August 2017

Volume 107 Number 3

MASTERS OF ILLUSION
BEHIND THE SCENES
PAGE 36
 MAGIC - UNITY - MIGHT
Editor
Michael Close
Editor Emeritus
David Goodsell
Associate Editor
W.S. Duncan
Proofreader & Copy Editor
Lindsay Smith
Art Director
Lisa Close
Online Edition Coordinator
Bruce Kalver
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4 AUGUST 2017
M-U-M AUGUST 2017
MAGAZINE Volume 107 Number 3

56
S.A.M. NEWS
6 From the Editor’s Desk
8 From the President’s Desk
11 M-U-M Assembly News
34 New Members & Reinstatements
35 Broken Wands
35 Good Cheer List
69 Our Advertisers
Cover Story Page 36

THIS MONTH’S FEATURES

10 The Dean’s Diary • by George Schindler
10 Basil the Baffling • by Alan Wassilak
26 Life is Good • by David Oliver
30 Trick from a Member • by Chong Huang
42
32 The High Road • by Mick Ayres
36 COVER STORY • Masters of Illusion
42 Magical Masterpieces and More • by David Haversat
44 Cheats and Deceptions • by Antonio M. Cabral
46 No Smoke, No Mirrors • by David Corsaro
48 Backstage • by Paul Stone
50 Between the Lines • by Michael Perovich
52 Mind Craft • Jim Kleefeld
56 A Brief Moment in Time • by Gary Plants 48
60 Informed Opinion • New Product Reviews
68 Tech Tricks • by Bruce Kalver
69 Inside Straight • by Norman Beck
70 Personal Magic • Eric Lewis

Cover Photo Courtesy of Masters of Illusion

30

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, 4927 S. Oak Ct. Littleton, CO 80127.

M-U-M Magazine 5

Photo by fivebyphotography.com
Editor's Desk
Michael Close
By the time you read this, the fourth season of Masters of
Illusion will have already begun on the CW network. Magic is
riding high on primetime TV these days: America’s Got Talent
regularly features magicians (PNP Vinny
Grosso recently appeared), Penn & Teller: Fool
Us has begun its fourth season, The Carbonaro
Effect’s magical pranks were renewed for a
third season, and magicians often show up on
late-night talk shows. Magic’s current popular-
ity is a good thing for all magicians.
One of the driving forces behind Masters of
Illusion is Gay Blackstone, a name that should
be well known to readers of M-U-M. In this
month’s cover story, Gay fills us in on what it
takes to put together a magic show for network
television. You can read more on page 36.
Of course, having this much magic on TV
generates a lot of Internet chatter. I lurk, but
rarely contribute to these discussions. Since
I’m one of the two magic consultants on Fool
Us (Johnny Thompson is the other), I’m inter-
ested in what magicians have to say about the
show. What I’ve discovered is that magicians
often fail to understand exactly what they’re
watching when they watch magic on TV.
While magic on TV provides excellent
exposure for the performers and keeps magic
in the public eye, it is important to remember
that TV magic is its own completely different
beast, with its own set of rules, requirements,
and restrictions. Watching an illusionist on
TV is not the same as watching an illusionist
in a theater. Watching a close-up performer
on TV is not the same as watching a close-up
performer standing at your table in a restaurant
or working the Close-up Gallery in the Magic
Castle. Here’s the big difference between those
two experiences: magic on television has, at some point, been
filtered. There is information you are not privy to.
Understand, I’m not talking about using the technology of tele-
vision to deceive (camera trickery, strategic editing, or stooged
spectators). I’m talking about the fact that in any program there
are decisions made behind the scenes that affect what you see
on your big-screen TV. And, unless you’re part of the production
company, you’ll never know what those decisions were.
Magicians often ask me about things they have seen on Fool
Us. I’ll tell you what I tell them: Almost everything you see on the
show has a story behind it. Most of the time, I’m not at liberty to
6 AUGUST 2017
discuss those stories. Just remember, in any decision, the desires
of the network override everyone else, including producers and
magic consultants.
My point is: be happy that magic is popular on TV right now;
use that popularity to your advantage. And don’t get bent out
of shape if you see something you don’t like because it doesn’t
fit with your conception of what magic is. I guarantee there’s a
story behind it. The producers of TV magic shows walk a fine
tightrope, satisfying the needs of the executives who make the
show possible while still honoring the art of magic. Take my word
for it; it isn’t easy.
Two-thirds of summer has sped by, but there’s still time to
plant yourself on a beach chair with a good
book. I’d like to mention two that are worth
your attention.
H&R Magic Books has released volume six
in Nick Trost’s Subtle Card Creations series.
As with the other books in this series and as the
title implies, the effects are based on subtleties
and low-level techniques rather than advanced
sleight of hand.
Mr. Trost offers a variety of effects,
including coincidences, effects with court
cards, effects with a blackjack theme, poker-
related effects, four-Ace effects, routines based
on cribbage, gin, and rummy (games that are
not usually the basis of card tricks), effects
based on the Gilbreath principle, effects using
Colm Mulcahy’s Triple Dealing principle, and
effects using ESP cards. The card enthusiast
will find much to play with and perform here.
Nick Trost died in 2008 (shortly before
the publication of the second volume of this
series), but he left behind a rich legacy of in-
teresting and entertaining card tricks. Fans of
Mr. Trost’s earlier books will certainly enjoy
this one as well.
While the previous book will appeal to a
specialized magic group (“card guys”), my
second book selection should be in every magi-
cian’s library – it’s that good. The book is Jim
Kleefeld’s Kidshow Matters. Jim’s book is a
compilation of his Not Just Kid Stuff columns,
which ran for three years in M-U-M; this
material has been updated and reorganized. In
addition, Jim has added “bonus tricks,” simple
one-page or shorter descriptions of tricks you can easily make up
and use in any show.
It is my contention that Jim’s Not Just Kid Stuff was one of
the finest columns to have appeared in any magic magazine, ever.
This makes Kidshow Matters one of the best magic books, ever.
No matter what type of magic you perform, you will find infor-
mation that will make your show stronger and that will make you
a better magician. Buy it, study it, and refer to it often. You’ll be
glad you did. (See Jim’s ad on page 28.) 
 I realize that we all have individually different situations –
jobs, travel, family, finances, location, commitments, and the
list goes on… What I am asking from each of you is to spend a
little time each week to enhance the art of magic and the Society.
Whether it is showing a fussy child a trick in the line at the grocery
store, or doing a free show for a non-profit, or mentoring a new
President's member in your assembly, you can help support our mission and
our purpose. The nice thing is you get to choose how, when, what,
Desk and where you do this. Can I count on your promise? Oh, and if
Dick Bowman you want to serve to help at the national level, I am a phone call
or email away. I promise I will respond.
One of the promises I made to myself is to get to know more of
PROMISES…PROMISES… our members, remember their names, and put a face to that name
and their personality. I have been terrible at remembering those
I am a great one for making promises. “Yes, dear, I will get to things (for those of you when I saw you a second time I couldn’t
that directly.” “I promise I will follow up on that by tomorrow.” remember your name or where I met you or what you talked to me
“I promise I will send that letter out today.” I do that, a lot! How about, I apologize). After I retired from the Air Force, we lived
many times have you heard a politician make a promise to do near Philadelphia. We attended a church where the pastor knew
something that requires many others to also the names, faces, and specific facts about
support or cast votes? We often forget those every person, member and visitor alike. We
promises made by them ten minutes after the were not a small church; we had five thousand
sound bite is over. members! Although I cannot promise to be
How many times do you do that in a week? like Pastor Hyson, I will promise to do better
We’ve all been there and done that – making on that front. Since I am writing this prior to
promises where our heart is half in it. Or the Louisville convention, I hope I got to meet
making a promise that you truly want to keep, lots of our members there and I remembered
but just plain forget (trust me I am at that you!
age)? Easy to make the promises; remember- Last year, Michael Carbonaro was the first
ing to keep them or follow-up on them is what recipient of the Copperfield Prize, funded and
is sometimes tough to do. I am sure I am not awarded by S.A.M. Ambassador of Magic
the only one in this boat. In general, promises David Copperfield and presented at the con-
get mixed reviews from folks, normal and vention in Indianapolis. The award recognizes
magicians alike. (Not that I am implying that with Michael Carbonaro an individual or group of individuals for their
magicians are not normal; perhaps I should say outstanding achievement in the art of magic.
laypersons and magicians alike.) I believe that we think we are Michael is a super nice guy and has been a pioneer of hidden-cam-
better at keeping promises than we actually are. era magic, resulting in some amazing stunts and great reactions
For the most part, magicians promise not to disclose the secret from the unknowing participants. It is hard to see the trophy in
of a trick. We promise to observe the established ethical standards the photo with such handsome guys (well one anyway…), but it
and we honor our art by keeping the same code our fraternity also comes with a $10,000 prize. I am excited to see who wins the
brothers and sisters have kept for hundreds of years. prize this year.
What about the promises made to our Society? We are all in I will be presenting two Presidential Citations at the conven-
this together, as a larger body of people working together for a tion in Louisville. One will be to Tom Gentile, a long-standing
common cause. The Society’s mission is to promote an environ- member who has served the Society as RVP for nine years over
ment for the worldwide magic community that fosters fellowship, three stints for his compeers in New England, and regularly
preservation of the magical arts, ethical standards, education, and attends several of the assemblies in the Northeast. He also chaired
personal growth. Coupled with our vision/purpose to advance, the Houdini Commemorative Stamp Committee, been National
elevate, and preserve magic as a performing art, to promote Magic Week coordinator, and has done anything asked of him
harmonious fellowship throughout the world of magic, and to to support the S.A.M. When Tom makes a promise, he delivers.
maintain and improve ethical standards in the field of magic, this Additionally, I will be presenting a citation to Anthony
creates a promise for all of us to help further the art of magic. Antonelli, who will now be our Ambassador of Good Will and
We are a volunteer organization, meaning, for the most part, Cheer. Many of you know Tony, who has a heart of gold and cor-
the elected officers, national council, committee chairs and responds with many of our members who are under the weather.
members, and appointees donate their time and effort to making Tony has had his own share of setbacks in his personal health, but
the Society a better organization for all of our members. Each of he continues to soldier on to bring good cheer to our members.
those volunteers makes the promise to support the S.A.M. With Speaking of getting well, our M-U-M proofreader, Lindsay Smith
the authority of the elected body and the appointments comes re- of Denver, was hit by a car in May while walking across a parking
sponsibility for the individuals. I believe those who serve have lot. His broken bones are healing and he is working the rehab hard
the responsibility to keep their promise to the Society. I would to get back on his feet again. Please keep these two gents in your
also like to see that effort flow down to each of our members to thoughts and prayers.
promise to do more to help create the “magic” for others. I believe My promise this year is to help improve the Society and the art
the more each of us works to do this – and I hope you promise of magic. Can you make and keep a promise to the S.A.M.? Please
yourself that you will – the more fun and personal satisfaction do, and Have Fun!
you will enjoy. Cheers, Dick

8 AUGUST 2017
 S.A.M. National Officers

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

Brooklyn, NY 11229, (718) 336-0605, Fax (718)
627-1397, showbiz10@aol.com
President: Jeff Quinn-Sikora, (402) 339-6726
Jeff@MagicSam.com
President Elect: Richard Bowman,
(719) 527-0678, Professor1@higginsmagic.com
First Vice President: Ronald Ishimaru,
(808) 428-6019, 808magicron@gmail.com
Second Vice President: Steven A. Spence, (317)
722-0429, sspence@mediationalternative.com
Secretary: Marlene Clark, 274 Church Street,
#6B, Guilford, CT 06437, (203) 689-5730,
Skype: marlene.clark, afuntime@comcast.net
Treasurer: Eric Lampert, (215) 939-5555,
Eric@MagicSam.com

Regional Vice Presidents

New England: CT MA RI NH ME VT
Thomas D. Gentile, 413-533-7653,
tdgmagic@gmail.com
North Atlantic: NY NJ
Joel Zaritsky, (845) 546-1559,
Jizdds@optonline.net
Mid Atlantic: PA DE MD VAWV DC
Arlen Z. Solomon, 215-443-7908,
sam4Arlen@aol.com
South Atlantic: FL AL GA MS NC SC
Debbie Leifer, 404-630-1120,
debbie@debbieleifer.com
Central Plains: KY TN OH IN MI
Don Miller, 317-634-5411, demmagic@aol.com
Midwest: IL MN WI MO ND NE KS SD IA
Randy Kalin, (314) 630-1300
rwkmagic@charter.net
South Central: TX AR OK NM LA
Jeff Lanes, 713-850-1770,
illusions@wizardscircle.com
Southwest: CA AZ NV HI
Michael DeSchalit, (520) 790-0081,
mcdmagic@aol.com
Northwest: WA OR UT ID CO AK WY MT
Dan Rodriguez, 303-521-5120
Canada: Shawn Farquhar, 604-936-1234,
shawn@magicchampion.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,

Bruce W. Fletcher, David R. Goodsell,
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, Jay Gorham,
John Apperson, Richard M. Dooley, Andy
Dallas, Maria Ibáñez, Bruce Kalver, Mike
Miller, Mark Weidhaas, Vinny Grosso, J.
Christopher Bontjes, Dal Sanders, Kenrick
"ICE" McDonald, David Bowers

M-U-M Magazine 9

Dean's Diary
George Schindler
HOLDEN’S MAGIC SHOP
When I visited Max Holden’s shop in the late 1940s, Norman
Jensen was the manager and my friend Frank Garcia was their
demonstrator. I am sorry I never met Max Holden. He died in
1949 and had been ill earlier. Norman had a children’s TV show
as “Mr. Magic,” and it took him away from the shop. He resigned
and Frank became the manager in 1949, hiring me as his assistant.
I took evening classes at Brooklyn College and spent the daytime
in the stock room filling mail orders. Max’s wife Tess was on
hand and referred to me as, “He’s a good packer.” She usually
forgot my name.
Holden's Shop - Gary Frank Collection
10 AUGUST 2017
I was very curious about Max; John Crimmins, their executor,
answered my questions. In 1896, at age twelve, William Maxwell
Holden assisted his uncle Fred Henson, a vaudeville juggler. His
interest in show business peaked and he moved from his home
in Glasgow, Scotland, to the UK in 1905 when he assisted David
Devant. He became interested in hand shadows; in 1909 he came
to the U.S. He spent a great deal of time in Boston.
Max developed an act with his first wife Bessie (“Holden
and LeClair,” 1910-1914). He remarried, and in 1917 it became
“Holden and Graham.” They later added magic and smoke
pictures, and the new act, “Versatile Originalities,” took them to
South Africa, Australia, and back to England.
In 1925 they settled in the U.S. They added witty patter,
songs, and dance. His friends
the Davenports convinced him
to open a magic shop. In 1929,
he retired the act and set up his
first shop in New York. In 1936
he opened the shop in Boston,
eventually adding a third store in
Philadelphia.
After the war in 1941, he
postponed his dream of opening
a chain of shops in Chicago,
San Francisco, and Los Angeles
as his health was failing. His
catalogs, books, and columns are
part of our rich history. Tess Holden
In 1950, the Philadelphia
shop closed and Andy Furlong came to New York. I left; a few
cruise-ship and Catskill bookings set me on the path of a show-
business career. The store closed in 1953, leaving only Herman
Hanson’s shop in Boston, which closed in 1966 after Tess sold it
to Ronnie Gann. 
 ASSEMBLY NEWS
Society of American Magicians Monthly News
and use the easy submission form to file your report
1 report.
MAY AND JUNE EVENTS
NEW YORK, NY— May and
June meeting events were high-
lighted by member perfor-
mances. The May show featured
David Kaye, Harrison Kramer,
Nick Padilla, Richard Cohn,
Matias Letellier, Herb Scher, and
Rene Clement
Jonathan Hsu. The June year-end
party and installation at the
Pearl Studios had three close-up
stations with rotating performers
. Linda Robbins did her classic
rope effects, Rene Clement and
Herb Scher did coin magic. Ace
Greenfader and Nick Conticello
astounded us with card magic,
and George Schindler presented
his Coin in the Ring and Rising
Cards. Drinks and desserts
plus laymen visitors made the
evening’s events a memorable
one. There are no meetings
during the summer months.
Assembly 1 meets on the first
Friday at Various locations.
Please contact Steve Gross
stephen.gross@lie.edu 516-
676-3127 www.magicsampa1.
com516 for more details.
4
MAY AND JUNE
PHILADELPHIA, PA— Our
meeting began with a business
meeting. Helene Schad gave
the secretary’s report of April’s
meeting. Sue McElvenney
reported the current treasurer’s
M-U-M Magazine 11
GO TO:
WWW.MUM-MAGAZINE.COM
Nomination Committee Tom
Ewing presented the names for
next year’s board of officers and
asked for any nominations from
the floor. The nominations were
in and voted for by the members.
The results were: President -
Johnny Massanova; 1st Vice
President - George Gee; 2nd
Vice President - John Kostyal;
Secretary - Sue McElven-
ney; Treasurer - Eric Lampert.
Members at Large - Calvin Tan,
Reba Strong, Helene Schad,
Larry Grossman, Michael
Sloves, Donna Horn, and Steven
Snyderman; Sergeant at Arms
appointed by Johnny Massanova
is Dave Compton
After a short break we were
treated to a wonderful lecture by
Steve Friedberg. He presented
a lecture that he recently
performed at the Magic Castle.
It consisted of many card
routines but intertwined with
great insight on presentation and
magic theory. It was enjoyed by
all in attendance.
Our annual Assembly 4 banquet
was held at the beautiful
Eddington Room in Bensalem,
Pennsylvania, on Thursday, June
15. The night began with a
cocktail hour at 6:30 PM
followed by a great meal.
Strolling magic was provided by
Reba Strong and honoree Joseph
McHugh. Dinner was followed
with the annual awards presented
by Tom Ewing and outgoing
president Michael Bonacci.
Special presidential awards were
given to Sydney Matthews, Reba
Strong, Kurt Garwood, and Kim
Matthews. In the close-up
category, third place was
presented to George Hample,
second place was presented to
Richard Greenberg, and first
place, the Jim Straub award, was
presented to Michael Bonacci. In
the stage category third place
was presented to Kurt Garwood,
AUGUST 2017 Volume 107, Number 3
second place was presented to
Mort Feldman, and first place
was presented to PNP Mike
Miller.
Steve Friedberg
giving a great lecture
Then Michael Bonacci
presented our honoree Joseph
McHugh with a beautiful plaque
and thanked him for his service
to Assembly 4. Our top award,
the Gustafsons Award, was
presented to Helene Schad. The
outgoing president Michael
Bonacci called up his existing
board members to thank them
for a great year. Then he turned
over the presidential wand and
gavel to incoming president
Johnny Massanova.
Our show consisted of Tom
Ewing as emcee, Mort Feldman,
PNP Mike Miller, and Norm
Klar. Thank you to Helene
Schad for organizing and doing
a great job again for our annual
banquet. All in all it was a great
night of magic and camaraderie
and a great night to close out a
great year. —Michael Bonacci
Assembly 4 meets on the
third Thursday at Bustleton
Memorial American Legion
Post #810,9151 Old Newtown
Road., Philadelphia, PA. Contact
Michael Bonacci mbonacci@
comast.net 215-760-7930
magicsam4.com for more details.
8
MAY/JUNE ASSEMBLY 8
MEETINGS
ST. LOUIS, MO — The members
have really enjoyed the past
months’ meetings. On May 25,
the topic of the meeting was “En-
tertaining Children with Magic.”
“Silly Jilly” Schmidt and Jeff
Lefton performed children’s
magic for the assembly. Jeff
performed three kids routines
with commonly available magic
props most members have in
their closet. Silly Jilly performed
several effects including her
“gags.” The kids really liked her
“squirting toilet.” Members were
encouraged to bring friends with
children since the routines were
geared to children. The audience
really enjoyed their performanc-
es. Afterwards, Silly Jilly and
Jeff explained how they did some
of their tricks and also shared
where they could purchase the
props. Then, Randy Kalin, the
newly elected President, joined
the two of them in a panel dis-
cussion. It was a well-organized,
informative meeting regarding
children’s magic. Jill, Jeff and
Randy have all performed for
children for many years and are
all quite busy performing in the
St. Louis area.
Ken Dyne lectured to the
assembly on June 9. The lecture
was well attended and several
attendees joined the assembly
as new members. Ken rarely
lectures because he performs
his stand-up mentalism act
regularly at corporate engage-
ments and also on the world’s
most luxurious six- and seven-
star cruise ships. He told the
members that he would share
several effects and also share
his experiences from perform-
ing for the past fourteen years.
He began by performing the
Passed-out Deck. He has been
opening his act with this effect
for the past five years. He feels
that this effect is much better
than the Tossed-out Deck (and
he explained why). He then
performed Mr. Golden Balls.
Assembly News
During the break, he had these
two effects and his book Bairn
for sale. Both of these effects
were manufactured to meet his
high expectations. He gave the
members a considerable discount
on their purchases.
After the break, Ken shared
effects that the members could
perform without buying any
props. He had members assist him
when he performed Magazine
Test of the Stars. It was an
amazing effect! The members all
learned this effect quickly since
his explanation was so thorough.
The assembly really appreci-
ates the work outgoing President
Steve Barcellona did for the
assembly. He made sure each
meeting was well organized
and informative. The assembly
knows Randy Kalin, the new
president, will continue making
sure all meetings are worthwhile
and informative. —Sandy Weis
Assembly 8 meets on the second
and fourth Thursday of each
month at 7:30 PM at St. Louis
Activity Center, 5602 Arsenal
St., St. Louis, MO. Contact Sandy
Weis sweis50@yahoo.com 314-
378-4403 for more details.
9
JAMMING IN BOSTON
BOSTON, MA— Following a
brief business meeting which
included the election of officers
for 2017-2018, we held our second
annual Assembly 9 Magic Jam: a
stimulating sharing of informa-
tion, ideas, and feedback.
Secretary Dr. Alan Ashare
started things off by perform-
ing Rope through Neck, and
then explained certain handling
subtleties and received a useful
tip on misdirection in return.
He also showed us how to make
a knot vanish and reappear, as a
bonus effect.
The Great Scott (Galbraith)
thoroughly covered his original
variation of Card to Nest of Boxes
using cards from the Uno game
(for children’s shows) and a set
of nesting Russian matryoshka
dolls. Variously themed Russian
nesting dolls are available locally
and online for any magician
wanting to explore their use as
magic props.
Alex Moorehead, supported by
volunteer audience member First
Vice President Kevin Butler,
performed his interpretation of
12 AUGUST 2017
the classic Gemini Twins card Showplace Theater, 32 Station
discovery. Street, Brookline, Massachusetts.
Contact Alan Ashare alan.ashare.
md@steward.org 617-916-2266
for more details.
The Great Scott & his
Russian dolls
Alan Wassilak began by dem-
onstrating some color-changing
card fanning flourishes using
what was not meant to be a ma-
gician’s fanning deck, but was
a novelty deck sold to children.
It happened to be devised with
each of the four corners of the
back design a different color. As
a second offering, Alan shared
his adaptation of a Larry White
approach to the timeless 1089
number prediction. This resulted
in some thought-provoking sug-
gestions and valuable feedback.
Second Vice President Bob
Filene was up next, also using
Kevin Butler for aid to help him
with a two-phase Card to Pocket
routine. It’s strong magic but not
as difficult to perform as one
might suspect.
Visiting guest magician Randall
Chin baffled us with an outstand-
ing finger ring routine. Citing
his sources for the elements of
his routine (including a remark-
able, original through-the-finger
effect), Randall’s offering was a
highlight of the evening.
Our other guest, Yang Tian, a
conjurer recently arrived from
China, demonstrated a difficult
but extremely deceptive one-
handed card control which he
attributed to Akira Fujii. Once
mastered, it can be an extremely
useful utility move.
The Jam was capped with an
encore by Alex Moorehead,
doing an elaborate card force that
seems quite fair in its execution,
in a way that will throw off the
wise ones.
To sum up, we all gained much
from the evening’s give-and-take.
The Jam is a gem of a program.
—Alan Wassilak
Assembly 9 meets on the second
Wednesday at 7:30pm at Puppet
12
JUNE ASSEMBLY 12 PICNIC
MEETING
MINNEAPOLIS, MN— A June
meeting was added to our regular
meeting schedule (September
to May). To make it special, we
started off with a social hour
and picnic/barbeque prior to the
magic. Thanks to President Tom
O’Lenick who provided brats/
dogs and buns that we grilled
outside our Eagle Magic Store
meeting location. Members
brought various chips, soda,
water, adult beverages, deserts,
and ice cream that were gracious-
ly shared.
Following a brief business
meeting, we debriefed about
recent local lectures (Ken Dyne
and Eugene Burger) and the
regional AbraCORNdabra con-
vention that many attended. The
group also was reminded of the
upcoming free lecture by Max
Krause sponsored jointly by the
S.A.M. and I.B.M. groups.
Performers (cw from up lft)
Tom O’Lenick, Larry Kahlow,
Paul Cook, Kevin Smith with
Paul Black and Jerry Martin.
The theme for the month was
“Newspaper Magic.” Paul Cook
and Steve Peer each did clever
variations of a newspaper clip
line effect. Kevin Smith (with
the help of Paul Black) identi-
fied the selected card by ulti-
mately snipping four diamond
shapes from a small piece of
newspaper. Using a folded sheet
of newspaper, Larry Kahlow was
able to tear silhouettes of three
chosen cards from the paper.
Greg Broder shared a paper tear
that created a Christian message
using the word “Hell” and
formed a “Cross.” Finally, Paul
Ladig showed a comic newspaper
headline that he uses when he
performs the Wrist Chopper.
For “Teach-a-Trick,” Tom
O’Lenick demonstrated another
Newspaper Test (clip line type
effect). First, the newspaper
column was cut at the point
chosen by Jerry Martin. He
then picked a word from a few
lines near the “cut point.” That
thought of word was revealed by
O’Lenick, as well as the sentence
that contained the word. His-
torical reference: The original
idea of a “Newspaper Test” was
first published in 1964 by Albert
Spackman in the British magic
magazine The Gen.
Now a message from our
sponsors! Greg Broder won the
drawing for a performance prize
donated by Steve Goshman of
MagicbyGosh.com; Jerry Martin
won the attendance prize donated
by Paul Gross of Hocus-Pocus.
com.
Assembly 12 will be on hiatus
through the summer months. Our
next meeting will be on Friday,
September 22. If your travel
brings you to the Minneapolis-
St. Paul area, please attend the
meeting. Until soon, best magic
wishes! —Tom O’Lenick
Assembly 12 meets on the
third Friday at 7:00pm at Eagle
Magic Store, , Burnsville, MN.
Contact Tom O’Lenick tom@
tomolmagic.com 612-804-4799
Sam12.org for more details.
13
SURPRISE LECTURE FOR
CLUB MEMBERSHIP
DALLAS, TX— The month
of June kicked off the tenure
of President Joey Byers, who
opened the meeting by bringing
up Past President Frank Seltzer
to present the award for the 2017
DMC Magician of the Year to
Russ Turner, who was not able to
attend the annual awards banquet
in May because he was perform-
ing a show!
Dal Sanders, past national
president of The Society of
American Magicians, also
presented a membership cer-
tificate and pin to Dan Estep, a
long-time member of the Dallas
Magic Club, who made the
decision to finally join S.A.M!
The June meeting also was a

