OCTOBER 2011

Margaret Steele
Page 44
4 M-U-M Magazine
OCTOBER 2011
M-U-M Volume 101 Number 5
REGULAR FEATURES
32 Nielsen Gallery: Houdini by Lupe Nielsen
34 Basic Training: Just One Coin by Ian Kendall
38 I Left My Cards at Home by Steve Marshall
43 Tech Tricks by Bruce Kalver
50 Under/Over by Joshua Jay
59 Informed Opinion New Product Reviews
70 Anytime, Anyplace Any Deck by Aldo Colombini
72 Theory & Art of Magic by Larry Hass
74 Ive Been Thinkin by Norman Beck
76 The Deans Diary by George Schindler
76 Basil the Baffing by Alan Wassilak
78 Confessions of a Paid Amateur by Rod Danilewicz
THIS MONTH'S FEATURE ARTICLES
26 A Magician Prepares by Dennis Loomis
29 Blood, Sweat, and Butterfies by Christian Painter
44 COVER STORY by Bruce Kalver, PNP
49 Excerpt from: Adelaide Herrmann: Queen of Magic
52 Pro Files by James Munton
54 Quick Look Book Nook: The Trapdoor Volume Two
69 Illusions of Grandeur by David Seebach
S.A.M. NEWS
6 From the Editors Desk
8 From the Presidents Desk
11 M-U-M Assembly News
22 S.A.M. Minutes
75 Our Advertisers
M-U-M (ISSN 00475300 USPS 323580) is published monthly for $40 per year by The Society of American Magicians,
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POSTMASTER: Send address changes to M-U-M, c/o Manon Rodriguez, P.O. Box 505, Parker, CO 80138.
Cover Photo by Dexter Lane
32
44
29
MAGIC - UNITY - MIGHT
Editor
Michael Close
Editor Emeritus
David Goodsell
Associate Editor
W.S. Duncan
Proofreader & Copy Editor
Lindsay Smith
Art Director
Lisa Close
Publisher
Society of American Magicians,
11086 S. Dartmoor Place
Parker, CO 80138
Copyright 2011
Subscription is through membership
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OCTOBER 2011 5
FROM THE EDITORS DESK
MICHAEL CLOSE
6 M-U-M Magazine
O
UR COVER SUBJECT
this month is Marga-
ret Steele, who wrote
the May 2011 M-U-M cover
story on Adelaide Herrmann.
Margaret has done a tremen-
dous amount of research on
the life of Madame Herrmann,
and was instrumental in the publication of Adelaide Herrmann,
Queen of Magic Memoirs, Writings, Col-
lected Ephemera, which will be released later
this fall.
Margaret is also a fne performer; her
Cornucopia Act was one of the highlights
of the 100
th
Salute to Magic show. PNP
Bruce Kalver saw that performance and
was mightily impressed. He suggested that
Margaret would make a great cover subject,
and I heartily agreed. Youll fnd out more
about Margarets life in magic and music
starting on page 44.
In his column this month, Vinny Grosso
writes about the importance of women in
magic. I completely agree with Vinny, and
Im proud of the fact that this year M-U-M
has featured four women as cover subjects
(Donna Horn, Adelaide Herrmann, Suzanne,
and Margaret Steele). I believe that this is
unique in the history of this magazine, and
may well be unique in the history of any
major magic magazine.
Steve (I take my coffee black) Beam
is another supporter of women in magic.
Steve has recently released volume two of
the collected The Trapdoor (1989-1993). As
with its predecessor (which was reviewed in
the May 2011 issue of M-U-M), this volume
is chock full of magical goodies and laughs.
A full review will appear in the November
issue. If youre unfamiliar with the type of
material The Trapdoor featured, check out
this months Quick Look Book Nook.
David Seebach is back this month, with
a column on one of the toughest things
about being an illusionist loading and
unloading all those big props. This month
David returns to the Greenfeld Performing
Arts Center in Milwaukee with his Illusions
in the Night show. David writes, This years
show will feature a theme of witchcraft.
Were bringing back the Jack O Lantern
Sword Basket and Paul Osbornes take on
the venerable Strat-O-Spheres, which he
calls Orbs. Its an illusion-sized variation.
Assistant Maureen and I are going to do a two-person mental
routine with volunteers that also includes the De Kolta Chair.
And I learned a great, new effect with jumbo ESP cards from
M-U-M contributor Dan Stapleton. Ive dressed it up with a
creepy Halloween tale that has an unexpected ending. All of this
in addition to our regular illusion mix plus a brand-new, young
tiger! The dates are October 21-29. For more information visit
www.illusionsinthenight.com.
The subject of the Nielsen Gallery this month is Harry Houdini.
I recently received the following update from compeer Barry
Fingerhut concerning the Houdini grave site: A well-meaning
but misguided fan had defaced Harry Houdinis grave. The words
Harry Feva appeared in crude yellow paint on the granite ledger
covering the world-famous magicians resting place.
In June of 2011, my spouse (and
magic assistant) Ronnie and I visited the
Houdini/Weiss family cemetery plot in
Machpelah Cemetery in Queens, New
York, to pay our respects and recite the
appropriate prayers for Houdini and
his family. We found the stained stone
ledger and called Robert Arra from
Sinai Memorials, LLC, to arrange for the
repair. Robert Arras team went to work
at our direction to clean and restore the
white horizontal gravestone.
The majestic family plot, near the
front of the cemetery, contains the graves
of Harry Houdini, his grandmother, his
revered father, Rabbi Mayer Samuel
Weiss, his beloved mother, Cecelia Weiss,
brother Theo Hardeen Weiss, brother Nat
Weiss, and brother William Weiss. The
Machpelah Cemetery is on Cypress Hills
St. off the Interboro/Jackie Robinson
Parkway in Queens, New York, at Exit 2.
According to its Web site, the cemetery
is open Sunday through Friday, from 8:00
a.m. to 4:30 p.m.
In August, Lisa, Ava, and I few to
Las Vegas to visit friends and attend
MAGIC Live! The convention followed
the formula established in previous
MAGIC Live conventions, including the
magazine-cover trading-card game and
the badges that featured your picture on
the cover of MAGIC. The highlights for
me were the photo-op honoring ffty past
cover subjects (where Marvyn Roy taught
us all how to take a bow), David Charvets
uncanny performance of the Blackstone
Buzz Saw illusion, and the museum,
which was put together by Lupe Nielsen.
Registration was greatly expanded for
this convention, which meant that the
attendees were split into two groups. The
consequence of this was that there were
friends of mine at this convention whom I
never saw. The only time the entire group
was together in one place was at the opening and closing parties.
There was a good vibe throughout the convention, however, and
it was great to see the pals I did get to see, so Im glad I made the
trip.
MAGIC Live Photos by David Linsell
MAGIC Live dealers room
MAGIC Museum by Lupe Nielsen
David Charvet as Harry Blackstone Jr.
performing the Buzz Saw illusion
VINNY GROSSO
FROM THE PRESIDENTS DESK
Women in magic
I heard a statistic that less
than ten percent of magicians
are women. I dont know how
reliable the source was, but it
got me thinking. While it is
true the majority of performing magicians are male, the number
of women in magic is much greater. When we think of women in
magic we tend to think of the performers, the leading ladies, and
the hard working assistants. Too often we dont think of all the
women who contribute so much to our art.
Within our great organization we have so many women who
are important to its success and vitality: Mary Ann Blowers,
our national treasurer; Marlene Clark, our national secretary;
and Manon Rodriguez, our national administrator have all done
amazing jobs. Our conventions wouldnt be possible without
Virginia Apperson, Anne Weidhaas, and the women of the regis-
tration team. The layout for M-U-M is done every month by Lisa
Close and our ads are managed by Mona Morrison. We also have
two RVPs and several committee chairs who are women.
There is another very important role women play in magic
the moms of all the young magicians! Every magic event I attend
there are always a few moms there supporting their sons or
daughters interest in magic. I think back to my teen years and
how much my mother helped and supported my magic endeavors.
My mom took me to my frst magic shop; she patiently waited
while I had the guy behind the counter demo what seemed like
everything in the shop. My mom always looked out for local per-
formances by magicians to take me to. She would also take me to
the local magic club meetings.
Later, when I began performing, I was always in the need of
help making the props I dreamt up. My mother was always there
to sew a custom dove bag or a secret pocket in my jacket. While I
will contend that I have the greatest, most supportive mother, I am
sure my story is not unlike many of yours.
I encourage you, the next time you see a mom ushering around
her son or daughter at an assembly meeting, magic event, or con-
vention, to let them know how important their role in magic is.
Side note: On Halloween several years ago, my mother thought
it would be a fun costume to be a magician, a parody of me when
I was teenager. She dressed up in a tuxedo and spent the night
interrupting every conversation she could by asking someone to
pick a card! It was very funny but also disturbing to think I was
that annoying. Thankfully no matter how annoying my practicing
magic with her as my audience was, she never stopped supporting
my interest in magic.
A Real Good Reason to Join the S.A.M.
While at MAGIC Live this past August, I was with 1st Vice
President Dal Sanders. We were talking with one of the lecturers,
and we both complimented him on the great job he did. Through
the course of the conversation, we learned that while he appreci-
ated the work the S.A.M. did, he was not a member.
He said that the S.A.M. did not provide any real benefts for
him. Our primary benefts of the M-U-M and assembly meetings
were no longer of interest to him. He was a seasoned professional
and had more interest in giving back to the magic community
than the need for growth as a professional.
Dal and I immediately began to explain all of the programs the
S.A.M. has that give back to the magic community and beyond,
from the Houdini fund and Disaster Relief fund to our Veterans
Program and Magic Week activities. As a member of the S.A.M.
you support all of these incredible programs.
The gentleman we were talking to said he hadnt thought of
S.A.M. membership from that perspective and was now interested
in reinstating his membership. So the next time you have a con-
versation with someone who is not a member and who doesnt
think the S.A.M. has anything to offer them, see if he or she is
interested in helping out other magicians.
It is very similar to what President John F. Kennedy said in
his inaugural address with his famous line Ask not what your
country can do for you, but what you can do for your country.
PNP Bill Andrews also referenced a similar message in his
inaugural presidents column. Being a member of the S.A.M. is
not just about the benefts it provides you; it is also about what
we members are committed to doing for our fellow compeers,
magicians, and the art of magic.
Youth in Magic
I have been to several conventions this summer and it is
diffcult not to notice the young magicians. There is a great group
of them in their late teens and early twenties who are participating
on many levels. They have forged friendships through the S.Y.M.,
conventions, and camps. They are a close knit group, always
sharing and encouraging each other. It is wonderful to see them
and fun to watch them get better and better every year.
Ethics
Our Constitution states in Article II - Purpose and Objectives
to maintain and improve the ethical standards in the feld of magic
for professional performers, as well as amateurs, hobbyists, and
collectors, in their relationships with one another and with the
public. There have been several updates to our code of ethics, but
none since the overwhelming infuence the Internet and digital
media has had on our art. A new update to our code of ethics was
initiated by PNP Mike Miller and championed by our ethics chair
Marc DeSouza.
It has gone through many revisions with a lot of great input
from national council members. It was brought up during the
national council meeting at our convention in Pittsburgh this past
July. There were three motions passed in reference to the new
code, one of which was to publish a series of articles regarding the
new code and what it means. These articles will appear soon in
this magazine. I encourage you to take the time to read them. It is
another way the S.A.M. demonstrates its dedication to preserving
and promoting the art of magic.
8 M-U-M Magazine
S.A.M. National Offcers
Dean: George Schindler, 1735 East 26th St.,
Brooklyn, NY 11229, (718) 336-0605, Fax (718)
627-1397, showbiz10@aol.com
President: Vinny Grosso, 270 Mansion St.,
Coxsackie, NY 12051 (518) 756-1891
vinny@vinnygrosso.com
President Elect: J. Christopher Bontjes, 2313
Atwood Ct., Danville, IL 61834 (217)431-4791
christopher@magicalentertainer.net
First Vice President: Dal Sanders, 3316
Northaven Rd, Dallas, TX 75229 (214) 902-9200,
DalSanders@StagemMagic.com
Second Vice President: Kenrick ICE
McDonald, P.O. Box 341034, Los Angeles, CA
90034, (310) 559-8968
kenrickicemcdonald@yahoo.com
Secretary: Marlene Clark, 435 Main Street,
Durham, CT 06422, (860) 349-8149,
Skype: marlene.clark, afuntime@comcast.net
Treasurer: Mary Ann Blowers, 3 Christopher
Bluffs Court, St. Louis, MO 63129 (314) 846-8468
maryblowers@aol.com Skype: maryan.blowers
Regional Vice Presidents
New England: CT MA RI NH ME VT
Joseph Caulfeld (603) 579-9700,
josephcaulfeld@joesephcaulfeld.com
North Atlantic: NY NJ
Pat Colby, samrvppat@gmail.com
Mid Atlantic: PA DE MD VAWV DC
David W. Bowers, 169 Tobin Dr., Chambersburg,
PA 17201(717) 414-7574,
amagicalexperience@live.com
South Atlantic: FL AL GA MS NC SC
Debbie Leifer (404) 630-1120
debbie@debbieleifer.com
Central Plains: KY TN OH IN MI
Jania Taylor, (231)242-8242, magicjat@bright.net
Midwest: IL MN WI MO ND NE KS SD IA
Jeff Sikora, 13023 Crown Point Ave., Omaha, NE
68164 (402)-339-6726, jqmagic@cox.net
South Cental States: TX AR OK NM LA
Jeff Lanes, (713)850-1770, jeffe@texasflm.net
Southwest: CA AZ NV HI
John Shryock III (520) 885-7999
shryockmagic@gmail.com
Northwest: WA OR UT ID CO AK WY MT
Michael Roth, (503)493-8316,
msr@nwresources.com
Canada
Rod Chow (604) 669-7777
rod@jackchow.com
Society of Young Magicians Director
Jann Wherry Goodsell, 329 West 1750 North,
Orem, Utah 84057 (801) 376-0353.
bravesjann@comcast.net
Living Past National Presidents
Bradley M. Jacobs, Richard L. Gustafson, Roy A.
Snyder, Bruce W. Fletcher, James E.
Zachary, Frank W. Dailey, Cesareo Pelaez, David
R. Goodsell, Robert A. Steiner, Fr. Cyprian Murray,
Michael D. Douglass, George Schindler, Dan
Rodriguez, Dan Garrett, Donald F. Oltz Jr., Craig
Dickson, Loren C. Lind, Gary D. Hughes, Harry
Monti, Jann Wherry Goodsell, Warren J. Kaps, Ed
Thomas, Jay Gorham, John Apperson, Richard M.
Dooley, Andy Dallas, Maria Ibez, Bruce Kalver,
Mike Miller, Mark Weidhaas.
OCTOBER 2011 9
ASSEMBLY NEWS
Society of American Magicians Monthly News
OCTOBER 2011 11
OCTOBER 2011 Volume 101, Number 5
1
GEORGE SILVERMAN
WORKSHOPS
A WOW
NEW YORK, NY We had
some old friends visit the Magic
Table this month. Seymour
Hittner was there with his sig-
nifcant other, as well as Past
President Marvin Putterman. It
was nice time to catch up and
share some magic. This made
it ten people two weeks in a
row at the Table. They joined
the regulars, PP Jerry Oppen-
heimer and his wife Lee, myself,
Secretary Pat Colby, and Board
Members Jordan Linker, Rene
Clement, and Richard Bossong.
The Table meets Fridays from
12:30 on for lunch at the Edison
Hotel Caf on 47th Street
between 7th and 8th Avenue in
Times Square.
We had our summer organiza-
tional board meeting in August
and Pat Colby was elected
Chairman of the Board. Our
frst meeting of the year will
be held on September 7, which
is a Wednesday. We do not
meet in July and August. Our
workshops, though, are still
going on. George Silverman had
another strong one this week.
It was the second of a series:
The Tricks That Cannot Be
Explained equivoque, multiple
outs, verbal control, and oppor-
tunistic magic.
This is my last report from
PA 1 because I am switching
hats to do work that is needed
in our archive. I have enjoyed
this and will miss writing about
our members. Tom Klem
Parent Assembly Number
One meets the frst Friday
of the month at 7:15 on the
Mount Sinai Campus in
the Goldwurn Auditorium,
1425 Madison Avenue, NYC
www.sampa1.com
2
MAGIC ENTERTAINS
AND MYSTIFIES
SAN FRANCISCO, CA
Veiled by coastal fog, friends
of magic met to enjoy camara-
derie infused with delightful
wonder. Our activities began
when Tamaka showed a Karrell
Fox act from Don Alans Magic
Ranch TV series. Karrells
humorous yet subtle routines set
the mood for the evening. For
the second part of the activities,
Stu Bacon presented a teach-in
based on routines from a Martin
Lewis DVD. Like Martin, Stu
performed an effect and then
demonstrated the workings
before describing the construc-
tion of each prop. The routines
included Vanishing Coke
Bottle, Big Switch, and Halve-It.
Tonights theme for the
members magic performances
centered on silks, fags, and
handkerchiefs. Bill Langdell
was frst up with an imaginative
version of the torn and restored
bill. Using a fve-dollar bill, he
squeezed it, pulling out multi-
colored threads embedded in
the paper and in the process de-
stroying it. Bill then restored the
threads, rejuvenating the bill.
Hippo Lau frst deftly predicted
a card selected through random
procedure involving fve mages.
Next he caused a chosen card to
rise from the deck that had been
placed in an envelope. Daryl
inspired these two effects. Hippo
then explained the workings.
With a foxy demeanor, Jack
Langdell entertained with his
invisible silk that he made
visible and invisible again. The
fnale occurred when the silk
became visible and changed
color from red to green to yellow.
Ed Arce dazzled us with his
rope and handkerchief routine.
Tying them together, he easily
separated them.
Taping forefnger and thumb
together, Rich Seguine linked a
looped chain between them, and
then released it. Honoring Ted
Lesley, Rich, with a wave of his
hand, bent a wine glass sitting
on several books. Vanishing
a signed coin, Rob Shapiro
transported it into a small box
contained within several larger
boxes. Stu charmed with his
rendition of a Rachel Colombini
effect using silks, three cups,
and cards.
Walt Johnson demonstrated that
a large towel can be a magicians
carrying case and table. After
combing his hair, Walt discov-
ered that the comb stuck to his
hand and was diffcult to remove.
No doubt, his mind power had
energized the comb. Brian Quan
enthralled us with several coin
fourishes before relating the
story of his proposal to his wife.
With sleight of hand he had trans-
formed her wish into a foating
rose that became an engagement
ring. Dan Sneider assisted with
several effects, including the
chocolate chip cookie vanish.
John Caris
Golden Gate Assembly 2 meets
frst Wednesday at 7:30 p.m. at
Community Room of Taraval
Police Station, 2345 24th Ave.,
San Francisco. Contact: Tamaka,
415-531-9332, Tamaka3715@
aol.com
3
OUTDOOR MAGIC MINI
LECTURE BY JOHN
MORRISSY
CHICAGO, IL We had
a nice mini-lecture on Street
Magic from John Morrissy for
our June meeting. He asked, why
do it? The answer was money
pitching, selling items, shows,
being able to practice routines
over and over in front of real
audiences. Starting out with
linking rings is good; it makes
noise and brings in an audience.
You need good chatter to bring
people over to you. John has an
easy set up, just a top hat on a
stand. John pulls what he needs
for an entire show out of that hat!
He called Nathans sister, Mina
Colwell, up for the Hat Tear.
Then he called Nathan Colwell
up for another paper tear routine;
this one looked like a pair of blue
shorts but was really a pirate hat!
John next did some pasteboard
prestidigitation. He did the Six
Card Repeat, but used twenty-
one cards in all, so he could drop
a bunch and still put some into
his top hat. Bank Night was fun
as John called up Mina, Chuck
Gekas, Nathan, and Frankini
Glab, lined them up to each
select a numbered envelope,
Bill Langdell performs the
torn-restored bill
GO TO:
WWW.MUM-MAGAZINE.COM
and use the easy submission form to fle your report
Bank Night with Mina & Nathan
Colwell, Chuck, and Frankini
lined up to take envelopes from
John Morrissy
ASSEMBLY NEWS
12 M-U-M Magazine
with one having a twenty-dollar
bill inside, There was a lot of
byplay on this one, asking if they
wanted to switch. John ended up
with the twenty. Each of the par-
ticipants was given a magic CD
that John has put together. Inter-
spersed with the routines were
stories of area magicians John
has known and worked with in
his over ffty years in magic. One
can sign up for his e-newsletters
at www.johnmorrissy.com.
A Very fascinating evening!
Darlene Bull
Werner F. Dornfeld Assembly
#3 of Chicago meets fourth
Monday at 7:30 pm, at Pilgrim
Congregational Church, 460
Lake Street (near the corner of
Lake and Ridgeland), Oak Park,
IL. Doors open at 7 pm. Contact
Darlene Bull 815-722-4380
dfbull@joliet.lib.il.us
6
ASSEMBLY 6 GETS A
NEW WEB SITE
BALTIMORE, MD Our
president, Jeff Eline, has
designed and installed a new
Web site for our local assembly.
It is beautiful. Special congrat-
ulations to Jeff for a job well
done. Please take time to check
it out: www.baltimoresam.
com. Andy London, our vice
president, suggested having a
magic auction and extending it
to other local magic clubs. We
also discussed doing a beneft
show for the community.
Our magic meeting started out
with Eddie Robinette using two
volunteers and two decks of
cards. After several moves he was
able to have both helpers end up
with the same matching cards on
top. Next up was Eric Hoffman
who amazed us with a unique
set of blocks and special box. He
was able to lock all the blocks
inside with a pin and magically
released selected blocks at will.
Ralph Fowler had several signed
cards from two volunteers
inserted into two envelopes.
Magically he transported three
signed cards from one envelope
to another. Oniel Banks did a
wonderful trick with ESP cards.
Charles Covington did several
three ball and pot routines. Joe
Bruno amazed us with a paper
bag and jumbo playing cards
routine. Howard Katz, using
a glass and four coins, did a
wonderful Matrix routine. Les
Albert did a nice two copper/two
silver routine. He transported
all the coins several times. Les
followed up with a fantastic four
Ace trick. Andy London was
able to pull four Kings out in a
row several times after shuffing
the deck and dividing it into four
piles. Joe Harsanyi did a nifty
ball routine. Jeff Eline closed
with a prediction effect.
Rudy Jackson
Always looking for visitors and
new members in the greater
Baltimore area. We meet each
frst Thursday @ 8:00 pm.
The Magic Warehouse- 11419
Cronridge Drive suite #10,
Owings Mills, Maryland 21117
(410-561-0777).
7
RETURN TO
HOGWARTS HALL
OMAHA, NE The August
meeting of the Omaha Magical
Society took place at Boystown,
Nebraska, where an audience
of almost seventy experienced
some of the many talents of
locally grown magicians. This
potluck picnic has become an
annual event where special
guests are invited from
Boystown (yes, there are girls
there) free of charge.
The lineup included chicken,
many different salads, and
selected homemade recipes to
deck out the smorgasbord. Our
vice president, Bob Gehringer,
coordinated the festivities from
the start. He gave way to Jeff
Sikora, our masterful master of
ceremonies, who sprinkled his
performance with magical inter-
ludes. The lineup of magicians
started with our Dean, Walter
Graham, who unrolled his
unique brand of humor and
magic. He always puts audiences
in a good mood. Next up was
Johnny Impossible Sheibal
with an amazing feat of leg-
erdemain, followed by Bob
Charleston from Sioux Center,
Iowa, with a mentalism effect,
and fnally Pete Petrashek, who
baffed us with his fuzzy balls on
a stick.
Jeff kept the show running
smoothly and closed the show
with his grand fnale. At the
end one could see cotton candy
fying as our guests lined
up for one last tasty treat!
Jerry Golmanavich
Omaha Magical Society
Assembly 7 meets on the third
Monday of most months at the
Southwest Church of Christ
124th St. and W. Center Rd. -
Across from Hooters. Contact
Larry Brodahl: golubki@cox.
net (402) 390-9834 www.omaha-
magicalsociety.com
13
BACK TO SCHOOL
NIGHT
DALLAS, TX The August
meeting conficted with a little
event called Magic Live, but
that didnt stop magicians in
Dallas from having a good time.
President Mike Smith called
the meeting to order, and Sgt.
at Arms Derrel Allen doubled
up as acting secretary while
the other offcers were off in
Las Vegas. A number of guests
attended the meeting, including
Richard Schmidt, Tanner
Perdue, Christian Brewer, and
Mitch Rogers.
The nights theme was Back
to School, so Erich Knight
focused his teach-a-trick session
on magic performed with school
supplies.
Open stage time involved a
demonstration of a political
nature as Geoff Doc Grimes
presented the tale of a card trick
he was able to perform for the
Speaker of the House in D.C.
earlier this year.
The formal show of the
evening was hosted by emcee
Derrel Allen. Johnny Tophatz
performed, concluding with the
transformation of a paper fower
into a real fower in a fash. Brian
ONeill performed a mental
effect. Brian asked a spectator to
merely think of a card and then
to picture the card as if it were in
front of him. Just by reading the
eye movements of the spectator,
Brian correctly named the card.
Mr. Goodfriend followed with a
rope on ring effect, and Aaron
Maynard closed out the evening
with two effects, including a
foating table.
Dallas Magic Club Assembly
#13 meets the third Tuesday of
each Month at 7 p.m. Crosspointe
Church and Community Center.
Go to: www.dallasmagic.org
for directions. Check out the
Dallas Magic Club on
Facebook!
19
SOCIAL MEDIA
LECTURE
HOUSTON, TX Scott Hol-
lingsworth, Military Program
Liaison for the S.A.M., is
involved with a program to
encourage magicians in the
military forces. Scott is also
working on a new program
designed to set up magic per-
formances at veterans hospitals.
Scott will be looking to the
Houston clubs for support in this
area and will keep us updated.
Scott also updated us on the
S.Y.M. status and the fact that
there were eight potential new
members who were showing up
at the meetings.
Ben Jackson and Michael &
Jessica were recent winners at
the S.A.M. national convention,
allowing them to perform as a
contestant at FISM in 2012. Con-
gratulations to these three local
magicians for their fne efforts.
Scott Wells received an S.A.M.
Presidential Citation at the Pitts-
burgh convention. Scott has
done much to promote magic;
we are very proud of him for
having received this very pres-
tigious award.
Alex Rangel was our last
minute mini-lecturer; he
educated us on podcasts and a
variety of other social media
tools. Scott Wells also shared
some of his knowledge of the
social media craze and where
his involvement has led him.
Lots of information was shared
and some good questions were
asked. Thanks both to Alex and
Scott for sharing this with the
group.
Scott Wells led the performance
session with the help of Rick
Hebert. Scott mentioned that he
would show us the answer to life,
the universe, and everything.
Scott had Rick shuffe a deck
of cards face up into face down.
Using Ricks choice of face up or
face down, and which side of the
deck to begin, Rick culled the
frst six face-up cards he came
to. The value of the pips was
then totaled, giving 42. Asking
Anthony Dinardo to type in the
phrase the answer to life, the
universe and everything into
a Google search resulted in the
number 42 as the answer.
Alex Rangel had Rick Hebert
help out as several hands of
blackjack were dealt out. Alex
showed us how to stack the deck
and essentially make whatever
winning hand at whatever place
Johnny Tophatz surprises
Doc Grimes
ASSEMBLY NEWS
OCTOBER 2011 13
he wanted. It was an interesting
display and rather entertaining.
Anthony Dinardo found
Randys chosen card even
though the deck was thorough-
ly shuffed. Thanks to all who
shared their magic with us in
August. Miles Root
SAM 19 meets the frst Monday
of every month at the IATSE
Local 51 Meeting Hall, 3030
North Freeway, Houston, TX. A
teaching lecture begins at 7:30
pm with the meeting beginning
at 8:00 pm.
21
ANYTHING
GOES
HARTFORD, CT Our
club VP Jim Bentley presided
this month and asked that more
attention be given to our efforts
to upgrade our monthly newslet-
ter and our club Web site. The
respective committees will meet
within the month to work out the
details.
It was announced that on
October 27 Dave Garrity and
Jim Spinnato will perform a
Halloween and Hypnotism show
at Angelos restaurant in West
Hartford. Dan Sclare announced
that there were a handful of
scarves left over from a recent
tag sale and reasonable offers
were to be entertained.
The magical theme for this
month was Anything Goes.
Since it is summer, the rules
are relaxed a bit. Norman St.
Laurent had a card selected and
then found it using a wind-up
squirrel he got at Borders.
Norman says the toy resembles
that weird squirrel-rat character
from the Ice Age flms. Pat
Guida noted that the last time he
went into Borders, all the books
were open to Chapter 7.
Dan Sclare showed two
ropes and linked them by frst
placing them over his head
and behind his back. Jim
Bentley did a cards-across-
like trick to add three cards to
a packet in a spectators hand.
Dana T. Ring
Meets 2nd Monday except
December at Angelos On
Main, 289 South Main Street,
West Hartford, Connecticut
06107 Dana Ring d.ring222@
att.net (860) 523-9888
www.sam21.org
22
SUDS
LECTURE
LOS ANGELES. CA At
the August meeting, the newly
elected president of the Southern
California Assembly, Jim
Callen, quickly dispatched the
routine business of Assembly 22.
Members and guests were eager
to move quickly to the program
for the evening, a lecture by
Suds.
Ted Suds Sudbrack has been
a Los Angeles area professional
entertainer for well over forty
years, a member of all major
magic clubs, and much beloved
in the Southern California magic
community. As a member of
Assembly 22, Suds is very active
participating in performances;
on this evening he provided the
entire program.
Suds lecture, as expected, was
full of gags and the humor which
is his signature performance
style. By count, Suds performed
over thirty effects and gag items.
Being a magic dealer of long
standing, most of the items were
available for purchase. Many
of the effects performed were
invented and manufactured by
Suds. Sudss comedy torn and
restored tissue paper effects
have become classics in magic.
Another effect marketed by
Suds in the mid-1970s and much
copied by other dealers is Whats
New, a cloth bag (that can hold
small items to be vanished) that
changes to a large silk foulard in
an instant.
It was a great lecture, very
entertaining, and another fne
evening of Assembly 22 magic.
As always, an intermission
during the performance was
highlighted by the buffet of
foods and treats provided by
Corrine Murphy. For September,
Assembly president Callen has
arranged a program of magic
from M-U-M.
Southern California Assembly
22 meets the 3rd Monday each
month at 8:00 P.M., St. Thomas
Moore Parish Hall, 2510 So.
Fremont Ave., Alhambra, CA
Information: 213/382-8504
24
MONEY
MAGIC
CAPITAL REGION, NY
After we unfortunately had to
cancel our July meeting, we held
a rare August meeting, with a
theme of money magic. Klem
Kinicut started the night with
a fun balancing coin bit. Dave
McDonald followed with an
amazing card trick and some new
iPhone app magic. Ace Russo
presented a great Card Warp
routine with a bill and card. The
great Carabini amazed us with
a bill change and classic Color
Monte. Our local president, Joe
Goode, closed with a penny to
dime and a coin nesting box.
See everyone next month!
Cory Haines
Jay Gorham Assembly 24
meets at the S.W. Pitts Hose
Co., Latham, NY on the second
Tuesday of the month at 7:30 p.m.
Cory Haines coryhainesmagic@
yahoo.com (518) 426-8993 www.
sam24.org
26
MAGIC
CONTEST
PROVIDENCE, RI The
club recently held our annual
magic contest. With Bob
Boardman running the show, the
contest ran smoothly from start
to fnish. In Bobs own words,
All the acts were great, and,
of course, everyone had a great
time.
Third place winner Jeff Smith
is always a favorite, each year
presenting something new. This
year Jeff performed some nice
card manipulations, which were
well received by the audience.
Sean Dale was awarded second
place for his sponge ball ma-
nipulation. Sean has a great
stage presence and a great sense
of humor. First place winner
Andrew Cipolla performed
a colorful routine, producing
umbrellas and silks. For a
young man, Andrew has already
developed a keen sense of show-
manship.
At the end of the evening, gift
certifcates from Diamonds
Magic were handed out to the
top three performers. Honorable
mentions were awarded to
Daniel Cipolla and Tom Holmes.
And the coveted Peoples Choice
award went to Andrew Cipolla,
who was awarded a free,
one-year membership to the club.
Chris Natale
C. Foster Fenner, Assembly 26
meets frst Tuesday each month
from September to June at 7 pm.
American Legion Auburn Post
20, 7 Legion Way, Cranston, RI.
29
CATCH-UP
TIME!
WATERBURY, CT OUR
September 27, 2010, meeting
was our auction. Our October
25, 2010, meeting was held at
President Peter Melillos home.
Peters spooky downstairs
room was decked out with a
talking mummy and a secret
sliding bookcase. An offcial
S.A.M. Initiation Ritual, led
by Joe Lantiere, was presented.
After the ceremony, members
performed close-up magic, and
then Sandy Rhoades did his
famous Swamp Water Card
Trick. Finally, Joe Lantiere gave
a workshop on The Gypsys
Curse.
On November 22, 2010, we had
our Annual Holiday Party. Joe
Lantiere produced some seasonal
silks. Assembly Secretary
Daniel Greenwolf performed the
death-defying Soda Straw Bullet
Catch. Steve Gibson performed
the Improved Color Vision Box
and CJ May performed The
Wizards Trick, in which a small
block of wood escaped by the
power of the wind. We had no
December 2010 meeting.
At our January 24, 2011,
meeting CJ May entertained us
as Cyril the Sorcerer by perform-
ing a trio of effects including The
Rising Twig, BWave, and the
Linking Rings. Our February 28
meeting was cancelled because
of bad weather. Our March 28,
2011 meeting was our auction.
Our April 25, 2011, meeting
featured our Vice President
Sandy Rhoades, who gave
a lecture on fnding magic,
magical items, and materials at
Flea Markets and Tag Sales. It
was a great lecture!
Norman St. Laurent and
wind-up friend
Assembly 29 Dean Joe Lantiere
led the S.A.M. Initiation
Ceremony in October 2010
ASSEMBLY NEWS
14 M-U-M Magazine
At our May 23, 2011, meeting,
the theme was Card Magic. Our
June 27, 2011, meeting was our
annual picnic. A big thank you
to Nelson and Carole Nicholson
for the use of their home, and
we thank Sandy Rhodes for
cooking and organizing the
picnic. Sandy Rhoades started
off by performing Dukes Dye-
Version, with the rolled-up tube
revelation of wishing Assembly
29 member and Sgt-at-Arms
Tony Feliciano a happy fftieth
birthday. Sandy Rhoades then
performed his Chair Suspen-
sion on Marie Padillas daughter
Gabrielle. Many other members
then performed close-up magic.
The July 25, 2011, meeting
performers were Jim Sisti, Tony
Feliciano, Peter Melillo, Joe
Lantiere, and Tony Lenti.
After meeting themes for
the balance of 2011 include:
October 24 Spooky Magic
or Mentalism; November 28
Holiday Party. There will be
no meeting in December. If
you miss our meetings, you are
missing a lot. And guests are
always welcome at Assembly
29. Joe Lantiere
S.A.M. Harry Houdini Assembly
#29 meets at the Salem Lutheran
Church in Naugatuck, CT on the
fourth Monday of every month,
but does not meet in December.
30
CUPS AND
BALLS
ATLANTA, GA Our emcee
Debbie Leifer hosted the post-
dinner performance. Rick Hinze
began the evening with a trick
you cant do at the airport:
color changing knives. Dan
Garrett presented a card trick in
which the cards were picked up
randomly, yet he still predicted
the cards on top of the piles. It
astonished everyone!
Jim Mangham illustrated an
effect from the July 2011 Genii
magazine that incorporated
cowboy movies. He had three
spectators come up and choose
names and hats. He then gave
them three buttons, two white
and one black. Those who had
while buttons lied; he was able
to root out the guy with the black
button. Lynch em, Jim!
Gene Hendrix did a three
card monte, followed by Darell
Berman. Darell gave a spectator
a group of cards and asked him
to remember one. He then used
static electricity to fnd the right
card. He also had a quarter
signed and placed under cover.
He brought out a brass box
and the coin transported from
under the cover into the box.
Jim Driscoll showed us how
you could tell if someone was
bluffng at poker. He would look
for a tell and eliminate cards
after asking questions until he
had the selected card, as well as
the four Aces.
Merritt Ambrose fnished the
evening with his cups and balls
routine, and then began his Pro-
fessional Development presen-
tation on cups and balls. He il-
lustrated different types of cups,
how to load a ball and hold a ball
under the cup, stealing a ball
from under a cup, passing one
cup through the other, and fnal
loads with various methods of
loading.
Since I was remiss on sending
a report in July, I must mention
the Professional Development
we had that month. Dan Garrett
presented Rubber Band Magic.
Dan showed us how to make
rubber bands jump from one
fnger to the next, Crazy Mans
Handcuffs, and some of Dan
Harlans magic with bands and
bills, vanishes, and down the
ladder. Dan also showed us the
Boomerang rubber band and Joe
Rindfeshs Jumper. It was very
well received and got lots of
comments about what fun it was.
