a transcrip-
He finishes this section with The QUAD. In this technique, he tion of spoken information, with the unfortunate result that the
produces four cards and keeps them in his hand as the successive book is full of chatter and chaff. There is usually a difference
cards are produced, forming a very pleasing geometric display. between our spoken voice and our written one. The latter enables
He does this first with the left hand, then the right. He repeats with us to be more concise and to present ideas with maximum impact.
each hand, and then produces fans in each hand. This seems like With good editing, the page count could have been dramatically
one of the iconic techniques we have come to associate with the reduced and potential merits would have had a better chance to
Korean manipulators. shine through.
Lee closes out the DVD with the demonstration of a routine Mr. Christopher credits much more thoroughly than many of
combining many different techniques which he had not yet covered his peers and encourages the reader to buy the works he refer-

NOVEMBER 2014 - M-U-M Magazine 63

ences. But this raises the question, do we really need an author to apparently draws a dot on the palm side of the little finger of
publish what feels like a compilation of the methods or routines his left hand, between the first and second joints. Then, as the
of others when the original works are still available and where performer slowly shakes that hand, the dot moves up to the third
the improvements, takes, and additions lack novelty, purpose, or finger, and then up to the second finger. Finally, it is apparently
effectiveness? There is also an irony in having someone sell us a transferred to the tip of the second finger of the right hand; that
book with their routines, only to be told that we should use what fingertip can then be examined.
they provide to create our own scripts or to be told blatantly, as That’s not bad. It looks good, and is definitely creepy. But,
on page 158, “I won’t go into my presentation and scripting here, the dot does not go up and down, which is what you might expect
as it’s an effect that could be presented in so many different ways. if it “crawled” across your fingers. It might be safe to say that it
Take the time to write a good script/story and perfect the move and appears to crawl up your fingers, from one finger to the next. And,
you’ll have an incredible piece of mental magic.” If Christopher your spectators had better be more than inches away – more like
does not bother to provide excellent samples of scripts, then this a few feet, as in the demonstrations. Then you can probably get
book is not helpful to the beginner who needs them as examples, away with this, although you might still want to watch lighting,
nor to the professional looking for a ready routine. Such state- and you definitely want to watch some angles. Finally, using
ments are facile and could be interpreted as a desire to hold back. anything but a dot will require a bit more practice. We only saw
And while Christopher is quick to credit when he knows a the dot demonstrated on the DVD.
source, he does not indicate that he has obtained permissions. In That said, this is still an intriguing trick, perfect for street magic.
some cases permission is just good manners and at other times, Over and done in perhaps two minutes, it appears impromptu,
such as when he uses an uncredited and potentially unlicensed although it uses a clever gimmick that you make up with materials
photograph of Billy Idol, there are matters of legality. provided with the DVD. The gimmick will probably break from
In his section on metal bending, he credits workers such as use, or become lost, but a replacement can easily be made. The
Morgan Strebling and Banachek, but does not indicate he has per- DVD instructions are excellent, clear and easy to understand, and
mission to share their particular techniques or approaches. I have the DVD is professionally produced. If it sounds like your kind of
always understood The Twist maneuver to belong to Banachek magic, it is worth exploring.
and it is generally recognized by the fraternity that he contrib- Propel is a tad pricy, but then everything is these days!
uted this maneuver to the repertoire. Christopher also includes
the thumb bend, which he says is included in “pretty much every” Joined DVD
metal bending book or DVD and writes that he does not know By Dario Capuozzo
its exact origins but imagines that it is “very old.” With that Distributed by Murphy’s Magic Supplies
statement he made me feel very old, as metal bending in our field Price $29.95
only appeared with Uri Geller in the 1970s.
Christopher comes across as a very nice fellow with a passion REVIEW BY JAMIE SALINAS
for the subject. Unfortunately, the book feels more like loose notes
from a jam session late night at the bar at some convention than a About a decade ago it seemed like
thoughtfully constructed and edited book. Perhaps if it had been everyone was doing some sort of torn
priced at $25 or less I would have felt differently, but in a world and restored card effect. The good
where you can buy two Barrie Richardson books or a thick volume ones were straightforward, easy to
of Bob Cassidy or any number of better values for the price, pass follow, and looked like real magic.
on this one. I suspect that in the years to come, when Mr. Christo- Dario Capuozzo has created yet
pher publishes a “best of” collection, much of the contents of this another variation of this classic
book will be absent. plot.
Does Dario’s version live up to
Propel Trick being one of the good ones? The
By Rizki Nanda answer is, yes! This version is indeed
Available from: www.SansMinds.com straightforward, easy to follow, and it
Distributed by Murphy’s Magic Supplies looks like real magic. As per the ad copy, there
Price: $34.95 are no magnets, no threads, and no sticky stuff. The setup is easy
and you can do this surrounded. There are two versions, one with
REVIEW BY DAVID GOODSELL a signed card and one without a signed card.
Dario performs the trick, provides step-by-step instructions
Here is what the SansMinds Magic, for creating the gimmick, walks you through the setup process,
the company behind this Propel, and finishes with a walkthrough of the performance. The effect is
would have you believe: “Draw a simple. A playing card is folded into quarters and torn into four
simple dot or symbol on your finger pieces. You then restore the card one piece at a time with no suspi-
with a Sharpie marker. Watch the cious moves. You will need some basic supplies to assemble your
ink crawl up and down across your gimmick but they are all readily available. The setup is easy and
fingers and even onto the other the performance is fairly easy as well.
hand…It happens inches away from The signed version is a little more involved, but not too difficult
your spectator with no cover or other for the experienced performer. Although you can perform this sur-
funny business.” rounded, you will have to watch your angles during some parts of
Close, but not quite. If you watch the performance. Ever work in a noisy environment? This would
their trailer you will see that the performer be the perfect effect to perform in this environment, because the