change from our regular meetings
with a special lecture for club
members by the one and only
Todd Lamanske from Kansas
City. Todd will be performing
this season on Penn & Teller:
Fool Us. The lecture just
happened to fall on the same
evening as Todd’s twenty-fifth
wedding anniversary. Luckily,
his wife, Kim, was a great sport,
and was selling Todd’s lecture
materials during intermission. I
hope Todd took her out for a nice
dinner after the lecture!
DMC Club President, Joey
Byers, being amazed by
Lecturer, Todd Lamanske.
Todd shared with the club his use
of the double-lift, the Prophecy
Deck, D.S. Quarter, The Bullet
and The Cell, the Flying Aces,
Ring through Rope, and his Time
Machine with the help of the
Lippincott Box. He also showed
the members a tool he created
to have a perfect Mercury Fold
every time.
Todd closed the nearly two-hour
lecture with some words of
wisdom to all of the night’s par-
ticipants, “As magicians we have
a duty to do our magic well.”
Without a doubt, Todd lives by
that mantra, the lecture was
great! —Eric Hogue
Assembly 13 meets on the third
Tuesday at 7:00pm at Dallas
Builders Association, 5816 West
Plano Parkway, Plano, TX.
Contact Joey Byers president@
dallasmagic.org 972-837-8543
http://www.dallasmagic.org for
more details.
19
SUMMER MAGIC HEATS UP
IN HOUSTON
HOUSTON, TX— Our annual
Memorial Day picnic at the
French Alliance was well
attended; we had great weather,
food, and magic. We will have no
July meeting due to the Fourth of
July holiday.
Scott Wells began the evening
M-U-M Magazine 13
by presenting the routine that he
will be performing at the Magic
Castle later this month. At twenty
minutes of non-stop magic and
comedy, he should do well.
While his whole act is too long
to document here, we can say the
Scott is the World’s Most Inter-
esting Magician, and he looked
the part, too.
Jeff Copeland shared some
coin work from his new Tresor
coin release. The moves were
deceptive and original; most
were not that difficult to learn
with some solid practice. His
Blackbird utility coin device is a
must-have for solid coin workers.
Devor shared some “coincidenc-
es” with a pack of cards and the
help of Kim Lampkin, as cards
were mixed, selected, and finally
an indicator card drew attention
to Kim’s original selection. Was
it just a coincidence? Desmond
Mitchell followed as guest Jacob
just thought of a playing card,
which was found to be inside
Desmond’s boot.
Chris Alonzo had Scott Wells
randomly stop him as cards were
dealt down off the top of the
pack in what appeared to be a
fair manner. Of course, they all
turned out to be the Aces, which
Chris then used to perform some
additional card miracles, with the
Aces ending up reversed in the
center of the deck.
David Rangel had Kim Lampkin
call out any four of a kind and
then handed out four $100 bills
to some eager participants. The
bills were randomly placed into
the deck with the condition that if
they were not placed next to one
of Kim’s cards, the money was
theirs to keep. David took all his
money home.
Shane Wilson took a card signed
by Kim Lampkin and proceeded
to move it around to various
locations between the deck and
the table, finally causing it to end
up inside an otherwise empty
card box.
Danny Garcia shared a nice Oil
and Water type routine with the
final separation including the
entire deck. It was a great presen-
tation, of course, from one of the
best.
Ventriloquist Phil Nichols intro-
duced us to Corky the Cowboy
and his hilarious antics. Just
the movement of the vent’s eyes
during the act was something to
see. Hilarious routine! —Miles
Root
Assembly 19 meets on the first
Monday at 7:30 at International
Alliance of Theatrical Stage
Employees, 3030 North Freeway,
Houston, TX. Contact Miles
Root milesroot@aol.com 832-
607-6678 houstonmagic.com for
more details.
21
LECTURE BY JIMMY C.
HARTFORD, CT— Jimmy C
came to lecture for us tonight. He
does it all. He sings, he demos, he
Jimmy C demonstrates
an effect
explains, he inspires, and he en-
tertains. Much of what he taught
us involved effects you can make
yourself with easily obtained
items. —Dana T. Ring
Assembly 21 meets on the second
Monday at 7:00pm at Angelo’s
on Main, 289 South Main Street,
West Hartford, CT. Contact Dana
T. Ring dana@danaring.com
860-523-9888 www.ctmagic.org
for more details.
22
INSTALLATION AWARDS &
SHOW
LOS ANGELES, CA— Southern
California Assembly 22 held
its eighty-sixth annual banquet
on June 11, 2017, again at the
Almansor Court in Alhambra,
California. This event is always
a highlight at the end of the
assembly year. John Engman,
President Emeritus of the S.A.M.
Hall of Fame and Magic Museum,
presided over the event as toast-
master. John would later act as
emcee for our banquet show. Prior
to the banquet meal being served,
the historic Turning of the Plate
Ceremony was conducted by
Steven Jennings, assisted by Kim
Hallinger, to honor the memory
of Ed Thomas, P.N.P., and Kent
Morgan, both of whom passed
away this past year.
After an excellent meal and a
Assembly News
short intermission, the program
began with a short presenta-
tion by Past President Steven
Jennings on the history of
Assembly 22 and a thumbnail bi-
ographical sketch on each of the
ten assembly charter members.
Steve then introduced each of
the 2017-2018 assembly officers
and directors and conducted
their installation ceremony.
Kim Hallinger, elected to serve
her second term as assembly
president, then briefly addressed
the gathering before turning the
program over to John Engman to
emcee our show.
The show was opened by
Michael Mezmer, assembly
member and professional
performer. Michael performed
his “Danger Act,” which included
the razor blade swallowing effect,
a chain-through-neck penetra-
tion, and an escape from a high-
security prisoner transport vest
with chains, straps, and locks.
The comedy magic of Michael
Mirth was next. Michael is a
Los Angeles area resident and a
Las Vegas entertainer. He kept
our audience laughing with gags
and comedy bits and periodi-
cally baffled with some straight
magic. Closing the show was
Cheng Cheng, a college student
from China who is studying
magic with Dale Salwak. As
you would expect from a Chavez
College of Magic student, Cheng
Cheng presented magic in the
classic style. He opened with a
Dancing Cane, produced large
silks from his hands to climax in
a Twentieth Century Silks effect,
and presented a billiard ball ma-
nipulation routine. He closed
with the Linking Rings.
The presentation of awards and
trophies to those members who
have earned them during the
past year was next. The assembly
awards program dates back
almost seven decades; a glance at
names engraved on some of the
trophies will reveal many lumi-
naries of magic’s past. The final
event of the evening was a great
raffle drawing. The hour was late
when this enjoyable event was
over and our members and guests
walked out into a very pleasant
Southern California evening.
Another great night of Assembly
22 magic. —Steven L. Jennings
Assembly 22 meets on the
third Monday at 8:00pm at
Westminster Gardens, El Sueno
Room, 1420 Santo Domingo
Assembly News
Ave., Duarte, CA. Contact Steven Braun’s Triumph, mixing cards for a program that Pete called excellent job.
L. Jennings slj229@hotmail.com haphazardly before turning “Move-Mania: A Mish-Mosh The meeting was both edu-
805-581-9054 for more details. them the same way, except for of Magical Moves.” From all cational and entertaining, so a
the selection and its three mates. reports, Pete did an excellent job. good time was had by all. —Jean

23
Chicks dig skills! Noland Mont- His presentation was on moves Bruce
gomery tried to bake a cake in and sleights with balls, ropes, Assembly 24 meets on the fourth
MAY AND JUNE MEETINGS his hat, but due to faulty hearing, coins, and cards. Tuesday at 7:30 pm at S. W. Pitts
frightened us (and adrenaline- After a break, David Watson Hose Company, 226 Old Loudon
WASHINGTON, DC— The loving womenfolk) by producing Road, Latham, NY. Contact Cliff
suggested theme for our May a snake. Bruce cliffordbruce@earthlink.
meeting was “Object to Im- Larry Lipman performed a jum- net 518-793-6776 for more
possible Location. Performers bo-packet routine, changing five details.
included Laurie Curry, Lars rabbit depictions into bees, one
Klores, Noland Montgomery, by one. His pleasure in violently 29
Larry Lipman, Brett Banker, swatting the bees should melt any INITIATION TIME!
Matt Hiller, William Slade, woman’s heart. Micah Goodwin
Dwight Redman, Arnold Fuoco, separated Jacks from Aces WATERBURY, CT— We held
and Cristian Vidrascu. three different ways, and visibly our May 22, 2017, meeting at a
At our June meeting, Larry changed the Jacks into Aces. A different location (member Peter
Lipman offered Past President mesmerized date will not flee! George gives Secretary Jean Melillo’s home) because we
Arnold Fuoco a plaque recogniz- Colonel Mike Peckham had a sponge ball lesson. needed a more private location for
ing his contribution to our club. Matt roll spooky dice to randomly our S.A.M. Initiation Ceremony!
This month’s theme was “Tricks choose cards, eliminating all and Jonathan Downer volun- It had been seven years since
to Impress Dates.” but the selected card. Nothing teered to perform during the our last ceremony, so it was long
Dwight Redman and Matt triggers female lust like macabre open-mic portion of the meeting. overdue. After a short business
exchanged cards, picking mates settings! Matt Hiller showed off The June meeting found meeting, members retired down-
three times. How compatible! his grandfather’s tricky color nineteen members gathered for stairs to Peter’s “Spooky Magic
Then, their random cuts yielded changing knife. Weapons turn an evening of fun and enter- Room,” while the upstairs parlor
the four Aces. President Lars ladies on! —Cristian Vidrascu tainment. During the business was prepared for the ceremony.
Klores removed a physical knot Assembly 23 meets on the third meeting, Treasurer Ken Mar- After a short time, mysteri-
off a scarf three times, before Wednesday at 7:00 pm at National cinowski proudly noted that we ous music began playing and
revealing large holes in the pre- Press Club, , Washington, DC. now had forty paid members, all nine members filed upstairs
viously intact scarf. Destructive, Contact Lars Klores klores@ a near record for recent years. into the “Parlor of Mysteries”
therefore irresistible! gmail.com for more details. Upcoming meeting topics and where they met the Illustrious
Arnold Fuoco “exposed” a two more Fifth Sunday events Wizard (a robed Joe Lantiere).

24
secret: he drew a window on the were discussed. The group then After an esoteric introduction,
card case, opened it to peek at sang Happy Birthday to Helen
Teo’s selection, closed it, and MAY AND JUNE MEETINGS Patti, who had turned eighty-five
erased the evidence – leaving a a day earlier.
normal case. The selection had a ALBANY, NY— The end of Cliff Bruce offered a mini-
seductive message on its back. April and the first part of May lecture on the topic of Two-in-
were extremely active times for the-Hand, One-in-the-Pocket.
Assembly 24. On April 30 we To demonstrate how versatile
had the second of our Sunday this particular plot can be, Cliff
afternoon lectures. We billed Bruce, David McDonald, Allan Illustrious Wizard Joe
it as “A day with the Dean.” Alexander, and Jimmy Brown Lantiere explains the
Thirty-six people turned out to performed routines using the meaning of the Magic Wand
listen, laugh, and learn from the idea. Arnold
one and only, George Schindler. All of the above routines used
Dean Schindler started by doing objects that were alike. Next the Wizard taught the Neophytes
his Magic Castle Parlor act, and Cliff addressed routines in which such official traditional S.A.M.
then explained most of the effects the objects are different. Starting secrets as the Mystic Cabala, the
he used in that act as well as with Eddie Joseph’s Back Again, Amulet, the Talisman, the Palm,
Larry presenting plaque to other effects including his Rising Cliff demonstrated his own the Silent Challenge, the Sign of
Arnold Cards and his Ambitious Card Seventeen-Cent Trick, which Salutation, the Mystic Battery,
Routine, which ends with the uses a penny, a nickel, and a and, of course, the Wand.
Teo divined Matt’s letter from card to wallet. He talked about Al dime. He also showed Severtson/ Through this special ceremony,
a few alphabet cards, before Flosso, Carl Ballentine, and other Dusheck’s Coke, Cola, and we hope to have reawakened the
performing Rick Lax’s Binary magicians who influenced his Un-cola routine using miniature magic within them; members
2, ripping the cards in half like approach to performing. He took soda cans. attending will get official par-
a true bad boy, and finding two the time to answer any and all Following a break for refresh- ticipation certificates! Guests are
chosen halves. Cristian Vidrascu questions. By any standard it was ments, Mark Brennan emceed always welcome at Assembly 29!
toyed with the Sachs dice routine, memorable afternoon of magic. the open-mic session on “ancient —Joe Lantiere
before proving the audience On May 9, Assembly 24 had magic” – tricks that have been Assembly 29 meets on the
could not follow directions with its regular monthly meeting. around for more than seventy- fourth Monday at 7:30 pm at
a three-phase Do-as-I-Do card Since both the president and the five years. Performers included Waterbury Firefighters Union
routine. Beware ladies, quick secretary were out-of town, Vice Bob Connors, Dave McCle- Hall, 1551 Thomaston Avenue,
fingers! President Roger Borgen was in ments, Karl Johnson, and Allan Waterbury, CT. Contact Joe
Brett Banker performed Brent charge and lined up Pete Beeble Alexander. Everyone did an Lantiere Lantiere@aol.com

14 AUGUST 2017
 Assembly News
860-274-6115 www.sam29.com dealing down and shuffling decks Mike Root was next, perform- before, and some had, but never
for more details. that ended up with their cards on ing Samuel Patrick Smith’s Deja used it. Wally raved about it
enough that I’m sure people who
30
top of the stacks. Zoo. He then performed a series
Dan Garrett took to the stage of rubber band routines featuring have never played with it before,
DESTINATION: next and had West Evans put a Crazy Man’s Handcuffs, rubber will now try it. Our main speaker
MAGICVILLE! PASSPORT cork under a coffee mug. With bands that jump from the top to for the night was our own Adam
REQUIRED the magic words “abra-viagra,” bottom, and a broken and restored Izzo, who presented his lecture,
the cup was removed and the cork rubber band. After performing, “Everyday Improv.” He has done
ATLANTA, GA— June 2017 was was found to be standing on end. he taught one of the rubber band improv for several years now, and
the 939th consecutive meeting of Endless West Evans demonstrat- tricks. gave us the benefit of his experi-
the Atlanta Magicians Society ed a Three-Card Monte routine Taylor Martin was up next and ence.
and the first meeting with with Matt Kelley’s assistance. featured a unique and fun giant Most people know what improv
our new officers at the helm! Rick Hinze did a torn and restored paddle trick with a fun vampire is, but may have never thought
President Merritt Ambrose and Fresh Fish Sold Here routine. theme. He used a really beautiful,about it for their own perfor-
Vice President Rick Hinze in- President Merritt Ambrose custom-made paddle. mances. It’s a valuable skill
troduced a new Magic Passport did a fooler with a blank card to have when dealing
program to the assembly. The turning into a prediction made with a crowd, and not
passport is a small booklet, not earlier with the help of Murl knowing what to expect.
unlike a travel passport, with a Harmon, and Secretary Clark It’s a metaphor for life
handful of magic effects, tech- Kjorlaug fooled us all, once too, actually. He told us
niques, or skills on each page. again, with a Tamariz effect. of different ways to be
Each member of the club is —Endless West Evans alert to things that may
issued a passport that is stamped Assembly 30 meets on the second prove valuable later in
off by a senior assembly member Tuesday at 6:15pm at Golden our performances. He
or officer as they complete a task Corral, 2136 Lawrenceville showed us the benefits
within. Past National President Hwy, Decatur, Georgia. of how improv can be a
Dan Garrett got to stamp several Contact Endless West Evans Members of Assembly 31 and IBM benefit to making people
member’s passports on the first endlesswestmagic@gmail.com Ring 10 held their annual picnic at better overall performers.
night of the program. 6787916048 for more details. Eagle Creek Park in Indianapolis. We did several exercises
John Miller was appointed as that were quite different
Co-Historian with Bob Stultz,
31
for those of us who have
and West Evans and Martin Steve Spence then talked about never done improv before. It was
Baratz have volunteered for the JUNE MEETING three magic books that he has going past our comfort zone, but
historian committee to help get read or is currently reading. He then you won’t improve unless
the assembly initiation items INDIANAPOLIS, IN— then asked the club what they you try something different
restored. Speaking of which, Dan Members of Assembly 31 in Indi- would like included in a book sometimes. Some of the diners
Garrett, John Miller, and Rick anapolis had a fun June meeting if it was written about S.A.M. next door in the other room
Hinze will be chairing the Initia- featuring the installation of new history. Some great feedback was may have been wondering what
tion Committee; and we hope to officers for the year and some provided. we were doing. We were just
have a ceremony sometime in the fun magic provided by the new On Sunday, June 11, Assembly having fun and learning some
near future for all members who officers. 31 and I.B.M. Ring 10 met to new skills. A good night was
have not been formally initiated Vice President Taylor Martin hold their annual picnic at Eagle had by all. Thank you Adam!
into our secret magical fraternity. presided over the meeting Creek Park in Indianapolis. —Darryl Bielski
Joe Turner was appointed club beginning with news about the About thirty people attended and Assembly 35 meets on the second
Chaplain and Mal Simpson is upcoming picnic and shows at shared some good food and some Tuesday at 7:30pm at Milanese
now head of the Paranormal In- the Indy Magic Monthly. Taylor fun magic. Several of those in Restaurant, 115 Main St.,
vestigation Committee. Martin announced that the July 11 attendance performed magic for Poughkeepsie, NY. Contact Ryan
Baratz is the newly appointed Indy Magic Monthly Show will the group. —Michael R. Root Dutcher ryan@ryandutcher.com
Sergeant at Arms. feature the return of M-U-M Assembly 31 meets on the first 914-475-9328 www.sam35.com
We kicked off the fun stuff with Editor Michael Close. Monday at 7:00pm at Irvington for more details.
the club dividing into groups and After the business meeting, our United Methodist Church, 30 N.
each group getting a bag with a officers were installed by Steve
37
Audubon Road, Indianapolis,
non-magical item inside. Each Spence, S.A.M. second vice Indiana. Contact Michael R Root
group had five minutes to come president. Karen Miller is the new abracadabramagic1@yahoo.com MARCUS EDDIE,
up with a trick to do with what president of the club with Taylor 317-502-0051 for more details. IMPROMPTU MAGIC NIGHT
they had inside. Everyone had a Martin serving as vice president AND CHRIS RANDALL
good time with the improv and again. Mike Root will serve as
it hopefully got some creative secretary and scribe with Dale 35 DENVER, CO— Marcus Eddie
juices flowing for everyone. Benson serving as treasurer. Don THINKING ON THE FLY came to Denver and performed
For performances, John Miller Miller will be sergeant at arms. for us a lot of the effects he has
taught an excellent One-Eyed After the installation ceremony POUGHKEEPSIE, NY— This created using found objects from
Jack sandwich routine; a personal and swearing in, Karen Miller evening we had two speakers. around the home or restaurant.
favorite of his from Harry began the evening of magic The first, Wally Liebenson, is a On the way in to perform he got
Lorayne. performing a popular card former member of our club who a huge splinter in his finger and
Bill Lafay, who we affection- trick. Karen did Dan Harlan’s now resides in the Sunshine state. he pulled it out with his teeth; it
ately refer to as Bill George, did Card-Toon 2, which featured the He showed us the Si Stebbins was two inches in length! What
a fooler with the help of Dan canon on the cards and she used stack, which he uses to great an effect. He also gave out his
Garrett, Mal Simpson, and West a fun patter about her recent visit effect when he’s working. Some last breath mint only to have the
Evans thinking of cards and to see the circus. people had never really seen it container fill back up again before

M-U-M Magazine 15
Assembly News
our eyes. Marcus floated a bottle
of water, changed pennies into
dimes, and showed us his pro-
gression of how he has improved
an empty card box to produce not
one but two decks of cards from
the same box!
Impromptu Night was a lot
of fun too. Magicians brought
in various tricks and let the
members pick a trick off of the
table; they had fifteen minutes
to come up with a routine to
perform. It was nice to see some
of the members perform for the
first time. We also had a guest
from the San Francisco Bay area
visiting and he even jumped
in and performed. Thank you
Suyash for sharing your talents!
We had card tricks, silk magic,
change bags that made a light
bulb appear, cups and balls, streetmeeting in that quarter. Even
cons, quarters ending up inside
a shoe and inside a sock! Burnt
matches vanished out of the book
then reappeared, a zipper trans-
formed from one, to two linked,
51
JUNE MAGIC IN PEORIA
PEORIA, IL— The June meeting
began with discussions on several
topics, including a review of the
recent David Blaine show here in
Peoria, and the upcoming Central
Illinois magic Get-Together to be
held in Peoria in 2018. We are
actively looking for a location,
so we can settle on a date. At this
point, several venues are being
considered.
June marked the third month
of our quarterly attendance
incentive award. Four times a
year (March, June, October, and
December) we have a drawing for
$50. The only qualification for el-
igibility is to have attended every
non-members are allowed to
win, but if they do, we automati-
cally deduct the cost of member-
ship dues. It’s a win/win! This
month, Treasurer Jay Zentko had
by a few names, including The
Chinese Bottle, Prayer Vase, etc.
Alluding to a genie that lives in
the bottle, a rope becomes stuck
in the bottle when the genie grabs
the end. President Kyle Basset,
aka Gambit, was next with a bit
of psychic artistry, as a drawing
was made based on mental
images he was able to conjure up.
Phil Raso then showed an
unusual item he has: a shrunken
dollar bill.
Following the meeting, several
of us moved ourselves to a nearby
restaurant for more late evening
magic discussion. June also
marked the first month in our
appearances at the Peoria River-
front Market. —Michael Baker
Assembly 51 meets on the third
Monday at 7:00 pm at Schnucks
Grocery, 4800 N. University St.,
Peoria, Illinois. Contact Michael
Baker themagiccompany@
aol.com 205-612-3696 http://
peoriamagicians.com/ for more
details.
old, and finally graduated to the
S.A.M. and was a valuable and
regular attendee. He also served
as S.Y.M. leader, mentoring even
younger kids. In addition, James
served as sergeant-at-arms and
vice-president of our club before
becoming president. We’ve all
enjoyed his humor and magic,
and hope that he will always be
active in Assembly 52. Thanks,
James, for a job well done, and
continued success as you pursue
your college degree.
Ray Adams, past-president of
Assembly 52, conducted the in-
stallation ceremony. Our new
board for 2017-2018 is Paul
Mims – President, Mike Melito
– Vice-President, Doug Gorman
– Secretary Treasurer, and Don
Moravits – Sergeant-at-Arms.
Congratulations, guys. We are all
looking forward to another great
year of magic.
Our entertainer for the evening
was John Dahlinger, former
Assembly 52 member. We

52
then un-linked, then became big the lucky draw. Congratulations, want to thank John so much for
Jay! his willingness to travel from
Our magic theme INSTALLATION OF NEW Katy, Texas, to be with us and
was, “Magic OFFICERS BANQUET provide the entertainment for
learned from our banquet. It was an honor for
Tarbell”. We did SAN ANTONIO, TX— June us to see him perform his award
this about a year ago 2, 2017, Brother John Hamman winning close-up act, as well
and it was popular, Assembly 52 held its Installation as several other impressive and
so we decided to do of Officers Banquet at Pompeii demanding routines. Great job,
it again. Of course, Italian Grill. Thirty members John! We all enjoyed your per-
we don’t require and guests gathered for a great formance very much.
Impromptu Performers
everyone to strictly evening of fun and good food, Brother John Hamman Assembly
adhere to the theme topped off by our entertainer for 52 meets at 7:30 p.m. on the first
enough to fix a pillow. Dissolving when performing, because we the evening, John Dahlinger. It Thursday of the month at La
knots ended the night and at one love to see magic of any kind. But was such a treat to have John back Madeleine Restaurant, located
point broccoli appeared! a monthly theme does provide us with us, since he moved away to at 722 N.W. Loop 410. The
Chris Randall borrowed a $100, with a topic of discussion. Katy, Texas, three years ago. restaurant is inside Loop 410 on
which was signed; he vanished Attendance was small this Many thanks to those members the access road between Blanco
it then went on to perform month, but four performers who brought guests and also to Rd. and San Pedro. For more
his version of the Professor’s stepped up to the plate to show those members of I.B.M. Ring information, contact Secretary/
Nightmare. Eventually he pulled some magic. First up was Mike 18 who attended. Additionally, Treasurer Doug Gorman
out a lemon, cut it open, and the Couri, who typically shows thanks to out-going President at douggorman@att.net.
signed bill was found inside! He magic from his repertoire. This James Dusek, who arranged the
restaurant, to Doug Gorman for
59
also performed the Hover Card time, it was a card discovery he
and explained how easy it really calls Act One. inviting John to entertain us, and
is to perform and showed the Long-time friend of the Peoria to Ray Adams for conducting the COMEDY MAGIC CONTEST
members some small nuances to Magicians, and newly reinstated installation ceremony. It was an
make it look and feel better when member, Phil Raso, performed a awesome evening of magic and PORTLAND, OR— President
performing this great effect. He technique he says is from Tarbell. friendship. Jay Fredericks opened the
recommended making a bunch He had someone think of a name Incoming President Paul Mims June meeting by congratulat-
of cards ahead of time; Chris for a fictitious boat, and write that presented out-going President ing Steve Johnsen on fifty years
has them all ready to go when he name secretly on a small slip of James Dusek with an engraved of membership in the S.A.M.!
needs them. paper. The paper was destroyed, pen-and-pencil set in appre- We welcomed guests Keziah
Assembly 37 meets on the yet Phil was able to mentally ciation for his dedication and Peterson and Robert Amico, who
second Thursday at RiverPointe discern the name of the boat. faithful service to Assembly 52. are part of a production of Shake-
Community,5225 S Prince St, He then demonstrated the entire Many thanks to James for serving speare’s Tempest with our own
Littleton, CO. Contact Glenn working behind this. as our 2016-2017 president. Danny Schreiber as magic con-
Proulx glennproulx@gmail. Michael Baker performed a James was by far the youngest sultant, and Anthony Bubb in his
com 303-794-5208 http://www. trick that he initially thought was president our assembly has ever third visit with us and soon to be
milehighmagicians.com for more in Tarbell, although he said he had. He started off in the S.Y.M. our newest member. Yay Tony!
details. wasn’t able to find it. It is known when he was about twelve years Then it was on to our Second