Carol Garrett
Atlanta Society of Magicians,
Julian V. Boehme/Walter S. Bell
Assembly #30 Web site: http://
www.sam30atlanta.org meets
the second Thursday at Picadilly
Cafeteria, I-85 & North Druid
Hills Rd.
31
SPONGE
BALLS
INDIANAPOLIS, IN The
theme was sponge balls. The
evening was fun with much cre-
ativity on display. Our Master of
Ceremonies was Jim Croop. As
usual, he did a superb job, not
only in leading the discussion
and introducing the perform-
ers, but also leading off with
Daryls Papa Rabbit Hits the Big
Time sponge routine. First he
produced a rabbit from his hands
at the audiences request. And
then to show it was possible, he
produced a bird. A rabbit in one
hand. A bird in the other. They
magically traded places. But was
it magic? No just an illusion as
sponges could be either a rabbit
or a bird. He introduced the
two rabbits as the lady and the
gentleman rabbit. They myste-
riously jumped from one hand
to the other both in Jims hands
and an audience members
hand. Ultimately, the lady and
gentleman rabbit ended up
together in the spectators hands.
What happened next cannot be
described in a family magazine.
Suffce it to say that the result
was multiple little rabbits.
Then Taylor Martin did a
beautiful job with Al Goshmans
And Then There Were Four.
He followed up with multiple
surprises as shapes changed,
colors changed, and a cube
became a dog. He credited Hank
Lee for that one. As a fnale,
Taylor performed his Gloved
Sponge Ball routine that he has
been developing over the years.
We all were amazed. Taylor
interspersed his magic with
very helpful teaching tidbits,
such as make your sponges a
little moist. They will look and
perform better. He also demon-
strated the preparation and use
of the Sanada gimmick.
Chris Henderson closed the
evening performance with a sur-
prising and funny effect. The
Two of Clubs was randomly
selected and returned to the deck.
After a shuffe and a few cuts,
Chris then announced that he
would fnd the card, which was
unknown to him. With a fourish
he produced the Four of Clubs.
Close, but two pips too many.
Bummer! He got out his instruc-
tions and looked them over. With
a thump to the card, two sponge
Clubs fell out from the card! Lo
and behold, he really did end up
with the selected Two of Clubs.
SAM #31 meets the frst Monday
of the month unless there is a
confict with a holiday weekend.
At this point in time, SAM #31
is rotating its meetings &:00
PM among three separate sites.
Contact President Steve Spence
for information regarding
the current months meeting.
sspence@mediationalternative.
com.
35
ASSEMBLY
GATHERINGS
FOR $500
POUGHKEEPSIE, NY
Al Baker Assemby 35 August
meeting. If your Jeopardy-
style response was What was
the best magic barbeque ever?
youre a winner and obviously
made it to our August meeting.
Our annual event was our best-
attended barbeque ever (well at
least for the last decade who
knows what happened at the
Fitchett Dairy forty years ago).
Over a dozen members and
their families enjoyed a great
afternoon of magic, food, fun,
and no rain. Joel Zaritsky and
his family once again hosted this
fantastic event. Fun was def-
nitely the theme of the day. Why
else would Frank Monaco and
his wife Barbara spend hours
counting over two thousand jelly
beans for a contest? Of course
there was plenty of magic to
entertain attendees.
Joel turned his living room
into a theater and performed.
President Derrin Berger hosted
a riotous game of Joel-Pardy,
in which assembly members
like Roger Lewin were tested
on their knowledge of magic
and the obvious and peculiar
things that popped into Derrins
head. It wouldnt be an Al Baker
Assembly gathering without
Ed Fitchett, who treated us to a
couple classics. Guests of Eds,
Matt Mann and his family,
visited all the way from Thailand.
They got into the spirit of things
and performed as well. Frank
Monaco displayed an effect hes
working on much to the delight
of assistant Clare Kunaschk.
Long time members Marty
Steinberg, Sam Patton and Terry
Morgan showed us a few of their
favorites. Everybody imperson-
ated their favorite magician and
made food disappear.
Several hours after the party
began things were still going
strong and mini sessions broke
out throughout the house.
Thanks to all who spent time
preparing the many fabulous
dishes and who attended this
great afternoon. Special thanks
go to Master-of-the-Grill Joel
Zaritsky and his family for
once again hosting this fabulous
event. Craig Kunaschk
Al Baker Assembly No. 35
(usually) meets at 7:30 p.m.
on the second Tuesday of the
month at the Milanese Italian
Restaurant, 115 Main Street,
Poughkeepsie, NY. Check out
our website to confrm time
and meeting location. www.
compumagic.com/sam35
36
MAGIC FROM
THE M-U-M
NEW ORLEANS, LA Eddie
Adams did an optical illusion that
involved measuring plates on a
table. Eddie did not remember
the M-U-M issue it was in. Augie
Garofalo performed a very big
ASSEMBLY NEWS
OCTOBER 2011 15
silver dollar to penny transporta-
tion, ending with the penny was
being big. The was in the March
2011 M-U-M. Thomas Maxwell
performed a ring off shoe string
routine with a McGiver presen-
tation that I really enjoyed. It
was from the November 2010
M-U-M.
Dr. Joe Dalgo performed Ken
Krenzels Spell of the Spectator
from the September 2009
M-U-M. Milton Scheuermann
did ring off string with a gypsy
presentation from the November
2010 M-U-M. JOJO Strauch did
the rubber band effects from the
July 2011 M-U-M.
Guests did not have to follow
the theme. Taylor Galyean
showed a rising card app with a
phone. Ricardo Delapuente did
a pencil through rubber band
effect. Both guests performed
to show their interest in magic.
After performing at two or three
meetings we will vote them into
our club. They are both very
enthusiastic and are willing
to perform. They would be an
asset to our club. Magician of
the year contest votes for this
month: Milton, second place;
Augie, third place; Dr. Joe
and Eddie, tied for frst place.
Joe (JOJO) Strauch
We meet the second Wednesday
of Each month at 7:30 at the
Holiday Inn on Causeway in
Metairie, La. You can see all the
details at www.samnola.com
37
TEACH-IN 3
STAGE MAGIC!
DENVER, CO On July
17 members of The Mile High
Magicians Society gathered
for their annual picnic at Brent
Warrens (aka Doc Murdock)
legendary KnomeDome, near
the mountain town of Nederland.
What a great change of pace
it was to have our picnic in the
mountains this year. The weather
was wonderful, with moderate
temperatures; we even avoided
the major hail storm in nearby
Nederland. It is inevitable that
with a group of magicians a deck
of cards will soon come out and
with it a magic show.
August brought teach-in number
three, dealing with stage magic.
President Connie Elstun had the
idea of creating a meeting to
increase members appreciation
of the large amount of work that
goes into a large scale produc-
tion. Acting as emcee, Connie
frst introduced Chris Manos.
Chris was a personal friend of
Doug Henning before he hit the
big time and now owns several
of Dougs illusions, including a
Crystal Casket. Chris assembled
the illusion in front of the mem-
bership and then demonstrated
(without the cover on) how it
worked in performance. Gene
Gordon took things in a different
direction by presenting the
packs small plays big aspect
of stage magic. To this end Gene
taught the Tarbell version of 20th
Century Silks.
Gene was a hard act to follow,
but Kier Royale was more then
up to the task, delivering a well
thought out and interesting Pow-
erPoint presentation on working
with an assistant. He demonstrat-
ed how backstage organization
is the key to a smooth operation.
Connie Elstun says, If you cant
lift a hundred pounds over your
head while standing on a basket-
ball, illusions are probably not
for you. To help demonstrate,
a number of members partici-
pated in setting up and practic-
ing Connies sword levitation.
Yikes! Dave Elstun brought it
all together with a discussion of
routining, featuring an examina-
tion of Jeff McBrides opening
routine in Las Vegas. Dave also
discussed the importance of
scripting and direction. Dave
Elstun
SAM Assembly 37 is The Mile
High Magicians Society and
meets on the 2nd Thursday at
7:00 P.M. in the RiverPointe
Senior Community, 5225 South
Prince St. Denver, CO 80123.
Our Website is www.milehigh-
magicians.com. Connie Elstun is
the President her E-mail address
is connie@emagicpro.com
52
MAGIC
WITH SILKS
SAN ANTONIO, TX On
August 4, 2011, Brother John
Hamman Assembly 52 held
its monthly meeting at La
Madeleine Restaurant. President
Joe Libby called the meeting to
order. We had over thirty people
in attendance. Congratulations
to Matthew Legare and Jason
Parker, who are now members of
Assembly 52. Welcome to guests
Jody Robbins, Nick Garcia, Amy
Legare, and all of the young
magicians and their parents.
The theme for this meeting
was Magic with Silks. Joe Libby
began by performing a vanishing
silk routine with a million dollar
bill, followed by Sal Manfredo,
who did his version of a silk
monkey bar and a change bag
routine in which he turned black
and white silks into a white silk
with a skull and crossbones
design. Guest Jody Robbins en-
tertained the young magicians
with a Coin through Silk routine
and Don Moravits put smiles
on all of our faces when he
performed an effect by Vanni
Pule called Half-Dyed Hank; his
presentation was set to poetry.
Ray Adams was next, and
told us about his pet cat that he
had in a paper bag, but what
surprised us the most was when
guinea pigs popped out of a
cage and frightened us all. Doug
Gorman entertained us with the
American Flag Blendo set to the
music America the Beautiful,
sung by Ray Charles. New
member Matthew Legare tried
over and over to tie a knot in his
red silk with his right hand, but
fnally fgured out that he had a
left-handed silk. John Dahlinger
performed his restaurant set,
which consisted of coins and
cards, in preparation for his trip
to the Kostya Kimlet Magic
Workshop. Young magician,
Jenna Takach, wowed us by
magically knotting a red silk, and
Michael Tallon produced a deck
of cards from under a silk scarf
and then performed an effect by
Paul Harris called Overkill. Paul
Amerson, with the help of two
young magicians, did the 20th
Century Silks routine and Drake
Stanton did a quick and visual
card trick.
After a short business meeting
and an open forum, the meeting
was adjourned.
Brother John Hamman Assembly
52 meets at 7:30 p.m. on the frst
Thursday of the month at La
Madeleine Restaurant, located
at 722 N.W. Loop 410. The res-
taurant is inside Loop 410 on the
access road between Blanco Rd.
and San Pedro. For more infor-
mation, contact douggorman@
att.net.
83
A VARIETY OF
MAGIC
WESTERVILLE, OH The
July meeting was held at the
Westerville Public Library
in Westerville, Ohio. After a
brief business meeting, Terry
Harris showed us how to do a
six-coin Misers Dream from
your pocket. If you can carry
six coins in your pocket, you
are always prepared when asked
that special question, Show me
a magic trick. Keeping with
the money theme, we watched
Terrys video presentation on
the Money-making Machine.
We learned the history of the
machine and the various models
used to produce a dollar bill.
Some of the antique money-
makers are quite valuable and
worth the investment if you can
fnd one.
After the lecture, Steve Berger
showed us a clever card effect in
which the Queens were found
upside-down in the deck. Joe
Elliott performed The Profes-
sors Nightmare with three
pieces of rope that looked like
magic wands.
Dave Brizius showed us a dis-
appearing quarter. Reza the
Magi caused the Three of Spades
to jump from a card box and into
a plastic box that was sitting on
the table.
Steve Berger pulled the Clubs
out of a deck and placed them
on the table in random order.
He picked up the Clubs, shuffed
them, and put them on the table
face down. The cards were
turned over and they were in Ace
to King sequence.
After the meeting we shared
more magic, and left the library
before they locked the doors.
Steven Parlette
U.F. Grant Assembly 83 Meets
the frst Thursday of the month
at 7:00 at the Westerville Public
LIbrary, 126 South State Street,
Westerville, Ohio. For more in-
formation contact: sparlette@att.
net or go to: www.ring7sam83.
org
88
MAGIC
PICNICS
ANN ARBOR/YPSILANTI,
MI It was not the best day for
a picnic, with rain off and on;
the grass was wet! Good thing
we held our Annual Corn Roast
at Faith Lutheran Church (our
regular meeting place) this year
so we could come in out of the
rain. Our members also had the
Stage Magic Teach-In
ASSEMBLY NEWS
16 M-U-M Magazine
pleasure of some of the congre-
gation as an audience.
Im not sure if it was the
weather or not, but not many
of our members showed up;
they really missed a great time.
Good food, fellowship, and an
audience of mostly lay-people,
what more could you ask for.
Now for the magic: Tony
Saputo started out with a
routine with the Stoplight Balls,
Dan Jones did the Pom-Pom
Sticks, Angelina Placido had
a cute Professors Nightmare
routine (about a noodle maker),
Angelina father, Jim, did his
famous rope with no ends trick.
Marvin Mathena had a nice
trick called The Sands of Time,
in which a chosen card appears
out of the bottom of some sand.
I brought a couple of Gospel
magic tricks, the King of Hearts
and Daniel and the Lions (a rope
trick in which Daniel escapes
the lions). Gordon Schott did
the very funny Die to Hat trick.
Finally, Bill Brang performed
the Dream Bag and the Color
Changing Wreaths.
We had a lot of fun and
laughs. Dont let the rain
spoil your day, move inside
where its warm and dry!
Randy A. Smith
Hank Moorehouse Assembly
88 meets second Wednesday at
7PM Faith Lutheran Church,
1255 E Forest Ave, Ypsilanti,
MI. Randy A. Smith, Phone:313-
562-3875. Email randy.remark-
able@gmail.com or visit www.
aamagic.org for more details.
92
MAGIC BY
MEMBERS
READING, PA Present
were members Tony Bialy, Dan
Munsell, Ryan Parsons, Michael
Reist, Todd Kent, Harold
Guinther, Ryan Adamowicz, and
Robert Remaly. A moment of
silence was held and the treasur-
ers report was given. The only
major old business discussed
was the upcoming Kutztown
Convention. The line-up is
almost fnalized; the convention
is always the second Saturday in
November.
Rev. Michael Reist (The
Amazing Magi) reported that the
beneft magic show for Habitat
for Humanity held May 7 raised
$3,015; over its four-year history
we have raised over $10,000.
The clubs next major beneft
show, the annual Alexs
Lemonade program Magic
for Miracles is being held on
Sunday, September 18. Further
good and welfare included
shows coming up in the Tri-State
area, reports on the health of
members families, and a big
welcome back after surgery for
member Bob Remaly. Finally,
Rev. Reist discussed his week
at the annual Kidabra Conven-
tion, including the wonderful
show in Pigeon Forge by Terry
Evanswood.
Now on to the magic: First up
was Rev. Mike, who did a routine
with a GI Joe, patriotic music,
and cards, a routine he is devel-
oping for his family and patriotic
shows. Next up was Todd Kent,
who did a very entertaining
version of Bank Night he is de-
veloping. Dan Munsell followed
with an entertaining ESP Predic-
tion and then a blindfolded pre-
diction. Ryan Adamowicz did a
fne Matrix routine, and last, but
certainly not least, Bob Remaly
closed out the magic with a
one-dollar card trick utilizing a
variation of the Tree of Hearts
routine. Michael L. Reist
Assembly 92 Meets at the
Mingus Magic Shop on the third
Monday of the Month at 7:00
PM.
94
DID I SAY WHAT
YOU THOUGHT I
SAID?
SILICON VALLEY, CA Our
August meeting was preceded
by a Learners Workshop on
a version of Rosinis Double
Reverse, taught by Kim
Silverman with permission from
Eugene Burger.
The main meeting began with
a discussion of equivoque, led by
Ken Gielow. Ken provided notes
and illustrated applications of
the technique with performance
clips from Max Mavens Multi-
plicity. Stan Sieler concluded the
discussion with an example of
using equivoque together with
outs by performing BWave.
Phil Ackerly started the
formal performing portion of
the meeting with a routine from
his summer library shows, using
Russian nesting dolls, some
ladies rings, and a charming
story. Hugh McDonald
performed a Cups and Balls
routine with two cups (and his
beard, of course). John Jones
demonstrated his lie-detecting
ability using a deck of cards and
a typically honest spectator. Alan
Leeds presented a very funny
rope routine. Kim Silverman
did a three-phase card routine
in which he repeatedly matched
or predicted spectators chosen
cards. Phil Ackerly fnished the
night with another of his current
routines, using a rope and a vase.
If that makes you think of a
Prayer Vase, youre partly right.
In the last couple of months,
Assembly 94 has sponsored
a couple of great lectures for
our members and the Bay Area
magic community. In May,
Eugene Burger presented a
lecture and a special small-
group workshop. Paul Draper
provided two workshops, as well
as a lecture that started with a
short show.
A while back, our assembly
president, Kim Silverman, gave
a pretty terrifc presentation on
Making Magic Meaningful at
a TEDx event in San Jose. To
see a video of this presentation,
go to http://tinyurl.com/3jjtpd7
Joe Caffall, Secretary
Assembly 94 meets at 7:30 PM
on the second Monday of each
month. At this time, our meeting
location varies from month to
month. Email jocaff@pacbell.
net for current info. Meetings
are preceded by a Learners
Workshop at 6:30.
95
SUMMER
ACHIEVEMENTS
VANCOUVER, CANADA
Assembly 95 takes a break from
regular meetings during the
summer, so this is a combined
July and August 2011 news
report. Several Assembly 95
members recently returned from
the S.A.M. national conference in
Pittsburgh. This year the S.A.M.
Contest of Magic was also the
frst ever FISM North American
Championships of Magic. Henry
Tom and Rod Chow were proud
to have been selected through
the screening process to be able
to compete in this prestigious
contest, and both performed well
to the audiences delight. Rod
Chow was appointed by National
President Mark Weidhaas to be
RVP for Canada. At the end of
July the Vancouver Magic Circle
(VMC) became host for the
combined 2011 Pacifc Coast As-
sociation of Magicians (PCAM)
and Canadian Association of
Magicians (CAM) Conference
held in Coquitlam, BC, led by
PCAM and incoming CAM
president, Shawn Farquhar.
Assembly 95 was again the
presenter of their famous One
Hand Cut-A-Thon. Assembly
secretary Rod Chow hosted this
event together with guest host,
fve-time OHCAT champion Eric
Bedard from Victoria. Assembly
President Lon Mandrake chaired
the judging, together with head
judge, Ed Silva White and
Assembly 95 judges Dennis
Hewson and Jens Henriksen.
Winners of this fun contest of
prizes and certifcates were
Daniel Zach, Glen LaBarre,
and Shawn Farquhar. Daniel
also won the Crowds Choice
award. In the PCAM contests,
Nicholas Chow, Jack Chow,
and Rod Chow each won Gold
Medals. In the CAM contest,
Henry Tom won the Peoples
Choice Close-Up Trophy. Shawn
Farquhar was offcially inducted
as the new CAM president
outgoing president Joan Caesar.
The fnal event of the convention
was the Bag-O-Tricks contest
co-hosted by David Wilson and
Shawn Farquhar. Glen LaBarre
won second place with a very
creative routine. Rod Chow was
the hotel stage manager, and
had the privilege of introduc-
ing the lecturers throughout the
convention. Dennis Hewson
was assistant stage manager and
Jack and Nicholas Chow were
the sound and light technicians.
Thanks go out to professional
stage manager Steve Kline for
his experienced guidance; he
ran the fabulous theater shows
without a hitch. Thanks also to
all the VMC and Assembly 95
Randy Smith with three
volunteers
2011 Award Winners from left:
Rod, Nicholas & Jack Chow +
Henry Tom
ASSEMBLY NEWS
OCTOBER 2011 17
ASSEMBLY NEWS
members who contributed as
hosts. Special thanks go out to
the Farquhars, Shawn, Lori and
Hannah, for putting on such a
wonderful convention.
The day after the convention
was the annual VMC picnic.
New contest chair, Henry Tom,
hosted the unopened deck com-
petition. Congratulations to Lon
Mandrake who won the huge
trophy with a very baffing card
routine, with Henry Tom coming
in second. Rod Chow
The Carl Hemeon Assembly No.
95 meets the frst Tuesday of
each month at members homes.
Rod Chow rod@rodchow.com
(604) 669-7777 www.sam95.
com

108
BUSY
SUMMER
SOMERSET, PA We have
had a busy schedule the past
several months. In June the
adults performed for a beneft
for a new Arts Center that was
opened by the parents of one
of our S.Y.M. members. A nice
crowd was on hand to see the
magic of members Gary Weimer,
Dody-Jane Svetahor, Derek
Robey, Louis Paul, and Dan
Miller. Some of the highlights
were Garys egg bag routine,
Louiss snake basket, Dereks
haunted hndkerchief, Dans ring
in gumball effect, and the enter-
taining emcee Dody-Jane with
several effects with her huge
wand.
In July the youth and adults
had a family picnic. Louis Paul
was the emcee with his amazing
talking monkey. The young
magicians performing were
John Bammen with a card trick,
Aaron Trulick with his change
bag, and Brandon Benford
with his Dlites. Gary Weimer,
Dody-Jane Svetahor, and Dan
Miller performed some of their
new magical purchases from the
S.A.M. national convention.
The S.Y.M. youth are preparing
for their public Cub Scout show
in October. The leaders are
working with them in putting
a routine together. This will
be their second public show
within a year. There is some
good upcoming talent to keep
Assembly 108 alive and well.
Dan Miller
The James Swoger Assembly
#108 meets at 6:00 pm, the
third Monday of every month at
Wheeler Bros.
112
A FUNNY THING
HAPPENED
CONCORD, CA We had
a nice crowd of guests and
magicians at our July meeting;
the theme was Stage Competi-
tion. Before the competition,
Ray Andrews won this months
attendance reward drawing. Ray
was also the one entrant for the
stage competition; he performed
a number of card manipula-
tions and tricks for the audience.
Mainly, he produced a bunch of
cards out of nowhere. And, as if
by magic, he won the contest.
Continuing a routine he began
last month, Rick Allen began the
off-theme magic by performing
a sponge-rabbit routine with two
sophisticated adults. Last month
he had performed a similar
routine with two kids. Next,
former member Doug Kevilus
performed an experiment in
mind reading, during which he
correctly guessed the cards of
four volunteers.
Rod McFadden followed with
an unusual card effect, the trans-
position of two selected cards.
The surprise ending had one
selection found unexpectedly
under Rods shoe. Bob Holdridge
then made a jumbo card vanish
from a large wooden card frame,
only to reappear in a previously
empty pouch. Visiting magician
Hank Morfn got our president
to donate a dollar bill for a
transportation of the greenback
to a Chiclets package, all with
Hanks not touching the packet
at all.
Bob Holdridge followed by
pulling out a large version of the
Stroop effect before administer-
ing the new Stroop Test, in which
the volunteer is asked to identify
the color and shape in a series of
boxes while ignoring the printed
words below the shape. Bob then
moved on to presentation of the
Trick of the Month, which he
calls Symbols n Numbers, and
which, of course, was created
by Bob. The effect is to make a
correct prediction using a card
with several symbols.
Jerry Barrilleaux performed
a You-Do-As-I-Do topsy-tur-
vy bottle effect with a guest,
who cracked up into hysteri-
cal laughter when she could not
replicate Jerrys placement of
the bottle in the tube. At that
point, Douglass the MagicMan
pranked a volunteer with spring
snakes, then proceeded to
perform a McCombical routine
with oversized cards.
To calm things down, Sam
from the S.Y.M. had Roy Porfdo
select a card, which Sam was able
to identify later. Our president,
the MagicMan, completed the
magic of the night by using a
sword to skewer a guest under
the guise of providing him with
a haircut. Neither the guests
hair nor his neck was shortened.
Dave Anderson
Diablo Assembly #112 meets on
the third Wednesday of every
month at the Round Table Pizza
in Concord. Doug Kovacich
d o u g l a s s t h e ma g i c ma n @
hotmail.com (925) 435-4824
http://sam112.com/
118
CHILDRENS
DAY
NASHUA, NH This August,
our assembly was invited to take
part in Summerfest 2011 Chil-
drens Day, a state and national
award-winning program whose
objective is to provide quality
entertainment and activities to
the families surrounding greater
Nashua at no cost to the individu-
als. Since last years Childrens
Day was so well attended, we felt
that this would be a wonderful
opportunity to generate interest
in the art of magic and possibly
ignite a spark in a few individu-
als to inquire about becoming
members of our assembly.
Crowds gathered continu-
ously at our table in the park
and were totally mesmerized
by the amazing effects that
were performed by members of
our assembly. Joey Aces (Tom
Andreoli) amazed the crowds
with his skill in changing colors
of a handful of playing cards
and Don Sanborn mystifed the
crowds with several routines
that displayed the prowess he
has developed over the years.
Josh Heinzl baffed young and
old alike with several amazing
card effects, while Ken Wilson
totally befuddled all with his
astounding silk routine. Lord
Blacksword (Joe Caulfeld) spun
engrossing tales as he performed
his mystical bizarre magic
effects.
On stage, Josh Heinzl pen-
etrated a soda can with a marked
coin, much to the amazement of
all and Lady Blacksword (Kathy
Caulfeld) and her amazing
mind-reading dog Baxter
selected the card that had a
picture of his favorite treat while
he was blindfolded. The event
was well-attended and turned
out to be a great chance not only
to display the many talents of our
assembly, but also to advance,
elevate, and preserve magic as a
performing art. Ken Wilson
Assembly 118 meets at the
Nashua Church of Christ, 97
Farley Road, Nashua, NH 03063.
Joe Caulfeld sam.nashua@
gmail.com (603) 505-8749
127
YOUR
FAVORITE
MAGIC TRICK
WALLINGFORD, CT A
short NEMCON report was
given by Bill Hoagland; he said
we are a little behind and we
need to meet to get caught up.
We had our annual picnic at the
Hoaglands house and everyone
who attended had a good time.
We didnt have a large group
for the meeting this month;
summers are always light.
But most people performed.
Our theme was Your Favorite
Magic Trick. Chick started us
out with a rubber band trick he
just learned in M-U-M; we all
took a try after he explained it.
Dick Hodes did the classic Tree
of Hearts his version, very en-
tertaining. Jim did several little
things, including Color Monte,
and he talked about some of his
dice moves. Next, Pat Guida
came up and showed us a great
card trick; he told us it was in
Lady Blacksword (Kathy
Caulfeld)
Ray Andrews produces many
cards he pulls from nowhere
during his winning routine.
ASSEMBLY NEWS
18 M-U-M Magazine
The Royal Road to Card Magic;
I am sure everyone went home to
look it up. Mike was next up with
a psychic numbers prediction. It
was very fooling and when he
explained it, very easy, Thanks,
Mike. Finally, Bill Hoagland
did a card trick he can do with
anyones cards, any time. He
called it the Dream Card Trick.
He picked a card out before the
trick started and it ended up
being the card counted to during
the routine. We had a good night
of magic and everyone had a
good time.
We held our annual picnic at
Kim and Bill Hoaglands house;
there was lots of good food
and magic after the meeting.
Everyone contributed and we
had lots of fun. Thanks were
given to them for their hospital-
ity. William Hoagland
Assembly 127 meetings are held
the third Tuesday of the month at
Libero Pensiero Society in Wall-
ingford, CT.
128
LOTS OF
MAGIC
GREENSBORO, NC The
July business meeting was kept
to a minimum, with the major
discussion concerning what to
do with a large donation of items
to the club from Matt Peacock.
It was decided to auction it off
with all proceeds going to the
club treasury. That will be at the
September meeting.
Noah Gray showed a rice paper
ball that he infated. First the ball
jumped from his lower hand up
in the air and landed in his upper
hand. The ball then foated hand
to hand. Noah even passed his
hand over it as it foated. Lanny
Miller opened his routine by
handing out a lighter; he asked a
spectator to light a candle. Much
to the spectators surprise, the
lighter exploded this was not
for the weak-of-heart! He then
showed some cards with various
numbers on them and had two
spectators think of a number
that they saw. Taking a blank
card, Lanny wrote down two
numbers, and, of course, they
matched! Lanny then showed a
cute silk routine using a change
bag with an anti-drug theme for
school children.
We had a young visitor, Hunter
Sandlin, attend for the frst
time and he wowed us with his
mastery with rubber bands. A
rubber band that was around his
hand jumped up onto a specta-
tors out-stretched hand. Hunter
showed several tricks with rubber
bands all of which showed that
he has been studying!
James Alcon had a dollar bill
and a pen examined and poked
the pen through the bill. To
remove the pen, he folded the
bill and ripped the pen out. The
pen was passed for examination
again and the bill was shown
to be restored. James showed
a Jay Sankey routine that used
a drinking straw and wrapper.
Removing the wrapper from
the straw, a spectator was asked
to draw a little stick fgure on
it. Rolling it into a small ball,
it was placed it the end of the
straw and lit with a lighter. In
a fash of light, the cannonball
traveled to his other waiting
hand, which now contained
the paper. To prove it was the
same drawing, it was handed
to the spectator who drew it
a great little restaurant piece!
James Alcon
Alcons Gate City Wizards
Assembly # 128 meets the last
Tuesday of the month at 1207
Westminster Drive, Greensboro,
NC.
129
MAGIC
AUCTION
PENSACOLA, FL The
Gulf Coast Magicians Guilds
August meeting started off with
Gene Burrell teaching us how
to utilize those old Mardi Gras
beads in magic. Wow, thanks,
Gene, for sharing your ideas.
President Nathan Nickerson
called the meeting to order. The
business topics: the up-coming
lecture by Barry Mitchell, the
kids magic show, the awards
banquet, the public show, the
club picnic, the clubs new
Web site (gulfcoastmagic.com)
and the clubs new credit card
machine. Members info: Billy
Countryman attended Kidabra
and brought the club back a
signed poster from Duane
Lafin. Dale Bosarge attended
MAGIC Live and Noelle Paige is
performing in Chicago.
We held our monthly raffe with
over twenty-fve magic items up
for grabs; thanks to everyone
who purchased tickets and/or
donated items. Thanks to Betty
Broomall and Joan Moody for
taking care of the refreshment
table and to all who brought the
goodies. Thanks to Isaac Brady
for taking care of the club library
and selling all those raffe tickets
and to Nathan, Isaac, and Megan
for conducting the raffe.
The Theme for the night was
Magic Auction bring your
magic and auction it off. A few
dollars were made; thanks to all
who participated.
Charles Moody shared with
us his color changing sugar
packets. Jeremy performed
coins across, Billy Countryman
showed off his new palm ball,
Nathan Nickerson did a new card
effect. If you were not there, you
missed it! Jeff Sobel showed us
a great rings-off-string routine.
Dave Kloman fnished off the
night with his coin off rope.
Thanks to all who attended.
Bill Metsch
The Gulf Coast Magicians
Guild Assembly 129 meets the
3rd Thursday of the month at
the Bay View Senior Center,
Pensacola, Florida. At 6:45 pm.
Nathan Nickerson nate@nathan-
nickerson.com (850) 377-8659
www.gulfcoastmagic.com
138

MENTALISM
FT. WORTH, TX The
August 2011 meeting of the Fort
Worth Magicians Club featured
mentalism. President Bill Irwin
and Program Chair Ash Adams
started off the meeting with a
tandem Do as I Do mental card
trick. Next, Bill Irwin presented
the Order of Merlin Excalibur
award to Bob Utter for ffty un-
interrupted years of service to
the International Brotherhood of
Magicians.
Michael Dimsdle shared
information about Doc
Seatons www.magicside-
show.com, which he will be
performing at in Austin, TX.
To start off our mentalism
program, Geoff Grimes shared
two card routines, including
Osterlinds Card Calling. Dr.
Richard Pemper had a spectator
choose a number on a large die
and cover it; Dr. Pemper was
able to name the number each
time in a different way. Libby
Sharpe performed her qualif-
cation act, which was a fortune
telling routine; she became the
newest member of the Fort Worth
Magicians Club. Larry Heil
performed his version of Merv
Taylors Ultissimo and a number
prediction routine with three vol-
unteers. Larry suggested reading
the Mental Epic Compendium
by Paul Romhany and shared
his thoughts on Mental Epic.
Mike Ince gave a mini-lecture
on Mentalism. Mikes defni-
tion of mentalism is the simula-
tion of paranormal abilities. He
talked about the various types
of mentalism effects, including
telepathy, clairvoyance, psy-
chokinesis, and precognition.
He spoke about the history of
mentalism, which has its roots in
spiritualism; he also discussed
the differences between
mentalism and mental magic. We
had a discussion about whether
a performer doing mentalism
should have a disclaimer in
their show stating that what
they do is not real. Then Mike
performed a Q&A routine. Mike
suggested for those that want
to delve more into Mentalism
to check out Corindas 13
Steps to Mentalism and Bob
Cassidys Art of Mentalism.
Al Fox
SAM Assembly 138 meets
on the frst Thursday of each
month at 7:00 P.M. at the
Tarrant County College River
Campus. Al Fox fortworth-
magiciansclub@hot mail.com
www.fortworthmagiciansclub.
org
157
DECISIONS
AND MAGIC
BEAVER, PA Decisions
were made for the Steve Marshal
lecture, the fall picnic at Bradys
Run Park, a possible lecture by
Keith Fields, and Magiac Expo
in Weirton, WV. A committee
was chosen to pick slate for
offcers for 2011/2012.
Judy Steed emceed the per-
formances. Merlin Oldhouse
performed his frst trick for
membership. He did a coin trick
in which a coin disappears,
reappears, multiplies, and fnally
vanishes. Anthony Caprizzi
II performed his frst trick for
membership. He did a card trick
with a participant helping with
the division of the cards. Rich
Howard did a new presentation
of Two Card Monte using a Joker
and two other cards.
Doug Ries presented the Sym-
Chick Kelman performs a trick
from M-U-M
ASSEMBLY NEWS
OCTOBER 2011 19
ASSEMBLY NEWS
pathetic Matchboxes. Don
Moody made the Absconding
Card from the July M-U-M. A
silk is placed through a card in
a frame. When pulled through,
the scarf has the image of the
card on it, and the card is blank.
Jim Tate showed fve one-dollar
bills, changed them to fve fve-
dollar bills, and then changed
them back. Frank Kietzke told
a story about the Bible with a
CD (Jesus) that he placed in a
wooden frame with two doors.
The CD vanished and appeared
in the CD case.
Edde Ace did a rope trick in
which he had a participant cut
his rope in half. Two participants
held the ends of rope. Eddie
passed his hand over center,
and the rope was restored. Tom
Chidester performed the Magic
Switchboard, an amazing trick
with four different colored light
bulbs.
Ray Lucas showed a paper
bag and a bottle of Coke. Ray
placed the bottle in the bag,
and then crumpled the bag. The
bottle was gone. Bill Cornelius
told a joke about a juggler and
a drunk. Then he put a spoon
in an envelope, shoved a knife
through the spoon in envelope,
and then removed spoon,
which had turned into a fork.
Judy Steed
Assembly 157 meets at the
Towne Square Restaurant in
Beaver, PA, the second Thursday
of every month. Judy Steed
heyjude1943@msn.com (330)
525-5389
168
GET OUT
OF THE HEAT
PARSIPPANY, NJ Our July
meeting was the annual get-out-
of-the-heat meeting, so we met
at The Wonderfun Magic Shop
in Pompton Lakes, NJ. Shop
owner Scott Morley, who is a
lifetime member of S.A.M., gra-
ciously invited us to his store.
Being the owner of one of the
dwindling brick-and-mortar
shops, Scott gave some history
of his shop along with future
plans for the store. His inventory
was limited, but with a strong
desire to support the shop many
members took advantage of the
huge discounts Scott offered and
made it a fun night for all.
The theme for the evening
was demonstrationsand
our members came prepared.
First up, S. Patrick showed the
Meir Yedid Perfect Prediction.
Resident pitchman Al Callus
showed The Trick that Cant Be
Done and entertained all. Bill
Hamlin showed a variation of
Bro. Hammans card routine,
using the Gemini Count. Joe
Garsetti, being fascinated by
Tommy Wonders material,
showed an effect using an egg and
a deck of cards. Our surprise for
the evening was a mini-lecture
by master magician Bill Wisch.
Bill demonstrated several card
effects, including a variation of
Slydinis Oil & Water. Finally,
Chris Smith showed off his
routine using Passport and a
few other gimmicks. It was an
excellent meeting, and we stayed
cool all evening. If you have a
chance, visit Scott at the shop
and say hello.
Assembly 168 meets on the 4th
Wednesday at 7:30 PM in Parsip-
pany NJ. For more information
go to: www.sam168.org/

174
RALPH
GREENWOOD
ASSEMBLY
IS BACK!
AUGUSTA, ME Things
are becoming more active with
the Maine S.A.M. For the last
year and a half weve only met
on special occasions, such as
the annual auction and a special
lecture or show. After more
than a year without a regular
monthly meeting, the Maine
S.A.M. assembly will again hold
elections and regular meetings,
joining the fellowship of the
currently unaffliated magic
group the Maine Magic Kings
in Augusta, Maine. The Magic
Kings have successfully met and
shared friendship and magic for
the past two years and have
had no offcial offcers. It will
now be a requirement to be a
member of National S.A.M.
and International I.B.M. to
hold offce with the group. The
Ralph Greenwood Assembly 174
will represent the S.A.M. in the
Magic Kings.