64 M-U-M Magazine - NOVEMBER 2014

effect doesn’t require much patter to be understood. is revealed, the joke is pretty much over; you’ll have to find a new
Priced at $29.95, it is not a bad investment and the effect is group to do the trick on if you want to perform it more than once.
very good. If you want to perform a torn and restored card that Thus it would be good for walk-around or strolling if you have the
is straightforward, easy to follow, and looks like magic, then you pocket space to devote to a single effect deck of cards.
should take a look at this version.
Wallet Weapon Trick
A Real Turn-On Trick By Lloyd Barnes
By Bob Solari Available from: enigmaltd.com
Available from: www.BobSolariMagic.com Distributed by Murphy’s Magic Supplies
Price $29.95 Price $30.00

REVIEW BY PAYNE REVIEW BY DAN GARRETT

This is going to get a good The effect is signed card to

review simply because it took wallet. Yes, another one. The
me back to my childhood. Bob author is a young British magician,
Solari’s A Real Turn-On is remi- Lloyd Barnes, not yet well known
niscent of the type of trick I often to the magic world.
received when I ordered magic This time the wallet is a
through the mail as a kid. Except “normal” hip-pocket wallet you
that it’s actually a pretty good can buy in a store. The author
effect. It’s strange, odd, and needs complains that the longer style
a little work in the handling de- wallets aren’t very common and
partment, but if you’re looking for look out of place. Perhaps Barnes
an offbeat effect to show at your doesn’t like the longer style wallet
next club meeting you should give this one a try. worn with a coat because he hasn’t
A deck of cards is taken out of the box. The spectator, while performed any gigs where it would be nice to wear one. Just to be
the magician averts his gaze, is allowed to take any card out of clear, I’m sure it is possible to easily perform this effect with the
the offered face-up pack. The magician turns away so that the longer style wallet as well.
spectator can apply a yellow sticker to the face of the card, which For the card to fit in a “normal” (hip pocket) wallet, it must be
he then initials. Still averting his eyes the magician takes the card folded. Barnes uses a Mercury card fold, which he explains. The
from the spectator and returns it to the middle of the still face-up general method for the card to wallet effect mirrors many of the
deck. With the card safely returned to the middle of the deck, “signed card to impossible location” effects, in that a switch is
the magician is now able to look the audience in the eye. After involved. Barnes’s idea for the switch, when the mechanics work
making that all so important eye contact, the magician then tells properly, is excellent and totally invisible. It works even when the
the audience that it would be easy, since the deck is still face up, to spectators are burning your hands. This is really the only reason
find the spectator’s card simply by running through the deck and for anyone to justify purchasing this product.
looking for the card with the yellow sticker on it. But that would In my opinion, this project is a textbook example of how not
be cheating. Instead, the magician says he’ll locate the card in a to do an instructional magic video. The camera work is awkward,
new and novel way. He then, for the first time, turns the deck over and the image goes out of focus numerous times. The explanations
to reveal that there is a light switch in the middle of the pack. The are sometimes rambling; they are obviously unscripted and unre-
magician flicks it on and, after a moment or two to warm up, a hearsed. There is too much repetition, which defeats the purpose
card is shot out of the deck. It is, of course, the spectator’s previ- of owning a DVD. The explanation of the Mercury card fold is
ously selected card. okay, but it could have been much better. The reason Barnes feels
Okay, so the effect isn’t that strong, and the handling, with the it is necessary to get a break above the card before performing the
face-up cards forcing the magician to break that all-so-important move is a mystery left unexplained.
eye contact with his audience, is pretty funky. But did I mention These shortcomings, in my opinion, are not acceptable on
this trick, with its single sheet of printed instructions (on yellow a DVD being sold to the magic community, especially when
paper no less), instantly induced a moment of nostalgia, whisked compared to the quality of other products on the market. The DVD
me away to those halcyon days of yore, before even the simplest comes with nothing extra. You’ll have to construct and install
of tricks came with over-produced instructional DVDs? I digress. the gaffus into your own wallet; it is a craft project. However, it
A Real Turn-On isn’t going to be everyone’s cup-of-tea. After doesn’t seem to be very difficult; most likely all the materials you
all, it is a one-trick wonder, because the deck can’t be used for any need are already on hand.
other effects. You only have two choices for the reveal. Either the I did note that during the explanation of the main effect, the
card shoots out of the pack, or it can slowly rise (Kundalini Rising author’s gimmick flashed numerous times after he performed the
style) out of the pack. The deck can’t be examined. “move.” Thankfully everything works perfectly during the per-
You get everything you need to perform this curious little formance sections, at least those performances we are allowed
effect: the altered deck and box handcrafted by Mr. Solari to see. When executed correctly, the switch is startling and near
himself, two pages of printed instructions, a set of six stickers, perfect.
and the secret something that is needed to accomplish the effect. Other ideas are included. They involve using the gimmick as
The trick can be repeated, because the reset is simple and can be a utility switching device, for changing bills, mentalism (billet
done in a second or two. But once the switch on the deck of cards switches), torn and restored effects, and color changes (really?).