16 AUGUST 2017

Annual Comedy Magic Contest
coordinated by Mel Anderson,
who outlined the rules and intro-
duced emcee Tom Cramer, well-
The winner Bob Eaton! Photo
by Duane Duvall
known area comedy magician.
First was Bob Eaton who opened
with a comical version of the
Monkey Bar, with the monkey
replaced by a rubber chicken. The
rhyming patter was very funny.
Bob then had a card selected
from six cards with the names of
famous screen stars and Reese
Witherspoon was selected (sort
of), which led to the production
of a spoon, which Bob succeeded
in bending. Great stuff. The fun
continued with Tom Waldrop,
who tied two knots into a silk,
pulled them off the silk, and
showed two holes in their place.
Tom then put two sponge balls
into a box and had the box held
by an audience member. A third
ball went into his pocket and Tom
introduced a small, rather droopy
wand to do the magic. But it was
too short, so Tom brought out a
medium sized and a long droopy
wand (made of rope) and did Pro-
fessor’s Nightmare that resulted
in a wand able to make the third
sponge join the other two in the
box.
Mel Anderson appeared next
in a great pirate getup, tri-cor-
nered hat, eye patch and all, and
performed a “Tale of the Sea in
Poetry” – Cups and Balls with
rhyming patter ala “Rub a Dub
Dub, Two Men in a Tub.” Very
creative. Finally Steve Johnsen
showed us a six pack of Coke and
took one of the bottles, put it in
a paper bag, and made several
attempts at making it vanish,
which didn’t happen. Then the
Coke bottle changed into a bottle
of ketchup. Finally Steve gave
up and smashed the paper bag
showing the vanish worked after
all. A very nice routine. The
M-U-M Magazine 17
audience votes were tallied and
the winner was Bob Eaton! It was
a fun show. Thanks to all who
performed. —Frank Dudgeon
Assembly 59 meets on the
fourth Wednesday at 7:00
PM at Beaverton Activities
Center, 12500 SW Allen Blvd.,
Beaverton, Oregon. Contact
Frank Dudgeon frankdudgeon@
gmail.com 503-810-6408 http://
www.sam59portland.org for
more details.
82
IMPROMPTU EXTRAVA-
GANZA
SAFETY HARBOR, FL — Our
June meeting was called to order
by President AnneMarie Nece at
7:30. Nine members were present.
July 20 we will be entertaining the
kids of the Sheriff’s Ranch as
part of our payback for the facili-
ties.
The big event was presen-
tation of a thirty-five-year
certificate and pin from
the S.A.M. national organization
to Ron Nece.
The evening was Impromptu
Night! The attendees shared
performance stories and ideas
to improve several illusions. We
thoroughly exploited the Hot
Rod presented by Ron Nece.
Windy resurrected a Glorpy and
we all got a hoot as he tried
to demonstrate it to an unruly
bunch. It made me appreciate
what a group of talented and in-
teresting people we have in the
club.In all it was a fun night for
everyone so when in Florida,
ya’ll come see us. —Don Beach
Assembly 82 meets on the third
Thursday at 7:30 PM at Sherrif’s
Youth Ranch clubhouse, 3180
Enterprise Road East, Safety
Harbor, Florida. Contact Don
Beach donbeach@live.com 727-
593-1343 http://www.tampabay-
magicclub.com/ for more details.
88
BACK TO...
MAGIC SCHOOL!
ANN ARBOR, MI— Our June
meeting was a whirlwind of
teaching, learning, and magic
all at once! Four of our members
taught on a specific subject as the
rest of the members and guests
made their way from table to
table for 20-25 minute sessions/
lessons. Members were able to
pick and choose which tables they
visited. Treasurer Scott Mitchell
taught a few basic forces that
anyone can use in an impromptu
session and demonstrated a few
effects in which to use them. He
provided links to his site where
video notes could be viewed for
free.
Member Bob Goodwin
displayed his prowess with
number magic and mentalism,
teaching and demonstrating a
wide array of strong effects that
can be performed using numbers.
Vice President Mark O’Brien
taught a bit about memorized
deck magic (specifically the
Aronson stack) and discussing
the methods used for memoriz-
ing a stack. He gave away a free
Phoenix deck to each participant!
Secretary Dr. Joaquin M. Ayala
de Cedoz was the “King of
Koins” as he demonstrated a few
easy sleights that could be used
individually, or strung together
with a few demonstrated effects
to create a solid performance
set, lasting anywhere from one
minute to even ten minutes! He
provided various sizes and types
of coins for participants to use
during the course but was too
cheap to give away his silver
coins.
After the round-robin learning
time was over, three members
were prepared with magic to
share. Karl Rabe demonstrated
his very unique twist on the old
Strat-O-Sphere using tennis balls
and a bicycle pump to “make it
work” – a very funny presenta-
tion! Member Andrew Martin
Portala talked about a magic app
called Magic Wipe by Simon
Pierro, and then performed a
Phantom Tube where a long
string of international silk flags
was produced. Finally, President
John Russell closed with an
effect using one of the ever-
ubiquitous fidget spinners. A
card was selected and seen to be
normal, until it was held near the
spinning fidget spinner...then the
face was seen to be a swirly mess!
—Dr. Joaquin M. Ayala de Cédoz
Assembly 88 meets on the second
Wednesday at 7 p.m. at Senate
Coney Island, 34359 Plymouth
Road, Livonia, Michigan.
Contact Dr. Joaquin M. Ayala
de Cédoz Chefayala99@
gmail.com 313-910-1041
www.aamagic.org for more
details.
Assembly News
89
RING & STRING MAGIC IN
HAWAII
HONOLULU, HI— The Jimmy
Yoshida Aloha Assembly 89
meeting for June was attended
by over twenty magic aficiona-
dos. They were rewarded with
multiple raffles and several
fun presentations plus training
provided by President Michael
“Kekoa” Erickson. The theme
for the meeting was “Ring &
String,” which allowed a half
dozen presenters to display their
magical talents.
Kekoa opened the meeting and
introduced a special visiting
magician from Japan, Dave
Letendre. We then took a timeout
for a pizza break (thanks to Bob
and Rungfa Festa) and cold water
(thanks to Mike Lynch). After the
break, Kekoa held an exciting
raffle and then covered the
evening’s theme by expertly dis-
playing several Ring & String
effects.
SAM National First VP, Ron
Ishimaru, entertains his
fellow magicians with his
version of a ring & string
routine.
Several magicians volun-
teered to make presentations,
beginning with Dr. Dave Brown,
who performed a unique ring on
string under a scarf trick. Next
up was Ron Ishimaru, who took
a humorous turn using a rope and
ring technique. Then came Bob
Festa, who impressed everyone
with a nifty presentation with
ring and string. The final local
volunteer was Tom D’Agnes, who
presented a new rope and scissors
effect that he had just learned.
Assembly guest Dave Letendre
then took center stage and shared
a very slick three rings and rope
effect that dazzled the audience.
Kekoa followed-up by generously
supplying gimmicks (ropes and
washers) for all assembled…and
Assembly News
then proceed to patiently teach
numerous techniques involving
ropes and rings, which everyone
clearly enjoyed. Dave Letendre
then took the stage with a brief
but clever “fish story” lecture.
After the presentations, Kekoa
held a final raffle that included
several happy winners. The
magical evening concluded with
classic Hawaii “talk story” and
local sales and swaps of magic
tricks. —Dr. Joe Page
Assembly 89 meets on the
first Wednesday at 7:30 pm at
Kalihi-Palama Library, 1325
Kalihi Street, Honolulu, Hawaii.
Contact Dr. Joe Page rainbow.
con nection@hawaiiantel.
net 808-381-7820 https://
w w w.facebook.com /sea rch /
top/?q=hawaii%20ma for more
details.
99
FUN WITH A TWO DOLLAR
BILL
ORLANDO, FL— President
Craig Schwarz called the
meeting to order with thirty
present. Tom Parking was with
us again and we welcomed back
Don Arthur, one of the founding
members. Craig also showed
the logo and t-shirt design he
came up with for the combined
I.B.M.-S.A.M. convention. Bev
Bergeron’s Teach-in featured all
the fun you can have with the
uncommon two-dollar bill on
waitresses.
Phil Schwartz presented Magic
History Moment #85. He spot-
lighted Dr. James William
Elliott who was called the
“Card Wonder of the Nineteenth
Century” by the Mahatma. Born
in 1874, he trained at Harvard
and became a medical doctor.
He preferred magic and worked
for Servais LeRoy as Bosco
and later for Felix Herrmann.
He left touring to perfect card
manipulation and sold secrets
to his effects for high prices. In
September of 1898, he published
a challenge in which any man
in the world could dispute his
claim to the title “Champion
Card Manipulator of the World.”
He offered big money prize,
a challenge that was never
accepted. Houdini edited the
1923 book Elliott’s Last Legacy
three years after Elliott died
of kidney disease. Phil showed
a nice original LeRoy Talma
Bosco poster and drew a connec-
18 AUGUST 2017
tion between Thayer and Elliott.
He also brought and demonstrat-
ed the original 1933 Thayer Silk
Cabby.
Dennis Phillips opened up
the meeting show by showing
the props in the Joe and Georgi
Smiley Dove Act, Dove
Catching, a fall-apart box
vanish, and a paper frames re-
appearance. Joe and Georgie
performed up until 1995. Dan
Stapleton did one of his signature
effects, Miraskill. Dan has taken
the Stewart James card effect
to greater heights. Dan appar-
ently can weigh cards and know
how many of each color are in
the pack. Greg Solomon, ever
on the lookout for inexpensive
effects, showed a clever math
effect using cards with numbers
and cut outs on them. He was
able to know a selected number.
Jams Bailey III showed a dollar
bill mysteriously penetrating
through rubber bands held by a
spectator.
John Arroyo had a very
polished Okito/Boston Box
routine. Jimmy Ichinana , card
wiz, shuffled a deck of cards
and his fingers got where each
kind was in the deck. He then
made the Kings migrate through
the deck and finish on top.
—Dennis Phillips
Assembly 99 meets on the
third Wednesday at 7:30 pm
at The International House of
Pancakes, 5203 Kirkman Road,
ORLANDO, FL. Contact Craig
Schwarz craig@ibmsamorl.com
for more details.
104
IRISH DESSERT AT THE
INSTALLATION BUFFET
SALEM, MA— On Wednesday,
June 7, the business of Assembly
104 was food, food, and more
food – and ceremony. With the
year of official magic business
behind us and the summer ahead,
our members were gathered,
not in Diamond’s Magic, but
at the East Sakora Restaurant,
in Salem, Massachusetts. The
occasion that drew us to the
location of so many past instal-
lation banquets was, in fact, the
latest one. As we lined up for the
amazingly varied buffet of ev-
erything from seafood to beef, it
became clear that new manage-
ment was on the job. Many of us
wondered what took us so long
to return.
With second and third helpings
having vanished without benefit
of silk, Past President Bill
Jensen had the newly elected
officers join him at the table
that bore the hat, wand, and
candles. Then, with cameras
clicking and wax melting, the
new year’s roster of officers was
solemnly sworn in. They are:
President “J” Hubbard, Vice
President Jim Loscutoff, Second
Vice President Bruce Lawson,
Treasurer Debbie Loscutoff,
Secretary Bob Forrest, and
Sergeant at Arms Bill Marotte.
Entertainment for the evening
was provided in two parts;
the first by our own Debbie
O’Carroll. The second handled
by Dollee Mallare.
Debbie Hunts the Oofish
Debbie offered Celtic fantasies
as her theme. She performed a
whimsical series of sleights as
Fairy Grandmother, with a lemon
bowl, a sugar bowl, and three
“Lemon Fairies” that ended with
the legendary “Banshee.” From
here, Debbie revealed the legend
of “The Oofish,” a sea serpent
that lived in Ireland’s Loch
Allen. The monster frightened
fisherman until the day Saint
Patrick arrived and drove it out
to sea. The flight of the fleeing
creature created a trench “…that
became the River Shannon.”
Debbie recruited volunteers to
“walk with her to Ireland,” to
visit Loch Allen. Using yarn,
she transformed into a cadaver
by having a knot head magically
pop off; Debbie finished off
the menace. With a final, de-
lightfully naughty tale about a
naked man escaping sentencing
thanks to a mirthful judge, Ms.
O’Carroll then introduced Dollee
Mallare, who told a story about
a princess who was crestfallen
when she broke her necklace.
A Tear Bag and a magic word
resolved the problem. A cute
“Perfect Man” was produced,
followed by Debbie O’Carroll
earning closing applause by
performing a giant Celtic Knot
version of a three ring routine
with hula hoops, to the sound of
a Tommy Makem instrumental.
Charming. —Bob Forrest
Assembly 104 meets on the
first Wednesday at 7:30 p.m. at
Diamond’s Magic, 515 Lowell
street, Peabody, MA. Contact
Bob Forrest captainalbrightsq1@
comcast.net 339-227-0797 www.
sam104.com for more details.
110
JOE HOMECHECK
ASSEMBLY
HARRISBURG, PA— Our June
meeting began with Kyle Purnell
sharing about his upcoming
lecture, “Never Finished.” Barry
Yiengst provided a reminder of
the club’s family picnic to be
held on August 13. The picnic
will be held at the rear of 25
West Main Street, Mechanic-
sburg. Members are asked to
bring along tricks to entertain.
Dick Zechman will provide the
entertainment for the October
meeting.
Under Good of the Order,
Michael Worsham shared of his
experience at the Jeff McBride
show and lecture that was given
at Denny and Lee’s this past
weekend. Michael said that the
lecture was well worth it and that
Jeff McBride will be on Penn &
Teller: Fool Us in July. Michael
also shared about his resent
purchase of hats, and he demon-
strated their use. Lou Abbatiello
shared that he and Rose would
be attending the upcoming
I.B.M./S.A.M convention. We
look forward to hearing about
their experience. The business
meeting ended at 7:35 p.m.
Following the business meeting
we were entertained by President
Barry Yeingst sharing B’Wave.
Lou Abbatiello demonstrated the
use of cards that he purchased at
Barnes and Nobles that stimulate
your thinking in “What do you
see?” He suggested its use
for children’s shows. Michael
Worsham shared a trick titled
Quarterly Report with the
group. He then shared a prop he
purchased at the Jeff McBride
lecture called The Fly, and got us
all laughing. Jack Ritter showed
everyone a pair of expandable
wands he uses for children’s
shows. Cute. Rodney Ries, with
assistance provided by Rose

Mike Snyder and Marlin
Troutman
Abbatiello, entertained us with
a trick he titled Tea for Two
in which he poured different
colored water from a tea pot. He
then made the tea pot vanish.
The meeting ended with Kyle
Purnell expertly demonstrating a
“Pick a Number” card trick. All
had a great time.
Following the entertainment
Barry Yeingst reminded us of
the upcoming meeting line-up:
August 10 bring along a prop to
share, September 14 The Eddie
Cleaver Competition, October
12 Dick Zechman demonstra-
tion, October’s benefit shows
at the VA Hospital Lebanon
and the VFW Mechanicsburg,
November 9 will be the Grab Bag
Competition. —Mark Krotulski
Assembly 110 meets on the
second Thursday at 7 pm at
John’s Diner, Limekiln Exit
on I-83, New Cumberland,
PA. Contact Barry Yiengst
wbyiengst@gmail.com 717-383-
0857 for more details.
112
MONEY MAGIC AND MORE
PLEASANT HILL, CA— At
a recent meeting of the S.Y.M.
Loren Lind chapter, Diego
Cervantes looks over an amazing
book. (See photo.) Looking
on are Rick Allen to the left,
and Jerry Barrilleaux and Bob
Holdridge behind him.
Twelve-year-old Diego has
made great progress in the
S.Y.M. Assembly 112, which
helps sponsor the S.Y.M., has
presented him with a special
book in recognition of his great
effort and progress. The book,
Birch the Master Magician,
was donated by Rick Allen and
the Stevens Magic Company of
Wichita, Kansas.
Our regular meeting of the
Assembly 112 was dedicated to
money magic. We were treated
to a fantastic lecture on coin
magic by a team of two excellent
magicians, Christopher McCo-
M-U-M Magazine 19
naughey and Michael McGriff.
The pair discussed and demon-
strated a number of sleights and
moves involving the vanishing
and production of coins and how
to utilize these in performance.
Christopher concluded the
lecture with a lengthy demon-
stration of the techniques he uses
to perform his version of the
Miser’s Dream, followed by a
question-and-answer session.
Michael also exhibited his large
collection of related resource
material, books, and DVDs that
are available for anyone wishing
to further his knowledge of coin
magic.
Young Magician Honored
Later in the evening, several
members took the stage to
perform some of their favorite
tricks with money. Among the
performers were Zeb Dunnit
(a.k.a. Bill Hatteroth), Bob
Holdridge, Jerry Barrilleaux,
and Larry “Zappo” Wright.
The meeting concluded with
our regular auction of some great
magic props and the always fun
raffle for a bag of tricks. Visitors
are always welcome at Assembly
112 meetings, so drop in next
time if you are in the area.
—Bill Marquardt
Assembly 112 meets on the
third Wednesday at 7:00 pm at
VFW Hall, 1919 Wendell Lane,
Pleasant Hill, CA. Contact Bill
Marquardt billmarq@sbcglobal.
net 707-592-1285 www.sam112.
com for more details.
120
ASSEMBLY 120 MEETING
CHAMPAIGN, IL— The fund-
raiser went pretty well. If we do
another one there we will need to
bring better lights, but we had a
good turnout and everyone had a
good time.
Andy Anderson opened the
magic portion of the meeting
with his Ball through Hand.
Kaizad Irani presented his soon
to be marketed Inner Sanctum –
Phobias of the Inner Mind. Chris
Bontjes presented his Hot Flip
Flops and Prof Higgins changed
a $2 bill into two ones and a one-
dollar bill into a five.
The next meeting will at Dallas
Magic and Costumes. Come
early and meet us across the
street at Manzella’s Italian Patio
for dinner or just to hang out
and chat. See ya at the meeting,
—Ken Barham
Assembly 120, Andy Dallas
Assembly, meets the third Wed.
at 7pm, (except Nov. and Dec.)
For location call Christ Bontjes
at 217-442-6244 or Ken Barham
Sec, 2318 Winchester Dr,
Champaign, IL 61821. 217-841-
5616 email: Kebram@aol.com
131
WORK IN PROGRESS
DANBURY, CT— Our Summer
barbeque date is August 6 at
Russ and Patty’s home. It is
always a great time.
Danbury Top Hatters welcomed
Willie Yee from Assembly 35.
Willie has been in magic just
over one year. He demonstrated
a few card effects with a stacked
deck, bent a borrowed and signed
quarter, and performed a rubber
penetration effect with thick
rubber bands – far more effective
than the thin bands. Will also
gave out colored napkins for an
origami rose fold.
New Club Banner at
Newtown Lions Duck Race
Russ demoed a number of
pattern folds and scissor cuts in
which a selected card appears.
Magic Marty presented a gift
from Jimmy C. that allowed a
shot glass with liquid to be placed
in it and twisted 360 degrees. The
water was never dropped out.
The new banner arrived and was
used in our annual Newtown
Lions Duck Race. —Magic
Marty Steinberg
Assembly 131 meets on the third
Assembly News
Monday at 7:30pm at Methodist
Church, 5 Clapboard Ridge Rd,
Danbury, CT. Contact Magic
Marty Steinberg magicmarty@
aol.com 845-797-8363 for more
details.
141
CONJURORS GET A LIFT!
COLUMBIA, MD— On May
8, 2017, the Columbia Conjurors
continued their year-long
Rat-Pack obsession with the
theme “Fly Me to the Moon:
Magic with a Levitation, Flight
or ‘Lift’ Theme.” Jacques
Severe opened with a neat single
finger “lift” method taught to
him by Bob Little, in which a
selected card hidden in the deck
magically rises up and flips over.
Guest Jay Miller then shared his
latest Jay Sankey-inspired ring
and rope routine, with a ring
repeatedly appearing and disap-
pearing from his red shoe lace.
Eric Hoffman shared with the
group the new security guard
test for local casinos, involving
five blank, red-backed playing
cards; but then Eric revealed
why most applicants fail, as he
revealed that one of the cards
was actually an Ace, then that
all the cards were in fact blue-
backed, and finally that the
formerly blank cards were now a
royal flush!
President Rob Niccolini enter-
tained with his version of “Cue
the Magic,” in which volunteer
(and club guest) Steven Zhan
became the magician, and
through the use of cue cards
(and a series of bad jokes) had an
audience member select a card
that was then revealed to be in
an envelope on the last cue card.
Finally, Secretary Matt Neufeld
brought us home with a variety of
tricks, including a rising haunted
hanky with a ghostly eyeball, a
deck-of-cards comedy gag, and
a trick in which a quarter disap-
pears into a wooden block un-
derneath a silk. In the end, all of
the magic “raised” some spirits!
On June 12, the Columbia
Conjurors held their annual
Teach-a-Trick meeting. Dr.
Brent Morris, flexing his math
muscles, started us off with his
own variation of Alex Elmsley’s
The Book of Fortunes, called
The Book of Corollaries,
which Brent published in the
February 2004 edition of Math
Horizons. After “tuning a deck”
Assembly News
to a volunteer based on three
questions, Brent was able to
use counted-out cards to direct
the volunteer to a page in the
article that replicated his choices
exactly. Eric Hoffman followed
with an explanation of his Non-
sensical Card Trick, locating a
spectator’s card from a borrowed
deck, followed by John Gazmen
revisiting how we can use some
basic key card concepts to fool
anyone. Finally, Peter Wood
concluded with his walk-around
sponge ball routine, reminding
us that sponge balls handled
well can be just as magical for
adults as they are for kids. All
of the Conjurors left with a lot
of scribbled notes and some fun
new ideas to work on over the
summer!
Assembly 141 meets on the
second Monday at 8:00 pm at In
the basement of the Parish House
(on top of the hill) at Christ
Episcopal Church, 6800 Oakland
Mills Road, Columbi, Maryland.
Contact Rob Niccolini robert.
niccolini@ogletreedeakins.com
sam141.org for more details.
157
PICNIC NEWS AND
UPCOMING EVENTS
BEAVER, PA— The Mystic
Magicians of Beaver Valley
(157) held their Rich Howard
Memorial Picnic on Sunday, June
4, 2017, at Brady’s Run Park.
It was a rainy day, but twenty-
one members and guests were
in attendance. There was a flea
market and pick-up show with
Ray Lucas and Tom Chidester
performing. The Election
Committee will be announced
next month, as well as the last
reading of the bylaw change.
Jack Greenberg had a possible
Grilling in the rain.
20 AUGUST 2017
lecture that needs additional in-
formation. He also announced
the date for the GPMN Banquet
at the Fez as Sunday, April 15,
2018. Bill Cornelius suggested
doing another enticement reward
for getting more to perform at
meetings. After discussion, it
was decided to start after the
first of the year.
Nick Carifo, our California
member who was in town, was
the emcee for the performanc-
es. Jim Weyand brought a bag
of ropes he was going to pass
out to members, but they were
not what he thought they were
and is going to research it for
next month. He then showed
a box of the very first magic
tricks he had purchased in June
1960. Don Moody performed
Rainbow Ropes, but they were
all one color. Have three ropes,
knot two, show three ropes
tied together. Sprinkle “woofle
dust”, becomes one rope, no
knots. Bill Cornelius had three
ropes, showing the ends. Tied
two ends together. Shows other
ends of three ropes, ties two
together. Blows knots off. Rope
in one piece. Jim Tate showed
two rubber bands, twisted them,
they are connected. Twists them
again, they are separate. He
also had a small white paddle.
Reaches in air and gets black
dot and puts it on paddle. Does it
again. Makes spots all appear on
one side, and then makes them
disappear. —Judy Steed
Assembly 157 meets on the
second Thursday at 7:30pm at
Towne Square Restaurant, 518
3rd Street, Beaver, PA. Contact
Judy Steed heyjude1943@msn.
com 330-525-5389 www.mmbv.
club for more details.
170
SLYDINI, DAI VERNON,
DEL RAY, AND ORSON
WELLS PERFORMANCE
COLORADO SPRINGS, CO —
We had some special guests
attend our May meeting. The
Pike Peak Prestidigators May
meeting was an opportunity to
see some history and favorite
videos from our members’
libraries. But first,  Frank
Klein performed his Invisible
Deck routine for Lisa Bishoff.
Lisa had purchased a deck but
it had no instructions. This is
what being part of an S.A.M.
2017 Assembly 170 Officers:
Bill Wysong (Member-at-
Large), Jason Gunnels (Pres),
Mark Weidhaas (Sec), Jeremy
Chisum (VP), Dick Bowman
(Sgt-at-Arms), Lisa Bischoff
(Treasurer) not present
Assembly is all about: members
helping members with hands-on
instructions.
During the evening, we
were entertained by the
likes of Slydini and his rope
routine and torn and restored
newspaper. Del Ray demon-
strated “The Bet.” Key and
Peele performed as the Magic
Cop, and Paul Daniels performed
his Chop Cup. Orson Wells did
a cold reading. Orson was an
S.A.M. member; the assembly
secretary has a copy of his S.A.M.
Talisman. Lance Burton’s Silk
to Egg was performed with
Johnny Carson. Scott and
Muriell performed Sawing a
Lady in Half. And Dai Vernon
closed the evening of movie clips
with his Cups and Balls routine.
— Mark Weidhaas
Assembly 120 meets 2nd Tuesday
at the Sand Creek Police Station
Community Room, 4125 Center
Park Dr., Colorado Springs, CO
80916. Contact Mark Weidhaas
at Mark@magicsam.com for
more information.
181
COSTUME MAGIC
HIGHTSTOWN, NJ— George
Hann has been performing
costume magic for over twenty
years, appearing as a wizard, a
pirate, and even Groucho Marx.
During this month’s workshop,
he shared his experiences
from doing charity work for
the American Cancer Society,
the Boy Scouts, at children’s
hospitals, and birthday parties.
Prior to the sixteenth century,
the distinction between magic
and philosophy was blurred. I
found that the word “wizard” is
derived from the Middle English
word “wys,” meaning wise, and
the suffix “-ard.” So a wizard
was basically a wise man. It
was only after the 1550s that the
word “wizard” gained its present
meaning as one who has magical
abilities.
Dressed in full wizard regalia,
George performed Barry Mitch-
ell’s King Midas Touch routine.
King Midas is remembered in
Greek mythology for his ability
to turn everything he touched
into gold. George’s routine is
presented from a beautiful magic
book, and as he opens the book,
he begins to narrate the story.
George produces a king’s crown,
loads of cash, huge gold nuggets,
a gold rose, a gold banana, a glass
of gold water, and even gold
credit cards. When King Midas
touches his favorite daughter
and she turns into gold, the story
then teaches an important moral
lesson. With George’s magic, the
story has a happy ending.
George also performed his
version of Silks to Kings. He
once saw this effect and then
reverse engineered the method
so that he could perform it in his
own show.
George Hann the Wizard
After all workshops, we turn
the stage over to member per-
formances. First to perform
was Reba Strong. She started
with Meir Yedid’s Origamag-
ic White Crane, which as the
name suggests starts as a folded
napkin that magically changes
into a white crane. Reba’s second
effect, performed with a chain,
was taught to her by the “Wild
Man of Hatboro,” Bob Little.
She finished her set with a nice
Starcle.
Rocco did his original construc-
tion of ACAAN. Rob Francis,
the Dork of Deception started
with a four-Ace production,
which led into a color changing
deck. As an added bonus, Rob
explained the handling of his
color changing deck in great
detail. The final performance

was Wayne Houchin’s Carbon
Paper by Topher Sutton. This
is an effect where the heat of a
burned card magically transfers
to a selected signed card.
After the performance, the
members vote for the best per-
formance of the night. Tonight,
the “Coffee Cup” Award went
to Topher Sutton for his per-
formance of Carbon Paper.
—David Zboray
Assembly 181 meets on the first
Thursday at 7:00pm at First
United Methodist Church, 187
Stockton Street, Hightstown,
New Jersey. Contact Stephan
Sloan stephansloan10@gmail.
com 732-757-5337 http://
magicsam181.com/ for more
details.
188
FUN & FRIENDS
PROVO, UT— Our June
meeting was a little low on at-
tendance. Several members
either forgot it or thought there
was no meeting because we were
hosting the Utah Valley Art of
Magic festival at the local city
library. But we did have a good
turnout; about thirteen folks
turned up, unlucky for some but
lucky for us.
Our mini-lecture was presented
by Anthony White. He is current
president of I.B.M. Ring 193
in Salt lake City and visits us
often. His lecture was on kid’s
magic. He stressed making the
magic make sense to children.
Use props they recognize, like
making popcorn appear. He
feels about 75-80% is having
fun and laughter, the rest is the
magic. He recommended we stay
current with kid’s entertainment
and adapt our props and routines
to current popular themes.
Ron Carrasco presented a great
Samuel Patrick Smith “Bob the
Bookworm” routine. Lots of fun
for kids. Al Lampkin presented
a routine about “Things I like.”
He had a notebook with lots of
things he likes on the pages. He
balled up a paper ball and tossed
into audience to randomly select
two helpers. Scott Chamber-
lain held a closed paper bag and
Chris Dutson peeked at one of
the pages and selected cookies.
Al unfolded the tossed-out ball
to reveal “Cookies” written on
it! Then the bag was opened
and it contained cookies that
were then given to the helpers. I
M-U-M Magazine 21
tempted to say it was a crumby
trick, but it was chipper!
John Linford chose a helper
and asked him to draw a symbol
from his childhood on the back
of a business card. John drew an
impression on another card and
successfully revealed the images
to be identical. Javier performed
his version of Clipped by Jay
Sankey. He showed a folded card
contained in a paper clip. Had
Josh select/sign a card and tried
to reveal it, but wrong. The he
flicked the card and four heart
pips popped out, revealing the
Four of Hearts. Then he removed
the clipped card to show it was
the original signed Four of
Hearts. Mont Dutson showed a
routine from his current Build a
Better World library show. It is
“Today’s Tools,” available from
Jim Kleefeld online. Pictures
of many tools are shown, one
mentally selected, and without
looking or asking questions,
Mont identified the tool selected.
He really hit it on the head. Folks
hung around afterwards for quite
a while talking and jamming.
—Mont Dutson
Assembly 188 meets on the
third Thursday at 7:00pm at The
Courtyard at Jamestown, 3352
N 100 E, Provo, Utah. Contact
Mont Dutson montd84@
comcast.net 801-253-3595 www.
utahmagicclub.org for more
details.
194
A FINE FINISH TO A GREAT
SEASON
YONKERS, NY— We began our
meeting by inducting another
new member, Andrew Proto, a
third grade school teacher and
a serious magic part-time pro.
That was followed by Dave
Crasson performing a Broken
Wand Ceremony in memory
of Del Castile, a longtime and
faithful member. We were
pleased that his son Rob was
able to attend.
After Vice President Jack
Pelepko read the qualifications
for assembly officers, we unani-
mously re-elected all the officers
of the assembly under the out-
standing leadership of President
Roger Burchard.
We then had several members
present “demos” of effects with
shared instructions. Charles
Hallock (aka “Charlini”) donned
a shabby top hat and lit a candle.
Smoke issued from the top of the
hat followed by a flame, both of
which were soon extinguished
by a bouquet of spring flowers!
(You had to be there!) Next,
Rich Rattoti showed more of his
classical magic with some fine
coin manipulations including a
coin to credit card.
Fr. Brennan showed and
explained two card effects,
one a color changing deck to
all blue cards after three freely
chosen cards from a red deck
were revealed. He followed that
with the Acrobatic Card taught
to him several years ago by
Steve Cohen. Mario Marchese
presented a wonderful version
of the Cups and Balls and then
shared that he is now working
with David Blaine.
Following a pizza and beverage
party, we witnessed some fine
examples of impromptu magic.
Steve Burchard showed us how
to get a bottle cap inside the
bottle. Then Dennis Barlotta
performed Slydini’s Coins
through the Table in a way that
would have made Tony S. very
proud.
Dave Crasson enlisted the
help of Jack Pelepako, who
held a cup and saucer on top of
his head while Dave vanished
the contents of a sugar packet
only to have it appear inside the
cup. David Ferst then showed a
mental effect using eight sugar
packets, Ted Lee did a Bill
Count and Miscount with bills in
his inimitable manner, and Jim
Stranges completed the set with
the Floating Dollar Bill.
All in all it was a fun night
of magic fellowship as we
look forward to another
great season in the fall.
—Fr. Dermot Brennan
Assembly 194 meets on the
third Wednesday at 7:30 PM
at Catholic Slovak Club, 49
Lockwood Ave., Yonkers,
NY. Contact Roger Burchard
kardmagik@yahoo.com 914-
548-5353 for more details.
200
MENTAL MYSTERIES
SEATTLE, WA— This month’s
theme was “Mental Mysteries.”
Members were encouraged to
perform a mentalism-inspired
routine. Regardless of the theme,
there was some great magic and
fun.
Inspired by the previous
Assembly News
month’s performance from Brian
Cook, Jim Earnshaw presented
a nice Okito Box routine. Jim
purchased his box and wand
set from Brian’s Magic Crafter
business. Louie Foxx showed
the group a real digital fooler in
which he took a picture of the
spectator holding a random card
they were unaware of yet were
later able to freely pick the same
card from a mixed deck.
Rick Swaney presented a
Bob Farmer effect called Deja
Voodoo. Rick has obviously put
a lot of work into the trick and
the results were very magical.
One of our new members, Aidan
Adams, showed off a very nice
multi-phase card to pocket
routine that had well-timed
misdirection and very smooth
handling. Aidan will be fun to
watch in the future.
Larry Dimmitt involved
the entire group when he
solicited written words sealed
in envelopes to reveal that a
prediction he made matched
the randomly selected choice.
Michael Jacobs presented a nice
card effect in which he was able
to divine not only the selected
card, but also the number of
cards left inside the card box.
Roger Sylwester presented a
nice self-contained routine by
Cody Fisher called Fifty-two
Thoughts. This routine has
a lot of funny moments and
quite a magical ending. Mark
Paulson used his mind powers
to influence multiple spectators
to tell him when to stop his ring
over a random word in a book.
The word matched an earlier
prediction he had made.
Reymarx Gereda had the
spectator grab a random
amount of cards from a deck
of cards and was able to divine
every card chosen. It was a
very nice mentalism piece.
Sam Chamberlain presented
a want-ad prediction in which
he was able to divine where a
spectator would have him cut
though a piece of newspaper.
Multiple cuts were made and
Sam still was able to predict the
correct ending.—Jim Earnshaw
Assembly 200 meets on the first
Thursday at 7:00pm at Mercer
Island Library, 4400 88th
Ave SE, Mercer Island, WA.
Contact Jim Earnshaw jim@
earnshawmagic.com 206-225-
6715 www.emeraldcitywizards.
org/ for more details.
Assembly News
210
MAY CASTILLO DE LA
MAGIA
TOA BAJA, PR— Hola from our
magical island, Puerto Rico. We
began our meeting at 8 p.m. at
Dennys, Isla Verde, Carolina.
It was a small group, but we
had a great, great time. President
Shabum gave Joel our past dues
so he can begin doing his role as
treasurer of our assembly.
We then began manipulation
magic with cards and impromptu
magic. It was then that Marcos
arrived. We ordered dinner, but
like always kept on doing magic.
We planed what we were going
to do in the future. Lectures,
magician of the month, magic
shows, and October magic week.
—Professor Lulu
Assembly 210 meets on the
last Wednesday at 8.00 P.M.
at El Castillo De La Magia,
calle cristobal real E.G.18,
Toa Baja, PUERTO RICO.
Contact PROFESOR LULU
verdialescarlos@yahoo.com
787-784-0283 for more details.
215
LOUISVILLE HOSTS
STEPHEN BARGATZE
LOUISVILLE, KY— There
were forty-six members and
one guest present. In addition,
there was one former member,
Larry Keaton, who attended and
rejoined the club after a long
absence. President Jim Harris
promoted the upcoming I.B.M./
S.A.M. combined convention.
Cody Clark stated that he would
be doing a show in conjunction
with Shakespeare in the Park
and encouraged all to attend.
Michael Raymer, Regional
Deputy of the S.A.M., welcomed
new member Barbara Harris and
presented her with a certificate
and pin. Michael also stated that
this will be the first time the club
has produced a printed color
brochure for It’s Magic, and he
solicited members to purchase
ads for the brochure. Brent
Braun thanked the club for sup-
porting and mentoring him over
the years and credits a lot of his
success to his experiences with
the club and the support of its
members. Brent’s Position Im-
possible is now the number-one-
selling trick on Penguin Magic’s
22 AUGUST 2017
website.
David Garrard promoted It’s
Magic and encouraged club
members to purchase tickets to
support the event. He said we
should be able to fill the five-
hundred-seat venue and by
doing so will provide the club
the finances for yet another suc-
cessful year.
Stephen Bargatze
An entertaining lecture and
show was provided by Stephen
Bargatze from Nashville.
Stephen provided anecdotes
from his childhood and how he
became interested in magic in-
terspersed with numerous well
done and entertaining illusions.
Stephen particularly enjoys
working with kids and involved
comedy in many of his illusions.
The lecture was entertaining and
well received by the members.
—John Butler
Assembly 215 meets on the
second Tuesday at 7 PM at Kosair
Charities, 982 Eastern Parkway,
Louisville, KY. Contact Michael
Raymer funmagic@iglou.com
502-644-7829 www.lmcmagic.
com for more details.
252
COLORS
FAIRFAX, VA—PRESIDENT
Keith Pass opened the meeting
with a report on the Jeff McBride
lecture he attended recently.
Richie Klein, as is his usual
style, celebrated the evening’s
“Colors” theme with an elaborate
silk routine that involved a
change bag and a blue silk.
When the spectator said blue,
he got a glue stick. On a second
try the spectator got a shoe
instead of “blue.” The climax
came when the assistant pulled a
string out of the bag and ended
up with a twenty-foot string of
multi-colored silk handkerchiefs
fastened on it. Richie has set a
kind of record in following the
announced meeting themes on a
regular basis.
Bob Ellis displayed a “spinner”
he got from England. He spun the
spinner and laid a selected card
on it. When it was displayed, the
ink on the card had been spun in
a circle. Keith Pass followed that
with a routine with giant dollar
bills. He tore two bills in half,
giving halves of the torn bills to
audience members and destroy-
ing the other halves. He then
tore new bills and showed that
the new halves matched the torn
edges on the earlier bills.
Tom Bohacek kicked off his
magic demo with his version of
the Princess Card Trick, during
which a mentally selected card
was found. He then wowed the
audience with a special repro-
duction deck of cards and a story
about the U.S. Playing Card
Company’s card decks distribut-
ed during World War II to POW
camps in Europe. The cards,
when soaked in water, became
easy to split, displaying an
escape map when the paste-
boards were laid out in a particu-
lar order.
Tom assembles the
escape map.
Bob Malinchock displayed four
sealed envelopes and had three
audience members each select
an envelope. Amazingly, the
three envelopes, when opened,
each contained a dollar bill and
a note saying the spectator was a
“winner.” Bob opened the fourth
and last envelope and found a
piece of paper saying he was a
“loser.”
Richie Klein ended the
evening’s magic with a routine
that involved a playing card
folded up in a matchbox. The card
ended up as a work of origami
when unfolded was no longer a
playing card. And the replace-
ment had a large red kiss on it.
—Alan Wheeler
Assembly 252 meets on the
third Thursday at 7:30 PM at
Knights of Columbus Hall,
3700 Old Lee Highway, Fairfax,
Virginia. Contact Tom Bohacek
bohacek@gmail.com 703-754-
2005 for more details.
266
HOT MAGIC IN LAKELAND
LAKELAND, FL— Our June
meeting was full of hot magic and
fellowship that started with our
pre-meeting dinner. Dean Bob
Macey showed some goodies he
got from his visit to Montreal
and the Magicana Collectors
Weekend. The biggest prize
was Professor Hoffman’s Card
Tricks Made Easy. It was a rare
treat to be able to hold history
like this in your hands. Scribe Al
D’Alfonso also showed off The
Magic Show Book, a kids’ magic
book that is designed to do a
magic show for your audience.
It is not as elaborate as the Set-
teducati book from a few years
back, but a nice job for someone
growing an interest in the art.
During our meeting we voted
on a motion from Ed McGowan
to change the name of our
assembly, which was approved
unanimously. We hope that by
the time this report sees print
it will have been approved by
national and you will be able to
read it above. We also discussed
our upcoming lecture this year
and the prospect to add a second.
Our meeting was kicked off by
Beverly Kenemuth, who delved
into the May 2017 issue of
M-U-M to “Contact the Spirits”
with a mysterious spelling trick.
Beverly’s work with the magic
of M-U-M is an ongoing delight.
Al followed Beverly with Brent
Braun’s Position Impossible,
which blew the room away, not
unlike I was blown away when I
first saw it.
Ed stepped up with his own
position impossible by counting
down in the deck to find
Bob’s selected card. Professor
Hoffman, speaking through
Bob, delighted us with two
tricks from his collectible find,
amazing us with the age of some
magical principles that we take
for granted.
Resident psychic Ray Noble
divined the owner of four
sketches by doing a person-
ality reading on the artists.
Clean-up batter was President
Jerry Kardos, who explained
the mysterious power of three

