Genii Magazine - 03-2023

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MARCH 2023• $6.50

THE CONJURORS’ MAGAZINE

Chipper
Lowell
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 Genii Magazine - 03-2023

6455 Dean Martin Dr. Suite-L , Las Vegas, NV 89118 • 1-877-DINI-WHO

February
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 Genii Magazine - 03-2023

“Like any dealer he was watching for the card that is so high and wild he’ll never need to deal another.”

Le Tripot (The Gambling Den) by Jean-Eugène Buland (1889)

—Leonard Cohen, Stranger Song, © 1967, Stranger Music, Inc.

o High Roller D
aCsin eck

He gambled and won in a lot of casinos and in every single one

where he was a winner, he took a souvenir — his winning cards.
Over time he had assembled a deck of 52 different Do not confuse this deck with the multitude of so-called
cards, two Jokers and all the back designs from all the gaffed decks whose purveyors tout their many uses but
casinos he had beaten, a veritable prism of kaleidoscop- deliver, at most, frail and feeble effects suitable only for
ic casino colors and designs, a winner’s deck conjured that old guy amusing his grandchildren at the birthday
from luck, skill and the turn of a card. party. This is not a so-called Rainbow Deck, though
there is a pot of magic gold involved. The CASINO
Until now only this high roller had such a deck—but HIGH ROLLER DECK can be examined, yet within its
today you can get in on the action, the legend, the savoir colorful pasteboard realms are secrets so well-hidden
faire, the je ne sais quoi—because BOB FARMER and and powerful that amazing and unique routines are
BAMMO MAGIC have teamed up with SLIMCARDCO, finally possible:
the world’s preeminent gambling gaffs firm, to produce
the CASINO HIGH ROLLER DECK. DECK

• Predict a spectator’s casino of choice.

• Turn the spectator into a Blackjack card counter blindly
separating high cards from low cards .
• Beat odds of more than one thousand billion to one.
• Play Poker and Blackjack and never lose.
• Make the spectator’s card disappear from the deck
and appear in the card case the spectator has been holding.
• Play Casino 3-Card Monte and win the jackpot that will put
you on Easy Street for life.
• Predict the card a throw of the dice selects.

Satisfaction guaranteed or we will apologize.

This ad contains shameless hyperbole, tall talk, and unprincipled exaggeration.
Available Exclusively From [Link]

03 February
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Genii Magazine - 03-2023

Genii
THE CONJURORS' MAGAZINE
VOLUME 86 NUMBER 3 MARCH 2023
§
§
g

EXECUTIVE EDITOR LIFETIME SUBSCRIBERS

Richard Kaufman AND SUPPORTERS
Alexander L. Young • Bill McFadden
ASSOCIATE EDITOR Michel Andenmatten • Mike Vance
Walton Magic, John Walton
Dustin Stinett
Josh Mandel • David Mitchell
Karl Miller • Deano Ewtushik
ART DIRECTOR
Tim Jackson • Ray Kosby • James Martin
Elizabeth Kaufman
Randy Sinnott • Winton Gibbons
Jay Patel • Jaac Mandrake • Jim Weyand
ADVERTISING &
Richard Forster • Joe Gallant
OFFICE MANAGER
Perry Vincent • Thomas L. Newman
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Diamond Jim Tyler • Dr. Theophilus [Link]
PHOTOGRAPHERS
Gary Dismukes • Chris Wilson
Kari Hendler
Al D'Alfonso • Charles A. Rodriguez
Taylor Wong
Dr. Joe Vitale • Thomas Resciniti
Eric Leclerc • Rick Hebert • Alan Wong
COLUMNISTS
Jim Neff • Kenneth Sodaro
Vanessa Armstrong
Andrew Pinard • Michael Jaffe
John Bannon
Karen Ivers • Robert Somerdin
Chris Beason
Seuss Hawkeye Metivier
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David Britland
Stephen B. Smith • Joseph Cassidy
Jonathan Friedman
Weuler Elias Moura • Jimmy L. Rhodes Jr.
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David Kaye
Mr. Eerie • Dan Sheen • Philip Peh Andreas
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Krall • Kimikazu Matsumoto
Roberto Mansilla
Rex Liu • Yukishige Yanagawa
Jon Racherbaumer
Herve Listeur, Creations Magiques
David Regal
Francisco Laguna • Kenneth Chmielewski
Jim Steinmeyer
Marios Sokratous • Jeffrey Cowan
David Williams • Kenneth Mackay
REVIEWERS
Chris Murphy • Ben Mueller
David Britland
Bruno Depay • Andres Reynoso
Tom Dobrowolski
Ricardo T. Rosenkranz, M.D.
Tom Frame
Gary Kosnitzky • Mark Goldstein
Jonathan Levit
Pierre Emmanuel Chaut • Benoit Louppe
Nathan Coe Marsh
Jimmy Vee • Bernhard Schmitz
Francis Menotti
Yuki Hirohata • Lindley Brenza
Mark Phillips
James M. Croop • Ben Smood
Ryan Plunkett
Frederick Bally • Gabriel Garber
David Regal
Liam Kelley • Dr. Michael A. Stelzer
Suzanne
Dr. Bruce Averbook • Andrew A. Engel
Joe M. Turner
Doug Hubbell • Larry Hill
Bill Wells
Joseph Pittman • Gary Sparks
23 Anonymous
CONSIGUERE
R.A. Farmer

PUBLISHER
Pitchford Entertainment,
Media and Magic, LLC.
Genii: The Conjurors' Magazine
The views and opinions Volume 86, Number 3 • ISSN 0016-6855 USPS 216-060
expressed in any column are Printed in the U.S.A. Genii is published monthly. Subscription rates, 1 year $58;
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Mr. Kaufman's Portrait
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 Genii Magazine - 03-2023

FEATURES
16 Chipper Lowell:
A Chip Off the Old Block
by Dustin Stinett

FROM THE COLLECTION OF NEIL TOBIN

38 The Secret Society of Golden Age
Magical Mystery Writers
by Neil Tobin

38
16
COLUMNS
6 Genii Speaks by Richard Kaufman
7 In Memoriam
Joe Stevens by Nick Saint-Erne
10 The Eye by Vanessa Armstrong
44 Exhumations Autonomously Sly
by Jon Racherbaumer
46 Chamber of Secrets Floyd Thayer: Folk Artist
by John Gaughan
50 Thoughts ... Elements of an Effect, Part One
by Rafael Benatar
54 Cardopolis Plenty of Fish by David Britland
58 Artifices South American Notes, Destination: Brazil
Invisible Transposition of a Ball
by Roberto Mansilla
62 Expert at the Kids’ Table What Did I Get for Hanukkah?
by David Kaye
64 Magicana by Chris Beason
64 The Everlasting Snap Change by Chris Hanowell
67 Burst and Reversed by Chris Wiehl
70 The Academy of Magical Arts in Genii
70 Knights at The Magic Castle by Shawn McMaster
73 Now Appearing at The Magic Castle

10

0
MILT LARSEN PHOTO BY TAYLOR WONG

LIGHT FROM THE LAMP 80 Tricks Reviewed by Mark Phillips

80 “Three Skulls on a Spike” by Andy Nyman
80 “Cut and Color” by Neil Tobin
74 Videos Reviewed by Joe M. Turner 81 “Refilled” by Henry Harrius
74 Jim Steinmeyer Masterclass by Jim Steinmeyer
81 “Crazyman’s Split” by Henry Harrius
76 Carisa Hendrix Masterclass by Carisa Hendrix
81 “Bammo Backtrack Jack” by Bob Farmer
82 “The Casino High Roller Deck” by Bob Farmer
77 Books Reviewed by David Britland 82 “The Long and Short of It” by David Regal
77 Bamboozlers Volume 4 by Diamond Jim Tyler
82 “Blade Thru Bill” and “Quarter Pot” by Mike Hummer
78 Death from a Top Hat by Clayton Rawson
83 “The Mobius Rising Card” by Chen Yang
79 Magic Bookplates
by James B Alfredson and Bernhard Schmitz 85 Subscription Information/Advertisers’ Index

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GENII SPEAKS N MORE GENII SPEAKS

RICHARD KAUFMAN GENII@[Link]

I JUST RETURNED from Las Vegas, Clayton Rawson, aka The Great Merlini. A notable magician
where several delightful days were spent and novelist in the glory days of New York’s magic scene in
in the company of “The Magician,” who the 1950s, he was just one of a number of writers who cre-
works anonymously in a show called The ated stories about magician-detectives. These were clever
Magician’s Study. Well, not anonymous and often revolved around “locked room” mysteries. This
to me, at least, since we did a four-hour month Neal Tobin takes a look at some of these writers, all
interview for an upcoming story here in Genii. He is a mas- well-known, whose books are today almost as notable for
ter of pandemonium, the likes of which I have only seen their evocative cover art as the stories.
watching Tom Mullica and Bob Read ride herd on a rau- In “The Eye,” Vanessa Armstrong hits the news, includ-
cous crowd. If you’re in Vegas and looking for a fun magic ing winners of various contests and The Magic Circle’s
show done in a parlor—truly a parlor—then Google “The 2023 award winners, Penn & Teller (the latter having just
Magician’s Study” and see if you can get in. It’s usually sold returned to work after open heart surgery), and the new
out a month or more in advance. And, yes, he does wear third-party licensees of the Magic Shop on Main Street
a creepy white rabbit mask at the beginning of each show. at Disneyland. This is not where Steve Martin worked, by
There was also, most importantly, a full day spent in David the way—that was a different magic shop that used to be
Copperfield’s museum working on a chapter for Greater located in Fantasyland. • Jon Racherbaumer explains how a
Magic. And, of course, I met Blu and Frank in the evening. spectator forces a card on himself in “Exhumations”; Floyd
After flying home on Super Bowl Sunday, COVID knocked G. Thayer, master woodworker, is declared a “folk artist”
on my door in the middle of the night. Ick. I have to imagine by John Gaughan in “Chamber of Secrets”; Rafael Benatar
a lot of other people in the crazy atmosphere leading up dissects the Elements of an Effect in “Thoughts …”; David
to the game on Sunday were also sickened. Nevertheless, Britland casts a line and catches a … card (paper clips
thanks to Paxlovid I am at my desk working on Greater are involved) in “Cardopolis”; fans of Dai Vernon’s “Cone
Magic every day, and writing “Genii Speaks” for you. and Ball” are in for a treat in this month’s “Artifices” by
Chipper Lowell is our cover boy this month, someone Roberto Mansilla; David Kaye was overwhelmed by sud-
I’ve known since 1983 or thereabouts. On one of my den bookings for his kids’ show this past December, which
jaunts to Atlantic City he describes in “Expert at
to visit Mike Skinner, the Kids’ Table”; Shawn
who was working at the McMaster brings us the lat-
Golden Nugget Hotel est news from The Magic
and Casino at the time, Castle, including the sea-
“Chip” Lowell was per- sonal festivities at the end
forming on stage at a of December and Founders’
different hotel. He was Day in January, in “Knights
refreshing and funny at The Magic Castle”; Chris
then, and now, a quar- Beason explains two quick
ter century later, he is tricks in “Magicana.” Joe
a well-seasoned pro- Stevens, magic dealer, con-
fessional—energet- vention organizer, pioneer of
ic and uproarious. He magic on both the internet
comes from a family of and on video cassettes, died
clowns … no disrespect in late January at age 86.
intended. An honorable He is memorialized by Nick
and ancient profession. Saint-Erne. And, finally, vid-
Dustin Stinett takes you eos, books, and tricks are
to the circus. reviewed by Joe M. Turner,
About 20 years ago David Britland, and Mark
we did a cover story on Phillips. •

6 GENII

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IN MEMORIAM
JOE STEVENS
APRIL 26,1936—JANUARY 29,2023

BY NICK SAINT-ERNE

T
here may be but a handful of 20th
century magic dealers who have signifi-
cantly influenced the course of the art
of magic. Their influence includes inventing
illusions, publishing magic books, and offering
tricks of the trade to the most illustrious magi-
cians of their day. But in a small town in the
center of the United States, the preeminent
magic dealer of all had to be Joe Stevens of
Wichita, Kansas.
Joe became interested in magic after see-
ing Harry Blackstone at age seven. Little
known among magicians is the fact that with
the nickname “Little Joe,” he was a star bas-
ketball player in his youth as a member of
Wichita State’s team the Shockers, and their
second all-time leading scorer in the late
PHOTO BY LEVENT

1950s. On the road with the team, he took

the opportunity to visit magic shops around
the country.
Joe went on to become a door-to-door
salesman for the Fuller Brush Company, and eventually a ers who worked his conventions. These were organized by
member of management. After 22 years he left the com- his daughter Amy Stevens. Another of Joe’s innovations
pany and in 1973 he opened Stevens Magic Emporium as was one of the first electronic magic forums, GeMiNi: The
an antique magic mail-order business that operated out of Greater Magic Network. Members, who paid $20 a year,
his house. This eventually led to the brick and mortar store, were able to exchange information on various topics and
opened in 1975, that runs to this day. He was known for read weekly columns. It ran for over five years from 1995
selling items unavailable through other dealers, many from until 2000.
England, Germany, and Japan, and was the last magic Joe was a good listener, and accepted the best ideas
company to produce printed magic catalogues mailed to presented to him by his many friends.
his customers. What most people don’t know is how he positively
Joe produced many magic conventions, starting with influenced the lives of his employees, especially the dem-
the Mid-American Magic Conclave in 1975, a close-up onstrators who worked behind the magic counter. Joe and
magic convention. This led to the Southwest Invitational Martha, as well as Amy and Mark, always treated us like
Close-Up Convention in 1979 and eventually the famed family. We were shown how to run a business successfully
Desert Magic Seminars, held in Las Vegas starting in 1978 through Joe’s frequent use of examples and stories. Joe’s
and centered around Slydini. These were legendary con- salesmanship skill, honed by his years at Fuller Brush, were
ventions, with the biggest names in magic participating legendary and we learned from the best. Joe mentioned in
including Dai Vernon, Slydini, Fred Kaps, Lance Burton, business that there were the three Rs: the “Ruthless Rules
and Siegfried and Roy. The thing that put the convention of Reality.” But the reality is that it was never ruthless work-
on the national map was when Joe started a contest which ing with Joe; he was humble, honest, hard-working, and
offered a $10,000 prize, and the biggest names in magic most of all, loved magic and magicians. Joe’s son, Mark,
entered. The teen program at the convention, which now runs Stevens Magic Emporium.
included kids from all over the world, and sponsored by Joe was fond of saying, “If you do what you love, it’s
Lance Burton, was one of the biggest innovations. never work!” He leaves behind daughter Amy and son
Joe was a pioneer in magic videos with his Greater Mark. His wife, Martha, a partner in all of his activities, died
Magic Video Library, which captured many of the perform- in June 2021. •

MARCH 2023 7

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THE EYE
STORIES FROM AROUND THE WORLD OF MAGIC

VANESSA ARMSTRONG
NEWSWORTHY ITEMS MAY BE SENT TO TELLTHEEYE@[Link]

Vanishing, Jay told “The Eye” via email that Eric

Inc. Acquires they had ambitious plans for both Chien
Magic Shops stores, which they will share on their Wins
at Disneyland blog and social media accounts Britian’s
and Pier 39 when the time is right. In the mean- Got Talent:
Online magic store time, they’ve updated the products Ultimate
Vanishing, Inc. has in both locations. “We’ll be intro- Magician Special
moved into the ducing our versions of some classic ITV’s Ultimate Magician special is
retail space. During the company’s tricks as well as a whole new range at an end, and Eric Chien won the
2022 annual letter address, compa- of beginner magic, and even some competition and took home the
ny founders Joshua Jay and Andi exciting merch commemorating the £50,000 ($62,000 more or less) cash
Gladwin shared that they acquired locations of each shop,” he said, prize. Judges Amanda Holden,
Houdini’s Magic chain, which has a adding that there would also be Alesha Dixon, David Walliams, and
warehouse of materials as well as products for more serious magicians Penn Jillette gave him the honor,
a shop in Disneyland (a.k.a. Main in the stores, as well. with Holden saying that his act was
Street Magic) and their store at Pier “We started as an online brand, “subtle and so perfect,” and that
39 in San Francisco. and never gave much thought to Chien was “exceptional.”
The move brings Vanishing Inc. physical retail,” Jay added. “But Chien’s winning performance was
into new territory, not only with we’re energized by the challenge a formal close-up act that includ-
owning brick-and-mortar establish- and can’t wait to unveil some of ed cards transforming in many
ments but also in appealing to a the surprises we have—excuse the ways when they were moved from
broader customer base. “The stores pun—in store.” one side of the table to the other.
are obviously very different than If you can’t make it to Anaheim He competed against The Witch,
your usual magic shop,” Gladwin or San Francisco, everything sold Richard Jones, Colin Cloud, Marc
said during the 2022 annual letter in those locations except for some Spelmann, Kevin James, Tony,
presentation. “These are magic exclusive Disney merchandise will be Magical Bones, Mandy Muden, and
stores that are attracting non-ma- available online as well. You can hear The Clairvoyants. Host Stephen
gicians, future magicians as we Jay and Gladwin talk more about the Mulhern—who filled in for Ant &
like to call them, so it’s a real great acquisition at the 11-minute mark in Dec after the two caught COVID just
opportunity to bring new people the video below. before filming—revealed that The
into magic.” MORE Witch, Magical Bones, and Chien
were the three finalists.
VANISHING INC. AT PIER 39 You can watch Chien’s winning
performance below.
WATCH

A Coca-Cola Heir’s
Ephemeral Love of Magic
And Houdini
Asa Candler, Jr., the eccentric sec-
ond son of the Coca-Cola magnate,
built an excessively ornate mansion
called Briarcliff in Atlanta and was
generally known as a ne’er-do-well
who became fixated on a variety of
hobbies, one of which was magic.
In the 1920s, Candler—like many

10 GENII

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AT E M A GIC IA N
T: ULTIM
ALE N
OT T
’S G
IAN

folks after World War

B RIT

I—became infatuated
ON
NG

with magic. He would

MI
OR

PE host “magic soirées” in

RF

IE N
CH the third-floor ballroom of
IC
ER
Briarcliff (because every good
mansion needs at least one good
ballroom on the third floor), and
hosted renowned magicians such
as Dante, Harry Blackstone, Howard
Thurston, and The Great Raymond in
his home.
Candler, who was known for not
telling the truth, also claimed he not
only knew Houdini but that the mas-
ter illusionist was his best friend and It turns out that the two likely met, Teller Takes The Stage Again
taught him some magical feats, the though Candler’s claim that were the In Las Vegas
secrets of which he vowed to take best of friends is undoubtedly an In mid-January, Teller returned to the
to his grave. While Candler’s word extreme exaggeration. stage of the Rio for the first time in
was not to be trusted, researcher Candler’s love of magic, however, over three months after undergoing
S.H. Butler found out that the owner was not. In 1925, Candler met an open-heart surgery in October. “It
of Briarcliff also owned the building amateur magician in the Philippines felt a lot like cardio rehab, but more
in New York City where Houdini named José Cruz. Candler brought interesting,” the 74-year-old Teller
housed his short-lived film company. Cruz to the United States, where he told The Las Vegas Review-Journal
became the family’s resident magi- after his performance, which hap-
cian and taught Candler and his son, pened just before the duo’s 30th
Sam. In 1929, Candler was also one anniversary of performing in Vegas.
of the founding members of the “They don’t have an audience for
Atlanta Society of Magicians and by cardio rehab,” he added. “Here, we
1930, he had amassed an impressive have that, and they’re both fairly
magic collection. strenuous.”
Candler’s passion for the art, The show was slightly different
though, was fleeting. By 1931, from when he and Penn performed
Candler had moved on, most likely before his operation. “Notice there
because Cruz died violently and was no upside-down straitjacket
unexpectedly earlier that year. escape tonight,” Teller said. “We
Candler sold off his magic mem- were sort of prudent about the
orabilia and moved on to his next material. But we had the audacity to
hobby, which was airplanes. come back with material we haven’t
You can find out more about Asa done for a couple of years.”
Candler, Jr.’s exploits as well as see One piece that made a come-
some images of his mansion at the back was the pair's woodchipper
link to Butler’s research below. The bit, where Teller plays with his silent
post also includes an update that on-stage persona by pretending to
the magician Baffling Bill currently talk extensively, only to be drowned
owns a 1920s Thayer-made Phantom out by an appropriately loud
Cargo Cage that was once owned by woodchipper.
Candler. You can see pictures of this The two also opened with a new
device at the link below as well. trick called “The Age-Appropriate
MORE Escape,” where they both start out

MARCH
MARCH 2023
2023 11

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NEWSWORTHY ITEMS MAY BE SENT TO TELLTHEEYE@[Link]