We welcomed our guest
for the meeting, newly
appointed Regional Vice
President Joseph Caufeld and
his most gracious wife, Kathy,
who are also known as Lord and
Lady Blacksword. Our meeting
with the Kings was full of great
magic and ideas, and started off
with a mental color block predic-
tion called Eternal Reoccurrence
by Mr. Caufeld. He followed
with a piece called Jack, with his
wife Kathy getting the credit for
making the visual props; it was a
story woven around the mystery
of Jack the Ripper, in which
a victim vanishes and a garter
appears.
Bob Rand was up next with
Hank the vanishing silk; it didnt
disappear, but turned out to
be wearing a green jacket. As
a fnale, a golf ball appeared.
Scot Grassette explained the
importance of treating your
audience correctly and displayed
Doc Easons Screwed-up. Brian
Taylor showed us a version of
Out to Lunch in which a signed
card with a picture of a soccer
ball vanishes off the card and
turns into a real ball. Carroll
Chapman presented a cell phone
prediction and Grandpas Coins.
Alan Drew had some nice tips
with the business of magic and
showed us the new table he built.
He also demonstrated a great
way to trick out a salt shaker to
perform some real miracles. Wes
Booth displayed some nice card
manipulation and performed a
works in progress with Impos-
turous Princess.
Following the meeting, the fel-
lowship continued at Pats Pizza
for food and drinks and more
magic! Scot Grassette
Ralph Greenwood Assembly
#174 meets at 3:00 on the frst
Sunday of each month at the
Kennebec Church, at 5 Glen
Ridge Drive, Augusta Maine.
grassette@gwi.net
181
AUGUST
PLANNING
MEETING
HIGHTSTOWN, NJ
Assembly 181 doesnt meet
in July or August, but we did
have a planning committee
meeting in August at our new
presidents house. Attending
were: President Stephan Sloan;
Vice President Dave Zboray,
and our Dean, ERYX. The frst
order of business was a dis-
cussion concerning insurance
for the assembly. This came
about when the church where
we meet wanted to know if we
were insured. Our research into
the subject revealed that such
insurance was too expensive
for a group of our size, costing
somewhere between $500 and
$1,000. ERYX talked to the
Pastor and was able to resolve
the matter.
We then reviewed a list of
over seventy possible meeting
topics compiled by ERYX. We
have ten meetings a year, so we
really had to do a lot of choosing
and trimming to whittle the
list down. In some cases we
combined topics to broaden the
subjects to be covered. It was
decided that we would get ten
different members to head up
a twenty-minute workshop on
something related to the meeting
topic for each month. Then, other
members could contribute their
performances as it related to the
months topic. In this way we
hope to get everyone involved,
even if the topic is outside
their current comfort range.
The objective is to expose our
magicians to different facets of
magic and hope they will learn
from others. ERYX
We will post a listing of our
meetings and other information
on our web site. magicsam181.
com. Starting in October our
meetings will be on the frst
Thursday of the month. We
meet at 7:00 PM at the United
Methodist Church of Hight-
stown, NJ, 187 Stockton St.
184
SUMMER
MAGIC GALA
ISRAEL The joint summer
magic gala of Assembly 184
and the Israeli Magic Club took
place on August 18 at the Hollon
Theatre. The event was opened
by close-up magic and balloons
designs in the foyer. Zivi Kive
made a very nice balloon models
that after the event were donated
to a kids hospital.
The gala performance was
opened by S.A.M. member
Shay Nasy, who presented an
excellent act with doves doves
from wands, fre, feather, and
appearing doves cages. Pepo the
magician performed with a nice
foating table routine.
Gay Braca gave a nice new
original routine by taking out
from an empty safe a magic hat,
fowers, Chinese lamps, and
confetti. Young Idan Kaufman
did a fowers routine and a
foating candle. Eyal Bayer did
a three electric ropes routine
and a mental trick. Amit Choiri
did a nice comedy routine with a
dancing silk.
Zivi Kivi showed a very funny
Banana and silk routine. Roei
Laofer performed a cabaret
magic act with a wand through
his assistants head. Shahar Livne
offered a shade illusion with his
assistant appearing. Chris La
Artist did a funny card routine
and Tomer Dodai closed the
show by foating his assistant girl
on a lighted stick. We had a great
ASSEMBLY NEWS
20 M-U-M Magazine
summer magic event. Shalom!
Yosi Notkowitz
For assembly information email:
notko@012.net.il
200
SUMMER
MAGIC
SEATTLE, WA Despite
it being a beautiful summer
evening in August, our meeting
had a nice turnout. It started
off with Larry Dimmitt fooling
some of us with ACAAN by
Barrie Richardson. Good job,
Larry.
Next up, Mark Paulson tried
to infuence new member Bill
Murray to choose a card from
a brand new deck. When Bill
named the Three of Clubs, Mark
took it out of the deck and placed
it in his breast pocket. Mark
showed that he was using a blue-
backed deck, but when he turned
over the chosen card, it had a red
back. This was Richard Oster-
linds RichardWave.
Bill Murray then asked for
some routining ideas for a card
effect he is currently working
on before he travels to England.
He showed us his effect, and
several members gave him some
excellent ideas on patter and
blocking.
Roger Slywester showed us
a clever effect featuring Texas
Hold em, which he had learned
from an old Linking Ring
magazine. The spectator picked
one of six hands of poker, and
it turned out to be the winning
hand.
Chuck Kleiner performed an
amazing three-phase prediction
routine that included a book test,
a magic square, and a number
that was created by adding
up three different spectators
three-digit numbers. This was a
fun effect, as it involved lots of
people to come up with the pre-
dictions.
Fred Turner showed us a bowl
and ball routine using one bowl,
some sponge balls, and his
magic wand. The fnal load was
a pack of cards, which he used to
do a card in wallet effect.
Last up was Ralph Huntzinger,
who demonstrated some Renais-
sance-themed magic, utilizing
an old wooden block with a hole
in it, a rope, and an entertain-
ing story about the class system
during the Renaissance period.
Mark Paulson
The Emerald City Wizards
Assembly 200 meets at 7
p.m. on the frst Thursday of
each month at a King County
Library Branch. Check our
website for meeting locations
www.emeraldcitywizards.org or
Jim Earnshaw at jimearnshaw@
comcast.net
226
MAGIC
TO DO WITH
COMMON ITEMS
WILLIAMSBURG, VA
There is a tradition in the
Baker Temple Assembly 226
of members serving as guest
lecturers. At the July 27
meeting, Harold Wood taught
several magic tricks to assembly
members and the evening was
a delight to everyone who
attended. We even had two
young magicians visiting our
assembly this month.
Harold started off with his
presentation of the Invisible
Deck. Harold had not only a
poker-sized deck but also a
large Invisible Deck for stage or
parlor presentations. One of the
members said he had never been
able to do the Invisible Deck, so
Harold graciously explained it.
Next, Harold demonstrated
the Ghost Box, in which a
totally empty black shoe box
is displayed and then several
brightly covered silks are
produced from it. Not only
did he perform the illusion, he
provided tips on creating ones
own Ghost Box. Other great
tricks shown by Harold were:
Cords of Fantasia, which he
credited to Tarbell; a mentalism
illusion using envelopes and
coins; and a bill switch that used
a hole punch and a dollar bill.
After the lecture, there was
time for Magic by Members.
Members Watt Hyer (ESP
mentalism), Alexander Goldberg
(teleporting quarters), and
Michael Heckenberger (cards)
performed. In addition, guest
Joseph De Paul did a great pre-
sentation of a John Ramsey coin
routine using a wine glass.
The business portion of the
meeting addressed two future
programs. The frst is a ticket
admission magic show for the
public planned for April 1, 2012,
at the Kimball Theater. We
hope to approve going forward
and signing the contract at the
August meeting. The second is
the assemblys participation in
Williamsburg Area Learning
Tree (WALT) by teaching four
classes in magic this October
and November. We hope to gain
some new members though this
initiative.
On a personal note, I was on
business in Dallas in July and
managed to attend the July
meeting of the Dallas Magic
Club (a combined S.A.M.
Assembly and I.B.M. Ring) and
had a wonderful time. I strongly
recommend visiting other As-
semblies if and when the op-
portunity presents itself. Amy
Goldberg
Meetings are generally held at
7pm on the 4th Wednesday of
each month are in room 009
(basement) of the Williams-
burg Presbyterian Church at
215 Richmond Road, Wil-
liamsburg 23185. Phil Thorp
assembly226@gmail.com (757)
229-2329 http://sites.google.
com/si t e/samassembl y226/
Home
252
COMEDY
MAGIC
FAIRFAX, VA Everyone
was in good humor at the August
meeting as Comedy Magic
was the theme.
One of our newest members,
Wayne Spillner took to the stage
early to show us his interpreta-
tion of humorous mentalism
combined with fnancial respon-
sibility. Tom Bohacek took to
the stage and continued on the
monetary theme with his coin
prediction. His mental skills
were also accurate and his
bank account, although small,
matched his prediction, as the
audience accurately guessed
how much money was in the
sealed packet.
Geoff Weber brought his favor
of coin magic to the stage wait
a minute! It was supposed to be
comedy night, not coin night!
Well I guess the joke was on us
as Geoff asked his participant to
write down one of three amounts
listed on a piece of paper. Geoff
then emptied his pockets to show
that he had the correct amount,
well almost. We thought he was
shy ten cents, but he quickly
fooled us as he produced another
dime a very large dime to
make up the missing amount.
Alan Wheeler regaled us with a
story about his diffcult morning
as he discovered that the family
pooch had shredded his morning
newspaper. With a little magic,
all was well; he deftly restored
the paper good as new in full
view of the membership. Card
master Alec Negri fooled all of
us, because we were expecting
a funny card trick. Instead he
visited a hardware store, bought
some rope, and performed a
trick with it.
Our SYM members Avi Littky,
Drew Kennerly, and Jack
Avakian flled in the evenings
entertainment with samplings of
card and coin magic they have
been practicing on their own and
learning at the S.Y.M. meeting
that precedes the regular
meeting.Scott E. McDonald
NOVAMAGIC Assembly 252
meets the third Thursday of
each month at the Knights
of Columbus Hall behind
St. Leos Catholic Church,
3700 Old Lee Highway,
Fairfax, VA 22030. Keith Pass
magicalpass2@aol.com (703)
904-9138 www.sam252.com
266
SURPRISE
LECTURE NIGHT
Harold Wood performs
a mentalism act with coin
envelopes and coins.
Post meeting impromptu
card session
ASSEMBLY NEWS
OCTOBER 2011 21
LAKELAND, FL The
regular monthly meeting was
called to order by President
Edward McGowan at 7:00 p.m.
on Monday, August 9, 2010. The
regular business was cut short,
because of the Wallace Murphy
lecture. As expected, there was
standing room only. This is the
largest group we have had attend
our meeting.
Wallace started his lecture,
called Keeping it Real, with
a coin trick, followed by a rope
trick. The effects Wallace dem-
onstrated were all useful for the
average worker and his method
for teaching was excellent and
very easy to understand. Mr.
Murphy did coins, ropes, cards,
and a mixture of tricks that use
ordinary objects found in homes,
restaurants, and back rooms at
any IHOP restaurant. This was
truly a great lecture by a real
gentleman. If Wallace Murphy is
ever in your area doing a lecture
you surely would not want to
miss it.
We took a break and shopped;
Mr. Murphy had some great
magic for sale. It was great seeing
the room full. The meeting was
adjourned and we broke into
small groups and practiced what
we had just been taught. Elmo
Bennett (Acting Secretary for
regular Sec. Al.)
Jim Zachary Assembly 266
meets the second Monday
of the month at 7PM at the
Lakeland I-HOP, I-4 & US
98. For more info contact Al
DAlfonso at keeper0499@
embarqmail.com
274
CARD MAGIC
NIGHT!
BOCA RATON, FL On
August 1, with popular Gene Fein
as emcee, our members enjoyed
learning fabulous new tricks
while attending Card Magic
night. Barry Rubin showed us
the Gilbreath Principle, ending
up with every two cards in
the deck always being red and
black. Funny and talented Billy
Byron did his fawless version
of Brother Hammans Final
Ace Routine. Vice Pres. Arnold
Rosen amazed the members by
doing a card trick called Ten
Exact Cuts, in which he divided
the deck into ten piles of cards,
each pile having one through ten
cards. Simon Carmel did a great
card trick in which a number is
picked between ten and twenty
and the chosen card is discov-
ered at that number. Simon also
did a unique routine Ace cutting
routine.
President Mel Panzer again
demonstrated his amazing
ability with cards using the Si
Stebbins card control system.
Phil Labush did a wonderful pre-
sentation of the torn and restored
Chinese laundry ticket. Gene
Fein showed us a new trick using
a pecking chicken to help do a
special card routine. He also did a
unique signed card illusion from
M-U-M. Harold Greenbaum,
the Dean of our assembly, did
a super card trick, fooling the
members when he turned over
the one chosen card out of ffty-
two. Henry Epstein dazzled us
with his giant cards that were cut
in half; the two half cards picked
by the spectator matched his pre-
diction in an envelope.
Arnold L. Rosen
Assembly 274 meets at the JCC
in Boca Raton, FL the frst
Monday of each month. Contact
President, Mel Panzer (561)
304-7091
291
YOUTH NIGHT
FOR THE
WESTSIDE WIZARDS
VENICE, CA The Westside
Wizards hosted a Youth Night
with all the performers from the
Westside Junior Wizards, S.Y.M.
Assembly Y141. In all, eight
young people performed for us.
As a special added treat Second
International Vice President
Kendrick Ice McDonald was
in attendance. All last names of
the youth have intentionally been
omitted at their parents request.
Jerry, age 13, opened the show
doing what he called Cups,
Cards, Fire and Dove. Next Jerry
performed his rendition of Six
Card Repeat; when he was done
the foor was full of cards. Then
he performed a Silk Fountain
that went into the Vernet Flame
followed by Tony Clarks Glove
to Streamer. He fnished his act
by producing a live dove.
Twelve-year-old Marley (who
has been doing magic for only
six months) was up next. She
called on Ice McDonald to assist
her. She was able to decipher
which two cards Ice selected.
Marley then did a beautiful rope
routine that ended her perfor-
mance. Daniel, age thirteen, did
several card tricks, including
Cthulhus Aces, MacDonald
Aces, and Daniel Garcias .44.
Eleven-year-old Eddie enter-
tained us with a few packet tricks
before presented his version of
Sword in the Box. Eddie and his
friend Carlos built the box from
scratch and made the thirteen
swords out of Plexiglas. Carlos,
age eleven, also performed,
doing two card tricks for the en-
thusiastic audience.
Alexander, the twelve-year-old
card man, wowed the audience
with Angle Zero and a signed
prediction effect card effect.
This was followed by a predic-
tion trick using the calculator
function of the iPhone.
Thirteen-year-old Damien
did a fve-minute routine with
nothing but a piece of rope. He
bamboozled the audience with
his presentation of the Hunter
Knot. To close the show Mario,
age thirteen, did a three-minute
silent card manipulation act to
music.
Mario is this years recipient of
the S.A.M. Magic Endowment
Fund Scholarship to the
Sorcerers Safari Magic Camp.
He has competed for the last two
years at the I.B.M. convention
and is a member of the Magic
Castle Juniors program.
Congratulations and a job well
done to the members of S.Y.M.
Assembly Y141, the Westside
Junior Wizards, for a great night
of entertainment.
S.A.M. Assembly 291, Westside
Wizards, meets at 7:00 PM on the
2nd Tuesday of each month at the
Boys and Girls Club of Venice,
2232 Lincoln Blvd, Venice, CA
90291. For more information on
the Westside Wizards contact
Les Cooper at magicandmore@
gmail.com.
295
AUGUST
MEETING
ATHENS, GA Our August
meeting was our very frst ini-
tiation ceremony. In attendance
were Worthy Past President Todd
Herron, Vice President Jay Scha-
nerman, John Granrose, Laurie
Marchman, Jeff Williams, and
President Mark Hall. Neophytes
Diane Guthrie and Tony Ferrante
were escorted into the room
and stood before The Most Il-
lustrious. In good form, they
confessed their ignorance of the
Palm, Cabala, and Talisman.
They were handed a deck of
cards, which were glued together,
and a pair of permanently linked
rings. They were asked to dem-
onstrate their magical prowess
by performing a one-handed cut
with the deck and unlinking the
rings. Diane and Tony proved
their humility by humbly an-
nouncing to the group that they
were unable to perform these
feats. They swore the oath and
stood before us as Illustrious
Compeers! After learning of
our mysteries and traditions, we
closed the ceremony.
John Granrose generously
presented our new members
with a few back issues of various
magic magazines. John left for
England the following week,
where he will represent The
Athens Magic Club next month
at Palladium Magic, A Night of
100 Magicians. The night will
include a tribute to centenarian
John Calvert.
Jeff Williams demonstrated
a device that vanished about
six inches of his forearm and
vanished a Champaign bottle to
boot. After closing the meeting,
we entertained our host and
some customers.
Contact Assembly 295 President,
Mark E. Hall, at Assembly295@
yahoo.com for meeting dates and
times.
Assembly 291 group shot
GO TO:
WWW.MUM-MAGAZINE.COM
and use the easy submission form to
fle your report.
22 M-U-M Magazine
SOCIETY OF AMERICAN MAGICIANS
NATIONAL COUNCIL MEETING JULY 13, 2011
PITTSBURGH, PENNSYLVANIA (UNAPPROVED MINUTES)
The Society of American Magicians
National Council meeting was called to
order according to ritual at 9:21 a.m. by
Most Illustrious Mark Weidhaas. Chaplain
Michael Douglass gave the invocation.
MI Weidhaas acknowledged Past
Presidents Brad Jacobs, David Goodsell,
Michael Douglass, George Schindler, Dan
Rodriguez, Don Oltz, Harry Monti, Jann
Goodsell, Ed Thomas, John Apperson,
Andy Dallas, Bruce Kalver, Mike Miller
and later, Jay Gorham; also IBM President
Vanni Pul and IBM Past President Jack
Greenberg.
Minutes of previous meeting: PNP Brad
Jacobs moved that the minutes of the Nov.
6, 2010, be approved with the following
correction to replace existing wording
regarding the Jeff McBride Mystery
School: With the cooperation of Jeff
McBride, the Magic Endowment Fund is
able to offer a full tuition scholarship to
Mystery School. Motion passed.
Election Chairman Ed Thomas left the
meeting to count ballots.
REPORTS
(Full reports in Blue Book, unless noted
otherwise)
NATIONAL OFFICERS (all present)
Most Illustrious Mark Weidhaas
thanked all the offcers for a great year. He
later announced that reports would be out
of order because some council members
had obligations at the convention.
President-elect Vinny Grosso
discussed the S.A.M. All-Star Magic Show
he produced in June in Detroit Michigan.
It featured Grosso, PNP Mike Miller, MI
Mark Weidhaas, RVP Jania Taylor, two
S.Y.M. members and drew more than 2,000
over two days. The organizers have asked
him to put together another version of the
show next year.
First VP Chris Bontjes discussed the
new assembly handbook that is online and
his plans to continue efforts to add a magic
badge to the Boy Scout program.
Second VP Dal Sanders complimented
the RVPs for doing a great job and led a
round of applause for them.
National Secretary Marlene Clark
referred to her report in the book.
National Treasurer Mary Ann
Blowers reported that the S.A.M. ended
the fscal year with a $10,000 surplus of
income over expenses, despite the fact that
income didnt meet projections. She said
the proposed budget included some cuts,
but also included a $300 increase in each
RVP budget, which will help them attend
council meetings.
Motion: Mary Ann Blowers moved
that the S.A.M. accept a new budget of
$392,000 for fscal year June 1, 2011-
May 31, 2012. Discussion: None. Motion
passed.
Reports:
Administrative Regional Vice
Presidents Committee Chairs
National Administrator Manon
Rodriguez (present): see Blue Book report,
which stated that total paid membership is
5,147, a 1.75 decrease from 2010.
Young Members Program Director
Jann Goodsell (present) reported kids in
Oregon are already working and achieving
pins in the new Achievement Pin Program.
She said that the S.Y.M. has kids but needs
adult leaders.
RVP New England States
Tucker Goodman (absent): see Blue Book
report.
RVP North Atlantic Pat Colby
(present): see Blue Book report.
RVP Mid Atlantic David Bowers
(present) welcomed everyone to Pittsburgh.
He recognized Beaver Valley Assembly
157 for providing transportation and a list
of restaurants for council members and
led a round of applause for the assembly.
MI Weidhaas thanked Nick Carifo, Rich
Howard and Ed Brandistine for transporting
council members to and from the airport.
RVP South Atlantic Rick Hinze
(present): see Blue Book report.
RVP Central Plains Jania Taylor
(present) said she was happy to take part in
the All Star Magic Show in Detroit and that
members are trying to build the assembly
there.
RVP South Central Jeff Lanes
(present): see Blue Book report.
RVP Midwestern States Jeff Sikora
(present) congratulated Deputy Shawn
Rivera who got married July 2. RVP Sikora
is planning lectures to Assembly #38 and
Lincoln Assembly #293.
RVP Southwestern States Kenrick
Ice McDonald (present): see Blue Book
report.
RVP Northwestern States Michael
Roth (present) said the Jerry Andrus House
received unanimous approval from the
Oregon historical recognition committee
and has a good chance of being placed on
the National Register of Historic Places. It
would be the frst home of a magician to
make the Register.
Conference Executive John
Apperson (live report): the next Council
Meeting will be held November 3, 4 and
5 at the Double Tree Inn in New Orleans.
He would like the S.A.M. to proceed
with plans to hold a joint convention with
the I.B.M. in St. Louis in 2014. The dates
would be July 2, 3, 4, 5. He, PNP Brad
Jacobs and MI Mark Weidhaas would
serve as the S.A.M. representatives to the
joint convention committee, which would
also include IBM representatives Shawn
Farquhar, Joan Caesar and Obie OBrien.
Apperson also presented the Marriott
Downtown in Philadelphia Pennsylvania
for the 2015 convention, with a $110 room
rate.
Motion: PNP Brad Jacobs moved that the
council approve a combined S.A.M./IBM
convention in 2014 and authorize the
suggested convention committee, with
mutually agreed terms, to implement
the event. Discussion: None. Motion
passed unanimously.
Motion: PNP Brad Jacobs moved that the
S.A.M. National Council provide $3,000
in seed money for the 2014 Combined
Convention. Discussion: none. Motion
passed.
Motion: PNPJohn Apperson moved that
the Nation Council approve Philadelphia
for the 2015 convention. Discussion:
None. Motion passed.
SAMtalk Bruce Kalver (present)
reported that SAMtalk is 11 years old and
has 1,800 members who have made 32,000
posts. He encouraged members to send
him their email addresses to be included in
SAMtalk.
Technology Advisor Bruce Kalver
(present) reported that the new S.A.M.
application, MagicSAM, is on 1,300
devices and has been downloaded 864
times.
Dean George Schindler (Public
Relations, Houdini Fund, International
Deputy present) reported that the
2011 convention has received excellent
publicity. He also reported that the Houdini
Fund distributed $2,000 during the 2010-
2011 fscal year.
Assembly Visit Coordinator Kyle
Peron (present) received a presidential
citation from MI Weidhaas, who has
changed his title to Assembly Contact
OCTOBER 2011 23
Committee Chairman.
Chaplain Michael Douglass (present)
corrected his report in the Blue Book: he
is, indeed, attending the meeting and is
thankful to be in Pittsburgh.
Deaf Magicians Deputy Simon
Carmel (present): report in Blue Book.
Election Chairman Ed Thomas
returned to the meeting with the results
of the election. Of 159 ballots mailed, 61
were returned. One was invalid for failure
to follow instructions.
The results are as follows:
National Officers:
President-elect: Chris Bontjes;
First Vice President: Dal Sanders;
Second Vice President: Kenrick
McDonald;
Secretary Marlene Clark;
Treasurer Mary Ann Blowers.
Regional Vice Presidents:
Joseph Caulfield, New England;
Pat Colby, North Atlantic;
David Bowers, Mid Atlantic;
Debbie Leifer, So. Atlantic;
Jania Taylor, Central Plains;
Jeff Sikora, Mid Western;
Jeff Lanes, So. Central;
Michael Roth, Northwestern;
John Shryock, Southwestern;
Canada, Shawn Farquhar.
Ethics Marc DeSouza (present)
reported on work he has done this year
regarding exposure. He also has been
working on a revision to the code, to be
voted on later in the meeting.
Brad Jacobs (present, combined
reports):
Ambassador of Magic (live report). A
tribute to Hank Moorehouse will be held
today. Hanks son, David Moorehouse,
will be in attendance. The cast of the
troupe still performing in China have
provided flowers for the tribute.
Magic Endowment Fund (live report).
The net worth as of June 30 was
$768,000. In the past two years, the MEF
has shown an increase of about 21%. The
Houdini Fund reached a high of nearly
$418,000; the Endowment Fund portion
increased by about 5%. The MEF has had
only two or three new life memberships
a year, and cash flow remains a problem:
the MEF spent about $31,000 more than
what it took in.
Magic Camp: Three youngsters will
receive scholarships to attend Magic
Camp. The MEF didnt have suitable
applicants for Jeff McBrides class.
Monti & Jacobs Scholarship: Two
students will receive scholarships.
S.A.M.: The Trustees have donated
$12,000 to the S.A.M.
Hall of Fame and Magic Center
Foundation: Support to these 501c3
organizations included $2,000 to the
Hall of Fame.
Weekend of Wonder: the SYM Trustees
are planning a convention for Fourth of
July weekend in 2012, most likely on the
East Coast. The trustees have approved
10 fellowships to the convention.
FISM Liaison: The North American
Championships of Magic begins today.
The winners will be crowned Saturday
night.
Gifts & Insignia Craig Schwarz
(absent, report in Blue Book; live report by
National Administrator Manon Rodriguez).
She urged everyone to stop by the S.A.M.
booth for the new Phoenix Cards, scarves
and other items.
Good & Welfare Tony Antonelly
(present) read a letter from former National
Secretary Chuck Lehr. He also conducted a
door prize raffe, won by Char Gott.
Magic for Special Education Harry
Monti (present) reported that the fund
awarded a scholarship to a young person
whose name in Chinese means seeking
excellence.
Hall of Fame and Magic Museum
John Engman (present) referred to Blue
Book and added that about 22 volunteers
worked diligently to remove the museums
magic items from the contaminated bank
building to storage.
Heroism and Patriotism Award -
Bill Gleason (present) submitted the
committees guidelines for the award and
for the Sept. 11 National Day of Service
and Remembrance program. There are two
recipients for the Heroism and Patriotism
Award this year. He played a portion of
the audio presentation, We Remember,
and thanked PNP Michael Douglass for
his help in the project. He also announced
that his son Brian Gleason became a life
member at his Eagle Scout ceremony.
Insurance Advisor Jeff Miller
(absent, no report).
Investment Richard Dooley (absent,
report in Blue Book).
Legal Counsel Stu Schneider
(present), report in Blue Book).
Life Membership Clem Kinnicutt
(absent, Jean Kinnicutt reporting) referred
to his Blue Book report and congratulated
Brian Gleason on becoming a life member.
M-U-M Editor Michael Close (present)
said he was happy to be on board. He said
that the M-U-M sampler is available online
and that M-U-M got a rave review in www.
about.com. He credited the quality of the
magazine to the generous contributions of
people who donate their time and efforts to
write for it.
Magic Center Foundation Inc. Phil
Milstead (present) in an attempt to keep
his report in fve words said, We have
a magic center! More information is
available in his Blue Book report and in a
video that will be shown on Saturday of the
convention.
Marketing Marketing & Branding
Vinny Grosso (present, report in Blue
Book). He said the S.A.M. style guide is
available online. He encouraged members
who communicate on behalf of the S.A.M.
abide by the style guide so that the S.A.M.
will have better brand recognition.
Advertising Dal Sanders (present)
said that the S.A.M. is on Facebook and
asked members to click like, so he could
track traffc.
Membership retention Kelly Peron
(present, report in Blue Book.)
Membership Promotions Chris
Bontjes (present, report in Blue Book.)
Media Librarian Ken Grady (absent,
report in Blue Book).
RVP Canada Shawn Farquhar (present,
report in Blue Book) said that in light of
his new position on the I.B.M. executive
committee, some council members
asked him to resign and recommend a
replacement for RVP for Canada, which he
will do. MI Weidhaas congratulated him on
his new position.
Member Service Award Jean
Kinnicutt (present, report in book).
Military Liaison Scott Hollingsworth
(present, report in book).
National Archivist Phil Milstead
(present, no report).
National Deputy at Large Clem
Kinnicutt (present, no report).
National Historian Tom Ewing
(present, report in book).
National Magic Week Jeff Sikora
(present, report in book) said that all
members of his committee were at the
convention, and they would be meeting to
discuss Magic Week efforts.
New Assembly Coordinator Les
Cooper (absent, report in book).
Paranormal Investigation Committee
Andy Dallas was here in spirit.
Roles and Responsibilities Dick
Bowman (present) corrected his Blue
Book report, which includes the fve goals
and objectives of the society. He presented
a synopsis of the fve goals:
Provide services to members,
Provide opportunities to learn magic,
Provide effective and efficient fiscal
24 M-U-M Magazine
SOCIETY OF AMERICAN MAGICIANS
management for the society,
Establish ethics,
Preserve the history of magic.
The correct version is already
on the S.A.M. website. He is working
with incoming president Vinny Grosso
to establish roles and responsibilities
for committees, which will tie into the
objectives of the S.A.M. This too, will be
on the website.
Sharing Awareness Mentoring
Program Bob Carroll (absent, report
in book)
Spotlight Program Barbara
Dallas (absent, report in book).
SYMbol Editor Michael Raymer
(absent, report in book).
Veterans Program Debbie
Leifer (absent, report in book).
Webmaster David Xanatos
(absent, report in book).
OLD BUSINESS
None
ITEMS FROM CAUCUS
1. David Goodsell discussed proposed
guidelines that the Ethics Committee
presented and made the following motions:
A. Motion: That the National Council
adopt and publish guidelines to be used by
all members of The Society of American
Magicians in pursuit of any and all magic
interests under the Standards of Ethics as
stated in the by-laws of the Constitution of
The Society of American Magicians. Be
it understood that the Ethics Committee
of the Society will use these guidelines in
considering breach of ethics complaints
and in recommending action to be taken
by the National Council, which, in turn,
will consider said guidelines in making
decisions. Motion passed.
B. Motion: That the chairman of the
Ethics Committee prepare said guidelines
using the model presented to the National
Council via email prior to the National
Council annual meeting, but incorporating
recommended additions and clarifcations
as presented by David Xanatos, also
by email prior to the meeting. The fnal
guidelines are to be verifed by the members
of the Ethics Committee, the president of
The Society of American Magicians, and
two other members of the council to be
appointed by the President.
Discussion: directs the committee &
most illustrious & 2 other appointees to
verify that the guidelines being present
include the additions. The guidelines do
not preclude grievance procedures that
already exist. Motion passed.
C. Motion: That the guidelines be
published on one or a series of articles in
M-U-M within the next six months, with
emphasis on the importance of a Code of
Ethics to the well-being of The Society
of American Magicians. This articles or
series should be approved by the Ethics
Committee, the president of The Society
of American Magicians and two other
members of the council to be appointed by
the president. Discussion: The purpose of
this is to take action and to ensure we are
moving forward. DeSouza recommended
that the Code of Ethics and Guidelines be
easy to fnd on the S.A.M. website. Motion
passed. PNP David Goodsell encouraged
incoming President Vinny Grosso to make
the importance of ethics in magic a priority
during his term.
2. Magic Week Committee chairman Jeff
Sikora sought approval from the National
Council to create the S.A.M. Humanitarian
Award. It is to be awarded to magicians
who exemplify the spirit of National Magic
Week those who donate worthy causes.
Motion: Jeff Sikora moved that the
S.A.M. approve the creation of the
Humanitarian Award. Discussion: The
National Magic Week Committee will
decide the recipients. Motion passed.
New Business
1. Motion: National Secretary Marlene
Clark moved that the National Council
accept the chartering of the Chambersburg
Magic Club S.A.M. Assembly #296 and
the rechartering of Dallas S.Y.M. Assembly
Y073. Motion passed.
2. Compeer Andrew Gressett of New
Orleans Louisiana spoke, requesting that
Assembly members be allowed to get
information emails and correspondence
they have requested. MI Weidhaas
suggested he speak with the executive
offcers, who could bring up the issue on
his behalf.
3. RVP Canada Shawn Farquhar
submitted his resignation and recommended
Rod Chow of Vancouver, British Columbia,
as his replacement. Chow was in the
audience, and MI Weidhaas appointed him
to replace Farquhar.
4. Marc DeSouza questioned
the designation, North American
Championship of Magic, as there are
competitions held throughout the world,
and many competitors were not from North
America. President-elect Vinny Grosso said
that the geographical name was clerical:
nothing precludes anyone from competing
in any FISM contest. The contest was to
name the winner of the contest held in
North America.
5. President-elect Vinny
Grosso sought approval for the 2011-
2012 committee heads. Most have been
reappointed. New committee heads include
the following:
Insurance Advisor: Michael Piacente
Marketing: Mark Weidhaas
Branding: Brad Jacobs
Membership Promotions: Steve Marshall
International Deputy at Large: Steve
Marshall
International Deputy for the UK Mandy
Davis
Veterans Program/Military Membership
Liaison: Scott Hollingsworth.
Executive Show Producer: Mike Miller
Strategic Planning and Responsibilities
Committee: Dick Bowman
Motion: Mark DeSouza moved that the
new appointments be approved. Motion
passed.
6. Compeer Robert Puhala of
Youngstown Ohio discussed changes
in Roberts Rules of Order, which asks
that organizations adopt new bylaws. He
suggested that the S.A.M. should not have
a constitution.
GOOD & WELFARE
Secretary Marlene Clark extended a
Howdy from former national secretaries
Chuck & Joan Lehr.
R.G. Smith thanked everyone for 14
fabulous and fulflling years as Executive
Show Producer and wished Mike Miller,
the new Executive Show Producer, good
luck.
Adjourn
Delegate Steve Spence moved the
meeting be adjourned. Meeting was
adjourned according to ritual at 11:17 a.m.
Respectfully submitted,
Marlene Clark
National Secretary
NATIONAL COUNCIL MEETING JULY 13, 2011 PITTSBURGH, PENNSYLVANIA (UNAPPROVED MINUTES)
26 M-U-M Magazine
Cutting Up More Jackpots
In my column in the December 2009 issue of M-U-M, I
mentioned that circus folk call sharing stories of the road by the
quaint term cutting up jackpots. One of the stories I shared in
that column concerned the 1957 Bentley S I drove with my full-
evening show Magic-Capades. Alas, all of my pictures of that car
were lost when a leak in the roof of my storage unit destroyed a
box of photographs. My friend Wally Reid from Michigan read
that and sent along the picture of me with the Bentley you see in
Photo 1. It was taken in Colon, Michigan, in the driveway of our
mutual friend and Abbotts Magic employee, Glen Babbs. A
couple of times we performed in venues where we could drive the
Bentley out onto the stage. In those cases, I would make my
entrance riding in the rear seat of the Bentley, which was driven
by one of the girl assistants wearing a chauffeurs outft with very
short shorts. She would get out, open the rear door for me, and I
would step out and produce a dove.
This month I have a few more jackpots to cut up for you.
In 1978, we took the Magic-Capades show up through
Canada to Alaska. We played several dates in British Columbia
on the way up, and boarded a ferry boat in Prince Rupert for the
voyage north through the inside passage of Alaskas southeast
panhandle. We played the towns of Ketchikan, Wrangell, Juneau,
and Sitka, leaving the boat, staying in each town for twenty-four
hours, and getting back aboard the next days boat. We had a great
time. Ketchikan has one of the highest rainfall levels on Earth;
the locals were amazed that we had twenty-four hours of straight
sunshine for our visit. In Ketchikan I did the straitjacket escape
down on the docks as a publicity stunt, and the huge crane pivoted
around so that I hung over the Pacifc Ocean. We also got to go out
on a salmon fshing boat owned by one of our sponsors.
We left the ferry boat at the small town of Haines. It had a
population of only 1,200 people at that time, far too small to set up
a phone room promotion. But I did arrange to do a show with the
Chamber of Commerce as our sponsor. Our only promotion was
an ad in the local newspaper and a few posters around town. There
was only one place in town for a show and it only seated about
150 people. Thirty minutes before the show, there were about 800
people (two thirds of the towns population) waiting to get in. We
were able to squeeze over 200 people into the venue.
As we set up, we discovered that our levitation was not func-
tioning properly. It was an electrical problem with the switches
controlling the on/off and up/down movement. Our truck driver,
Brad, was also one of the backstage assistants, and a pretty fair
mechanic. He was left alone to
work on the levitation as the rest
of us set up everything else. When
it was time for the show to start,
I didnt know if we could end with
the levitation or not. Near the end of
the show, Cat Chaney, the principal
female assistant, passed me the word
that Brad had the illusion working. During
the performance, it worked properly and the audience had no
idea that anything was wrong. Afterwards, I rushed backstage
to congratulate Brad and saw an amazing sight. The control box
for the levitation was completely dismantled and there were bare
wires lying around. Brad had controlled the movements of the
illusion by grabbing the proper wires, and, as I made the appro-
priate gestures, he brought the bare wires together to activate the
machinery.
