There are two things we cannot get enough of: Harry Houdini and anything related to Harry Houdini.
So, if you have an exhibit that features images of Harry Houdini and takes attendees through the life of Harry Houdini, you win the golden ticket in our book.
Just to be clear, we have neither golden tickets or a book in which to collect said tickets, but we will remember you fondly until the day we pass to join the great card table session in the heavens. We’ll tell Dai Vernon and Ed Marlo about you and your organization and they will both likely teach us moves that will take an eternity to perform – but that will be okay because we will have an eternity to learn.
The Breman Museum (William Breman Jewish Heritage Museum) is based in the Atlanta area (likely within a mile of a street with the word “peach” in it). We see that Inside Magic Favorite Joe Turner is assisting in the presentation so you know it will be without flaw and have integrity.
The museum tells visitors that the world’s most famous magician and escape artist wasn’t born but invented by the talented mind of Erik Weisz (later translated into Erich Weiss when he and his family immigrated to the United States).
The exhibit it curated by magician David London and shares the story of how this immigrant, growing up in Wisconsin became Harry Houdini – the world’s first international superstar.
We are warming to tattoos and body piercing (other than earrings) but we are having a hard time with deck collectors.
Admittedly we have no place from which to speak on this topic.
People like different things.
We love The Ball and Vase and have bought maybe a hundred in this short shuffle up on the mortal coil from which we will all be called up one day to justify our choices, decisions and purchases. We figure we can defend the first 20 Ball and Vase tricks. We were young, we didn’t know, others were doing it, we were raised by doting parents that would indulge our every whim as long as it had to do with schoolwork or applications to go to another school to do school work. We had thousands of pencils (mechanical and wood), pens a plenty (the name of our first writing instrument internet shoppe.
It failed due to a horrible spate of product liability suits brought allegedly due to springs that were too tight. When you would open the container to refill the pen, the old refill would shoot from the pen body with the force of Titan rocket (first stage). The good news, we sold very few of them and the even better news, we sold even fewer refills. The bad news, enough people bought the pens to narrowly miss horrific physical injuries. No one was injured or claimed to be. We took the pen off the market and went broke. Ironically, we wrote the bankruptcy papers with one of the killer pens.
But let us return to the subject at hand. Card decks.
Master Magician Lance Burton and All About Eve have one thing in common. They are perfect. We can watch either over-and-over without need for any breaks. But this is a magic blog read by fives to tens of people every day. We are not here to talk about Bette Davis incredible role in her Oscar® winning film, but the incredible magic of Lance Burton.
Watching Lance Burton is, in a word, wonderful. He has the sleight of hand skills to astound magicians, the professional illusionist chops to wow the crowd and he loves animals and is a very nice person.
We know magicians who love animals but fail at meeting the remaining criteria. Lance Burton has it all and always has. His sleight of hand act on Johnny Carson iced the deal for us. He does things that can only be explained as magic. We don’t look for secrets or flaws, we just drink it in like a gerbil immediately after his wheelwork.
We say all this because Lance Burton will be in Modesto August 18th and performing in the perfect environment to see him work. The Mary Stuart Rogers Theater is a fantastic venue and reminds us of the Lance Burton Theater that once held his nightly show at the Monte Carlo in Las Vegas. The sight-lines are great and the place is plush.
If you are anywhere near Modesto, you need to visit the theater and experience the true magic you will see by the Master Magician Lance Burton.
The chances are you have seen magician Nick Lewin before. But then again the chances are you have not. It’s that way with chances – they can go either way. Regardless of the side of the fates you fall, you need to take time to see Mr. Lewin for the first time or again as he begins his Southwestern swing.
Mr. Lewin is to magic what oxygen is to many people; at least us. He is an essential ingredient that keeps life sustained. We have seen him perform many times and each time end up with what feels like a broken rib from our laughing and enjoyment.
Mr. Lewin performs effects that we know well but cannot comprehend how he performs them so effortlessly. He performs magic that we assume must be based on one of the magic principles but we don’t which one or ones and we don’t want to know. But on top of all that, he is funny. Not just funny for a magician, but funny in the real comedic sense. Finally, he is an outstanding actor. When he explains something from the stage, audiences (or we) believe it. He could say the landing on the moon was real, and we would accept it without question.
He has opened for Tony Bennett, Reba McEntire, Charlie Daniels, Paul Anka, Fortune 500 companies, as well as private functions for David Bowie, Steve Forbes, Jimmy Stewart, Lee Iacocca, Tony Curtis, Orson Welles, Steve Wozniak and others. If that wasn’t enough – and it should be for anyone – he starred for five years in his award-winning one-man show in Las Vegas called “Comedy Magic.”