Bob Macey's Professor
Hoffman find.
with a demonstration that had
us convinced that he had psychic
abilities, too!
If your vacation plans bring
you to Central Florida be sure
to stop in and visit with Lake-
land’s finest for pancakes and
hot magic all year round. —Al
D’Alfonso
Assembly 266 meets on the
second Wednesday at 7:00
pm at i-hop, Corner of Rt-98
& I-4, Lakeland, FL. Contact
Al D’Alfonso keeper0499@
embarqmail.com 321-437-3814
for more details.
291
STEVE SILVERMAN
DAZZLES
LOS ANGELES, CA— Steve
Silverman’s pocket change is
a little different from ours. For
one thing, it doesn’t clink unless
he wants it to. And, as he dem-
onstrated at Assembly 291’s May
lecture, his coins – especially
his silver dollars – have the
enjoyable habit of showing up
exactly where you don’t expect
them.
In a captivating session,
Silverman offered detailed in-
structions on coin manipula-
tion, beginning with vanishes
that ranged from thumb palms
to edge grips and pinch grips.
Moving to productions, he
showed the pop-up, slide, and
muscle pass variations, each
favorites that he uses on an
everyday basis.
“I’m using all the palms, baby!”
Silverman joked while adding a
hand wash to transfer his coins
between hands, then combining
his methods into an extended set
of silver dollar appearances and
disappearances. “You’ve got to
have a story to tell. You’re giving
the story; the magic’s giving the
proof.”
Silverman later performed his
version of Spellbound, a difficult
silver dollar/Chinese coin
M-U-M Magazine 23
routine, to an Asian instrumen-
tal song about a lotus flower. His
jumbo coin vanishes and coins-
in-silk routines were entertain-
ing examples of the fundamen-
tals he taught at the outset.
“Nothing earth-shattering,” he
insisted, “just standard sleights
with my own little twist on
things.”
After the break he returned
with some card effects, led by
his Santa Anita Opener, a mental
routine with a color-change
deck and a transposition in the
same effect. Race To The Top, a
four-Ace production, featured a
ballerina center cut for the first
Ace, a swing cut to the second,
Bro. John Hamman’s “bottom
double drop-off switch” for the
third, and a “double bottom
drop” for the final Ace.
Any jaws not yet hanging open
were treated to Four To One, a
variation on a Darwin Ortiz
trick in which Silverman in-
corporates his original idea, a
“fan holdback utility,” bucking
one bottom card away from the
deck during a card fan to flaw-
lessly force a card…leading to
other wonders, of course, and a
well-deserved ovation from the
Westside Wizards and guests.
—Dan Cray
Assembly 291 meets on the
second Tuesday at Stoner Park
OPICA Adult Day Care Facility,
11759 Missouri Avenue, Los
Angeles, CA. Contact Les
Cooper cooperl@ucla.edu www.
westsidewizards.org for more
details.
292
VARIED MAGICAL FUN
GREELEY, CO— Our June
meeting featured a delightfully
wide range of magical entertain-
ment and props. Lloyd Worley
ran a brief business meeting
during lunch. Teagan Brown
gave a show report; he is booked
to be the closing act at a Denver
comedy club. Members donated
a number of door prize choices,
including an appearing cane, one
of Steinmeyer’s history books,
and a large prop box decorated
to look like an old book. Alicia
Ambrose selected the prop box.
Lloyd Worley facilitated the
magic performances with the
theme “Informal – a relaxing
interlude.” Ed (Mr. Magic)
Hurtubis opened, contribut-
ing one of his signature profes-
sional routines, Bob Mason’s
Utter Confusion. Gary Erichson
shared his creativity with both
common and unique props that
he is working with to combine
into a color change ball-and-
silk routine. Lloyd (Worley the
Wizard) Worley asked if anyone
could solve his Wisdomtoy dove-
tailed wooden drawer puzzle.
He also showed a marked deck.
Joe Gschwind demonstrated his
interesting Butterfly marked
deck that can only be obtained at
present from Eagle Magic Shop.
Aside from a small one-way
feature in the center of the backs,
the unusual markings are all on
the edges of the cards. The deck
is a good value at $14.
Teagan Brown entertained
us with an elaborate card ma-
nipulation and tap-dance
routine, performed on his
recently improved portable
wood floor that really amplifies
the tap sound. In time to the
tap-dancing, he did various
card manipulations, including
producing dozens of single
cards, small clusters, fans, and
finally cards-from-mouth. Gary
Kornfield showed an appearing
billiard cue, and demonstrated
the features of two custom-
made tables from Showtime
Magic Products for stand-up
performers.
Teagan Brown
To close, your story-telling
scribe told an astonishing tale of
trying to buy a particular piece
of Native American jewelry by
renowned silversmith Joseph
Coriz of the Santo Domingo
Pueblo. The process involved
a series of magical synchron-
icities crammed into about
twenty minutes, and becoming
more and more miraculous.
Then his wife, Marilyn Dutton,
vouched for every word of it
being true…and noted that she
was wearing “The Necklace
of the Synchronicities.”
We really enjoyed a magical
program with so much variety.
—Ron Dutton & Ed Hurtubis
Assembly 292 meets on the
Assembly News
second Saturday at 11:00 A.M.
at Kenny’s Steak House, 3502
West 10th Street (corner of 35th
Avenue), Greeley, Colorado.
Contact Dr. Lloyd Worley
Lloyd@WorleyTheWizard.com
970-356-3002 www.SAM292.
org for more details.
297
A GOOD VARIETY!
WINCHESTER, VA— Kicking
off our June meeting theme,
“Rope and Cord,” Jonathan
Ford presented a very impres-
sive series of rope, ring, and nut
effects to include the Professor’s
Nightmare, and various ring on/
ring off penetrations.
Tat Mills then managed to get
himself locked up in shackles
that instantly released before our
very eyes when all unanimously
provided the “magic” word.
Jon Ford and Tat Mills
A very different approach to
Shufflebored was skillfully
presented by Rusty Staubs with
the help of several club members
who shuffled and shuffled, face
up/face down cards, to yield pre-
viously predicted outcomes.
Bob Malinchock closed the
trick section of the meeting with
some floating bills, a Queen
assembly, three-ring routine,
and a new “Pickle Word” mental
effect.
Our meetings generally
conclude with a discussion
segment relating to an aspect
of magic that would benefit
all our members, young,
old, new, experienced. This
month we discussed the at-
tributes of a “good trick” and
our own related experiences.
—Bob Malinchock
Assembly 297 meets on the
second Tuesday at 7 p.m. at
Incredible Flying Objects,
111 North Loudoun Street,
Winchester, Virginia. Contact
Bob Malinchock robert.
malinchock@verizon.net 703-
669-9570 for more details. 

THE VALUE OF
PRODUCTION –
PART ONE
So, you have your tricks and effects
rehearsed. The routines in your show have
been scripted, and memorized. You have
the flow of your show designed, and have
put each effect in a certain order, based on
the “W” method I taught in this column
back in June. And, just for good measure,
as we discussed back in the February issue
of M-U-M, you even have a fully stocked
“M.E.A.T. Case” at the ready, in case of
any emergency. Does this mean your show
is ready? Does this mean you even have a
show, per sé? Not yet.
These are all good things to have done
in advance and to be prepared for. These
are also a good start to putting together a
“show.” But, there is still plenty of work to
do. We’re not quite there, just yet.
Let me offer this thought. When you go
to the theater or to a concert, the performers
do not simply stand in one spot and recite
their lines or sing a song. If they did, even
if they were good at it, the show or concert
would seem incomplete. It may be good,
but the directors, producers, performers,
and more important, the audiences who
are there want more – sometimes, much
more.
What are they looking for? The answer
is called Production Value. At a concert,
it may be flashing lights, pyrotechnics,
fog machines, or flame throwers. In a
play or theatrical musical, the stage sets
may change, there could be curtains that
come in and out of each scene, lighting
would change the moods, and a variety of
costume changes would draw the viewing
audience into the world being created on
stage. In a motion picture, the special
effects and scenery along with flashy edits
and background music all add to the final
product. These are all examples of produc-
tion value.
Production values could be defined as
the combined technical qualities of the
26 AUGUST 2017
Lessons For The iGeneration
methods, materials, or stagecraft skills
used in the production of a motion picture
or a live, artistic performance, that bring
an added or extra value to the production
– simple right?
Considering the venues where we
usually work, and the inconsistencies of
those venues, the addition of production
values to our shows is vastly different to
those of a huge, theatrical production or
movie. Does that mean we cannot have, or
add, production values to our performanc-
es? Of course not. We, as solo performers,
with limited resources and ever-changing
and challenging venues, need to figure out
how to add some value to our productions.
Let’s discuss how we can use or
develop production value in our varied
arenas. There are several types of produc-
tion value.
Sound: No matter how well rehearsed
your show is, no matter how well you
have structured the flow of your show, no
matter how many props you have, if your
audience cannot hear you, then your show
is doomed. If they can’t hear you, they
won’t understand you. If they don’t under-
stand you, they won’t enjoy you. If they
don’t enjoy you, you won’t be hired again.
So, one of the first elements of production
value that we all begin to research is a p.a.
system.
A “p.a. system” is short for a “public
address system” (some people think it’s
“personal amplification system,” but,
it’s not). It is usually a combined set of
equipment allowing amplification of your
voice: microphones, amplifiers, speakers,
stands, cables, transmitters, and receivers.
Anyone who’s ever been in a band or
played a musical instrument knows what
I’m talking about, and probably already
owns most of what you’ll need. There are
hundreds, if not thousands of p.a. systems
available on the market at any given time.
I will not be recommending any particular
brand or system; I’ll just offer a few ideas
on the elements of a good, basic system to
get you started.
Let’s begin with the types of micro-
phones; there are many to choose from. In
fact, there have been entire books written
on this subject alone. I’ll keep it simple,
Life is Good:
By David Oliver
and go over three basic microphones you
should consider using.
Handheld microphones: This
generally means any microphone held
in the hand and used to pick up human
speech. Handheld mics are used in a huge
variety of settings, from musical perfor-
mances and comedy shows to television
interviews. When you say “microphone,”
most people picture a handheld mic. Some
are attached to cables. However, more
often than not today, they are wireless and
transmit via radio waves. A handheld mic
can be used in the hand, clipped into a mic
stand, or hung around the neck in clip.
Handheld LD mics are a perfect beginner
tool for most performers. When properly
used, the solo performer can be heard,
can direct the audiences’ attention, allow
volunteers to be heard by the audience
when asked a question, and even allow the
performer to speak “off-mic,” giving secret
stage instructions to the onstage helpers. I
still use a handheld mic on a stand in all of
my shows. It is there mainly as a back-up,
but, I also use it for audience volunteers
onstage, as well as for the principal or boss
to give preshow announcements (Photos 1
and 1a).
Lavalier microphones: In short, a
lavalier microphone (or lavalier, also
known as a lav, lapel mic, clip mic, body
mic, collar mic, neck mic, or personal mic)
is a small microphone used for television,
theater, and public speaking applications
that allows hands-free operation. It clips on
Photo 1

Photo 1a
your lapel, your collar, the center of your
shirt, or your necktie. The lav mic will
pick up your voice and anything within a
range of about a foot or so very well. It can
pick up the onstage volunteers’ voices, if
you lean in relatively close to them. The
lav is tiny, and usually not noticeable by
the audience. If they do see it, it doesn’t
matter. Today’s audiences are knowledge-
able and savvy enough to know what
it is and what it is for. You’ve seen them
everywhere, and it probably never dis-
tracted you from the performer you were
watching. The lav is connected by a very
thin cable that runs under your costume,
shirt, jacket, or dress and connects to a
body-pack, wireless transmitter that is
worn on your belt, in a pocket, or secured
by some other means on your body. This
transmitter sends the signal from you to an
offstage receiver. Many lavs have a “mute”
switch built into them that the performer
can control onstage, turning it off and on
at will. The lav is a popular type of micro-
phone for solo performers (Photos 2 and 2a
– can you see the mic hidden on my tie?).
Headset microphones: Another
popular type of microphone used by actors,
singers, comics, ventriloquists, preachers,
and, of course, magicians is the headset
mic. You’ve seen them everywhere, from
Photos 2, 2a
M-U-M Magazine 27
your computer games to the McDon-
ald’s drive-through window attendant. A Photo 3
headset mic consists of a unit that wraps
around the head (or simply behind the
ear) and an amazingly tiny piece of tubing
with a miniature microphone at the end
that connects to a belt pack or body pack,
the same way a lav does. The headset mic
also allows for hands-free usage, like the
lav. However, it produces higher quality
sound than the lav, and is positioned
directly next to (not in front of) the mouth,
thus producing a crisp, clear, and normal-
sounding voice through the rest of the p.a.
system. The performer can speak, whisper,
or even sing, and there is little to no dis-
tortion. It also allows more control when
speaking. I know that I wrote above that
I would not recommend a specific brand
or product. However, I have been using a Photo 4
headset mic from a company called Coun-
tryman (their E-6 model) for almost twenty
years and have been extremely satisfied. It
is tiny, virtually invisible to the audience,
and much better than the headset mics that
I refer to as the “Janet Jackson” mic or the
“Madonna” mic, that are rather large and
look as if you have a black sponge ball in
front of your mouth (Photos 3 and 4 – you 5); others have multiple components, as
can barely see the mic on the side of my mentioned above (Photos 6 and 7). For
face). birthdays, nursing homes, home parties,
Much more information on micro- small function rooms, libraries, and
phones is available: how to use them, where similar venues, an all-in-one system may
to put them, the difference between omni- be what you’re looking for. Everything is
directional and unidirectional. Do some built into one speaker unit: a microphone
research; go to a music or band equipment receiver, music player, amplifier, volume
store and ask to try out a few. You’ll see and tone controls, etc. They usually have
what works best for you. Do not position a lower wattage (50w – 100w or so), and
them in front of your mouth; they should are loud enough to get your voice over the
be to the side (headset) or below your chin sound and noise of the room. You’ll be in
(handheld and lav). Explain to the sales- command of the room in no time.
person that you are a public speaker, like For a high school auditorium,
a stand-up comic, so you don’t need the
full-range mic that an opera or rock singer
would need. A competent clerk will steer
you in the right direction.
Amplification: A microphone won’t
work unless it’s plugged into something.
A basic p.a. system will allow you to plug
in one or more items, such as a micro-
phone or two, plus some sort of Photo 5
music player (iPhone, MP4, iPad,
laptop, CD player, etc.). The basic
components are an amplifier,
speakers, speaker stands, cables,
and mic stands. All of these are
available at your local music
store. As with microphones,
there are hundreds of types
of systems. Companies like Peavey
and Fender specialize in portable sound
systems. Some are all-in-one units (Photo Photo 6
life is good
Photo 7
gymnasium, country club, outdoor party,
or theater, you’re going to need a bigger
system. A typical system includes the am-
plifier/mixer combination, sometimes a
subwoofer (for the low frequencies), and
usually two or more speakers that sit on
speaker stands. This is the type of system
that I prefer. Mine is an 800w system. I
run my headset mic, my handheld mic,
and my music players all through this one
system (mine comes from Peavey). It lets
me fill the hall or theater with rich sound,
and it comes from both sides of the stage
for a fuller sound (Photo 8). In smaller
venues, I only bring in one of the speak-
ers, and it works just fine. Again, talk with
28 AUGUST 2017
Photo 8
the music store guys to find a system to fit
your needs. Once you get a system, try it
out in different venues, adjusting the tone,
volume, angle of the speakers, etc. You’ll
have fun learning in the process.
Music: Now that they can hear you
(which adds immensely to your production
value), what about a little music? Music
can definitely add some value to your pro-
duction. Perhaps it’s simply pre-show and
post-show music you play thorough your
p.a. system to get the audience into the
mood before the show and to keep them
happy as they exit. Maybe you use some
eerie music, lightly playing in the back-
ground, when you perform your Sands of
Egypt routine. Or you use that high-ener-
gy rock song for your fast-paced Rubik’s
Cube Manipulation routine. Whatever
your choice, music can add greatly to the
value of your production.
Let me offer one suggestion that I
always give to my students and colleagues
when selecting a music piece. It doesn’t
always have to be the type of music that
you would listen to. The music choices
should, in my opinion, be varied and fit
the venue, the audience, and (obviously)
the effect. Be aware of your audience and
what would be appropriate for not only the
effect, but also for them. Open yourself
up to many genres and styles, too. In my
own show, I have ballads, movie themes,
game show music, rock music, a few sound
effects, and even some disco music. Some
of the music plays quietly in the back-
ground to add atmosphere, and other songs
are blasted a little louder to create excite-
ment. It’s a nice mix, and covers a wide
range of genres and types of music that my
audiences like. If you only play country
music in the background throughout your
entire show, there may be people who don’t
like country music. Mix it up to add pro-
duction value to your show.
[Continued next month.] 
Life is Good –DO
Send your thoughts on production value to
me (domagic@DavidOliverMagic.com).
©2017 David Oliver,
DoMagic™ Entertainment
Trick from a member
The Drop Retention Vanish By Chong Huang
For me, the most fascinating aspect of coin magic is how to
vanish a coin. There are plenty of methods, such as the retention
vanish, the Himber vanish, and other false transfers. Those great
moves invented by our fathers in magic are inspirations to every
coin magician. I drew inspiration from their work, and, fortu-
nately, discovered something a few years ago. I call it the Drop
Retention Vanish.
Imagine you “drop” the coin into your left hand; the audience
clearly sees that the coin is flipped into the left hand (Photo 1).
When you wave your right hand over your left hand (Photo 2), the
coin is gone.
The key aspect of the move is this: the coin simply travels
around the outer joint of your forefinger, moving from the outside
of your hand to the inside. When it arrives inside, pinch it in
between the middle finger and forefinger, or let it rest at your fin-
gertips.
The action is similar to the Coin Roll in Bobo’s New Modern
Coin Magic, but you roll the coin around the outer joint of your
forefinger. To do that, hold the coin with forefinger and thumb.
Push the coin forward and open your middle finger. After the
middle finger touches the coin, slide the coin inside your hand
1 2
3 4
30 AUGUST 2017
with your middle finger (Photos 3-6).
You now have two options: 1) pinch the coin with your middle
finger and forefinger, which allows your right hand to open flat
(Photo 7); 2) rest the coin at your fingertips.
To execute the drop retention vanish, you will need to make the
following three movements happen as one continuous action: In a
dropping action, your right hand, with the coin, moves downward
toward the left hand. Your left hand moves upward toward the
right hand, as if to catch the coin. When the two hands are about
to meet, and while the left hand “shades” the right fingers, execute
the key move and close your left hand.
Now you can wave your right hand over the left hand, and
show the audience that the coin has vanished.
Practice Tips
As you can tell the key move would be very obvious without
the cover of the left hand. But if you combine the movements
above and do everything in just the right timing, you will create
the illusion that the coin dropped into your left hand. You do not
want the audience to see the coin rolling back into your right
 5 6 7

8 9 10

11 12 13

hand. Drop the coin into your left hand for real a couple of times, and then practice the key move. Practice in front of a mirror; you will
even fool yourself if you do it correctly.

Applications
As a coin change: The left hand holds a contrasting coin in finger palm. The coin is hidden from the spectators’ view by means of
the Ramsay subtlety (Photos 8 and 9). The right hand performs the key move. As soon as the coin is moved to the interior of the right
hand, the left fingers flip the coin onto the left palm and immediately open (Photo 10).
With a jumbo coin: Left hand holds a three-inch jumbo coin in a position similar to the gambler’s cop (Photos 11-12). The right
hand performs the key move as the left hand opens up, letting the jumbo coin jump forward a little bit (Photo 13). 

A performance of the Drop Retention Vanish can be seen here: https://youtu.be/KXLr1JvYaSA

A performance of the two applications can be seen here: https://youtu.be/qP2uNM3fZbI

M-U-M Magazine 31

“The speech of one who knows what he is
talking about and means what he says – it
is thought on fire.” – William Jennings
Bryan
On the brisk morning of November 19,
1863, President Abraham Lincoln mounted
a brown horse and joined a multitude of
people as they walked to the grounds where
the Battle of Gettysburg had been fought.
Four and a half months earlier, when the
rifle and cannon smoke had cleared from
the fields, seven thousand five hundred
Union and Confederate soldiers lay dead
along with five thousand of their horses.
This single conflict brought home the
message that this Civil War was costing
our nation a great and terrible price. Now,
President Lincoln had come to mourn with
the devastated widows of the fallen.
Edward Everett, a professional politi-
cian, stood before the gathered crowd and
delivered a eulogy that lasted two hours.
When he finished, President Lincoln
stepped up and spoke for three minutes.
During those one hundred and eighty
seconds, Lincoln reaffirmed our Constitu-
tion’s proposition that all men are created
equal; he vowed that a government of the
people, by the people, for the people shall
not perish from the earth. However, there
was one thing the President got wrong that
day. He said, “The world will little note
nor long remember what we say here.”
Lincoln’s brief speech is now one of the
most famous in history.
As performing artists, we can learn
much from Abraham Lincoln in this
moment because, even on his worst day,
he was a far better orator than most of us.
Orating is the ability to speak clearly and
confidently by projecting your voice in a
manner acceptable to the venue. Until the
early 1900s, oration was a regular part of
every education curriculum. In those days,
leaders were measured by their character,
their message, and by their ability to com-
municate it.
Abraham Lincoln had a firm grip on all
32 AUGUST 2017
Script Writing, Character Development,
and Act Construction For the Modern Conjuror
three of those elements when he delivered
the Gettysburg Address to an audience of
fifteen thousand townspeople, reporters,
and dignitaries. He was not speaking
from a stage in a theater designed with
perfect acoustics; he was outdoors on a
hill without a sound system. Even though
he was concerned his speech might “miss
the mark,” his lack of confidence never
showed and his message got through.
Today, it is not uncommon for conjurers
to perform in less than ideal circum-
stances, too. Things happen. The sound
system fails or the client moves the per-
formance area outdoors or the audience is
far bigger than expected. If so, your ability
to properly orate and project your voice is
often the theatrical tool that will save the
day.
In my own role as a trickster, tale-swap-
per, and tunesmith for Disney, the perfor-
mances are sometimes indoors but can be
moved to a pool deck, around a campfire,
or in the shade of an oak tree at the drop
of a hat. My presentations are specifically
designed to appear impromptu and spur-
of-the-moment so, as a rule, sound systems
are never used. There are no acoustics
involved in these outdoor venues, espe-
cially when surrounded by soft sand. A
regular speaking voice will carry just a
few feet before the sound drops right into
the dirt, so knowing how to project my
voice is critical.
Understand this: projecting your voice
well is not yelling. It is more accurately
defined as control of your air and energy
blended with a deep understanding of
your topic, well-practiced enunciation,
and unshakeable confidence. At first,
vocal projection feels awkward and a bit
like shouting, but with understanding and
practice it becomes easier and effective.
When a performer projects his or her voice
well, the audience is not paying attention
to the increased volume. Instead, they
are focused on the message and relax in
the performer’s control of the venue. In
other words, the guests feel comfortable
by knowing their entertainment is in good
hands.
The High Road
By Mick Ayres
Fortune favors the prepared, so have
something to say. Know your script.
Rehearse until every “um” and “uh” has
been eliminated. As a conjurer, everything
you say and do on stage is unique to your
audience. With this foundation under your
belt, you will naturally exhibit confidence
when speaking in front of a large group.
That secure knowledge and clear intention
will be perceived as passion by your guests.
Before you step in front of the audience,
do a few things to relax your upper body.
Tension in your air passages can make your
voice tremble or sound rough. Take several
deep breaths, roll your neck and shoulders
a few times, raise your arms over your
head, and stretch for a moment. Humming
long notes will warm up your vocal cords;
your breathing will now be deep, easy, and
unrestricted as you speak.
Open your mouth. Professional vocal
coaches say that just opening your mouth
more can solve the projection problem
sometimes. Otherwise, your voice will not
go far and the poor enunciation will make
your words hard to understand. If President
Lincoln had not enunciated his words with
clarity, he would have lost the crowd’s
attention in their confusion. A person who
mumbles when speaking comes across as
disinterested. Your guests will take it per-
sonally, because the only thing you are
communicating is apathy.
When I first started projecting my
voice, I practiced by reading long jokes and
funny stories aloud to a friend who stood
on the other side of the room. Try it and
you will find yourself emphasizing words
and acting out the tale a little. Congratu-
lations; you have added color and spirit to
your voice.
Stand up straight. If you are not using
good posture when speaking, you are
strangling your voice. Since your voice is
created by the flow of air, it needs a clear
path from your lungs and past your vocal
cords so it can travel out of your mouth to
be heard. Standing erect allows you to pull
air in as easily as you expel it through your
voice. When projecting your voice, stand
tall with your head facing your guests.
Your shoulders should be held back, not slouched over.
If you have to look down at something, then pause and
do so; but look back at the guests before you begin
speaking again.
Finally, projecting your voice means just that; you NOSTALGIA
are projecting your voice to a point further away than
normal. This requires you to tightly focus your energy
when speaking, particularly when it is necessary 1 Life presents such grace and toil—
to speak softly. Professional singers do this all the 2 As love, though fruitless, brings joy.
time. By increasing the energy when singing softly,
the quieter voice is still audible but not weak and the 3 Chasms yawn to challenge desires,
emotion is maintained. For conjurers, this technique 4 Tho’ laughter fills each room of home.
creates intimacy; the guests naturally lean forward to
pay closer attention. 5 Mirth brings forth smiles and tears.
As you practice vocal projection, your voice will 6 Memories return to visit again—
become strained at some point. When that happens,
stop and relax. Rest your throat, drink some tea, read a 7 As Leviathan’s tides rise and fall!
book, and come back to it later. Be consistent and you 8 Long we all for the warmth of lore
will be heard no matter where you perform.
9 That lingers as coals of cooled fire.
NOSTALGIA 10 Days are gone ‘ere we waxed immortal
What follows is a pleasant diversion into mentalism 11 When tragedy lurked ‘round every dawn—
for orators of poetry. Make a photocopy of the free- 12 We labored to ken the world’s weight.
verse poem on the side. Cut it out, fold it, and keep it
in your wallet. 13 A winter lifeless beyond the season;
In presentation, the poem is passed about and a 14 Even music scarce comfort proved!
lady is invited to assist. Say, “In the spirit of nostalgia,
I wish to take you back to memories from long ago. 15 Contentment itself seldom certain.
Do you remember the first date you had? Do you 16 O’ fond memories held—but just only—
remember how old you were at the time? Do not speak
that number aloud because that is certainly a private 17 Til’ questions rise of thine own history
memory for you; we all just hope your first date was 18 And the truest answer given is ‘maybe.’
worth remembering.”
Continue by saying, “This poem was written at the 19 The mind and heart assailed with doubt
turn of the last century in what is called ‘ free verse.’ 20 But Spring gives forth new birth.
In other words, nothing rhymes. Please find the line
that matches your age at the time of your first date. 21 Hope leaps up and greets each day—
Now read that line silently. I like a good poem as much 22 Are not those the times recalled?
as anyone else, but I like it when the words rhyme. I
want you to be the better poet. Look at the last word 23 Smile and delight o’er triumphs,
in your line. Do you see it? Please take a moment and 24 Dance and jig to the music of our kin,
think of any word that rhymes with it.”
Divining her word involves a limited-range force 25 These times are surely God-breathed!
along with a small anagram. The request to recall her 26 Though trials will assail, none will remain—
age upon her first date will force her to read a line
between 13 and 18. If you wish, you can guarantee this 27 Returning to youth, contentment reigns.
range by first asking her to recall her high school years
and then ask the first-date question. Lines 13 through
18 in the poem have been specifically written so the By SAMUEL LORING AYRES (1835–1917) Stamford,
last word has only one possible rhyming word. Below Conn. Served as U.S. Naval Engineer from 1860 to 1910.
are lines 13 through 18 with the forced rhyming word
in parenthesis. Promoted to Rear Admiral in 1906 for military contributions
during the Civil War. “Nostalgia” copyright 1965 by Garden
13 A winter lifeless beyond the season; (reason)
14 Even music scarce comfort proved! (moved) Path Press. Used by permission.
15 Contentment itself seldom certain. (curtain)
16 O’ fond memories held – but just only (lonely)
17 Til’ questions rise of thine own history (mystery)
18 And your most truthful answer is ‘maybe.’ (baby)