Below are two depictions of our levitation. As you can see, we
had two different presentations. One was the straight version
seen in Photo 2. We did this version in performances where the
satanic ritual would be too strong. We did the straight version, for
example, for the TV show Kids Are People, Too with Bob McAl-
lister. (This show had originally been called Wonderama.) But
we usually did the satanic version in live performances. Figure 3
catches the favor of our performance, but shows the girl lying on
a draped board. We replaced that with an invisible cradle shortly
after the sketch was made.
Another interesting thing happened with the levitation when
we performed for Michigan Magic Day in 1975. That year the con-
vention was held at Calvin College in Grand Rapids. We closed
the evening show with the levitation. We used recorded music for
the levitation scene, starting with Mussorgskys Night on Bald
Mountain and segueing into Bachs Toccata and Fugue in D
Minor played on a pipe organ. We arrived at the theater and at the
back of the stage was a full-sized pipe organ! I asked the stage
manager if he knew of someone who could play it. He said hed
make a couple of phone calls, and before we had unloaded and
set up our equipment the head of the music department arrived.
I asked him if there was someone available who could play the
organ for the evening performance, and he indicated that he would
be happy to do it. I gave him a couple of Annie Oakleys (free
passes) for his family. As he turned on the organ, he asked what
music I wanted and I mentioned the Bach Toccata and Fugue. He
slid onto the bench and said, You mean this one? And he played
A Magician Prepares...
by Dennis Loomis
1
2 3
OCTOBER 2011 27
it perfectly. The sound was just incredible; the low notes shook the
building, as pipe organs are wont to do.
For the performance we began with the levitation set up in front
of a traveler curtain and played the recorded version of Night on
Bald Mountain. Then, just as the girl began to rise, the sounds
of the pipe organ took over, and as the girl moved slowly upward,
the traveler curtain opened to reveal the pipe organ at the back of
the stage, with the Professor playing the Bach Toccata. As the
girl reached the apex of her travel, the organ music increased in
volume until it shook the building once more. After the show was
over, I went to the dealers room where a young magician asked
me how long it took to set up the pipe organ!
I have always had problems recalling whether truck driver/
mechanic Brads last name was Dancer or Danson. We lost a
truck driver on relatively short notice and Brad joined the show.
It was my habit, at the end of the show, to acknowledge the two
backstage assistants who were not seen on stage. One was Bob
Richardson who was the both stage manager and the voice of
the show, announcing and introducing many of the scenes, but
he stayed offstage. The other was our truck driver and assistant,
Brad. The day that Brad joined our troupe we had a show, and
during the wrap up, I introduced the onstage assistants who came
out and shared the stage with me. Then I mentioned Bob and got
a round of applause for him. As I started to introduce Brad, I
could not remember his last name. Cat Chaney leaned over to me
and said, Dancer. So I introduced him as Brad Dancer. But Cat
leaned in again, and said, Danson. I thought I had misunder-
stood the frst time, but Cat had done it intentionally just one of
those little pranks that roadies engage in. The following night, I
was still unsure, but I said, Dancer. Cat, of course, leaned in and
corrected me. Cat made a running gag of this, and to this day Im
not sure what Brads last name is.
Brad was a great truck driver; when he came to work for us,
Bob Richardson took him under his wing. Bob explained that we
had a lot of equipment to load in from the truck for every show,
and that it was important that we get the semi as close as possible
to the load-in door to minimize the distance we had to carry the
heavy prop cases. That often meant getting the truck into some
pretty tight spots. The truck driver cannot see directly behind the
truck, so when maneuvering in tight spaces, they have to have a
good spotter on the ground to signal them into position. Brad and
Bob worked out a set of their own signals and the two of them
got the truck into some places I would not have thought possible.
When it was time to get the truck onto the frst ferry boat, there
was a spotter from the boat crew. Bob told him, Just show me
where you want the truck and well put it right there. But the
spotter said no, he would have to direct the truck into position.
His signals were very different: he failed his arms this way and
that, and Brad had a hard time fguring out what he wanted. Bob
walked over and stood just behind the guy, who couldnt see him,
and took over. The guy thought that Brad was looking at him, but
Brad was actually looking at Bob as they skillfully guided the
truck to the correct spot. I couldnt help but laugh at the whole
scene.
Whatever his last name was, Brad was a great truck driver and
assistant, and we missed him a lot when he left us.
We usually included a scene with balloon animals during the
show and it served as the introduction to a pitch of balloon
animal kits (Photo 4). We always did this just before intermis-
sion. During the intermission, we had an assistant at the front
of the stage selling the balloon animal kits for a dollar or two.
Stan Kramien taught me to always pitch something to pick up a
little gas money, so I used a routine of Stans to get into the pitch.
(Stan may have learned the
routine from George Sands.)
A cute little girl about four or
fve years old was brought to
the stage, and I made a single
balloon sculpture for her. This
was usually a French poodle. I
started to send her back to her
seat, but then brought her back
and gave her another balloon
sculpture. This balloon and the
subsequent ones were passed
out to me from the wings. So
now the girl had a balloon
model in each hand. Again, I
started to dismiss her and then
called her back. The third model
went under one of her arms.
The fourth one went under her
other arm. The ffth one was
a large rocking horse that was
made of six balloons; it was
placed over her head with the
rockers of the horse holding it in
place around her body. Next, an
octopus was placed over her. It
had a fully infated twelve-inch
round balloon for the head, and eight full-length 260 balloons for
the tentacles. This also went on top of her head. The fnal fgure
was a centipede. This was simply a long line of balloons tied end
to end with feet every few inches. The centipede was usually
about ffteen or twenty feet long; as I pulled it into view, we got a
big laugh, because the audience anticipated it getting piled on top
of the poor little girl who was, by now, almost totally obscured by
all of the balloons. Before I sent the little girl away, I also gave her
a balloon animal kit, and (as a subtle way to pitch it) I explained
to her what it was. After the girls parents came up to get her, I
explained that if any of the other youngsters would like a balloon
animal kit, they would be available at the front of the stage during
the intermission.
My crew got me good after we had been on the road for
about a year. We came back home and did a show in Ann Arbor,
where most of us had lived before we hit the road. I booked the big
legit theater on the University of Michigan campus. This facility
was called the Power Center for the Performing Arts (Photo 5). It
was the venue for top attractions like the road show versions of
Broadway shows, and perform-
ers like Marcel Marceau when
they appeared on the U. of M.
campus. I dont think there had
been a magic show there before,
but in 1978 it hosted three big
magic shows. Harry Blackstone
Jr. brought his marvelous show
there under the twofer deal
he had that year. His attraction
was bundled with the musical
Side by Side by Sondheim. If a
theater wanted the Sondheim
show, they also had to take the
Blackstone show during the
same season. Our show was
sponsored by a local service
4
5
28 M-U-M Magazine
A MAGICIAN PREPARES
club, and we had a phone room operation to sell tickets. Both my
Magic-Capades show and Blackstones show sold about three
quarters of the seats for a matinee and evening show. The third
show was Doug Henning, who was a big TV star at the time. For
his show they put one small ad in the Ann Arbor newspaper and
sold out the entire house for a matinee and evening performance.
But I digress. I was telling you the story of the balloon pitch.
At the show in Ann Arbor, everything went smoothly, and we
got to the end of the balloon scene. The little girl was just about
covered with balloons and I announced the centipede, but it was
not handed to me from offstage. For a moment I didnt know what
was going on, and then I spotted our phone room manager, Don
McMillon, coming down one of the aisles of the theater from the
back of the house. He was carrying the head of the longest balloon
centipede I had ever seen. When he got to the stage, it extended
all the way up the aisle and out into the lobby. Other people helped
him carry it and he turned and walked along in front of the stage,
and back up the other aisle. The centipede followed and Don and
the centipedes head disappeared into the lobby. Finally, the end of
the centipede reached the front of the stage and was handed up to
me. I started to pull it onstage and drape it over the girl, but I was
overcome with laughter. My assistants came out from backstage
and we somehow got it all up onto the stage so that we could
bring up the house lights and declare the intermission. Im told
that the look on my face when I frst saw the enormous centipede
was priceless. It certainly remains a vivid memory to this day.
I salute Bob Richardson, Cat Chaney, Tim Wise, and the others
who worked for me back in the Magic-Capades era for coming up
with things like this to keep our life on the road exciting.
by Dennis Loomis
OCTOBER 2011 29
A
t a busy resort, on a starlit
night in Tucson, Arizona,
you purchase an ornate,
black-and-gold ticket to
see a magical experience. You are then
escorted into an ante-chamber where
funky striped curtains and music draw
you into the entrance of an intimate
theater. As you pass through the entrance,
you are transported to a different world.
The room is decorated with trappings
from the Jules Verne novel Around the
World in Eighty Days: plush curtains,
colored lights, antique pieces of history
that span the globe, and thirty-fve comfy
chairs. You have just entered Sarlot and
Eyeds Carnival of Illusion.
Carnival of Illusion takes you on
a journey around the world. You will
explore fascinating places like France,
India, and Japan. There is exotic
music, magic, dance, razor blades, and
swords. There is even a cute little dog
named Harriette Houdini that makes an
appearance, much to the delight of the
audience. The fnale of the show is a
piece that Roland and Susan have been
performing since 2003, called The
Gift. It ends in a storm of beautiful
butterfies that cover the audience.
Roland Sarlot and Susan Eyed
perform this intimate parlor show in their
secret world four times every weekend.
They have been on television, radio,
newspapers, and magazines all across
the Southwest. Carnival of Illusion has
received high praise from critics and the
regional media. Many have congratulat-
ed the couple on becoming an overnight
success. To this statement Roland
chuckles and replies, It has taken a few
years of blood, sweat, and butterfies to
become an overnight success.
Blood, sweat, and butterfies? Okay, I
get the blood and sweat part, but whats
this butterfy thing? Susan explains,
Throughout our journey to become pro-
fessional magicians, there were many
setbacks and struggles, lessons learned,
servings of humble pie, and heartwarm-
ing inspiration that lead to transforma-
tions. We call them butterfy moments,
where the caterpillar of hard work and
persistence becomes beauty with wings.
The story begins like most, but with
a twist. Yes, Roland received a magic
set when he was a child and dreamed of
becoming a magician.
But then Roland grew
up; his dreams of
performing before
cheering crowds was
replaced with the knowledge that you
have to make a living. He entered college
and studied mathematics, earning a
graduate degree in optical engineering.
He went on to design some of the largest
optical telescopes in the world. His
career at the university was exciting
and rewarding; however, he would
sometimes think back on that childhood
dream of performing magic.
Roland stayed connected to the magic
world by visiting the Magic Castle,
showing up at the local magic clubs every
so often, and reading the occasional
magic book, but he was not a magician.
He was just someone who loved magic.
Then one day a local S.A.M. magician,
Jay Knapp, suggested that he perform
for kids at the local hospital pediatric
ward. After perfecting a few routines,
Roland found this extremely rewarding.
Bringing moments of joy to children who
are suffering had a profound impact on
him.
Excited by his enjoyment at
performing at the local hospital,
Roland also tried his hand at restaurant
performing. Before jumping into the table-
hopping world, he consulted with a few
professionals. He was told that he should
begin at the bottom, the very bottom.
This is the place to make mistakes, to
learn the craft in front of the toughest
crowds, people who dont care about
magic at all. Roland started performing
table magic at a restaurant chain that
served pizzas. It was not glorious, but it
was highly educational.
You have to learn how to
grab attention and hold it with
entertainment, says Roland. I learned
that nobody really cared about a magic
trick. The patrons just wanted a vacation
from their daily lives. When Roland was
working the lower tier restaurants, his
biggest lessons were on how to interact
with people. His magic was improving,
but honing his skills in social interaction
and presentation was the bigger lesson.
After a time, his increased skills
allowed him to move up the ladder of
restaurants; in a few years he was
working some of the highest end
restaurants in town. He was also learning
to perform a stand-up banquet show.
From his restaurant work he would pick
up the occasional corporate function.
Suddenly, his magic life was beginning
to overwhelm his engineering life.
A few years earlier, he was introduced
to a dancer named Susan Eyed. She is a
quirky, bohemian woman whose smile
intoxicates all those around her. She
learned dance while traveling around the
world and was highly infuenced by her
adventures in Morocco and other foreign
lands. At the time, Susan toured across
the country and was performing in
Tucson with a troupe she formed called
Hadia Sahara or Gift of the Desert.
Susan was a master at luring her audience
into her performance and infusing it
with intense emotion. She explored
and pushed the traditional forms of her
craft by using non-traditional props and
incorporating other infuences and
genres of dance; she was on the cutting
edge of ethno-modern belly dancing.
Roland found a unique type
SARLOT AND EYED:
Blood, Sweat, and Butterf lies
by Christian Painter
Early magic with
Grandmas handmade cape.
30 M-U-M Magazine
of inspiration in watching Susans
performance. It quickly changed the way
in which he performed his magic. He
knew he had to incorporate the richness
of emotion and charm that Susan
displayed in her dance. Soon, Roland
and Susan were collaborating and giving
feedback to one another after watching
each others acts. Susan loved watching
Roland perform his precision-like magic
and he loved watching her mysterious
and enchanting dance. It wasnt long
before they talked of combining their
talents to form a unique act.
Roland and Susan began collaborat-
ing. Susan taught Roland movement and
staging. Roland taught Susan magic.
Suddenly, Roland found himself standing
at a crossroads. If he wanted to grow and
possibly become a professional in magic,
a decision had to be made: either keep
magic as that fun hobby, performing
at a restaurant once or twice a week,
or quit his job and realize the dream of
becoming a full-time magician. This
would become a butterfy moment of
transformation. His university colleagues
couldnt comprehend his decision when
he went to his boss and quit. That wasnt
easy, explains Roland. This was really
a leap of faith. There is no sure money
here, no weekly paycheck to count on, no
health insurance, no unemployment, no
disability, no retirement, and no vacation.
It was very scary, but if I didnt jump into
the deep end, I felt I would always be on
the sideline of performing, pretending.
What made their act different from
the beginning was their collaboration of
building a show based on their unique
strengths. Susan was not the usual dancer
assistant handing props to the magician,
but rather wanted to be a magician in her
own right. From the start, she commanded
the stage in her solo pieces. She incorpo-
rated her past experience from working
in the trenches at street fairs, Arab
nightclubs, homes for the aged, Medi-
terranean restaurants, and Renaissance
Festivals into the world of magic. In fact,
her insulation from the magic world was
a huge beneft. This allowed Susan and
Roland to put their own creative spin on
the classics of magic.
For example, when they began
working on the Hindu basket at the
beginning of their career, they actually
had no idea how it worked. Susan was
convinced the girl got in the basket and
then slipped out the back to hide behind
the prop. They decided to spin the
basket to dispel that belief. In addition,
their swords didnt insert from the
top but rather all the way through the
sides. Although this made handling
(and hiding) much more diffcult, it also
gave the impression that twice as many
spears were used. They hand constructed
their frst basket from an actual clothes
hamper! Eventually, they retired the
original homespun version and replaced
it with a basket made to their specif-
cations: not constructed by an illusion
builder, but rather a craftsman specializ-
ing in wicker baskets for hot air balloons.
After months of preparation and
rehearsal they premiered their frst joint
show. It was a dismal failure. It was too
esoteric and bizarre, bemoans Roland.
This was not the start to his magical
career that Roland hoped for after just
quitting his lucrative job. Always upbeat
and encouraging, Susan replied, We
couldnt let it get us down, so we
just chalked it up as a learning
experience! This was to be the
frst of many setbacks ahead.
Roland and Susan knew that
to grow, you need help. They
searched out directors to look over
their act and trusted professional
friends to give brutally honest
critiques. Its not easy to hear that
a piece you have worked on for
months is a dreadful confusion of
mixed up signals, but if you want
to achieve beautiful magic, you
fx it or ditch it, recalls Susan.
Slowly they improved. Susan
had a few dance outfts that could work
on the magic stage but the majority of
their wardrobe would come from vintage
and resale stores. She would cut, piece
together, and add embellishments to
ordinary clothing to create desirable,
show-stopping, one-of-a-kind costumes.
I like giving things a second chance...
people throw away the most amazing
treasures, whispers Susan. They
employed Rolands friends who built
his astronomy instruments to construct
magical pieces made from Susan and
Rolands imagination. Their show
began to gel and take form. Shaking his
head, Roland remembers, We would
sometimes work on just three minutes of
our act for weeks, trying to fnd just the
right music, script, and movement.
They took every gig, no matter how
challenging it was. They performed
at clubs in front of the inebriated, the
ambivalent, and the apathetic. They
worked various company picnics,
banquets, or employee appreciation
parties; they were sometimes treated like
royalty, other times they were treated like
servants. They stuck it out in the cold and
rain. They worked at street fairs, festivals,
and community events, where they might
or might not have a stage. Other times,
they were on the grass, in the dirt, or on
steaming hot parking lots. They played
to crowds numbering in the thousands
and at a Fringe Festival in Des Moines,
where there were only two guests in the
audience: one was a paid ticket holder
and the other was the ticket taker!
They marched on through county
fairs that were devoid of the shade, and
learned how to keep the dust out of their
speakers and prevent their tables from
blowing over. Their dressing rooms
ranged from the rare green room, to
cramped closets, to the back of their
van. At one tough outdoor venue, in the
middle of their show, like clockwork,
Budweisers famous team of Clydesdales
clippity-clopped a few feet right behind
the audience. So how did they handle
this? Sometimes they stopped the show
and acknowledged the horses, other
Performing on live televsion
Working the fair and
waking up the audience.
OCTOBER 2011 31
times they worked the distraction into a
joke, and sometimes they just kept going
as they held the audiences attention.
Nothing worked every time. However
they kept learning; their magic was
evolving, and so was their relationship.
After years of forging their act in the
fres of live audiences, they fnally had a
solid show. Just when they thought they
had arrived, they learned that having
a great show was only the frst part of
the equation. To get to the next level of
success, they would have to learn the
business side of show business. We
promised ourselves we would not be
starving artists, so we made ourselves
learn that part of our profession, adds
Susan.
They discovered a niche market in
their state by performing for the hundreds
of retirement resort communities found
throughout Arizona. The insular market
was diffcult to break into but after
paying the high fees for showcases and
marketing to them for years, they were
fnally getting booked. It was a great
training ground from an older audience
who grew up watching live entertain-
ment. If they dont like something in
your act, theyd tell you about it, confdes
Roland. The high-season coincided with
the end of the corporate season, which
was perfect. However, another set-back
was just around the corner. National
companies were creating tours for that
same market. These companies would
supply an entire years stable of name
performers, which eliminated the need
for each resort to negotiate with every
entertainer. Since Roland and Susan
were not with an agency, their ffty gigs
a year from this market turned into less
than fve.
Over the next couple of years Roland
and Susan continued to perform but
more and more of their time was spent
developing their marketing. Hiring a
graphic designer, photographers, fnding
a Web site expert, developing print
materials, and creating videos were the
next challenges. We were quite naive
when we started the business side of
our business. We had only thought of
ourselves as performers. Suddenly, we
realized, like it or not, we were business
people, remembers Susan. We were
reading more books and magazines on
business than magic.
They were now working some
high-end gigs. They were hired as house
entertainers at the exclusive Canyon
Ranch and Miraval resorts, whose guests
include movie stars and the ultra-rich.
They performed in the small rooms of
casinos, small performing arts centers,
and chic clubs around the state.
Then they landed a dream job.
They were contracted to play the main
stage at a large casino in Albuquerque.
They played two shows, each to over a
thousand people. The casino needed
posters, print materials, videos, and a
marketing angle that would be used on
the massive outdoor marquee and, thanks
to their focus on the business side, they
delivered. Their marketing efforts had
paid off. Performing on a seventy-two-
foot rock-star stage with a million-dollar
lighting and sound system was a huge
thrill.
Roland and Susan fnally achieved
success and then...the economy tanked.
Businesses all over the country were
struggling to stay alive and entertain-
ment was no longer in anyones budget.
If we wanted to continue to perform we
would again have to reinvent ourselves,
says Roland. It was time for another
butterfy moment! adds Susan.
Instead of chasing audiences cross
country, they wanted tourists and
locals to come to them by creating
their own theater in which to perform
every weekend. They approached many
locations throughout the state, looking for
one that would not only be a great venue
but a proftable business as well. Weeks
of searching turned into months. In fact,
almost after a year of searching and
testing numerous markets in Arizona,
they fnally found their location. They
negotiated with a resort hotel in the heart
of Tucson and began preparations to
launch The Carnival of Illusion Theater.
Up to this point in time, Roland and
Susan had very little contact with the
magic world. They had focused their
efforts at becoming successful with lay
audiences. The only magic conventions
they had attended were the 2006 FISM
in Stockhom and the combined S.A.M./
I.B.M. convention in Louisville. So
it was quite the surprise when they
received a call from Hank Moorehouse
asking them to open the fnal night Gala
Show at Abbotts Magic Get-Together
in 2009. He was a man of few words,
but they meant a lot. He had faith in us
and we will forever be grateful to him.
We were a bit apprehensive, because
we had never performed for magicians
before, recalls Susan. But we just went
out there and did our job. They were
very well received, getting a standing
ovation and the prestigious Jack Gwynne
Award for Excellence in Magic. They
were teary-eyed and stunned when they
accepted their award. That was a huge
thrill in our career, exclaims Susan.
In the fall of 2009, they opened
their frst season of Carnival of Illusion
with sixty-two sold out performances.
However, there were still more details
to refne: the marketing, the publicity,
and improvement of the theatrical
atmosphere. You want to say thats
it, but you know that moment is very
short-lived. Theres always room for
improvement both for the show and the
business side, says Susan.
In February 2011, Sarlot and Eyed
wanted to celebrate a special occasion in
their career, so they created a fundraiser
and partnered with a local non-proft arts
organization that transports rural school
children to the city and connects them
with art and artists. At last, they would
be celebrating their 1,000th show in
just seven years of performing together.
Roland laughs, Its been an absolute
whirlwind.
Currently, Roland and Susan are in
their third year with Carnival of Illusion.
They perform over 150 shows a year,
ninety in their theater; the vast majority
of the shows are sold out. They have since
hired staff to help them in the marketing
and operations of their show. Roland and
Susan are constantly on the go, either
working on their act or working on their
business. We enjoy our life because
have each other, we have magic, and we
have fantastic audiences, says Susan.
Roland adds, I never thought when I
was that kid with a dream of becoming
a magician, that it would take this much
blood and sweat!
If you come up to Roland and Susan
and tell them how lucky they are, they
will both smile and tell you a long story
about hard work and butterfies.
First promo shot
32 M-U-M Magazine
The Nielsen Gallery
Houdini - Eclipsing Sensation
Dimensions:28 x 40 Lithographer: Russell Morgan Lithograph, Co. Date:1906 Nielsen Rating: Rare
The iconic Houdini image on the right is probably the most
reproduced magic poster of all time. One can fnd numerous
versions of it printed on paper, canvas, tin plates, trays, cups, and
mugs. What many people do not know is that it is an extremely
rare poster. We only know of two originals in existence. One was
in the Christian Fechner collection in France. This Fechner poster
sold for $78,000 (USD) at auction in 2006. The other poster is
part of the Nielsen Magic poster collection. Nielsen acquired it
from the late Jay Marshall in 1991. This poster depicts the act that
launched Houdinis career and made him famous.
The frst public performance of the handcuff escape was in
November 1895, when Houdini announced that before he was
locked in the Substitution Trunk he would allow his hands to be
secured with borrowed handcuffs from the audience. To advertise
the show, he repeated the feat at a newspaper offce and at a police
station. Keep in mind that Houdini did not become an overnight
sensation. For years he paid his dues, working at dime museums,
medicine shows, and circuses. He and his wife Bess made only a
modest living.
It was not until 1899 that Houdinis career as the King of
Handcuffs really took off. Martin Beck, one of the most important
theatrical managers of the time, met Houdini and challenged him
to escape from a few handcuffs. Houdini did just as requested,
and through Becks initial management and assistance he became
one of the top vaudeville performers in the early 20th century.
Houdini signed a contract with Beck that placed him in
leading Orpheum vaudeville houses in cities like Kansas City,
Chicago, Pittsburgh, Denver, San Francisco, and in Keiths houses
in Boston and Providence. His salary kept increasing from $60
per week to $250. By the time he added a straitjacket escape to his
repertoire, he was making $400 per week.
In 1900 Houdini headed for Europe and eventually parted
company with Beck. He arrived in England without a contract,
and had nothing except a scrapbook and a suitcase. In order to
get work, he convinced Mr. Slater (the manager of the Alhambra
Theatre) to take him to Scotland Yard where he managed to
free himself from restraints almost instantly. Mr. Slater booked
him on the spot and this marked the beginning of his success in
Europe. He was quite a sensation in England, and he alternated
his circuits of British music halls with tours on the continent,
mostly in Germany. He played in cities like Cologne, Dresden,
Frankfurt, Hannover, and Leipzig. In Germany he was known
as Ausbrecherknig or Escape King. He traveled to France and
later to Russia, where, in spite of the anti-Semitic sentiments, he
managed to fnd work.
He returned to the United States in 1906, and worked the
Keiths Vaudeville Circuit for three years, this time commanding
a salary of $1,000 per week. In order to keep his act interesting, he
started adding other daring stunts to his repertoire, like the Milk
Can Escape. Later, in 1912, he invented the Water Torture Cell.
He also invited people and companies to issue formal challeng-
es, during which he was dared to escape from the most freakish
looking contraptions. One popular challenge was being stuffed
inside a US postal mailbag, with the top folded over and cinched
by a leather strap and rotary lock. He managed to escape from
this in twenty-one minutes. The Weed Tire Chain Grip Company
challenged him to escape from their product: heavy automobile
chains that were drawn around his entire body and that held him
bound to two steel rimmed automobile wheels. Other bizarre
offers included screwed down coffns, long ladders to which he
was shackled to the rungs, a glass box made of three-eighth inch
panels bolted together, and even a boiler a regulation hot water
tank measuring fve feet high by two feet in diameter.
Houdini trained himself to hold his breath in very cold water
and started making promotional stunts by jumping in shackles
from various bridges into rivers. He jumped from a bridge in New
Orleans into the Mississippi River, from the Belle Isle Bridge
into the icy Detroit River, and from a wharf into San Francisco
Bay. He visited police stations, and after being stripped naked
and examined from head to toe, he was locked up with as many
handcuffs and leg irons as the police cared to use and then placed
in a cell. He promptly escaped from the restraints, and collected
testimonials from the ranking offcers.
The Houdini Eclipsing Sensation poster is an artists rendering
of this famous performer. It was produced by the Russell-Morgan
Lithograph Company in 1906, just as Harry was beginning his
contract with the Keith Circuit in the United States. It features
a strong, thirty-two-year-old Harry Houdini in the center with
his signature handcuffs and leg shackles. Although some of the
handcuffs exhibit a certain artistic license, most of them can be
identifed as actual pieces used by Houdini.
The upper left handcuffs are classic English Darby handcuffs
made by Hiatt. The second from the top left image shows a
Siberian Chain escape. The second from the bottom left repre-
sents a collection of three Berliner cuffs, plus two unknowns.
The bottom left handcuffs are Russian manacles. The upper right
image shows a Bean Giant. The second image from the top on the
right shows three German Berliner cuffs plus two unknowns from
a different angle. The second from the bottom image shows a
custom made handcuff that Houdini called a Hungarian Manacle.
It is also known as a Houdini Sance Handcuff, because it was
used by the late Sid Radner at his annual Houdini sances. The
lower right image shows unknown cuffs, but the upper three seem
to be Darbies.
Houdini was a master showman and one of the greatest self-
promoters of all time. This poster shows the entire world
that nothing on earth could hold him back from his success.
Lupe Nielsen
References: Thanks to Dixie Dooley and the books by Kenneth
Silverman and Patrick Culliton for their assistance in the research
for this article.
33 M-U-M Magazine
34 M-U-M Magazine
BASIC TRAINING
BY IAN KENDALL
Hello, and welcome to the antepenultimate column in Basic
Training. This month I want to talk about one of my favorite types
of routine, and in the process we will be incorporating several
of the moves and sleights that we have learned over the past
three years. Im going to be discussing the One Coin Routine
something that I consider to be one of the more useful skills to
have in your repertoire. Even if you are a diehard card magician
(and I know a few of those), its lovely to be able to do something
magical with the most ubiquitous of objects: a coin. (And, if you
can do the routine with a borrowed coin, so much the better.) With
that in mind, we will start off by working out exactly what con-
stitutes a good routine, and then discuss how to develop one for
yourselves. After that, Ill describe my routine and explain how it
came about, and why things happen in that order. Well also learn
a couple of new moves to go with the ones we already know.
First Steps
Before we start the heavy lifting part of the column, lets take
a moment to think about the subject; what is a one coin routine
and why should we bother with it? At its core, the answer should
be simple its a magical routine that uses a single coin. Boo-yah.
However, things can go deeper than that if we choose to dig. As I
mentioned at the top, I believe that this type of magic is the kind of
thing that real people like to see. Magic with money has the type
of presentation hook for which we search; when we fnd such a
hook the results can be wonderful. Along with pick a card, the
ability to make a coin disappear is ingrained into the image that
laymen have of magicians that and tigers, of course.
A couple of months ago, on a private Web forum, a pertinent
question was asked, Is a coin furry simply a case of hide the
coin? Its a valid point, and it attracted answers from some of the
top coin magicians in the world. Like most discussions, there was
no real right answer or consensus, but its good to keep this in
the back of your mind while you are developing your own routine
(or even learning one from print). I like to present the effect as
what happened to the coin rather than a simple case of hide and
seek, but well get more into that later.
Sleights and How to Use Them
Obviously, the most important thing when you are working
with a single coin is to have a good arsenal of sleights: different
vanishes, reproductions, and aquitments. Add to that a couple of
penetrations and we are good to go. You can start by making a list
of all the coin sleights you know; list next to them the start and end
positions of each. For example, if we look at the false transfer that
we learned in July 2009 we know that the start position is with a
coin held at fngertips and the end position has the coin on Hang
Point. A French drop (March 2009) begins with the coin fat on the
fngers and ends in fnger palm of the other hand. Write these all
down in three columns and study them for a bit.
Heres the fun bit: look for connectors moves that start
where another leaves off. For example, if the French drop ends in
fnger palm and the Ramsay subtlety production (October 2010)
starts with a coin in fnger palm, then these moves fall naturally
together, and you have a combination move. See how many com-
binations you can fnd in your group of sleights, and make note of
them on another piece of paper.
Now you get to look for the second level combinations, and
soon you will be able to string three or four moves together
without having to think too much. This is where your routine will
develop playing around with a coin, trying out the different per-
mutations of moves and discovering what feels good. Youll be
surprised at how easy it is to string together a short routine and
then instinctively know when something just doesnt ft. (About
sixteen years ago I wrote some spoof dealer copy for a post on
a mailing list called the Electronic Grimoire. One of the items
was for the Ultimate One Coin Routine twenty seven minutes
of commercial magic. Supply your own half dollar. This is where
the idea came from)
Why should you make your own routine? Well, apart from
standing out from the crowd, its much more satisfying to work
things out according to your taste and ability. Its also good to
study what has gone before, and thats why Im about to explain
my routine. Take what fts for you and then mash things together.
There are many routines out there, most notably from Slydini and
David Roth, but not everyone can carry off Slydinis mannerisms
and slavishly copying them would be jarring. Its best to study,
comprehend, and then apply the new knowledge to your own com-
binations.
Something Old
So you can follow on, you have some homework to do. If youve
not already learned them, you will want to be profcient with: the
false transfer (July 2009), classic and fnger palms (September
2010), heel palm steal (November 2009), and the muscle pass
(September 2011). You might also want to play around with the
French drop and Sleeving, but thats just for your own routine!
Something New
There are a few new moves that I have to discuss quickly
JUST ONE COIN
OCTOBER 2011 35
before we look at the routine in detail. Luckily, they are not too
hard, and if you can handle the list above, youll have no problems
at all. The frst two are penetrations.
Through the Fist 1
This is a fun move to do, and Im often surprised at its effcacy
on people (probably because it seems so obvious to me). The coin
is displayed on the palm of my left hand (remember that Im a
lefty, so feel free to use your right hand if you like to be different),
in position for the heel palm steal. The fst is closed, and turned
over so that the back of the hand is uppermost. My right hand
comes over to rest on the back of my left fst, which makes a short,
sharp upward jerk, releasing the coin from the heel clip. If you
turn your wrist every so slightly when you do this, the coin will fy
up into the palm of your right hand, which has lifted half an inch
or so from your fst, and then is immediately pressed onto the top
of your fst when everything comes back into place. Lift your right
hand to show that the coin has penetrated the back of the hand.
Through the Fist 2
This next move is one of my favorites. It was published a couple
of years ago in Genii magazine; David Acer named it Stigmata,
but Ive always called it Coin through Hand. I wont mind if you
call it Stigmata. Its a very visual way to push a coin through the
back of your hand in full view. Start by holding the coin at the
nine oclock position with fnger and thumb of your left hand.
Your right fst is closed, and held up at chest height while the left
hand holds the coin above it. There is a three count involved here.
The coin is tapped on the back of the hand twice; this is done by
simply rotating the wrist the arm does not move (Photos 1 and
2). On the third count, just as the coin comes down, the middle
fnger contacts the front side of the coin and pulls it back into a
snapback vanish so that it is hidden behind the index fnger (Photo
3). The left hand continues its path down, and the tip of the index
fnger and the side of the frst phalange of the middle fnger touch
the back of the fst (which provides yet more cover for the missing
coin). Give this a try in front of the mirror; although it reads a tad
strange the illusion is pretty darn good.
Pause for a second; we are going to load the coin into the fst in
a variation of the LHomme Masqu load. Loosen your fst a tiny
amount, not enough to be noticeable, but enough to open up the
hole at your thumb crotch. The left hand does not move as the fst
rotates below it, and just as the thumb is pointing straight up, the
coin is dropped into the hole and is caught by the curled fngers.
Without stopping, the fst turns palm up and opens to display the
coin in your hand.
LHomme Masqu Load
The who? LHomme Masqu was a magician from the 19
th

century whose identity was never really known, thanks to his
bizarre superhero-type face mask. He did, however, perform
some exquisite sleight of hand, and this is just one example. Its
a way of loading a coin into your fst quickly and invisibly, and
its very useful for the type of routine were discussing. The coin
begins in a classic palm, while your receiving hand is open and
palm up, with the loaded hand an inch or so in front of the fngers.
This hand now sweeps back towards the opposite wrist, as if to
close the open fngers into a fst. As soon as the palmed coin is
over the fngertips it is released and drops just as the fngers close
into a fst. Its a timing thing so remember to take things slowly
at frst and make sure that you are getting the drop of the coin at
the right spot before you begin to speed up. Once the fst is closed,
the upper hand reverses its action and the fngers of the closed fst
open up to reveal the coin on the palm.
Something Borrowed
Another move that I will sometimes drop into my routine is
Jay Sankeys Slick Splits. Those of you who are familiar with Jays
prolifc output will remember this from Richards Almanac (page
356 in the hardbound edition), and, more to the point, that it uses
two coins. There is a reason, and it will become more apparent in
a moment. In the meantime, get hold of a second coin that is the
same as the one you are using, and classic palm it. The other coin
is shown at the fngertips of your open hand. Call attention to the
face of the coin, and then fip it over onto the base of your fngers.
This is easy to do by just curling your fngers in quickly. Show the
other side of the coin, and then reach over to pick it up; this move
usefully places the palmed coin directly over the right fngertips,
where it is deposited, hidden by the back of the left hand.
The upper hand now takes the coin from the base of the
fngers, but as it moves the lower hand turns slightly inwards and
hits its coin against the frst. This makes a good clicking sound
as the upper hand turns slightly away from you. Remember to grip
1
2
3
36 M-U-M Magazine
the second coin with your thumb as it comes into view, and the
illusion is that one coin has been snapped from the other. (Photo 4
shows the three steps of the production.) Again, start slowly, and
when you get up to speed youll have a very nice production to
use. Everyone say, Thanks, Jay.
Somthing Blue
The Danube, so Im told (but Ive not seen it myself). The bad
guys in Yellow Submarine. The musical output of Chicago. Rondo
a la Turk. The list is almost endless, but another blue thing is Sky
Thinking. This is annoying corporate speak for thinking about
things in an abstract way, so that you are not constrained by con-
ventional opinions. Its also a good way to construct your routines,
even if you discard ninety percent of what you write down. Heres
an example to get you started:
One of the debates on the subject of one-coin routines is
whether to produce a coin magically, or to just take one from your
pocket. There are very strong points to be made for each side, and
its a personal choice. For my part, I will usually take a coin from
my pocket if working close-up, but for stage work Ill produce the
coin from a purse frame. It really comes down to how you want to
project yourself, and whether or not you can get to a coin surrepti-
tiously before the routine starts!