UR
HO
A G IC
chained to rocking chairs and inevi- fill out this survey to help

TONY MIDDLETON IN THE M

tably unshackle themselves. You can them identify all the
read more about Teller’s return in the domains where one can
article below. have magic expertise.
MORE “Some of you may
have a huge knowledge
about magic theory
or history, but rarely
perform magic,” Kahn
explained. “Some magi-
cians may be better at
performing magic and have
very little knowledge about
the history of magic. Once we
have collected this data, we can
run computational models that will
reveal many of the attributes that are
involved in magic expertise.”
In other words, the more magi- drinks
cians that take the survey, the more before the show.
comprehensive and robust the Middleton aims to have his show
group’s findings will be about what it take guests back to the Golden
means to have magic expertise. The Age of Magic and sets the stage
MAGIC Lab Needs survey takes about 10 minutes to accordingly. “Each performance of
Magicians for a complete, and you can access it via The Magic Hour is carefully prepared
Magical Survey the QR code or the link below. with theatrical lighting, candles,
MAGIC lab, the organization that SURVEY sound, and even smell, to immerse
focuses on using magic to undergo the audience in the world of draw-
interdisciplinary studies on a wide ing room magic at the turn of the
range of psychological questions, London’s century,” he explained. “The show
is conducting a survey on magical The Magic Hour features a range of Victorian parlour
expertise. To support this effort, they Celebrates tricks, all woven together in a unique
need magicians—both hobbyists 10-Year Anniversary story, which is in itself a magic trick.”
and professionals—to fill out a ques- Tony Middleton has officially been Middleton will be having a special
tionnaire that documents their magi- performing his show, The Magic 10th anniversary show on Friday, April
cal know-how. Hour, for a decade. “I never dreamt 14, which will be followed by a Q&A
“We have spent the last 20 years that the show would be performed and after-party. You can get tickets for
studying the psychological mecha- hundreds of times, move to five this show or for another week of your
nisms that underpin magic to learn different hotels, and reach its choosing at the link below.
more about the human brain,” 10th anniversary in 2023 in one TICKETS
MAGIC lab director Gustav Kahn of London’s most iconic hotels,”
told “The Eye” via email. “We are Middleton told “The Eye” via email.
now turning our attention to under- For the last five years, Middleton’s Congrats
standing magicians and their beliefs show—which has grown from the 60 To The Magic Circle
about magic. As part of this endeav- minutes suggested by its title to an Award Winners
or, we are creating the first ever hour and 45-minute affair with an Kayla Drescher, host of the Shezam
questionnaires that will allow us to intermission—has played weekly at podcast that focuses on the issues
measure magic sophistication.” the Sheraton Grand Park Lane on women face in magic, has won The
In order to define and measure Piccadilly. Magic Circle’s John Nevil Maskelyne
magic sophistication, the organi- Within the hotel, the actual perfor- prize for noteworthy contributions to
zation ran focus groups with the mance takes place in the Oak Room, the literature of magic.
world’s top magicians and have put a space with dark wood paneling President of The Magic Circle,
together a survey based on those and an ornate fireplace that stands Megan Swann, described the pod-
discussions. MAGIC lab now wants in stark contrast with the airy Palm cast in a statement to “The Eye” as
as many magicians as possible to Court outside where guests get “a positive and refreshing way to talk

12 GENII

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 Genii Magazine - 03-2023

Rob Earrey also won the Cecil Lyle

award for the best contribution to
The Magic Circular, the society’s
magazine, for his series on Diversity
in Magic.
MORE
KAYLA DRESCHER RECEIVING THE JOHN NEVIL MASKELYNE PRIZE

about issues women in magic magic when they

face,” and that Drescher’s work appeared in London
“helps us all to be better magi- last fall.
cians and human beings.” South Africa’s
Drescher virtually accepted the College of Magic,
honor during the annual ceremony whose work in Cape
on January 19th, along with the Town was highlight-
other Magic Circle award winners. ed in last month’s
Those additional winners include column, received the
David Williamson, who received Chapender award
the Carlton award for outstanding for work using magic
comedy magic, and Bob and Sue in the community
Hamilton, who got the Maskelyne beyond pure enter-
award for services to British magic tainment. Other hon-
for their work filming magical events ors went to The Magic
across the U.K. The Ehrlich brothers Circle’s international repre-
are also recent Magic Circle award sentative coordinator Mandy
winners and were given the Devant Davis, who was presented with a
award for services to international Silver Wand for outstanding service. The McKittrick Hotel Hosts
At the Illusionist’s Table
BELOW, DAVID WILLIAMSON RECEIVING THE CARLTON AWARD New York City’s McKittrick Hotel,
already home to Speakeasy Magick,
has added another magical experi-
ence to its roster. At the Illusionist’s
Table, which is entering its third
run, comes from mentalist Scott
Silven and includes whisky tast-
ing, a communal dinner, and—of
course—magic.
Silven didn’t initially think of hav-
ing his show include dinner, but
according to The Eater, he said he
realized adding a meal would “not
just manipulate the audience’s sens-
es, but lead them deeper into the
narrative of the show.” The reviewer
at The Eater, in their own words,
“ate it up,” praising not only Silven’s
magic, but at how soft the bread
rolls were.
At the time this column goes to
print, At the Illusionist’s Table is
running every day except Tuesdays
through April 2 at the McKittrick. You
can get tickets at the link below.
TICKETS

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OUR ADVERTISERS LOVE TO HEAR THAT YOU SAW THEIR AD IN GENII

Act

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2023
 Genii Magazine - 03-2023

Lance Burton: “For the Kevin James: “Walter

past 50 years I have performed Blaney spent a lifetime working
out the smallest details, and we
the Vanishing Cage with practi- benefit from his obsession with
cally every different type of cage perfection. When you choose
available. The one I use now is this, you are standing on the
the Walter Blaney cage, because shoulders of giants. I paid retail
for mine and can’t wait to in-
it is the best one ever made!” clude this in my show.”

Daniel Summers Proudly Presents

WALTER BLANEY’S PERFECT
VANISHING BIRDCAGE
Daniel Summers and Illusion Engineering presents Walter Blaney’s Perfect Vanishing Birdcage, fashioned after Will Lind-
horst’s semi-rigid cage, developed and created with all of Walter’s personal improvements after 70 years of performing experi-
ence. Included is a 70-page comprehensive printed tutorial on the Vanishing Birdcage, guiding you through the Blaney method
of stringing the bird, connecting the pull and his personal step by step handling of one of magic’s best kept secrets, the “Blaney
Holster,” allowing you easily to “wear” the cage until it’s needed, and to reset and repeat the effect in front of your audience.
You also receive a latex canary made by Nielsen Magic, a handcrafted birch presentation box, pull, velvet travel case and
a numbered Certificate of Authenticity. This Collector’s Edition is $ 2,500.00. For Jonathan Neal Brown’s handcrafted silk
parakeet, please add $50.00.
If you have always wanted to do the Vanishing Birdcage but felt the standard size wasn’t right for you, we have also tak-
en over the manufacturing rights for Jim Riser’s “Baby Lindy.” Made with the same meticulous attention to detail, the cage is
slightly smaller. The Baby Lindy comes with a small Nielsen latex canary, velvet carrying pouch and pull, for $1,500.00. Contact
Daniel Summers by e-mailing: daniel@[Link]

Jim Steinmeyer: “No one Jim Riser: “There is no bet-

makes magic the way they used ter cage made by anyone, any-
to? The Walter Blaney Cage by where.”

Jeff Hobson: “If you’re go-

Dan Summers is better… yes, bet-
ter!… than the classic cages made
over the years. It’s not just a ing to perform this great illusion
work of art, it’s a tool for a pro- and do it justice, you must have
fessional.” the best prop. This is it. Period.”

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PHOTO BY ANDY AMYX

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Chipper
Lowell
A Chip Off the Old Block
By Dustin Stinett

A
s a boy, Charles Lowell Burnes,
III, did not have to run away with
the circus. He was born into show
business. His father, Chuck Burnes, Jr., was
a multitalented and multifaceted man whose
life centered on entertainment. Chipper’s
mother, Bambi, was a gymnast, dancer, and
aerialist. “Chip was what everyone called
me,” explains Chipper Lowell, “because I was
considered a ‘chip off the old block.’ That
nickname didn’t change until my girlfriend in
college started calling me ‘Chipper’ and then
it pretty much stuck.” To understand Chipper,
a second-generation entertainer, one needs
to know a little about the first generation.

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customer sitting silently off to one side.

C
Chipper’s father, Chuck, applying his makeup, in Clown Alley, That man was Pat Valdo, who just
with Ringling Bros. and Barnum & Bailey Circus in 1957
happened to be the Director of Talent and Personnel
for Ringling Bros. and Barnum & Bailey Circus.
huck Burnes started in show “The show was starting their annual tour at Madison
business as an assistant Square Garden that week, and when Pat learned from
manager of a vaudeville house the shoemaker that dad was a professional clown, he
in New York. “He wound asked that dad contact him immediately,” says Chipper.
up working with a variety of “My father quickly ran all the way across town to the
old-time stars like the Hilton arena. Long story short, Valdo hired him on the spot,
Sisters [conjoined twins] and and dad started touring with Ringling. It was during his
Mae West,” says Chipper. “In fact, he acted in one of second year that he met my mom, a new dancer on the
her shows at the theater where he worked.” Vaudeville show, and they continued touring with Ringling for six
was in its final days, though, and Chuck looked to more years before finally leaving the show and moving to
branch out. “He worked two seasons touring with Hollywood, California. They married three years later.”
illusionist Don Brandon doing midnight spook shows Chuck quickly landed an acting job, appearing on
and illusion shows. Then, out of the blue, a friend Mark Wilson’s Magic Land of Allakazam as Christopher
invited him to become a clown, working on the Cole Periwinkle the Toymaker as well as additional
Brothers Circus for several seasons. And that’s when character roles. It was the final season for the popular
everything changed.” television series, so Chuck moved on. He picked up
When Chuck returned to New York after his final work at Disneyland in Anaheim, California, first as
season, he ordered a new pair of clown shoes at a a ride operator, but, with his management and show
theatrical cobbler’s shop in town and there was another business background, he was quickly moved into their

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Center, Chipper’s mother, Bambi, dancing with during a Ringling production number, and her future husband in the background.
Right, Chuck outside of the Ringling tent, during his first year with the show, in 1955.

Entertainment Department as an administrator. At the New York World’s Fair, including It’s a Small World
time, it was made up of just six or seven people who ran and Great Moments with Mr. Lincoln, and Chuck was
all the shows and events. asked to help with various administrator duties. He not
Disney had opened several attractions at the 1964 only worked with Walt Disney from time to time, but
would ride on Walt’s private plane back and forth
between the two coasts. It was during this time that
Chipper was born, followed a few years later by his
brother, Richard.

Chuck as Christopher Periwinkle, the Toymaker, with Mark Wilson on The Magic Land of Allakazam,
showing Mark his newest creation, Corky, which magically comes to life.

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“Accidentally” pulling
his entire skin off his
arm, during The Chipper
Experience! touring show

made a deal for he and my mom to be in the cast

as well. Papers were signed and suddenly our
entire family was once again on the road, touring
with this arena show, throughout the United
States, Canada, Australia, and New Zealand. My
mother danced in the large production numbers,
did aerial work, ladder balancing, Iron Jaw, and
even played Tinkerbell or Dumbo, wired up and
‘flying’ high around the rafters of each arena.
My father returned to clowning and character
work in the show, directing all the comedy
sequences, as well as creating and producing the
clown portions for the Dumbo’s Circus segment.
He also portrayed the wicked stepmother in
the Cinderella segment, falling down a large
staircase nightly during the extravagant ballroom
number.”
The world had become young Chipper’s
backyard. “I would wake up in our trailer and
wonder what town we were in,” he remembers.
“Of course, I thought every kid grew up this
way.” It was during a performance of Disney on
Parade that Chipper tasted his first drink of life
as a performer. “I was maybe six or seven years
Dad and son working another circus in Honolulu, Hawaii old. I was put in clown makeup and rode in a
little clown firetruck. I loved it. The roar of the
“As a toddler, I would watch the Disneyland fireworks, massive audience, everything. I thought, ‘This is it!’ I
wide-eyed, from the second-story apartment window didn’t know why it was ‘it,’ I just knew that it was—that
where we lived two blocks away from the park,” says I wanted to perform.”
Chipper. “I would try to reach out and touch them, and It was the unspoken connection with the audience
several times my mom would have to pull me back in to that he was experiencing. “You can feel that,” he
stop me from falling.” explains. “It’s visceral and you connect to that. It’s not
In 1969, Chuck was asked by Disney to consult me versus them. It’s all of us riding the same wave. I’m
on a new large- sure that’s what I was feeling the first time I rode in that
scale touring stage little firetruck. That potential. That this can be molded,
production called created, and turned into something even cooler.”
Disney on Parade. It That was when Chipper started a discipline that
was being designed continues to this day: the serious study of his chosen
to play both arenas crafts. “I started learning everything I could—clowning,
around the world juggling, comedy, even a little bit of magic.” Though
and also in a he was unaware of what he was actually doing, he had
gigantic tent that also begun analyzing other clowns and comedians.
could seat 5,000. “I relished Laurel and Hardy. I was figuring out why
“My father missed things were funny.” More importantly, even at that
performing so he young age, he knew what he was going to do. “I never

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Mom as "Aurora" performing her Iron Jaw act,

hanging only by her teeth several stories in the air

were usually his teachers, but they

would also hire others in the cast
who were qualified to work with
Chipper, and later his younger
brother, Richard. “I actually had
dozens of newspaper stories written
about me, growing up on the road
with Disney on Parade, living in a
trailer, and having my teacher be
Cinderella.”
After three years of touring
around the world with Disney on
Parade, his parents decided once
again to get off the road, settle down,
The family working together in a Valentine's Day variety show at Caltech, Pasadena
and provide a semi-normal life for
thought, ‘What if ?’ After all, my mom wanted to be an their growing boys. Explains Chipper, “They wanted us
aerialist, and she did that. Dad wanted to be an actor; to go to a public school. I cannot thank them enough
he did that. He wanted to be a clown; he did that. for that. I was growing up with mostly adults around
So, I had that ‘you can be whatever you want to be’ me. The few kids on tour with me were either older or
indirectly drilled into my head. I just knew I wanted to younger; there was no one my age.” The transition was
be a comedian; a variety performer. I didn’t know what not easy on him at first. He had been protected from
that would entail—on stage or on television. I just knew the regular world until then. “I knew nothing about that
that’s where I was going to go.” world,” he says. Barely into his teens he was already
Not only was Chipper surrounded by grownups doing in the mindset of making a living. “This is what you
what they wanted, some of them were his teachers as do,” he says, “I’m the same as any of the adults. I had
well. “My elementary education during these years was money in my wallet.”
through a correspondence course called the Calvert The family lived in Anaheim, California, and
School [today Calvert Homeschool]. It’s been around Chipper went to a junior high school with about 800
over 100 years. It was designed for the children of students. “Which means that there were about 400
military, ambassadors, athletes, entertainers, anyone girls,” notes Chipper. “I knew absolutely nothing
who travels the country or lives overseas.” His parents about popularity, pecking orders, being bullied, social

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One of the dozens of

articles that appeared in
newspapers in the U.S.,
Canada, Australia, and
New Zealand as Chipper
grew up traveling on
Disney On Parade’s
large-scale arena show.

status—I didn’t know what

to do. I was freaking out.
Imagine all that, coupled
with puberty. I would come
home, lock my door, and
go to sleep. I felt that I
didn’t understand the ‘real’
world.”
Eventually he did adjust.
“I slowly came to realize
that none of these kids
have ever worked like I did.
They’d hear the counselors
say things like, ‘This will
go on your permanent
record,’ and take it seriously.
I immediately saw through
it. I knew it was BS. When
I realized I had already lived
in the real world and now
I was in fantasy land, I was
okay.”
The downside was that he
became bored. His personal
grade level was actually
higher than he was placed,
and the school did want to
advance him a grade, but
Chuck and Bambi said no.
“Today I thank them for
that because now I know
that it would have just
alienated me even further.
I had a more well-rounded
outlook. I sincerely thanked
my parents for giving me
the best of both worlds.
“We were a bit like the Addams family of our the police because they saw ‘Some lady trying to kill
neighborhood. I couldn’t understand why my friends herself ! She’s hanging herself with a rope!’ Our two
on the street had their dinners at the ridiculous time families quickly became dear friends over that false
of six o’clock instead of midnight. And we had a huge alarm.”
A-frame aerial rigging in our backyard, which my mom Chipper’s father continued working locally,
used to rehearse her ‘Iron Jaw’ act, suspended only by coproducing large Fourth of July spectaculars at
her teeth. And when a new family moved in next door, Anaheim Stadium every year for Tommy Walker
they looked over the wall one day, and promptly called Productions and joining the Entertainment Department

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Chipper serving as Ringmaster for a circus in Los Angeles

at Knott’s Berry Farm. He was creating, managing, and shows. One of those was a performance at Caltech with
producing shows and special events. He was also known Don Bice, a very young Mark Kalin, who had been
as the official “Voice of Knott’s”; you can still hear his doing his Pool Shark act at Knott’s, Eric Lewis, Robert
voice throughout the park to this day. Harbin, and Harry Blackstone, Jr., who headlined and
Young Chip, as he was still known, found some closed the show. I performed comedy blackout skits
magic props stored in the family garage that his father between acts. At the end of the show, Don gave me his
had acquired over the years. “I asked if I could use rabbit and I named it Bicey.”
them. They were basic things, like a ‘Square Circle,’ Chipper found himself in awe of all of those who
‘Strat-O-Sphere,’ ‘Fraidy Cat Rabbit,’ a breakaway performed on that show. “I still had not found myself
wand, a bowl production, and a ‘Tear Apart Vanish.’ yet as a magician,” he remembers. “But it was an
I bought all of the David Ginn kid show books, and amazing night, watching these guys from the wings, and
I also got a full collection of the Robert Orben joke then chatting between shows. There was an afternoon
books. Those were awful! But they taught you basic matinee and an evening performance. Between the
joke structure and rhythm; how to write a joke. Little two performances, Harbin was telling all these showbiz
by little, I was learning.” stories and I soaked it all in.”
He started performing birthday party and school Though it was magic he was doing, he was
magic shows in and around Anaheim at the age of still seriously studying other disciplines of variety
14, being driven to and from his weekend gigs by entertainment: clowning, mime, juggling, and stand-up
his mother. “She would sit in the car and read her comedy. “I was a sponge, absorbing everything. And
paperbacks while I set up in people’s living rooms. She then theater made its way into my life. I liked that a bit
also babysat my rabbit until it was time to smuggle him more than circus. It’s more defined and imaginative.
into my prop case.” I could go to the theater every night; still could,” he
The rabbit came from magician and show producer says. “I love the aspect of something live and in the
Don Bice. “Besides Knott’s, dad had created his moment.”
Periwinkle Entertainment Productions company by Chipper began reading every script of every play
this time and started producing corporate and theater or musical he could get his hands on, not yet knowing

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Chipper headlining Catch a Rising Star

comedy club at Bally's in Las Vegas and an
early headshot for TV, film, and variety work.
Below: The very first edition of what would
eventually become his critically acclaimed,
touring show, The Chipper Experience!
Where Comedy & Magic Collide!

that scriptwriting would become a part

of his personal toolkit. “My junior high
theater teacher—Miss Wood—was very
serious about the craft. She worked at the
Laguna Moulton Playhouse [Laguna Beach,
California—today known simply as the
Laguna Playhouse]. She and I would have long
conversations every Monday about the sketches
that were done on the previous Saturday Night Live.
We’d analyze them; why a joke worked in one scripted patter onstage on the fly. Improvising. I was
place, but one wouldn’t in another. We picked apart the doing basic routines at the time like Comedy Card on
structure of every piece.” Back and Cut and Restored Rope because they allowed
It was Miss Wood who first told Chipper to start me to interact with my audiences.”
writing scripts. “I didn’t think
that I could do that,” he says.
“I asked what I should write
about, and she said, ‘Something
you know.’ I wrote a spec script
for Get Smart, the comedy secret
agent sitcom from Mel Brooks
and Buck Henry. I gave it to
Miss Wood and she noted how I
had captured all the characters’
themes from the show. I had
Maxwell saying his catch phrases
like ‘Missed by that much’ and
‘Would you believe … ?’ I said,
‘Isn’t that how I was supposed to
do it?’ It just made sense to me
to write naturally in the style of
the show I was parodying.”
In high school he joined
the drama department, doing
plays and performing magic on
weekends. “Two and three shows
each day. Mom was reading a
lot of books.” And he was still
studying everything fulltime,
and he was writing his scripts
for his routines. “I started by
using my dad’s typewriter before
being able to buy my own. I
was also learning how to throw
away the written word through
performing. I’d change my

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At age 14, Chipper decided that he should be more off. The audience laughed. I put him back on the table,
serious during his performances in order to book facing the other direction, and he did it again. That
larger, better gigs. It didn’t last long. “After I produced error instantly turned into an unintentional comedy
the rabbit, I put him on my side table. He would walk running gag. The audience loved each ‘mistake.’ I knew
forward, but stop at the edge, then he backed up and fell right then that comedy was it. This was the beginning of

PHOTO BY TAYLOR WONG

Fooling around with audience members onstage at the Palace of Mystery Theater, Magic Castle, Hollywood

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Left, and below: Entertaining 9,000 people in the mega-show,

UNBELIEVABLE! at the PNE Arena, in Vancouver, Canada,
produced by Murray & Teresa Hatfield

By the time he entered his junior year of high school,

he was a working comedy magician and juggler.
“I became the Vice President of Events in my senior
year, I was in charge of the shows at my school, and I
put on a lot of them so I could emcee and do bits of
magic. It was a lot of fun and an opportunity to learn.”
By the end of the year, at graduation, he was surprised
to be awarded Student of the Year and even won an
American Legion Award. “It honestly didn’t mean that
much to me. It all felt so foreign. ‘Hey, look, even I can
PHOTO BY LORENA WATTERS
be Student of the Year.’ The fact is, I felt like I was just
playing a part in my head, smiling, but giggling at it all
on the inside.”
He also did a short stretch with the Long Beach
Mystics Club, periodically attending their meetings and
shows. “This is where like-minded friends like Kevin
my understanding of ‘situational comedy.’ That is key. James, Michael Weber, Ed Alonzo, Randy Pryor, Mark
Not a series of one-liners. If the comedy comes from Kalin, and many more were gathered. What I loved
the situation, it’s organic and people connect with it.” most was that everyone there did not regard magic

PHOTO BY LORENA WATTERS

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Attempting to destroy a volunteer’s wallet via a wood chipper on an episode of Masters of Illusion on the CW Network.
Below left: Having fun with the studio audience, Masters of Illusion; right: Chipper’s “Game of Shadows” routine, Masters of Illusion.

simply as a hobby. We all seemed to be very serious daily in Blackstone, Jr.’s. warehouse. We were the first
about magic being a career choice. And the majority illusion show to do Ken Whitaker’s ‘Impaled,’ which
of them are still involved in magic today in one way or was originally designed for a rock group. After Mark
another. Amazing group of talented people.” did it, everyone started doing it. It was a great show …
The last few months of high school were busy, except for the costumes. We wore futuristic spandex
rehearsing with Mark Kalin, as Chipper took on the outfits that looked like we belonged to Earth, Wind &
role of his primary male assistant. Kalin’s all-new Fire. Mark and I still laugh about it to this day.”
illusion show was coincidentally booked into Knott’s He was with Kalin for eight months, bringing the
Ballroom Theater for a summer run. Chipper saw it illusion act to Reno and training another guy to take his
as another opportunity to learn. “How to put a show place before heading to Cal State University to study
together and put it on the road,” he says. “We rehearsed Theatre Arts with an emphasis in television production.