M-U-M Magazine 33
the high road
To determine the correct rhyming
word, memorize this simple progressive
anagram shown here:
E curtain / baby
O mystery
N moved
S lonely
reason
Say, “By rhyming a random word from
this free-verse poem, this means you are
now thinking of a word you just made up.
Hold that secret word in your mind and I
will do my best to pull it out, even if I have
New Members and Reinstatements
NEW MEMBERS
Apple, Dean, La Quenta, CA, Southwest
Atchison, David, Orlando, FL, South Atlantic
Aude, Jack, Springville, UT, Northwest
Berry, Benjamin, Loveland, OH, Central
Beutler, Gary, La Puinta, CA, Southwest
Biscarr, Gabriel, Anchorage, AK, Northwest
Brown, Catherine, Chattanooga, TN, Central
Bruno, Anthony, Bronx, NY, North Atlantic
Bullard, John, London, KY, Central
Buzza, Nathan, City Beach, Australia, International
Cazier, Mitchell Lynn, Palm Desert, CA, Southwest
Dresser, Martin M, Palm Desert, CA, Southwest
Driggs, Kevin, San Jose, CA, Southwest
Dworak, Dave, Middletown, CO, New England
Gilbert, John Major, Palm Desert, CA, Southwest
Hann, Gary, Cathedral City, CA, Southwest
Hill, Matthew, Jonesborough, TN, Central
Lafay, William, Loganville, GA, South Atlantic
Mckiernan, Matthew, Louisville, KY, Central
Murthy, Chandra, San Antonio, TX, South Central
Oxrider, John W, Banning, CA, Southwest
Perdigon, Rene, Miami, FL, South Atlantic
Priest, Bill, Rancho Mirage, CA, Southwest
Sikora, Olivia, Elkhorn, NE, Midwest
Sikora, Tammy, Elkhorn, NE, Midwest
Suss, David, Rancho Mirage, CA, Southwest
Watkins, Rob, Yucca Valley, CA, Southwest
Wilkinson, Noel, Murray, UT, Northwest
34 AUGUST 2017
to do it letter by letter.” As a side note, the word “nostalgia”
In standard progressive anagram refers to a remembrance of times from
fashion, you call out the bold letters one eons ago. The bold letters in the anagram
by one. A “yes” response moves you down also spell EONS. Perhaps you will find this
the chart to the next bold letter. However, wee mnemonic helpful as you recall the
a “no” response moves you to the right for chart during your performance. 
the correct word.
If your guest answers “no” to the first Nostalgia poem and effect are actually
letter (E), then you know she is thinking copyright 2012 by Mick Ayres. He
of either “curtain” or “baby.” Respond by can be reached on Facebook or at
saying, “I see a room – perhaps a nursery – (mick@mickayreswares.com).
because I see a curtain blowing gently on a
breeze towards a baby’s cradle.” No matter
which word your guest has chosen, this is
a certain hit.
REINSTATEMENTS
Antonucci, Lou, Denville, NJ, North Atlantic
Del Castillo, Sebastian, Irwindale, CA, Southwest
Evans, William Ellis, Springfield, MO, Mid West
Gleason, Michael, Kingsville, TX, South Central
Horwitz, Ross M, Tucson, AZ, Southwest
Lane, Scott, Grafton, WI, Mid West
Lee, Delbert, Yreka, CA, Southwest
Michaud, Matthew, Manchester, NH, New England
Michaud, Matthew, Manchester, NH, New England
Renee, Mishelle, Pine Valley, UT, Northwest
Richman, Michael, Palm Dessert, CA, Southwest
Silver, Jeffery G, Coral Gables, FL, South Atlantic
Stevens, Bill, Sherwood Park, AB, CANADA,
International
Sullivan, James, Garland, TX, South Central
 Broken Wands

George W. Mathis

George W. Mathis of Grosse Ile, Michigan, beloved husband

of Barbara for sixty-one years, passed away on June 19, 2017; he
was eighty-two. George was a long-time member of the Inter-
national Brotherhood of Magicians and The Society of American
Magicians. He always enjoyed seeing good magic and attended
many magic lectures over the years. He loved to laugh, always had
a smile on his face, and was great with children. He was involved
in clowning and collecting all types of magic. He was a master
woodworker; he made furniture pieces and various magic props
for himself and his friends over many years.
He was the loving father of Jeannie Mathis, George (Michele)
Mathis, and Wendy (Thomas) Drouillard, the proud grandfather of Nate, Miranda (Joe), George,
Cory, and Cody (Chelsey), the great grandfather of Lucas and Ryleigh, and the dear brother of
Millie Bardell and Helen (Wayne) Berke. George is survived also by many nieces and nephews.
A Broken Wand Ceremony was held for George, his family, and friends on Friday, June 23,
2017. It was performed by members of the Ann Arbor Magic Club, where George was a Lifetime
Member. He was also a member of Ring 22 in Clawson, Michigan.

Good Cheer List

Please take a minute to spread a few words of cheer with a card or note to one of our less
fortunate members. Send additions, changes, or deletions to: Anthony Antonelly, Chairman,
Good Will and Cheer Committee, (215) 820-3192 ext. 1512. magicforfun60@gmail.com or
you can send mail to: 1512 Lake Rd., Feasterville, PA 19053.
DANIEL CUDENNEC “DANY TRICK” GEORGE GILBERT LOTT
225, Stang-ar-Veil-d’an-Traon, 1725 Great Hill Rd., Guilford, CT 06437
Mellac-29300, Quimperle, France JAMES J. MORRISEY
CHARLIE GROSS 24 Grove St.,Wayland, MA 01788
16745 Gertrude St., Omaha, NE 60136-3023 NAHMEN NISSEN
ROY HORN C/O SIEGFRIED & ROY PO Box 1856, Colfax, CA 95713-1856
1639 N. Valley Dr., Las Vegas, NV 89108 JIM RELYEA
BOB KING 241 W. Lakeshore, Rockaway, NJ 07866
304 Suburban Ct., Rochester, NY 14620 PAT RYAN
DICK KOHLHAFER 43 Fairbanks Rd., Churchville, NY 14428
408 Century Vista Dr., Arnold, MD 21012 JACK WHITE
4288 Arguello St., San Diego, CA 92103

M-U-M Magazine 35
 The CW’s
Masters of Illusion
Behind the Scenes
with Gay Blackstone

T
he CW’s current hit primetime series, magic acts, shows, and trends from England and
Masters of Illusion, is in its fourth season. Europe, looking for acts from there that will poten-
It airs weekly on Friday evenings. Putting tially match the CW’s demographics. Al Schwartz,
together a television show like MOI is an ongoing, another show producer, also watches online and
round-the-clock process. We caught up with one of searches for the people and acts we may have
the show’s executive producers, the legendary Gay forgotten…people he worked with during his long
Blackstone, for a behind-the-scenes chat about what tenure with Dick Clark Productions, Inc.
it takes to put a show like this together.
M-U-M: Tell us more about the magical acts that
M-U-M: How are magicians selected for the tele- appear on the show.
vision show? Blackstone: Comedy is an important element in
Gay Blackstone: The scouting for Masters of magic for us, but because the show is G-rated we
Illusion is now a year-round happening. I attend sometimes walk a fine line. We want current and
conventions and watch acts that I don’t know, acts edgy, but within the approval of network Standards
that are off my radar. I also watch acts that I know, and Practices (S & P). We need segments that are
but that are doing new and different material. I go to one-minute to three-and-half minutes long. Please
the Magic Castle weekly, and I attend magic shows don’t think because your act went “well” for nine
everywhere! minutes, we are going to be able to make it work
on the show. Performers need to learn to edit them-
M-U-M: How do you keep the show fresh and selves. Television is a different medium. Less is
current? more.
Blackstone: We can’t repeat the magic that has
been done before; in three seasons, a great deal of M-U-M: So you have to be careful about what
magic has been performed. David Martin, another material is chosen?
producer on MOI, is constantly online watching Blackstone: Yes, most definitely so. When we

36 AUGUST 2017
 Shawn Farquhar

“ I arrived on the set of Masters of Illusion after four days of travel

and was immediately needed for camera rehearsals on the sound stage.
I mimed each of my acts, using my iPhone as a deck of cards and was
finished in less than fifteen minutes. I was whisked away to make-up while
wardrobe tended to my suit. I was ready by ten-thirty in the morning and
enjoyed a full day of watching all my talented friends rehearse and record.

In the evening I was invited to perform three times and chose to do

each of the sets in the audience. I was lucky to have some very genuine and
expressive volunteers. Had it not been for the energy of the cast and crew
and the feeling that I was among family, I probably would have collapsed
from pure exhaustion. It was an amazing day!
”
– Shawn Farquhar S.A.M. RVP Canada

M-U-M Magazine 37
 “ The great
being par
est thing a
bout
t of the M
(this is my OI team
four th sea
that it bec son) is
omes a fa
cast , prod mily. The
ucers , ass
and crew istants ,
– it ’s like
to summe going bac
r camp ea k
seeing eve c h yea r
r yone and
some grea mak ing
Murray SawChuck t magic! T
thing abo he cool
ut doing t
each year he show
is it forces
work on n you to
know we have something questionable, we will ew ef fects
discuss it with S & P before we shoot it so we don’t bring to th you can

lose the piece of magic. For example, this year we ran
into problems with the differences in word meanings
between British English and American English for
magician Billy Kid, who is from London, and Barry
and Stuart, who come from Wales. We must also
submit photos for visual approvals. The producers
do not have one hundred percent control or approval.
There are people I love whom the network does not.
Their vote wins.
M-U-M: Tell us more about filming the show.
Blackstone: We always ask ourselves: How can
we keep the same basic concept and yet make it
different? We upgrade and modernize the lighting
styles each year. We have gone from just illusion-
ists and a little parlor magic to close-up magic
with overhead cameras. We have close-up magic
performed at a table with audience members onstage
and street-style magic performed in the audience.
We are now doing every type of magic! There are
eleven cameras shooting all at once, in addition to
a steadicam surrounding the magic, so the home
audience becomes the eye.
We do not shoot in a regular “show” format. I do
not agree with Robert Houdin – that all magicians
are actors; in fact, very few are. They are performers.
”
e table.
– M u r ra y
SawChuck
They are
used to working live.
That is their medium. They do not know how to
match a shot. This is one of the reasons we shoot with
eleven cameras, to cover all the angles. Magicians
perform to the audience members who are respond-
ing to them. We always have an audience. For the
afternoon we have a smaller, paid audience, to help
with the tricks and to respond. At night, we have a
large invited audience every night from 7:00 – 9:00
p.m. We, at that point, run it as if everyone has just
come to watch a show. It is fun for the audience, and
we hope it’s fun for the performer. We have an entire
crew who is there to make every act as successful as
it can be. We want the magicians to be happy and
sensational – that is our job.
M-U-M: So what does a magician do once they
get hired for the gig? What’s the next step and what
is your advice to those magicians selected?
Blackstone: When you have been booked on the
show and submitted what you want to do, then the
producers talk among themselves, and it is decided

38 AUGUST 2017
 R.J. Cantu

Sos Petrosyan Jr.

Jarrett and Raja

Xavier Mortimer

M-U-M Magazine 39
 “ “ What ’
Just wat
s new in
magic?
ch a few
Masters episode
of Illusi s of
see man on and
y new fa you’ll
of magi ces and
c . MOI stars
new aud is creat
ience fo ing a
Black st r magic. G
one and ay
Jeff McBride & are the David M
real ma a r t in
Abigail Spinner the resu gicians
rgence o behind
McBride televisio f magic o
n. Minu n
they bri te for m
ng more inute,
more m p eople a
agic tha nd
n a
”
what you are doing on the show. Please show up with histor y! ny team
those props – and do not change them because you had in
other ideas. You do not know what other magicians
have been selected to do. You can always bring more, – J ef f M
cBride
but always be prepared to do what has been
decided in advance. Don’t tell me your name for
a trick; tell me the actual name for the trick, I
know magic, from card tricks to illusions; I will
probably know the proper name for the trick, so
tell me the name of what you are proposing to do.
A trick coming out of a red-lined pocket versus a
blue-lined pocket does not a different trick make.

M-U-M: Tell us more about the cast for season

four.
Blackstone: This season twenty-five percent
of our performers are from outside of the United
States. It’s like a little magic convention with
its own camaraderie. All of us associated with
Masters of Illusion are delighted to have a fourth
season on the CW network, with talented acts from
around the world, bringing magic to a primetime
audience.
M-U-M: What about Season Five?
Blackstone: If we are lucky enough to get a season
five, what would we hope for? We want more acts
from around the world; we want more diversity of
magic, and we are constantly looking for that. We
want illusions never seen anywhere in the world. We
want more magic!
Tony Chapek
[Masters of Illusion was first produced in 1994;
Harry Blackstone Jr. was the host. The acts were all
European award-winning performers. It was produced
and directed by David McKenzie, who is still the
executive producer. Additional executive producers
now are Gay Blackstone, David Martin, and Al
Schwartz. Chris Merrill has directed the show for the
three seasons to date on the CW network.] 
Photos by Kari Hendler,
Courtesy of Masters of Illusion

40 AUGUST 2017
 Magical Masterpieces
and More
By David Haversat

HARDEEN FLOWER
PRODUCTION TABLE
I am very pleased to own a lovely flower
production table that belonged to, and was
used by, Theo Hardeen, Houdini’s brother. It
had an illustrious career by being one of the
illusions Hardeen presented while on tour
with a zany comedy and music review called
Hellz-a-Poppin.
The show opened September 10, 1938, at
the Shubert Theater in Boston and was the
Left: Bill Rauscher and Hardeen Jr. - Right: Hardeen Flower Production Table
brainchild of the comedic team of John “Ole”
Olsen and Harold “Chic” Johnson. It was a
madcap musical comedy that broke every boundary between
the actors and the audience. It moved to Broadway, and even-
tually ended up at the Majestic Theater in November of 1938.
It closed four years later December 17, 1941, after more than
1,400 performances, making it one of only three plays to run
more than five hundred performances in the 1930s. Some

Hellz-a-Poppin program
(Hardeen used the table in this show.)

42 AUGUST 2017
 Hardeen with
Olson and Johnson
performing the Sawing
Illusion in
Hellz-a-Poppin.

experts claim it was the basis for Rowan and Martin’s Laugh-in,
a popular television show that ran for 140 episodes from January
22, 1968, to March 12, 1973, on the NBC television network. It
is ranked number forty-two on TV Guide’s Fifty Greatest TV
Shows of All Time. Like Hellz-a-Poppin, Laugh-In was charac-
terized by a rapid-fire series of gags and sketches, many of which
conveyed sexual innuendo or were politically charged.
Hardeen was an integral part of the show. He joined stars of the
period, like Barto and Mann, Charles Whithers, Ray Kinney and
the Aloha Maids, Roberta and Ray, June Winters, Billy Adams,
and many others. Hardeen was assisted on both the Broadway
show and a later nationwide touring version by Douglas Geoffrey,
who was chosen by Hardeen as his successor and who later toured
as “Hardeen Jr.”
The show was mostly comedy, but Hardeen presented his
escape from a giant milk can, a comedy Sawing in Half, Sub-
stitution Trunk, and many other effects. The effect featured
this month is Hardeen’s flower production table; it was used for
comedic effect. This seemingly ordinary table allowed Hardeen
to magically produce a giant bouquet of feather flowers. All
Hardeen had to do was hold a foulard in front, and the table did all Hardeen Jr. with Houdini
the work. An inconspicuous foot pedal on one of the legs released trunks and leg irons.
a spring-loaded piston that shot the feather bouquet into the air,
an obvious giveaway as to where it came from but perfect for the Ray Goulet, where it was on display for many years in his Mini
Hellz-a-Poppin goofiness. Museum. I acquired it from Ray Goulet earlier this year.
Upon Hardeen’s death, the flower production table, along with Hardeen was not a well man in later years. In 1942, both
many other Hardeen props went to Hardeen Jr., who performed he and Douglas Geoffrey were doing two-night stands for the
them for many years. Other items included Hardeen’s Nest of R.K.O. syndicate. Doug did fifteen minutes during the show,
Boxes and Houdini’s Flight of Time, in which eight alarm clocks while Hardeen changed into a swim suit for the Milk Can Escape.
on a stand on one side of the stage are picked up, thrown through Hardeen performed that effect until his very last show. Doug told
the air invisibly, and then appear ringing loudly on the ends me that Hardeen did not look well, suffering from stomach ulcers.
of ribbons on the other side of the stage. Hardeen Jr. and Bill Hardeen went into Doctors Hospital, New York City, after the
Rauscher were very good friends; many of these props, including May 29, 1945, show for what was considered non-serious surgery.
a belt buckle owned by Houdini with his initial “H” on it, ended Things did not go well because of complications following the
up in Bill’s collection. surgery. Hardeen died at age sixty-nine, June 12, 1945. Doug
Bill also acquired Hardeen’s flower production table. When conducted The Society of American Magicians Broken Wand
Hardeen Jr. gave it to him he warned him to be very careful Ceremony for Hardeen at the funeral home. 
because you could be blinded by the force of the spring-loaded
bouquet shooting from the table. Eventually it went from Bill to

M-U-M Magazine 43

WHAT IS REALITY?
One of my favorite heckles that I hear
fairly often is, “Hey, my friend here doesn’t
believe in magic.” Or sometimes, “My
friend here doesn’t think magic is real.”
One gentleman at a particularly rowdy
club gig was even more straightforward:
“You’re the magician? I think magic’s fake
and it sucks.” Nice to meet you, too; thank
you for leaving the house.
It’s not really a proper heckle, because
it always comes before I start performing
anything. And it’s always said with some
kind of cheeky or wry smile. It’s more
of a pre-emptive heckle or some kind of
taunt or goad. These days, when someone
gets my attention and points to their friend
to inform me that particular individual
“doesn’t believe in magic,” I’ll often reply
with, “What, are you trying to start a fight
or something?” Previously, my standard
reply was “Me neither. That’s why I
learned how to cheat!” But I’m always
amused by some people’s desire or attempt
to get a rise out of me by claiming what I
do isn’t “real.”
Recently, I had the tremendous
pleasure of meeting a gentleman who
is in the Professional Wrestling Hall of
Fame. By his own admission, he’s not a big
name, and unless you’re an old-school fan
from Detroit, you wouldn’t recognize the
name. He wasn’t a wrestler, but served as
the manager (read: mouthpiece) for some
well-known old-timers. Now, I’m sure the
moment some of you read “professional
wrestling,” the first thing that popped
into your mind was, “pro wrestling is fake
and it sucks.” I happen to be a fan from
my childhood. Do I think it’s real? I did at
one time, sure. (I was a kid; I also used to
believe in Santa Claus.) Much like magic,
I got away from it in my teens, but then
rediscovered it in college. Coming back to
it, I developed a new-found appreciation
for it, knowing it was more performance
than sport.
These days, the cat’s long left the bag
on the idea that pro wrestling is anything
resembling a genuine competitive sport.
44 AUGUST 2017
Cheats & Deceptions
(For Entertainment Purposes Only)
By Antonio M. Cabral
The biggest player in the game, Vince
McMahon, rebranded his “product” as
“sports entertainment” ages ago. But my
appreciation for wrestling as an adult is for
the time when the guys in the ring made
their living putting “butts in seats.” If you
couldn’t get a crowd excited enough to
want to see you beat the bad guy, or as a
bad guy get the crowd wanting to see you
get beaten to a pulp, you didn’t sell tickets,
and if you didn’t sell tickets, you didn’t eat.
So the job back then was to create a certain
reality for the fans. Whether you thought
it was a genuine competition or not, you
believed enough to tune to the TV show
or buy the ticket just to see what happened
next.
As a young magic fan, I had a similar
attitude towards magicians on TV. Back
then, it was David Copperfield and Doug
Henning, mostly, with a little Harry Black-
stone Jr. thrown in when he’d make an ap-
pearance on some PBS show. While I didn’t
know any better as far as pro wrestling
went, I knew that magic was something
a person could learn. You could learn a
sleight-of-hand move; you could buy a
trick from the magic shop or order out of
the Tannen’s catalog. There were secrets in
play, and if you could suss out the secrets,
you too could be the life of the party! But
none of that dampened any of my enthusi-
asm for the amazing stunts I saw on the big
TV magic specials. Whether it was “real”
or “fake,” the idea of teasing something
as huge as making the Statue of Liberty
disappear or some death-defying stunt
was enough to get me to tune in, just to see
what happened next.
Any kind of performance requires
the audience, whether or not they believe
in what they’re seeing, to come along for
the ride. People spend billions of dollars
going to the movies or paying for cable
subscriptions or streaming services to
watch patently fake things. Had you told
thirteen-year-old me that by the time I was
an adult, the sci-fi, fantasy, and superhero
genres would be as mainstream and suc-
cessful as they are now, I’d have thought
you were nuts (even though I love all of
them). But the reason they have succeeded
is in part because the current audience
is made up of dorks like me who want to
see this kind of entertainment, and in part
because the people creating the media take
it seriously. The success or failure of the
silly, ridiculous, or otherwise “unreal”
rides on getting an audience past the
obvious fakery and foolishness and getting
them to commit to believing, if only in the
moment, in the reality of what you’re at-
tempting to portray.
When I was a kid and a heavy David
Copperfield fan, one of my favorite per-
formances of his was a straightforward
escape bit. He was handcuffed and locked
in a clear Plexiglas box; the box was filled
with water, and there was a giant spike
hovering over his midsection. He had
however many minutes to escape before the
spike dropped down and turned him into a
Game of Thrones episode. Looking back,
it’s clearly stage magic, but at the time,
he sold it as well as Houdini ever sold a
death-defying escape. Ricardo Montalban
was the host, and sold his performance to
the hilt, wondering if David was all right,
should we stop the stunt, etc. At just the
right moment, Ricardo insisted the stunt
should be stopped, the spike slammed
down, and, after a beat of silence, David
rolled through the curtain, having appar-
ently dodged death by a hair.
Flash forward to a few years later,
when Copperfield boasted that he would
“escape from Alcatraz!” What followed
was a series of clearly staged “magic” bits
(he’s beset by a couple of Rottweilers, so
he waves a silk cloth and produces a plate
of steaks) that had none of the visceral grip
of what I expected from the bombastic
build-up.
That’s one of the reasons I gravitated
towards wearing the sleight-of-hand/
cheating concept on my sleeve. I’ve
confessed on more than one occasion that
I don’t sell “whimsy” convincingly. If I
take out a deck of cards and start telling
a story using the cards as a kind of puppet
show, I’m going to lose my audience in a
heartbeat. But if I tap into something they
already believe, i.e. the idea that with a
certain skill set I can clean up in Vegas or
at any poker table in the world, then they’re
already “coming along for the ride.” That
doesn’t mean they only believe in my riffle-
stacking or bottom deals. I can show them
a color change or Card Warp and they’re
just as gob smacked, even though it has
nothing to do with cheating at blackjack.
It simply means our interaction is based on
something “real,” even if it then veers off
into the ridiculous.
I’m also the first to admit there’s a
world of difference between the theatri-
cal card cheating I perform “for enter-
tainment purposes only” and the cheating
that happens in real games for real money.
Every card worker gets asked if he or she
gets to play poker with their friends. Those
of us who delve into the hardcore technique
get asked straight out if we’re criminals.
Not in so many words, of course; the actual
question is, “Are you allowed in casinos?”
The underlying question is, “Are you an
actual criminal?” For better or worse, I
don’t dissuade the notion when I’m per-
forming. My close friends know, of course,
I’ve never been a professional card player,
let alone a professional cheat. That still
doesn’t stop them from being nervous if I
want to join in on poker night.
Which brings me to an aspect of “belief”
that’s at the core of all of these examples:
the emotional component. What all of
these examples have in common – magic,
“cheating,” the movies, pro wrestling – is
a connection to the audience’s emotional
reactions. If you approach any of these
with a strict, Vulcan adherence to ratio-
nality and scientific reasoning, they die
on their feet. As the saying goes, “You
can learn a lot by dissecting a frog, but the
frog dies.” And while life as human beings
predicates on that kind of analysis, if you
adhere strictly to that rubric, you leave no
room for entertainment.
Getting back to pro wrestling, when
I was a kid Mike Tyson was the world
boxing champion. I remember hearing that
Mike Tyson was going to face so-and-so
for the title, and the real sports world was
all excited for what they’d see. And then
the bout would happen, people all over the
US would pay thirty bucks for the pay-per-
view, and Tyson would knock the guy out
in the first or second round. People paid
good money, saw the man defend his title,
and walked away disappointed because the
bout lasted fifteen minutes.
Hulk Hogan, on the other hand, was the
WWF World Champion, and would also
always win because he was supposed to
be a superhero. But going into the big pay-
per-view event, the guy he was supposed
to face would’ve been on TV for a month
beating people like Tyson would in the
title bout. I later learned these were called
“squash matches”: the big monster heavy
would ruin whatever opponent got in the
ring with him. Then he’d get in the ring
with the champ, and they’d never go less
than half an hour. Other wrestling orga-
nizations, when they offered a title bout,
would always have it go the full hour. And
along the way, because they were deliver-
ing a “product” as opposed to a genuine
competition, there’d be what they call “sto-
rytelling.” You’d watch the favorite get an
early offense, then the bad guy would get
the upper hand, and you’d start to worry
that your guy might lose. Then, as in every
Hulk Hogan match, there’d be the “hulk-
out” adrenaline comeback, and he’d keep
the belt. Or, in other organizations, there’d
be a cheat-to-win, or a reversed decision,
or maybe even the challenger everyone
was rooting for would upend the champ.
Regardless of the outcome, the guys who
were “faking it” delivered a better show
for the crowd than the people who saw
Tyson deliver a very real knock-out punch
in less than ten minutes.
Looking back, the emotional manipu-
lation of those wrestling matches seems
obvious. I remember the biggest match
of my day was Hulk Hogan v. Andre the
Giant. They played up every angle they
could: that Andre was supposedly unde-
feated and had never been body-slammed,
that he was turning on his long-time friend,
etc. And looking back on that Wrestlema-
nia 3 match, the part that gets me the most
is the rain of paper cups and garbage that
the crowd chucked down on Andre as he
made his way to the ring. That was the part
that said to me, “the audience is coming
along for the ride.” My Pro Wrestling Hall
of Fame friend has better proof: he told me
a story in which he was supposed to run
into the ring for the finish, and not only did
the crowd jump on him to stop him, but he
got stabbed in the process.
That’s why it doesn’t bother me when
anyone tries to goad me with the idea that
“magic isn’t real.” I know my job is to
show you something not only impossible,
but preposterous. In fact, I’d rather show
you something preposterous. The “impos-
sible,” once demonstrated, is by defini-
tion possible. The “preposterous,” on the
other hand, carries with it the emotional
component that, even though you just saw
it, you can’t accept it.
If you can, seek out a small pamphlet
my friend Curtis Kam put out a couple of
years back called Wrestling with Magic.
Part of it addresses some of the parallels
between wrestling and magic; it’s a tre-
mendous read. 
If any M-U-M readers want to get in touch,
please feel free to contact me at antoni-
omcabral@yahoo.com. I look forward to
answering your questions.