Ians One Coin Routine
Right, lets have a look at my routine. This came into being in
its frst incarnation around 1993, and by 1995 it was pretty much
locked down. The second phase was added around 2003, but
well see how that fts together in a moment. Since it was forged
in the fre of restaurant work, it should come as no surprise that
it is modular, and can fnish at any point, just in case the food
arrives halfway through. I perform it at about ninety-fve percent
of my close-up sets, and a similar number of my stage shows (in a
slightly different form).
Begin by having two coins in your pocket. Hang on, why two
coins? We thought this was a lesson on one-coin routines. Thanks
for asking, heres why: Some of the time I will end the frst phase
of the routine with Jays Slick Splits (which we just looked at). This
requires two coins, hence the second coin. But thats not the main
reason that I carry two coins; if you are working at a function and
for some reason you drop one of your coins, you absolutely do not
want to be scrabbling around under the table in the middle of your
set, and even worse, you dont want the guests to be doing this
either (and I know this from bitter experience). Its better to let the
coin go, carry on with your spare, and recover the coin later when
the room is clear. If you are working with silver Morgan dollars,
then Ill understand your desire to crawl around on the foor, but if
you use half dollars then, meh, its just ffty cents. Let it go.
I introduce the coin and perform The Coin that Falls Up effect.
Ive already had a mini rant about this move last month, so Ill
gloss over it for now. Suffce to say that I still believe that twelve
inches is the minimum distance you should have before you show
this move to any real people.
The First Vanish
I perform standing ninety percent of the time, so after the
coin has fallen up for the second time I turn to someone on my
right (because I am left handed) and say, If I take the coin into
my hand and I execute a very simple false transfer, not really
looking at my hand. My left hand drops to my side and classic
palms the coin while I move the right hand forward and out to
the right by no more than a couple of inches. This serves two
purposes: its a forward-moving action that will draw attention
away from my dirty hand while I am palming the coin, and I
watch everyones head move as they follow the hand. This is a
wonderful signal to me that they have believed the deception. If I
dont see someones head move, I know that they are skeptical and
will block my moves accordingly.
Also, at this point theres a good chance that the spectator has
misheard me, and instead of hearing If I take the coin in my hand
they hear Take the coin and will hold out her hand towards my
closed fst. This is another wonderful moment, because it shows
that she is convinced that the coin is in the hand. I continue with
and give it a squeeze, it vanishes, as I rub the fngers against
the base of my thumb and open the hand to show it empty. If the
spectators have shown me that they are convinced, then this is a
mind blowing moment; even if they havent, its still an impres-
sive vanish. (And please dont underestimate how effective this
vanish is for real people done properly it is amazing.)
Ping Pong
Now comes the fun bit, and it happens a lot more than you
would think. If you are worried about the effectiveness of the false
transfer and expect people to say, Its in your other hand! then
this might just drag you over to the dark side. The spectators will
go through a head movement that looks like a tennis match: they
look at your open palm for a second (or more if they have been
convinced), then down at your other hand. Since you have palmed
the coin and your hand is at your side in a natural position, theres
nothing to see. They then look back to your open hand, and then
BASIC TRAINING
4
OCTOBER 2011 37
up to your eyes. During this you stay fairly motionless, looking
into their eyes, waiting for them to look at you. Dont rush, and
dont have any guilt. Enjoy the look in their eyes as they fnally
look up at you.
First Reproduction
Now its time to bring the coin back. Depending on whether
I have an awkward spectator and where they might be in the
group, I have a couple of options. A lot of the time I will use
John Bannons hand wiping move from Impossibilia: The dirty
hand comes over to the open palm-up hand and places its thumb
at the very middle of the bottom of the hand, fngers underneath.
It now runs up the hand to the very end of the middle fnger, and
both hands turn palm down. Using the Kaps subtlety the palmed
coin is hidden from view and both hands are shown convincingly
empty. This sequence is not required, and you should be aware of
the angles; if you have anyone immediately to the side opposite
to your palmed coin (my right) you should probably skip this bit.
Regardless of whether I do the hand wipe or not, I then reproduce
the coin using the LHomme Masqu load.
First Penetration
Now I do the Through the Fist, the frst penetration. At the
moment, my body direction is towards my right (following
Tamarizs ideas on eye lines and feet positions). I need to address
someone on my left, so I turn my head to the left as I turn the left
hand palm up and toss the coin onto my left hand, near the back
of the hand. I say, I if take the coin here People think that I
am repeating the previous move, so what will happen comes as a
bigger surprise. As I place my other hand fat over the back of the
fst I say, and I give it a shake... Now I do the jerking action
and I lift my hand from the fst, showing the coin now sitting on
top. I say it comes up through the hand. To clean up, I put my
right hand palm up under the fst and rotate the left hand so that
the fngers are upwards, which slides the coin into my waiting
hand below. I open the fst to show that the coin is no longer there,
and that there is only one coin in play.
First Ending
If I am in a hurry, I will end there, sometimes doing Jays Slick
Splits. I place the coin back into my pocket while I talk about
people asking about the coin I use, and I classic palm it while I
bring the second coin out at fngertips, ready for the Slick Splits
move. After the second coin is produced the coins are placed away.
Second (Longer) Ending.
If I am working for a standing group I will often continue with
this sequence. I offer to show the penetration again. I make a false
transfer of the coin into my right hand and classic palm the coin in
my left. I make a sharp upward jerk with the fst as I drop the coin
from classic palm onto the back timed correctly the coin will fy
higher into the air and for all intents and purposes it looks as if
the coin simply melts up through the back of the hand. I catch the
coin in my left hand, and prepare for the Stigmata/Coin through
Fist. This looks to be the reverse of the previous move and the end
image of the coin on the fat palm is a nice end to the routine. (To
be honest, I fnish with another move, but I dont have permission
to teach it here, so Im forced to keep it to myself. Sorry.)
Final Thoughts
So, that should give you something to play with for this month.
I wouldnt recommend that you do my routine word for word
(although it is a nice workhorse piece). Study it, and run through it
a few times, and then add it to your list of sleights. See what com-
binations you can come up with, and then you can see your own
routine develop, which is a wonderful thing. It takes time; dont
expect to have something locked in by next month. The frst phase
of mine took over two years to settle, and the second phase didnt
happen for almost a decade. Its an enjoyable journey, and every
time you learn a new move you can add it to your list and see how
it can ft in. I look forward to seeing what you come up with; in the
meantime have fun and Ill see you next month.
JUST ONE COIN BASIC TRAINING
38 M-U-M Magazine






Chuck Gekas
Born and raised in Chicago, Chuck
Gekas enjoyed watching magic when he
was a kid. One summer vacation, when
he was fourteen, a distant relative taught
him some magic, including how to back
palm a half dollar. Young Chuck then
spent the next two weeks of his vacation
practicing that particular sleight until he
had it mastered. The magic hook had
been set. When he returned to school
he went to the library, as Chuck put it,
to 793.8 (the Dewey Decimal System
location where the magic books were
kept); he checked out as many magic
books as he could.
In early 1975, his father showed
him an article in the newspaper that
mentioned Bill Dumbaugh becoming
the S.A.M. national president and how
Chicago Assembly 3 met once a month.
He attended the next meeting, and in
1975 became a member of the Assembly
3. Chuck is also a log-time member
of Assembly 148, The Jay Marshall
Assembly.
During his frst S.A.M. assembly
meeting, Chuck met a magician named
Bob Sharpe. Bob had actually performed
in vaudeville and soon became his
mentor. Our family adopted him as a
surrogate grandfather; Bob joined us for
many holidays, Chuck said. In 1982
Bob passed away at the age of eighty-
four, but he had a great infuence on me
as both a magician and a person. Bob was
a good friend of David Copperfeld, who
he introduced to me a couple of times.
We even had dinner once at the 1975
convention in Chicago.
Chicago is huge magic town; Chuck
says that he was fortunate to have
learned something from many top per-
formers such as Jim Ryan, Bill Dumbaugh,
John Shirley, Jay Marshall, Bill Malone,
and Jim Krenz. Another advantage to
living in Chicago was the ability to go
to Jay Marshalls magic shop, Magic Inc.,
every few weeks.
In 1986-87 Chuck was the president
of the Assembly 3. Prior to this he was
active in the assemblys annual Top Hat
Festival, which was a two-day conven-
tion that was held for several years. We
would bring in top lecturers such as
Michael Ammar, Bob Little, Rocco, John
Cornelius, Chris Kenner, and several
dealers including Hank Moorehouse.
Chuck attended Northern Illinois
University for his undergraduate degree,
which was in journalism with an emphasis
in advertising. He then went on to earn
his Masters Degree from DePaul Uni-
versity in liberal studies (executive con-
centration). After college Chuck went
on to pursue a successful career in ad-
vertising sales and management, with
twenty years in the newspaper/magazine
industry, including ffteen years with the
Sun-Times. For the past ten years he
has headed the sales and client services
department for Data Based Ads, an ad-
vertising agency serving the real estate
industry.
For over three years Chuck has been
actively involved in an organization called
Open Heart Magic, which provides
bedside magic for children in several
Chicago area hospitals. Performing and
teaching magic for these kids has been
one of the most rewarding experiences
in my over thirty-fve years in magic.
Each trick we perform has been carefully
selected to not only entertain patients
and their visiting family members, but
to empower these kids. For example:
they decide if they want to see magic;
they make the card change colors; they
multiply sponge balls. After each visit,
based on the patient, I select an effect to
teach them and to give them something
like the ball in vase trick.
Chuck says that he enjoys watching
all types of magic, but prefers stand-up
and close-up. Some of his favorite per-
formers include Michael Ammar, Lance
Burton, Mac King, and his friend Bill
Malone.
Ring-Knot Penetration
By Chuck Gekas
This is an interesting effect. A knot
is tied in the middle of a piece of rope.
A ring is then threaded onto the rope
and is seen hanging next to the knot.
The hands now pull the ends of the rope
sharply apart, and the ring is instantly
tied onto the knot.
This is not a diffcult trick to do; it
gives a strong, visual impression of the
ring penetrating onto the knot. The
effect often elicits gasps from Chucks
spectators.
To perform, tie a slip knot in the rope
in the following manner. Cross the end of
the rope in your right hand over the end
in your left hand. Now place your right
hand through the loop that you have
created and pull the end of the rope that
was originally in your left hand through
the loop (Photo 1). As you are doing this
action, your left middle fnger catches the
rope at the point marked A in Photo 1.
This will produce a bight (Photo 2). If you
continue pulling the rope while keeping
hold with your left middle fnger, a slip
knot will be created (Photo 3).
I LEFT MY
CARDS AT
by STEVE
MARSHALL HOME
1
2
OCTOBER 2011 39
For the ring you can either use a large
ring, if performing at a kids birthday, or
you can borrow a ring from a spectator.
Thread the ring onto the rope and
let it hang next to the knot (Photo 4).
Explain that the only way for the ring
to appear inside the knot is to untie the
knot, place the ring on the rope, and tie
a new knot onto the ring. However, with
this very special piece of rope, all you
have to do is count to three and the ring
will magically penetrate the knot. You
can have the volunteer lead the count,
and on the count of three he says a magic
word.
As you count, move your hands
towards each other and then move them
apart. As your hands come together on
the count of three, you switch the ends
of the rope and quickly pull.
This switch is fairly easy to do. Hold
the rope with your palms facing up,
leaving a few inches of rope sticking
out. The left hand positions the end of
the rope away from your body and the
right hand positions the end towards
your body (Photo 5). As the hands come
together for the third time, the index and
middle fngers of each hand grab the end
of rope from the opposite hand (Photo
6) and pull sharply. This sharp pull will ac-
complish two things: It will take out the
fake knot, while at the same time placing
a new knot around the ring (Photos 7
and 8 show this action).
From here you can hand the ensemble
to the volunteer so he can verify that the
ring is indeed inside the knot.
Steves Stuff:
This is a quick and fun effect to
perform. It will ft nicely into any ring and
rope routine that you currently perform.
It could also be used with a fnger ring
and string. The nice part is that the ring
and string can be handed out afterwards
and the spectator will have to untie the
knot to get the ring off the rope.
Chuck reminded me that the string
needs to be pulled sharply to ensure that
the slip knot comes out, leaving only the
real knot.
3
4
5
6
7
8
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Info on the home page.
OCTOBER 2011 43
CAN YOU HEAR MY PREDICTION NOW?
Since the invention of the telephone, magicians have racked
their brains on how the device could be used as a magic prop.
In the early days, many phone calls were made to the wizard.
iPhone apps are the perfect vehicle for magic phone calls. Weve
reviewed a couple in the past. Here are two more.
iPREDICT
If you have the app iForce (one of the
earliest successful magic apps), youll
be happy to know that Grigor Rostami
has another winner on his hands. This
effect will not only fool laymen, but it
will make magicians scratch their heads.
The magician talks about a psychic
that he recently met, and he shows the
spectators her card. A spectator holds on
to the business card while the magician
asks the spectator to name any playing
card. The spectator is now asked to call
Esmeralda (the psychic) either on the magicians phone or his
own phone. A call is made to Esmeralda the Psychic, but shes
not at home; the spectator gets her voicemail, which ends with
her mentioning the selected card.
What I really like about this version is that Rostami has
worked out every faw and tell of this type of method and has
fgured out how to hide them. Its a perfect trick. He also has a
place on the Web for you to print out the psychics business card
on your own printer. Understand that you are making an actual
call to Los Angeles, California, so watch your phone minutes,
because you will be performing this effect a lot! Of course, if
the spectator decides to use her phone, it is no cost to you.
It looks so perfect and clean. iPredict for the iPhone, iPod
Touch, and iPad is $2.99 at the iTunes store.
MEAL MAGIC
In the Bruce Kalver presidential
issue of M-U-M, I published a stage
effect called Meal or No Meal. If you
wanted to perform that effect, you had
to download an mp3 fle that you had
to then upload to your phone. Well, the
effect was a natural to turn into an app,
so I did. I call it Meal Magic Tricks. Its
a fun routine with lots of interaction
between the magician and the recorded
voice.
Nine actual lunch boxes (or paper
bags) are placed in a 3 x 3 grid in front
of the spectator. Each box is labeled from one to nine. A phone
call is made to Eddies Diner, and Eunice, the waitress, walks
you through a routine in which the spectator moves his hand
from box to box. Eunice tells you which untouched boxes to
remove. In the end, Eunice tells you which box you have landed
on. When the other boxes are opened, they contain garbage.
The spectators box contains a gift card to a restaurant.
As a bonus, the app has a second trick, Food For Thought,
which can be performed while you are waiting for food at a
restaurant. The magician hands the spectator a card with the
phone number for Eddies Diner. The spectator selects an edible
item on the restaurant table. It can be something like the salt,
ketchup, bread, etc. The spectator calls the diner, and Eunice
the waitress tells him what item he selected.
Through the years Ive had a lot of fun with Meal or No
Meal, and I have really fooled a lot of people with Food For
Thought. I know it will become one of your favorites, too. The
duo is called Meal Magic Tricks and can be found in the iTunes
Store for $2.99.
PSYCHIC BUTTON LIGHT
This is not a magic trick, per se, but
it can be turned into one easily. This is
just a big green button that when pressed,
will answer with the responses YES, NO,
MAYBE, or ASK AGAIN. You control
how it answers based on what part of the
button you press. The lite version has the
answers shown above. The paid version
allows you to input whatever answers
youd like to reveal. This is a good utility
for all sorts of ideas. Psychic Button Lite is
free and Psychic Button is 99 cents at the iTunes Store.
iDEVICE MUSIC GOES FORTE
Past President Mark Weidhaas called me a few weeks ago
seeking my advice on a good, portable speaker for his iPad.
The little round Altec Lansing inMotion that I recommended
in the past was fne for close-up or birthday parties but not loud
enough for a larger room. I immediately recommended the
Creative D100 Wireless Bluetooth Speaker.
About the size of a small loaf of bread, this rich-sounding
speaker works with Bluetooth technology, allowing you to have
the iPad with you on stage and the speaker located in the back
of the room. Set the Bluetooth of your iPad/iPod Touch/ iPhone
on, pair it up with the speaker, and you can send your music to
the speaker wirelessly. If you have an early iPod or other mp3
player without Bluetooth capability, there is a wire for you to
plug in. This speaker is perfect for a classroom, a living room,
or a meeting room. It is available in a variety of colors, including
the magicians favorite, black. It works with batteries or you can
plug it in with the included adapter. The price is $75 and it is
available at Amazon.com at J&R Music (www.jr.com).
Bruce is always on the lookout for computer magic, iPhone/
iPod Touch apps, and tech toys that can be used in magic ap-
plications. If you have any suggestions for future columns,
write to Bruce at SAMtalkBruce@cox.net.
MARGARET STEELE
A Colorful Homage to Magics Past by Bruce Kalver, PNP
44 M-U-M Magazine
In less than four minutes, this
magician has amazed, entertained,
and completely baffed me.
Am I describing something from
Robert Houdin, Thurston, or Chung
Ling Soo? No, I am speaking of
Margaret Steele and her Cornuco-
pia of Silks. Steele is a modern day
magician who bows to the magical
arts of the past masters while giving
her presentations a taste of her own
charm.
Early Years
Margaret Steele grew up in
Virginia and South Carolina; her
father was a college professor who
taught biochemical engineering
and her mother was a scientist who
became a technical writer to help
her husband with his books. By
age eight, Margaret had seen some
school magic shows and wanted to
learn magic, but she didnt know
how. She found a couple of books in
the library but never met a magician
or visited a magic shop. She did
learn a Ring and String trick and a
few self-working card tricks.
Margaret attended Juilliard
majoring in the oboe. She graduated
with a Bachelors and Masters
Degree in Performance, and eventu-
ally became a professional musician,
playing in orchestras in symphony
halls, with woodwind quintets,
and in Broadway theaters in New
York City. Shes worked with lots
of musicians. When the New York
Philharmonic is broadcast on televi-
sion, I look to see who I know in the
orchestra. Being in an orchestra is a
stressful job. I used to get so nervous
at auditions. I could play anything
they put in front of me, but I would
tense up at auditions. I spent hours
making reeds and would often
sight-read performances without
rehearsals. When you work at this
level, messing up is not an option. I
remember playing in the orchestra
for Rod Stewart at Madison Square
Garden. I was called in at the last
minute because the oboe player had
been injured the night before. The
show began with me sight-reading
an oboe solo in front of 17,000
people! It was surreal.
On The Road to Magic
Margarets passion eventually
turned from music to magic. I was
playing a wedding with some friends
in upstate New York; after the gig
we decided to relax at a little honky-
tonk club called Jarvis Boones. It
had singing waiters and waitresses;
customers often got up and showed
off their talents. A magician got up
and performed; he was unbelievable.
He did things with masks, feathers,
and cards. The magician was Jeff
McBride. Margaret and her friends
had just completed a classical-fu-
sion music CD. Margaret walked
over to Jeff and his entourage and
introduced herself; she gave him a
copy of her CD, which she explained
The act begins with such a simple
setting: a small table with vines growing
freely around the metal stand. A small
chest sits on the stand. The magician
folds a sheet of thin, almost translu-
cent paper into a cone. Suddenly, small
colorful silk scarves bloom out of the
cone, overfowing to such an extent that
the magician cant hold them all. The
silks fall from the cone into the chest.
The cone is opened to remove the last
of the scarves. The cone is refolded, and
once again it instantly flls with even
more scarves, which burst even larger
than the frst. It is a fruitless effort to
try to contain the silks in the chest; they
overfow onto the table and the foor.
The paper is once again folded and,
much like the brooms in The Sorcerers
Apprentice, the scarves fy out of the
cone, multiplying in number, creating
a snowstorm of such colorful beauty
that you would not mind shoveling this
rainbow blizzard.
Margarets frst magic show
Photo by Peter Sharp
OCTOBER 2011 45
might be perfect music for his act. They
talked for a few minutes and went their
separate ways.
Surprisingly, Jeff contacted her and
the magic bug hit her again. Margaret
started hanging out at Jeff McBrides
Pyramid, a space that Jeff lived in
and shared as a theater/workshop/
rehearsal space. I had an oboe friend
who was living with magician Mark
Phillips, who began teaching me magic.
He was a fantastic teacher and frst
taught me how to become a close-up
magician. He taught me coin magic,
the Gypsy Thread, sponge bunnies
some good solid routines. Richard
Kaufman was a friend of Marks, so he
gave me various books to read to help
me along. Mark then took Margaret
to various places to see magicians
perform. She remembers going to a
trade show to watch and admire Paul
Gertner.
At this point in time, Margaret
moved to New Jersey and found a
bizarre little restaurant near her house
called Cafe Enigma. It was an ice
cream parlor with a dcor like crystal
caves. It was dimly lit, and you couldnt
see any other table from your table.
Margaret offered to do table magic for
tips and they agreed. Six months after
I started taking magic lessons, I had
a job. She worked there four nights a
week; by the end of the summer she
had done over fve hundred shows. I
was booking parties, but I had a very
small repertoire.
In the fall, Margaret was part of
a woodwind quintet that performed
music at schools. They presented
classical music to elementary students,
who were completely bored with the
performances. Five hundred kids
would come in pretty sure that they
hated classical music; when the perfor-
mance was over, they were absolutely
sure they did.
Margaret decided to add a little
magic to the presentation: subtle
things like pulling an egg out of the bell
of her oboe. Then she pulled a mouth
coil out of her reed. Other tricks were
added; she eventually put down the
instrument and became the narrator,
performing magic to keep the students
attention. Woodwind Wizardry was
born, and for many years it was on the
education roster for various symphony
orchestras. I did so many shows. The
problem was that there was not a lot of
money to pay me. I was being paid as
another musician, but I had to get to the
gigs an hour ahead of time to set up all
my props. There would always be two
or three shows a day; while everyone
was out having bagels and coffee, Id be
in the auditorium resetting the act.
She also performed at childrens
parties during the day and at night
played the oboe for such shows as
Wicked, Beauty and the Beast, Miss
Saigon, Les Miserables, and Phantom
of the Opera. For many years, she flled
in at various shows. When you are
asked to play for shows like this, you
cant just phone it in. You have to focus
on doing a great job. This is the same
way Margaret approaches her magic.
A Life of Mostly Magic
Around this time, Margaret hung
out at the club Mostly Magic in New
York, where she watched and absorbed
all the magic that was being performed.
Someone suggested to her that she
put together a linking ring routine,
because that trick can be performed
anywhere. Peter Samelson coached her
on some special moves and Bob Fitch
gave the links and unlinks a justifca-
tion. At the time, Bob was appearing in
The Will Rogers Follies on Broadway,
so her coaching was held between
performances on matinee days in
the basement of the theater. Her ring
routine (based on a piece of music titled
Solving a Dream) is about the fact
that in dreams things do not work out
the way they do in real life. Someone
also suggested that she put together
a solid billiard ball routine. The frst
Monday of every month was audition
night at Mostly Magic. I tried out my
routines every month for a year. Imam,
the owner of the club, fnally hired me
and put me on the show. It was great
working at Mostly Magic because it
gave me a chance to hone my act. Then
I started getting some good work.
Margaret was living in the world of
music and the world of magic. I saw
how disconnected the magic world was
to the real world of professional per-
forming. She sees now that there are
more and more young magicians who
realize that they need to study theatre
arts to improve their magic.
To Margaret, music and magic are
tightly related. Both magic and music
are a sculpture in time. They both
have a beginning, a middle, and an end.
They both have a form and a shape.
They both have a pulse and a beat.
They have the smaller parts that come
together as a whole. Margaret actually
practiced magic with a metronome to
help with pacing.
Margaret has always been inter-
ested in history; when she started
learning magic she looked into women
magicians of the past. The only book
about women in magic was Frances
Marshalls book Those Beautiful
Dames, which highlighted Dell ODell,
Celeste Evans, and Suzy Wandas,
among others. All of them had full-page
descriptions. In that book, Adelaide
Herrmann was covered by a small
picture and a caption. Other books
told Margaret that Adelaide took over
the show when her husband died, and
she toured for thirty years. Because of
the lack of details, Margaret thought of
her as a lightweight who people didnt
take seriously.
Cornucopia of Fates
The path to her current act was a
series of fateful events that just fell
into her lap. Nothing was plotted or
proposed; it just happened.
In 1994, during Jeff McBrides
Mystery School, Eugene Burger took
Margaret by the hand and in his deep,
resonant voice said, I have an idea
for you, my dear. When Eugene was a
With Jef McBride
With Eugene Burger 2011
46 M-U-M Magazine
teenage magician in Chicago, he won a
magic contest; the prize was to appear
on a show with professional magicians.
One of the performers on the show was
a magician from Finland named Julius
Sundman. Sundman did a silk produc-
tion with a cornucopia. The act was so
beautiful that Eugene never forgot it.
At this time, Sundman was very old
and would soon be retiring. Eugene
realized that it would be a shame if this
act was never seen again, but thought
that the act was not right for his own
performing persona, so he mentally
fled it away. Through the years, Eugene
told other female magicians about the
act, but they brushed it off and never
did anything with it.
Eugene and Margaret decided to
make this a research project to see
where it led. Margaret began calling
the senior magicians from that time to
see what they remembered; all used the
same word to describe the Sundman
cornucopia act spectacular. The act
used hundreds and hundreds of silks.
They all used another word baffing.
Eugene stumbled across a video
of Sundman on The Bozo Show pre-
senting the cone routine. Looking at
it, Margaret did not like the method.
It seemed too obvious. The trick was
beautiful, but not impossible. From this
video, Eugene and Margaret fgured
out a better way to present it. They
contacted Joe Jacobi, a silk maker,
who, along with his wife CJ, was put
to the task of making the hundreds of
silks needed for this presentation.
Margaret debuted the act at the
next Mystery School in 1995, which
took place at a Buddhist monastery, a
former estate of Harriet Beecher Stowe
in upstate New York. What was the
reaction? Eugene cried. Personally,
I thought the act was a mess, but the
fnale is just so spectacular and
so symbolic and moving that
no matter what else happens,
you get an emotional reaction
every time. After Mystery
School, she performed it a
second time at a theater in
Kingston, New York, and the
routine got the same reaction.
Margaret kept working at it,
honing the presentation. It
misfred a lot in the beginning.
Its not an easy piece to do. The
greatest diffculty is precisely
controlling the various pro-
ductions of the silks.
Right from the
beginning, Eugene Burger
told Margaret that to perform this
routine successfully she had to
get some coaching from Bob Fitch.
Bob directed me in two ways. He
taught me basic stage movement, such
as walking on stage, making sure ev-
erything is seen by the audience,
standing properly. Then we worked for
hours on every aspect to get the timing
just right. We worked on the angles,
on how to hold something just right.
Margaret also learned how to frame
her face and how to control the way the
audience scans the stage to make the
effect stronger. Bob and I have a very
symbiotic relationship. We can start
spinning on an idea and both contrib-
ute to its creation.
A routine like this is a group effort;
it is a continuous work in progress.
It was Joe Jacobi, the silk maker and
magician, who came up with a hands-
free method for the fnal load. The
breakthrough for some of the loads
came when Margaret saw something
in a camping store that would make
the release method work. Bob really
helped with the overall piece, the
dramatic fow, and all the tiny little
details. Character and persona also
helped defne what I was trying to say
in the piece.
Margaret owns two sets of silks for
the act. Working the Magic Castle, she
realized that the hour and a half it takes
to set the act was not practical for the
four-a-night shows. If she has back-to-
back shows she has two sets prepared
and hopes for low humidity.
In this writers opinion, the Cornu-
copia routine fnally came together at
the 100th Salute to Magic in New York
City. This annual show is presented
by Parent Assembly 1. I had been
working on the routine for ffteen years
at that point. It was the only thing I did
on the show, which allowed me to just
focus on that act. I also fnally fgured
out how to make the handling really
deceptive, clean, and smooth. Bob
Fitch was one of the emcees; when he
saw how Margaret had reworked the
routine, he was blown away. Marga-
rets mother had passed away just a few
months before the show; the cornu-
copia presentation became a dialogue
between her and her mother. This was
the breakthrough that made it Marga-
rets signature piece.
Choosing the music for the Cornu-
copia was not an easy task. At frst she
commissioned a friend to write a song
for her, but it just wasnt strong enough.
Margaret realized that she needed a
piece of music that had a big Hollywood
ending. Thinking about it, she remem-
bered a piece written by Ravel, but the
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OCTOBER 2011 47
part she was thinking of was in the
middle of a movement and didnt
last long enough. Then she recalled
the spectacular fnale of an orches-
tral work by Ravel that shed once
played the Mother Goose ballet.
Ravel was one of the greatest
orchestrators of all times; the
pallet of colors in his music is
extreme and perfect for this
effect. The music slowly builds
with each measure, but never
fully builds to a climax until
the end. Perfect.
When Eugene Burger was
asked if he had any comments
about Margaret, he said,
Other than the fact that I
love her? I suggested the Cor-
nucopia routine to Margaret
because I knew that she would
bring a certain esthetic to the
piece. I knew that with Mar-
garets music background, she
would be able to frame this
piece in a much more fabulous
way... and she did!
Back in 2000, Margaret was
booked to perform at the 75th
anniversary of the Oakland Magic
Circle in California. James Hamilton
was on that show. Margaret did her
three-piece act, and at the end of
the show James came up to her with
tears in his eyes and said, I feel
that Adelaide Herrmann has just
come back to life to perform for me.
A recognized authority on Adelaide
Herrmann, James had just written
a cover story on her for Genii
magazine. James gave Margaret
a copy of the magazine and it was
then that she realized that Adelaide
was deserving of more than just a
photo and a caption.
There is no flm of Adelaide
Herrmann presenting the cornuco-
pia, so we dont know for sure how
similar the presentations are. We
do have a scrap of description of her
act from a disgruntled employee. An
assistant stole some jewelry from
Adelaide and professed innocence,
blaming the Herrmanns pet goose.
The goose was killed (much to the
dismay of Adelaide), but no jewelry
was found. The assistant was dis-
covered pawning the jewelry.
Adelaide was an animal lover and
was furious. She had the assistant
arrested; he was sent to jail for
eighteen months in Detroit. While
in jail, the assistant brought in a
reporter and spilled his guts on
all the secrets of the Herrmann
show, including Adelaides Cone of
Flowers. Adelaide used fowers, not
silks for her presentation. From this
exposure, Margaret learned that the
method that she had been using for
years was very similar to Adelaides.
The original idea was invented
by De Kolta, who also invented the
spring fowers. De Kolta kept the
fowers a secret until one night when
a couple of magicians sat in the front
row and a few of fowers fell off the
stage and landed in their laps.
Is Margaret doing Adelaide Her-
rmanns billiard ball routine? Hers
was a simple production of four balls
followed by their disappearance.
Adelaides performance was very
slow and deliberate. People today
dont have the patience for that. I
dont copy or recreate her. What I
do is an homage to her. I also do not
have the menagerie of animals that
she had: lots of birds, cats, dogs, and
geese.
If it werent for Eugene Burger,
Jeff McBride, James Hamilton, and
Bob Fitch, this act would not have
come into existence.
Indefatigable is how Bob Fitch
describes Margaret. No matter
what she starts, she fnishes it...and
its not just fnished, its usually a
work of art. She has great energy,
talent, resourcefulness, and per-
sistence. Bob wonders if she ever
sleeps. Obviously, Im a fan. I love
beautiful magic. Hers is certainly
a road to discovery, and what she
discovers can enchant us all...it is a
totally magical experience.
When I asked Jeff McBride about
Margaret Steele, he quoted Dr.
Timothy Leary, Women who seek
to be equal with men lack ambition.
I dont think Margaret ever con-
sidered herself to be a
woman magician...She is a
magician. Even the name
Steele gives you a clue to
her strength and resistance
when it comes to working
in a male dominated feld
like magic.
I asked about his frst
impressions of Marga-
rets Cornucopia act,
which debuted at Mystery
School: It was as polished
a presentation, and as
deceptive a method,
as any of the works in
progress at that years
conference. One of the
things that Jeff McBride
admires about Margaret is
that she listens to creative
input and feedback. Thats
what makes her a capital
M Magician. Im eager to see what
new wonders she has been working
on; Im sure that audiences will be
delighted in her full evening show.
Finding the Lost Book
After meeting James Hamilton
in 2000, Margaret decided to do
her own research on Adelaide
Herrmann. When Alexander
Herrmann passed away, Adelaide
summoned her nephew from France
to work on the show. After a few
years and many disagreements,
they parted ways and Adelaide
became the only female magician.
She wasnt, of course, but she was
by far the most famous. Just by
looking at her photos, I realized
that I was going down the same
costuming path that she was.
Women have more opportuni-
ties with costumes than men do. I
started studying her costumes and
realized that long sleeves were used
to block certain areas from the audi-
ences view, thus angle-proofng her
billiard balls routine.
Margaret took a trip to the
Lincoln Center Librarys Billy Rose
Theatre Collection to see if they
had anything on Adelaide. They
handed me an envelope with the
title Locke Collection 694. I opened
48 M-U-M Magazine
it up and all these little crumbs of
newspaper clippings fell out. Some
were short pieces, but many were full
articles. Margaret had stumbled on
eighty articles on Adelaide Herrmann,
some which had turned to dust. This
was stuff that James Hamilton didnt
have. I came back the next day with
my computer and began transcrib-
ing all the articles. It took days and
days. No one had opened that envelope
for years. Margaret began putting
together a picture of Adelaide that was
beyond what she had read in Jamess
article. She called and told James
what she found. They got together and
shared their information. This was
the frst time he had opened up his
own research with someone else. They
talked on the phone for hours discuss-
ing what they termed Herrmanniz-
ing. James and Margaret eventually
put a show together in which he did a
tribute to Alexander and she did her
Adelaide homage. They performed it at
several magic history events.
After compiling all this research,
Margaret kept seeing references to Ad-
elaides memoirs. The phrase Madame
is currently writing her memoirs kept
popping up in various articles. No one
had ever seen this book by Adelaide
Herrmann, so what happened to it?
Six months before she died, in a letter
to the New York Sun Adelaide wrote,
I am now writing my memoirs, and
it has given me much joy to refresh
myself in the feld of memory. She
died in 1932; her memoirs never
surfaced. I knew that they probably
had gone to her niece Adele in Newark,
New Jersey. Her niece was also her
personal assistant. I had a feeling that
they were in the possession of Adeles
descendants. Unfortunately, Adele
had daughters, so with name changes,
they are very hard to track. I found out
about two relatives just after they had
died.
Margaret kept searching for
those memoirs. In 2010, a descen-
dent of Adelaide Herrmann (by
marriage) found Adelaides Broken
Wand Ceremony among her stuff
and saw that it made reference to her
being a member of the S.A.M. Parent
Assembly. The relative also found
something elsea book. It was Ad-
elaides memoirs. The descendent
contacted the Parent Assembly and
arrangements were made to see the
Herrmann ephemera; since Margaret
was such a historian on the grand
dame, they invited her to come along.
So the PA 1 archivist, the historian,
and Margaret took the ride to a house
that was just ffteen miles from where
Margaret had lived for twenty-two
years. Before we arrived, we had a dis-
cussion and an agreement was made
that, since the Parent Assembly didnt
have a budget to buy memorabilia, if
an offer was made to sell the book, I
would purchase it. I would then pass
the book on to the Parent Assembly
when I was fnished with it, or upon
my death. An offer to sell was made,
and Margaret bought the book.
The night Margaret brought the
book home she stayed up all night
reading it. It was all surprises thirty
chapters worth. I expected it to be
the story of her life, but twenty-fve
chapters are devoted to her life with
her husband. Adelaide jammed her
own thirty-year solo career into fve
chapters at the end. It was a true love
story.
Margaret decided to share her
Adelaide Herrmann research with
the magic community by publish-
ing a book. It will contain Madames
memoir along with many of the articles
that Margaret has collected through-
out the last ten years. Her book was
written during the depression and Im
sure she had a hard time trying to get
this published. Adelaide wanted this
published, so now I will fulfll her
dream. Titled Adelaide Herrmann,
Queen of Magic Memoirs, Writings,
Collected Ephemera, the book will be
introduced this November at the Los
Angeles Conference of Magic History;
Margaret will also lecture at the con-
ference. Margaret is planning a book
tour, which will include the lecture
and her twenty-minute Adelaide
Herrmann tribute act.
Beyond Magic
The Magic Loft in Peekskill, New
York, is currently Margarets base of
operations. It is a space that she uses
for her own projects and that she
offers for shows, lectures, workshops,
and coaching. This performance space
is also where Margaret practices her
daytime job. After years of working
as a musician, she was ready for
something new. As a longtime prac-
titioner and teacher of Tai Chi and
Qigong (Chinese martial arts that
are practiced for health benefts), she
was fascinated with acupuncture and
decided to go back to school. Margaret
received her Master of Science degree
in Acupuncture from the Swedish
Institute, College of Health Sciences,
in New York City.
It is very refreshing to know that the
history of the performing magic arts is
not lost for the youth of today thanks
to people like Jeff McBride, Eugene
Burger, and the enchanting Margaret
Steele. I have tried to avoid using the
clich of everything old is new again,
but Madame Steele has proven that to
be very true in her performances.