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Goofing with host,

Dean Cain, on
Masters of Illusion

“There I was listening to instructors who taught,

but never performed. After two years of that, I
left school and decided to just continue making
a living doing what I wanted to do: performing.”
He auditioned for a part-time job as a street
performer at Disneyland. They were hiring
some variety performers to perform as court
jesters for the newly renovated Fantasyland
in 1983. “My audition took place in a cold, empty later I was now in the motley ranks of Disneyland’s
warehouse with six or seven executives standing Court Jesters.”
around me, stone-faced, staring. I knew this audition Among that group were Dana Daniels, Randy Pryor,
would tank without a real audience, so I quickly Michael Holly, and Jon Wee and Owen Morse, who
decided to include Stan Freese [Disney’s musical would later become known as The Passing Zone. “We
director and talent booker] and pretend he was a worked eight half-hour shifts,” says Chipper, who, by
six-year-old girl who was visiting the park. The other this time, was using the name Chipper Lowell. “We
entertainment executives surrounding us thought it did these mini-shows. A lot of ad libbing. Squeaky-
was hilarious. It was a hail-Mary bit of improvisation clean, of course. No innuendo or double entendres. It
and it seemed to work. I got the job and a few weeks was tough, invaluable training, but also a lot of fun.

Improvising with another volunteer on Christmas Magic! holiday special for the CW Network.

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It was like entertainment boot camp. I’m still good Downtown Los Angeles on his days off, reading through
friends with all of those great performers.” the extensive library that was housed there. “For me
At the outset, Chipper was doing a seven-minute it was all about learning to write comedy,” explains
set of magic. “I was not as proficient at juggling as Chipper. “He had these three-ring binders with all of
the others, so I just did magic. As I went on, seven the monologues used on The Tonight Show Starring Johnny
minutes turned to 15, which became a 30-minute show. Carson. I was taking it all in. Milt would see me and say,
I worked in the round, so a lot of the standard magic ‘Oh, you’re still here? You’re not done with all these
props were out. Some of my signature routines started books yet?’ I was making a sketch of a drawing I had
there.” The summer gig turned into a long-term stay at found in one of the books. Later he came back and
the park. “At first, whenever Mickey and Minnie strolled gave me a key to his office. ‘You can use the copier in
by, the audience would go off with them. But within six there.’ That gesture floored me. He took my studying
months I was holding the crowd. After three and a half seriously. I’m sure it was just a simple favor—use of the
years, I felt ready for other adventures.” copy machine—but to me it was someone I admired
During his time at that Disneyland “boot camp,” saying, ‘You’ve got this; you can do it.’ I was so grateful,
his other studies didn’t come to a halt. As a member and continue to be.” Milt Larsen is on the list of people
of the Society for the Preservation of Variety Arts, Chipper considers inspirations and mentors.
he was going to Milt Larsen’s Variety Arts Center in Besides his own father, that large eclectic list also

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The Barrel Transposition

illusion during the Medicine
Show portion of Chipper's
show in Lake Tahoe

includes Jane Wagner, Conan O’Brien, Stephen kid and collect state postcards. I ask them to write their
Sondheim, Tom Waits, Elvis Costello, Victor Borge, choice on a large dry-erase board so no one can see
and Stan Laurel of Laurel and Hardy. “Stan was the it. I have trouble ‘reading their thoughts’ and realize
gag man. I’m a huge fan of those who consistently I can’t ‘hear’ them very well. Using a Q-Tip, I pull a
create, write, and produce original, solid material. large piece of ear wax out of my ear and try again. But
Their own voice and persona. I find the process itself it still feels like something is obstructing one of my ears.
to be fascinating,” says Chipper. This led to two years Using the same large Q-Tip, I ‘pull’ out a folded piece
of intense improvisation and writing classes at The of cardboard from my ear. It’s stuck to the end of the
Groundlings Theatre in Los Angeles. “Best training large Q-Tip. I ask the volunteer to show us the state
ever!” she chose. We see she’s written (for example) ‘Ohio.’ I
Theatrical clown and Broadway and film actor Bill carefully unfold the piece I found in my ear to show that
Irwin is perhaps near the top of that list of mentors. it’s actually a postcard from Ohio and written on it is
“He started as a clown with the Pickle Family Circus ‘Wish you were here’.”
and decided to lean into theater,” adds Chipper. “That He has been closing his show with a piece that,
led to his breakthrough show, The Regard of Flight, which when seen at The Magic Castle, had some well-posted
to me was the be-all end-all. It gave me a sense of magicians scratching their heads. They were unable to
permission to do whatever I wanted on
stage. He successfully combined physical
comedy, vaudeville, mime, acting, spoken
word, even some illusion. Meeting with
him was a huge influence on my career.”
Chipper soon signed with a manager
and within three months was performing
his solo show on cruise ships. A few
months later he was appearing in revue
shows in Atlantic City and Lake Tahoe.
At one point, he and Kalin were now
working in the same show with their
individual acts.
While comedy is perhaps what
Chipper is best known for, magic and
mentalism is at his show’s core, and it is
strong; something into which he puts in
a lot of hard work and takes great pride.
But even the mentalism pieces have the
Chipper Lowell touch. His routine called
“50 Nifty United States” is one example.
“A person from the audience is asked
to think of a state they’ve either never
been to or wished they had visited,”
PHOTO BY KARI HENDLER

he explains. “They really have a free

choice. I explain that because of my
background growing up on shows and
circuses, I traveled to all 50 states as a
Convincing a stranger to send his thoughts out to the audience. (Radio Tower Helmet)

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Two co-anchors on a
San Diego morning
show, stunned by
Chipper's impossible
"Revelations"

work out the solution because there are

multiple layers that give him options. “I
call it the ‘RKO Radio Tower.’ I bring out
a handmade contraption that looks like a
helmet and have the audience volunteer
wear it, while also holding a large car
battery and jumper cables to power it. The
visual gets more ridiculous as more items
are added, and eventually we do a ‘mind meld.’ Once Chipper’s thoughts on traditional magic props are
the connection has been made, the volunteer returns to simple: nothing should pull focus from the magician.
the audience, standing in the aisle, and I proceed to get “When people talk about my show afterward it’s about
the first few things wrong about his life, but eventually perception, so my stuff tends to look like normal
am able to deduce three things, back-to-back … like his everyday items. I like things to appear haphazard; a
current age, name of a pet, or even his occupation. The little chaotic.”
reveals tend to change depending upon the volunteer, Of course, sometimes his props are, for lack of a
and how much I’m improvising. It’s a very free-flowing better word, supra-normal. Most people don’t carry
routine, with no hard and fast rules, allowing me to around wood chippers. Chipper Lowell does. Using
use multiple methods throughout that the comedy bits said wood chipper, he performs a version of the Russian
successfully hide.” Roulette routine, except it is a volunteer’s wallet that
Taking on the main role of "Circus Owner & Ringmaster" for the international stage production, Circus 1903

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Chipper with dancers,

Tiffini Deninis and
Kanoe Mann, during
Masters of Illusion Live!
at Harrah's Casino
Resort in Atlantic City

goes into a bag, and is mixed in (behind

a panel so the participant cannot see it)
with five others. “I even have a second
volunteer quickly come up and mix the
bags so there’s no idea where the wallet
is located,” adds Chipper. The spectator
then makes five choices, each of which
go into the wood chipper. The audience
sees that bag get chewed up and its
remains fall into a clear bin. The last
bag, thankfully, contains the wallet. “It’s
the volunteer who opens the last bag and
takes his wallet out,” he says. “There is no
‘special handling,’ and of course there is
great relief in the end.
“I’m always thinking of plot first,
method second,” says Chipper.
“Entertainment first, upfront and always,
and then followed by ‘How do we do this?
How do I pull this off ?’ The wood chipper
is a good example. First, it’s silly in that
it also happens to be my name. Second, I
don’t usually do routines where I borrow
something vitally important to the
volunteer and, in essence, all of us. This
is a guy’s wallet. The overall concept and
method came from Jim Steinmeyer, who
is beyond brilliant in my book. And more importantly, He likens the experience to hearing a new song we
the plot really fits my onstage character—somewhat like on the radio. “We are the first to hear it, so we
manic—and the audience is never quite sure if they’re tell our friends, family, or coworkers that they need
watching me do a gag or that it all suddenly turns into to hear this song. The special feeling you get with live
real magic.” performance cannot be overstated. I’m amazed by
Of course, such a routine allows him to interact with performers who throw away that power. That show, in
his volunteer, based on what might be in his wallet. that venue, with that audience, with you on that stage,
Being in the moment is another aspect of his style is the only time that all of those things are coming
that likely came from his Disney experience. “Use together at that one singular time. That’s powerful.”
what is in front of you. Call out the ‘elephants in the Not everything he does is audience participation.
room.’ Acknowledge if the audience is small, large, One of his signature—and delightful—pieces is “Binky,
happy, bored, overly excited, etc. Use all of it to your the Educated Turtle.” “It’s my little tribute to vaudeville
advantage. It makes people later say, ‘Let me tell you acts. A ‘live’ tortoise inside a small wooden crate is
about the show I saw.’ It means that they felt they guided thru a series of variety skills: balancing a feather,
witnessed a show no one else has seen or will ever see. tooting a horn, solving a math problem, etc. It starts
Because of my ad libs, that’s true to a degree, but the taking a sharp left turn when we all realize that Binky
larger scope is that they feel that they were privy to hates me, and a battle of wills ensues. By the end, I’ve
something special and unique.” brought out a remote and a large ACME-style cannon

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Chipper presenting one of

his signature routines, "Binky,
The Educated Turtle!" in his
long-running show, The Chipper
Experience! Where Comedy &
Magic Collide, at the Horizon
Casino in Lake Tahoe

shared the stage over the last two-

plus decades is enormous), and
he continues to tour his own full-
length show, and all of it has taken
him around the world. And there
have been countless television
appearances including The Tonight
Show and dozens of times on all
nine seasons of Masters of Illusion.
And, of course, he has
performed many times at The
Magic Castle and has been
nominated several times for Stage
Magician of the Year by the
Academy of Magical Arts. Talking
about The Castle leads to one of
Chipper’s favorite stories. “One
night between shows there was a
knock on my dressing room door.
I open it and standing there is
Norman Lear! He says, ‘Hi, I’m
Norman Lear and I just wanted to
tell you how much I enjoyed your
show.’ I told him how much that
meant to me, and then I said, ‘I’m
rises up out of the box and fires the turtle into the air so sorry, but I have to gush.’ His eyes glaze over because
and into the outstretched safety net coming from stage he probably thought I was going to bring up the usual
left. Except it all goes horribly wrong. The cannon fires All in the Family or Maude references of shows he’s
... and no turtle flies out. I set the box down and reach created, but instead, I say, ‘You co-wrote The Night They
into the cannon, removing just the burnt shell of what Raided Minsky’s. It’s one of my favorite movies!’ And
remains and nothing more. Embarrassed, I hide it then his eyes suddenly light up. He couldn’t believe that
behind my back and motion to the sound guy to stop someone my age had seen that movie—it was released
the music. We hear a loud whistle and Binky appears, in 1968, and not widely known. I explained how my
floating down from the proscenium with a parachute, dad had worked in vaudeville houses back in the day
only wearing long red underwear.” While it is Chipper’s and had showed me that film. I told him I thought it
show, Binky becomes heroic, and is often the talk of the was a hilarious script.”
audience during Chipper’s meet and greets. Lear took Chipper’s phone number, promising he
Once Chipper decided to hit the road and tour, he would call. “Two weeks later, my wife says to me,
has pretty much been there in many different capacities ‘Norman’s on the phone.’ OMG! We talked for over an
ever since. He has done comedy clubs, night clubs, hour about the film. He told me wonderful and funny
performing arts centers, theaters, corporate banquets, stories about shooting it. That conversation meant
cruise ships, and many major casino showrooms in the world to me, and Mr. Lear, and he so loved that
Las Vegas, Atlantic City, Lake Tahoe, and Reno. He someone enjoyed his more obscure work. It doesn’t
has appeared in revue shows, been the opening act for matter how long you are in show business; we’re all only
other entertainers (the list of people with whom he has human and every once in a while, you still need a little

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The Lowell Family

after one of Chipper’s
shows: from left,
Ethan, Chipper,
Bambi, Lisa, and
Chuck (sitting)

validation of what you create for the

world.”
Chipper’s wife was also in
entertainment when they met. Lisa
Casullo was a dancer out of New
York City. They met while both
were in the company of a revue
show called Broadway Babies that was
playing at Lily Langtry’s Victorian
Theater in Philadelphia during the
late fall and early winter of 1992-93.
“I had just gotten out of a long-term
relationship, and she had just broken
off an engagement, so neither of us
wanted to date. Prior to this contract,
we had both secretly sworn to ourselves that we would tests. Ethan was on the spectrum—a high-functioning
never ever date anyone in show business again, so we autistic. What happened next was like an out of body
were just ‘friends’ for the first two months of the show. experience. I thanked her for letting me know, I told
“Well, we soon became the best of friends,” he her I had a show to do, and that I would call her later. I
adds. “We both loved it because, again, we knew we was in a complete fog.” The couple learned everything
absolutely weren’t going to date each other. I was this they could about autism and became his advocates. “We
short, stocky, redheaded, Irish albino dude and she were Team Ethan all the way.
was this tall, beautiful Italian dancer. We hung out as “Ethan’s journey over the past 22 years has been
friends. It was really great.” amazing. He started elementary school in Special Ed,
Within a few months, they were an item. After the and by fourth grade he was successfully mainstreamed
show closed, Chipper would book shows near New York into a regular classroom; with an aide by his side. By
to see Lisa as much as possible. In time, Lisa moved in the time he was a junior in high school, the aides were
with Chipper on the West Coast, continuing her dance no longer needed for his classes,” says Chipper. He
career with touring shows, including three years as a graduated from his high school with honors and is now
Radio City Rockette in their annual Christmas show. in his second year of community college. “Raising him
Three years later they happily married. “We were both has been an incredible experience, and easily puts all of
thankful that we eventually wound up finding each showbiz and entertaining in a far, distant second.”
other, and that we lived and breathed showbiz, and And so the show goes on for Chipper as he continues
understood all of the craziness of it. I love that I can to tour, bringing his brand of comedy and magic
make Lisa laugh, and that she can usually top it, turn it to audiences across the country and beyond. There
around, and make me laugh. We both share the same are some writing and directing projects as well. “I’m
dark, left-of-center sense of humor. She’s beautiful, extremely thankful for all of it, and I wouldn’t trade
hilarious, and an excellent mom to our son. I got lucky, my childhood and travels for anything. The adventure
no question about it.” so far certainly hasn’t been perfect, but to be honest, I
In 2001, their son Ethan was born. When he was always felt ‘perfect’ was kind of boring. Instead, I like
three years old, Chipper was starring in and hosting to concentrate on overwhelming gratitude as much as
V—The Ultimate Variety Show at the Venetian Casino possible. I’m incredibly lucky to be on this road, and to
Resort in Las Vegas. “It was my very first night being in have Lisa and Ethan in my life. It’s all pretty precious,
the show, and three hours before show time I get a call wonderful, and I’ll be forever curious of what might be
from Lisa letting me know the results were in from some just around the corner.” •

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As magicians, we regularly bring surprise to our audience.

But where do we go to be surprised?

August 6-9, 2023

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e Secret Societ
Th of y
Golden Age
Magical Mystery Writers
By Neil Tobin

I
n 1949, Milbourne
Christopher observed:
“An amazing number of
[mysteries] I have read …
bring magic into the plot
either by casual mention or some
basic part of the story. The writers
must spend a considerable amount
of their time in research looking up
their data—or is it that most of the
detective story writers already are
magicians?”
Interesting question. How many
magicians were producing mysteries
during its heyday, the first half of
the 20th century?
If, in agreement with theater
professor Charles Pecor, we define
magic strictly as a performing art
and magicians as performers (as
distinguished from scholars and
fans), the answer is surprising.
Research so far has turned up a
loose society of nearly a dozen:
Charles T. Jordan, inventor
of the Jordan Count, is credited
as C.T. Jordan in the online Crime,
Mystery and Gangster Fiction Magazine
Index (CMGFMI) with 20 stories
published from the 1910s through
1930s. But this tally is by no means
comprehensive; The Sphinx names
two not included in the Index:
“a complete novelette, ‘Magic
Clayton Rawson’s Death from a Top Hat (1938) was heralded as “a cornerstone of detective Grips,’ in The Tip-Top Magazine
fiction” by The New York Times. Cover art by Gerald Gregg. of November 1, and a short

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ALL BOOK COVERS FROM THE COLLECTION OF THE AUTHOR

A Blonde for Murder (1948) by Walter B. Gibson has fictional magician Ardini Walter B. Gibson’s Looks That Kill! (1948) is centered on a radio-show
(not to be confused with contemporaries Aldini or Cardini) at the center of mentalist clearly modeled on his friend Joseph Dunninger. Cover art
the mystery. Cover art attributed to Peter Driben. by Lee J. Ames. The library stamp on the front page reveals this was
Gibson’s personal copy.

story, ‘The Quickening of Snail appear in the CMGFMI. He also been unrivaled—such was the claim
Edwards,’ in The People’s Magazine of coauthored the magic-themed of a 1933 promotion for Corona
November 10 ... .” mystery Broadway play and film typewriters: “1,440,000 words in
The year Jordan released his The Spider and eight novels (as less than 10 months.” He would
last magic booklet, The Billboard Anthony Abbot). A founder of exceed a million words annually for
heralded Sax Rohmer’s (Arthur the Demons’ Club of Baltimore the subsequent 13 years, primarily
Henry Ward’s) trip to the U.S.: Magicians, he edited the English (as Maxwell Grant) in the service of
“Saxe Rohmer, magician and translation of Fischer’s Illustrated his sensation The Shadow.
writer of Chinese mystery stories Magic and contributed to several Less prolific was Henning
[the popular Fu Manchu series], is titles edited by Walter B. Gibson. Nelms, who made up for the lack
visiting these shores.” Rohmer was Gibson was a significant of quantity with exceptional quality.
a sufficiently esteemed member of connector between the magic and Nelms published only one short
the Magicians’ Club of London pulp-writing worlds. He personally story and two mystery novels in his
to appear in Will Goldston’s Who’s introduced mystery writer and Doc lifetime under the pen name Hake
Who in Magic—and was personally Savage creator Lester Dent to the Talbot. Yet one novel, The Rim of
invited to join by friend and club art by escorting him into two New the Pit, was named by his peers as
president Houdini. York magic shops (though Dent one of the best in the impossible-
Contemporary with Jordan and may be better classified as a magic crime subgenre. His international
Rohmer was Charles Fulton fan than performer). reputation among magicians would
Oursler, who got started in fiction Although Gibson wrote come with Magic and Showmanship: a
contributing mysteries to The Eagle numerous books for magicians, his Handbook for Conjurers.
Magician. Forty-one of his stories output for the pulps alone may has Edward M. Massey first

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Clayton Rawson’s The Footprints on the “Sad will be the lot of the conjurer who
Ceiling (1939) appeared in both the fails to read The Headless Lady … there’s
Cleveland Plain Dealer and The Saturday never a dull second in this latest Rawson
Review of Literature on their “year’s best” offering,” warned William W. Larsen
lists. Cover art by George A. Frederiksen. in Genii (September 1940). Cover by
Western Art Department.

“Excellent” was Time magazine’s succinct

assessment of Clayton Rawson’s No Coffin for the Sodality.” J.G. Thompson says Club. Founded by Clayton
Corpse (1942). The Sphinx adds, “This is the best of the chaotic night he dropped Rawson, it seemed to function
of Clayton Rawson’s magician detective stories— in: “I have attended a session and as the magical counterpart to the
his fans (and there are many) will want no other emerged in one piece! The nice other club Rawson helped found,
recommendation.” Cover art by Gerald Gregg. thing about these weekly gatherings Mystery Writers of America.
at the Elliott ménage is that while Through both, Rawson joined
became known to many magicians you never know whom you may run Gibson and Elliott as the third great
through his Glass Penetration in into, you may be sure that you will, connector between the mystery-
Gibson’s The Seven Circles. Outside what with the place looking like a writing and magic communities.
the world of magic, he wrote subway car during the five o’clock As Elliott reports in The
five books as Morrell Massey. No rush. I won’t say it was crowded the Phoenix, the riotous magic of the
magazine stories under that name night I squeezed in, but fifteen of us Witchdoctors was prone to invade
appear in the CMGFMI, but “The were inhaling in shifts.” the proceedings of the MWA: “One
Demon” in the September 2, 1922 Among the magicians present of the items on the agenda that
issue of Midnight is likely his. was Martin Gardner. Unlike tickled us was a little bit
Gibson’s founding and editing Thompson, Gardner was more of business where
partner for The Phoenix, and than an occasional attendee: as [stage magician]
frequent magic contributor, was a Sodality regular, his work is L. Raymond Cox
Bruce Elliott. Though 32 stories included in a group contribution to severed [Random
are credited to him in the CMGFMI The Sphinx in December 1952. Of House publisher]
during the 1940s and 1950s, he his mysteries, Gardner has three Bennett Cerf ’s head
remained productive through the listed in the CMGFMI. His greatest from his shoulders …
early 1970s, ultimately writing a contribution to the genre, though, Each and every author at
total of 14 novels and multiple may be his annotation of G.K. one time or another has had
screenplays, and serving as editor of Chesterton’s The Innocence of Father just that desire … The line that
six magazines. Brown. Raymond Cox intoned as he did
Like Gibson, he also connected In addition to the Sodality, the ghastly deed also tickled our
magicians socially; his weekly Gardner belonged to another social funny bone … ‘Of Bennet Cerf,
New York gathering was known organization: The Witchdoctors we’ve heard enerf !’ ”
to readers as “The Friday Night

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COURTESY OF THE RAWSON FAMILY (PHOTOGRAPHER UNKNOWN)

Clayton Rawson

With summer came two backyard parties

blending Witchdoctors with the MWA,
where Rawson was joined onstage by Dai
Vernon and John Mulholland among others.
His credentials as a mystery writer include four
novels and 25 entries in the CMGFMI, some
under his pen name Stuart Towne. He also served
as Associate Editor of True Detective and Managing
Editor of Ellery Queen’s Mystery Magazine.
Kendell Foster Crossen also helped blur the
lines between Rawson’s two clubs. With Rawson
as the MWA’s first Treasurer, Crossen served as
Executive Vice President. As Richard Foster, et al.,
he wrote genre novels and contributed to numerous
publications; the CMGFMI lists 60 stories from
1939 to 1958. Best known to pulp fans for magical
These “map backs” were designed by Rawson for the back
covers of his books

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Kendall Foster Crossen’s detective in The

Laughing Buddha Murders (1944) and The
Invisible Man Murders (1945) is an amateur
magician. In the latter book, he delivers
his closing howdunnit monologue while
performing at a magic convention.