On the 27th, Mr. Lewin will be substituting for Mac King at Harrah’s in Las Vegas, Nevada. He will take the stage at 1:00 and 3:00 pm.
On July 29th, he will be headlining Magic at the Tavern in Austin, Texas. Joining him on the bill will be Rolando Medina (close-up expert) and Little Jewford, musician. You can purchase your tickets here.
At the end of the summer, Mr. Lewin will be at TAOM 2019.
He also offers (for sale) some of his great effects at Nick Lewin Enterprises – of which we have purchased many and been delighted with each one.
Do not miss your chance to see Mr. Lewin. He is a true Inside Magic Favorite.
In an interview on this morning’s Heart Radio from the UK, Magician David Blaine talks about secrets – and how well he keeps them.
Even though that is what a magician does best – keeping secrets – his pals remind him to “not tell anyone” before letting him in on some confidential information.
He is in the United Kingdom for a tour – the first time he has ever toured with a live show. He was suspended in a Plexiglas (“Perspex” in metric, we think) box near the Tower Bridge back in 2003. But he didn’t tour in the box. It remained in one place and was not dragged around the nation for people to peer at him trying to avoid motion sickness. For that we and he are grateful.
His new show is called “Real or Magic.” The title is somewhat similar to our tour of the tri-county area, “Really, it’s Magic.” We had to adopt that title because we were ill-prepared and hardly able to perform the new effects we had inherited just five days before we started the tour of two towns in three counties. (One of the towns was on the border so it still counts as a “Tri-County Tour” according to the official rules. See, “Tri-County” entry in the 2nd edition of Black’s Law Dictionary).
The write-up on the Heart Radio page dispels an image of David that is apparently going around in the UK world.
Mr. Blaine, according to the article, has a “reputation for being somewhat of a ‘weirdo’, but in person he’s surprisingly friendly – and normal.”
Phewf! In our book, being called a ‘weirdo’ is right up there with being called a ‘magician.’ At least that was our experience our whole life up until the typing of this article on our Underwood Portable TypeWriter; being watched by our covey of doves and two rabbits (both female – we think) over by the bed in our studio apartment near the train tracks for which we haven’t paid rent but for which we do little shows performing tricks a/k/a babysit for the building superintendent’s kids while he is out looking for a “better job than living in this dump by the tracks.”
Back to Mr. Blaine.
He loves being a father to his eight-year-old. “Being a dad is the greatest feeling and the greatest joy and greatest feeling I’ve ever had in my lifetime and I can’t imagine anything ever equaling it.”
Mr. Parsons is coming out with a new album, titled “Secrets.” It is his first in 15 years and has a magician with cards on the cover. Already we’re intrigued. But then we read an article about the album and the man behind it on U Discover Music and learned he is a member of the Magic Castle and one of us.
The album returns to the progressive pop-rock sound for which the Project were so loved, also reflecting Parsons’ longtime interest in magic. “[It] has always been a passion of mine,” he says. “I am a member of the Magic Castle in Los Angeles. I’ve also worked with the Japanese magic company Tenyo, writing instruction books and catalogues for their tricks. I dabble with magic myself in my free time, so an album with magical influences was a natural progression.”
You read that right. This man not only wrote Eye in the Sky, produced for Pink Floyd, appeared in the West Palm Beach Auditorium (across from the Palm Beach Mall and in the same parking lot as the Expos minor league stadium) but he wrote instructions for Tenyo. Get out of town!
That means that when we read instructions for Squeeze Play, Soft Coins, Crazy Spots or even In the News, we could have been reading the words of Alan Parsons.
Finally, if you like cool pictures that seem like they must have some magic component, check out the official website for the St. Louis Gateway Arch here.
Because we lack a background in structural engineering – or most engineering for that matter – we have no idea how it stays up.
Someone told us magnets are the secret but we doubt it because we once went to the top and had magnets (our PK devices) in our pockets.
It was unintentional and there were no signs saying to not bring magnets in the special elevator that brings you to the top and we didn’t notice any shaking or swaying.
Coincidentally, the name of our first album in 1959 was “Shaking and Swaying” and the title track went nowhere on the pop charts in the U.S. but was a big hit in, of all things, elevator music catalogs. Unfortunately we sold all rights to the album and cover art to a former friend who now lives outside of Paris (technically everybody but Parisians live “outside” of Paris but you know what we mean) and has a winery (also outside of Paris but still in France).
That’s a question we are trying to answer as we develop, possibly for sale, an effect that could be popular with close-up magicians. Because that’s what we do, close-up magic, it seemed natural to make commercial offerings of the tricks we do for audiences in the amateur rooms at The Magic Castle.