If you ever see Margaret Steele on
the playbill for a show or convention,
run to catch her performance. Her Cor-
nucopia routine will be four minutes of
your life you will never, ever, forget.
You can watch a sample of Margaret
Steeles Cornucopia Act by going to the
M-U-M Online page in the Members
Only section of www.magicsam.com.
Fitchcamp 2001
OCTOBER 2011 49
[In 1883, Alexander Herrmann took his
company to South America. This incident,
from Chapter Twelve of Adelaide Herrmanns
memoir, occurred in Argentina.]
Our Mendoza engagement proved very
successful, and just as we were preparing
to leave, the manager of the theater came to
Herrmann and said he thought the town was
good for one more performance if we had
something new to advertise.
I have an act, Herrmann told him, in
which I cut a mans head off. This would
make a great sensation. And he proceeded to
describe the Decapitation act to the manager.
The scene represented a doctors labora-
tory, Herrmanns role being that of a quack
doctor. A countryman, having read an adver-
tisement telling of the doctors wonderful cure
for headache, calls on him and complains of
a buzzing in his head. After performing an
examination, the doctor tells the patient that
the only thing that will cure him is to cut his
head off, so that he may thoroughly cleanse
the inside. At that the farmer attempts to run
out, but is stopped by the doctor, who tells
him there is no time to be lost if he wishes to
be cured. When he consents, the doctor takes
a knife and cuts the mans head off, placing
it on a cabinet. He then proceeds to take the
mans money from his pockets, while the
severed head, watching him, cries plaintive-
ly, Leave it alone!
The doctor, however, goes out with the
money, upon which the head mutters feebly
for awhile, but presently falls to one side, and
the curtain slowly descends.
The manager seemed to think well of
this, and, on Herrmanns agreeing to give
the extra performance, had a poster painted
on white muslin depicting a headless man
lying on a table with blood fowing copiously
from the body and the bloody head on the
foor, making a most gruesome picture
and nothing like the act that we were going
to present. This was tacked around a wagon
in which sat a man beating a big bass drum.
The wagon was then driven through the
town, bringing all the people to their doors
and causing great excitement.
On the night of the performance the
house was crowded. The Decapitation act
was the last on the program, and seemed to
please the audience; but instead of leaving
the theater when the fnal curtain fell, they
remained in their seats, clapping their hands
and stamping their feet, while calling at the
top of their voices: La sangre! (The blood!)
La sangre! just as our audience in Barran-
quilla had demanded to see le morte a few
years earlier.
When Herrmann stepped before the
curtain and assured them that the perfor-
mance was over, they repeated their clamor,
and continued it until clearly convinced that
it would get them nothing. Quite evidently
they were bitterly disappointed because
Herrmann had performed bloodless surgery
instead of the sanguinary operation that the
poster had led them to expect.
EXCERPT FROM:
ADELAIDE HERRMANN, QUEEN OF MAGIC MEMOIRS,
WRITINGS, COLLECTED EPHEMERA
50 M-U-M Magazine
OVER
CAN
YOU TEACH
ME A TRICK?
Sure. Most magic books written for young people are
not written for young performers. Most of them assume you
have no prior skill or experience, and this can be frustrating
if youre serious about magic. Below are two basic sleights
that you can use every day, each one in a diferent context.
Ive provided a basic but impressive trick that uses each of
these sleights, so you can see how they are applied in perfor-
mance. Next month, Ill wrap up the Under Over series with
two performance pieces: Flashcards and Infated Transpo-
sition. Each one contains a patter theme appropriate for a
young performer. The efect, method, and presentation are
geared toward a young but serious magician.
The False Transfer
You place an object into your hand. Then, its gone. Its
simple, elegant, and a pathway to many situational tricks.
Ofer your friend a piece of gumand make it disappear
before he can take it. Theres a rock in your shoe. Remove
it, show it, and make it disappearand reappear inside
someone elses shoe. Make a sugar packet penetrate a table.
Change a carrot into a potato chip.
All of these efects pivot around versions of the false
transfer. There are as many handlings of the vanish as there
are action fgures in a toy store, but the one taught here is
among the easiest and most versatile. It doesnt rely on the
classic palm at all, and unlike other handlings, this version is
not limited to coins or fat objects. You can use it in conjunc-
tion with Cups and Balls, or improvise with objects like pen
caps or dog biscuits.
Begin by displaying an object, say a bottle cap, in your
right hand. The right hand is palm up; the object should
rest along the base of the right fngers (Photo 1). Notice that
the right thumb rests along the base of the right frst fnger.
Above all else, remember to keep the right hand relaxed
throughout the sleight. Your eyes should focus intently on
the bottle cap in your right hand. Even your body should be
turned slightly, favoring the right side. A good way to do this
is to shift all your bodys weight to your right foot.
The hands, eyes, and body will work together as the cap
is apparently trans-
ferred to the left
hand. Actually, the
right hand will retain
the cap. To perform
the sequence, both
hands move toward
each other at waist
height. As the right
hand moves, it turns
palm down. During this wrist action, the right thumb moves
into the right hand and pins the cap into place (Photo 2). The
right thumbs action is slow, soft, and well-covered by the
larger movement of the right arm. The spectators will be
unable to see the right thumbs action because the hand is
turned palm down.
As this happens,
the left hand turns
palm up, as if receiving
the cap from the right
hand. At precisely the
moment the right palm
is parallel to the foor,
it should contact the
palm-up left hand. The
left middle fnger pad
should contact (but not
take) the cap pinned in
the right hand (Photo 3).
The left hand now
retracts toward the left.
As it moves away from
the right hand, the left
fngers and thumb
are clenched together
gently. Dont make a fst here; just cup the fngers together.
As the left hand moves, the left wrist rotates the hand palm
down slightly.
As the bottle cap is apparently taken in the left hand, the
eyes follow the left fngers intently. No attention is paid to
the right hand now; the action of the right hand must seem
unimportant. Even your body language indicates where the
cap should be. As the left hand takes the cap, your weight
should shift to your left foot. You may wish to turn the body
slightly in the direction of the left hand.
A split second after the left hand has begun its course to
the left or toward a spectator, the right hand retracts to your
side. The right hand should simply drop to your side. Swing
your limp right arm once or twice, moving the arm only at
the shoulder.
Still focusing attention on the left hand, crumple the
fngers together and open the left hand to show the bottle
cap has disappeared.
Breathless
Heres an immediate application of the false transfer.
Youll cause a breath mint to disappear twice. This efect
is perfect in the lobby of a restaurant or hotel where theres
a large bowl of mints or candy. The efect is completely
impromptu.
Call attention to the mint bowl and remove one with your
right hand (Photo 1). Display the mint at the base of the right
fngers and then execute the false transfer (Photos 2, 3, and
4). After showing the mint gone from the left hand, ofer to
repeat the efect. Keeping the right hands mint concealed,
by Joshua Jay
1
2
3
OCTOBER 2011 51
reach back into the bowl
with the right hand.
Youll apparently extract
another mint. Actually,
youll leave the palmed
mint back in the bowl (it
will blend perfectly with
the others). Clench the
right fngers and thumb
together, as if gripping
another mint. Actually, the right hand takes nothing this time.
Remove the right hand from the bowl, staring intently at the
right fngers. This time you can move even slower and more de-
liberately than the frst time, both because the spectators will be
watching you more carefully and because the method this time
(no mint at all) is diferent than the frst time (a false transfer).
Pretend to place the right hands mint into the left fngers.
Here, youll simulate the actions of actually placing an object in
the left hand, which should also match identically the actions
of the false transfer. The right thumb plays no part this time
because there is nothing to retain in the right hand. Its all a bluf!
The eyes focus intently on the left hand as the left fngers
clench around what appears to be a mint. Move the left
hand away from the right and then cause the second mint to
disappear. Now, both hands can be displayed empty. Close by
saying, And do you know where the mints went? Gesture with
your hands toward your mouth. Smack your lips together a few
times and add, And I have the fresh breath to prove it!
The Cross Cut Force
Originally titled the Crisscross force, this wonderful move
was invented by Max Holden. This force has a nice hands of
feel to it, and youll be able to perform it immediately.
Place the force card on top. Place the deck on the table and
invite the spectator to cut the cards by lifting of about half the
deck (Photo 1). Take the cut-of portion from the spectator and
place it on the table to the right of the bottom half.
To mark the place you cut, you say, Ill place the other portion
across the packet. So saying, replace the bottom half of the deck
on top of the upper portion, crosswise (Photo 2).
Now comes the all-important time misdirection. That is, a
few moments must transpire while the focus is on something
other than the cards. Perhaps youll explain what is about to
transpire. You might ask the spectator if she had the option to
cut anywhere in the pack. Maybe youll tell a joke. The focus must
shift away from the pack,
if only for ten seconds.
Call attention back
to the deck and lift the
upper, crossed portion
of cards (which is actually
the bottom half of the
deck). This is the card you
cut to, you say as you lift
the top card of the lower
packet of the table and
hand it to the spectator.
While it looks like this
card comes from the
center of the deck, this is
actually the force card. If
you would like to restore
the deck to its original
order, simply place the
tabled packet on top of
the packet in your hand.
Call the Wizard
When the magician fails to fnd a selected card, he can always
count on his friend, The Wizard. The spectator is invited to look
up Wizard in the magicians cell phone directory. He makes
the calland a real wizard answers! Over the phone, the wizard
divines the name of the selection.
The workings of the trick are simple. You will force a predeter-
mined card, and a friend will name it over the phone. Your friend
will program your cellular phone number into his directory.
Whenever you call from this phone, he must agree to answer as
a wizardno matter what. He must also agree to name the force
card, the Seven of Diamonds.
To perform, simply force the Seven of Diamonds via your
favorite method (you could use the Cross Cut force, just taught).
Make several failed attempts at fnding the card (Was this it?
No? How about this one?).
When I cant fnd a selection, you say, sometimes I have to ask
the wizard. Take out your cell phone and hand it to the spectator.
Help guide her to your directory and allow her to scroll down to
the Ws. Press send on the wizards number.
Now its up to your friend to reveal the card. If he does his
job well, hell be animated and eccentric, like this: William the
Wizards Ofce, specializing in locating lost socks and homogeniz-
ing homework. Even though weve never met, Im guessing youre
thinking of a card right now. Am I right? Dont interrupt! Of course,
Im right. Im William the Wizard! Now then, youre thinking of a red
card, a Diamondthe Seven of Diamonds! I would love to stay on
and chat, but someones here with a toad and I have to fgure out
how to turn the poor lad back into a child again.
An Inside Guide for Young Magicians and their Parents
1
2 3 4
1
2
52 M-U-M Magazine
James shares an entertaining tale from the performing lives of professional magicians.
These stories illustrate various tricky situations that working pros have found
themselves in and how they handled them.
As a working performer, I get to see it all. For the duration of
my performance, I get a glimpse into peoples lives. Sometimes
what I see is uplifting. Other times its annoying. And on the
rare occasion, it is truly depressing.
No one who has lived in the nations capital can deny that
the city is a study in contrasts. Home to some of the wealthiest
and most powerful people in the nation, it also harbors a signif-
cant underclass, a population that is completely disenfranchised
and dispossessed. For me, those two worlds came together in
one day.
I began my morning in the swanky suburb of Potomac,
Maryland, home to the likes of Sugar Ray Leonard and Ted
Koppel. The house was vast and new, and the occasion was a
childs birthday party, organized not by his parents, but by his
mothers personal assistant, a competent young woman who ran
the party with patient effciency. The mother, who did not speak
to me the entire time, was impeccably dressed and coiffed and
hovered at a distance, making conversation with adult guests.
As far as I could tell, she kept her son at a similar distance, not
speaking to him directly, but calling over her assistant from
time to time to make certain everything was running smoothly.
A huge spread of catered food was laid out, untouched, inter-
spersed with beautiful fower arrangements. None of it appeared
kid friendly, but luckily the assistant, clearly worth her weight
in gold, had supplemented it with pizza and chicken nuggets.
The kids, as is often the case with privileged children who
are overfed materially and starved emotionally, were ill-be-
haved and restless. Nevertheless, they enjoyed the show and the
assistant was relieved to have someone besides herself to keep
them occupied for a while. She gave me a generous tip.
From Potomac, I hopped in my car and got on the Beltway,
headed for a show in Washington, D.C. I hadnt paid much
attention to the address of my next gig, but as I got closer, I
realized my GPS was taking me through neighborhoods in
the citys Northeast quadrant that I had never visited. When I
reached my fnal destination, I took a look around and my heart
sank. I was in the middle of what is affectionately known in
America as the hood boarded up, graffti-laden houses, men
drinking on stoops, and a low-rise apartment building whose
central courtyard was littered with cigarette butts, bottles, and
crushed cans. And there I was, an Englishman in a purple suit
and a Fedora, driving a Toyota Prius. The expression fsh out
of water doesnt quite do it justice.
From where I was sitting, still behind the wheel of my car,
I could see threewell, lets call them lads, standing on the
corner, sizing me up. I started to wonder if I should just cut my
losses and drive off. Instead, I called my wife. I told her where I
was and described the scene. I then gave her the address in case
she needed to give my last known whereabouts to the police.
I took a deep breath, got out, and started unloading my gear.
I could feel the trios eyes burning a hole in my back. When Id
stalled as long as I could, I turned around and headed toward
the apartments. My path took me right past the three lads, and
as I approached, I saw one of them reaching ominously toward
his pocket. A gun? His hand came back empty. He thrust his
chin at me.
What you doing here?
Im here to do a magic show for a birthday party.
For a young un?
Um, yes.
Aight. And with that blessing, he let me pass.
Its hard to describe the feeling his approval gave me. It was
as though I had been given a free pass that made me untouch-
able, at least for the duration of the young uns party.
I made my way into the building and up the dank staircase
to the second foor. After banging on the door for what seemed
like an eternity, I was face-to-face with a girl who appeared to
be about thirteen.
Are you the magician?
She told me that her aunt, the woman who had hired me,
was out buying food for the party and would back soon. My
discomfort, already at record levels, increased further when I
entered the apartment. A strong smell of mildew permeated the
air. The room was cluttered, with oversized, worn furniture. In
place of curtains, the windows were covered with large black
trash bags. A television blared in the background. The girl and
I waited in silence. Five minutes. Ten minutes. Just when I was
about to make my exit, in walked the mother and her daughter,
carrying bags of groceries.
I introduced myself to the mother and asked her where the
guests were.
She turned to her fve-year-old and said, See? Nobody
came to your party.
The little girl looked on the verge of tears. Hold on, said
her mother. She went out into the hallway and began knocking
on neighbors doors. Come on, were having a party, she
OCTOBER 2011 53
called out. A ragtag group of children of varying ages made
their way into the apartment.
Assessing the situation as unstable at best, I approached
the mother and told her I needed to be paid in advance.
She asked me to remind her of the price, which I did. She
began hemming and hawing, telling me that she was a
single mother struggling to make ends meet. All she had
was $100.
I was furious. This was only a fraction of the cost of
the show, which she had agreed to when she booked me. I
glanced at the birthday girl. She had managed to keep from
crying, but still looked forlorn and miserable. No doubt she
was well-acquainted with disappointment.
Ill do it, I said, but for your daughter, not for you.
I performed a shortened version of my birthday show
and hightailed it out of there. On my way back to the car,
I thought back to my frst show earlier in the day. The two
settings and families could not have been more different.
But I kept coming back to what those childrens parties had
in common. Strip away the sterile opulence of the Potomac
McMansion and the grim dilapidation of the second foor
D.C. apartment, and what I was left with was the sound of
children laughing, pointing, and causing a joyful commotion
during my show. Whatever lay before them and around them
was forgotten as they entered a world of sponge balls, silly
string, and spy magic. In that world, kids are kids, no matter
who they are or where they grow up.
As I passed the trio of sentries on the way to my car, the
head honcho gave me a nod. And with that nod, I knew that
my free pass had expired.
54 M-U-M Magazine
The Trapdoor Volume Two brings together issues 26 through 50,
spanning the years 1989-1993. The Trapdoor featured top-notch
close-up and stand-up magic from some of the best creators in
magic, plus humorous commentary from its prolifc editor, Steve
Beam. Four items from the bound collection follow: two semi-
automatic card tricks that will impress and baffe laymen and
magicians, a cool stunt with a pen, and some useful advice from
Mr. Beam on how to deal with annoying card man who likes to
put the work in someone elses deck. My thanks to Steve for
allowing M-U-M to excerpt these tricks. Michael Close
Double Dealer
By Steve Beam
I have been intrigued by Karl Fulvess incomplete riffe shuffe
control since Rick Johnsson showed it to me in the mid Seventies.
It is a self-working miracle that fools everyone not familiar with
the principle. However, it seemed incomplete (if you will) that
most routines only used one of the two cards on the face of the
pack. The following is a method to deal effectively with a second
selection.
Effect: The spectator shuffes a pack of cards. He cuts off about
a third of the cards, counts them secretly to himself, and then
remembers this secret number. These cards are riffe shuffed into
the remaining cards, leaving the packets telescoped at the fnish.
A spectator is asked to call stop as the magician slowly riffes
through the telescoped packet. All the cards are lifted at that point
and the faces of the lifted-off cards are shown to the spectators.
One person remembers the face card of the top telescoped packet
and the other remembers the face card of the bottom telescoped
packet.
The top half is replaced. The cards are split out (out-jogged
cards stripped from the rest) and placed on top. The packet is
cut. The magician couldnt possibly know the location of either
of the selections or the secret number the spectator is remember-
ing. However, the magician sends the frst selection to the secret
number from the top of the pack. The second selection goes to
a position from the bottom of the pack equivalent to the secret
number.
The Work: The frst part is standard fare for riffe shuffers.
Lets assume the spectator cuts off and counts seventeen cards.
These cards are riffe shuffed into the others but not squared. The
combined pack is placed in dealing position in the left hand, with
the cards he counted nearest you.
Riffe down the far left corner of the outer packet for the
spectator to call stop. When he does, your right hand lifts the
packet, turning it end for end as you lift it up so the spectators
can see the faces. (Figures 1 and 2 will help to make this clear.)
In other words, the upper packet you are showing the spectators
is the top half of the seventeen cards he shuffed. Ask a spectator
to the left of the person who has the secret number to remember
the top card of the two he sees. Ask a spectator to the right of the
person who has the secret number to remember the bottom (be
sure to use the word bottom and not the word lower) card of
the two he sees.
Lower the right hands cards
and place them on top of the left
hands cards without reversing
them. (That is, the right hand
does not twist its cards back into
their original position. The result
is that the right-hand cards have
been turned end-for-end from
their original position.) Hold a
break below the right hand cards
at the near inner end. You are
holding the deck in telescoped
fashion in dealing position in
the left hand. You hold a break
at the near end, marking the spot
where the right-hand cards were
replaced.
You are now
going to apparently
mix the cards while
retaining total control
over them. Strip out
the out-jogged cards
with your right hand
and slap them on top
of the pack. (Retain
the break as you do
this.) Now cut the
deck at the break and
complete the cut. The
work is done for you.
The frst spectators
card is seventeenth
(the secret number in this example) from the top of the pack. The
second spectators selection is on the bottom of the pack.
Ask for the name of the frst selection and the secret number.
Make a magical gesture, which supposedly sends the card to that
location. Deal sixteen cards (one less than the secret number) to
the table. Take the top card into the right hand as the left hand
casually places its remaining cards on top of the tabled cards.
Note that this sends the second selection to seventeenth from the
face just by placing the sixteen cards just dealt under it. Ask for
the name of the frst card again. Turn the card in your right hand
face up for the climax.
Ask for the second selection and repeat the magical gesture.
Hand the pack to the person who selected the second card. Ask
him to deal the cards to the table. But you chose the bottom card
of the twoso I sent your card to a position seventeenth from the
bottom of the pack. Build this up to make it seem as if this was
considerably more diffcult than the frst.
Count with him as turns the deck face up and deals sixteen
cards to the table. The seventeenth card staring him in the face
QUICK LOOK BOOK NOOK
Excerpt From:
The Trapdoor Volume Two
Author: Steve Beam
Description: Hardbound,
576 pages.
Available From:
www.stevebeam.com
1
2
OCTOBER 2011 55
will be his selection. You were able to send two freely chosen
cards to a position merely thought of by another spectator. This
is strong stuff!
Suspenders
By Steve Beam
This is more of a sucker puzzle than a performance item. In
effect, the magician taps a pen (which may be borrowed) on one
end. He states that he is tapping the ink down to the end of the
pen. He then balances one end of the pen on his extended right
forefnger. At the conclusion of the effect, the pen is tapped on the
other end. This apparently causes the ink to return to its original
condition. The pen is passed out for a spectator to try the same
thing unsuccessfully.
If you wish, instead of tapping the pen on the table, this can
be performed as a demonstration of your animal magnetism. By
aiming one end of pen toward you, the ink rushes to that end.
When the spectator endeavors to repeat the feat, someone other
than the magician explains the lack of the necessary magnetism
in the spectator.
Preparation: This effect owes its method to a gimmick and a
clever switching procedure designed to let you start and end in a
clean manner.
You need to start with two identical, lightweight pens that have
pop top caps that are about half the length of the pens. Any light
fare pens or Sharpies will work fne. The type of pen used has to
be one where the cap is snapped onto the back of the pen when not
covering the point.
Remove the pen from one of the caps and discard the pen. Place
this cap on the butt (non-point) end of the other pen. Mentally note
how far the shaft of the pen goes into the cap. The size of the
cavity remaining varies but should be about ninety percent of the
cap. In other words, the pen goes about ten percent of the way into
the cap.
This leaves ninety percent of the cap for you to fll with lead
shot and glue. The glue has to be of a type that will adhere to both
lead and the type of plastic that composes the cap. (When in a
pinch, use Play Doh in lieu of glue.)
The Suspender Switch: Start with the gimmick fnger palmed
in the left hand with the mouth of the cap toward the mouth of the
loose fst. Remove the regular pen with the regular cap.
Place the cap end of the pen into the mouth of the left fst. Place
it beneath the gimmick as shown in Figure 3. Note the position of
the right second fnger underneath the pen. As you pull the cap off
the pen and the pen out of the fst, this fnger straightens out. This
causes the pen to swing around the right forefnger and come to
rest between the frst two fngers as shown in Figure 4.
Now place the butt end of the pen back in the left fst, appar-
ently to replace the cap on the pen. Actually, place the pen into the
gimmick. As soon as the gimmick is securely on the butt end of the
pen, remove the pen from the left hand and curl your second fnger
in again. This
causes the pen to
rotate back around
into a position
where it is grasped
between the thumb
and forefnger as
shown in Figure
5. At the conclu-
sion of the switch,
the regular cap
occupies the same
position in the left hand that the gimmick occupied. It remains
here until the end of the effect when they are switched again.
You can now release the thumbs grip on the pen. Depending
upon where the center of gravity is located, you may wish to
adjust the location of the pen on the forefnger frst. The farther
you can get the point end of the pen to extend over the forefnger,
the stronger the effect. This is what makes having a light pen so
important.
After pausing for a
moment for the spectator
to appreciate the effect,
you are now set to reverse
the switch you just
executed. The moves are
identical, only in reverse.
Open the right second
fnger, swinging the
pen around to a position
clipped between the frst
two fngers (as you would
clip a cigarette). The
capped end is placed in the
left where the gimmick is
removed. The pen proper
is removed from the fst
and rotated around the
right forefnger so that the
pointed end is pointing
toward the left hand. Place
the pointed end inside the
regular cap and remove
both as one unit from the
left hand.
To misdirect the spec-
tators from the 1eft hand,
tap the pen on the table
on the opposite side (the
pointed end) from the end
you tapped at the beginning (the butt end). This apparently re-
distributes the ink (and the center of gravity) throughout the pen.
Regurgitations: This is basically a reworking of the old wand
suspension that is in most magic sets. The switch of the cap is a
natural action with a pen, which allows you to fnish cleanly.
Experiment with the amount of shot you should fll the cap
with. I have seen some pens that are so light that I only had to fll
the cap half way up. This shifted the center of gravity even more
toward the gimmicked end and improved the suspension effect.
Mating Season VII
By Steve Beam
This routine is best performed stand-up with a table, although
the table isnt absolutely essential. The card matching at the
selected number is stronger for magicians than it is for laymen as
they inevitably think I use a bottom deal. However, the real magic
for laymen is when the two halves just shown to be completely
out of sync are touched together and the color change occurs,
revealing that both halves are completely mated.
Presentation: To start, the magician introduces a deck of
cards. Gamblers and magicians have a lot in common but they
are very different from regular people. For example, it takes very
sensitive fngertips to perform many of the sleight of hand moves.
I use a steel fle to sensitize my fngertips. As you might imagine,
after the blood dries and I peel the scabs, the remaining fngertips
3
4
5
56 M-U-M Magazine
are very sensitive. Thats not so bad. When I dont have a fle
handy, I use a belt sander. With this as the intro, the audience is
paying rapt attention.
There are two tests that determine whether you would make
a good gambler skill and luck. Okay, if you add in a belt sander
you also need a fair amount of dedication and a high threshold for
pain. First, we will test my skill, and then we will test your luck.
The sensitive fngertips I spoke about are needed for the test of
skill.
The magician tables the deck face up. Im going to ask you
to cut the deck wherever you would like, and we will use the deck
as you have cut it. The spectator cuts the pack and completes the
cut. The magician explains, The frst test of skill is whether I can
determine the number of matches that exist in the pack now that
you have cut it. Im going to have to study the cards to determine
the precise number and then split the pack in the exact center.
This is extremely diffcult and I warn you it may take a few
minutes. The magician quickly spreads the cards face up, splits
the deck into two halves, and fips both halves face down in about
two seconds. Then againmaybe it wont. Im fnishedand
there are precisely two matches.
Now its time to test you for luck. Luck is two matches in the
pack. But can you guess where they are? For your frst guess, I will
give you a hint. The frst match is between the third and ffteenth
positions. Pick a number between three and ffteen. Assume the
spectator chooses the number eight. Im going to deal through
both packets simultaneously. We are looking for the frst match. If
the cards at your number match, then you are considered lucky.
Dealing cards simultaneously from each half face up to the table,
the frst match (color and value) appears at the chosen number.
The magician weighs the packets remaining in his hands. We
have about ffteen cards remaining in each packet. The second
match lies somewhere between three and ffteen in these packets.
Please pick another number between three and ffteen.
Assume the spectator chooses four. The magician deals cards
from both packets simultaneously. Again, the only match occurs
at the selected position, position number four.
Reassembling the packets into two halves, you say, Okay,
youve proven that you are lucky only the cards located at
the positions you chose matched. And, lucky is good but as a
magician, I dont like those one-in-ffty-two odds. Let me show you
the way a magician would do it. At this, the magician touches the
two halves together. He then deals simultaneously through both
halves showing the entire pack matches.
The Work: Stack the deck so that the card at position one
matches (color and value) the card at position twenty-seven.
Position two matches position twenty-eight, position three
matches position twenty-nine, etc. This continues through the
entire deck so that position twenty-six matches position ffty-two.
The deck can be cut as often as wished.
When you spread through the pack to determine the number of
matches and to cut it in the middle, simply look for the card at the
twenty-seventh position from the face. It is the mate to the card on
the face of the pack. Back up one card and split the pack between
the twenty-ffth and twenty-sixth card. This sends the mate to the
card on the face to a position second from the face in the rearmost
packet. Your left hand takes the rear half as your right hand takes
the front half. Use your thumbs to fip both packets face down.
Ask for the number between three and ffteen. Assume they
choose the number eight. Hold both hands side by side in dealing
position over the table. Turn both hands palm down simultane-
ously and thumb off the top card face up onto the table about eight
inches apart as shown in Figure 6. The fngertips of each hand
slap the table through the card. This noise should occur on each
card dealt throughout. Complete the deal by rotating both hands
palm up and returning to the starting position. Count one as
the cards are dealt together to the table. While returning to the
palm-up position after each deal may seem superfuous, it allows
the audience time to notice that the cards on the face of the tabled
heaps dont match.
Repeat the deal exactly as described, thumbing the new top
cards onto the tabled cards in a fuid and rhythmic motion. You
want to assemble the piles as neatly as possible without apparently
trying to control this. Continue this up to the count of seven, the
number before the chosen number.
Without changing your pace at all, both hands will then turn to
deal the eighth card from each packet to the table. Again, both sets
of fngertips will slap the table, only the right hand doesnt deal a
card. The card on the face of the right hand does not change, but
the actions and sounds combine to create a perfect illusion. Con-
tinuing with the follow-through, both hands return to the palm-up
starting position. The audience sees that the cards on the face of
the tabled piles match. Pause for them to appreciate this turn of
events. They believe the effect is over.
Phase II: Flip the packets remaining in each hand face up.
There will be a non-matching card on the face of each packet.
Ask for the second number. You are going to limit their choice to
a number between three and a couple cards less than the number
in each packet. Thus, if there are eighteen cards remaining in each
packet (in our example above), you will limit them to a choice of a
number between three and ffteen. If there were only ffteen cards
left, you would limit them to a choice between three and twelve.
Nobody questions the limits you are placing on them, because you
are trying to help the spectator.
Now you are going to perform the same false deal, this time
with the packets face up. Assume you estimate there are eighteen
cards left and you gave the volunteer a choice of a number between
three and ffteen. You will deal cards from both hands simultane-
ously, counting with each card dealt. You will deal by rotating
your hands palm down, thumbing off the cards on the face of the
packets, and then rotating both hands palm up again. You will
make the fake deal as you deal their selected number. Assume
they choose four. On the fourth card from each packet, pretend
to deal from the right packet while actually dealing a card from
the left packet. Rotate both hands palm up to bring the mates into
view. Whoa! Well I guess you pass the luck test. You nailed the
only two matches in the pack. Yes this is an exaggeration. But
if you say it with authority, nobody will question it. Technically,
QUICK LOOK BOOK NOOK
6
OCTOBER 2011 57
they found the only matches in the cards you dealt. You didnt deal
all the cards. You may just have what it takes to be a gambler
but let me show you what it takes to be a magician.
As you are delivering this last line of manure, you are setting
up for the climax as follows: Thumb the face card of the packets
you are holding face up onto the table, but keep both hands palm
down so you dont fash the fact that the next cards behind those
cards match as well. The face cards are dealt on either side of the
two matches already being displayed on the table.
Drop the face-down packets you are holding on the face-down
packets you just dealt on the table. Pick up the combined
face-down packets with your palm-down hands and rotate them
palm up. Again the audience sees the faces of two supposedly
equal packets that dont match.
Bring the face-up right-hand packet over to scoop up the tabled
left-hand packet as shown in Figure 7. You want the tabled packet
out-jogged on top as shown in Figure 8. Do the same thing with
the left hand, adding the tabled right-hand packet, out-jogged on
the left-hand packet. Finish as shown in Figure 9. This display
shows that only the cards they stopped you on, which are now on
the faces of the packets, match. The reassembly process may seem
awkward, but if done casually it will seem natural.
Holding the packets as shown back in Figure 9, tilt the front
edges downward and allow the upper halves of each packet to
slide down and coalesce with the lower halves. As soon as they are
fush, tap the two packets together for the magic to occur. Now,
holding the packets above the table, thumb the face cards off each
packet allowing them to drop to the table below. Thumb the cards
off as quickly as possible, allowing the falling cards to form two
separate piles. Neatness is not an issue this time speed is more
important. You are going to thumb through all twenty-six cards in
both halves. This is how magicians do it. We cheat. When the
last cards fall, separate your hands for your applause cue.
Im going to fnish this description with a couple of perfor-
mance tips. First, you want the packets you are dealing to the
table to be close together. Otherwise, it will be impossible for
the audience to focus on both packets simultaneously as you deal
through the deck counting each pair of cards dealt.
Second, you will feel the need to rush the deal because you
think that the prearrangement of the cards is obvious. It isnt.
There are two cards being shown with each deal and the audience
is hunting for a match. They dont have enough time to process on
the cards that were dealt immediately before the ones you are now
dealing. If you go too fast, they will not have time to appreciate
that the pairs you are turning over do not match.
Finally, when you get to the climax, you want the simultane-
ous deal through of the pack to be done quickly so it doesnt drag.
However, the faster you deal, the less likely the audience can focus
on both cards being dealt. To solve this, both piles should be dealt
very close together. In fact, if retaining the setup isnt important
to you, you should overlap the cards slightly. This will leave no
doubt of the stunning climax.
Background: The initial one-card matching part of this effect
owes a substantial nod to Paul Currys Power of Thought, which
is basically the one-ahead principle repeated throughout the deal.
There are many different variations both sleight of hand and
semi-automatic that allow you to stop and show that the cards
match at a specifc point. The fake deal was a natural and it was
frst published in Volume One of Semi-Automatic Card Tricks.
There are many simpler ways to cause two cards at two positions
to match without setting up an entire deck. For this reason, the
effect begged for a climax that would justify its existence. The
killer climax showing that all the cards match flled the bill nicely.
There is no doubt when you rush through cards at the end that you
are at the climax.
Dealing with the Crimpers
By Steve Beam
We all know a magician who borrows your deck during a
session to do a trick and then returns it flled with crimps, nicks,
bows, and spittle. Known as the Chicago Affectation, extreme
examples are usually followed by the same magician producing
his own pristine deck for his crimp-free tricks.
Perhaps you have fantasized about ways to deal with this
Bender of the Bikes, this Pummeler of the Packs, this Deck
Destroyer. You dream of using his deck to do a down-under deal
7
8
9
58 M-U-M Magazine
into the puddle of condensation left when you move your glass of
ice water, which was ordered specifcally for that purpose.
Or, you marinate on the thought of simply lapping or palming
off any card rendering his deck worthless for anything other
than dealing tricks that almost locate the selected card. This is
accompanied by your solo chorus of, Gee, one card off again?
Well fantasize no more. Below you will fnd the three-step
program designed to house-break this vandal by removing the
value of the crimp to him.
Step 1: After your deck is returned and everyone in the room
is wondering how he did his miracle, pick up the deck. Openly
un-crimp the card as you call attention to the crimp with a re-
sounding, Jeez, Dave!
Step 2: On subsequent effects during which he borrows
someone elses deck and doesnt use a crimp, pick up the deck
after the trick and quickly place an exaggerated crimp in the
bottom card. Do this on the downbeat. Then, openly lift the deck
for all to see. Geez, Dave! What were you thinking? He will
protest that he didnt crimp the card. Since everyone saw what
he did with your deck, he has no credibility and others will mock
him.
Step 3: Since nobody will loan him another deck, he will be
forced to use his own. When he gives you his deck to shuffe in
the middle of a trick, secretly crimp the bottom card in the process
of complying with his instructions. Cut the pack and return it for
the completion of the trick. Do not touch the cards again during
his trick. Instead, wait until he fnishes and tables the deck. Point
to the side of the pack sporting the crimp. Geez, Dave! What is it
with you and card bending?
Since Dave has been busted three times in a single session
for using crimped cards, he will never be able to do a card trick
without all of the magicians who watched him getting busted
studying the sides of the deck for crimps. Thus, crimps have no
future value to him.
However, you occasionally may encounter someone who just
wont take the subtle hints you provide in the three-step program.
For these situations, it may be necessary to resort to the dreaded
fourth-step in your three-step program. Use this with care.
Step 4: Near the end of the session, explain that you would
like to show him your latest miracle The MCF Location but
you know he would swear that you are using a gaffed deck. Eager
to see your latest, he will no doubt offer his deck along with the
admonition to be careful not to bend any of his cards. Take his
deck from him and have him select any card. While he is showing
it to others present, execute the Mercury Card Fold from Expert
Card Technique. (This instantly and secretly folds the bottom
card of the pack into quarters.) Riffe down the side of the deck
until he tells you to stop. Place the top half of the deck onto the
table and ask him to place his card on top of the tabled half. With
your free hand, take all the remaining cards (including the folded
one underneath) and place them on top of the selection. As the
audience notices the giant gap in the cards where you have stuffed
the folded card, say, I will now attempt to cut to your cardusing
the Mercury Card FoldI mean the MCF Location.
I have never had to resort to a Step 5.
QUICK LOOK BOOK NOOK
Latest Product Reviews
Compiled and Edited by W. S. Duncan
INFORMED OPINION
OCTOBER 2011 59
MEMOIRS OF AN ELUSIVE MOTH BOOK
BY ADELE FRIEL RHINDRESS
Available from: www.squashpublications.com
Price $35.00
REVIEW BY TOM EWING
The shortcoming of most magic
historical books is that they suffer from
the writer not having frsthand experi-
ence with his subject. Writers may
comb letters, scrapbooks, magazines,
and newspapers in their search for
elusive details for their stories, but
may end up with an incomplete and
often lacking account of what really
happened. Luckily, this is not the case
with Memoirs of An Elusive Moth, the
frst-person account of Adele Friel
Rhindress and her travels with the
Blackstone illusion show in its last
years.
This is an absolutely delightful biography, charmingly written
by a member of Blackstones troupe, which takes the reader
behind the curtains and on the road as The Show of 1001 Wonders
delights audiences across the country. From 1947 to 1950,
Rhindress toured as an assistant to Americas favorite magician
and was featured in an illusion Blackstone designed specifcally
for her, The Elusive Moth, which was her signature effect.