COURTESY OF KENDRA CROSSEN BURROUGHS, PHOTO BY BARRY KRAMER

of the Miami I.B.M. ring’s 1954
banquet show.
George B. Anderson was close
to Bruce Elliott, at least when both
sat around a séance table at Jay
Marshall’s home on Halloween.
Anderson started as a magician
in tent shows at age 17, released
several books of original material,
and produced two early TV series
hosted by Don Alan. Mammoth
Detective published two of his stories
in 1947, but most of his mystery
Kendell Foster Crossen writing was for radio—he claimed
to have written more commercially
superhero The Green Lama, he did not perform, we may classify sponsored mystery shows than any
Crossen contributed magic to The him a fan. other writer.
Phoenix, received multiple mentions Through Rawson, Carr became Sid Fleischman was a young
in The Jinx, and even attended (with friends with Renee and William full-time performer who would
Elliott) a historic dinner thrown by Lindsay Gresham, to whom he eventually receive an Academy of
magicians for Orson Welles. would dedicate his mystery The Magical Arts Literary Fellowship
Joining Crossen and others in Demoniacs. Gresham, in turn, would (2002). But he left performing as a
the MWA was John Dickson name our trinity of magic and profession after our three magic-
Carr, who moved into Rawson’s mystery connectors in the Author’s and-mystery connectors intervened,
New York neighborhood Acknowledgment of Houdini: The at least in spirit: “When the season
and was welcomed into the Man Who Walked Through Walls. ended for us … I left the show. I
Witchdoctors Club, “although (as Gresham belonged to the MWA wanted to go to college and become
he admitted) Carr was not clever and Witchdoctors Club, has seven a fiction writer like Gibson. Or
at prestidigitation himself … ,” stories in the CMGFMI from 1947 Clayton Rawson. Or Bruce Elliott.”
according to his biographer. Since to 1959, and was the closing act WWII delayed those plans; but

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In Bruce Elliott’s You’ll Die Laughing (1945),

a practical-joking millionaire is murdered
in a locked room, only to vanish (along
with the murderer) before the body is
discovered in a different room.

on his return, he worked in pulps

under the byline A.S. Fleischman.
Jim Steranko, though working
later than the designated time Anthony Abbot’s real name was
period, merits a mention as a Fulton Oursler, who may be best
Witchdoctors Club member and remembered today as author of the
contributor to the pulp revival. In biblical-novel-turned-epic-film, The
the 1950s he was a young escape Greatest Story Ever Told.
artist before changing focus and
authoring Steranko on Cards. A friend
of Gibson’s, Steranko refreshed the
master’s legacy by creating cover As further research reveals the
art for re-releases of The Shadow noms de plume of more magicians and
and Norgil the Magician. He also the magical lives of more mystery
pioneered the graphic novel (along writers, we can all look forward to
with Will Eisner) by writing and seeing this number expand—and
illustrating noir detective thriller take pride in our brethren who
Chandler. helped shape the genre. •

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EXHUMATIONS
JON RACHERBAUMER

Autonomously Sly
THIS “BURIED” ITEM is in a class down after the shuffle and transfer from bottom to top the
by itself and was interred over 80 years necessary number of cards to bring the card you know to
ago. It was glossed over because read- the face of the packet, etc. Or knowing its position you can
ers likely assumed it was too iffy and the use it as a key card.
applied effect seemed too good to be true. Steve Reynolds devised a clever application: Have the
Effect: A spectator is invited to cut off a packet of cards deck shuffled and handed back to you. Under the guise
from the deck. He gives them a shuffle. then notes the of finding a prediction card, fan the cards with the faces
bottom or face card of his packet. The packet is returned toward you, and note the top card of the deck. Suppose
to the deck and the cards are squared up. Although the it’s the Jack of Diamonds. Spread through the cards and
conjurer does not touch the cards at any time during these upjog its mate (Jack of Hearts) out of the center of the
operations, he knows this card and may disclose it in any deck for half its length as a closed prediction.
manner he desires. The following procedure was developed to remove the
No trick decks or confederates—just a simple principle, mate efficiently and bury it face down without revealing
so fair and apparently guileless in action that it is decep- its identity: Square the deck into your left hand without
tive. The spectator forces the card on himself. disturbing the outjogged card. Turn your left hand palm
The principle is this: The performer first notes the top down. Grip the outer end of the jogged card between
card of the deck. He places the pack onto the table or your right thumb (above) and first and second fingers
holds it in his hand. A spectator is invited to cut off a pack- (below). Remove the card from the deck, keeping it
et (a half or third of the deck), give it a shuffle and then face down. Turn your left hand palm up and insert the
note the bottom card. right-hand face-down card into the center of the face-up
Because the number of cards he cut off is small, it deck and then square all. To add a bit of texture to the
is impractical for him to execute a riffle shuffle. So he sequence: Turn the deck face up, and perform a right-to-
Overhand Shuffles them. If the force is to succeed, the left ribbon spread, indicating to the audience the cards to
spectator must shuffle overhand. You make this more cer- the immediate left and right of the face-down prediction.
tain by indicating (but not audibly) the Overhand Shuffle “Therefore, when you see the face-down card again, and
with your hands in pantomime to induce this action tacitly it is still between these two cards, you’ll know that I have
or by using the remainder of the deck. not switched the card.”
Three out of five times the shuffler will draw off the top Have the spectator square the deck and turn it face
card first, bringing it to the bottom. This is the card at down. You will now do the forcing procedure explained
which he looks. This is the force card—the one you previ- earlier by having the spectator cut a small packet of cards
ously sighted. He forces the card on himself because it is off of the top of the deck. Instruct her as follows: “Please
the easiest way for him to start his shuffle. cut off some cards; but not too deep. I don’t want you to
When you see that the force is going to succeed, wait cut to the reversed card.” This is better than the restrictive
until the spectator has almost finished his shuffle and then line: “Cut off a small packet of cards.”
quickly ask him to note the bottom card of his packet. This Have the cut portion shuffled. There is a good chance
will prevent him from giving an extra shuffle to the cards. she will shuffle the top Jack of Diamonds to the bottom
Since the method is obviously not foolproof, you must of their packet, and then run the rest. At the end of the
be careful in your choice of spectators. Pick a party you shuffle, place your right hand onto the spectator’s shuffling
know or believe can handle cards well, and the force hands to non-verbally stop the shuffle. Pause for a beat.
should work 80 percent of the time. Non-card players are Lift your hand with the palm toward the spectator and say,
inclined to cut rather than shuffle. “Now, look at the bottom card and remember it.” Have
Even if the spectator does not shuffle off the top card her do so.
alone but instead pulls off a few cards in the first motion, Request that she shuffle the portion to bury the noted
it is often quite possible to make note of the number and card. She is then asked to place the portion back on top
if it is only three or four have him hold the packet face of the deck.

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EXHUME: v. to dig (something) buried; to revive or restore after neglect or a period of forgetting; bring to light.

JONCARDS@[Link] • [Link]

The spectator is requested to turn the deck face up and deck has a mate. The mate of the Nine of Clubs is the Nine
spread the cards across the table. of Spades, etc. What was your card?”
You now recap: “The deck was shuffled by you and a Have the spectator name their card, naming the Jack
card was reversed; please notice it is still between those of Diamonds. The spectator is allowed to remove the
two cards. You cut off a packet, shuffled them, noted the face-down card herself and then reveal it to be the Jack of
bottom card, and shuffled them again. Every card in the Hearts, the mate of her selection. •

Okito-Nielsen

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The block is then inserted on the top and slowly it is VISIBLY pushed through the glass
down to the bottom of the tube.
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CHAMBER OF SECRETS
JOHN GAUGHAN JOHNGAUGHAN@[Link]

AS TOLD TO DUSTIN STINETT • PHOTOS BY JEFF CHANG

Floyd Thayer: Folk Artist

CHANCES ARE quite good that the
majority of you reading this are familiar
PHOTO BY DAMON WEBSTER with Floyd Gerald Thayer. His legacy as
a craftsman is secure, and his props are
highly collectable, several of which have appeared in this
column. I am lucky to have many of his pieces in my col-
lection; so many, in fact, that I have created something of
a shrine to him in the museum. What you probably don’t
know is why I consider him a “folk artist.”
Thayer moved from Jacksonville, Vermont to Pasadena,
California in 1891. He was 14 years old and he was already
into magic and woodworking by this time. According to

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Bill Larsen Sr., in his piece about Thayer that appears in the the Mahatma collection. The wand is made of California
September 1942 issue of Genii, young Floyd sold wood orange wood (yellow-white) while the tips are of manza-
“novelties” to tourists. nita wood, (resembling mahogany) a variety found in the
An amateur actor, he met Jennie Gipson in a local play mountains.”
they both performed in sometime in 1896. He next served The first ad for his wands appeared in the October 1902
in the Spanish American war as a lieutenant in the Army. issue, with subsequent ads in November and December.
He left the service in 1898 and married Jennie in 1899. He called them the “Wand of the West” and they were
By 1901, they lived at 260 Cypress Avenue, Pasadena (an $1, postpaid. By this time, his address was on Fair Oaks
address that no longer exists, due to the 134 Freeway). We in Pasadena.
know this because of a 25-cent business card “insertion” Larsen wrote—and has been parroted by many others—
in the June 1901 issue of Mahatma magazine. He called that Ellis Stanyon was Thayer’s first customer after seeing
himself “Thayer, The Western Magician.” the ad in Mahatma (and, according to Larsen, it was “con-
We next hear from Floyd in Mahatma in August of 1902: siderably later, after Floyd had forgotten all about the ad”).
“F. G. Thayer, of Pasadena, California, presented the While it’s possible, I would suspect that he sold at least
Editor [T. Francis Fritz] with a handsome wand. In design a few others to local magicians long before a letter from
and finish it is a ‘beauty,’ it will receive a place of honor in London, England found its way to Pasadena. Even magic

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CHAMBER OF SECRETS

Lon Chaney, Sr., in a scene cut from the silent film, West of Zanzibar

dealers will use the “showman’s prerogative” to enhance During 1911, he was sidelined for a period with typhoid
their standing in the world of magic. fever, but Wilson noted that, “his ad shows that his brain
It’s worth noting (surmising, actually) that Thayer didn’t was not idle if his body was.” In early 1912 he moved his
need to pay for his raw materials. Pasadena was filled with shop to 235-237 South San Pedro Street in Los Angeles.
orange groves during this time, and manzanita wood could There was a short-lived partnership with Louis F.
be easily gathered in the nearby foothills. Christianer that started in 1913 (a full-page ad appeared
By paying attention to the ads found in these old maga- in the September issue of The Sphinx). This is when the
zines, we can see the evolution of Thayer’s business. That famous catalogs began appearing, and they started the
first ad was less than two column inches in size. He began publication Magical Bulletin, an advertising vehicle that
adding other items, including pamphlets that described started out as free to customers, which Christianer edited.
routines. He was advertising in The Sphinx by 1907. In It is also when it was noted that everything they sold was
1908 he was advertising his “Eureka Tables.” This was a set made “entirely of wood.”
of three; a center table and two side tables, with ornately There are accounts in print and online that the part-
turned pedestals, which would become something of a nership ended in 1917 when Christianer joined the war
trademark with him. He had also opened his West Union effort in Europe (WWI). But the fact is that there was an
Street shop. First at 150, then 101 (diagonally across the announcement in the June 1914 issue of The Sphinx that
street), where he would be for several years. reads, “Notice! Owing to Christianer having accepted the-
Another thing Thayer was a master of was promotion. atrical engagements, the firm of Thayer & Christianer has
He sent a wand to Dr. A.M. Wilson, editor and publisher dissolved. Address all orders for catalogues, goods and
of The Sphinx, and Wilson became an unabashed fan, communications to F.G. Thayer.” He was back on his own,
often mentioning Thayer’s ads in his own column. It wasn’t but it didn’t matter. The rest, as they say, is history.
unusual for tricks that would appear in the magazine to ref- Made “entirely of wood” is the key to my concept that
erence props sold by Thayer, such as his “Feather Weight Floyd Thayer was a folk artist. In 1894, Viennese art histo-
Eggs” made of yucca rubber. The ads for “The Magic Shop rian Alois Riegl defined the term: “The object is created
of the West” grew in size and soon were quarter-page in by a single artisan or team of artisans … The folk art has a
size and listed Die Boxes, Billiard Balls, and more. Floyd recognizable style and method in crafting its pieces, which
Thayer was on a roll. allows products to be recognized and attributed to a sin-

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gle individual or workshop.” Is there a better description “shrine,” you would see a wonderful photo of a man
of Thayer’s output? Furthermore, and this might be con- performing with a Thayer Star Ball Pedestal. That is Lon
troversial, but Thayer was not above copying—something Chaney. The still was taken on the set of Tod Browning’s
else folk artists are known to do. I have many examples West of Zanzibar (1928). There is absolutely no question
of wooden Thayer pieces that are copies of (usually) that the prop is one of Thayer’s. Mine can be seen on
European props first made in metal. the right-center side of the shrine, with a red ball in the
Just one example is Thayer’s Star Ball Pedestal, which middle spot.
is seen in the center of the photo on page 47. Flanking Thayer sold his legendary company to William Larsen,
it are two examples of German-made ball stands. These Sr. in 1942. Floyd and Jennie returned to Pasadena when
Carl Willmann pieces, which predate Thayer’s, are made they traded homes with the Larsens, who moved into
of nickel-plated brass. You can see the resemblance, and Brookledge, Thayer’s historic home in Los Angeles. Floyd
that was not a coincidence. Willmann and other European G. Thayer died on July 29, 1959; Jennie preceded him in
craftsmen were experts in metal work; Thayer was an death in 1951. I do not know anyone who is not proud to
expert in woodworking. have Thayer props in their magic collection. I am delighted
Just for fun, if you were here at the museum, next to the to have so many here in the Chamber of Secrets. •

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THOUGHTS ...
RAFAEL BENATAR

Elements of an Effect
PHOTO BY CRES RAMOS

PART ONE

THE NATURE OF AN EFFECT ask those questions, which is more common in colloquial
To define our subject, we will be referring to an effect here speech, you are checking if the listeners have followed
as a magical occurrence, to anything we convey to the you up to that point and are prepared to understand what
audience as an impossibility. comes next.
Some effects follow one another in a routine, which can Rhetoric achieves the same in a more subtle way and
include several or many of them, and are, or can be, struc- goes far beyond. You can ask those questions without
tured together to deepen the deception, but what we will spelling them out, by guiding the spectators through your
basically be dealing with here is the basic unit. speech—tone of voice, dynamics, inflections, and ges-
The spectators are guided along a process that goes tures. You obtain the replies to those questions by watch-
from an initial situation (A) inexplicably to a final situation ing the spectators and listening to them.
(B), apparently by magic.
“Simply deceptive” ranks very low in the quality of an THE MAGIC MOMENT
effect. It is the magician’s task to effectively conceal the The magic moment from a theatrical standpoint has come
causes for the transition from A to B from the spectators, to be understood as the instant, or sometimes the time
and to guide them smoothly along the process, making they span, in which the magic takes place. It pertains essentially
perceive what is convenient for deepening the deception to what spectators perceive and, with proper manage-
and to make them disregard, or even forget, what is not. ment, it can be used for enhancing or boosting the effect
as well as for helping conceal the method.
PUNCTUATION AND RHETORIC The magic moment is one the most important elements
In any performing art, punctuation serves the same pur- of punctuation, up there with the last moment that reassures
pose as in speech: submitting the information as clearly as the spectator that the established initial situation has not
possible by pausing at the right places, and for the right changed and it should be inserted into the critical interval,
length of time. This helps the spectator perceive one ele- as brilliantly defined by Darwin Ortiz in Designing Miracles.
ment of information at a time, whether it’s words, actions, We are referring to the interval between the last moment
attitudes, scenery, and every bit of information we want to the spectators perceive the initial situation—believing
get across. what the magician wants them to believe—and the first
We can think of those pauses as checkpoints where we hint of the final situation. Although the first hint is seldom
stop to let the spectators register what has been said and enough proof that something magical has occurred, it is
done. This is what Ascanio defined as an “assimilation supported by the way the magician frames it. The specta-
pause.” tors have been led to “trust” that the magician will accom-
Punctuation is mostly related to actions or phrases plish something—or he wouldn’t be promising it.
that take no more than a few seconds and the intervals
between them. MAGIC GESTURES AND OTHER SIGNALS
In speech, there are, of course, a lot more than periods A magic gesture is a gesture the magician makes to sig-
and commas, just as in music there are more than silenc- nal the spectator exactly when the transition from A to B
es and pauses, taking us into the realms of rhetoric and allegedly takes place, which is to say the magic moment.
musicianship. Some examples of magic gestures are snapping your
Think of these expressions: “You know?” “As you know fingers, waving your hand over an object, crumpling a
…” “Yes?” “Are you with me?” “Are you following?” “Is coin into nothingness, or tapping something with your
that clear?” “Understood?” We are all familiar with them magic wand.
and know what they are commonly used for. When you The magic moment can also be indicated by other

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[Link]/MAGIC

actions or attitudes, such as feigning deep concentration as in space.

to reveal a thought gradually being captured, crashing two In some cases, the action that signals the magic moment
rings together, tossing an object into the air, waiting for also produces, or includes, the secret action. A clear exam-
something to settle, or anything suitable you can think of. ple is color changes with cards where the action of waving
The magic moment can also be signaled by a flourish: a the hand over the deck not only signals the magic moment
subtle, and hopefully elegant, display of skill which is in no but also accomplishes the required transition by releasing
way related to the result achieved and doesn’t harm the the palmed card on the face of the deck. In this case, part
clarity of the trick. of the method was to steal the card and palm it, but the
In “Triumph”—to use a well-known example—you could rest of the method is brought together with the magic
riffle the ends of the cards, which have already been moment and the revelation.
secretly straightened, pretending to achieve that condition Visual effects, for that reason, are more vulnerable to
at that instant. Such a claim seems so outrageous that the reconstruction by the spectators because it’s easier to
spectators will regard it as slightly ironic, while it actually backtrack. However, in many cases they produce a startling
serves the purpose of a magic gesture. illusion that takes our senses by surprise, even when we
The spectators’ subconscious could be processing practice in front of a mirror. This tiny mirage, so to speak,
thoughts like: “I know it wasn’t skill. It cannot be done that makes an impression in our perception that lasts for just
fast.” Knowing it was not done that way, but also thinking a moment—maybe a second or two. If we manage to
it couldn’t have been done any other way, still produces keep the spectators’ attention busy before that startling
the sensation of magic. moment fades away (with other effects, actions, or bits of
information), the attempt to reconstruct the illusion can be
THE REVELATION significantly reduced and even eliminated.
The gestures employed to signal the magic moment In effects with more complex structures and more intri-
should not be confused with those used for framing and cate procedures, most secret actions occur long before
dramatizing the revelation, or the proof of what has been the revelation. The effect is less visual but, if properly man-
accomplished. Some of these gestures could be used for aged, the deception is potentially deeper, because there
both things, but using them for different purposes in the are more options for inserting clever strategies, subtleties,
same performance can create confusion or harm the clarity and convincers; and also for misleading the spectators’
of the effect. thought process. The Magic Way by Juan Tamariz is a
Let’s see how this applies to the vanish of a coin through thorough treatise on the subject.
a false transfer. We have already convinced the onlookers
the coin is in the left hand. A common way to make a REDUNDANCIES OF MAGIC MOMENTS
coin disappear is by pretending to massage it or pulverize If you make a fake transfer of a coin into your left hand,
it in your hand until it’s gone. This resource, when well make a crumpling gesture, and then snap your fingers to
employed, accomplishes both objectives—the magic ges- make it disappear, you have two magic moments—one too
ture and the revelation—at the same time. many. Snapping your fingers is basically a magic gesture
A popular way to reveal the disappearance dramatically and it shouldn’t be used—or at least it’s not effective to
is by opening the hand gradually, one finger at a time, do so—for simply underlying something you are about to
lengthening the possible suspicion that the coin could be show. It would be more appropriate to open the left hand
hidden between the fingers. quickly, even if one finger at a time. Or you can do the
You could also do the Mora Wand Spin and finish it by crumpling slowly and just show the hand empty: one thing
tapping the empty palm with the tip of the wand. In this or the other.
case the spin assumes the role of a little ritual, almost a Some thinking on this, and observing how other per-
wind-up, prior to the tapping. formers manage their magic moments, will develop in us
new ways, attitudes, and expressions to call attention to
VISUAL VS. NON VISUAL the revelation of the effect.
In visual effects, the magic moment and the secret action One of the effects that suffers such redundancies the
that causes the effect, totally or partially, tend to be very most is “Matrix.” Curiously, its creator, Al Schneider, clearly
close to the revelation of the impossibility, as much in time explained what the magic moment is about calling it “The

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THOUGHTS ...