NOVEMBER 2014 - M-U-M Magazine 65

Most of these ideas work, but often the justification for using a perform all of the routines on the DVD if you choose to build this
wallet is very thin. Stick to the card-to-wallet routine. one gimmick. Personally, I find the tricks accomplished with the
At no point is it mentioned, but I am sure female magicians gimmicks to be the weakest routines of the lot. In my opinion the
could adapt the Wallet Weapon to a credit card purse. Perhaps that routines that employ the ungimmicked cups are far more versatile
should have been mentioned. The basic idea is very good, but the and usable. If you find yourself in an establishment that uses the
way it is presented on the DVD is substandard. black soufflé cups, all can be done impromptu with a minimum
of setup.
Senses Trick There are six routines clearly explained on the DVD; most of
By Christopher Wiehl them employing coins. There are some startling and very visual
Distributed by Murphy’s Magic Supplies vanishes and penetrations. Most of the routines are best accom-
Price $34.95 plished while sitting at a table, though for you guerilla performers
out there, most of them, with a little bit of work, could be adapted
REVIEW BY PAYNE to be done while standing. A few of the effects might even be
able to be achieved using the more typically found clear cups. Mr.
Senses is not so much a trick Wiehl takes you through each routine phase by phase in a multi-
as it is a series of effects that are camera shoot, explaining each move clearly and succinctly and
accomplished by utilizing what providing you with many alternative handlings (some of which
we are told is a soufflé cup – a he clearly does not do regularly, if at all, because he clearly isn’t
common, everyday object that comfortable or proficient in their demonstration).
some refer to as a condiment This is clearly an effect that was created through a bout of ses-
cup. I really wanted to like this sioning and, since there are no demos of anybody performing any
trick. Or should I say these of these tricks in a real world setting, one is left with the impres-
tricks? There are many effects sion that this trick isn’t in Mr. Wiehl’s current repertoire. Overall
and routines that can be ac- I am left with the impression that Senses was cobbled together
complished with the Senses simply to be sold to the masses to give them their monthly fix of
gimmicks and many of them new magic. Had it been created thirty years ago it would more
are quite clever. Others employ than likely been a trick that would have appeared in the pages of a
existing techniques in a new and innovative ways. magic magazine than on the shelves of a magic shop.
Plus, one would think, that using something as innocuous But perhaps I’m being too harsh in my review. [Editor’s note:
and innocent as a condiment cup would make Senses the perfect No, you’re not.] I’m sure that there are many out there who will
impromptu effect to use when dining out with friends or col- find Senses to their liking. But for me, if I’m going to do a trick
leagues. And indeed it would, if Senses employed the type of with a suspicious-looking prop that I need to come up with a
condiment cup typically found in the average eatery. But it doesn’t. reason to justify using it, I’d rather spend the money on an Okito
Perhaps I don’t dine in the finer establishments that Mr. Wiehl coin box because it is more versatile, just as odd looking as a black
is accustomed to. Or perhaps the restaurants here in the Pacific soufflé cup, and will last a lifetime of professional use. 
Northwest are more down to earth than cafés and diners are in
other parts of the country. But typically the soufflé cups one finds
in this part of the country are made of clear plastic, or, more
recently, a biodegradable material that is also transparent. The
ones used by Senses are a sleek and trendy black. Unfortunately,
most of the effects taught on the DVD that comes with Senses
require the cups to be black, thus making the frosted clear cups
one usually finds at the salad bar or condiment counter unusable.
If you wish to have
So now, instead of performing a miracle with an everyday
object found on the table, you’re doing a trick with an uncommon your product reviewed,
and curious-looking item you’ve just pulled out of your pocket.