Rhindress joined the show in 1947 after receiving an urgent
call from her agent telling her that the Blackstone show needed
a new girl and directing her to turn up at Philadelphias Walnut
Street Theater. Only seventeen, she was already an accomplished
dancer and by her own admission, while not a star, was a solid
act that opened for performers like Orson Bean, Jerry Vale, Jack
Klugman, and Ed McMahon.
Her account of frst meeting Blackstone, trying on costumes,
being swept away to a theatrical supply company to purchase
make-up and silver shoes, and appearing on the show that same
day is wonderfully told, as are most of her recollections. A quick
study, Rhindress learned her music cues, how she was to be
concealed in illusions, how to change quickly from one costume
to another just off stage, and a hundred other unseen tasks that
are essential to delivering a magical experience for the audience.
The way Rhindress writes, readers will feel like they are
traveling with the Blackstone show as the cast members pull
into town, unload the show, fnd lodgings, meet with sponsors,
perform to crowded houses, and then break everything down and
move on to the next town. Along the way you get to meet other
members of the troupe, including a young Del Ray (who taught
her magic), Pete and Millie Bouton, noted illusion builder Nick
Ruggiero, stage manager Fred Phillips, and young Harry Jr., who
Rhindress befriended and who was her teenage companion on
shopping sprees when he visited the show during school breaks.
Rhindress frst learned of Blackstones intention of creating an
illusion specifcally for her when she received two hand-written
letters from him detailing his thoughts. It was to be called The
Elusive Moth, and he asked her to come immediately for costume
fttings and rehearsals. She left immediately, heading for Colon.
This biography benefts greatly from the fact that Rhindress lived
with the Blackstone family in Colon, Michigan, for two summers,
where she and the cast rehearsed the entire show for the upcoming
tour.
In the prologue to the book, Blackstone expert Dan Waldon
writes of Rhindresss illusion: Night after night, she spread her
wings and danced through the jungle, voodoo drums throbbing in
her ears, a savage tribe in hot pursuit behind her. And night after
night they would catch her in the gigantic web of a spider, and
hoist her into the air so she could not escape. Yet escape she did.
A fash of light, a burst of smoke [from Blackstone], and she was
gone vanished, just as though it were a magic trick.
Rhindress also reveals another secret hidden from admiring
audiences but much more serious: Blackstones failing health.
Unknown to most was Harrys continuing battle with severe
asthma. Only a few months into her frst season, Blackstone
suffered an attack and everyone was sent home with their pay
and travel expenses. She recalls a number of occasions when,
despite his illness, the fraternal Blackstone would perform in the
evening and then visit local magic clubs to hang out with the local
magicians.
April 1, 1950, was the closing engagement for the season.
Starting in September 1949, they had played twenty-two states and
forty-six cities with almost 250 performances. Everyone headed
home and the real world. For a variety of reasons, Rhindress
never worked again for the Blackstone show. Nor was the Black-
stone show ever the show of 1001 Wonders. A smaller version
went out for the fnal tour in 1954-55, but it was very different
from the one Rhindress worked on. She went on with her life, took
other jobs, married, raised a family, and basically kept quiet about
her memories of her time with the show. That is, until a surprise
from her children ignited the spark of magic once again. Like a
great magic trick, I cant reveal what that surprise was, youll just
have to ask Rhindress at the many magic conventions she now
attends and buy the book from her or your favorite dealer and fnd
out. And I strongly recommend you buy it. Its magic!
RAMESES, THE FORGOTTEN STAR BOOK
BY CHRIS WOODWARD
Available from: www.squashpublications.com
Price $45.00
REVIEW BY TOM EWING
Anyone who has had the pleasure of attending any of the
leading magic collecting and history conferences and has heard
author and historian Chris Woodward lecture knows that when
he speaks, interesting and unique aspects of our magical history
will be revealed. Such is the case with his latest effort, Rameses,
60 M-U-M Magazine
the Forgotten Star, which recounts and
life and adventures of Albert Marchin-
ski, a Russian-Polish immigrant who
took England and America by storm in
the guise of Rameses, an Egyptian won-
der-worker back in the early years of the
previous century.
An excellent foreword by historian
Edwin A. Dawes sets the scene perfectly,
noting that the late 1800s were a time of
great change in the British theater. The old
music halls gave way to handsome new
variety theaters, resulting in patronage by
the middle class, who would have normally shunned those earlier
venues. Onto the scene came what Dawes describes as a positive
avalanche of magicians, bringing a wealth of difference styles of
performance, ranging across sleight of hand, escapology, comedy,
and grand scale illusions. It was, Dawes also says, the time of the
American magical invasion.
It started with T. Nelson Downs, the King of Koins, who was
quickly followed by Howard Thurston, Chung Ling Soo, Houdini,
The Great Lafayette, Horace Goldin, Arnold De Biere, Imro Fox,
and many others. It was also the golden age of magic for British
and continental magicians, and audiences delighted to stars like
Servais LeRoy, Charles Morritt, Okito, Selbit, Lewis Davenport,
and David Devant.
Into this group came Marchinski, in the guise of an Egyptian
magician in 1908. He was almost immediately popular with
audiences, and featured puzzling illusions on a dazzling stage re-
splendent with Egyptian motifs, including a backdrop showing
the Sphinx and the pyramids. On either side of a set of steps at the
back of the stage stood two bronze lions supporting faming urns.
The following description of the act (as performed at the Empire
Theater) comes from a review in The Demon Telegraph:
Amidst a fne stage setting a cabinet stands in the centre of
the stage with a lady inside it; a male assistant is on each side. The
lady steps down, walks around the cabinet, runs down the curtains
of the cabinet for a few seconds, and raises them again to effect
the entrance of the Magician Rameses, who throws a demon fash
and steps forwardFour shaped pieces of wood are exhibited and
placed in the cabinet to form a tent. From this, Rameses produces
a goose and a girl. The goose is placed on a table and apparent-
ly hypnotized; an empty pan is placed on another table. Water
is poured into the pan and three eggs are dropped in. A fre is
made under the vessel and the cover is placed on top. By way of
interlude, Rameses indulges in a little fre-eating before removing
the lid again, when three pigeons make their appearance. The
dormant goose is then restored to activity.
Later came two illusions that were trademarks of his act.
A girl is led to what appears to be an altar at the back of the
stage. Mounted on this, a sack-like curtain descends over her and
is set on fre. The fames burn fercely for some moments, until
the covering is raised, exposing a few bones and ashes in place of
the human sacrifce. These remains are placed on the foor of the
cabinet and the curtains lowered. When these are raised the girl is
found once more in the fesh. Rameses next enters the cabinet to
vanish and reappear in the auditorium, discharging fashes as he
makes his way to the stage. The fnal effect is repeated with the
lady, who enters the cabinet and is replaced by the male attendant
while she is discovered among the audience. Rameses awaits her
arrival on the stage and the curtain falls on a highly creditable
performance.
Rameses played the biggest theaters of the time, including the
London Hippodrome, the Palladium, The Wood Green Empire
(the theater where Chung Ling Soo met his end doing the bullet
catch), St. Georges Hall, and two tours of the Orpheum Circuit in
the United States. He was intimate friends with magics leading
stars. Most important, he was extremely popular with audiences.
His exotic act stood out at a time when the competition was stiff.
How then is it that this undisputed star of the period is
forgotten while others are recalled and their careers chronicled?
As Woodward points out, even Milbourne Christopher left him
out of his highly detailed The Illustrated History of Magic. In
his usual thorough manner, Woodward has combed all existing
historical records (including accounts from magic periodicals
of the time), has scoured the archives of the Magic Circle, and
has pulled material from leading collectors worldwide that reads
like a Whos Who in magic history. He has also tracked down
every living relative of Marchinski and can even boast that his
daughter married a member of the Marchinski family. Helping
his biography as well is the fact that Woodwards father-in-law,
the late Maurice Fogel, worked for Marchinski in the stars later
years and even impersonated Rameses when, upon occasion, the
star was too ill to perform.
From these sources Woodward has put some serious fesh on
the bones of this wonderful performer; anyone purchasing a copy
will be taken on a journey that starts in the humblest beginnings
in the poorest part of London and progresses to fame and bright
footlights on the leading stages of the time. The journey is accom-
panied, of course by occasional fnancial or health set-backs, but
ends with the conclusion that his was a life well-led and more than
deserving of this biography. Eight four-color pages of Rameses
posters, playbills, photographs, and memorabilia complement the
book. If I can fnd any fault with this work, it must be that the
postage-stamp-sized illustrations in the rest of the book really do
a disservice to the subject. The images are so small that programs,
handbills, letters, and even photographs of the star and his wife
are unreadable. This notwithstanding, Rameses, the Forgotten
Star should not be forgotten, and is deserving of a place on all
magic enthusiasts bookshelves.
EXPERIENCE: THE MAGIC OF JON ALLEN BOOK
BY JOHN LOVICK
Available from: www.vanishingincmagic.com
Price $65.00
REVIEW BY PAYNE
Everyone at some point in their life
should experience the magic of Jon
Allen. But if you are unable to have the
pleasure of doing so in person, then you
should at least read his book. You wont
regret it.
If Mr. Allens name sounds familiar
to you, it is most likely because you
know him as the inventor of the popular
effect Silent Treatment. He also has just
released Flexion a fendishly clever
key-bending routine and device. He also
recently appeared on Penn & Tellers
Fool Us performing his just-out-on-the-market routine Pain
Game. In 1995 he won the national I.B.M. close-up competition.
That act is detailed in this book. He has also taken frst place in
the close-up magic competitions at the I.B.M. British Ring and at
the illustrious Magic Circle. He defnitely knows his stuff.
OCTOBER 2011 61
And now so can you. Well, at least some of his stuff. As
mentioned previously hes tipped his entire award-winning I.B.M.
close-up act. But this wasnt done with the intention of releasing
a bevy of Jon Allen clones on an unsuspecting world, though
I am sure there will be some who will try to replicate this act
move for move, line for line. No, the act was unveiled so that one
could study its intricate and cunning structure. Seeing how the
various tricks are interwoven together into a cohesive whole and
how preparations for some tricks are being made while perform-
ing other effects is a joy to behold. It is somewhat reminiscent of
a good cups and balls routine in which the fnal loads are made
several moves before they are eventually revealed. A book simply
containing this contest act and the explanation of the thoughts that
went into it would alone be well worth the price. But lucky for us
Mr. Allen has revealed many of his working routines.
Since Mr. Allen is known for his close-up magic one might
assume that this book would be entirely devoted to that aspect of
the craft. However any winner of a close-up contest will tell you
that the best way to win a close-up contest is not to do close-up
magic. Much to the chagrin of many a true close-up worker, the
trophies usually go home with the guy who did stand-up, or even
parlor magic in his close-up set. So while there is the requisite
amount of magic for those intimate close-up situations, there is
also plenty of material for the stand-up performer. In fact, this
book has something for nearly everyone. There are cards, coins,
mental magic, some killer rubber band effects, and even a strange
little variation on the old Prayer Vase that will appeal to the
balloon workers among us because it is done with a couple of un-
infated balloons.
The card tricks cover the gamut from truly original works to
variations on existing effects. Jons handling of the classic An-
niversary Waltz will no doubt supplant whatever version you are
currently using. There is an interesting handling for Out of This
World that makes it eminently doable in a walk-around situation
because its done all in the hands and requires no table. And for
those into memorized deck effects, there is an ungaffed version of
the Fred trick that is sure to appeal.
Be aware that a few of the card effects require specialized
decks. Some of these are commercially available while others
will have to be constructed out of multiple decks. All of them are
well worth studying for the thought and subterfuge that went into
them, even if you have no intention of ever performing them.
My favorite effects in the book are a presentation for the
Cigarette through Coin and an ber-clever application for the old
Out to Lunch principle. Ive actually dug out my old Cig through
Coin from my junk drawer and put it in my close-up case.
This is actually a hard book to review; every time I fip through
it I fnd another tidbit I want to tell you about. Doing so, however,
would deprive you of the pleasure of fnding these innovative
morsels for yourself. So stop what youre doing, get online, and
order yourself a copy of this book. You wont regret it. Its going
on my top shelf.
THE COLOR CHANGE THE ARCANE ART OF TRANSFIGU-
RATION (WITH PLAYING CARDS) BOOK OR EBOOK
BY CRISPIN SARTWELL
Available from: www.lybrary.com
PDF download $30.00; Softbound $40.00
REVIEW BY DAN GARRETT
Curmudgeons like me lament that the publishing medium of
choice today is no longer the bound book with real paper pages.
Its the PDF fle (or whatever format works in your particular elec-
tronic book reader). But it is the way of the future and it is here.
With a PDF you always have the option to print it out on real paper
yourself. And with The Color Change, if you simply cant abide
a PDF version, for ten bucks more you can have an actual printed
copy.
Color changes with cards may seem
like a subject of narrow scope, but it is
far from it. The Color Change is quite
readable, and is well designed with a nifty
color cover by Radek Makar. Printing it
out isnt really necessary, even for a cur-
mudgeon like me. The work contains full
descriptions, often with clear color photos
by Charles Heidlage, of a large number of
the best-known (and lesser known) color
changes with playing cards.
The author, Crispin Sartwell, is a self-
described card hobbyist. He is also a
college professor who teaches art history, political science, and
philosophy. In Renaissance-man fashion he is also a former
newspaper columnist, music critic, and has written a number of
books published outside the feld of magic.
While Sartwell does not claim to list every color change known
to man (in truth he covers only a small percentage of whats out
there), he does go about the descriptions and theory behind color
changes in a logical manner. Each item gives some history (though
not always accurate) and a scaled bar graph rating (which I like) of
two things: diffculty and beauty. Both can be subjective, but they
are a wonderful gauge to help you decide which things to work on
frst. He divides the classic color changes into fve basic parts. Of
course, there are many exceptions.
Jon Racherbaumer, one of magics foremost cardicians, writers,
and card historians, feels that this work is the best compilation
of color changes to date. Thats high praise! Sartwell describes
or mentions contributions from the beginnings of card magic
by Hofsinzer, Reginald Scot, Professor Hoffman, Herrmann,
Erdnase, and on to the last generation of legends such as Tenkai,
Vernon, Marlo, Andrus, Hugard, LePaul, Ross Bertram, and
many others. There are plenty of items from living magicians,
from Lorayne, McBride, Daryl, and Giobbi onward to Joshua Jay,
Chris Kenner, and Homer Liwag, and many more of their contem-
poraries. There is not nearly enough room to list them all here.
The most glaring omissions, in the unimportant opinion of this
curmudgeon reviewer, include the following: Paul LePauls Snap
Change in his book The Magic of Paul LePaul (I frst saw this
performed by Fred Kaps on an old flmstrip, and it changed my
view of color changes); a lot of the color changes of Steve Beam,
who wrote a book of original changes (The Changing of the Card);
and my own OHS Color Change (One-Hand Swivel), which has
been published from the early 1980s in lecture notes, videos, and
Steve Beams The Trapdoor magazine. Actually, that last move is
included and is described as The Twirl Change, sort-of credited to
Brian Tudor and Jay Noblezada. But it is my move, and no credit
given. Okay, so Im a big old curmudgeon, forgive me.
The Color Change is more like an overview than an ency-
clopedia. Theres a lot of great stuff worthy of your study in the
165-odd pages, including a nice bibliography. Youll fnd plenty
of work to keep you busy for years. One advantage of publishing
electronically is that a body of work of this type can be easily
updated, expanded, and revised to include corrections and addi-
tional material. I hope that this is the case, at least in a few places.
I highly recommended this to any magician interested in color
62 M-U-M Magazine
changes; it will make a fne addition to any electronic magic
library...
There! Ive now arrived at the future. Let me in, please!
CARD COLLEGE 1 & 2 DVD SET
BY ROBERTO GIOBBI
Distributed by Murphys Magic Supplies
Price $125.00
REVIEW BY ANTONIO M. CABRAL
Norman Beck, in the
September 2011 M-U-M,
weighed in on the great DVD
vs. books debate by saying
that while he prefers books
for learning the mechanics of
an effect, he likes DVDs for
learning how to sell it. I agree.
Some tricks exist in print with all
you need to know to perform them ef-
fectively. Other times, no matter how long you
spend with a trick, you fnd yourself wondering, How does
[insert name of creator/performer here] manage this moment?
What is that part supposed to look like? This is especially true if
one is inexperienced. Just as it helps a beginning musician to hear
the notes before they play them, it helps a beginning magician to
see what moves are supposed to look like, and even more to see
how good so-called beginners tricks or easy material can
look before performing them. For those folks, theres Roberto
Giobbis Card College 1&2 four-DVD set.
My European friends (many of whom got to enjoy Giobbis
Card College series years before those of us in the States) tell
me the initial two volumes of Card College books were intended
to be sold as a unit. The student would then have to live with
the material for a long time, developing a repertoire and toolkit
from just those techniques taught in the two volumes. This echoes
the old sentiment that if a performer only learned the material in
Royal Road to Card Magic or The Encyclopedia of Card Tricks,
theyd have as solid a working act as theyd need. On the four
discs of the Card College 1&2 DVD set, Giobbi demonstrates the
arsenal of tricks and techniques from the books and, while they
may not be all the card tricks youll ever need for a solid working
act, theyll certainly put a beginner ahead of the pack.
Beginners material carries with it an unfortunate stigma. Just
the designation beginners makes it sound like one is sitting
at the kids table that the tricks arent as good or as cool as
the professional stuff. However, just because a trick may be me-
chanically simple or easily grasped by a beginner-level magician
doesnt mean that the trick isnt any good. Many of the tricks
performed and explained on these discs are good enough to ft in
any pros working repertoire. The handling of Francis Carlyles
Homing Card (Homing Card Plus) is one example; Irv Weiners
Transposition Extraordinary (here as Transpo Excelsior) is
another. Add to those The Lucky Coin and Psychic Stop, and you
have a nice selection of strong tricks (if the student takes the time
to learn them). The fact that the particular tricks are chosen to
help teach/learn different techniques even daunting ones like
palming, the classic force, and the top change is a testament to
why Giobbi is one of my favorite teachers in magic. The fastest
way to gaining profciency with any of these diffcult moves is
to dive in and use them, and having really strong tricks to dive in
with provides the best positive reinforcement imaginable: strong
audience reactions. And gaining profciency with those diffcult
moves will absolutely put a beginning magician ahead of the pack
ahead of many pros, in fact. Simply put, theres nothing to be
embarrassed about with this material.
Giobbi is as fne a teacher on video as he is in print. His expla-
nations, while not all-encompassing, provide all the information
needed to learn the moves and tricks, in many cases with extra
touches to help boost a moves effectiveness or utility. His expla-
nation of the classic force, for example, isnt as thorough as, say,
Paul Gertners on his classic force DVD, but Paul has the luxury of
a whole DVD to go into detail. And while the move is notoriously
diffcult to explain in anything but real time, Giobbi provides a
number of tips on rhythm and timing (and ways to practice), and
also provides a number of outs for when you dont hit the force.
The nice part about these outs is that theyre designed to steer the
proceedings back on track, in contrast to the old-school advice of
just do a different trick. Theres only so much thinking on ones
feet you can expect from a beginner, and changing card tricks in
the middle of the stream doesnt qualify. Robertos advice is much
more satisfying all the more so when you no longer need it.
The production values on these discs are beautiful, beftting
the image of class that Giobbi likes to project. It may come as a
surprise to some at how conversational Giobbis style and pacing
is, and some might even be disappointed by it. Indeed, there are
a few places in the performances where Giobbi asks questions
and engages his spectators where I would prefer to barrel ahead
with the effect. But Im not disappointed; its a stylistic choice,
beftting slightly different audiences than American performers
might run into. That doesnt take away from any of the advice
offered here.
The only other question for some may be, is it worth the
$125? Particularly when the frst two print volumes can be had
for around $70, and include not only the material found here but
also one of the best chapters on theory to be found in any book
written for any level of student. Again, it depends on what youre
looking for. Many may purchase the print volumes and blow off
the material because it doesnt read as whiz-bang. I dont think
thatd be the case after seeing these tricks performed. And I have
a strong hunch that if more folks spent the intended amount of
time with either the print volumes or these DVDs and didnt drop
the same amount of money every time the next big thing hit the
shelves, thered be a lot less repetitive questions online about how
you handle a double lift, a force, a palm, etc. For now, the lessons
on these discs will put you ahead of the pack. Recommended.
BEHIND THE ILLUSIONS TWO-DVD SET
BY JC SUM AND MAGIC BABE NING
Distributed by Murphys Magic Supplies
Price $55.00
REVIEW BY JIM KLEEFELD
Very few teaching videos are released
by major illusionists, so when one comes
along I take notice. The latest release is
from JC Sum and Magic Babe Ning. (Yes,
she really does go by that name maybe
it doesnt sound as cheesy in Asia.) It is
a very solid and valuable tool for almost
any performing magician. Sum and Ning
are the premier Far East illusion act.
They have toured extensively, worked for
major corporations, and produced hugely
OCTOBER 2011 63
popular television specials. They not only perform illusions, they
invent, redesign, write about, and routine them, and have been
doing so for many years. Ive been a fan since Sums frst book,
Illusionary Departures, came out in 2004. This two-DVD set
contains two hours and forty minutes of solid material.
First, Sum shows a live stage performance of an illusion, then
he speaks candidly on camera examining and explaining the trick,
routine, staging, and background, and then he replays the perfor-
mance video with voice-over commentary, giving further details,
tips, and suggestions. This show, tell, show and tell sequence is
repeated eleven times, each time with a different illusion.
Lets start by taking note of the videos accurate subtitle:
Design, Approach & Performance. The main focus of this video
set is to examine Sums mostly unique illusion designs. He does
not present a regular Sub Trunk, but rather a Crystal Metamor-
phosis. Its a Sub Trunk effect, but the box is clear Lucite with
aluminum framing, trapezoidal in shape. He goes into detail
about how the shape not only adds to the modern look, but how
it also facilitates quicker entrance and egress. He also gives six
important tips on making a Metamorphosis exchange faster.
Each individual illusion segment could stand alone. Watch
the performance. Listen to JC talk about the design, handling
and more. Then grab some extra tips and advice from the replay
with his commentary. Besides the Sub Trunk, there are ten other
illusions, including a JC Sum and Magic Babe TV spot during
which they performed their mega-illusion Aerial Flight in an
outdoor mall. Five randomly selected spectators vanish from a
curtained cabinet that has been hoisted twenty-four feet in the air.
You get to watch the installation and set up as well as the live
performance.
Revollusion is Sums original design of an illusion with a giant
industrial fan. Ning introduces and presents the illusion in which
Sum makes a sudden appearance. The design and components are
shown and examined, including numerous workshop photos of the
illusion being built. Although he does not specifcally explain the
secret, anyone with some background in illusion work can discern
it. If you really have to know the secret, it is fully diagrammed in
his book Urban Illusions. He also uses the presentation to give
advice on how and why Ning and he work as partner illusionists
rather than magician and assistant.
Impassible is Sums redesign of Steinmeyers Through a
One-Inch Hole. Sum uses the presentation to explain not just
design, but also why it is important to consider practicality when
buying or building illusions. His design not only makes the prop
look different, it also makes it much easier to transport and set up.
With Smoke Chamber, he talks about why this illusion is not good
for transporting, but works well in a long-run theater situation.
A performance of Steinmeyers Modern Art is shown,
presented by Kinetic Gal, but designed and routined by Sum.
Modern Art is a very popular illusion and numerous perform-
ers present it. He includes this as an example of how to take a
popular illusion and alter the design and presentation so that
clients perceive your act as different from others. Human Light
Tunnel and Shadow Vision are two illusions that Sum and Ning
have routined together and present in sequence. You will discover
his nifty take on redesigning old props to look modern, as well as
some specifcs about using curves to offset the boxy lines of many
illusion designs.
Light and Space offers a type of spike illusion that incorpo-
rates LED staffs, a penetration, and a vanish. Sums performance
and explanation showcase a very nice application of a variety of
box coverings, including a hinged panel, an additive panel, and
an attached cloth. There is some very good advice about cloth
handling. This is the only performance in which the video does
not show off the prop well, but it is diffcult to flm a trick during
which the stage is dark and the prop has blinking lights.
In addition to the segments on individual illusion, Sum
also includes a segment on resources (he shows and describes
numerous illusion books and plans), another segment on casing
illusions (describing differences between using ATA, fberboard,
or canvas cases), and an extensive credit segment. The type and
amount of credits offered here is unusually high. For most illusions
he cites the originator or inventor, the date of invention, variations
or modifcations, and references to the illusion in books, often
even including page numbers. It is very thorough crediting and
may even send you to your magic book dealer for some follow-up
research.
Behind the Illusions is not an expos of methods. If you dont
know anything about illusions, you wont learn how they all work
by watching this. But if you are well-versed in illusion method, or
well-read from illusion design books, the many tips and secrets
Sum gives will be clear. For example, he mentions that a particu-
lar illusion works better with a step-down base rather than a bevel
base. If you are new to illusions, you will fnd this DVD set a great
motivator and may want to beef up your knowledge with illusion
books. Sum has a very thorough resource section listing specifc
books and sources, including his own books and others by Rand
Woodbury, Mark Parker, Jim Steinmeyer, and Paul Osborne. If
you own most or all of those works, you will fnd this video set a
very complementary addition to your knowledge bank.
In addition, Behind the Illusions is a good buy for performers
who are not illusionists. There is so much information about such
topics as lighting, staging, routining, posing, holding for applause
cues, cueing partners, and making tricks more visible that almost
anyone who does a stage or parlor show of any kind can beneft.
If all you ever do are card tricks for friends, you may not fnd this
to your liking. Almost anyone else in the business will probably
enjoy it and learn from it.
Here is one last convincer on why you should buy this. I
consider myself very well-read and knowledgeable in magic. Over
the past thirty years, I have bought and read every illusion book
I could fnd. Ive watched every illusion TV show that was ever
on. But when I saw JC Sum and Magic Babe perform 360 Sawing
on this DVD, I was literally startled. I gasped out loud. Then I
reran the spot and immediately called my wife to come watch. Its
not that the trick is unfathomable, but that the visual presentation
really takes you by surprise and makes for a stunning stage visual.
Behind the Illusions is well worth a look.
STAND & DELIVER DVD
BY SHAUN MCCREE
Available from: www.rsvpmagic.com/
Distributed by Murphys Magic Supplies
Price $39.00
REVIEW BY DANNY ARCHER
Shaun McCree is a professional magician from the UK, and
the star of this two-volume DVD from RSVPmagic. The sound,
video, and disc navigation are all up to par and most of the perfor-
mances were flmed live at a strolling or tableside gig, while the
explanations were shot in a studio. Shaun explains all very clearly
and you will have no trouble learning the material.
Disc one leads off with Pat Pages Paper Money, in which
colored papers change to Euros. Shaun uses this as an opener to
make sure people watch him closely throughout the rest of his set.
64 M-U-M Magazine
This does not have the same visual
impact as many of the current
handlings of this effect, but it is a
tried and tested method.
Everywhere & Aces is an
effect in which four cards are
removed from the deck as indi-
cators that will tell the performer
the name of the selected card. The
four cards are shown as the selection
and then change to the four Aces. Daley
Rainbow combines Daleys Cavorting Aces
with a Rainbow Deck fnish. A color-changing deck
routine is often used as an opener because some cards need to be
preset. Shauns routine has been worked out so that it can be used
anywhere in the set.
Expert Away From the Card Table uses a small copy of the
classic Erdnase text as the performer shows how he can cheat
at cards. Four random cards change to the four Sevens; then the
Sevens vanish and are reproduced from four different pockets,
with the last Seven removed from the wallet. This is the routine
Shaun uses to show his skill at card cheating. His handling of the
Travelers plot has an interesting dodge I have not seen before.
Norrin Rand (the real name of the Silver Surfer) is a four-coins
across routine utilizing a shell nothing unique or memorable
here, and it is very similar to the seminal Roth routine.
Disc two starts off with The Fix. This is a multiphase routine in
which a signed card transports itself, from a spectators hands into
the magicians hands a quarter at a time. It uses an unusual gaffed
card for an off-beat effect. Chopped or Diced is an ungaffed chop
cup routine with a dice cup and dice. This is a nice, simple routine
with props you can easily fnd. Rainbow Poker has a packet of
Jokers become printed one at a time into a royal fush with a
Technicolor back climax.
Global Aftershock has four different coins travel one at a time
under a card, then vanish to reappear in the hand. Devils Card
uses a bizarre presentation for a nice handling of the classic Open
Prediction. Odd One In is a jumbo monte routine like Sidewalk
Shuffe but with an odd back climax. Also explained is Shauns
Biddle Grip Elmsley Count.
This is one of those DVDs that is hard to pigeonhole. Shaun
uses a number of advanced sleights, which means that this is
not for the rank beginner. The routines offered are variations of
the classics that most advanced hobbyists or pros already have a
version of in their repertoires. That being said, the material did
spark an idea or two that I will explore. So to me, this means that
the people in the middle of the above two groups would be most
likely to fnd some effects that they can use and learn.
MONEYPULATION DVD
BY LAWRENS GODON
Available from: www.jokemagie.com
Distributed by Murphys Magic Supplies
Price $40.00
REVIEW BY MARC DESOUZA
Moneypulation is subtitled visual coin techniques for the
advanced magician and no one could accuse the producers of
this DVD of false advertising. The routines and techniques on
this DVD are based on a rarely used coin sleight, the Back Thumb
Palm. Mr. Godon is a master of this sleight and does a great job
of teaching you several techniques for getting coins in and out of
that position (which he calls the Dynamic Back Thumb Palm).
In addition, you will learn a number of his routines using these
techniques. This DVD is really for the advanced coin man and
it is assumed that you already know a number of other advanced
sleights that are required to perform some of these routines. These
include the muscle pass, edge grip, multiple coin transfers, and
the Harada Holdnot for the faint of heart. I can assure you that
practicing Mr. Godons teachings will not go unrewarded. There
is some really startling, visual magic presented here.
Mr. Godon is French and many of his
actions and movements are idiosyn-
cratic. You will need to determine
if these actions are applicable
to your own style or if they can
be adjusted. Also, much of the
material is not for strolling magic,
because there are some angle
issues. But, as Slydini said, a good
general sets his battleground. There is
no speaking in either the performance
or the teaching, but everything is well
explained. The photography is very clean and
combines both color and black and white. The performances have
the best views and angles from the front. The explanations are
shot over the shoulder for a performers view. The performance
is then repeated in slow motion. There are also a lot of credits in
the end titles.
As far as the routines go, there are several sequences of produc-
tion, vanish, and reproduction of single coins, as well as multiple
coins. Some are bare-handed; some use a wand or a silk. There
is a Three Fly routine and a multi-phase Spellbound routine. His
Continuous Production is reminiscent of the Sylvester Pitch, but
with an open hand. This is the main advantage of using these
techniques; the hands are palm out to the audience and look very
empty. There is a bonus section in which Lawrens performs a
Contact Juggling routine with a single, very large, clear ball. It is
beautifully performed and the ball really appears to be foating.
If you like coin magic and are not afraid of a little hard work,
you will love this DVD. I highly recommend it.
MENE TEKEL MIRACLES DVD AND TWO GAFFED DECKS
BY NATHAN KRANZO
Available from: kranzomagic.myshopify.com
Distributed by Murphys Magic Supplies
Price $34.95
REVIEW BY JAMIE SALINAS
I must admit, I had no idea what
a Mene Tekel Deck was when I frst
saw the title of the DVD. Whether
you do or not, this product is worth
considering. The DVD begins
by crediting Friedrich Wilhelm
Conradi with the decks invention
way back in 1896! The deck is a
specially gaffed pack that allows
you to perform a variety of card
effects.
Nathan Kranzo starts off ex-
plaining how the basic gaffed deck is constructed as well as some
of the variations in the gaffed decks. You are supplied with two
variations of the Mene Tekel Deck, one red-backed and one red\
OCTOBER 2011 65
blue-backed bicycle deck of cards. The video is of the homemade
variety. Despite being a self-made video, it is well done. Nathan
covers four very basic effects that can be performed with the pack.
The effects are very simple and straightforward. One of the more
notable effects is using the deck to divine a freely selected card.
There are fve tricks covered on the DVD using the red\blue
deck. In this portion of the DVD, there are clips from what looks
to be a lecture performance. The change in the volume of the
audio is a bit distracting but not enough to impair your ability to
learn the effects. The basic effect done with the red/blue pack is
that you predict a freely selected card with a different-colored-
back card. All fve effects are variations of this premise.
Nathan provides a variety of general routines with the deck in
another section of the DVD. A couple of notable effects include
a signed card to spectators pocket and a signed card to an empty
sealed and signed envelope. Nathan credits the various originators
for several of the effects covered in this section.
Nathan also includes one of his signature routines using the
special deck. You will see footage taken from a live performance
as well as footage from a lecture. This is Nathans version of
having a card freely named and then pulling from his fy a predic-
tion card that matches the named card. Nathan includes several
bits of comedic moments in this very commercial variation.
The last section deals with using a standard pack of cards con-
fgured after the manner of a Mene Tekel Deck. Nathan teaches
and demonstrates three variations. Pay close attention to the card
stab handling taught in this section.
Even if you are familiar with the Mene Tekel Deck, you will
fnd something worth taking a look at. For those of us who are not
familiar with this special pack of cards, you will no doubt get a
crash course in this concept. Card workers who do not mind using
a gaffed deck will almost certainly fnd a routine or two that can
be added to their performances. Packaged with two packs of the
special decks, Mene Tekel Miracles is a good buy.
SANCE CD
BY BOB CASSIDY
Distributed by Murphys Magic Supplies
Price: $47.00
REVIEW BY DAVID GOODSELL
Perhaps most magicians think of Bob Cassidy in terms of high-
dollar corporate mentalism, for which he is justifably renowned.
But those who have attended his lectures, or
read his books, or dabbled on the fringes
of paranormal magic know that the
breadth of his knowledge and expe-
rience is remarkable. This you will
discover as you explore his recent
CD, titled simply, Sance. The
title item on this CD is the twenty-
three-page ebook Sance, which
outlines Bobs approach to perform-
ing sances for private gatherings.
Bobs approach to the sance is to
provide atmosphere and generate audience
expectations (sometimes with the aid of a confederate) that
in themselves can cause unexpected results, not unlike stage
mentalism. Success with this will depend on the performers
ability to manage and direct audience emotions and response, but
if one can do that, the results can be quite dramatic.
The nature of the modern sance is somewhat different from
what we have come to expect in the Victorian-era sance popular
in the frst half of the last century. You wont learn how to produce
ectoplasm, you wont use spirit trumpets and tambourines in the
dark, but you will help your audience experience the presence
of paranormal effects, not unlike those made popular on certain
television reality shows purported to bust ghosts. The thinking
is sound, because most people are at least vaguely familiar with
the claims made on those reality shows and can identify with the
concepts.
A half-dozen sance effects are briefy described in this ebook.
One of the most effective uses a borrowed digital voice recorder
to tape the interchange between the medium and those around
the table as they concentrate on a goblet of liquid in an effort to
extract long lost memories. When the performer plays back the
recording using a laptop and software that shows the electronic
wave imagery of the voices, unusual wave segments appear. The
software enables the medium to isolate those segments and play
them back, yielding unknown voices. Diffcult to do? Not really,
when you know how, and Bob tells you where to fnd the free
software. Another excellent item is a variation on table tipping, or
table moving, and the classic pendulum effect using two corked
bottles, each with a pendulum inside the bottle. Bob also explains
how to generate strange, bright spheres, or orbs, on digital pho-
tographs. These weird orbs sometimes appear anyway on digital
photos, as unexpected spots, but Bob has a way to generate them.
The reader will fnd his appetite whetted, but not wholly
satisfed by this book. The trick descriptions are brief summaries
of the effects and the methods, and the reader will need to fnd his
own way in developing a viable presentation.
However, also on the CD is a two-hour mp3 recording of Bob
Cassidys sance tele-seminar hosted by Michael Weber. The in-
terchange between Bob and Michael (both extremely knowledge-
able) is highly stimulating, and Bobs response to call-in questions
about the use of music in setting atmosphere, physical phenomena
that are appropriate with todays audiences, the best venues for
sances, marketing sances, and presenting them as theater (vs.
the real thing) is very informative. As a third item on the CD, Bob
added another six pages of notes written after the tele-seminar to
further elaborate on select topics that were discussed.
Finally, as a bonus, Bob has included a PDF copy of the
excellent 1907 text on sances and mediums, Behind the Scenes
with the Mediums, by David P. Abbott. This is a must read for
anyone who is interested in paranormal entertainment, and
although it is a hundred years old, the material will stimulate ideas
that can be incorporated in 21st century entertainment.
Anyone who is interested in expanding their performance
interests, who is serious about the theatrical elements of paranor-
mal entertainment, or who simply wants to explore ways to bring
mentalism and mental magic up to date should have this CD in
his library.