Intention of Magic” in Al Schneider on Coins. can be effective for revealing that a coin disappears from
It comes in very handy, in “Matrix,” lifting a card off the under one of them and instantly appears under the other,
table with a snap—an appropriate action for signaling the as if the snaps were the cause of the translocation.
moment of the disappearance, or translocation, of a coin However, if you want to submit one piece of infor-
that was under it. Therefore, it is advisable to reserve it for mation at a time, you could snap one of the cards
that purpose, and not using it for simply exposing an ini- apparently to make the coin go, and then quietly lift the
tial situation and show that there is nothing under a card. other to show where it has gone. There is no need for a
Instead, you could just lift the card with your right fingers, second snap: The coin is gone, and that’s the effect. It’s
by its left end, turn it just enough to expose its face and all about understanding what, exactly, you want people
then replace it silently. to believe. Once we figure that out, or decide it, it’s just
Snapping two cards simultaneously, as is often done, common sense. •

Need a Lawyer?
COPYRIGHTS, NDAs, PUBLISHING,
LICENSING CONTRACTS

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Attorney At LAw
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Greg@[Link]
[Link]
* 40 year Magic Castle® Magician Member (310) 207-8999

Martin Lewis
MAKING MAGIC
50 YEARS IN THE
MAKING
Making Magic is a book about
8-1/2 x 11InHardbound,
my Magic. 340
it I have gathered 60 of my favorite
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routines. These 60 but practical
are not pipe dreams
stunning
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effects. Magic that has rewarded
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While the majority of the book is on Parlor
and Stage,
Stag there are still plenty of stunning
close up effects described. including the details
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with a CD containing dozens of helpful files.

FOR MORE INFORMATION VISIT [Link]

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JOIN THE ACADEMY OF MAGICAL ARTS

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 Genii Magazine - 03-2023

CARDOPOLIS
DAVID BRITLAND

Plenty of Fish
U. F. GRANT RELEASED his card (fig.2). The color of the clip should match the back of
“Novelty Fishing Trick” in 1933. It’s a the card. In the photos I’m using a blue-backed deck and
lovely premise: the performer fishes out a blue paper clip.
a chosen card from a hat, using a rod
and line to which is attached a magnet. Paperclips, by
way of bait, have been sprinkled into the hat. It’s one of
these paperclips, that finds its way to a card and enables
the performer to fish the selection out of the hat. Grant’s
trick involved forcing three cards and fishing their paper-
clipped duplicates from the hat. But it wasn’t long before
magicians figured you could perform the trick using a
simpler handling if you restricted the choice to just one
card. There have been several handlings like this over the
years. The one here is very similar to that described by
British magician Henri De’Seevah which he marketed as
“Cardangle” in 1941 and later described in The Linking
Ring (June 1943).
Set Up: You’ll need a deck of cards and a small foldable
2
paper bag instead of a hat. The bottom of the bag is rect-
angular and not much wider than the deck. A small box of Presentation: Take out the paper bag, unfold it, show it
colored paperclips, magnetic of course. A small magnet empty, and stand it on the table. Bring out the deck and
attached to a length of string. You can use the traditional give it an Overhand Shuffle but keep the paper-clipped
horseshoe magnet or create any novelty magnetic object. card on the bottom. Spread the deck face down between
The one in the photos is a haberdashery magnet used for the hands and ask the spectator to select one.
picking up pins and needles (fig.1). Divide the spread into two at the point they made the
selection. As the spectator looks at and remembers their
card, reassemble the two halves of the deck so the paper-
clipped card is in the middle. [Associate Editor's Note: The
selected card can be signed on its face.]
With the deck in the left hand, the right hand cuts at the
paper-clipped card so it is the bottom card of the right-
hand packet. The right thumb picks up on the paperclip
that extends beyond the inner end of the deck. Extend
the left-hand packet toward the spectator and ask them to
drop their card on top.
As you bring the hands together, the left thumb pushes
the selection to the right. The right hand moves forward
and toward the left-hand packet and, in doing so, clip the
selection to the paper-clipped card (fig.3). This is easier
1 than you think. Slide the selection into the paperclip as you
bring the hands together. But make sure that the paperclip
Have the paper bag folded in one pocket along with the finishes in the center of the selection’s inner end.
magnet and the deck of cards and paperclips in another An alternative handling is to square the selection on top
pocket. The bottom card of the deck has a paperclip of the left-hand packet but take a left pinky break below it.
affixed to one end, its long side against the face of the Secretly raise the inner end of the selection from the deck

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3 4

as you would if creating a Depth Illusion Break. This facil-

itates sliding the selection into the paperclip as you bring
the two halves of the deck together.
As soon as the two halves of the deck are together, lift
some of the upper cards in the right hand and dribble
them back onto the deck. This makes the action look
less studied and more casual. Give the deck a couple of
Overhand Shuffles. I like to make it a very loose shuffle.
The two paper-clipped cards will stay together during
the shuffle. You’ll know by touch where the paper-clipped
cards are at any point during the shuffle. Because the
paperclip is the same color as the back of the cards, it
won’t be noticed, even if it comes to the top of the deck,
and for the next part of the trick you need those paper-
clipped cards on top of the deck. 5
But let’s assume that after the shuffle the paper-clipped
cards are somewhere in the middle of the deck. Turn the down into the open paper bag.
deck, sideways, face up in the left hand, keeping the inner Because the bag is not much bigger than the width of
end toward you, so the spectators don’t see the paperclip. the deck, and the cards don’t flip over as they fall, the
Cut the deck immediately below the paperclip. The right paper-clipped selection will remain second from the top.
thumb lifts at the paperclip and then cuts the deck, send- Tell the spectators you are about to do some fishing. But
ing the paper-clipped cards to the rear. first you need some bait. Take out the box of paperclips,
Ask the spectator if the card on the face of the deck is remove some, and sprinkle them into the paper bag. Pick
the selection. It isn’t. up the bag by the handle and give it a side-to-side shake
As you show the face card of the deck to the spectator, as if mixing everything up. The shaking just shifts any
the left thumb pulls down on the outer corner of the top paperclips that are lying on top of the deck.
card (fig.4). This action is hidden from the spectators. The “This is a very special type of fishing. Magnet fishing.
right hand then pulls the deck away from the left hand, It’s very popular on YouTube. People fish in canals with
which keeps a grip on the top card between thumb and magnets to see what treasures they can bring up: shop-
fingers (fig.5). This frees the top card from the paperclip. ping carts, bicycles, old strollers. You never know what you
Ask if the top card of deck is the selection. It isn’t. might find.”
Dribble the deck onto the face-up card in the left hand Bring out the magnet, show it, and then holding one
and then turn over the deck sideways to bring it face end of the string, dip the magnet into the bag. The paper-
down. The selection is now the only card held by the clip will be at the inner end of the bag so that’s where you
paperclip. It lies second from the top. Take the deck from position the magnet. You’ll feel the magnet adhere to the
above in the right hand and then dribble the cards face clip, and when you do, haul up the magnet. It will bring

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CARDOPOLIS

the paper-clipped selection up with it (fig.6). Your fishing

expedition is over.
Notes: I do not know whether magnet fishing exists
outside the United Kingdom, but it’s certainly made good
content for YouTube videos here.
If your spectator management skills are good, you can
have the spectator dip the magnet into the bag and find
their own card.
When I first toyed with this effect, I had some paperclips
3D printed in plastic. That way you didn’t have to worry
about the magnet pulling anything out of the bag other
than the selection. The plastic paperclips weren’t an exact
match for the regular paperclips, not that they were ever
seen together, but it wasn’t really necessary for this rou-
tine. Still, I thought it was an interesting idea and might be
useful in another effect of this kind.
If you want to develop the presentation further as a
close-up piece, you might investigate the variety of novelty
paperclips that are available. So instead of throwing paper-
clips into the bag you are throwing carrots or pineapples
i.e., novelty-shaped paperclips. I even bought some that
looked like bicycles, of which there are more in British
canals than fish.
Henri De’Seevah dropped the deck into the side pocket
of the spectator’s coat. The deck was placed so that it was
paperclip side uppermost. If he pulled out some other
magnetic object of the spectator’s instead of the card, a
cigarette case for instance, he made the most of the come-
dy, and then pulled the card out on a subsequent attempt.
I got the paper bag idea from Juan Luis Rubiales, who
uses it in the “Fished Card” routine he explains this on his Pursuing excellence in magic
2017 DVD album Olé (Essential Magic Collection) and is,
to my mind, the best version of the popular Snake Cord
effect, a trick originally marketed by Max Andrews in the
and the appreciation
1950s. As with Rubiales’s routine, you can place the paper
bag on the floor and fish the card out, that way making for of its heritage
a bigger effect.
Finally, if the effect appeals, I recommend revisiting
Robert Harbin’s “Dippy Magnet,” a trick he marketed in
the 1940s and has been varied over the years. It’s a clever
and puzzling effect. •

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ARTIFICES N WATCH

ROBERTO MANSILLA
TRANSLATED BY PETER COBB • ILLUSTRATIONS BY LUCAS LANZO

South American Notes

PHOTO BY NADIA VILLANUEVA
DESTINATION: BRAZIL
THIS TIME I TRAVEL TO BRAZIL to tell you resonate in the spectator, there is no space for mystery to
about one of my favorite magicians and friend: Ricardo manifest itself. It takes a lot of work to get it, and if we want
Harada. Ricardo is an artist who combines sensibility, intel- to open the space for mystery to occur, we often need to
ligence, originality, beauty, and smarts in an awe-inspiring sacrifice many effects, moves, and many things our magi-
fashion. He is the kind of artist who, seemingly with ease, cian’s ego holds dear. Mystery makes no concessions.”
materializes a poetic idea without demanding effort on the At the International Festival of Illusion and Conjuring Les
spectator’s behalf and with no cracks to be ignored. His Mandrakes d’Or in 2010, he won the Mandrake d’Or for his
magic, his acts, simply embrace us and sweep us along. Magritte act (several columns could be written about this
Harada is an actor, theater director, and a Doctorate act, but it will serve you better and watch it on YouTube:
in Scenic Arts at the Universidad de Campinhas (Brazil). [Link]
His doctoral thesis—published as a book (Escamoteur )— I witnessed Juan Tamariz giving Harada a standing ovation. WATCH
explores the commonalities, but also the differences After that act, Ricardo created a Cone and Ball act under
between dramaturgy and illusionism. He proposes the the name “Escamoteur,” for which he continued receiving
concept of “Thaumatography,” the “writing of astonish- standing ovations.
ment.” There he refers to mystery, which he says “has an ([Link]
existential dimension and isn’t limited to the impossible.” Today, given the tacit obligation of publishing a trick, I WATCH
Mystery “although conceptually related to the specifics leave you with one of his moves, in two phases, from his
of illusionism, it isn’t inherent to it. When effects do not book: Escamoteur—A Study about the Cone and Ball.

Invisible Transposition of a Ball

Translated by Rafa Lans • Drawings by Ricardo Harada

Effect: On a table, the magician rolls a billiard ball under Magic) but done on a table.
the cone in order to cover it. Then he makes a magical What is the purpose of a billiard ball? It’s to roll on a
gesture with his wand, as if extracting the essence of the table. Many of my creations were based on questions
ball from the top of the cone. Acting as if the ball were regarding the very nature of the elements used in a magi-
stuck invisibly on the tip of the wand, he takes it with his cal effect. Many times, we magicians forget the purpose of
left hand, pretending to have it, now invisible in his hand. the objects, because the excessive use ends up de-charac-
Using the tip of the wand, he drops the cone, turning it on terizing the object, moving away from its primary purpose.
the table, and revealing that the ball is no longer there. When we find the purpose again, new creative possibilities
The magician looks at the invisible ball on the left hand, open up for those who are open to perceiving them.
closes the fingers and, when open again, the ball becomes Playing with the possibilities of performing effects with
visible, completing the transposition. the cone and the ball on the surface of a table, I came
Set Up: You’ll require a cone, a billiard ball, a wand, and up with this technique that I call the Basic Sleight on
a table. This move requires some basic sleight of hand the Table, for having the same principle of operation of
knowledge including palming with extended fingers and Vernon’s Basic Sleight (which is done in the hands). The
a reverse load. only difference is to use the table instead of the left hand
Presentation: Phase One is the vanish of the ball using a to support the ball and cover it with the cone. Later, I
variant of Vernon’s Basic Sleight (The Dai Vernon Book of discovered in Ed Mishell’s Hold-Out Miracles a practically

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Now execute the same movement, although now hold

the ball in Tenkai Palm with your right hand. The technique
is identical to the Vernon pass, with the difference that it is
not the left hand that performs the movement, but it is the
movement of the ball rolling on the table surface that will
automatically take it into the palming position. When roll-
ing the ball under the cone, move your right hand slightly
forward so that the ball is palmed and does not enter the
inside of the cone (fig.5). Practice the real movement of

1 2

identical technique in which a ball is stolen when rolling

under a beaker on the surface of a table1.
Also, because it is essential for the purpose, I will explain
its execution, adding details derived from the construction
of the sequence, which increase the effectiveness of the
technique. 5
Start with the wand resting under the right armpit. The
cone should be lying on the right side of the table with the covering the ball with the cone many times, in order to
mouth turned toward the spectators and the ball on the execute it identically when performing the retention of the
left side (fig.1). ball in the palm position.
Take the cone with your right hand and push the ball While holding the ball in the Tenkai Palm, raise the palm-
with your left hand so that it rolls in the opposite direction ing hand toward the top of the cone, with the intention
on the table (fig.2). Cover the ball with the cone and, with- of making a small adjustment (fig.6). This “adjustment”
out releasing it, shake it from side to side as if you were creates a distance between the place where the secret
shaking the ball inside (figs.3 and 4). Straighten the cone

3 4
6
with your right hand by slightly tilting it to the right, so that maneuver was performed and the actual whereabouts of
the ball rolls to the left. With the left hand, stop the move- the ball before the focus of the spectator changes. As the
ment of the ball. That first movement serves to condition next focus of attention will be the wand, it is convenient
the spectators. that the last image that the viewer retains of the cone is not
associated with the real secret procedure, that is, with the
1 The pass is described in “Cup and Balls–Version No. 1” of hand near the mouth of the cone. For this reason, the last
Hold-Out Miracles, chapter 15, page 44.
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ARTIFICES

7 10 11
image should be that of the hand holding the upper part Look at the imaginary ball on the tip of the wand and
of the cone and not touching the mouth, the place where place it into the left hand. The left hand assumes the
the palm was made. position of holding the invisible ball between the thumb
With the left hand, take the wand by the tip, using the and the other fingers with the palm turned toward the
movement shown in figure 7, and transfer the other end audience, so that if the ball were real it would be visible to
to the right hand, assuming the position shown in figure 8. the spectators (fig.11).
With the tip of the wand, lay the cone back to prove to
the spectators that the ball disappeared (fig.12).

8
The right hand now assumes the position of the cupping
palm with extended fingers (fig.9).
12
Phase Two is the materialization of the ball. The sequence
in figures 13 through 16 shows how the spectator sees the
materialization of the ball. The ball is invisible on the left
palm. With the help of the wand the left hand opens and,
when opened, the ball materializes.
The viewer’s impression is that the hands never
9 approached each other, although, for a very brief moment,
the right hand touches the left. It is at this moment that the
Supporting the wand with your right hand in cupping ball is transferred from the right hand to the left. I call this
position with your fingers extended, touch the cone technique Reverse Change as part of the same principle
with the other end of the wand in an upward motion, as of the Vernon Basic Sleight, but the other way around and
if removing the “essence” of the ball inside the cone. without the cone. The ball performs the reverse movement
Imagine that the ball is invisible and stuck to the tip of the to the basic pass, rolling with the help of gravity toward the
wand. Really imagine this so that the action is executed left hand. The fingers of the left hand form a visual barrier
correctly, with the right timing and with conviction, other- enough to hide the ball (figs.17 and 18).
wise the effect will not be credible. Notice the sequence The right hand approaches the left hand, touching the
in figures 10 and 11. backs of the fingers, and makes a movement of sliding

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13 14 15

17

16

the wand behind the left hand, with the base of the wand
toward its tips. When making this movement, simultane-
ously close the left hand. The direction of movement is 18
indicated by figures 13 to 16. Figure 19 shows the point of
view of the performer and the arrows indicate the move-
ment to be performed with the right hand and arm. As
the secret transfer of the ball occurs in the middle of the
movement described by the right hand—which begins and
ends away from the left hand—the spectator forgets about
the approach of both hands. In addition, the wand adds an
“obstacle” for the contact of the hands, from the psycho-
logical point of view of the spectators, moving them away
from what really happens.
At the end of the movement, touch with the tip of the
wand over the closed left hand, making the magic gesture.
Open your fingers and show the ball to the spectators as
in figure 16. • 19
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EXPERT AT THE KIDS’ TABLE

DAVID KAYE

What Did I Get for Hanukkah?

EIGHT NIGHTS OF SHOWS!
THE WEEK LEADING UP to ber her because she was a handful. Well, I walked into my
PHOTO BY FREDDE LIEBERMAN December 25th of last year was one show on Wednesday, and there she was.
of the strangest weeks I have had in I have to think the reason it was so busy for Hanukkah was
this business. That was the week of the eight nights of the same reason it was so busy with Christmas this past year.
Hanukkah. (Yes, I know it can be spelled Chanukkah, People didn’t have parties for the holidays in 2020 or 2021,
Hanukah, Chanukah, etc. For this article we will spell it so this year they went all out, spent extra money, and hired
Hanukkah.) entertainment. Most of my Hanukkah parties were in peo-
It was Sunday morning, December 18th. It was the first ple’s homes, for their family and their kids. But conservative
day of Hanukkah. But I wasn’t at a Hanukkah party. Instead, Jews in New York have huge families with many kids. So one
I was booked for an upsherin. An upsherin is a Jewish cer- patriarch can have 30 to 40 people in his family.
emony when a three-year-old boy gets his first haircut. It is The conditions at these shows varied. For some of them
a big celebration in the very religious Jewish community. I was in the basement, just me and the kids. At others it
So, I’m at this upsherin, and there is a DJ, a candy sta- was 150 kids in a crowded, noisy room, all ages, and lots
tion, a face painter, loads of food, and me. It is an over-the- of other stuff going on during my show. And those tough
top party. Picture a bar mitzvah for a three-year-old. And at shows that week made me think of a topic I wrote about in
this party something happened that had never happened my book, Seriously Silly, but not here in the pages of Genii.
before. A woman approached me and asked me, “Are you And that is how to deal with distractions at your shows.
free later today?” “Today?” I asked. “What time?” She So let’s get to it. When you perform a magic show in a
said, “Four o’clock.” “Yes, I am,” I told her. And just like theater, all the different variables are controlled for you.
that, she hired me for her party for later that same day! People are in seats, the stage is raised, the sound system is
I had an 11:00, a 1:15, and a 6:00 and a 7:30. But I had working, the stage lights are on, and the doors are closed,
that slot in the middle of the day open. So we booked it, keeping the noise out. When all the conditions are con-
making that an elusive five-show day. trolled, then the performer can do the best show they are
Not only that but she also booked me for a show on the capable of. But we kid show magicians often do our shows
next day, the Monday. And, get this, a different woman at in rooms where the performing conditions are terrible, like
that same party booked me for that Tuesday. And all this, homes, gymnasiums, and parks. There can be lots of dis-
before I even did my show! At that point I was just a guy tractions at a magic show for kids which will interfere with
wearing funny clothes and yet they hired me. your ability to do your best show. Children get distracted
This kind of multiple, last-minute booking had never easily and your show will suffer.
happened before. These clients had big Hanukkah parties Your job is to eliminate as many distractions as you can,
planned and ready to go, but had no entertainment for leaving you able to do the great show you are capable of
the kids. They saw me and on the spot hired me for their doing. Ideally you want to eliminate all the distractions.
events. Strange, but thank you, I’ll take it. As the number of distractions increases, your ability to
The booking frenzy continued. On Monday and Tuesday perform a great show decreases.
I got booked for more Hanukkah shows on Wednesday and Two shows that week were particularly difficult. The
Thursday. I started the week with seven shows and ended it first of these was the upsherin, where I had six distinct
with 15. It paralleled the miracle of Hanukkah. I had that one problems. I was positioned near the door of the venue so
show on Sunday morning, but it lasted eight days! late arrivals had to walk through my performing area, the
On top of that my last show on Wednesday night was at ages of the kids ranged from three to 12, music was play-
the same catering hall that my first show on Thursday was. ing during my show, there were talking parents, and the
So I left my stuff at the building and didn’t have to schlep candy station was right next to my show which attracted
it home. Another funny thing was that I had a memorable kids throughout. And the sixth problem: older kids calling
child help me in my show on Monday afternoon. I remem- out the possible methods for every trick. Not only were

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[Link]

they yelling out the methods, but after every trick they dis- asked me what I was writing about in this month’s column.
cussed the methods among themselves, loudly, in Yiddish I told her and she said has the same experience landing
so I wouldn’t understand them. the plane. If our goal is to perform a perfect show, then her
The other problem show was a Hanukkah party in a goal is to make the perfect landing. But there are potential
Jewish school. This was on a Saturday afternoon, during conditions during the landing of a plane that are out of the
the Sabbath, so there were restrictions to the material I was pilot’s control: low visibility, cross winds, wind shear, short
allowed to do. (No tearing, no fire, no money tricks, etc. runways, or snow and ice on the runway, among others.
We can go into this another time.) So I’m doing the show Her job is to overcome these bad conditions and “grease
and I pick up my next trick and in the first second I am the landing.”
holding the prop I think about what I am about to do (I’m In a sense, pilots and magicians really get paid to be
going to tear this paper), and I then realize I can’t do it and perfect when given difficult conditions. It is easy to do a
I put the prop back on the table. And this happened sev- great show when the conditions are favorable. But it takes
eral times during the show. I omitted a bunch of material. a real pro to be able to do a great show under difficult
Plus, on the Sabbath you can’t use electricity. So I couldn’t conditions. That’s where the truly great performers show
use a sound system for the hundred kids to be able to hear they are worth their higher fees.
me. In addition to all that, the adults in the room were serv- I hope you enjoyed my column. Where else can you
ing the kids food on plates. So not only are the kids eating read about magic, Hanukkah, and landing planes in the
during my show, but of course they are dropping the food same place? And next time you have difficult performing
all over the floor and yelling for help cleaning it up. And conditions, eliminate as many as you can and remember
then add to all of that the old school show problem of the you did the best you could. •
principal telling the kids prior to the show to sit quietly as
they watch me.
In these two shows I had some of the classic problems
faced by kid show magicians. But bad conditions are also a
problem at magic shows for adult audiences. Adult shows
can have their own set of distractions that interferes with
your show. Adult audience members may be drunk, there
might be music playing, the room might be too dark, you
might be on a stage with a dance floor between you and
your audience, or there could be people on their phones.
The first thing you have to do when you get to the venue
is search for the potential problems and eliminate them.
Find the best place in the space to set up your show. Make
sure the music will be off during your show, the toys are put PHOENIX 2
away, the dog is in a separate room, there is enough light, CUPS
etc. Try to eliminate those problems right away because,
once your show starts, it is much harder to eliminate distrac-
tions without seeming like a nasty person. So it is best to
eliminate problems prior to the start of your show.