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M-U-M Magazine 45

I recently gave a lecture to an S.A.M.
assembly. The lecture was half magic and
half marketing. At the end, a gentlemen in
(what I would guess was) his sixties came
up to me and asked an interesting question.
He said, “Even though I have been in
magic for twenty-five years, I only started
performing professionally last year. And
while the advice you gave about how to
market yourself was great, I am too old
to dive into social media marketing and
things like that. Do you have any advice
for someone in my position?”
My first reaction was to reference the
famous saying about an old dog and new
tricks. But I stopped myself and instead
suggested that we talk further at the diner
(isn’t that where all assembly meetings
wind up anyway?). At the diner, we began
talking more about the type of magic he
did and constructing a strategy for how
he could do little things to create, build,
and market his own personal brand. While
the list we created was obviously custom-
ized for him, there were several ideas and
themes I think could be used as a guideline
to help everyone. So here is a ten-point
checklist of things to think about as you
are marketing yourself. This is not a list of
“how to” market yourself. But rather these
are things that you should be thinking
about to apply to all aspects of marketing,
whether it is designing your business
card, deciding what shows to take (or turn
down), or even what type of material you
may want to consider when you perform.
Be honest: These are two simple words
that can make or break your brand and
your marketing. I cannot tell you how
many magicians have Skyped with me
or asked me marketing questions with a
complete ignorance of who they are and
what their opportunities can be. If you live
in a small Nebraska town that is twenty-
five miles from the closest major highway,
you are not going to get paid $200 an
hour to do table hopping at the mom and
pop restaurant (and I wish I was making
up that example). We all have dreams of
working the glamorous parties and signing
46 AUGUST 2017
No Smoke, No Mirrors
Real World Marketing
For The Working Magician
By David Corsaro
autographs, but think about who you are,
where you are, and what opportunities
exist for you when shaping those dreams.
Look in the mirror: Do not take
Michael Jackson’s advice and look in the
mirror and make a change. Instead, look
in the mirror and reference back to the first
point above. If you want to do corporate
work, do you physically look like someone
a company would want to associate their
brand with? I am not suggesting you need
to look like Brad Pitt, George Clooney, or
Doc Dixon (that is just in here to see if he
is reading this column). Instead, I mean
are your finger nails clean? Do you own
a nice suit that is well pressed? Even if
you are doing kids magic, are your props
clean? Does your deck of cards look new
or do they have torn edges? Believe it or
not, these things matter and they matter
big time. Before anyone sees you do a
single trick, do you and your props look
like something of value? If not, invest in
making yourself look like a brand people
would want to associate with.
Draw circles: Take out a piece of paper
and draw a small circle. In the middle of
that circle, write down your ideal perform-
ing situation. This could be a place or a type
of clientele. It could even be a specific fee.
Next draw a slightly larger circle around
that smaller one. In this new circle, write
down other performing situations that,
while not your ideal dream, would still
make you very happy. Then draw another
slightly larger circle and write down all
of the other places and people whom you
would be very happy performing for.
Continue doing this with more and more
circles until you have drawn a very large
circle around all of the other ones. In this
last circle, write down a venue/location/
people that you would perform for, but
only as a last resort. When you buy a new
book/DVD/download/prop, what circle
would you place it in? When someone calls
to hire you for a party, what circle is it in?
The further away you go from the middle
circle, the more you are compromising and
the less time and effort you can put into
your true objectives (that middle circle).
Your message: Take some time and
think about the most common questions
you can asked from your audience,
clients, etc. And I do not mean the “how
did you do it” or “can you make my wife
disappear” questions (although I can make
a strong argument for having a good, well-
rehearsed answer to those questions, but
we can get into that later). Instead, I mean
the questions about “how did you get into
magic” and “where do you learn magic”
and “where else do you perform?” These
are questions less about the trick you just
did and more about you. These questions
come from a place of genuine curiosity.
Many people have never stood six feet
from a real magician before and they are
generally interested in who you are. So
write out the common questions and then
write down really good responses. Write
down responses that are honest, not too
long, and that include any information you
think is relevant. If you can find a spot
in your response to mention marketing
nuggets (anything to help them think of
you for their next party), then do so now
and memorize it for the next time you are
asked.
Community: While you can always
tackle problems and refinements by
yourself, having a trusted source of
friends/family can help. Some people have
found these trusted communities online.
But for that guy at the diner I mentioned
earlier, and for anyone else who does not
want to do it online, find your community
around you. Watch your friends at the
magic club and try to pick up on which
ones are providing honest feedback to each
other (versus just saying “that’s great” no
matter how bad the magic may be). If you
perform for friends and family (non-ma-
gicians), look for the one who says, “That
trick was just okay.” Believe it or not, that
is the person you want to bounce ideas off
of. Build a community of people you can
trust, and pick their brain on everything
from your clothes to your tricks to your
marketing. I am not suggesting that you
have to do whatever they say, but having
people who are not just yes-men can open
your eyes to new ideas and possibilities.
Put yourself out there: I did not meet
my wife by hiding under my couch and
waiting for a beautiful woman to come find
me (although that gives me a wild idea for a
new dating app). Instead, when my buddy
said, “Do you want to come over one night
and meet my girlfriend’s friend?” I said
yes. You are not going to get hired for
shows by doing nothing but sitting at home
working on your diagonal palm shift. And
I do not care how good you are at search
engine optimization and online marketing
tools, if you are not out in the public eye,
then you are missing your best opportuni-
ties for your brand. Remember those con-
centric circles from before? Where do you
physically have to be to have the best shot
at hitting that small inner circle?
Analyze data: I love data. I loved the
Moneyball philosophy of baseball, and
I believe that numbers do not lie. I have
collected so much data from every show I
have ever done, that if someone mentions a
date, a venue, a client, or even a trick from
a show, I have a way of searching for it in
my database. I have written in previous
columns about ways of using this data for
your marketing advantage. So for now, I
will just say you are never too old to begin
collecting this data. Even if you want to
just use a paper and pencil, every time
you do a show (official or impromptu), I
suggest writing down as much as you can
about it. Who was there? What tricks did
you do? How was each one received? Trust
me, the only way you will feel as if collect-
ing this data was a waste of time is if you
M-U-M Magazine 47
never open it up and read/learn from it.
Start now – right now: Finish this
paragraph, grab a paper and pencil, and
start working on each of these points. If
you think you will start this tomorrow
when you have some free time after lunch,
you won’t. I am not suggesting you need
to finish everything and complete an entire
plan around these bullets right now. But I
believe you cannot start a marathon until
you take the first step. So even if you just
write the numbers one through ten on a
piece of paper and jot down the first thing
that comes to your mind after reading each
of these bullets, you will have started the
journey.
Wash – rinse – repeat: Once you have
written your thoughts on each of the above
points, put the paper aside. Set your phone
alarm for twenty-four hours from now.
When that alarm goes off tomorrow, come
back to your list and read it. Then make at
least one change to every single item. If
you think an item is perfectly worded and
frames exactly what you want to get out of
it, bring it to your community and show
them. Be prepared for disappointment.
Because the odds are they will disagree
with some element of what you wrote
down. You might show them your data and
reference how well your Ambitious Card
routine went last week at the party they
were at. And they might disagree and say
it was not as amazing as you wrote down.
Good. Write that down, too.
Enjoy yourself: Believe it or not, this
is supposed to be enjoyable. We all love
magic and we should all (I hope) love the
process of building our brand to help spread
magic around. So the ideas of being honest
and creating your community should be
something that makes you happy. If you
get stuck on one thing and get frustrated,
step away for one minute and then go back
to it. Remind yourself that you are unwrap-
ping a present. Sure the ribbon might get
stuck and it is delaying your gratification
of seeing what is in the box. But you are
still just moments away from your goal.
And if you are having real trouble with one
of these bullets and it makes it difficult to
move on, show it to your friends. Email it
to me (see my contact information at the
end of this column).
I hope these bullets help you to frame
your game plan. Now, go be awesome.
(If you have any specific questions
relating to a marketing challenge you are
facing, please email me at timetobeawe-
some@gmail.com.)
David Corsaro is a part-time profes-
sional magician working the restaurants
and clubs of New York and New Jersey.
He hosts the popular web series, Time to
be Awesome (www.timetobeawesome.
com), and has lectured on marketing to
magicians at conventions all over the
country. 

MIKE HAMMER
Many of the magicians I have featured in my articles over the
past eighteen months have been household names in magic, stars
in their own right, and, sadly, most of them are no longer with us.
This month’s column is about someone who is very much
alive and thriving, and who is, in my opinion, one of the best kept
secrets in magic.
Some of you will already know of Mike Hammer, although
I suspect more of you will not. So for their benefit I’ll tell you
that Mike Hammer headlines his own one-man comedy magic
show at the Four Queens Hotel & Casino on Freemont Street in
downtown, Las Vegas. His show is hilarious, fast moving, and
edgy, but never offensive.
Aside from a few short TV appearances, Mike has for the
most part remained under the radar, even though he has now been
starring in his own show for seven years! This in itself is a signifi-
cant achievement in a town where magic shows come and go with
alarming regularity. To have lasted so long in such a competitive
and challenging market and to see his audience figures climb year
after year is nothing short of amazing.
So why is Mike Hammer successful in Las Vegas when so
many other magicians have failed miserably? For a start, Mike is
a talented and skilled magician, but more important, he is also a
48 AUGUST 2017
Backstage:
The Inside Stories of
a Show Producer
By Paul Stone
brilliant comedian with exceptional timing; he works an audience
as well as anyone I’ve ever seen.
But anyone who understands show business well will know
that success doesn’t happen overnight. Mike has paid his dues and
honed his craft over thousands of shows.
Raised in Chicago, Mike became interested in magic when
he was twelve years old; like many before him, he started out
learning close-up card tricks courtesy of Jean Hugard’s Royal
Road to Card Magic. He began his performing career at just
fourteen years old at children’s birthday parties in Chicago.
“My mother used to drive me there, drop me off, and wait until
I‘d finished, because I was still too young to drive,” Mike said.
Mike’s show included magic and balloon modeling; he vividly
remembers actually blowing up all the balloons himself because
there were no balloon pumps in those days!
Mike quickly progressed to performing his act at family
parties and at local festivals. By this time he had put together his
first proper stage act with the classic Silk to Egg, a rope routine,
and the production of two canaries from a Dove Pan. But Mike
soon realized that keeping and looking after live birds was not for
him and he wasn’t good at it. In Mike’s words, “They survived
somehow, but no thanks to me!” Their days in his act were
numbered.
When he was sixteen, Mike saw Eugene Burger perform in
a local restaurant in Chicago. He was so impressed he decided
he wanted to do this, too. During this time Mike was a regular
visitor to Jay and Frances Marshall’s Magic, Inc., where Bruce
Bernstein, an excellent mentalist, regularly could be found dem-
onstrating behind the counter. Mike attended as many lectures at
Magic, Inc. as he could.
Mike was also heavily influenced by watching Johnny Carson
on The Tonight Show and Howie Mandel’s visual prop comedy; he
also listened to audio tapes of Don Rickles. All this helped shape
Mike’s comedic talents.
Mike graduated Northern Illinois University with a degree
in marketing, but
he never had what
he calls a “real job.”
Mike paid for college
by doing shows for
local party planners.
After graduating,
he began touring
colleges and working
comedy clubs around
the Chicago area,
acting as emcee at
many of the shows.
This valuable experi-
ence of working an
audience was to stand
him in good stead in
years to come. Hammer and Rickles
 The Bar-Flys
A few years later, while working a promotion for a bar,
Mike met Robb Weinstock, another close-up magician. They
hit it off immediately and decided to put together a double act
under the name of Spike & Hammer. They studied footage of
as many double acts as possible, including such legendary en-
tertainers as Burns & Allen, Abbott & Costello, and Laurel &
Hardy.
Surprisingly, in their new double act Mike became the
straight man and Robb did the comedy. They were successful,
particularly on the college show circuit; they also performed a
lot of corporate gigs. However, they decided to make the move
to Las Vegas to try to take advantage of the lucrative corporate
and convention opportunities there.
Mike was a natural comedian and was now increasingly
adding comedy to his onstage character. A chance meeting
with Jeff McBride led to him suggesting that Mike and Robb
couldn’t both do the comedy and that one of them needed to
be the straight man. This was eventually going to become an
issue.
By this time, Mike had been introduced to Johnny
Thompson and Fielding West. Johnny became their magic
consultant and Fielding worked on tightening up the comedy
lines. With their help, Mike and Robb shot a TV pilot called
Bar Fly’s; the concept centered around two magicians at the bar
picking up girls. Even though both Lance Burton and Michael
Close made guest appearances, the show was not picked up.
Shortly after, Mike and Robb split up and Mike once again
became a solo performer.
In 2010, a local agent approached Mike about performing
an afternoon show at the Four Queens Hotel and Casino in
M-U-M Magazine 49
Spike and Hammer
downtown Las Vegas. However, the show was scheduled for 1
p.m. Back then, Freemont Street wasn’t as busy as it is today,
so it was an impossibly tough time to perform a magic show.
Nonetheless, Mike gave it a go, even going on Freemont
Street himself, handing out coupons and doing street magic to
entice punters into the showroom. He often performed to less
than twenty people, most of whom came in for free, in an effort
to promote his show. Mike was determined to make the show
work, even though he had to do corporate gigs to subsidize the
show at the Four Queens!
Eventually, by mutual consent, he split with his agent and
instead made a deal directly with the Four Queens. He tried out
various new show times, before finally settling on 7 p.m.
By now, Mike had become accustomed to how the downtown
operated, and, using his marketing expertise (proving that
college wasn’t completely wasted), his audience numbers and
popularity grew steadily. Now, seven years on, Mike regularly
fills the showroom.
On a personal note, I’ve been fortunate enough to see
Mike’s show many times. While Johnny Thompson continues
to advise Mike on the magic content, I spent several months
working with Mike on the show production. His show now is
arguably one of the most entertaining and best values for the
money in Las Vegas. If you are in Las Vegas, check him out; I
promise you won’t be disappointed!
Mike Hammer is testimony to the fact that talent and hard
work do pay off. No one deserves his success more than he
does. And I nearly forgot to mention, he is a likeable and
modest guy – a rare commodity in show business, indeed! 

MENTAL MAGIC
Some time back I wrote in M-U-M:
“…an illusion is something that appears
to be one thing but is in reality another; a
delusion is something we truly believe but
no one else does; a mirage is something
we all see but isn’t there; a magician is
someone who does something that can’t be
done; a mentalist is someone who tricks us
with something that we’re not sure if he can
do or not; a juggler is someone who does
something we know can be done but we
can’t do; and a ventriloquist is a performer
who fools us with something when we know
exactly how it works.”
As murky as all this is, perhaps nothing
is quite as difficult to cubbyhole as Mental
Magic. If you perform this branch of our
art well, there will be a large percentage
of people who believe you actually have
some mysterious ability, some power that
can’t be explained. This can lead you to
becoming jaded, dismissive, or, worst of
all, seduced into manipulating your fellow
man. A lot has been written about this,
and all manner of moral pronouncements
made, but for our purposes, it is something
you will have to come to grips with on
your own.
We’ll try to look at things objectively,
accepting and proclaiming these effects
are intended for entertain-
ment purposes, and are,
after all, only tricks. But
even this statement isn’t
quite true, as we shall see.
You can trace these
sorts of effects back at
least 150 years or so to the
Fox Sisters, the Davenport
Brothers, Robert-Houdin’s
second-sight, and the
Casadega Lake Free As-
sociation camp near Lily
Dale, New York. There
were a number of thought-
transference acts in vaude-
ville, and acts we generally
describe as mentalism
50 AUGUST 2017
Between The Lines
Fifty-Two Books for the
Well-Read Magician
By Michael Perovich
from Dunninger to Kreskin to Darren
Brown have befuddled audiences down
into our time.
Perhaps mentalism doesn’t require as
much of a reading depth as other branches,
but we can at least sample a few of the texts
that have appeared down through the years
devoted solely to this subject.
Spirit Slate Writing, authored by
William E. Robinson, was published in
1898. Mr. Robinson was an assistant to
both Alexander Herrmann and Harry
Kellar, but not at the same time. He earned
his place in magic history as Chung Ling
Soo by brilliant performances, a legacy of
hauntingly beautiful posters, and having
his life snuffed out on stage while per-
forming the Bullet Catch trick.
Spirit Slate Writing does not confine
itself entirely to slate effects, but includes
table lifting, spirit wrapping, spiritualistic
ties, séances, and more. The book gives us
insight into the panoply of effects already
well established at the turn of the nine-
teenth century.
You can view a copy here:
http://tinyurl.com/y9aqkn6y
David P. Abbott’s Behind the Scenes
with the Mediums first appeared in
1912, providing us with both history and
methods associated with mediums and
spirit séances. Abbott was famous for his
talking teakettle, with which he fooled a
parade of magicians who visited his home.
More an enthusiast than a performer,
Abbott’s writings have been reprinted
in modern times as House of Mystery by
Todd Karr with commentary by Teller.
Fascinating stuff.
The Life and Mysteries of the Celebrat-
ed Dr. “Q” was published in Los Angeles
in 1921 and covers a variety of informa-
tion on acts associated with hypnotism,
crystal gazing, séances, telepathy, and
illusions. Over the years, the Thayer Magic
Company published and constructed man-
uscripts and apparatus attributed to Dr.
“Q”, who was, in fact, Claude Alexander
Conlin. The Life and Mysteries of the Cele-
brated Dr. “Q” discusses talking teakettles
and other effects based on induction, radio
waves, and other examples of burgeon-
ing technical advancements as applied to
skullduggery.
The first mentalism focused book that
makes our list of fifty-two is Practical
Mental Effects by Theodore Annemann.
This book is filled with effects culled from
the pages of his magazine, The Jinx, a
monthly journal dedicated to ESP, teleki-
nesis, and spirit manifestations. While you
will find such effects in Tarbell and other
works we have mentioned, let’s consider
this one the most valuable modern book to
fully devote itself to this subject.
Annemann was a complex figure who
committed suicide and wrote far beyond
Practical Mental Effects. There were
many pamphlets, magazine articles, and
dealer effects, several of which you may
rather easily still encounter. Max Abrams
attempted to put all of Annemann’s many
creations in one place in Annemann: The
Life and Times of a Legend, a 1992 book
that typically takes more than one person
to lift. Here you can spend endless hours
with the man whose name remains syn-
onymous with mentalism.
Other well-regarded texts whose cen-
terpieces are mental magic include Gems
of Mental Magic by John Brown Cook
and Arthur Buckley (1947), Al Baker’s
Mental Magic (1949), and Magic of the
Mind by Lewis Ganson (1960). Gems of
Mental Magic brings us effects designed
for platform and stage and has some in-
teresting concepts of a type not covered as
well elsewhere. Al Baker was well known
for both his cleverness and his humor, but
much of his creative energy was spent on
tricks designed to not only fool but also
threaten an audience’s long held beliefs.
The use of billets is covered here in some
detail. The Ganson book is largely culled
from the pages of his Gen magazine; it
does a neat job of categorizing effects into
various types.
The other classic we add to our list is
Corinda’s 13 Steps to Mentalism (1961), a
compilation of lessons originally published
individually. This book is considered a
little more challenging for the performer,
but the effects are well worth the effort to
learn them. The book covers a wide swath
of material in detail. You’ll have plenty
here to access and draw from.
I haven’t read Richard Osterlind’s books
but I’ve watched several of his DVDs and
they are excellent. Here you’ll be exposed
to his approach, which, if not unique, is
pretty close to it. It should be noted that
Mr. Osterlind also has a six-DVD set
that works through Corinda’s 13 Steps to
Mentalism.
M-U-M Magazine 51
Mental magic
plays differently
and performs dif-
ferently from the
rest of magic. It is
dependent on the
theatrical abilities of
the performer, seldom
involving sleight of hand
to any great extent. There
is a lesson for us here.
You could theoretically
perform a mental effect
with classic sleights like the
top change, the pass, and a
half dozen Marlo moves, but no one does.
Why? Perhaps it’s because sleight of hand
depends on manipulating the audience by
misdirection and/or great digital dexterity.
Few, if any, do this as imperceptibly as
they might imagine. Audience members
often sense something has happened, even
if they don’t know quite what. This may
pass in a card trick, but the slightest indi-
cation of such an irregularity in a mental
effect and its very essence is threatened.
If you want to put across your otherworld-
ly abilities, your movements must lack
the very things that make sleight of hand
possible. There must be no razzle-dazzle,
and no sense that if one had been looking
closer one could have figured it out. The
mentalist must be sure, secure, focused,
and at ease with his persona. It is most
often his power to capture the audience
and lead it along a path unencumbered by
complex handling that leads to success.
For this to transpire, sleight of hand is
largely verboten.
We’ve discussed mental magic being,
as one would expect, based on trickery.
But there are performance techniques in
which the mentalist pretty much does what
he claims. An example is muscle reading,
in which
a spectator
whose wrist is
held by the performer
unwittingly leads the performer to a
hidden object. This can actually be done,
even with a handkerchief separating the
two parties. The basic instructions for
executing this phenomenon can be found
in Contact Mind Reading by Dariel Fitzkee
(1935).
You can download a copy here: http://
tinyurl.com/y8ub3cdz
Some may discover they have a talent for
cold reading – telling people about them-
selves by sensing their feelings, appraising
their body language, and other Sherlockian
tells. These types of things take lots of ex-
perience and lots of audiences to practice
on. You might try Ian Rowland’s The Full
Facts Book of Cold Reading: A Compre-
hensive Guide to the Most Persuasive Psy-
chological Manipulation Technique in the
World. He is droll, amusing, and creative.
Traversing further along this path leads
us to the works of Banachek, in particu-
lar his trilogy of Psychological Subtleties.
Suffice it to say, if you learn to carry out
these demonstrations with success, there
is little reason why you shouldn’t consider
yourself a genuine mentalist.
I think I’ll quit here; I’m
scaring myself.
The two books we’ve added
to our classic list this month,
both of which are available at
reasonable prices, are:
#27 Practical Metal Effects
(1944) – Theodore Annemann
#43 Thirteen Steps to
Mentalism (1961) – Tony
Corinda 

FORCING
One of the essential components of
“real” mentalism is something that is
well-known and understood by almost
everyone: precognition. If there truly is
such a thing as advanced mental power, it
surely includes the ability to be able to see
what will happen in the future – to predict
what events would occur. Knowing ahead
of time what is about to happen, whether in
a narrow and specific way or as an assem-
blage of large vague warnings that is open
to interpretation, is a human concept that
goes back to ancient myths and legends.
Seeing the future is something almost
everyone has thought about – some more
than others. When people come to see
the show of a mentalist, they almost
surely hope he will be able to see into the
future and foretell events. Many probably
suppose that true precognition could
foretell the exact lottery numbers needed
to win the Power Ball, or which teams
would win the March Madness basketball
brackets, or whose horse would come in
first in every race. Besides the universal
prospect of becoming rich, people often
want to know their own individual future.
Where will I be in ten years, or should I
fly to Cozumel, or who will I marry? On
a broader world sense, will the country’s
economy strengthen, will medical care
become easy and cheap, or will terrorists
attack our city?
As a mentalist, you can use people’s
expectations to your advantage by present-
ing routines wherein you predict a future
event. However, it might prove fatal to
your reputation if you universally claim to
be able to predict anything for anyone at
any time. This is why you must set careful
parameters in your presentation by spe-
cifically defining the limits of your mental
powers.
You could establish limits by using
certain artifacts or imposing a time or a
distance condition. You might precede
52 AUGUST 2017
your prediction with a statement such as,
“This may not work, but if you stand still
and concentrate, I might be able to see
what is about to happen,” for example.
No matter how you set up conditions
for a prediction, one of the ways to cause
that to occur correctly is to force the
outcome. But in mentalism, using a force
can be tricky.
Many books and articles propose feats
of mentalism that use a deck of cards. You
could mentally predict what card will be
chosen and then force the Three of Clubs,
for example. Most of these ideas are mental
magic, not mentalism. They are suitable
for a magic act in which there are many
different examples of effects, including
mental feats. Most such tricks, however,
are not believable in a mentalism show
because of the association of playing cards
with magic.
Mathematical forces are another field
that has generated many examples and
ideas, but those often suffer from too much
procedure. If someone has to think of a
number, add ten, divide by two, subtract
five, etc., would she not suspect that you are
directing her towards something specific?
Your routine loses a lot of the power that
comes with a completely free choice if you
invoke procedure.
A third problem in forcing is the use
of psychological forces. Ask someone to
think of a two-digit number under fifty in
which both digits are odd and different,
and they will usually think of thirty-seven
– usually. Ask someone to draw a house
and put something next to it, and they will
most likely draw a tree – but not always.
As Banachek has pointed out so wonder-
fully in three volumes, these are psycho-
logical subtleties, not forces. There is no
guarantee you will get what you want from
the spectator.
Equivoque is a commonly used force
that can lead a spectator to an exact choice
from among many. It can be strong and fail-
safe. But it can also look contrived if you
are not well-versed in linguistics or have
not defined your approach tightly enough.
In order for equivoque to work, you must
convince the spectator that each avenue is
Mind Craft
By Jim Kleefeld
a free choice and is necessarily dictated
by a logical path. Joshua Jay’s Inferno is a
good example of logical equivoque.
In mentalism, you may need to force
something specific with a reliable method.
All of which leads me to the following
force. Clean, sure-fire and simple, its only
drawback is that it introduces a believable,
if somewhat unusual physical prop, not ev-
eryone’s idea of perfect mentalism. I think
the trade-off is worth it.
You set a prediction card face down
and display a piece of folded paper with
numbers on it. Tucked inside the folded
sheet is a strip of paper with six pictures
of fruits. You hand your spectator a pair
of scissors and have her cut the papers in
two, cutting any one of the numbers in
half. You remove the inner strip from the
folded sheet and show that she cut, say, an
apple in two. You turn over the prediction
card and it is an apple, exactly the one she
chose.
The secret behind this is that the folded
paper has six numbers evenly spaced,
but the strip inside has the same pictures
off-set by half a space. So when you cut
through both papers you are cutting a
number in half, but inside you are cutting
between two pictures. A half-picture on
either end of the strip makes it appear as if
that is the one that was cut.
Figure 1 shows the arrangement. To the
left is the prediction card, which you can
have in an envelope or just face down on
the table. A numbered paper cover slip is
folded; it holds a single strip inside with
six pictures. Notice how the strip has a
half-picture on either end and five equal-
ly-spaced pictures in the middle. The
red dotted lines in the illustration show
the various positions where the spectator
might cut – these would not be printed on
the strip. When I print my sets, I do leave
the dotted lines through the middle of the
numbers on the cover slip because it gives
the spectator a guide so they will cut the
folder apart in a straight line.
The set-up gives the impression that
the inside strip has six pictures that line
up with the six outside cover numbers. If
that were the case, the result would be as
shown in Figure 2.
However, since the pictures are off-set
by half, the actual cutting results are as
shown in Figure 3. The two slips would Fig. 1
have a half-picture on either end, no matter
which number the spectator cuts, as long
as she makes a straight cut up the dotted
line.
To present the effect, have several pre-
diction cards and a pair of scissors handy.
Look at the spectator as you sort through
the prediction cards without showing
her the faces. “We’ve been chatting for
a few minutes, and I just got a premoni-
tion about something. Pardon me while I
choose one.” With this procedure, you are
implying that each prediction card shows
a different outcome and you are selecting
the one that will work at this moment with
this person. Table the prediction card face
down and put the rest away.
“If it is all right with you, we are going
to try a little experiment involving fruit. I
had something delicious for lunch today,
but I was running late, so I cut it in half.”
Bring out the strip inside of the cover slip.
I usually call it a “numbered envelope”
because that implies its only purpose is to
hold something else. Fig. 2
“There is a picture of that fruit inside
this envelope, along with five others. Before apple? Then I guess I foresaw correctly. that hired me and one logo of their com-
I show you what is inside, I’d like you to Please turn over that card I chose earlier.” petitor. Guess which one got sliced and
choose any number on the envelope.” Let her flip the prediction card and see the diced at every show?
Let’s suppose she says three. “Okay, I’m matching apple picture. When I performed a show for a local
going to hand you the scissors and I want [Note: For this particular routine, Ohio historical society, I used a strip with
you to cut the envelope in half. Just cut a a “live” sample would be appropriate. eight pictures, each a president who came
nice straight line right through the middle Instead of having a prediction card with a from Ohio: William Henry Harrison,
of the three. (Pause.) Or, if you want, picture of an apple, you could have a small Ulysses S. Grant, Rutherford B. Hayes,
you can change your mind and choose box on display. At the end, open it and James A. Garfield, Benjamin Harrison,
a different number.” Hold the envelope show that inside there is a real apple cut William McKinley, William H. Taft, and
back a moment to give her time to decide. in half.] Warren G. Harding. A spectator tried
“Let me know when you have decided on Of course, this prop with pictures of to blindly choose the one president who
a number.” Hold the envelope out towards fruit is just one example. Any images can was assassinated by cutting one of the
her by both ends and let her cut it through be used on the inside strip. I have made up eight numbers. Of course he always got
any number she chooses. sets with animals, hand tools, pictures of McKinley. I would close by explaining
After she cuts, tip both pieces of the desirable birthday presents, sports helmets, that Garfield was also shot in an assassina-
folded cover strips back towards you books, and company logos. Whatever you tion attempt, but died eleven weeks later of
and let them come together. Turn them use as your source items, make sure the complications from infections.
upside down and let the two parts of the objects are similar in size, since all of the By using a cover slip with blank spaces
paper strip inside flutter down to the table. images should be about the same size. You and actual numbers inside, you can make
This procedure implies that you are being don’t want a two-inch high picture of an two predictions. Make up a slip with
careful not to disturb the paper, but it also eagle next to a two-inch high picture of a randomly mixed single digits as shown
lets the two pieces become a bit disorient- hummingbird. in Figure 4. Now write a prediction that
ed. You do not want her to see that the half- Also make sure that you have a valid the spectator will choose 3, cross that out,
pictures come straight out of the envelope reason for having the spectator cut and then write 5. The 5 will turn out to be
at either end. something in two. Note in the example correct, but you can use either the 5 or the
“Here are the two parts of the paper above that I deliberately mentioned cutting 3 to demonstrate which line the spectator
that you cut. Can you line those up and tell my fruit in half. For a corporate gig, I used chose to cut. Unless she cut on the lines
everyone what picture you cut in half? The five variations of logos for the company in the number 1 or 6 position, any other