If you have to justify the use of a curious-looking prop, there
are better, more versatile, and sturdier props one can employ to
please send it to:
accomplish nearly all the effects taught on the DVD. In fact, some
of the effects don’t even require a prop at all, just some sleight
of hand and a modicum of practice. But, if your local establish-
ment happens to use black condiments cups, then you’re in luck Bill Duncan
and should give Senses a look. But before you do, you should be
made aware that everything required to perform some of these
routines doesn’t come in the box and some assembly is required.
P.O. Box 50562
Apart from a magnetic finger ring, most of the items are common
enough that the average household should have them readily on Bellevue, WA
hand. So when you order this trick make sure you have some
transparent tape, double-stick tape, glue dots, and invisible tape
on hand. You’ll also need a pair of scissors to construct a couple
98015-0562
of the gimmicks. Senses comes with three cups, but one of them
must be destroyed to create one of the gimmicks. Since some of
the routines use two ungimmicked cups, you will be unable to

66 M-U-M Magazine - NOVEMBER 2014

Home Decorating First, you’ll need to put together
your FlipBooKit DIY Flipbook
Magicians' homes are cool. At least we think they are. We Machine. This is easy; it will be ready
live in a world of illusions and gimmicks, and we fill our houses for viewing in no time. It comes with
with things that push the limits our spouse’s tolerance. one already-printed flipbook (a horse
For many years, no one came into our house. It was a sort galloping), but also the stuff to build
of home/office for us, and projects, computer work, and phone a few movies of your own. Keep your
calls filled our daily routine. When my kids graduated from FlipBooKit DIY Flipbook Machine
high school, we had parties for them and decided to open up on your desk or hang it on the wall
the house of gimmicks to their friends, who had never seen the (there’s a hole on the back for that). You could even (easily)
inside of our abode. From the moment they walked through our adapt it into a motorized unit.
front door, we couldn’t get their attention because they were FlipBooKit DIY Flipbook Machine is available from
walking around the rooms as if it was a museum or Hogwarts. thinkgeek.com and sells for $50.
They still talk about the amazing things they witnessed within.
Here are a few things that appear in my house. Potentially Magical
Hover Lamp Michaels craft stores have come
up with a cool device that could have
I talked about this lamp a while ago, some magic possibilities. The world’s
but at that time it was being sold by first 3D-printing pen, the 3Doodler,
an artist in very limited quantities. A draws by extruding heated plastic
company called Limelights has created that quickly cools and solidifies into
a home version. It’s a pretty cool lamp. a strong, stable structure. This allows
Much like the ever-spinning top that you to build an infinite variety of
hovers and spins forever, the lampshade shapes and items with ease! Start by
floats and rotates over the lamp with no tracing objects on paper, and after only
visible means of support. a few hours of practice you’ll be able to make far more intricate
I was able to make this work after two objects. 3Doodles can be created as flat forms (and peeled off of
or three attempts. Now I can do it every time. It looks really cool paper and stencils), as freestyle 3D objects, or in separate parts,
and the lamp has a good brightness. The floating only works if ready to be joined together using the 3Doodler. The first thing I
the lamp is plugged in. It needs the internal lamps to rotate. drew with the pen was the name of a card in plastic. Using that
Hover Lamp is available online at Amazon.com; it is also in a trick, I displayed a string of plastic that I then covered; I
available at some Costco stores and BJ’s Wholesale Clubs. then quickly switched it. Demonstrating the power of my mind,
Google it and I’m sure you’ll find it. They retail from $50-$100. I twisted the plastic into the name of the selected (forced) card.
I foresee lots of possibilities with this handheld 3D printer. The
Castles in the Air 3Doodler is available at Michaels craft stores for $100.