PAUL FOX COMBO CUPS

If the first rule of distractions is, “The more distractions
there are the more difficult it will be to perform a perfect
show,” then the second rule of distractions is that once you
have done all you can to improve the conditions of your
performing space and there is nothing more you can do,
then, “You did the best that you can do given the circum-
stances.” It is important to remember that when you are
handed a lot of distractions your show is going to suffer
and it’s not your fault.
There are specific ways to eliminate all the problems
and distractions. See Seriously Silly for an extensive expla- [Link]
nation on that.
RINGS-N-THINGS MAGIC
I have a friend who is a pilot, a captain on a 787. She

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MAGICANA N WATCH

CHRIS BEASON

IT CAN BE TOUGH TO KEEP up with all the magic downloads, books, and videos that are
released to the community every day. Like so many effects and moves published in “Magicana” over the
years, the two effects in this column could easily have been released as pricy downloads. Fortunately for
us, the fooling card change by Chris Hanowell and the visual candy effect by Chris Wiehl are here for
your learning enjoyment. Both are also performed in Video Magicana.

The Everlasting Snap Change

Chris Hanowell
I’ve been on record in the past telling magicians only to gently tap it against the table (fig.3). This should cause
send me Color Changes if they’re truly brilliant in both exe- the layers of the card to fray and split a bit. Using your
cution and method. Chris Hanowell has provided a Color fingernail, carefully begin to peel the back layer by a few
Change here that not only fits both of those categories,
but fooled me badly the first time I saw it.
Effect: The magician holds a card at his fingertips. With
a snap, the card visually changes. Then it changes back.
Then it changes back again. And again, as many times as
the magician desires.
Set Up: This change does require you to create the gim-
mick, but it is well worth it. The gimmicks sit inside your
deck like normal cards until you’re ready to perform it.
You’ll need eight thin magnets, two playing cards, adhe-
sive (glue or rubber cement), and some steady hands.
You’re going to be splitting both cards and shimming them
in all four corners. Hanowell uses thin magnets he had
around from another gimmick, but you can find suitable
ones in craft stores or online. 1
While there are dozens of great resources on how to
split cards available, below is a basic explanation for the
purposes of these gimmicks. You don’t have to be an
expert to make these—they’re never examined closely, so
they only need to look passable from a distance.
Most playing cards you buy are going to have three
layers—a thin face, a middle core layer, and a thin back.
When splitting cards for this gimmick, you’re going to want
to split off the thin back layer, leaving the center layer and
the front layer together. Since the audience only focuses
on the front of the card, the added thickness on the front
helps hide the four magnets.
Begin by gently bending the card a few times in differ-
ent ways to help loosen the adhesive inside (figs.1 and 2).
When you’re ready, hold the card at the very corner and 2
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EMAIL IT DIRECTLY TO CHRISBMAGIC@[Link]

3 5
millimeters (fig.4).
Now, pressing the face-up card against a hard surface,

4
use your right fingers to press down on just the thin back
layer (fig.5). Slowly begin to peel the thicker face layer of
the card back while continuing to apply pressure against
the table (fig.6).
If this is your first time, it’ll take some practice to get
right. The layers likely won’t split correctly, or will tear
somewhere in the middle. Eventually, the cards will split
perfectly, and you’ll have two layers of playing card (fig.7).
Repeat this process with a second card. Place these split
cards under some heavy books until they flatten out, and
you’re ready to create the gimmicks.
Take your thin magnets and carefully place one at each
corner of the face layer, making sure that the polarities all
face the same way. Adhere the thin back layer onto the
face layer with rubber cement or glue (the same way as 7
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MAGICANA

it was, just now with magnets inside), and now you have As if you were snapping your fingers, your second finger
created your shimmed card. Go through the exact same is going to draw back the face card of the double quickly
process for the other card, making sure that the magnets as it hides behind the other card (figs.9 and 10 show this
on both cards stick together when the two cards are held from the performer’s angle). If you’re used to doing a stan-
as a double (they should be perfectly square). dard Snap Change, this part can take a little practice given
Performance: Now that you’ve made the gimmicks, the that the magnets add a tiny bit of resistance.
handling is fairly easy. You’ll basically be doing Ed Marlo’s Now, for what makes this “everlasting”—the first finger
handling of Horace Goldin’s Snap Change, but with an is going to pull the newly-changed card back underneath
instant reset thanks to the shimmed cards. Hold the double the card behind it (figs.11 and 12). Assuming that the
card as if it’s a single (which is exceptionally simple given shims are correctly placed, the cards should immediately
the shims) between the first and second fingers of the right snap together into a perfect double. The cards are now in
hand and thumb (fig.8). position for your first and second fingers to bring forward
into the same position in which you started (fig.13). You

8 11

9 12

10 13
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can immediately perform the Everlasting Snap Change who are used to the traditional Snap Change.
again, changing it back into the first card (ad infinitum). Also, you may be wondering if any shimmed cards you
Notes: While it seems like a subtle alteration to a classic already have around work for this. In doing some exper-
move, the addition of the magnets makes this change very imentation, magnets in the corners tend to work better,
deceptive not only for laypeople, but also for magicians since it automatically squares the cards.

Burst and Reversed

Chris Wiehl
I’ve had the pleasure to know Chris Wiehl for over a
decade and have seen him create great idea after great
idea. He’s developed a large following on TikTok, which is
where this effect first debuted in 2020. This one is perfect
for social media, promo videos, or any casual performance
where you want a quick and quirky mind-blowing moment.
Effect: The magician shows a Starburst candy and places
it into his mouth. Within seconds, the magician shows that
they’ve separated the wrapper and the candy perfectly 2
using just his tongue. Spitting the candy toward the wrap-
per, the Starburst immediately reseals itself back inside.
Set Up: Like the Color Change above, this effect
requires making a gimmick, but it isn’t too difficult to do.
All you need are some Starburst candies (Chris buys the
“FaveReds” bags so he gets multiple duplicates) and
some gift wrap tape.
You’re first going to create a Starburst shell using three
sides of the wrapper (fig.1 shows the three sides of the
wrapper that you’ll use to create this). Cover just these 3

the shell as necessary to avoid flashing the wrapper when

displaying the Starburst as unwrapped.
All that’s left to do is to take a regular, matching wrapper,
crumple it up, and hide it inside your cheek.
Performance: Begin by displaying the gimmicked
Starburst with the shell facing the audience—there should
be no heat on the candy at all at this point and it should
just appear to be a normal Starburst. Stick out your tongue
(being careful not to flash the wrapper in your cheek)
and openly place the gimmicked Starburst inside of your
1 mouth (fig.4).

three sides with gift wrap tape (Wiehl prefers this type of
tape because it isn’t shiny and it seamlessly blends in with
the wrapper design). The tape helps add structural rigidity
to the shell. The Starburst should stay inside of the shell
during performance due to the stickiness of the candy.
Using a pair of scissors or an X-Acto knife, very carefully
cut off and remove the other three sides of the wrapper. If
you’ve done this correctly, you should now have a Starburst
that looks perfectly wrapped when the shell is facing the
audience, and completely unwrapped on the other side
when the shell is face down and pointed away from the
audience (figs.2 and 3). Make sure to trim the edges of 4
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MAGICANA

Inside your mouth, two things happen at once. First, Now comes the strongest (and easiest) part of the
your tongue flips over the gimmicked Starburst so that routine. Pull the wrapper out of your mouth, keeping the
the unwrapped side is pointing toward the audience. At “unwrapped” Starburst in full view between your teeth.
the same time, you’re going to dislodge the wrapper from Do any kind of false transfer with the wrapper, and appar-
your cheek, so when you open your mouth, it looks like ently hold it near your mouth—really just your empty hand
you’ve very quickly unwrapped the Starburst (fig.5). This (fig.6).
should only take a second and is an impressive moment, To “re-wrap,” you’re gently going to blow the Starburst
so don’t sell it short. into your hand which apparently holds the wrapper. Chris
has gotten consistent enough with this action that it almost
always does a complete flip on the way to his hand, so
he can immediately show the Starburst has magically
wrapped again (fig.7). If the Starburst lands incorrectly

(without the shell facing the audience), it’s a simple matter

of maneuvering it inside of your hand so that the angle is
correct when you open your palm.
If done correctly, it should look like you blew the
unwrapped Starburst toward the wrapper, and almost
instantaneously it rewrapped itself. Watch Chris perform
this in Video Magicana to see both the timing and how
magical this looks.
Notes: At the end of the routine, you can load the
wrapper (that’s secretly in your other hand after the false
transfer) onto the gimmick and pretend to unwrap the
Starburst (while dislodging the shell). You can then toss the
entire Starburst in your mouth and eat it to end clean. You
can then add the shell to a new Starburst candy to reset
the routine.
For added realism, Chris will often wrap the gimmicked
Starburst inside of the duplicate wrapper (instead of start-
ing with it in his cheek) at the beginning of the routine
before placing it in his mouth. That way he can actually
remove the wrapper from the Starburst gimmick inside of
6 his mouth instead of just pretending to. •

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Come join us…

Surprises await.

August 6-9, 2023

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KNIGHTS AT THE MAGIC CASTLE

SHAWN McMASTER PHOTOS BY TAYLOR WONG

Celebrate Good Times, Come On!

WE WERE WINDING UP another are opened up to accommodate this elaborate shindig
year. At The Castle that means cel- and all of its revelers. While I was not able to attend this
ebration upon celebration … upon most recent fête, I will tell you that I have been present at
celebration. a few in the past, and the champagne has flowed as freely
As is true each year, The Castle begins the festivities as the magic. So much so that just looking back on a few
with the Christmas and Hanukkah season. The annual photos from a past Magic Castle New Year’s Eve party can
transformation begins just after Thanksgiving, becoming still make me a little queasy.
more and more elaborate with each passing day. While No sooner than all of the party horns are silenced and the
boughs of holly are not usually present, the halls are cardboard hats and paper steamers disposed of, it’s time for
decked with elaborate ornaments and lights. Glamorous the most important celebration of all: Founders’ Day.
Christmas trees line the walls of the Palace and Parlour As is customary, 2023’s celebration took place on
area, menorahs and dreidels hang from the ceiling of the January 2nd. On this date in 1963, The Magic Castle
hallway leading from the dining area to the showrooms, opened its doors to members and guests for the very first
Irma’s request list begins to fill with Christmas carols, time and never looked back.
and Santa and Mrs. Claus (portrayed excellently by AMA Founders’ Day festivities hap-
members John Eddings and Bonnie Gordon, respectively) pen annually at the club, but
wander the club greeting and visiting with members and this year was a bit more spe-
their guests. The club’s exterior becomes a feast of red, cial because it was the club’s
green, and white lighting elaborately strewn across much 60th anniversary. Members and
of the building. guests gathered in The Palace
That cheerful and celebratory mood continues for the of Mystery for an hour filled
month, as this is one of The Castle’s busiest times of year. It with humor, affection, rhetoric,
is packed with delighted guests and merry members, and and hope.
plays host to numerous corporate holiday parties and buy- Musician Marquis Howell
outs. This culminates, of course, with their New Year’s Eve kicked things off with a song
party. The Milt Larsen Inner Circle and The Peller Theater “You’re 60, You’re Beautiful, and
You’re Ours.” This was sung to
the tune of the Johnny Burnette
New Years's Eve
and Ringo Starr hit written,
interestingly enough, by AMA
member and Milt Larsen friend
Richard Sherman along with
his brother Robert. As Marquis
sang, photos that chronicled The
Castle’s transformation from the
dilapidated old Victorian man-
sion that Tom Glover, Sr. handed
over to Milt Larsen, all the way
through to when Milt’s handi-
work was done (and is it ever
truly done?) becoming the club
we know and love appeared, on
the large screens in The Palace.
Some of the pictures were
truly magical themselves, in a

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[Link]

nostalgic sort of way. Images of some of the greats that are wearing capes
were so much a part of The Castle’s early days were reflect- … .” Larry expand-
ed upon the screens, delighting long-time members. ed even further upon
Obviously, Bill, Milt, and Irene graced many of the images, the cape concept as
but others such as Senator Crandall, Albert Goshman, Larry he brought attention
Jennings, Jules Lenier (a past writer of this very column), to the Pitchford fam-
Charlie Miller, Johnny Platt, Dai Vernon, Ron Wilson, and ily, likening them to Larry Wilmore
Dick Zimmerman and his then wife—and founder of the superheroes as they
Castle’s Junior Society—Diana Zimmerman to name a few, swooped in and “saved” The Castle by purchasing it for
all appeared in the opening moments of the celebration. “many millions of dollars.”
AMA member and past Daily Show correspondent Larry “Oh, and on an unrelated issue,” Larry stated as he
Wilmore was introduced to the stage and acted as host for picked up a note as if it had just been passed to him, “the
the rest of the proceedings. Larry began a humorous mono- price of the tomahawk steak will now be many millions of
logue about the dubious beginnings of the magic club. dollars.” He was referring to The Castle’s significant price
“Can you imagine going into a bank 60 years ago and increase on all of its menu items in the past year.
trying to pitch this vision?” he asked. He then launched Larry moved on and introduced the first of the guest
into a fictional, yet humorous discussion of a loan request speakers—General Manager Hervé Levy. Hervé spoke of
taking place 60 years ago for The Magic Castle: “Well … the membership being a family, and, much like family,
it’s a clubhouse … yeah, it’s for adults—who may or not despite the disagreements that may arise, there is gen-
be on the spectrum. They’re all dressed up. A lot of them eral love for the overall group. He recognized Milt, the
Pitchfords, and the staff to much applause.
Next up was Chuck Martinez, our current
president of the AMA Board of Directors. Chuck
spoke fondly of his audition for membership
many years ago, and his subsequent first meet-
ing of Bill (“The Prez”) Larsen and the lunch they
shared at Musso and Frank in Hollywood. “He
[Bill] taught me how unbelievably welcoming the
whole attitude of The Magic Castle was then and
is now,” Chuck told the audience. He said that
the thought of he, himself, 40 plus years later,
having the honor of following in Bill’s presidential
footsteps had never crossed his mind back then.
Chuck spoke very genuinely, his love and caring
for The Castle and its members showing in his
words.
Gay Blackstone, the Chair
of the Board of Trustees,
next took the stage to pay
her respects to the Larsen
family and the influence
they had on her as far back
as her early, pre-Harry days.
Kristy Pitchford, wife of
Randy, got up next and
spoke of how she and
Randy had been coming to
the club since 1994, and got
married on The Palace stage
Founders Day Celebration in 1997. Kristy fawned over
Back row, from left: Randy Pitchford, the club’s hard-working staff Chuck Martinez
Blair Larsen, Dante Larsen, and the memory of how the
Kristy Pitchford, Liberty Larsen, Lily Larsen.
Seated, from left: Carol Marie, Milt Larsen,
and center, Erica Larsen
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late Irene Larsen always made Many of the magicians who

the staff feel like family. were inspired or influenced
Erika Larsen was intro- by him, or just called him a
duced next and talked about friend, gathered in The Palace
how excited she was for what of Mystery to pay tribute.
she called “a new era” at The The Palace was decorated
Castle. “2023, bitches! We’re with incredible balloon sculp-
doing this!” she exclaimed. tures by AMA member and
Larry then introduced balloon artist Rob Balchunas.
Randy Pitchford who, in The two life-sized sculptures
Larry’s words, is “manifesting that flanked the stage consist-
[The Castle] into a new age.” ed of Aye Jaye in his red and
As you are aware by now, white striped jacket and top
Randy purchased The Castle hat, and another of Ronald
early last year as a way of McDonald. Aye Jaye was one
“saving” the club from its of the original touring Ronalds
past financial woes and, by so in his early days, and, in fact,
doing, wants to send it onto Aye Jaye became the “head Ronald,”
a new and brighter future. As in charge of hiring all other
Randy took the Palace stage, he told the audience that it Ronalds that followed for decades.
was humbling to share this time with everybody. He said Fellow carny Todd Robbins was on hand to host and
that he felt he was like everybody who had gathered there conduct the Broken Wand ceremony, while others paid
that evening, in the sense that he feels like The Magic their last respects with stories and love. Some of the per-
Castle “made him,” transforming him into something else. formers who made the trip to share their thoughts includ-
The membership in the room, in the form of applause, ed Dave Cox, Andrew Goldenhersh, Jack Goldfinger,
waved their palm branches at their savior as he finished Kevin James, and Arthur Trace.
and took his seat. The final send-off at the event would have absolute-
Rounding out the presentations, was Milt Larsen. Milt ly gained Aye Jaye’s nod of approval. As The Palace
took the microphone to a standing ovation. From a wheel- filled with hundreds of Qualatex balloons, Todd Robbins
chair and through a strained voice—due to his recovery launched an all-out balloon war that had attendees hitting
from a fall a few weeks prior—Milt still effectively charmed each other and throwing balloons like spears at one anoth-
the gathering with his witty talk about his family and The er as music played and bedlam reined.
Castle. “I’m notorious for having the opportunity to deliv- These Celebrations of Life gatherings are wonderful
er long-winded speeches,” he began, “and I want you to ways for AMA members to remember the magicians who
know that I’d do anything, including falling, to not do that had an impact on their lives and call attention to their con-
today.” He also said that he had been accused of taking tributions to our art and their body of work so that they do
his fall just to promote his idea of installing an elevator in not disappear into obscurity.
The Castle. Another very influential performer whom we also lost
The already-mentioned Bonnie Gordon finished the cer- last year—Earl Nelson—will be celebrated May 13. Earl
emony in song. Using music from Billy Joel’s “We Didn’t was an elegant and erudite close-up performer who was
Start the Fire,” Bonnie presented “Welcome to The Magic a fixture at The Castle for many years. As was true with
Castle,” cleverly changing the lyrics to reflect much of the a number of magicians of his day, he made the initial
history of the club and the people, past and present, who move to Hollywood to study with Dai Vernon and to work
occupy it. And with that, the celebration moved down- The Castle. Earl went on to serve as magic consultant
stairs into the Inner Circle for the customary cake and on numerous TV shows and movies including the movie
champagne. Shade and television shows including the NBC show
Most of the celebrations that take place at The Magic Blacke’s Magic (with Jim Steinmeyer) and Murder She
Castle are rooted in happiness, but there are some whose Wrote. Earl is probably best known by magicians as the
beginnings are a bit more melancholy. We lost a number of author of the seminal book Variations in which he offered
our magic brethren in 2022. Included in this group was the his exquisite handlings of some of magic’s classic plots
very colorful magician and self-proclaimed “carny trash,” using cards, coins, and finger rings.
Aye Jaye. He died on September 9th of last year, and his By the time you read this, the celebration for Max Maven
Celebration of Life event took place January 8th. The cel- should have taken place on January 22. More on that to
ebration proved to be just as colorful as the man himself. come next time. •

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DON’T FORGET THAT AS A GENII SUBSCRIBER YOU ARE ENTITLED TO A BONUS VISIT TO THE MAGIC CASTLE EACH YEAR!

NOW APPEARING AT
THE MAGIC CASTLE
PERFORMERS ARE SUBJECT TO CHANGE DUE TO CIRCUMSTANCES AND AVAILABILITY

MARCH 6-12 MARCH 13-19 MARCH 20-26 MARCH 27-APRIL 2

Close-Up Gallery Close-Up Gallery Close-Up Gallery Close-Up Gallery
Cocktail: Brian Markenson Cocktail: Cydney Kaplan Cocktail: Sirinda Cocktail: Shoji
Early: Siegfried Tieber Early: Jamy Ian Swiss Early: Paul Green Early: Jeff Kellogg
Late: Makoto Late: Andost Late: Robb Weinstock Late: Adam Elbaum
Parlour of Prestidigitation Parlour of Prestidigitation Parlour of Prestidigitation Parlour of Prestidigitation
Early: Stan Gerson Early: Scott Wells Early: Shane Cobalt Early: Jonathan Levit
Late: Matt Donnelly Late: Ron Saylor Late: Rob Gould Late: Noah Levine
Palace of Mystery Palace of Mystery Palace of Mystery Palace of Mystery
Kalin & Jinger David Kovac David Deeble Alexander Boyce
Saturday & Sunday Brunch Palace Dale Salwak Arthur Trace Derek Hughes
Kalin & Jinger The Evasons Saturday & Sunday Brunch Palace Saturday & Sunday Brunch Palace
Peller Theatre Saturday & Sunday Brunch Palace David Deeble Alexander Boyce
Brady Glen David Kovac Arthur Trace Derek Hughes
Nader Hanna Dale Salwak Peller Theatre Peller Theatre
Library Bar Peller Theatre Jonathan Neal Derrin Berger
HUBB Greg Wilson John Carney Ian Rich
Friday Luncheon CUG Chris Mitchell Library Bar Library Bar
Siegfried Tieber Library Bar Terry Lunceford John Accardo
Saturday & Sunday Brunch Parlour David Gabbay Friday Luncheon CUG Friday Luncheon CUG
Kids Show Friday Luncheon CUG Robb Weinstock Jeff Kellogg
Steve Taylor Jamy Ian Swiss Saturday & Sunday Brunch Parlour Saturday & Sunday Brunch Parlour
Saturday & Sunday Brunch Parlour Kids Show Kids Show
Kids Show Funny Eddie John Reid
Ron Saylor

ALEXANDER BOYCE JAMY IAN SWISS KALIN & JINGER

THE EVASONS JOHN ACCARDO ARTHUR TRACE

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LIGHT FROM THE LAMP

REVIEWS

VIDEOS already conceptually understand. But it’s a start.