M-U-M Magazine 53
mind cr aft
spot can be counted to as either a 3 or a
5 depending on which end you begin. If
she did choose the 1 or 6 space to cut, just
ignore where she cut and show her that
you changed your answer to reflect that
you knew she would eventually choose the
number 5.
Fig. 3
Fig. 4
M-U-M is your magazine. The editorial
staff tries hard to provide information that
will be of interest to all compeers. But we
are always on the lookout for cover story
subjects and new columnists. If you have a
suggestion for a cover story or a columnist,
please contact the Editor.Thanks.
54 AUGUST 2017
As always, there are many ways to can have the spectator cut, remove the
use this type of force. Because it is fool- slips, and concentrate on her selection so
proof, you can use it as a prediction, a you can read her mind. Or you can have
premonition, simple mind-reading, or as a pre-printed prediction to prove you have
an example of spectator suggestibility. Let precognition from a previous vision. Or
your persona and established character you can write your prediction as you begin
define how you want to present this. You to establish short-term clairvoyance. Or
you can size up your spectator and make
a prediction of her behavior based on her
body language and mannerisms.
In a mentalism show, a force can be
beneficial. As you define your material and
construct shows to present, it is helpful
to have something like this that you can
force. But most decent presenters use a
wide range of effects as well as a range of
methods in their programs. By employing
a variety of methods such as forces, psy-
chological subtleties, and purloined infor-
mation in your show, you lessen the risk
that your audience will garner your secret
methods. You don’t want them to track
down and label the realistic basis behind
your supposed extra-mental prowess.
One last thought. I have tried for years
to track down the source of this ingenious
cut-in-half idea. Bob King taught it as
a card revelation in a lecture tour in the
mid ‘70s. Bob Gibbons sold a commer-
cial implementation of it in the mid ‘80s.
Tenyo created a variation in 2007. I have
not been able to find a version prior to Bob
King’s and he is currently out of contact
with the magic world. If you know of an
earlier source, drop me an email at jim@
JimKleefeld.com. Of course, if you do
know where the idea came from, it would
be up to you to let me in on it. I cannot
force you. 
ENHANCE YOUR ONLINE
M-U-M EXPERIENCE
Look for the following two symbols to access extra content
in the online version of M-U-M.
Click on this icon to play added video content.
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photos and graphics.
Have Fun!
 A Brief Moment in Time
By Gary Plants

TOM MULLICA
Back in the early to mid 1980s, my
magic buddy Evert Chapman and I made
several trips down to Atlanta, Georgia, to
attend the Atlanta Harvest of Magic con-
vention. This great little convention was
put on by Jim and Diane Maney. One year,
Diane convinced me to perform during
the close-up show. What she didn’t tell
me at the time was that I would be on the
show with two other performers – Albert Tom Mullica, Johnny Thompson, Pressley Guitar,
Goshman and David Williamson! I still and Alan Okawa at TAOM 2013
have nightmares.
Whenever we visited Atlanta for the
Atlanta Harvest, we always made it a point
to go over to 3166 Peachtree Road and visit
the Tom-Foolery Magic Bar Theater to see
one of the greatest bar magicians in the
world, Tom Mullica. If time allowed, Evert
and I often attended Tom’s show twice
while we were in town. At a five-dollar
cover charge, why not!
After you purchased your tickets, you
were free to look around the little waiting
room. The walls were covered with pho-
tographs of Tom with many of his friends
from all over the world. One unusual
photo I recall was an x-ray that supposedly Mullica signing photos
showed Tom’s stomach full of cigarettes.
It was a great photo and looked very real. show: jokes, one-liners, sight gags, eating remember very well an incident that
The Tom-Foolery Magic Bar Theater cigarettes, his Egg Bag routine that ended happened at one of the shows that Evert
held approximately fifty people. There was with the production of a glass and a bottle and I attended. Tom had a heckler in the
one row of about fifteen seats at the bar; of beer, his Apple Trick, Card in Mouth, audience. After several attempts to handle
a few feet behind those seats were about and so much more. And then there was his the situation, Tom stopped the show and
twenty-five to thirty elevated seats. This expert use of music throughout his show, asked the man to leave. At first the man
is where we usually tried to sit because completely controlled by Tom at all times. refused. Tom insisted that the show would
it gave the best overall view of the show. Tom’s show scored ten out of ten. not go on until the heckler left the theater.
There was also a small, “standing room Tom was in complete control of his Eventually the man got up and left, but I
only” area. Two of the seats at the bar were show. He wanted to have fun and he remember that the audience never really
called the “hot seats.” They were for two wanted his audience to have fun as well, reconnected with Tom the rest of that
spectators, usually women, whom Tom but he wouldn’t tolerate any kind of dis- night. But it was Tom’s show and he ran it
would use as assistants during the show. ruption from the audience. This was even as he saw fit.
Tom was a master showman; he had mentioned in the program you received Two routines always stood out every
you laughing constantly through the entire when you entered the Tom-Foolery. I time I saw the show. One was The Apple

56 AUGUST 2017
 Trick and the other was a routine called Nicotine Nincompoop.
The Apple Trick is a card to impossible location (an apple)
that you had to see to believe. It wasn’t the magic trick that was
so wonderful, it was Tom. By the end of this routine everyone
in the bar was in tears. Thank goodness this trick was recorded
for posterity.
Nicotine Nincompoop was Tom’s signature trick in which he
would eat anywhere from fifteen to thirty cigarettes. Combined
with the music, Tom’s acting, and the impossible ending, this
was a miracle to the nth degree. When you saw this you were
entertained and totally fooled!
If you never saw Tom perform at the Tom-Foolery, run as
fast as you can and purchase the video from Meir Yedid here:
http://tinyurl.com/y7eylqpy
The video leaves a bit to be desired, but it is the only video
record of Tom at the Tom-Foolery. It is well worth the asking
price to see Tom working in his bar. By the way, Tom’s bar
was built with the assistance of his good friend, J.C. Doty, who
was a master craftsman and built many of the special effects in
Mullica Advertising Card

M-U-M Magazine 57
a brief moment in time
the Tom-Foolery. Doty’s LF language was also something that I yelled to Johnny, “Johnny, come over here a minute. I want you to
always looked forward to hearing while there in Atlanta. see something.” Tom handed Johnny the pictures and said “Take
In September of 2013, the Texas Association of Magicians a look at these.” Johnny looked over the photos and got a gleam
Convention was held in Dallas. Tom Mullica was one of the in his eye. He took his first finger of his right hand and pointed
featured performers. I had recently scanned many of my negatives several times to the photos and then said, “This is the Tom Mullica
from photos that I had taken thirty years ago at the Tom-Foolery. I I remember.” That was a very special moment; those photos are
am not a photographer, but I got very lucky that night and had five among my most prized possessions. 
or six really nice photos of Tom at work behind his bar. I picked
out three of my favorite photos, had 8 x 10 prints made, and took
them with me to the convention.
After one of the afternoon presentations Tom was available,
so I went over to him, showed him the photos, and asked him if
he would mind signing them. The look in his eyes when he saw
these pictures was worth a million dollars. He asked me where I
got those pictures and I explained to him that I took them at the
Tom-Foolery back in the early 1980s. When he saw one of him
with a bar towel covering his entire face, glasses on, and cigarette
in hand, he said “What the hell was I doing there?” He looked at
each one of the photos for quite a while and then he very kindly
started signing them. As he was signing them he said, “I normally
don’t write this much on photos but these are special.” Just as Tom
finished signing the last photo, Johnny Thompson walked by. Tom