CHOP DVD AND GIMMICK
BY CRAIG PETTY AND DAVID PENN
Distributed by Murphys Magic Supplies
Price $40
REVIEW BY JIM KLEEFELD
Craig Petty and David Penn have established a bit of a following
for their usually clever, often funny, and sometimes outrageous
product review videos at Wizard FX. Petty has released several
notable products in the past, including Keymaster, Mirage Coins,
and Quarantined. Chop is Pettys impromptu-looking Chop Cup
66 M-U-M Magazine
routine with some handling added by David Penn. It is a long,
multi-phase routine, with numerous magical moments. It uses
any handy disposable cup and a borrowed
and signed bill. The bill vanishes
and reappears from your hand,
from under the cup, and from
the spectators hand. In one
phase, the spectator holds the
empty cup on an outstretched
palm and actually feels the
bill arrive under the cup. As a
climax, the bill vanishes com-
pletely and a lemon appears under
the cup. The lemon is examined,
sliced open, and the signed bill is found
inside. The moves are simple, but because the
routine is long, there are many of them. You will need to
spend some serious practice time to get all the handling down in
the various sequences, but the reward is great: a clear, funny and
magical routine with several very surprising magical moments
and a killer ending.
One of the nice things about the routine is its clarity. Many
multi-phase routines become cluttered to the point of obfusca-
tion. In Chop, the spectators are never asked to remember, back
track, or refer to earlier phases. Each small moment of a vanish,
reappearance, or transposition is clear. In other words, you can
perform this even if your spectators are not really paying close
attention, an unfortunate but likely scenario in many table-hop-
ping situations.
The price includes your standard one-trick DVD instructions,
but in this case it also includes a fnely made gimmick. Actually,
there are two components: one item is a gimmick, the other is a
feke. I wont tell you what the components are, but you do realize
that this is a chop cup routine, right? The gimmick is used to make
a bill suitable for the chop cup. The feke, although in play for most
of the routine, is so unobtrusive as to be virtually unnoticed by
most spectators. Pettys handling of the routine keeps the object
in plain view, but makes it ubiquitous.
I thoroughly enjoyed the construction of the routine and can
see it working well for many close-up workers. It feels informal,
and as such will likely play best in a regular table-hopping venue,
as opposed to a formal sit-down show. Although it is long, it
goes smoothly in Pettys hands, and does not feel over-long. The
thorough video shows you three complete run-throughs, plus a
very detailed explanation with numerous tips and subtleties. You
will fnd the routine easy to learn and easy to do once you settle in
and accustom yourself to the long sequences of handling.
Now that you know you are getting a fne prop, a good routine,
and a well-taught lesson, you still have to decide if this is a worker
for you. There are a few performance downsides. Since the routine
concludes with a signed bill in lemon, you have to carry a knife
and lemons with you. You slice open a lemon at the table and have
the spectator extract her signed bill. It is a very magical moment,
but it leaves two wet lemon halves on the table and a very wet
bill in the spectators hands. As in a sponge ball routine, if the
spectator does not extract, open, and verify the bill herself, you
have lost a lot of the magic. The women in the pub where Petty
flmed were impressed, but I wonder what they said to each other
after he walked away and they sat looking at their sticky hands
and mashed soggy bill.
Besides the wet bill issue, there is a pocket management issue.
If you stroll or table-hop, you will need to wear a sports coat with
pockets, you will need to carry bulky lemons with you, and you
will need to restock or reset lemons continually with wet sticky
hands. Petty does not cover this during the explanation other than
to mildly suggest you carry some wet-naps. He credits his partner
for some handling, but fails to give any background or history.
The routine owes a lot to Don Alan and the methods historical
heritage is Nicholas Nights Enigma (which was frst marketed
about eight years ago) and John Carneys Fruit Cup from Car-
neycopia.
One last recommendation: The DVD includes a very nice
bonus routine in which Petty uses the supplied feke to perform
magic. Since that gimmick looks like a common household
item, the routine plays well. As a stand-alone routine, it is clever,
magical, and fun to watch. The object (which he uses later in
his Chop routine) vanishes, reappears, comes apart, goes back
together, and relocates to several places. You could learn this and
perform it as a competent strolling or close-up routine anywhere.
But in one live performance, Petty uses this bonus routine and
immediately segues into Chop. The problem with this combina-
tion of routining is that it focuses a lot of unwanted attention on
the prop that is supposed to be inconspicuous. Calling attention
to the item as being magical is the last thing you want to do when
you present Chop. You want to have that household item available,
but mentally out of play as far as the spectators are concerned.
Remember this advice if you buy this product: Perform Chop if
you fnd it suitable to a particular venue. Use the bonus routine if
you want. But dont use the two routines together in the same set.
There is ample magic in Chop, and its a decent value. For
your $40 you get a fne set of gimmicks, a well-honed routine,
and almost two hours of clear video instruction. If you dont mind
soaking your spectators bill in lemon juice, go for it.
MINIMAX DETECTOR GIMMICK AND DVD
BY EDO
Distributed by Murphys Magic Supplies
Price $99.00
REVIEW BY DAVID GOODSELL
The Minimax Detector is a utility
device for locating hidden objects, as
long as they are magnetic, such as a
magnetic coin or card. Obviously its use
is limited. The three routines included
in the instructional DVD involve the
magician fnding a magnetic coin held
in one or another of the spectators
hands, fnding a coin covered by one of
six playing cards, or fnding a marked
coin among fve by his sense of smell.
In each case this is accomplished by
bringing the hidden device near the
location of the coin. The device itself is
about an inch long and just a little over a quarter inch in diameter;
it operates off a very small battery. The device is easily clipped
between the second and third fngers at the base of the palm where
it remains hidden, with a little care. It activates when the open
hand, palm down, is brought near a magnet.
The Minimax I tested worked as advertised when brought
within one to two inches of a standard refrigerator magnet, and
within an inch of a magnetic half-dollar covered by a playing
card. However, it had to be almost touching a magnetic English
penny. It easily detected a half-inch rare-earth magnet from three
inches. It did not detect a tiny eighth-inch rare-earth magnet, nor
OCTOBER 2011 67
did it work on a cheap ball magnet. Clearly its success depends
on the strength of the magnet it is seeking. Also, since the device
draws power from the small battery used, that battery will need
to be replaced periodically. But they are easily found at electronic
shops and are very inexpensive.
By the way, these location effects are not new and have been
accomplished in the past by secreting a magnet in the fngers,
using a PK ring, or sometimes by simply having a piece of iron
hidden in the hand. Those, too, depended on the strength of the
magnetic device for success.
Why buy it? You clearly know it when the device locates the
magnetic object, and this will lend a surety to the location that
some people have trouble with using a hand-hidden magnet or
metal device. The size and shape of the device is such that it can
be hidden in a sleeve or under a leather watch-band, as described
in the DVD, but that only scratches the surface. The creative
performer will undoubtedly come up with many more uses for
the Minimax. No, it wont locate a magnetic coin from six inches
away. It wont locate a steel spike inside a paper bag. It is pricey,
but if you can come up with a unique object and ft it with a strong
magnet, you may be able to develop a routine that will have
magicians and laymen alike scratching their heads.
MiniMax Detector comes with the device, an instructional
DVD all visual, no speaking a small printed page of addi-
tional information, two batteries, and a very small leather case
for the device and the batteries. This is not for everyone, but it
might be for you.
KINGS CROSSING TRICK
BY NICOLAS GIGNAC
Available from: www.paltergeist.com
Distributed by Murphys Magic Supplies
Price $60.00
REVIEW BY DANNY ARCHER
Here is the basic effect: Twenty
red-backed jumbo cards are counted
by the performer. Ten are removed,
spread face up, and all are shown to
be King of Spades. The Kings are
handed to a spectator to hold. The
remaining ten cards are all shown to
be Ace of Diamonds and are handed
to a second spectator. The performer
never touches the cards again. Three
Kings are magically caused to travel
from one packet to the other; when the
King packet is counted by the spectator
it only has seven cards. The spectator
holding the Ace packet counts thirteen cards; when they spread it
face up, three Kings are seen interspersed among the Aces.
Kings Crossing is a handling for the classic Cards Across
routine using jumbo cards and a hands-off presentation that makes
it play very clean. What you receive are all the jumbo cards and an
instructional DVD (featuring Jason Palter) that teaches the effect.
The underlying method for Kings Crossing is an old idea in a new
dress. The method is very clever, and will fool laymen (and most
magicians) who see this performed. There is no sleight of hand
required by the performer, but some audience management skill
is needed. The suggested presentation, using a man and woman to
assist, seems to be the way to go with this routine.
So who is this for? If you are looking to add a stage or parlor
version of Cards Across to your act, then I think you should take a
look at the performance on YouTube and see if this works for you.
There is plenty of room for comedy byplay with the suggested
presentation. Sleight-of-hand performers will probably have
a version of this in their arsenals already, but may consider the
larger cards used for Kings Crossing a beneft. The price is a bit
high, but the cards are very well made and they allow you to do a
clean version of this magic classic; if you like the effect and will
perform it, the price is worthwhile.
SPEED DVD AND GIMMICK
BY MICKAEL CHATELAIN
Distributed by Murphys Magic Supplies
Price $45.00
REVIEW BY ANTONIO M. CABRAL
In the never-ending search for the
Ambitious Card fnale, Mickael
Chatelain offers Speed, an
extremely visual appearance of
a signed playing card face-up
on top of the deck. The card is
inserted into the middle of the
deck, and another playing card
is used as a magic wand to tap
the top of the deck, upon which the
signed selection instantly and visibly
appears.
Speed is certainly an improvement over the
previous item of Chatelains I reviewed. This effect,
at least, is well worth performing, and the gaffs arent nearly as
cumbersome. Plus, it looks pretty good. The big problem is that it
sounds awful. You tap the top of the deck with the one card and
you hear the gimmick snap shut every time. This isnt something
you can get rid of with practice, either; its just the nature of the
gimmick. You get no indication of that in the performance clips,
because the overdubbed music conveniently covers everything
up. (If you like, you can do a search on YouTube and watch any
music-less demos of the trick. The gimmick provides its own per-
cussion.) To top it off, the gimmick I received is (intentionally or
not) built for a right-handed performer. I tried it left-handed and
the results were even more disastrous.
The instructional portion of this DVD is again a series of
subtitled video clips. The previous DVD I reviewed had what
looked to be low-quality YouTube clips in place of actual instruc-
tion. These at least are high quality clips, and the level of instruc-
tion is a little clearer. But again, no audio means you never hear
the tell-tale snap, and Chatelain doesnt even acknowledge it or
offer a way to overcome it (if there is one).
My advice: Learn a startling color change and pass on this
item. I give it an A for concept and an F for execution.
THE LINKING PIN ROUTINE TRICK
BY BRUCE BERNSTEIN
Distributed by Fun Incorporated: www.funinc.com
Price $25.00
REVIEW BY W.S. DUNCAN
A number of years ago Bruce Bernstein witnessed Dan Garrett
perform Pin-Demonium, a linking safety pin routine that uses two
ungaffed (at least in the Jerry Andrus sense of the word) safety
68 M-U-M Magazine
pins. That routine inspired the one you will learn from this DVD.
Over the years Mr. Bernstein has trimmed the Garrett routine a
bit, and has added a penultimate link to put a coda on the effect.
When I frst
saw Dans routine
performed on televi-
sion by Bob Sheets,
I was blown away.
Having purchased the
Andrus Linking Pins
from Jerry himself,
I simply couldnt
fathom how Mr.
Sheets was getting the
gaff in and out. When
I found out that the
routine used pins from
the corner store, not
the special pins of the Andrus routine, I was even more impressed
at the quality of the illusion. There is no question in my mind
that anyone who masters this effect will have a close-up miracle
that they can present to virtually any small audience at any time.
Better still, if you lose your pins (or if they are confscated by
airport security) you can prepare a new set in a short time.
The Linking Pin routine taught on this DVD is Dan Garretts
routine, minus a bit, so you are paying for the teaching and Mr.
Bernsteins ending. The video is professionally shot, and you can
probably learn the routine from it. You probably wont learn much
about performing it. The presentation on this DVD is about as
dry as you can imagine. Given that Garretts original routine is
available for the same price on a DVD called Grab That Pinhead,
which also features Bob Sheets, and that both Bob and Dan are
very experienced professional performers, the only compelling
reason to purchase the Bernstein Linking Pin DVD is for Mr. Ber-
nsteins original ending to the effect.
The introduction of a fnger ring does provide a nice ending,
if you think the effect needs one. And while on the DVD it is
presented using Mr. Bernsteins own (not gimmicked in any
way) wedding ring, smart performers will borrow the ring from
a spectator, both proving the unprepared nature of the ring and
involving the audience personally in the effect. Im not certain
this effect needs an ending, as its not exactly a closer effect, but
if you like the idea of unlinking a spectators ring from one of the
pins while simultaneously linking the other pin on, and if that idea
is worth the money to you, then this DVD should make you happy.
For $25 the DVD comes with a pair of safety pins prepared for
the effect and a poster to aid you in your practice.
If you wish to have your product
reviewed please send it to:
BILL DUNCAN
P.O. BOX 50562
BELLEVUE, WA 98015-0562
OCTOBER 2011 69
I Got ItI Got It
I Dont Got It

If you do not recognize the above quote, its from Mel Brookss
motion picture High Anxiety. Two characters (Thornhill and
Brody) are trying to carry something heavy and Brody is strug-
gling. Like much comedy it does not read like much, but in the
flm it is memorable.
For those of you who have my book or who have attended my
lecture about illusions, you know I recommend that would-be illu-
sionists begin with illusions that can be presented by solo artists.
Any head chopper or guillotine effect would ft in this category, as
would the various volunteer sawing outfts. An Abbotts Super-X
Levitation would, too. With any of these you have added the drama
and spectacle of a big, stage effect, but without the necessity of a
partner and a payroll.
The next illusion acquisitions should be those that require only
your performing assistant. These would include the Zig-Zag Lady,
a Sub Trunk, a Broom Suspension (my number one choice) and a
Dollhouse Illusion. There are, of course, many more.
As you expand, though, there will be another threshold
looming before you and it has been on my mind much lately. I
have in the past year gone through all the trials and tribulations of
the all-American divorce. This has been both diffcult and painful.
It has also required me to physically move much, but not all, of
my illusion inventory. I must state that I would much rather move
illusions even big, heavy ones than personal possessions and
furniture. Illusions are in rectangular cases and go from a garage
or warehouse to another garage or warehouse. There is no dealing
with steps or doorways and hard-to-manage sofas.
Heres my caveat to all readers who have become enamored
by some shiny illusion prop: Be wary of buying an illusion that
you cannot move yourself. Please read that again and commit it
to memory. Perhaps you think that since youll have an assistant
onstage with you, its okay to have illusions that require two
people to move them. If you feel that way you are demonstrating
a lack of practical performing experience. I guarantee you will
have more-than-frequent show situations where your lovely and
reliable assistant can do the show, but cannot help you load your
vehicle, set up the show, or remain afterwards to help you strike
all your gear.
Even if your illusion arrives in an ATA case on wheels, you
will still want to have a couple of hand trucks or dollies in your
service. They will allow you to almost easily load props you
cannot possibly lift on your own. I have an Owen Magic Supreme
Crystal Casket that weighs almost three hundred pounds in its
shipping case. I can load this illusion into my van all on my own
if I have to.
This illusion is stored upright, on end. By getting a two-
wheeled dolly under one of its short, narrow ends, I can tip the
entire case back towards me and roll it to the back doors of my
Ford Econoline van. When its positioned properly, I can tip it
back so it more-or-less falls into the back of the van. With the
van taking much of the props weight, I can lift the end still on the
ground and slide it in. The carpeted foor of the van helps, too.
The larger the dollys wheels are, the easier it will be to roll
over any bumps, like the threshold of a doorway. Remember, you
must roll both wheels over simultaneously or you risk your load
tipping and falling. Wheels that are tires and infated also have
their advantages over hard rubber wheels.
I strongly urge you to invest in a convertible dolly. This type
has another set of wheels that are not used when the dolly is in
its customary upright position. These smaller wheels near the top
of the dolly allow it to become a cart when you place it down on
all four wheels. This second set of wheels can steer like the front
wheels of a shopping cart. Youll learn, though, that its better to
roll with the larger wheels in front and you pushing and steering
from behind. If you do not follow my advice, youll push your Sub
Trunk along and encounter a pavement crack or faw that stops
these small wheels, but not your illusion, and it will continue
forward off the dolly or fall off to the side.
I moved lots of my Owen Magic inventory recently. On my
own I was able to manage these items: Thin Model Sawing,
Mis-Made Girl, Geometrick, Where Do the Ducks Go?, Alice
Thru the Looking Glass (the stands and uprights, not the mirror),
Burning Alive, Reincarnation, Hindu Basket and its decorative
base, the Owen Redwine/Dan Summers Compressed, one-half of
a Bill Smith Twister, and quite a few more.
Brett Daniels offered to help me out, and together we moved
Impaled and Matildas Wardrobe. Illusions like the Sword Cabinet
and Stretching a Woman are not appreciably bigger in their cases,
but they are so dense that their weight makes them terribly hard to
move without assistance.
Just yesterday, I was able to use a hand truck and position the
bulky Paper Doll Machine at the back of my van. I tipped it in, but
I was unable to hoist its protruding end to slide it in. A neighbor
came to my recue and I decided right then to pen this column.
At my new home I was able to park the van with its rear tires
in the low spot of the gutter so that the vans rear was very low to
the ground with respect to the slope of my driveway. I pulled the
illusion out and was able to tip it back upright and wheel it into
the garage.
Ive also learned that too much help is often more trouble than
its worth. The principles of moving large, heavy illusion cases
are skills that must be learned, like back-palming or a double lift.
Give me just one or two people who have experience and we can
make very short work of loading (or unloading) an entire illusion
show.
You will have no choice; you will learn how to do it. Just watch
out for hernias.
David A Seebach
www.davidseebach.com
david@davidseebach.com
by David Seebach
ANYTIME, ANYPLACE ANY DECK
ALDO COLOMBINI
I
LOVE THE following routine; I use it all
the time. Please send a thank you to my
friend Roy Walton for sharing it with
us.

Ambitious 1-2-3-4
By Roy Walton

Roy was so taken by Al Bakers
Ambitious Card Routine that he came
up with this presentation. Have a card
selected and control it to the face of the
deck. Turn the deck so the faces of the
cards are toward you as you say that you
need the Ace, Two, Three, and Four of
Hearts to continue the trick. Since you can
see the chosen card on the face of the deck,
you can note if it happens to be one of the
Hearts you require. If it is, name another
suit. It is preferable to use four cards of the
opposite color of the selected one. Lets
assume that you are removing the Ace to
Four of Hearts and that the selected card is
the King of Spades.
Remove the Ace of Hearts frst and
place it on the face of the deck, covering
the chosen card. Then remove the Two
of Hearts, Three of Hearts, and Four of
Hearts and place them on the face. Square
these four cards and in so doing steal
the selected card beneath them. Hold the
packet face up from above in the right
hand. Place the deck face down on the
table in front of you. Fan the fve cards as
four, keeping the last two squared as one,
and openly show the cards in order. Close
the fan and drop the packet face down onto
the face-down deck.
Ask a spectator to name any one of
those four cards. You are now going to
do an Ambitious Card type of effect, but
when you come to the card named by
the spectator, you will place it aside face
down. There is really nothing to remember
except the sequence used in the Ambitious
Card part of the trick, because you simply
place the nominated card aside when you
come to it; however, here is the procedure:
If the Ace is chosen: Place the top card
(the selection) aside, face down. Take the
next card, calling it the Two of Hearts, and
place it below the top card of the deck.
Turn the top card face up to show to the
Two of Hearts and place face up it on the
table. Take the next card, calling it the
Three of Hearts (without showing it), and
place it second from the top and square
up. Turn the top card over, showing the
Three of Hearts. Place it face up on the
table with the Two of Hearts. Take the
top card, naming it as the Four of Hearts,
and place it on the face (bottom) of the
deck. Explain that the Four has to travel
up though the entire deck. Turn the top
card over, showing the Four of Hearts, and
place it on the table face up, with the other
cards. Ask the spectator to turn over the
supposed Ace of Hearts to discover the
selected card.
If the Two is chosen: Take off the top
card, calling it the Ace of Hearts, and place
it below the top card of the deck. Turn the
top card over to show the Ace of Hearts
and place it face up on the table. Take the
next card, calling it the Two of Hearts, and
place it aside, face down. Take the next
card and place it below the top card of the
deck, calling it the Three of Hearts, and
square up. Turn the top card over, showing
the Three of Hearts. Place it on the table.
Take the next card, calling it the Four of
Hearts, and place it on the face (bottom)
of the deck. Turn the top card over to show
the Four of Hearts. Turn over the tabled
card to show the selection.
If the Three is chosen: Take the top
card, calling it the Ace of Hearts, and place
it second from the top. Turn the top card
over, showing the Ace of Hearts. Place this
card face up on the table. Repeat with the
next card, calling it the Two of Hearts; it
travels to the top and is placed face up on
the table. Take the next card, calling it the
Three of Hearts, and place it face down
on the table (it is the selection). Take the
next card, calling it the Four of Hearts, and
place it at the face (bottom) of the deck.
Turn the top card over, showing the Four
of Hearts. Finally, turn over the tabled
face-down card to show the selection.
If the Four is chosen: Take off the
top card, place it second from the top and
turn over the top card, showing the Ace of
Hearts. Place it on the table. Repeat with
the next two cards. Place the next card,
calling it as the Four of Hearts, face down
on the table. Then, turn it over and show
the selection.
70 M-U-M Magazine
72 M-U-M Magazine
THEORY & ART OF MAGIC
LARRY HASS
Mala-Propisms,
Part One
I
N HIS EXCELLENT book The Secret
No One Tells You (Hahne 2008), Jim
Steinmeyer challenges the current
widespread assumption that the best,
purest, most artistic magic and mentalism
eschews the use of apparatus. Confronting
the rhetorical question used time and again
to protect this assumption What would a
real magician do? Jim replies:
Magic is about physical things.
Its a visual art. A real magician would
perform a range of things with objects,
and [thus] bring production value to the
performance. A real mentalist would bring
along slot machines, ...books, astrological
charts, et cetera, in an effort tomake
what hes doing look colorful, attractive,
and interesting. Believe me, no audience
expects you to do it with nothing. Theyve
all seen magicians in movies or television
shows, and they know that part of the act is
having things that look interesting and that
help the magician in his act.
This argument really caught my
attention, because Jim is saying that
our modern minimalism about props
is dogma, and problematic to boot. I
started wondering, is it true that He who
performs with the fewest toys wins? Or
is this simply an unexamined notion or
popular meme that compromises the
quality of our shows? Jim did me a great
favor: his argument led me to examine my
own views and practices surrounding the
use of props in magic.
One of the frst things I realized is that I
have never been tempted by the rhetorical-
question removal of props from magic. On
the contrary: over the years, as I gained
performing experience and was hired to
do bigger shows, more props have come to
populate my stage, and that has been the
exact right thing for me.
Of course, this means that my travelling
involves more luggage and expense, but
for me this is simply the cost of doing
business and performing my best show.
Rest assured, I dont intend to add a car
production anytime soon; for me it has to
be able to go on the airplane and be easily
replaced if my checked luggage doesnt
arrive. But there is a lot of great magic that
increases the scale and visual interest of
my show while meeting those standards.
The next thing I realized was that all my
concerns and objections about props had
to do, not with their fact, but rather with
the ways many magicians use them. Thus,
I have come to identify three common
types of prop mis-uses, abuses, problems,
or mistakes that I see with magicians time
and again, including competition winners
and even top professionals. My goal in this
and next months columns is to articulate
these mala-propisms so that you can be
on the lookout for them in your own work.
1. Disconnection. Consider this:
The magician takes out a pack of cards
and shuffes them while launching into
a discussion about card cheats. Or the
performer starts linking and unlinking
rings while maintaining strong eye contact
and gesturing for applause. These are
common enough scenes, but what often
happens in these moments is a subtle
problem that is nearly invisible except
to the audience. That is, the performer is
using these visually interesting tools, but
doesnt make clear what his relationship is
to them.
You would recognize this problem
instantly if we were in class and I could
show you some video examples. In lieu of
that, I invite you to simply recall a recent
performance you have seen or have given
yourself: The props come out, and they are
put into play. Often we are busy talking,
working the audience, and not looking at
the props because we need to do sleight of
hand with them. And when that happens,
what settles into our show is a strange
disconnection between our attention and
the tools we are using. We need the props,
but we dont want to convey we need them
or draw attention to them. So we look
away.
The result of this is a weird split
in the middle of your show, one that you
wont feel, but your audience will. He
just takes that stuff out and does things.
Why? Why those things? Oh, they must
be tricky. Ssssssss that is the sound of
magic leaking out of our show.
Again, you wont feel the split and you
cant see it in the mirror because then you
are looking at the mirror, not your props
which is exactly the problem! The only
way to get after it is to study video of your
shows and to start noticing it in the work
of other performers. I think you will be
astonished to discover how common this
problem is.
So, having identifed this frst
mala-propism of disconnection, what can
we do about it? One part of the answer
comes to us from one of my teachers,
the great Bob Fitch: Endow your props!
Time and time again, from the back of the
studio (and now in my inner mind), Bob
calls out to me: Endow your props! That
is, clarify in your mind what your specifc
relationship is to the prop you are using,
and then perform it.
For example, do you love your playing
cards? Do you love the feeling of them in
your hands, the pleasures of manipulating
them with precision? You must, or you
wouldnt be a card magician! So convey
that when you remove the cards from the
box and display them in a colorful, elegant
fan. Do you love your linking rings? Then
pause a moment, enjoy them, and anchor
yourself in these beautiful objects.
Love is a great relationship to
manifest with your props, but you have
many options. Perhaps you fear your
foating wand. Perhaps you are mystifed
by your cups and balls. Perhaps you
are confounded by those re-appearing
cigarettes. (Cardini was a great master at
this endowing practice.)
The other part of the answer is to make
sure you understand and convey why
you your character is using exactly
those props. For instance, why might my
philosopher-magician pull out the linking
rings? If I havent worked that out in my
own mind and expressed it in the show,
then it cant help but look like I have raided
a magic shop.
Whatever decisions you make in these
matters, overcoming the split between
yourself and your props will make a more
enjoyable, coherent show for everyone
especially you!
Next month we will consider two other
common prop mal-adaptions. See you
then!
74 M-U-M Magazine
IVE BEEN THINKIN
NORMAN BECK
I
N MAGIC OR in life, I think it is good to
have people you look up to, respect, and
can learn from. I have been very lucky:
many people have been kind enough to let
me into their world. There is a man who
lives in Dallas whom I look up to, and he
doesnt even know it. Were you to meet him
at a magic convention you would misjudge
him. You would write him off as a casual
armchair magician and who couldnt enter-
tain his way out of a paper bag. Were you
not to talk to him, it would be your loss.
Let me tell you about a recent trip he
made back East. He was in Washington,
D.C., on a business trip and was eating
in some out of the way, hole-in-the-wall
diner when the Secret Service walked in
not one, not two, but three agents. They
checked the place out; when it was deemed
to be all clear, in walked Speaker of the
House John Boehner. The question to
consider is: what would you do if a major
government fgure came into a joint where
you were having breakfast? I know what I
would do nothing. I wouldnt attempt to
make small talk with him, look at him, or
bother him. I knew that those three Secret
Service guys were all packing heat, and
they dont mess around.
My friend, however, approached the
situation differently. He walked over to
one of the agents and said, Hi. I am a
magician, and I was wondering. Do you
think the speaker would like a bit of magic
before breakfast this morning? As far as
Im concerned, this was not a good move.
The agent spoke to Boehner, returned to
my friend, and told him in no uncertain
terms that, as a matter of fact, the speaker
would like to see some magic. My friend
did one trick, a trick that starts out with the
patter line, Have you seen this one? Well
my friend got lucky and knew that after
one trick it was time to stop. The speaker
thanked him, and they both left with a
story (or as my friend would say, a gift).
We now fast forward to another
encounter on the same trip. In his hotel
he passed a woman sitting alone in the
lobby; once again his tag line as he walked
by was, Pardon me miss; I didnt want
to seem rude and not say good morning,
but have you seen this one? He did his
opening trick, followed by the multiply-
ing rabbits, and Anniversary Waltz for the
lady and her husband. At the end of the
short three-trick set the woman started to
cry. The husband then told my friend that
he had no idea how much this little perfor-
mance meant to them. The day in question
was the second trip for them for chemo
treatment.
The last little adventure came the next
day, once again at a coffee shop. My friend
performed for the lady who was waiting on
him. After his stock opening line of Have
you seen this one? and the trick that goes
with it, the waitress mentioned that she
was working two jobs in order to save
money for her upcoming wedding. When
my friend learned that she was about to get
married, he had to do just one more trick
for this young woman who was struggling
just to get by.
The question is, what trick would you
have done for her on a Monday afternoon
in a second rate cafe? Well, he could have
performed the rabbits, sponge balls, or any
one of a hundred tricks. My friend picked
out only one. He simply borrowed a dollar
bill from the waitress and did the Hundred
Dollar Bill Switch. Id guess that all of
you have performed this trick at one time
or another; it gets a good reaction. But Id
bet money that you have never done it like
he did it that afternoon. Once he changed
her one-dollar bill into a hundred-dollar
bill, the trick was over. He didnt change it
back; he simply handed it to her and said,
Well, its stuck like that. She started to
cry, and, to be honest, Im starting to tear
up as well, as I think about a moment with
magic, a gift with magic, a memory of
magic, that the waitress will have forever.
The young girl told my friend, Now I have
enough money to get my hair fxed. In all
my years in magic, I know of no classier
trick or performance than that simple pre-
sentation.
I drove from Dallas to McKinney,
Texas, to get the details of my friends trip
and to fnd out exactly what happened. I
took my friend to lunch; as we chatted, he
told me that he looks at every performance
as a gift to his spectator. Does he get paid?
Yep. Every time he works. I get to watch
him work on a regular basis, and if I dont
want to watch I can just listen to the joy
from the spectators as he charms them. As
we fnished lunch he said to me, Thank
you for taking the time to come have lunch
with an old man. The funny thing is, I
was the one who should have been saying
thank you.
We all need heroes and Geoffrey
Grimes is one of mine. He goes by the
handle Doc, and when you meet him his
opening line will be, Have you seen this
one? I would recommend that you say
no even if you have, and just sit back and
enjoy yourself. I am betting that you leave
with a memory.
OCTOBER 2011 75
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76 M-U-M Magazine
Polo Shirts
I
AM REALLY not a collector. Frank
Dailey described people like
me as accumulators. He lists
himself in that category as well. After
every convention, I come home with
chachkes little things that are not
too useful, such as pins, lanyards,
badges, buttons, and my fnd for this
year: a noisy reel that is great for an
identifcation badge but terrible for a
Serpentine Silk. Assorted souvenirs go
into the offce box of things.
The gifts and insignia booth is
always fascinating, but the only things
I like to buy are the polo shirts. When
you see me in the dealers room or at
an event, it looks like I am wearing the
same shirt that I wore yesterday. Not
so! I wear a fresh S.A.M. polo shirt
every day. I wont wear the T-shirts
because I hate the round necklines.
The black and white shirts each year
are great.
During the summer months when
Im working at home, I wear the older
ones. I hate to throw them away. I
have two favorites, both exactly the
same, that are ffty percent cotton and
ffty percent polyester. The back bears
a design commemorating the 65th
annual convention held in New Orleans
in July of 1993. It was also Assembly
36s fftieth year. It was so successful
that the design was used again in 1998
when they added a front pocket with
the S.A.M. logo; I have both versions.
I dont remember the conventions,
but Ill never forget the shirts. Nina
complains that she fnds them in every
wash. They have not faded or lost their
design in all of the eighteen summers
since I bought them. (But you can see
through the fabric.) I dont know if
these things are collectables, but I will
not sell them.
If you want something that one
day will be highly collectible, buy the
baseball cap at www.samgifts.org. I
wont tell you the secret; youll have
to ask Mike Miller about the history of
the item. This years deck of cards is
also a good item to have. Its not only
a logo item; it is also a great trick deck
if you want to use it. And ask Manon
about the scarf she and the registrars
wore in Pittsburgh all week. (I wonder
if they had a fresh one every day?)
GEORGE SCHINDLER
THE DEANS DIARY
1998 Polo shirt with front pocket
65th annual S.A.M. convention polo shirt
I
TS TAKEN A while to get to this point.
We have reduced our magic arsenal to
items we can perform well and that we
personally enjoy. Everything is now orga-
nized for quick reference. We have reached
frst base by paring down to only solid,
commercial material.
Second base is determining how we
can best entertain an audience with our
magic. First, what is your goal? Do you
want to be the great mystifer in white
tie and tails or do you just want to pick
up girls using magic as an ice breaker?
You must develop a credible character
or stage persona. First determine your
own strengths or weaknesses. Once you
establish the parameters, you can create an
image that an audience will accept (as long
as you remain within your own skill set).
I didnt get into magic until my thirties.
My goal was to have fun. I wanted an
avocation as far removed from my day job
as possible. Getting a late start meant my
chances of becoming a master manipula-
tor were limited. I had entertainment ex-
perience as a musician, but the only skill I
could transition into magic was my ability
to tell a funny story. I decided to capitalize
on the fact that I was Polish; I then could
utilize all those jokes from years past that
implied that my people were not among
the sharpest pencils in the box.
Thats how a comedy magician working
as the Polish Wiserd was born. Yes, the
word wizard is purposely misspelled on all
of my artwork. Because I set a goal before
ever setting foot on stage, and developed
a game plan to reach that goal within my
capabilities, I have had a great time for the
past thirty-plus years.
If you want to entertain an audience
with your performance you must follow
this same procedure. Determine what
skills you possess and develop a character
that fts your capabilities. The effects you
chose to keep should give you a hint in that
direction. They should all be favorites of
yours. Is there a common theme? Do they
indicate you lean towards manipulation or
no-skill-required presentations?
Some limitations are obvious. If youre
a teenager, its going to be hard to sell the
suave, debonair image in full evening
dress. You can certainly work towards de-
veloping that image as you get older. This
does not mean that its okay to dress for the
stage as if youre headed to your job at the
car wash after the gig.
If you are younger than college age, ap-
propriate patter is essential to making your
character believable. Toss the routines that
came packaged with the trick. Tell people
you applied some of the theories learned in
science classes to a deck of cards and this
was the end result. That is an approach you
can sell at your age.
Those of us who are old have more
choices, often too many, and we jump back
and forth negating our credibility with our
audiences. Whatever you determine your
appropriate stage persona to be, stay in
character. We all have several different
shows, but part-timers work mostly for the
same audiences. Dont confuse them by
imitating Silly Billy when they bought a
ticket expecting David Copperfeld.
Your goal is to establish a brand name
a product in which the quality is consis-
tent every time the consumer opens the
box. Customers readily pay more for brand
names over store brands as long as their
expectations continue to be met.
Establishing your stage character is
vital. No presentations for individual tricks
or scripts for shows can be written until
you know who is going to be performing
the effects. Whomever you do choose to
become, make sure you can pull it off both
visually and technically.
Your props, stage furniture, costumes,
and promotional material should all be
correlated to identify with your brand
name. Design a logo that will sell you to
the buyer on its own. Does the red cross on
a box of adhesive bandages or the balloons
on a bread wrapper bring a specifc brand
name to mind?
Whenever I see a stage cluttered with
mismatched props my expectations are
lowered before the performer utters his
frst word. A gaudy Square Circle sitting
next to a plasma TV sends a confusing
message. If youre hip enough to do tricks
on your cell phone, then what is that
covered silver cake pan for?
There is nothing wrong with the
classics provided that they are appropri-
ately routined. Lump your boxes and tubes
together for one show and your modern
electronic marvels for another. At the very
least paint everything in the same scheme
so your props dont clash.
Ill end with an example of why you
must establish your character before you
begin working on your presentations.
Well use the venerable 1089 prediction for
our illustration. If you decide to work as
a serious mentalist, you would undoubt-
edly have your prediction in full view in a
sealed envelope. Simple enough.
The Polish Wiserd has an uncle named
Stanley who traveled for a time with a
band of gypsies in Europe. Although they
did teach him many things, such as pre-
dicting the future, he came away with an
aversion to earning an honest living. When
the number 1089 is revealed it is hanging
from Uncle Stanleys neck on a mug shot.
This is why your character must be
developed based on who you really are.
Somebody may be able to appropriate your
moves, but it will be impossible for them
to steal your act. They are not, and never
will be, you. Until next month give some
thought to reinventing yourself.
If you no longer fnd performing fun,
a new image may rekindle the fame that
once burned inside of you. If the phone
isnt ringing because the economy is
bad and your local audiences know your
product is stale, its time for the new and
improved marketing strategy to kick in.
Contact me at polishwiserd@sbcglobal.net
78 M-U-M Magazine
ROD DANILEWICZ
CONFESSIONS OF A PAID AMATEUR
Those of us who are old
have more choices, often
too many, and we jump
back and forth negating
our credibility with our
audiences. Whatever you
determine your
appropriate stage persona
to be, stay in character.