“Self-working tricks” as a genre have formed the basis
JOE M. TURNER for much of Mr. Steinmeyer’s recent work, but he makes
the point that what that really means is that a lot of the
work has already been done in the construction of the
Jim Steinmeyer Masterclass routine. The next routine, “The Enigma Process,” is an
Jim Steinmeyer $75 example from the Impuzzibilities series. The two-part
(online video stream/download) method requires an embedded mathematical concept and
Jim Steinmeyer is a world-class cre- a linguistic concept, but all the work has been done in the
ator of illusions small and large, an preparation of the trick. The lesson Mr. Steinmeyer wants
accomplished author, and an excel- people to draw from this example is to keep a messy note-
lent teacher of the art of designing book with updated, ongoing records of your brainstorming
and refining magical methods and presentations. In intro- and work on a trick. (His personal story comparing his
ducing this masterclass, he explains that his goal is indeed real brainstorming experiences with the “seminar style”
to help the viewer learn a process for developing magic. creativity processes and books would certainly give many
However, he uses an apocryphal anecdote about the life professional “creativity trainers” a mild heart stoppage.)
of Mozart to establish an important caveat, which is that if The next routine, “Building a Better Slot Machine,” is
you have to ask for help in creating magic, then your path also found in the Anthology and is presented as anoth-
is going to be a different kind of path from that taken by er example of an idea that had to sit and mature in a
someone who simply gravitates to it. He explains that his notebook for a while. The method used to predict a slot
stance on sharing his processes and shortcuts has changed machine’s result is simple, but it involves three spectators
from an uncomfortable “holding back” to a willingness to and allows for a lot of byplay and customization. The
share tools that he thinks others can use effectively. He presentation is compelling, which I think makes the use of
claims that his path as a creator has focused primarily on such a simple method even more satisfying.
inventing material for a variety other people instead of At FISM Québec I saw Mr. Steinmeyer teach “Long Ago
himself, and that this has made his creative path somewhat and Far Away,” in which a spectator’s credit card or driver’s
easier because he gets to experiment on a wider range. license is teleported from one covered glass to another in
The methodology for sharing all of this information, of reminiscence of an old magician’s grand illusion. (You can
course, is to teach and analyze a selection of tricks. But the still pick up his FISM lecture booklet, Brushstrokes Over
choice of material is not simply, “Here’s some of my recent Reality, for a printed explanation.) A straightforward com-
output,” but instead, “Here are routines I developed that bination of methods makes this an effective parlor illusion.
exhibit principles of creativity I think you can use.” Among the points made after the explanation is the idea
The first lecture focuses on “Innovating and Developing of aspiring to create new experiences, within your skill
Tricks,” and Mr. Steinmeyer’s choice for an opening routine level, that can be differentiated from previous things that
is “The Stapled Card as Escape Artist,” a signed card to might resemble it. You can, paradoxically, sometimes call
impossible location. In this case that location is “stapled attention to how different something is to its predecessors
inside a sealed envelope." This routine, originally pub- by building an allegorical presentation that refers to those
lished in MAGIC Magazine in December 2002 (and later in earlier routines.
The Conjuring Anthology, 2006), is used as an example of “The Vasty Deep,” also published in Brushstrokes, is
the importance of whittling down the elements of a meth- a bizarre-ish routine based on the same principle as Mr.
od to attain simpler conditions along the way, or indeed to Steinmeyer’s well-known trick, “Ovations.” This presenta-
“whittle” something into something else. This is presented tion revolves around spiritualism, multiple old letters sent
as a “step one” idea for learning to create magic and one by a mail-order psychic, one of which is selected and found
that most magicians find comfortable—that is, taking a to have the only meaningful content of all the letters. That
classic or familiar routine and changing elements of it to letter and its contents ultimately match the information on
include other props or concepts. In the end, he explains, an old photo that has been in view throughout the presen-
the final outcome is still just a variation of something they tation. As with “The Enigma Process,” the hard work has

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SUITE A-145, SAN JUAN CAPISTRANO, CA 92675 • INCLUDE A PREPAID PADDED ENVELOPE OR SHIPPING CARTON IF YOU WANT THE ITEM RETURNED.

consistent. I was especially entertained by the story of how

a magician bloated the idea of the Dancing Handkerchief
by thinking they were “fixing” it. Something doesn’t
become “theatrically effective” simply by overplaying it
with the idea that you’re now doing that trick as if it were
a scene from a Broadway show.
Maybe my favorite routine of the set is “The Efficiency
Stamp,” which uses small apparatus to effect the tele-
portation of a signed postcard. Mr. Steinmeyer uses this
as an opportunity to list other elements for effective pre-
sentation writing such as variety from your normal style,
the inclusion of “insider information” as a theme, etc.
The most important of these ideas, in my view, revolves
been done in advance, essentially programmed into the around his exhortation to keep your own point of view
props, leaving the performer simply to run the program visible in your presentation, keeping that level of personal
while presenting the experience effectively. The concept truthfulness on display even in the face of a tongue-in-
of integrating presentation with a trick is the crux of the cheek premise. The next most important is to involve the
discussion, but this is also used to set up anticipation for dramaturgical advice of qualified observers.
the second lecture. The closing routine is a piece of mentalism that uses no
If the first lecture focused on how a song’s music props at all; the entire effect happens in the spectator’s
was written, the second lecture, “Devising and Writing mind as a result of a scripted presentation. “Your Friend in
Presentations,” focuses on the lyrics. Oz” is an interactive adventure that uses a Hummer-esque
Beginning with a stand-up presentation of “MacDonald’s force to create a surprising outcome for an entire audience.
Aces,” Mr. Steinmeyer discusses patter, scripting, and the It’s a presentation that admits in itself that the choices are
strengths and weaknesses of different forms. For example, being manipulated, and Mr. Steinmeyer cautions you that
some patter themes or forms (jokes, lyrics, storytelling, in a large audience there will always be people who make
rhyming patter, etc.) make it obvious when certain beats mistakes and get it wrong. He then makes a brilliant sug-
are coming, which may or may not be what you’re after at gestion on how to make that outcome work for you.
that moment in your routine. The final episode of the set, and the only one that was
The second routine, “The Great Silverware Scam,” is done live, is the concluding question and answer Zoom
used to illustrate the value of reframing a familiar card session hosted by Damian Jennings. Rather than simply
trick with a story with a humorous “hook” and a new set of list the questions, I’ll simply convey that he answers all the
props. Most importantly, the presentation is not a narration questions thoughtfully and honestly, with useful insights
of a story that happened to someone else, but a facetious that can come only from someone with an exceptional
warning to the audience about an industrial conspiracy. breadth of expertise. The host’s audio level on this video
A core takeaway from this conversation is the subject of is distractingly low compared to the quality of the other
taste, and how magicians are practically alone among videos, so you may find it helpful to stream this to head-
stage performers to walk in front of an audience carrying phones to catch everything.
only their own taste. Complimenting the taste of the audi- While many of these masterclasses have been streamed
ence is a key element in creating effective magic experi- each week, Mr. Steinmeyer’s choice to prerecord the two
ences, and this discussion of not insulting the audience’s lectures with quality lighting and sound significantly ele-
intelligence is important enough to bear repeat viewing. vates the quality of these offerings. Given how rarely he
“Merely Drivel,” another Brushstrokes routine, is not just lectures for magicians, it’s fortunate for all of us to have
a word test, but also an example of a presentation that access to these excellent compilations of his magic and
passes the test of not insulting the audience’s intelligence. thoughts on presentation. Even as a standalone purchase,
In this case, the far-fetched premise used to allow for the performers who wish to do quality parlor magic—and to
existence of the props is accepted because it is internally improve their presentations for all their magic—will find

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this a worthwhile investment. the open-source software Audacity to view the waveforms
Jim Steinmeyer Masterclass • Jim Steinmeyer • Vanishing Inc. of her show’s recordings, she is able to translate her live
Magic • Download • [Link] • $75 alone or performance into objective data that she can measure. She
$50/month for VI+ subscription that includes library access. can visually see where routines begin and end, she can see
where something generated more or less response, and
Carisa Hendrix Masterclass she can easily compare those specific moments between
Carisa Hendrix $75 multiple shows without having to watch entire videos of
(online video stream/download) her performances. I would guess few of us have ever put
It’s difficult to imagine that anyone reading this isn’t already this degree of effort into analyzing an audio recording of
thoroughly familiar with Carisa Hendrix’s work, especially her our performance, but the technique she demonstrates
popular character Lucy Darling. Building on Ms. Hendrix’s here goes beyond just counting “laughs per minute.”
education and career exploring other characters and styles, In addition to the theater and art education, you will
it is now largely Lucy’s success—not just in magic, but in the be pleased to know that Ms. Hendrix covers some magic
larger entertainment industry—for which she is best known. tricks in this lecture, too. The first effect she describes is
Her diligence and talent have rightfully thrust Ms. Hendrix one that she used to great effect in her Zoom shows, the
into the forefront of those in our industry who can speak use of anamorphic images. Beginning with the identifi-
with authority on issues relating to style and character, which
she shares in this master class.
The first lecture, lasting nearly two hours, is an explora-
tion of the application of principles of visual art to the per-
formance of close-up and stage magic. Before she even
begins to discuss those principles, though, Ms. Hendrix
establishes some core precepts that she will build on,
which I summarize here:
1. Art, though experienced subjectively, nonetheless can
be viewed through metrics that one can use to assess its
quality: is this “good” or not?
2. It takes effort to identify, understand, and appreciate
those metrics, but once they are recognized, they allow
you to derive objective, empirical data from art.
3. It is perfectly okay to hate some art that is “good”; in cation of the early use of this technique in paintings, she
fact, you will often learn more about how to better create shows how she developed a technique to do it for her
the art you want to create from experiencing “good” art own shows where her camera and table were pre-spiked.
that you don’t like. An included ZIP file contains the files you’ll need to start
With that preamble, I think you can tell that the adven- creating these for yourself.
ture we’re about to take is not a traditional magician’s Ms. Hendrix also describes her “Topological Oddity
lecture. Ms. Hendrix proposes her own set of metrics as Book Productions.” The visual explanation and demonstra-
a starting point, but with the understanding that you may tion of various versions of the routine are augmented with
adapt them. So what are her go-to metrics? She suggests an included PDF with all of the arts and crafts details you’ll
an element of originality (not necessarily in method); com- need to make one of these for yourself. Considering what
municating skill and mastery; whether the performance is it costs to get one of these made by Ms. Hendrix—if you
emotionally evocative in multiple directions; a richness or are lucky enough to do so—the fact that these plans are
depth of the experience that bears repeat viewing; and included is a significant bonus value for the video project.
finally, whether the magic is truly deceptive. If the first lecture was “Carisa Hendrix Takes You to Art
The rest of this lecture is going to elaborate on these, School,” the second lecture is “Carisa Takes You to Acting
starting with an unexpected deep-dive into the history and School,” framing the presentation in terms of her theory
technical elements of the Mona Lisa. Ms. Hendrix uses on the importance of acting for the screen as compared
many of her own metrics to help us evaluate this painting to the stage. Her observation about the visual literacy of
not just as a piece of art, but as an object that has a story our audiences makes it imperative, in her view, that we be
with intrigue and mystique that inspired cultural tastemak- influenced by the physical vocabulary of film actors when
ers to focus attention upon it. She explains how all of these we develop our performances in other environments. Her
elements may be useful to you as a performer, based on descriptions and demonstrations of how to use posture
identifying what you are trying to accomplish with your and voice to establish the point of focus between you and
own performances. (Get your notebook ready; she assigns the audience are observable examples of her point. It’s
homework on this topic.) impressive to see just how much of a difference she can
Ms. Hendrix puts a strong emphasis on the audio communicate physically while seated behind a table.
recording of her show and the way she analyzes it to get Some other excellent acting coaching is included relating
data about the effectiveness of her performances. Using to the importance of communicating the act of engaging

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in traditionally silent activities—listening, thinking, and so comments on her notebook and her script-writing process
forth. A related bit of advice is the creation and practical are thought-provoking—“the tyranny of the empty page”
use of an audience antagonist; by antagonist she means is a phrase that stuck with me, as did her dedication to
not a heckler or villain, but just a source of some dramatic the process of providing an interactive class for those who
conflict that can add texture to the interactions onstage. She participated, not just in the Zoom call, but also in looking
gives further coaching on the attribution of “specialness” at material that was submitted for her evaluation along the
or “normalness” to a prop (or even a story), using attitude way. That is the definition of “exceeds expectations.”
and body language. (Oh yes, she assigns more homework in A set of traditional magic videos, or a traditional magic
addition to the exercises she challenges you to do.) “effect and method” lecture, is going to be maximally
A few pieces of original magic follow. “The Impossible beneficial to only a small percentage of viewers: those
Earring” is a personalized coin-ish routine with a vanish who actually learn and perform the material, or who adapt
and surprise reappearance that will be of interest to per- what they see to other uses. The rest of the attendees may
formers who wear earrings; an accommodating hairstyle be entertained, but they’ve essentially paid for little more
will also help with angles. A more traditional but no less than that.
amazing coin routine follows, “The Polite Pickpocket,” These videos are going to be extremely beneficial to
which is a useful routine that you could adapt to almost some, but in all likelihood they will represent an even
any walkaround coin set. The script and presentation for smaller percentage of viewers. Challenging questions like
this routine are constructed to put her personality on dis- “How do you define success for yourself as a magician?”
play early in the interaction without using a direct self-in- or “Are you willing to try to make doing nothing for 30 sec-
troduction. She shares one more coin routine, this one a onds theatrically entertaining?” are far more difficult things
Spellbound routine based on a Tommy Wonder Copper- to process than would be learning a sleight or making a
Silver routine. A variety of changes and some helpful gimmick. But if that is the kind of theatrically exploratory
gimmicks make for a visual experience that she doesn’t journey that you’re ready to take as a performer, and espe-
dilute with dialogue, but instead performs to music. Text cially if you think you might want to take some first steps
descriptions of the first two routines are included with the before investing in a Fitch- or McBride-style training inten-
download. sive, these videos will get you thinking in that direction.
Andi Gladwin hosts the final video, a 90-minute question Carisa Hendrix Masterclass • Carisa Hendrix • Vanishing Inc.
and answer session during which she shares a boatload Magic • [Link] • Download or Streaming
of additional tips. Her focus on accumulating useful data Library • • $75 alone, or $50/month for VI+ subscription that
about her show is on display from the beginning. Her includes library access

BOOKS his fourth volume of Bamboozlers and I can appreciate

the effort required in keeping this book
DAVID BRITLAND series going.
There are a lot of classics here; The
Ten Card Deal, jumping over a dollar
bill, blowing an egg out of a shot glass,
Bamboozlers Volume 4 versions of the game of Nim, and grab-
Diamond Jim Tyler $25 bing money from a table before your
Bamboozlers is filled with what opponent does. There is newer material
Diamond Jim Tyler calls “Bankable such as a phone calculator trick, a ver-
Bar Betchas, Brain Bogglers, Belly sion of Harbin’s "Little Tippler" made
Busters & Bewitchery.” Impromptu from a Sharpie pen, a handling of Tony
bets, tricks, and pranks might be another way of putting it Koynini’s "Derby," Pat Page’s drink from
and there are about 75 items in the book. It’s a small pock- sleeve production, and Daniel Garcia’s
et-size book, dedicated to that king of the rigged wager phone in balloon effect. There are plenty
Titanic Thompson and with an Introduction by his son of pranks that will make you the life and
Tommy Thompson, a former cheat who is now a minister. soul or bane of the party and most trick
Finding new betchas, ones that really work, is a chal- descriptions end with a gag of which
lenge. I know this because I was one of those having the following is a sample: “Ever notice that you cannot
to find them for the 100-plus episodes of the United tell a kleptomaniac a joke? It’s because they take things
Kingdom television show The Real Hustle. We featured literally.” They put me in mind of Acar’s signoffs at the end
one rigged bet per episode. They all had to be different Penguin Magic’s emails.
and work first time around. Diamond Jim Tyler is now on The book is a grand mixture of the old and newish and

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although much of the material was familiar, I enjoyed the star. What makes the
being reminded of some excellent stunts. You can never crime impossible is that
be reminded too often of what is available to the magi- the door and windows to
cian for impromptu use. I’ve seen the power of this type the room are all locked
of material in action. I remember well going to a lunch from the inside. To con-
meeting at Granada Television in the United Kingdom. We vey the impossibility of
were trying to convince the broadcaster they should buy the crime more readily,
into a series with James Randi. Randi was at that meeting the book includes a pic-
and after the meal he did a few tricks. Vintage stuff like ture of the room. It shows
vanishing napkins, bending spoons, and that puzzle with the layout of Dr. Sabbat’s
corks held between the fingers and thumb. He was on apartment, something for
fine form, an impish personality that kept all the channel the reader to contemplate
executives amused and entertained and all with the most while trying to solve the
basic of beginner’s tricks. Randi did the tricks well and with mystery before the book’s
lots of humor. Whenever I think of the series we made, denouement.
James Randi Psychic Investigator, I credit that impromptu Trying to solve the mys-
performance with assuring the broadcaster that Randi was tery is part of the fun with
the man for the job. locked room mysteries.
If you already have Diamond Jim Tyler’s previous books Of course, if you solve the
in this series, you’ll probably want this one. And if you hav- mystery, you feel let down. Much in the same way that find-
en’t tried them, then maybe now is the time. It’s an easy ing out the secret of a magic trick spoils the effect. A good,
read, fits in your pocket, and a reminder that there’s more locked room mystery gives the reader enough to make
than one way for the magician to entertain. them feel they are on the correct track, but not enough to
Bamboozlers Volume 4 • Diamond Jim Tyler • published by the spoil the detective’s long-awaited reveal.
author • softback • 188 pages • illustrated • 5 x 3 inches • avail- Merlini is introduced in the book several chapters
able at [Link] • $25 (plus shipping) before we meet him. The author teases the reader with
the information that Merlini has already solved this impos-
Death from a Top Hat sible crime, and that the clues were in full sight all along.
Clayton Rawson $35/$22 Rawson plays a game with the reader, even explaining the
Death from a Top Hat was the first magic-themed novel I locked room mystery genre, its rules, and citing its most
ever read. I found it quite by accident on my weekly trip to acclaimed authors, including locked room maestro John
the local library. As part of the visit, I’d choose some books Dickson Carr, another mystery author with a fondness for
for my dad; usually crime novels. I had no idea about the magic. Merlini is called to consult on the case because
merit of the books I chose, but recognized that yellow Inspector Gavigan, the detective assigned to the job, had
jackets, books like those of publisher Victor Gollancz, were seen the magician lecture on card sharps and con men at
usually about crime or science fiction. I read the science the Police College. When we meet Merlini, we learn he
fiction, my dad read the crime. Among these shelves of is a retired professional magician from a circus family, the
yellow was a green-jacketed book titled Death from a Top author of Legerdemainiacs, The Psychology of Conjuring,
Hat. I recognized the name of the author, Clayton Rawson, and now runs a magic shop in New York called Miracles
because I’d read about him in various magic magazines. for Sale.
Clayton Rawson was a magician and Death from a Top Hat The story is packed with references to magic and char-
was my first introduction to the magician-detective genre latanry, including a series of footnotes explaining various
and the world of locked room mysteries. things. Suspects include the medium Madame Rappourt,
Clayton Rawson wrote four novels and a number of telepathy act Alfred and Zelma LaClaire, sleight-of-hand
short stories about The Great Merlini, and several books expert Tarot, Duvallo the Escape King, promoter Colonel
featuring magician Don Diavolo under the pen name of Herbert Watrous, and ventriloquist Marvin Jones. “An
Stuart Towne. He was one of the founding members of improbable kettle of suspects,” as the Great Merlini
Mystery Writers of America, credited with creating their describes them. Halfway through the book there is even a
slogan, “Crime does not pay—enough.” As a magician he helpful chart listing all the suspects and their alibis.
contributed tricks to Jinx and The Phoenix, which is where The book was made into a movie in 1939 under the title
I first noted his name, and a book written in 1962 called of Miracles for Sale, directed by former magician’s assistant
How to Entertain Children with Magic You Can Do. Tod Browning, now most famous for movies like Dracula
Otto Penzler publishes the latest edition of Death from and Freaks. Miracles for Sale will always stay with me
a Top Hat as part of the American Mystery Classics series. because it opens with the most dramatic Sawing a Woman
The story begins with a murder in impossible circumstanc- in half illusion ever conceived, the machine-gunning of the
es. Occultist Dr. Cesare Sabbat is found murdered, lying box into two. If you haven’t seen it, you can currently catch
spreadeagled on his back, inside a pentagram drawn on it on YouTube.
the floor with chalk; a flickering candle at each point of The locked room mystery is a fascinating genre. The