Hoverkraft is an old-school If You Build It, They Will Come

building game with a twist. Players
take turns stacking pieces on a Want a quick and easy way
platform – that levitates. Using to advertise a show and get it
magnetic repulsion, thinkgeek.com out on social media? I have been
built a game board that defies gravity. having a lot of fun with an app
Stack translucent game pieces higher called Over. Over allows you to
and higher or remove them as the die quickly grab a photo from your
dictates. The last player to place a block without causing the camera roll and add text to it. It
platform to tumble wins. offers many choices of fonts and
Think Jenga meets floating magnets. Hoverkraft is designs. Once you create your mini-poster, send it right out to
available from www.thinkgeek.com for $30. Facebook, Instagram, or other social media. You can make an
advertising piece in less than two minutes. It’s super easy to do.
Flipbooks in the Twenty-first Century Over is on the iTunes App Store and sells for $1.99. 

This FlipBooKit DIY Flipbook Machine is a cool version Bruce is always on the lookout for computer magic, iPhone/
of the old arcade machines; you would put a penny in it and iPad apps, Android apps, and tech toys that can be used in
then turn a crank to watch a movie. I turned this device into a magic applications. If you have any suggestions for future
version of Card-Toon, revealing a playing card. columns, write him ([email protected]).

NOVEMBER 2014 - M-U-M Magazine 67

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

were rapidly copied or plagiarized by others, so as self-protection

Le Roy attempted to go into the magic supply business to sell
his tricks. His first involvement (Halton, Jansen, and Le Roy of
Chicago) failed within a year. In 1910 he established the Servais
Le Roy Company in London to manufacture tricks, illusions, and
LE ROY SPIRIT BELL scenery. It was staffed by others, for he was constantly perform-
ing in Europe and America. Expenses, especially salaries, out-
weighed sales, so it was not a profitable enterprise; he closed the
business in 1915.
From 1918 on, Le Roy, Talma, and her sister lived in
Keansburg, New Jersey. In 1930 he was struck by an automobile
while on business in a nearby town. He suffered broken ribs, other
injuries, and a painful concussion that wiped out any memory of
his nine days in the hospital. He appeared in a few performances
for magic gatherings in the following years and attempted a full-
evening show in 1940. He was then seventy-five, physically ill,
and no longer mentally sharp; the show was a disaster. Soon after,
frustrated and despairing, he had his apparatus hauled away and
destroyed.
Several small props of Le Roy’s escaped destruction after his
death – items he had kept in his home, not crammed into a garage
in Keansburg with the rest of his show. They were preserved by
his sister-in-law, Elizabeth Ford. One such prop is his etched Spirit
Bell. The five-inch-diameter bell is made in the standard manner
of other mass-produced spirit bells. It was a trick stocked by most
magic supply houses in the last quarter of the nineteenth and early
twentieth centuries. An intricate pattern of interwoven lines
etched into the glass of the bell adds significantly to the aesthetic
One of the finest magicians of the Golden Age – admired and value of the prop. Similar to a rapping hand, the clapper of the bell
praised by Kellar, Francis Martinka, Houdini, Thurston, and would strike the glass bell to signal yes or no and to count, for
all his other contemporaries – was Jean Henri Servais Le Roy. example, to reveal a date of birth or death.
Born in Belgium in 1865, he grew up in England; as an adult he
performed for many years to great acclaim in Europe, England,
Australia, New Zealand, the United States, and South America.
In 1898-99 he was part of the Triple Alliance, along with Imro
Fox and Frederick Eugene Powell. From 1900 to the early 1920s
the three-person show of Le Roy, Talma, and Bosco played top
theaters in both full-evening and vaudeville shows.
In addition to being an excellent performer of the classic feats
of the conjuror’s art, Le Roy was a fount of knowledge about
magical matters. And he was a highly original inventor of tricks
and illusions. To list only a few, his first creation was The Three
Graces, the production of three girls simultaneously from an
empty cabinet; a later version of this trick was the foundation of
the modern illusion Things That Go Bump in the Night.
Other inventions included the Asrah levitation and the wedge
base; the Duck Pan; the Duck Tub; the vanish that became known