58 AUGUST 2017
 Informed Opinion - Latest Product Reviews
Compiled and Edited by W.S. Duncan
MEMORANDUM BOOK
BY WOODY ARAGON
Distributed by Murphy’s Magic Supplies
Price $60.00
REVIEW BY ANTONIO M. CABRAL
When I was coming up, as
an up-and-coming card man,
memorized decks were steadily
breaking into the mainstream
thanks to the publications of
Simon Aronson and his work
on the subject, and the popular-
ization of his stack via Michael
Close. Before that, there was
plenty of work in print about
it, but it only took root in the
minds of the seriously dedicated
scroungers.
Darwin Ortiz made the claim
in his Annotated Erdnase that
Aronson’s stack was “perhaps
the most ingenious of all” stacks based on the tricks built into the
stack. But then Juan Tamariz published Mnemonica in English,
which was the English-language revelation of his vast explorations
into his personal memorized stack and memorized stack work in
general. By that point, many card folk were eager to embrace the
memorized stack, but always cautious about the memory work
or potential math involved. The publication of the Tamariz book
opened up a whole new avenue of work for people interested in the
memorized stack. At the same time, it threw a new argument into
the works, namely “which stack is best.”
In the past year or so, as of this writing, the memdeck workers
have had two smorgasbords drop in their laps. The first was Pit
Hartling’s In Order to Amaze, which is a tremendous collection
of memdeck ideas; much of its success is due to the fact that it
doesn’t fully rely on any one stack. The other new resource is
Woody Aragon’s Memorandum. On the one hand, the Aragon
book spends time proselytizing for Woody’s variation of the
Tamariz stack. But beyond just trying to foist a new arrangement
on the card guys at large, Memorandum offers up an amazing
selection of devious ideas that, if applied to anyone’s stack work,
will pay dividends.
In comparing the Aragon and Hartling books, the first thing
that comes to mind, as I hinted at, is that the Hartling book is more
stack-independent. The ideas in In Order to Amaze are largely ap-
plicable and intended to be applicable to any stack. Memorandum
has a great deal of stack-independent information, but it’s buried
in and among items that were designed specifically for Woody’s
variation of the Tamariz stack.
To that end, Aragon is very up front in his introduction that
this is not an attempt to write another Mnemonica. He considers
that book to be the “Encyclopedia of Stacked Decks,” and encour-
ages the reader to start there. At the same time, I really admire
and wholeheartedly agree with his approach to attempting to
learn a stack. He suggests, but doesn’t insist, that the reader learn
60 AUGUST 2017
the Major System of mnemonics in order to get a stack in his or
her head, and points out the alternative methods mentioned by
Tamariz in Mnemonica to get the stack in one’s head. To that end,
he actually provides a series of cartoons sprinkled throughout the
book designed to link the cards and numbers in his stack, which is
the true essence of most memory systems.
Beyond that, Woody Aragon’s Memorandum stack is designed
with a number of fascinating features that facilitate not just
performing with it, but the learning process. For example, he
states that once you’re anywhere close to comfortable with the
stack, start using it. Many memdeck workers (myself included)
have pointed out that some of the simplest tricks from a method
standpoint stand among the strongest tricks you can do with a
memorized stack. I’m actually a little salty that he beat me to the
punch elaborating that point in print.
Another idea he puts forth, which I applaud, is that the sooner
you start working with the stack, the better. Simon Aronson has
said of his stack that there’s plenty built into the stack that you
could perform a whole set of tricks that don’t rely on memory
at all. Aragon has taken that a step further by building a ton of
powerful tricks and ideas into just half of his stack. That means, if
you take the time to work on it, once you commit twenty-six cards
of the Memorandum stack to memory, you’re set to deliver some
very powerful tricks – a boatload of poker deals and related tricks,
some mentalism-made-easier effects, and above all the incredi-
bly strong concept of working with only half a memorized stack.
Aragon mentions that he has another memdeck book coming, but I
posit that he missed the chance to write a Memdeck College series.
Once you cram the full stack into your skull, you have some
further blockbuster poker deals, as well as a killer Sympathetic
Cards and more of Woody’s non-stack dependent work. Where
things get interesting, and where other magicians I’ve talked to
have gotten very excited, is his “Siamese Deck” concept. One of
the strongest uses of a memorized deck is in conjunction with
another, separate, completely shuffled deck. Woody Aragon
has reduced that concept to a single deck, related to the Mene-
Tekel Deck and the previously-mentioned half-stack work, and
uncovered some astoundingly devious ideas that will fry audiences
of magicians and normal people alike (assuming neither has read
this book, of course).
If you’re interested in stack work, you might be champing at
the bit to ask if this is finally the best stack. The answer is: I can’t
answer that for you in this review. In fact, I’d suggest if you’re
still asking that question, then, no, it’s not. Simon Aronson has
said that the “best stack” for you is the second one you choose to
remember, but regardless, if you’ve not yet memorized a stack, this
isn’t really the book for you. As much as I’d love to recommend
this book to beginning stack workers based on Aragon’s approach
to learning how to work with a stack, this is more of a postgradu-
ate memdeck worker’s book.
If you’re just coming around to biting the bullet and memorizing
a stack, you’re actually in luck. Between the Aronson, Tamariz,
and Hartling material, you already have plenty of information
to get you performing miracles. On the other hand, if you’re
ready to push things past that and really fry your colleagues,
you want this book. Recommended to the experienced stack
worker.
OUT OF MY HAT:
THE MAGIC OF DAVID GARRARD BOOK
BY ROGER OMANSON
Distributed by Murphy’s Magic Supplies
Price $40.00 paperback, $75.00 hardbound
REVIEW BY JIM KLEEFELD
So here is what happened. I
received a paperback edition
of Out of My Hat for review, and
sat down to read it. I skimmed
over the chapters, glossed over
the headlines, and then read
for about an hour. Before I had
gotten half-way through, I got
up, went to the computer, and
ordered the hardbound edition.
I bought a hardcover version
because my copy will have to
last. I will be rereading it time
and again for fresh ideas, smart
tips, and clever routines. After
only an hour I could tell that this was an exceptional book with
classic routines that I would refer to again and again.
David Garrard has been a professional performer and an avid
student of magic almost all of his life, and it comes across in
the material. I’ve seen him work live and I can tell you that he is
smooth, classy, and polished, with an outstanding repertoire. He is
a masterful performer of close-up, card magic, platform and parlor
shows, and illusions. If he has any shortcoming, it might possibly
be that he does not consider himself a writer – no problem, this
book of his material was written by his very competent friend, the
late Roger Omanson. Omanson’s text is clear, succinct, and to the
point. He explains the effect, the preparation, and the method for
dozens of tricks in an efficient manner. There is neither padded
fluff nor extra-length meanderings, just a good, simple explana-
tion of how the tricks work.
And what fine tricks they are. ATM is an almost unbelievable
transposition of a signed bill (that is inside a sealed envelope) with
a card that is openly inserted into an otherwise empty card box –
a transposition; they change places instantly. Both the envelope
and the card box have one item inside and are otherwise empty. I
do not normally change my close-up repertoire, but I am adding
ATM. As if that wasn’t enough, there are nineteen more excellent
card tricks in the first section. The Coin section contains eleven
beautiful routines while Miscellaneous Close-Up has a dozen
more workable pieces. There is a story effect based on the board
game Clue, a coin vanish that uses a toilet paper roll tube, and
a few well-thought-out variations of Triumph, Ambitious Card,
and Spellbound. Texis is a cut-and-restored paper effect that is
reminiscent of Gene Anderson’s Hell-O but simpler to set up and
execute. I honestly liked almost all of the close-up, although I
probably wouldn’t do the one with plastic googly eyes or the one
with a Groucho nose.
As you read through each section of the book, you will come
across short interludes consisting of two types: pleasant biog-
raphies, and defined ethics. These are short, one-page-or-less
essays on either David’s friends in the biz, or his philosophy of
performing. Each is worth reading. David reminisces about his
relationships with Dan Garrett, Mac King, Doug Henning, Lance
Burton, and more. His essays include tips on such topics as why it
is important to be ethical, how to perform for magicians, and why
M-U-M Magazine 61
entertainment matters to laymen.
After the Close-up section, Omanson explains some of
Garrard’s parlor and stage work, including platform magic you
can make, and several great tips on presenting illusions. His tip
on how to motivate raising the assistant’s legs in a broom suspen-
sion is pure gold, and could only have come from someone who
performed this illusion regularly and thought about how it looked.
The Charlie’s Angels routine was one of the highlights in the book
for me, and if I had a show with three beautiful assistants, they
would be rehearsing that material tonight. Besides David’s great
magic, sprinkled throughout the book are great tricks donated
by some of his friends like Mac King, Dan Garrett, David Ginn,
Steve Bargatze and others. All are good tricks by seasoned pros.
In addition to the fine clear photographs that illustrate the
book, David has filmed many of the trickier bits and handlings
and posted them online. Your copy of the book will come with
a password so you can watch David execute these moves and
perform the effects; a fine bonus. Did I mention that the book’s
layout, typesetting, and format are clean and professional? It is
an easy read, with plenty of effectively used white space, sharp
photographs, and a well-organized structure.
Everyone should get this book. There is truly something in it for
everyone in magic. Card tricks, close-up, new handlings of classic
plots, platform, stage, illusions, sound philosophy and theory, a
bit of history, and biographies of current and near-current famous
performers – all presented with a soft, easy manner that flows
easily into your brain cells. You may not feel the need to get the
hardcover version to keep as a permanent reference for your shelf,
but at least get the paperback version. You will be glad you did.
DOVE WORKER DVD
BY CY
Distributed by Murphy’s Magic Supplies
Price $80.00
REVIEW BY MARC DESOUZA
Okay, eighty bucks
for a single DVD –
are you kidding? No,
they are not, and it is
worth every penny
(and far more) to any
dove worker out there.
Even if you don’t do
dove work, please read
on. First, as with every
product I have seen from Lukas Crafts, it is first class: great video
and audio (although there is no spoken word). I have two technical
complaints. Sometimes the text superimposed on the screen is
difficult to read due to the background. More attention should
have been paid to this. Second, menu navigation is tough. After
every snippet of video, you need to go back to the menu. As to the
length, this is longer than the average two-DVD set, clocking in at
a hefty 210 minutes. And they are 210 thrilling minutes. Yes, there
is a lot of detail, but you will learn much. The Koreans have taken
the lead in the field of stage magic for at least a decade; this DVD
will show you some fine examples of why.
I don’t know who CY is, but he is incredible. This is cutting-
edge stage magic and I would consider this to be the finest teaching
aid for learning dove work in existence. And I am not alone. My
good friend (and a fine dove worker in his own right) Mike Miller
(PNP) was extolling its virtues on our ride to 4F this year. I was
eager to have a look at it after hearing such praise, and it does not
disappoint.
Back in my youth I did dove magic. I was inspired by the likes
of Channing Pollock, Fantasio, Nino, and one of my mentors, Lee
Grey, the owner of Kanter’s Magic Shop. Since I gave it up, I have
learned much more from some of the best. I tell you this so you
understand I know a thing or two about the subject. The detail
in this DVD is amazing. There are only two major omissions:
he does not discuss the specific manufacture of the dove bags he
uses, and he doesn’t tell you the specific wires he uses for the
bags. To be fair, most dove workers with a modicum of experience
will understand what is needed just by watching the DVD. Other
than that, everything is very detailed.
CY takes you from the beginning through the different set-ups,
from your stage dress to how to wire the dove bags (what we
generally refer to as loops) for each of his different handlings –
and there are bunches. In conjunction with each specific effect,
he shows the proper wiring and grips. He performs and teaches a
number of dove productions from silks, some of which are the best
I have ever seen. Some of them look like real magic. He has a color
changing rose sequence culminating in a dove production, an egg
to dove, production of dove from a shower of cards, and several
handlings for the double dove production. He has some amazing
candle productions in combination with dove productions, the
best of which is a slow appearing candle that looks like a camera
trick. There is a lovely handling of the triple color changing cane,
again culminating in the production of a dove. There are several
handlings for the dove split, the production of a dove from an egg
bag, and a great silk changing to a dove.
He has a section dealing with the so-called invisible harness
system, and he details how to make what appears to be a very safe
harness. If you look at the trailer for this DVD online, you will
see some original and startling productions that are taught in a
separate section of the DVD.
Even if you don’t perform with doves, there is a lot of material
on here that is applicable to most stage workers. There are some
great sequences taught along with the details of making all of
the gimmicks required for everything on the DVD. Some of the
silk work, the rose routine, and the slow motion vanishing and
appearing candles would be great additions to any stage act, even
without the birds.
There is so much detail and so much of value on this DVD that
I would urge every magician to purchase and watch this several
times. This one gets the highest recommendation I could possibly
give. I can’t wait to see more from this guy.
GAFF-TACULAR DVD
BY STEPHEN TUCKER
Distributed by Murphy’s Magic Supplies
Price $27.00
REVIEW BY DAN GARRETT
The UK’s Stephen Tucker has now retired
from the world of magic, but his
clever thinking remains present
in today’s close-up universe.
The Gaff-tacular DVD is
hosted by Liam Montier, who
performs and explains all the
effects. Montier has collected
six of the prolific Mr. Tucker’s
clever card effects. The connect-
62 AUGUST 2017
ing thread in these effects is that they all use some sort of card
gaff and basic or no sleight of hand. All the card gaffs needed are
included with the DVD. They match standard Bicycle poker-size
decks. (You will have to provide the deck.)
Liam is known for his clear and concise teaching of magic and
he is in his element here. For our enjoyment on this video Liam
collects, teaches, and tweaks six of the best of Tucker in the card
genre. In addition to having a good teacher, the DVD uses the
usual fine broadcast-quality production values we have come to
expect from Big Blind Media. There are only the simplest sleights
used, such as a double turnover, or a card force. This puts every-
thing within reach of most magicians. Even beginners will have
everything explained so they will be able to eventually perform
each routine.
Not only are all the effects very strong, but they are quite visual.
A couple of the effects use blank cards, but other than that, the
audience should never be aware that gaffed cards are employed.
The only exception is a routine in which a spectator is handed a
gaff to examine, which becomes part of the magic effect itself.
All six effects are great. The handlings are simple and direct,
and the thinking is ingenious. My two favorites, for now, are Time
After Time and Fade In/Fade Out. It’s one of those happy events
where the audience reaction far exceeds the effort involved.
You may possibly fool magicians with this material, especially
if they are never aware that gaffs are being used. But you will
amaze lay audiences every time, and that (just like the Hokey
Pokey) is what it’s all about. Recommended.
SUBLIME SELF WORKING CARD TRICKS DVD
BY JOHN CAREY
Distributed by Murphy’s Magic Supplies
Price $30.00
REVIEW BY DAN GARRETT
This latest release by the prolific Mr.
Carey teaches ten card routines
of the “self-working” variety.
For those fans familiar with
John Carey’s work, no review
is needed to entice them to
purchase his latest work. The
adjective “sublime” in the title is
apropos.
There is no such thing as “self
working” of course. However, there are no
sleights at all involved here. There is not even a false shuffle,
although you may certainly utilize that skill if you have it. The
shuffles used by both magician and spectator are genuine. Carey
has revitalized the popularity of the Jay Ose False Cut, and it is
used extensively here. Sometimes the performer lets the spectator
perform the false cut herself, without being any the wiser.
Only regular cards are used, either one deck or two. Sometimes
extra props are brought into play, such as three dice (ungaffed), a
coin (a common gaff), and a special card that may be easily made
up from the template provided on the disc. One effect requires a
little “something extra” that you can easily provide.
The effects are mostly card predictions and coincidence effects.
There are a couple of ACAAN (Any Card at Any Number, but you
knew that, didn’t you?) tricks. These are not truly under the strict
conditions of the ACAAN premise, but they seem to be in the eyes
of the audience. There is even a mental coin effect using three
invisible (!) coins. Everything is either impromptu, or requires
minimal preparation. We get ten out of ten solid effects in all,
each complete with a unique presentation by Carey. John states
that this material is not designed to fool magicians. It is designed
to have a maximum impact on real audiences. It accomplishes that
very well.
Many magicians go through phases in how they determine to
make a purchase. At first, most of us buy tricks or videos because
they fool us. But as we grow wiser, we buy tricks because we
think they will provide an amazing and fun experience for our
audiences, whether they fool us or not. This release by John Carey
fits that more important aspect very nicely. Recommended.
FANTASTIC 3 TRICK
BY KRIS RUBENS
Distributed by Murphy’s Magic Supplies
Price $29.00
REVIEW BY DANNY ARCHER
This DVD from
Kris Rubens came in
a thin white cardboard
sleeve with black text.
Inside were a DVD and
an envelope with two
gimmicked cards (cards
treated with a “special
spray”). I watched all
three tricks and explanations; I was underwhelmed by what I saw.
The performances were pedestrian at best, and the camerawork
wasn’t any better. At times it seemed like they selected the worst
possible camera angle to show you the sleights Kris was trying
to execute. As one who has been in front of the camera a time or
two, I know that video is not always a friend when it comes to
misdirection and the performance of magic. Still, I believe if you
were present at the filming, you would have seen the moves just
as well. There was no attempt at a presentation, and the patter, at
best, described the actions he was performing (except for when he
said, “When I snap twice,” and then snapped a single time). Why
does the selection change color (for no reason)? Who knows? I
didn’t care.
The sound is acceptable, the video is just okay. Not a lot of pro-
duction value was put into this project. The tricks start so abruptly,
I had to go back to make sure I didn’t miss something (and the
DVD navigation was also a bit finicky). There is no mention made
of ringing in or disposing of the gaffs, and the trick Open Predic-
tion (which isn’t the Paul Curry effect of that name) screams to
be examined. There is no discussion of the “special spray,” and
whether this is an item already on the market and available to
magicians. There are only three tricks taught, and with better
handling and presentation, the effects could be made into good
magic. Those two items you will have to supply on your own. To
complete my review, below is a description of the three effects
taught on the DVD.
Open Prediction begins by placing a single card onto the table.
The spectator then selects a card, which is dropped onto the
selection. When the two cards are turned over and spread, they
are mates.
A red-backed card is selected, signed, and sandwiched face
down between two face-down Jacks. Catch Me if You Can
continues by turning the three cards face up and spreading them
to show the signed card has vanished. The deck is spread and a
single face card is seen... the selection. When it is turned face
M-U-M Magazine 63
down the back is now blue, for no apparent reason.
In WTF two spectators select a card, the card is replaced, and
the deck is shuffled. The top card is turned face up (Queen of
Hearts); it is not one of the selections. The top three cards are
spread and a face-down card is seen sandwiched between the two
face-up Queens. The card is now one of the selections, which is
removed and examined. The card is replaced and the packet is
squared; when re-spread, the card is now the second selection. The
first selection can be reproduced in a wallet or another location if
desired.
I would say that at a per-effect price of ten bucks, I would rather
escape from the Fantastic 3 and seek truth and justice elsewhere.
THE ACE HUT TRICK
BY LANDON SWANK
Distributed by Murphy’s Magic Supplies
Price $24.95
REVIEW BY NORMAN BECK
Mr. Swank is a magician from
Las Vegas, but his name was new
to me. I found out he has been on
America’s Got Talent, so there’s a
chance you already know his work.
On the cover of the DVD are the
following words: “The contents of
this DVD are authorized for home
use only.” What does that mean?
Can I learn the trick and perform it
anyplace? Can I only do it at home?
Or does it mean the actual DVD
itself is for home use, and not what
you learn from it? I have a bit of a problem if it means you can
buy it but not perform it. If you are going to put restrictions on
your product, make sure you spell out exactly what you mean. But
enough about the fine print.
The Ace Hut is a story deck, like the well-known effect, Sam
the Bellhop. Unlike Sam the Bellhop, you never have to say a
word when you perform The Ace Hut. The trick is done to a pre-
recorded song that is sung by a guy named Toby Joe Reilly; the
idea and the song are great. Landon tells you in the explanation
that Toby had heard him do the poem, and put it to music. The
song is soulful and bluesy, with a New Orleans feel. (It made me
think of “The House of the Rising Sun.”) You could learn the
poem and say the words, but you won’t be as good as the singer
and you will spend more time on it. On the DVD Landon gives
two versions, one with flourishes, and one without. The stack you
need changes depending on which option you choose.
I did not like Landon’s Zarrow shuffle at all. I think that many
people do it better than he does. That is a small gripe though; all
in all The Ace Hut is a fine routine that is taught well over the
course of ninety-six minutes. I thought in many places Landon
spent more time than he needed to explain things.
The video is shot without an audience, in a studio that is stark;
what you get are the bare bones. Often you can’t see what the
faces of the cards are, and at one point you have white text with a
white background, which makes it hard to read the stack. Fortu-
nately, he also puts the stack on the DVD jacket so it is not really
a problem.
I would buy this. In the right place and for the right crowd, it
would play very well.  If I keep writing, I will end up doing just
that. Please take a look at The Ace Hut. I think you will like it.
INSTANT T TRICK
BY THE FRENCH TWINS
Distributed by Murphy’s Magic Supplies
Price: $39.95
REVIEW BY DAVID GOODSELL
Do you drink tea? Then
you know it comes in small
paper envelopes, 2½ x 3
inches in size. Tear off
the top, reach inside, and
you will find a paper tab.
Pull out the tab, which is
attached to a string. At the
other end you will find a
small, porous, paper bag of tea that, when dropped into hot water
and bobbed up and down by the tab, makes a cup of tea.
Here’s the effect of Instant T: A card is selected from a deck
and the rest of the pack is put away. Holding the card with one
hand, back of the card to the audience, the card instantly vanishes,
leaving the performer holding a paper tab with a string, on the
end of which is a paper tea envelope, as mentioned above. Still
holding the tab, the performer holds the paper envelope close to
the spectator, asking him to tear away the envelope. Instead of the
expected tea bag, on the end of the string is a folded playing card.
It is the chosen card.
This effect, by The French Twins, is visual and totally unex-
pected. Scanning the videos available from The French Twins
website and on YouTube will show that, while it can be performed
close-up and on stage, it is, perhaps, best suited for street magic.
Vanishing a card and producing it from a tea envelope seems a bit
unusual in a formal setting, but is perfect for the casual ambience
of the street. Many variations are possible. A corner can be torn
from the card that will match the missing corner of the folded
card. The card can be signed. It can be something other than a
card, such as a ring or a key.
What you get for your forty bucks is a box of Yellow Label tea
containing fifty tea envelopes, tabs, strings, and a nicely made
gimmick that makes the flash change possible. We understand
that six dollars will get you thirty refills. So, the price is quite
reasonable. Instructions are available on line – no DVD. The in-
struction videos describe the routine, how the gimmick works,
how to force a card, and how to do the Mercury Card Fold. There
are also instructions for performing the trick without forcing the
card (for a signed card version), but the instant transformation is
so startling that it overshadows the possibility of a force. By the
way, each of the fifty tea envelopes has been specially prepared to
make set-ups quick and easy.
What are the negatives? The transformation requires a sharp
movement of the hand. When you watch the instructional videos
you will see at least one instance in which the instant transforma-
tion doesn’t quite work, and a second such movement is required to
complete it. This happens very quickly, however, and the change
is still so startling that the glitch will likely pass by unnoticed. I
did it ten times and had a problem only once. There is a switch
involved that will take both thought and practice, because it can
be awkward, and if so, will appear suspicious. Spend some time
on this and you will be fine.
The transformation is difficult within two or three feet of the
spectator, as you will observe. The twins step back a few feet just
before the moment of transformation.
This is different. Well done, French Twins! We rate it B+/A-.
64 AUGUST 2017
THE PRESIDENT’S CHOICE TRICK
BY SANSMINDS CREATIVE LABS
Distributed by Murphy’s Magic Supplies
Price $34.95
REVIEW BY DANNY ARCHER
SansMinds is back with another effect
using U. S. currency, in this case a one-
dollar bill. A card is selected and lost
in the pack. The performer brings out
a dollar bill and explains that good old
George Washington will help find the
missing card. As they stare at the bill,
they can see George’s mouth visibly
open. The bill is then thrust in the pack
as the ends are riffled, and when the bill
is pulled away, a miniature version of the
selection is seen hanging from George’s
mouth. The bill can be examined right away. The effect resets
in ten seconds, can be performed surrounded, and requires no
advanced sleights.
The DVD video, sound, and navigation are of the quality we
have come to expect from SanMinds’ releases. Also, as we have
come to expect, there will be some arts and crafts work to be
completed to construct the final gimmick. It will cost you a couple
of bucks (three bills are required to make one gimmick) but all the
work needed uses things you probably already have, and of course
they supply you with the needed special items. The construction
is taught silently using video and text. It will probably take you
about fifteen to twenty minutes to make the required gimmick.
With the gimmicks in place, you can do this trick as an opener.
They do explain a simple method to ring in the gimmick that
doesn’t use any sleights. More experienced performers will have
their own techniques.
While I have not had a chance to make the gimmick (and
honestly, I have a friend who is much better than I am at making
these types of things), I can see this playing very well for a lay
audience. They mention giving the final bill away as a souvenir,
but no mention is made of how to acquire more mini cards (you
receive sixteen mini cards with four different values). They do
cover how to clean up and remove the gimmick from the pack, and
with all the heat on the card hanging from George’s mouth, you
should have the time to clean up. They also discuss how to do this
routine with a borrowed bill, and how to store, transport, and care
for your gimmicks. The effect is so visual and novel, that I think
you can’t go wrong by choosing The President’s Choice.
THE GENTLEMAN JACK GIMMICK PROP
BY ALAKAZAM MAGIC
Distributed by Murphy’s Magic Supplies
Price $69.00
REVIEW BY JIM KLEEFELD
Many years ago, I bought the Bendix Bombshell, a Himber
wallet, from RAR Magic. I loved the high quality leather, the
fine manufacturing, and the excellent booklet of routines. I began
using it, and to this day I still carry it in my suit jacket pocket.
Alakazam’s new Gentleman Jack Gimmick is an offshoot of
that company and that concept. Peter Nardi bought the rights to
RAR Magic and all of the props in their stock, so this wallet is an
original RAR product from their warehouse, not a refurbished or
duplicate made to be similar. It is a high quality leather wallet,
sewn to exacting specifications. Mine works smoothly and feels
fresh, clean, and comfortable, like any high quality prop should.
The Gentleman Jack Gimmick is a Himber wallet, and thus can
be used to switch or replace items. What is different about this one
is that is it a small, square, hip-pocket wallet, not a tall, thin jacket-
pocket style. As I said, I still carry my original Bendix Bombshell
in my suit coat, but in fact, I rarely wear that coat to do close-up
magic any more. I do wear pants, however, and I am used to
carrying a wallet
in my hip pocket,
so this new one
fits the bill (no
pun intended)
quite nicely. It is
not quite supple,
but it is slick and
it handles easily,
opening and
closing quickly
and easily. In
fact, a key handling point is that you can pick up the wallet with
one hand, flip it open, flip it closed, and flip it open again while
secretly switching compartments.
The wallet is thin and about four inches square, with two
credit card slots and a flap on the left. The right side is flat and
smooth with no slots or pockets. There is no zipper feature like
the Bombshell, so you can only switch sides, not reach through
from one side to the other. You get several Post-It notes to stick on
the flat side so it does not look suspiciously blank. The note pad
not only disguises the blank side, it also allows the wallet to act
like an Add-A-Number pad. One of the included routines relates a
standard book test procedure in which you have three spectators
write and add random numbers in order to arrive at a page number
in a book.
Besides the number force/book test routine, the clear and
succinct forty-five-minute DVD teaches you a couple of card
tricks. Both are relatively well-known routines and principles, but
the instructions at least give novices a starting point for examining
the wallet’s possibilities. There is also a clever idea for using the
wallet as a crib. In this case, you can open and show the wallet
to appear ungimmicked, secretly read your notes or crib sheet,
and then hide it again so the audience never even suspects you
have secret notes to yourself concealed somewhere. (And, while I
am here, let me applaud the inclusion of an actual DVD with in-
structions on it. Prop tricks, especially relatively good ones, need
more than a quickly typed link to a download that may disappear
someday soon.)
I see no real flaws with the product itself, other than in the way
you might want to use it. It is thin, and because of that you will not
be able to hide very much inside of it. Like any Himber wallet, you
must load the two sides with identical paraphernalia. You have
to put something in there so it looks like a real wallet, but if you
put too much inside, then both sides become fat. It is hard to hide
the duplicate spaces if you make the wallet thick. A credit card,
one or two business cards and maybe a bill or two are plenty.
So plan your routine accordingly. And while you are planning,
I urge you to condition the wallet by loading it and carrying it
around for a while so that it looks used rather than brand spanking
new. The Gentleman Jack Gimmick is nicely made and a fair
bargain at under $70, especially if you have a need for a two-way
out or an invisible switch of something flat, like a note or a
playing card.
M-U-M Magazine 65
THE MARKSMAN DECK PROP AND ROUTINES
BY LUKE JERMAY
Distributed by Murphy’s Magic Supplies
Price: $35.00
REVIEW BY DAVID GOODSELL
Luke Jermay has
written nearly three
dozen books and has
appeared in more than
twenty countries. He is
recognized as one of
the leading personali-
ties in mentalism and
psychic entertainment.
His Marksman Deck is
a superb addition to the toolkit of the trade.
This is a marked deck, inspired by the deck created by Theodore
DeLand more than a hundred years ago. The back of each card will
enable you to tell what that card is, where the mate of that card is
located in the deck, how many cards were cut off the deck at that
point, the card that is just above it, and what the total value of the
cards is in that cut-off packet. Each of these bits of information is
exploited in the routines explained in the instructional video.
The cards themselves are U.S. Playing Cards Mandolin backs.
The markings are easy to read (especially using the very deceptive
techniques Jermay explains and demonstrates in his online video
instructions), but are still not obvious to the spectators, who will
not be looking for marks anyway. If you use glasses to read, you
will need to use them here as well. The deck is also designed
for Juan Tamariz’s Mnemonica stack, which opens a world of
powerful memorized deck routines. As Jermay demonstrates
and emphasizes, a combination of routines using the markings
requiring the stack followed by a simple shuffle or two and then
using one or two effects that do not require the stack is very
disarming. Add to this a deck switch at the appropriate time and
you can develop killer routines.
The power of this deck becomes evident as Jermay demon-
strates five different tricks on his instructional video, each of
which uses one or more of the marks. A “dowsing” theme uses
the mark that tells the location of the mate of the selected card.
Intuition is the theme used as Jermay writes three numbers on a
pad after a spectator has lifted a packet of cards from the tabled
deck. The numbers written show that he has divined the number
of cards in the packet, the number of red cards in that packet, and
the sum value of the cards in that packet. In Easy to Read, Jermay
shares several ideas about revealing chosen cards by simply
reading the backs directly. Calling Cards is just that; the spectator
lifts a packet from the deck and Luke “calls” the suit and value of
each card in turn. The Card Memory effect can be done after the
deck has been shuffled, and it really does seem that the performer
has spread the deck and memorized the new order of the deck.
The video instructions are excellent, with Jermay sharing a
wealth of information, tips, and techniques. “The deck does all
the work,” he claims, and that almost seems to be true. At the
same time, he refers to it as “a deck of possibilities,” which will
become evident as you watch the videos and begin working with
the deck and your own creative juices begin to flow.
You can easily put together a twelve-minute, or twenty-minute,
or, as Luke Jermay did on the Vanishing Inc, performance video,
a forty-minute show using just this one deck. You will quickly
realize that what you have is not a deck for five tricks, but rather
a creative tool with which the possibilities are unlimited. We love
it! Michael Weber calls it “an absolute bull’s-eye!” and Richard
Kaufman thinks, “This must be one of the best ever designed.”
I agree.
The deck comes sealed and packaged in a clam-shell box with
contact information on the inside cover directing you to the
Vanishing Inc. website. Online you will find the ninety-minute in-
structional video along with a printable thirty-four-page instruc-
tion booklet of technical notes that accompany the performance
video available free on the Vanishing Inc. website. Add all of this
together and you have exceptional value!
VISION GIMMICK AND
ONLINE INSTRUCTIONAL VIDEO
BY MICKAEL CHATELAIN
Distributed by Murphy’s Magic Supplies
Price $24.95
REVIEW BY JAMIE SALINAS
Card magic often
has similarities in
sleights and tech-
niques to the methods
used by gamblers.
Some of these tech-
niques require an
insane amount of
practice, and some
of the gimmicks are
incredibly elaborate. Mickael Chatelain has created a nice, easy
variation of a gambler’s utility item and applied it to magic.
In the first routine, a deck of cards is examined and shuffled
by the spectator. The spectator then writes down the name of any
playing card. While the deck is held face down in the performer’s
hands, the magician uses just the tips of his/her fingers to feel the
faces of the cards, as they are dealt to the table faced down. The
magician stops at one card and it is found to be the named card.
In another routine, a card is simply touched by a spectator as the
magician spreads the pack face down. The card is shown to the
spectator as the magician looks away. The card is replaced faced
down in the pack and at this point the magician knows the identity
of the freely selected card.
What you get is a gimmicked card and a link to an online in-
structional video. The gimmicked card comes in either a red- or
a blue-backed Bicycle card. It is well made and should last you a
long time. The instructional video is very basic because English
seems to not be Mickael’s native language, but he does a good job
explaining how to perform the two routines, and how to handle
the gimmicked card.
The routines are fairly easy to do, and suitable for the walk-
around and close-up magician. You will need to watch your
angles, but you will be able to perform these routines in most en-
vironments in most conditions.
To sum it up, this is a well-made utility item (based on an old
technique) that is used to identify a selected card. There are other
non-gimmicked card methods for accomplishing the same effect,
but Vision makes the process direct and straightforward, without
any extra fluff. It is a good solid effect but not a closer in my
opinion. Mickael also teaches you how to start and end totally
clean so that everything can be examined. The $24.95 price
makes this a solid investment for the card worker who does not
mind using gimmicks.
66 AUGUST 2017
STEAM 2.0 UTILITY DEVICE
BY ALI NOURA
Distributed by Murphy’s Magic Supplies
Price: $44.95
REVIEW BY JOSHUA KANE
Gaining information in a clan-
destine fashion, with logical
timing, is an imperative in
mentalism. In an age when elec-
tronic clipboards are sold at
Sharper Image, today’s mental-
ists must appear cleaner than
clean to avoid being dismissed
with “Oh, it’s just electronics.”
I first became acquainted with
the principle used in Steam 2.0
about fifteen years ago. Histori-
cally, the method is credited to
Marc Salem. It was unpublished
and shared with only a small inner circle. A marketed version
was distributed in 2010 by Ali Nouira; it has reportedly also been
explained in a monograph by Chris Matthews. In short, you ask a
spectator to write something on the back of a double-blank, white
business card. She places it face down on the table. We are told
that with Steam 2.0 the writing can be done while you are out of
the room; you never directly touch the card; and she can cover it
with her hands. Yet you are able to reveal what was written. There
are no electronics, no reflections, no carbon paper or classic im-
pressions, no magnets, etc.
While you do not need to touch the card, you will need, in most
of the routines included, to touch an envelope that at one point
covers the card. And the timing of that touch is at such a bad
beat it has been edited out of the demo video and at least one
of the demos on the instructional download. And they have you
taking the envelope back to write on it, which makes little sense.
The envelopes, which are part of the gaff, are in my opinion dra-
matically too small to be effective. They just cover the card, which
means that you have to deliberately position the envelope on top
rather than casually toss it. That careful placement combined with
the later ill-timed removal for me triggers more red flags than
the Chinese Army. The most elegant uses of the principle create
the impression you never get near the card. Fortunately, there are
other routines taught in the instructions that do have that feel and
may inspire you to other uses.
The routine Money Hustle has the theme of a wager. Paper
currency is used and the effect is strong and logical in its arc.
There are conditions in which it does not work as well as one
would hope and the materials, particularly the right pens, have
on occasion been difficult to obtain, because an ingredient in the
pens has at times been on the banned list in the USA. I have used
the principle successfully in performance and, having been enthu-
siastic about other Paul Harris releases, was curious to give this
product a look and purchased it. Frankly, I was disappointed; I felt
this was a step down and not a step up. They do not tell you how
you can replenish the necessary materials locally and instead have
chosen to sell you refills, albeit at a reasonable price.
Contributions have been made by Andrew Gerard and Doug
Roberts. Instructions are given on how to adapt the “special” pen
to a US Sharpie pen. The ad copy on Murphy’s website promises
“A bonus set of fifty STEAM 2.0 bill gaffs for an out-of-your-wal-
let ‘money hustle’ presentation.” They were not included in my
package, nor in a friend’s box on the other side of the country. If
you know the method, you can pass this one by. If you are already
happy with your methods to clandestinely gain info, then also
pass. If your curiosity is still piqued, and you want something
that feels very “Bill Nye the Science Guy,” the forty bucks will
likely not break your budget and you might discover something
fun to play with. There are better, more reliable methods that do
not require such a large variety of specialized papers and pens.
MOVE TRICK
BY DANNY WEISER AND TAIWAN BEN
Distributed by Murphy’s Magic Supplies
Price $34.95
REVIEW BY PAYNE
I’m getting old. When they
announce the nominees for the
Grammys, I no longer recognize
the names of the bands. I don’t
know why anyone would go
see a Transformers movie. And
I really don’t understand the
thinking behind Move.
If you haven’t seen the promo-
tional video for Danny Weiser’s
and Taiwan Ben’s latest foray into the world of magic, then you
probably don’t understand my confusion. Here is what Move does.
You show a Bic-style pen. It can even be examined by the
spectator, because there is nothing to see (unless she has a magnet
on her person, which for the moment we’ll assume she doesn’t).
The magician retrieves the pen, and, once back in his possession,
using the most mystical looks he can manage, slides the clip of the
pen cap down the barrel, where it magically clings as if being held
by an unseen force, or perhaps a magnet. The clip can be slid back
up to its original position on the cap, or caused, with a flick of the
wrist, to magically jump back into place. After this, the pen can
once again be handed out for examination, whereupon nothing
will be discovered (unless, of course, the spectator has access to
a magnet).
Yes, as I said, I don’t get it either. But wait…those of you who
have endured the online video are wondering why I’ve left out
the most magical and mystical part of this fabulous routine. That
being where the clip visibly moves along the barrel of the pen
as if being pushed along by an invisible finger. While this feat
is quite do-able and taught in the online instructional video,
the substance required to achieve this mysterious movement is
not included with the pen. It, (or should I say, IT) is, however,
a fairly common material readily found in most magician’s kits.
IT, however, is something I myself do not possess. But I can see,
at least according to the video, how IT might work. Though I do
have concerns as to exactly how invisible IT might be when held
next to an all-white pen in most lighting conditions.
But as I said, I’m getting old and therefore can’t really see why
anyone would want to move the clip portion of a Bic pen around.
But I’m sure many of my younger readers are chomping at the bit
to add this potential miracle to their ever expanding collection of
guerilla magic.
So for those who might have a use for this mysterious pen, here
are the particulars. Yes, it is examinable before and after, though
you have to ring in and ring out a certain something. This certain
something is also very small and easy to lose, which is something
you are more than likely to do. The pen, too, is special. But since
M-U-M Magazine 67
it looks like any other pen you’ve steel-wooled the printing off
of, you’re probably going to lose it, too. What I’m saying is: be
careful.
If you do manage to get to your venue without losing the secret
something or the pen itself, you need to know that the reset is
instant (as long as you don’t lose the piece), but the angles aren’t
the best. This should only be performed to a couple of people
standing directly in front of you – situations I don’t have to worry
about, because I’m old and won’t ever be performing this for
anyone.
THE SOLUTION BOOKLET AND ONLINE VIDEO
BY MICHAEL MURPHY
Distributed by Murphy’s Magic Supplies
Price $26.95
REVIEW BY MARC DESOUZA
If I had to describe this item in
one word, it would be “cheeky.” If I
added two more words, they would
be “potentially devastating.” This
scant booklet (only fourteen pages and
quite padded at that) contains a secret
concept…a gutsy, yet brilliant concept
for the fearless performer. The idea is
dual reality at its very best. But it is
not for the faint of heart. Fortunately,
many mentalists are just the kind of
performers who will grab this one and
run with it.
A mixed Rubik’s Cube is shown. It is further mixed and given to
a participant to hold behind his back. He is asked to turn the cube
several times. He is given the opportunity to turn it some more, if
he wishes. When he brings the Cube out from behind his back, it
is solved. Am I telling you exactly what your audience will see?
Yes, I am. Is there a little more process than I am detailing? Just
a bit. Murphy gives you the exact script and handling you will
use in four pages. He gives you another page and a half of addi-
tional thoughts. Otherwise, the rest of the booklet is taken up with
background, history, and thanks. Fortunately, there is a link to a
webpage that contains more details.
Do you need to know how to actually solve the Cube? Not
really, but it is helpful to know how, because you will invariably
mess up the Cube when practicing. There are websites that will
guide you through solving your Cube and they work great, but if
you are going to do Cube magic, you should know how to really
solve them.
On Murphy’s page, he teaches you how to set up your Cube and
how to do what you need to do to make the effect work. He also
provides another thirty minutes of discussion about the effect,
along with Steven Brundage performing the effect on The Today
Show (along with a couple of other Cube effects). This is a real
performer doing this effect for real people on a TV show. This
thing really does work. Finally, he provides video of Master Cuber
Tyson Mao teaching you how to solve the Cube.
Michael Murphy has provided everything you need to
perform this incredible effect. All you need is a Rubik’s Cube,
some study, practice, and the guts to do it. This one is not for
everybody, but I think I have told you enough to make that call
for yourself. As such, I highly recommend this booklet for those
with the right stuff. 
Read You Like a Book Visiting the Houdinis
I talked about this app in Harry Houdini is
the past and recommended alive and well on the
it. I recently performed the truly fantastic blog
effect at a corporate perfor- Wild about Harry. John
mance; it was the effect the Cox, an extreme fan of
attendees talked about the Houdini, talks about
most at the cocktail party every aspect of Houdini’s life. He
after the show. In fact, the probably knows what Houdini had
game that I created during the effect became the game during to eat at every meal. If you visit Wild
the party. I thought it was worthy to mention again.  about Harry, You will spend hours
Magic Trick #3 is a book test. You can use any book. Take there looking into every article.
out your iPhone or Android phone and go to the calculator. I mention him again because of his
Have random numbers multiplied together, ending up with recent visit to the Houdini home in
a page number. It can be different every time. The magician Harlem, New York City. The townhouse has recently been put
gives out a book and the spectator opens to the corresponding on the market; Mr. Cox travelled across the country to spend
page number. The magician tells the spectator to look at the a few hours inside the sacred halls. His photos and report are
first and last words on the page and, amazingly, reveals those first rate. Be sure to take some time to read his report. I was
words.  fascinated. Visit www.wildabouthoudini.com/ and look for
The book is not gimmicked in any way. There is no memo- the article “Inside Houdini’s 278.”
rization needed. I will warn you that you are going to spend
hours inputting the words from the book that you choose. By the Numbers
Trust me; the effect will be worth it.  My grandfather was a math whiz. When he went grocery
When I first downloaded this app I felt that the weak spot shopping with my mother, he would mentally add the prices of
is the fact that you only reveal the first and last words. Why? the items as they were dropped in the carriage. At the checkout
There has to be a reason for this. I came up with the perfect he always knew the total. He would always do mental calcula-
presentation. tions because he knew all the tricks. A new app, Mathemag-
Buy the book 50 Shades of Grey. You now have an excuse to ics – Mental Math Tricks teaches you many of these mental
buy it! After you do all the homework to make the effect work, math tricks. Well laid out and explained, Mathemagics’ fifty
you are ready to perform. tricks will turn you into a human calculator. Mathemagics –
Here’s my presentation: Tell the audience that you are known Mental Math Tricks is available in the iTunes App Store for
for your photographic memory. Once you read a book, you $3.
remember every page. In fact, while you were waiting to go
on, you noticed that someone left a book in the dressing room. Burning Through Money
Show them 50 Shades. To demonstrate your ability, throw Our favorite prop company,
the book out into the audience; whoever catches it joins you Fred and Friends, has a set
onstage.  of napkins that look just like
Bring out the iPhone, handing it to the spectator, and open real hundred-dollar bills. If
up the calculator. After selecting people to give you random you are doing a switch and
numbers to multiply, have the volunteer with the book give want to burn the bill, these
you the total and then go to that page. napkins are perfect replicas
Now explain to the audience that because of the subject of folded-up or crumpled-up
matter of the book, you can’t recite everything on the page. It hundred-dollar bills. They
would be a little embarrassing. Instead, you will recite the first burn slightly slower than flash paper and leave some ashes for
and last word of the page. Depending on the words, doing this you to deal with. Because you only need a piece of the money,
can be very funny. If you add the words “yada yada yada” ala you essentially get four uses per napkin. Filthy Rich Cocktail
that famous Seinfeld episode, you’ll end up with a big laugh. Napkins are available at Amazon.com at a price of $10 for a
Things like, “tied...yada yada yada...satisfied, naked...yada set of twelve. 
yada yada...giggling.” Censoring the middle section gives you
an excuse to only name the first and last word.  Found a cool gadget, app, or website for magic applica-
I have performed this numerous times and rarely got the tions? Share your discovery with Bruce to include in a future
same page to predict. Again, it will take a lot of prep to get column. Email him (SAMtalkBruce@gmail.com).
this effect ready, but once you do it, it will be worth it. I spent Pricing and details are not guaranteed and are accurate at
a week setting it up while watching TV.  the time of writing this article. Prices and features are subject
Magic Trick # 3 is available for $5on the iTunes App Store to change.
and on the Google Play Store for Android.

68 AUGUST 2017
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INSIDE STRAIGHT BY NORMAN BECK
I'M BEHOLDEN TO YOU
You never know when something that you do every
day can suddenly turn your world upside down; it can
happen so quickly. Three weeks ago my girlfriend was
at the YMCA to swim. She walked down some steps,
stumbled on the bottom step, and fell. The fall caused
her to break one ankle and badly sprain the other one.
Last Friday, she had surgery on the broken ankle; she is
confined to bed and cannot leave the house.
The problem is that we eat out all the time. Food
is our passion; pizza and take out are not at the top of
our dining list. The food world, like the magic world,
is small. In Dallas there are thousands of places to eat,
but only a few are at the upper end. We like to frequent
those places.
Word got out about her situation. Three restaurants
offered to bring food to our house. One place didn’t even
ask if they could; they just showed up. Last Monday
night the doorbell rang at 7:00 p.m. The Chef and GM of
one the top steakhouses in Dallas showed up with food.
When I say “food,” I mean lobster, burrata salad, cream
corn, and chateaubriand steak – enough food for three
meals for us. They did this for free; there was no bill
and nothing was expected on our part. It was a gift. We
dine out all the time; after a while, a person soon forgets
the meals that are consumed. But when a top place in
Dallas brings you food, you will never forget that act
of kindness and generosity. In the future, when we’re
deciding what restaurant to go to, the memory of them
showing up is going to tip the decision in their favor.
As magicians, we can often do the same thing. Years
ago, a client from a big oil company in Tulsa had hired me
to do magic for his company on more than one occasion.
Talking to him, I learned he had a son who was autistic;
he was having a birthday. I offered to come to his house
and do a show for one person: his son Jeff. I wanted no
money. Even when he offered to pay me, I said no. The
show was fine and I missed out on a few hundred dollars.
Think about this. Let’s say that I am a locksmith and
you lock yourself out of your house on a Saturday night
at midnight. You call me; I come over, let you in, and
charge you a hundred bucks. We are even. But let’s say I
do it for free. We will never be even. In your mind, you
will always be beholden to me. Often it is better to not
take the money so they can remember the favor.
I know a dentist who, if he has to fix a tooth on a
weekend, never charges for it. Across the street from my
office is a tire store; if you have a flat tire, they do not
charge to fix it. They don’t care where you bought the
tires; if one goes flat, they fix it for free. In talking to
the manager about it, he informed me it is the best ad-
vertisement they have found. If you need to buy a set of
tires, you will remember that they fixed your flat for free.
Money may make the world go around, but the currency
of favors spends better and lasts longer.
I have room for one joke: What is the difference
between a clown in a red costume on a unicycle and a
man in a business suit on a bike? Attire. 

Effect: A marked penny is wrapped in
the center of a borrowed handkerchief. The
fabric is set afire and the penny falls to the
table. The mutilated handkerchief is thrust
into a glass, which is held by a spectator.
The ashes are wrapped in a piece of
paper and are vanished together with the
marked penny. When the handkerchief
is shaken out, it is fully restored and the
penny is found in the glass.
Preparation: In the inner side of your
left sleeve have sewn a length of flat elastic
about an inch and a half from the edge of
the sleeve. It is sewn in such a way as to
make four small pockets (Figure 3).
Cut an ordinary white handkerchief
into five-inch squares (Figure 1). Take one,
place an American penny (one cent piece)
in the middle and twist the fabric around
it (Figure 2). Cut the ends off evenly and
push the wrapped penny into one of the
loops in your sleeve (Figure 3).
Do the same with three more squares
and fill the remaining loops. By replenish-
ing your little arsenal from time to time,
you will always be prepared to perform the
effect four times.
Routine: When performing the effect,
have a small piece of newspaper crumpled
into a ball in your right coat pocket,
together with a couple of matches. See that
a glass and newspaper are handy. Borrow
the coin and handkerchief, and have the
coin marked.
Show the penny at the tips of your left
thumb and forefinger and let it be seen that
the hands are otherwise empty. Throw the
handkerchief over the coin with the center
over it. Grasp the coin through the fabric
with your right hand, give it a twist or two,
and then pull the handkerchief through
your left fist gathering the folds together.
Leave the wrapped coin in the palm
of your left hand and close your fingers
on it (Figure 4). Adjust the folds below it
and with the right thumb and forefinger,
steal one of the fakes as shown in Figure 4.
Draw it upwards over the left palm, the left
index and middle fingers opening a little to
let it pass and carry it forward to the top of
the left forefinger. Grip it there by closing
70 AUGUST 2017
the left thumb and
fingers on it (Figure
5). The action should
be the same as seizing
the original penny
and handkerchief and
drawing them forward.
Assert that the
metal in the handker-
chief will absorb the
heat from any flame
and that the fabric will
not burn. To prove this, thrust your right
hand into your coat pocket, finger palm the
ball of paper and bring out a match.
Strike the match and move the flame
slowly backwards and forwards under the
coin; the fabric will not catch fire. Then
look at audience while remarking how
curious this is. The flame is allowed to
pause so the handkerchief (the small square
of fabric) catches fire; the coin drops to the
table. You try to blow out the flame, but do
not succeed until the fake has burnt almost
to your fingertips.
Apologize, saying you remember the
metal should have been larger. Tear off a
small piece of newspaper, press its middle
against the charred edge of the fake, gather
the ashes and un-burnt fragment, squeeze
them into a ball, and secretly add them to
palmed ball, holding both at tips of right
Personal Mag ic
By Eric Lewis
thumb and forefinger.
Bundle up the handkerchief and the
marked coin and thrust them into the glass.
As you do this with your left hand, the
right hand reverses balls and gets the one
with the ashes into finger-palm position.
Place the empty ball of paper into the glass
on the handkerchief.
Dispose of the paper ball by getting
“woofle dust” from your pocket. Pick up
the coin, examine it, and describe the mark
(which you previously noted). Vanish coin
by any suitable method.
Open paper ball to show the ashes have
gone. Crumple it and put it in your pocket,
dropping the “vanished” coin with it. Then
have the owner of the coin take a corner
of the handkerchief and pull it from the
glass, so the real marked coin drops into
the glass. 