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best, like the stories of John Dickson Carr, play fair with reflect the taste and character of the owner. If you bought
the reader and make sure that all the clues are on the a book second-hand, wouldn’t it be thrilling to discover a
page. They are a form of interactive literature, something bookplate inside? I think so. Seeing Houdini’s bookplate
that Carr took to extremes in 1952 with his book Nine reminded me of a story John Mulholland told. According
Wrong Answers. This story also featured footnotes, but to Mulholland, although Houdini had worked on a cou-
Carr used them to discuss with the reader what they’d ple of different designs, none was settled upon by the
just read. They break the fourth wall, creating a conver- time Houdini died. It was later, in 1927, that Mulholland
sation between author and reader on the veracity of the suggested a steel engraved portrait of Houdini, one that
text. The final footnote asks whether the reader thinks he had previously approved,
the footnotes are just misdirection. If you’re interested in be included on the bookplate.
locked room mysteries, I recommend Robert Adey’s book If you search the Library of
Locked Room Murders. It lists hundreds of locked room Congress website, you’ll see
stories and their solutions. that bookplate included in
Death from a Top Hat is an entertaining read, a pleasant some of the digital scans of
introduction to the world of the magician-detective, and books from Houdini’s collec-
perhaps a reason to go back and check out Rawson’s other tion, his copy of The Expert at
work. You might also want to dig into the Genii archive the Card Table for example.
and read the May 2001 issue which is devoted to Clayton The book does not list the
Rawson and has an excellent article by Michael Canick. current owners of the book-
Death from a Top Hat • Clayton Rawson • published by Penzler plates. I’m curious about that
Publishers • available in hardback, paperback, and digital formats because the book contains
• 312 pages • 8 x 5 inches • available in bookshops and online • Edward Gallaway’s bookplate.
$35 (hardback) $22 (paperback) Gallaway is Chris Wasshuber’s
prime suspect for Erdnase, and
Magic Bookplates it would be interesting to know
James B Alfredson and Bernhard Schmitz which book this plate occupies. I turned to the back of the
€89/€195 (approx. $97/$212) book to see how Gallaway’s “status in magic” was listed.
This book is a revised and expanded edition of the Alas, it was blank.
authors’ Magical Bookplate Bibliography published in I should emphasize that this isn’t a picture book of the
2017. The work has been compiled by Bernhard Schmitz kind we’ve seen devoted to magic posters. The repro-
and the late James B Alfredson with the help of friends all ductions of the book plates are about three inches long. I
over the world who contributed information and material. would have loved to see at least some of the more artistic
Edwin Dawes, who has previously written on the topic of plates reproduced in a larger size. But for those who col-
bookplates, has written an introduction that summarizes lect bookplates and magic ephemera I can see it being a
the book, and Bernhard Schmitz includes the lecture worthwhile addition to their library. This isn’t, however, the
on bookplates he gave at the European Magic History final word. As author Bernhard Schmitz says, cataloging
Conference in 2019. magic bookplates is an ongoing process. Owners of book-
The book is a compilation of bookplates created by plates not represented in this volume are encouraged to
magicians for their libraries. There are reproductions of get in touch with the author.
1,280 bookplates organized in alphabetical order accord- There are two editions of the book available. The stan-
ing to their owners’ names. The last section of the book dard hardbound edition which sells for €89 plus shipping
gives basic information about the owner such as name, is limited to 250 copies. There is also a leather-bound
birth date, country, and status in magic, i.e., professional luxury edition, limited to 50 copies, which sells for €195
or amateur. Many famous names are represented such plus shipping.
as Will Alma, David Devant, Charles Dickens, Dunninger, Magic Bookplates • James B Alfredson and Bernhard Schmitz •
Professor Hoffmann, John Northern Hilliard, Ricky Jay, etc., published by the author • Hardback • 488 pages • 1,300 pho-
and the bookplate designs range from what appears to be tographs • 11 x 8½ inches • Available from the author by email-
a simple rubber stamp to an elaborate piece of artwork. ing magicbookplates@[Link] • €89 (standard edition) €195
Browsing the pages, it is easy to believe that the designs (leather-bound luxury edition) (approx. $97/$212)

26 years of serving magicians and mentalists.

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for developing performers. One final luxury of “Three

TRICKS Skulls on a Spike” is that it comes self-contained in two
MARK PHILLIPS nice, black drawstring bags. This contributes to the atmo-
sphere and makes it self-contained and easy to carry,
bring out and perform. I think this is terrific and that your
audiences will love it.
Three Skulls on a Spike “Three Skulls on a Spike” • Andy Nyman • Props, cloth bags, and
Andy Nyman £85/$105 written instructions • [Link] • £85/$105
We can all be grateful for Andy
Nyman’s devotion to magic, given Cut and Color
his hugely successful career in Neil Tobin $32/$14
theater, television, and movies. I was not familiar with Neil Tobin’s creations prior to receiv-
Magicians are, no doubt, familiar with Nyman’s work ing “Cut and Color” for review. My first reaction upon seeing
co-writing and co-directing most of Derren Brown’s live the 108-page book which accompanies the gimmicks was,
shows. His co-creation of Ghost Stories, both the success- “Wow, this guy certainly puts a lot of work into teaching us
ful award-winning play and the motion picture, showcases how to do the trick.” The book is more than instructions,
his masterly script writing as however. “Cut and Color” is a Finger Chopper effect done
well. When someone with using playing cards with holes in their centers. In research-
these credentials creates ing Ed Massey, the inventor of the Finger Guillotine, Tobin
material for magicians or learned he was also a mystery writer. Knowing of two other
mentalists, I pay attention. mystery writers with magic connections, Tobin went on to
Like Nyman’s recent “The research and write two academic essays for inclusion in a
Moment,” his new “Three forthcoming book, excerpts of which are in this issue of
Skulls on a Spike” is a Genii. The second half of the “Cut and Color” book is all
showpiece that the biggest about these magical mys-
names in magic could easily tery writers.
feature live or on television. As far as the effect the
In “Three Skulls,” Andy audience sees, you dis-
delivers a highly entertain- play four of the previously
ing effect with poignant described, blue-backed
potential along with valu- playing cards with holes
able lessons in scripting and and demonstrate how
performing. First, “Three nicely a finger fits through
Skulls on a Spike” is a clever trick that will fool people the hole. Adjusting the
and can generate a strong reaction. Second, I just love cards, you sandwich two
the built-in theatricality of the props. They beg for an cards inside two others,
explanation and look like something you would buy in a placing the hole of the
voodoo shop in New Orleans, and I mean that in the best inner two cards above
way possible. Looking and feeling genuinely weird and your finger. Designating
slightly creepy, it is entirely believable that you found them one of the inner cards as
in an art gallery or antique shop. Third, Andy gives you the “blade,” you, or a
three complete, professional scripts of different styles all spectator, tap the blade
of which highlight specific lines which will add power and which appears to lower
deceptiveness to the effect. slowly through your finger until all the holes line up again.
As the procedure in “Three Skulls” will vary from perfor- You remove your finger and display the cards again to
mance to performance, it is critical that you build a clear, show them solid, then give the spectator the “blade” card,
apparently linear story as your presentation progresses which they discover now has a red back.
to preemptively discount possible methods and make Tobin includes an elaborate script about the cards being
backtracking impossible. Nyman’s scripts do this, and a highly engineered medical device, and the need for
applying this technique to other effects in your repertoire magicians to keep their fingers flexible. As he regularly
will strengthen them as well. Every line has a purpose and performs for pediatric patients in hospitals, this presenta-
moves the drama forward. There are some tension-break- tion fits. Outside of that situation, however, I find it a bit
ing laughs, but no “filler,” and you can easily infuse your too much. Fortunately, the effect works and is deceptive
own personality and point of view into the script most with even the most direct narrative script.
comfortable to you. Better still, you can write your own “Cut and Color” • Neil Tobin • Props and booklet (giveaway
script using Andy’s formula to maintain the deceptiveness cards sold separately) • Available exclusively from Alakazam
of the routine. And because the method is easy, you can Magic [Link] • £29.99/$32 (deck of giveaway cards
focus on entertainment, something especially important £12.99/$14)

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Refilled Split” is a no brainer.

Henry Harrius $75 Harrius’s clever tech-
Henry Harrius’s “Refilled” does what Norm Nielsen’s niques let you magically
Vanishing Bottles did for the Weller Coke bottle: takes split one rubber band
them to the next level. Given the high quality of Harrius’s into two, perform the
previous releases, it is no surprise that this is an extremely “Handcuffs,” then meld
well-made product, which includes the clear “glass” bot- the second rubber band
tle, a bottle opener, a large number of Corona beer labels, back into the first and
and even an optional bottom for the bottle. give it away. Both phases
The bottle itself is amazingly realistic; it looks like clear look fantastic and if you
glass even when you are holding it in your own hand. I have the skill to do the
agree with Doc Dixon’s opinion in his book, Monkeyshines, “Handcuffs,” you will be
when it comes to the standard handling of showing the able to learn the “Split” as well.
bottle, putting it in a paper bag, and crushing the bag: The 20-minute-long video tutorial gives you clear
“To finish a trick with instruction on all the necessary techniques, how to get
what is—at best— into it and get out of it while sitting or standing, and even
an implied vanish is a bonus production of a big clump of rubber bands from
just wrong in all sorts a single rubber band. This is a gem; something that you
of ways.” Henry’s can do in the real world, anywhere, with no bad angles.
“Refilled” routine is Be aware that Henry provides sources to learn the actual
far more magical and “Crazy Man’s Handcuff” techniques, but does not teach
takes full advantage them in this video. “Crazyman’s Split” takes a great, visual
of the props’ realistic trick and basically triples the magic content of the routine.
look. Harrius’s instruc- Highly, highly recommended.
tions do give you "Crazyman’s Split" • Henry Harrius • Video download • Available
the standard sucker from [Link] or your favorite dealer • $12
routine procedure;
placing the empty Bammo Backtrack Jack
Corona bottle into a Bob Farmer $10
paper bag and invert- One of the first and strongest packet tricks I learned
ing it to show the was Emerson and West’s “Color Monte.” Bob Farmer’s
“vanish,” and “much “Bammo Backtrack Jack” similarly packs a series of visual
more amazingly,” the bottle’s “reappearance.” What hap- effects into just three play-
pens next in “Refilled” is the twist; you tap the bottle ing cards.
inside the bag with the opener, then pull out a full bottle of In Farmer’s trick, three
Corona beer which you can open and give away, naturally identical Jacks of Hearts
crushing and tossing the paper bag aside. Henry’s clever jump from one place to
use of the bottle opener for sound misdirection provides another in the packet, invis-
extra cover in case anyone suspects the real method. ibly flip face down and face
Personally, I’d ditch the sucker angle and just go with up, and then lose and regain
a direct reappearance of the beer in the empty bottle. their faces. With lots of “now
If you can’t make the procedure funny then you proba- you see it, now you don’t”
bly shouldn’t consider this a comedy trick anyway. It’s a action, you could easily cre-
strong and deceptive effect that, thanks to this great new ate a monte style routine
prop, looks astounding. For those of you looking for addi- with “Bammo Backtrack
tional bottle routines that are more than that old, weak Jack.” All the action takes
vanish, check out Doc Dixon’s “Snack Food” in his book place in the hands, the nec-
Monkeyshines, and the late Martin Lewis’s “Snacks Alive” essary sleights are easy to
on his DVD Making Magic Volume One. learn, well taught, and you
“Refilled” • Henry Harrius • Vanishing Inc. • Props and online hand out the cards one at
instructions • Available from Vanishing Inc. or your favorite dealer a time for examination as
• Dealers contact Vanishing Inc. • $75 you put them away after the
trick. It’s a nifty routine that
Crazyman’s Split (Instant Download) resets automatically and is
Henry Harrius $12 sure to generate laughs of surprise.
If you perform Arthur Setterington’s ubiquitous “Bammo Backtrack Jack” • Bob Farmer • Written instruction
“Getaway”—now known as “Crazy Man’s Handcuffs”—rub- booklet and gimmicked cards • Available at your favorite dealer •
ber band penetration effect, adding Henry’s “Crazyman’s Dealers contact Murphy’s Magic Supplies • $10

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 Genii Magazine - 03-2023

LAMP
“Like any dealer he was watching for the card that is so high and wild he’ll never need to deal another.”

Le Tripot (The Gambling Den) by Jean-Eugène Buland (1889)

—Leonard Cohen, Stranger Song, © 1967, Stranger Music, Inc.

o High Roller De imagine the potential in a deck like this.

asin ck
“The Casino High Roller Deck” • Bob Farmer and Stephane
Lacasse • Downloadable manual and custom deck • Available
exclusively from Slim Card Gaffs and Magic [Link]
• $55
C

The Long and Short of It

David Regal $39.95
Like myself and many others who saw Michael Weber
perform his and Tim Trono’s brilliant version of the Jastrow
Illusion (“Fit”) at MAGIC Live 2022, David Regal real-
He gambled and won in a lot of casinos and in every single one ized this 150-year-old optical illusion had potential that
where he was a winner, he took a souvenir — his winning cards. deserved further consideration.
Over time he had assembled a deck of 52 different Do not confuse this deck with the multitude of so-called Regal has taken this self-working deception, added a
cards, two Jokers and all the back designs from all the gaffed decks whose purveyors tout their many uses but
casinos he had beaten, a veritable prism of kaleidoscop- deliver, at most, frail and feeble effects suitable only for twist by splitting the usual two boomerangs into four piec-
ic casino colors and designs, a winner’s deck conjured that old guy amusing his grandchildren at the birthday
The Casino High Roller Deck
from luck, skill and the turn of a card. party. This is not a so-called Rainbow Deck, though
there is a pot of magic gold involved. The CASINO
es, and built a fun routine that is progressively deceptive,
Until now only this high roller had such a deck—but
Bob Farmer
today you can get in on the action, the legend, the savoir $55
HIGH ROLLER DECK can be examined, yet within its
colorful pasteboard realms are secrets so well-hidden convincing, and funny. The props themselves have been
faire, the je ne sais quoi—because BOB FARMER and and powerful that amazing and unique routines are
Farmer’s “Bammo Backtrack Jack” was just an appetizer for
BAMMO MAGIC have teamed up with SLIMCARDCO,
the world’s preeminent gambling gaffs firm, to produce
finally possible: modified with lines and labels, “short” and “long,” that
the prix fixe menu that followed. Working with Stephane
the CASINO HIGH ROLLER DECK. DECK
add to the illusion’s optical properties. The offbeat humor
Lacasse
• Predictand Slim Card,
a spectator’s casino ofBob has assembled the user man-
choice. of the piece is delightful, as the audience thinks they fol-
• Turn the spectator into a Blackjack card counter blindly
ual separating
for “Thehigh Casino High
cards from low cards Roller. Deck” which comes as a low what you say and show them, only to have you make
• Beat odds with
download of more thanfor
and one this
thousand coolbillion
andtounique
one. deck of cards.
• Play Poker and Blackjack and never lose.
I• Make
was thenot familiar with Slim Card
spectator’s card disappear from the deck before seeing this, so
and appear in the card case the spectator has been holding.
was both surprised and impressed by the product and
• Play Casino 3-Card Monte and win the jackpot that will put
the youcompany. Slim
on Easy Street for Card
life. makes and sells a full line of gim-
• Predict the card a throw of the dice selects.
micked decks and playing cards, with a special ability to
provide a wide variety of new, mint condition casino decks.
If you use or are looking for gimmicked decks and cards
Satisfaction guaranteed or we will apologize.
Thisfrom theshameless
ad contains most hyperbole,
common Bicycle
tall talk, gaffs to
and unprincipled some unique and
exaggeration.
crazy stuff you probably haven’t imagined, check out their
Available Exclusively From [Link]

website ([Link]).
“The Casino High Roller Deck” is a unique, quasi-Rain-
bow Deck, made of a full deck of 52 casino cards from a
variety of different casinos (ranging from Circus Circus, to
Jerry’s Nugget, to the Eldorado). The deck is divided into
five packets or sections, each of which are for use in spe- bizarre turns the moment everything seems clear. I could
cific routines Bob has created or curated to have added try to describe the many phases, but it is easier and more
impact because of the casino nature of the cards. Naturally, fun to watch David perform the piece: [Link]
gambling- and cheating-themed routines dominate the [Link]/watch?v=yG7pHRMpOCY. WATCH
book, and rightly so. My first thought was, if I were booked Like “Three Skulls,” the self-working aspect of “The
to work a corporate casino night, this deck would be all I’d Long and Short of It” allows you to focus on the script
need. Every routine is strong and makes perfect sense in and presentation, making this a lovely non-card, non-coin
such a setting. interlude you can add to any close-up show. It is really fun
As expected, Bob goes into incredible detail in his and charming.
explanations and in citing sources and sleights. For “The Long and Short of It” • David Regal • Props, cloth bag
Ten Card Poker Deal aficionados, there are three new to carry them, and online video instructions • Dealers contact
routines, plus numerous poker demonstrations, black- Murphy’s Magic Supplies • Available from [Link] or
jack-themed routines, a great monte routine, and much, your favorite dealer • $39.95
much more. The multiple “packets” combine into a full
deck for a large number of the routines, and Bob includes Blade Thru Bill
appendices teaching several false shuffles and cuts as Quarter Pot
well as a couple of other high-quality moves. Aside from Mike Hummer $25 (Blade) $10 (Pot)
these, however, most of the routines are not heavily skill I acquired a few very cute new items from Mike Hummer,
based, but rely on the cards themselves, cunning, and including the very visual “Blade Thru Bill” using a break-
clever presentations and scripts to, as Vernon would away utility knife blade, and a small teapot that is actually
say, “get the money.” That said, this is a product that is a Boston Box for quarters (“Quarter Pot”).
probably not for hobbyists or beginners but rather for Like his mentor, Al Cohen, Mike offers a long line of
performers who take card tricks seriously and can already great magic, including many items magicians often refer

82 GENII

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 Genii Magazine - 03-2023

to as “quickies.” This are short, fast, usually visual close-up

tricks that are easy to carry around and can be done almost with various types of “sticky” material, which would even-
anywhere at any time. tually lose its stick and require replacement. Both work, of
“Blade Thru Bill” looks great in person and would also course, and the more you perform with a prop, the more
be terrific for Zoom performances. You fold the bottom you learn its eccentricities. In either case, the Devano Deck
third of any bill upward, creating a long, valley fold, then is a workhorse and has been embraced by numerous stars
put it inside a folded piece of paper which allows the audi- of magic like Albert Goshman and Pop Haydn.
ence to see both edges of the bill. You insert the blade One of the selling points of the Devano deck was that
into the bill and then push it through the paper. You then you could spread and fan the cards during the routine and
slide the blade along the bottom of the paper, cutting the gimmick would remain invisible as it consisted of the
through it yet leaving the bill unharmed. It’s very convinc- equivalent of about a dozen cards. Chen Yang’s “Mobius
ing. The bill can be borrowed and you can even do the Rising Card” gimmick cuts the size of the typical Devano
penetration with just the bill and no cover. gimmick to an amazing five or six cards. The gimmick is
Second is “Quarter Pot,” which looks like a teapot or a sticky stuff version, extremely well made, and in Bicycle
even a tiny Genii lamp. You openly place five quarters into backs, and the thinness allows you to easily and convinc-
the pot, place the lid on top, then take the pot and “pour” ingly Overhand or Hindu Shuffle the deck. The thinness is
the coins into your closed fist. You open your fist to show due to the substitution of a heavy steel alloy for the usual
the quarters, and take off the top of the pot to show it is lead weight of the Devano gimmick. The video instruc-
now empty. It looks great since the teapot is weighted tions are pretty basic and only 10 minutes long, but they
perfectly to allow it to rotate invisibly as you drop it onto explain pretty much everything you need to know about
your open palm just like a Boston Box. I did it in the mirror the method. No routine is demonstrated, but fortunately
for myself about 20 times because it was hilarious to stare you can watch one or more of Don Alan’s performances
right at it and not see anything. It’s nice when something
magical is fun to do too. Mike is a great resource for lots
of quality magic accessories as well as finding sweet little
magic gems like these. Check them out at [Link]-
[Link].
“Blade Thru Bill” • “Quarter Pot” • Mike Hummer • Props and
video instructions • Available from [Link]
• $25 (Blade) $10 (Pot) plus shipping

The Mobius Rising Card

Chen Yang $50
Magically animating an object is powerful. Unlike many
effects, with cards in particular, a spectator can’t simply
dismiss it with “that was just some sleight of hand.” Harry
Devano created his practical and effective gimmick for
the Rising Cards in 1948. As a Magic Masters demonstra- on YouTube for his great routine and to see the genuine,
tor back in the late 20th century, I sold hundreds of $28 amazed reactions he gets. Take note of his casual handling
Devano decks, a premium price at the time. of the deck as you perform the necessary rotations as this
Since the overwhelming majority of Magic Masters cus- is something that often vexes beginners. As with the Chop
tomers were non-magicians, most of these decks probably Cup, we magicians are lucky to have Don Alan’s routine as
languished in the bottom of a drawer somewhere. Don a foundation for performing the “Devano Rising Cards”
Alan popularized Devano’s version and made it one of his and can be grateful for Don Alan’s close-up magic legacy.
signature tricks, performing it numerous times on television Thanks to TCC and Chen Yang for giving us this beautifully
and showing us its strength as a close-up trick. Devano’s made version.
original gimmick used pins that poked into and lifted the "The Mobius Rising Card" • Chen Yang • TCC Magic • Gimmicked
selections as a weight and gravity provided the necessary deck (red or blue) and online video instructions • Available from
energy. At some point, manufacturers replaced the pins [Link] • $50

MARCH 2023 83

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 Genii Magazine - 03-2023

Eugene Burger Official Portrait

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 Genii Magazine - 03-2023

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ALL THE BEST BOOKS ON MAGIC

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The classic big book on coin magic $80; Special Pre-Publication Price $60
which picks up where Bobo’s Modern The master, the greatest sleight of hand
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Make checks or money orders payable to Richard Kaufman (in U.S. dollars only, payable to a U.S. bank; we cannot accept foreign checks)
Richard Kaufman • 4200 Wisconsin Ave. NW • Suite 106-292 • Washington, DC 20016 • Phone 301-652-5800
Dealers Contact Murphy’s Magic Supplies

Call the Genii office 301-652-5800 or email genii@[Link]

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