as Where Do the Ducks Go?; Stolen Jam, or the Palanquin illusion;
The Dress Box, more commonly presented as the Costume Trunk, Le Roy’s prop is activated by a wand of unique design. It allows
or Trunk of All Nations; and the Materializing Easel illusion, in the performer to hold the wand at one end and have complete
which images were projected on paper frames through which the control of the clapper-lifting mechanism in the cap of the bell,
magician reached or tore away to produce the object or reveal the which hangs at the other end. Le Roy’s Spirit Bell was given by
person pictured. Elizabeth Ford to William Rauscher, who in turn presented it to
Most of Le Roy’s tricks were intended for his own use, the Salon de Magie. Talma died in 1944 while Le Roy lived until
although he later created effects for magicians such as Carmo. All 1953. 

68 M-U-M Magazine - NOVEMBER 2014

 INSIDE STRAIGHT BY NORMAN BECK
OUR ADVERTISERS
MISSING ACE
B. Happie Entertainment 51
Bob Kohler Productions 59 The past twelve months were not the best time of my life.
Burgoon Magic 9 I had several bumps in the road; one of the worst of these was
Genii Magazine 71 the death of Alan "Ace" Greenberg. I met Mr. Greenberg at
George Parker 31 FFFF a number of years ago and discovered that he ran a
small company in New York called Bear Stearns. I had no
Jim Kleefeld 30 idea who Ace was or what Bear Stearns did. I found that he
Joe Mogar - Magic Stars 47 worked in the stock market – where I come from that means
LaRock’s Fun & Magic Outlet 2 selling horses and cows.
Levent 31 On one occasion, I flew to New York to see Ace. We were
L&L Publishing 47 going to have lunch in a private dining room and I needed
to wear a jacket. There was a bell on our table, and I didn’t
Magic Summit 58 know why. Ace rang the bell and a waiter was suddenly in
M-U-M Advertising 69 the room. I very quickly found out that Ace was the real deal
Nielsen Magic 45 – a true mover and shaker in the world of money. I thought
Oceanside Magic Invitational 4 he was just a guy who liked card tricks and bridge.
S.A.M. Convention 2015 72 I talked to Ace every week, sometimes several times
a week. We always talked about his two passions in life;
S.A.M Facebook 10 we never talked about money. Ace had money and power
S.A.M. Gifts and Insignia 50 in amounts that I can’t even comprehend. I want to tell you
S.A.M. Life Membership 7 about two things that bothered him till the day he died. He
S.A.M Twitter 9 shared with me two stories that both have lessons about
Show-Biz Services 9 dealing with people of real wealth. The first story is about
a guy who bought a house at a point in time when he still
The Magic Bakery 3 owed Ace money; I have no idea of the amount. I do know
T. Myers 4 that when Ace found out that the guy had bought a house,
rather than repay him, that changed the relationship with the
guy. The lesson here was not about the money. The amount
that the guy owed Ace had no influence on him. The fact
that the guy showed his true colors did. Ace accepted the
fact that the guy was a snake and moved on. He did not hold
a grudge, but he never forgot. I don’t know that he ever told
anyone else the story, but he told it to me as a lesson.
The second story involved Ace’s other passion in life –
bridge. Ace was not a great bridge player, but he loved the
game. A number of years ago Ace got a guy a job in New
York. Ace could make a phone call and you had a job. The
guy (we will call him Mike) needed work; he was a real
good bridge player and he needed money. Ace took care of
it and got him a good job, making good money at a good
firm in New York City. The guy never said thank you. That’s
right; he never said thank you. Once again, Ace never said a
word; yet he never forgot, and he told me so. The other thing
that Mike never did was to offer his time to Ace. You see,
Mike knew that he was a better bridge player than Ace and
could not be bothered taking the time to play cards with a
weaker player.
Ace could buy anything and get anything done that he
felt needed doing. Ace could have hired the best bridge
players in the world to play with him. But he could not get a
guy to repay his kindness by spending a few hours with him
at a card table. The guy who bought the house knew that Ace
was not happy; the guy who couldn’t say “thank you” never
knew. The point is this: if money will buy it, it has no value.
I know that in the scope of Ace’s great life those two guys
could have made it so much better if they would have simply
done the right thing.
For those who don’t know about Ace, he was half of
Kaufman and Greenberg; he had a lot to do with many of
the great magic books we have. I miss him. 