So we have this trick that audiences seem to enjoy and it really just depends on sleight of hand invented by our forbears. We don’t know who invented the classic force – perhaps Johann Hofzinser back in the 1800s or someone more recent. We want to credit the right person and so we search. We can tell you one thing for sure, do not look up “Classic Force” on Google from your work computer. Wow. There is something not right with this world.
The second part of the trick involves a false pass of an object. Who invented that? Maybe one of Hofzinser’s friends or students or maybe it was T. Nelson Downs (“The King of Koins”). We want to credit this move to its rightful owner as well.
But inventing a trick means more than giving credit to the right person. We found we needed to write instructions for magicians wishing to practice the effect and performing it to maximum effect. We are not big on giving a link to the magician and letting him or her find the instruction video on-line. It seems impersonal and an easy way out. We’re more of a UF Grant kind of organization with illustrated instructions covering each move and describing how to perform said move.
Let’s assume we get past the crediting and the instruction writing, the next step will be to come up with a name that grabs users’ attention. We never had a name for this trick. It was always just the effect we working on. We’ll have to work on that as well.
Finally, we have to write ad copy that doesn’t mislead potential buyers. We want to be honest about the effect to be presented from the audience’s point of view, the skills necessary to perform the effect, any angle issues, and whether the performer will need to practice to perform.
Let’s assume we get the ad copy correct and have no blatant lies in our listing, we will have to get friends and associates to write one sentence, objective recommendations for the effect. We know some influential people and maybe they would be kind enough to write such praise. We’d like some of the praise to follow the current trend of “fooled me badly,” “the kind of trick you will carry always” “I was floored” “Not since biblical times has such a miracle been seen,” “I rank the inventions as Sliced Bread, [the yet to be named trick] and the cotton gin,” “if I could buy only one trick that I would use constantly it would be …” “the finest trick of its kind anywhere” or the ever popular “I wish this wasn’t being sold so I could be the only one who had it.”
Then comes the pricing. We don’t know how to price an ordinary deck of cards (with which one can perform second deals) and the special gimmicks that make the trick possible. We’re thinking the cards could be supplied by the performer so we would only need to send the gimmicks. They don’t weight too much – maybe a couple of ounces but they are specially made and cost us about $14 each. So we’re looking at a total cost of $30 or so. By checking mark-up of similar effects, we figure that means we should charge anywhere from $45 to $75.
Of course the second we launch the effect, we’ll learn from the various forums that the trick was actually invented by someone either a year ago or back in the 1920s. We’ll feel terrible, apologize and take it off the market.
That’s just how we work. We believe in not stealing effects, even if it is done without actual knowledge. We don’t steal jokes either. In fact, we have a non-stealing philosophy about most things – we’ll steal a kiss from our sweetie or steal fake fruit from a movie set if the script calls for it – but otherwise we’re this side of taking things we don’t own outright.
We wonder how so many magicians can invent new tricks, take the criticism of theft that comes from the magic public; or worse, failure to properly credit the innovators who invented parts of the trick. They must have iron constitutions. It would send us into a shame spiral – and not a good kind where you’re ashamed that you won a beauty contest over someone who came in second only because she couldn’t remember a good answer to one of those questions asked by celebrity judges. A bad kind of shame spiral where you doubt everything you have ever done and assume no one like you.
We thought about copyrighting, patenting or trademarking the trick to prevent theft – assuming we are the inventor of the trick but our research shows that none of these intellectual property laws would help. Copyright goes to the expression of an idea on paper or in action. We could copyright our instructions but someone could come along with a new set of instructions and avoid a copyright claim. A trademark only protects indications of origin of the effect. As long as the thief differentiated the source with a new trademark or name for the trick – which right now would be easy because it doesn’t have a name – he or she would be scott-free. A patent would not help because we would have to expose the secret to the patent office and to the world. There would be nothing to sell, the secret would be out. There are plenty of examples of patented magic tricks. We would normally link such things but do not want to give away secrets — even very old ones.
Maybe we’ll keep the trick in our act, teach magicians we know if they ask, and watch as they improve upon it in their performances. No shame spiral is likely and pride is almost certain to come.
If you see us and want to know the trick (assuming you are a bona fide magician) we’ll share it with you if it isn’t already obvious from our performance. Sharing is caring and we care deeply about our wonderful art and the friends we have met. The same friends we would have imposed upon to write glowing reviews such as “I literally lost control of my bodily functions upon seeing the effect,” or “this is the kind of trick with which you can start a cult.”