NOVEMBER 2014 - M-U-M Magazine 69

 The Dean's Diary
By George Schindler
few puppets), Lou Tannen, Blanca Lopez,
Norman Jensen, and Clayton Rawson
as the Great Merlini, who appeared in
an “all purpose gimmick” sketch adver-
tised with a cast of thousands. There was
ABRIL FOOL’S NIGHT Punch and Judy by Albert Flosso and ap-
pearances by Fred Keating, Roy Benson
The Society of Illustrators had an (listed as “masters of mumbo jumbo”),
annual stag show; one of their funniest and Dai Vernon. Randi came back to close
members was a magician who produced the show with a broomstick illusion. The
their Nymph Follies. That man was a following announcement appeared at the
hilarious magician known as “The Smiling top of the program: “UNPREDICTABLE!
Latin of Manhattan” – a ribald necroman- Magicians being what they are, this
cer with a great sense of humor who had a program is subject to violent change, sub-
waxed handlebar mustache and a twinkle stitution, deletion, and general confusion,
in his eye. without warning!”
Picture this scene: The magician is Eduardo Abril Lamarque was born in
standing center stage holding a large green Cuba in 1904; at age twelve he was sent
silk scarf. He patters, “I show you a large to Brooklyn, New York, to live with a
green cloth.” At stage right, a nude assistant publicity chairman. His offbeat lectures Jewish-American family. He attended
makes her appearance. She stops, looks at for us were always welcomed, such as church every Sunday, learned English,
the audience, and returns backstage. The the one titled “The Sexuality of Various and studied business administration.
magician displays the silk and announces, Musical Instruments.” He concluded this His love of cartooning sent his career in
“It has now changed to red.” And indeed performance with a how-to of popular another direction. At age nineteen he drew
it had. dance steps. a comic strip called “Bla Bla” for the New
A master of misdirection, Abril Abril Lamarque produced many of our York Daily News, which introduced him
Lamarque takes his bow. Abril was a well- after-meeting shows. The most famous to the art world. His accomplishments are
known cartoonist, caricaturist, and illus- was the 1960 Abril Fool’s Night, produced too long to chronicle here, but his talents,
trator. He was the art editor of the Sunday with the help of his friend Clayton Rawson. practical jokes, and his antics are recorded
New York Times. Later he helped design a The show featured a who’s who of magic in the programs of the annual shows and
new magazine known as the World Report. stars. Abril, who also appeared, did the banquets. Abril Lamarque called himself
He was the principal artist for Hugard’s artwork and funny copy. The bill starred a “society” magician. He belonged to the
Magic Monthly at its inception. Jackie Flosso as the Mystic Maharajah, Society of Illustrators, the Society of Art
Abril joined the S.A.M. in 1937. He left the Wonderful Wizard of Boston (Doc), Directors, and his best-loved Society of
for Washington in 1946 and, fortunately Francis Carlyle and his “homing card,” American Magicians. He died in 1999 at
for us, returned to New York two years Joe Fenichel as Professor Fairchild, the age ninety-five. I was glad to have had the
later. At the Parent Assembly he served as Amazing Randi, Bil Baird (who brought a pleasure of knowing him. 

70 M-U-M Magazine - NOVEMBER 2014