The Magic Network Community Blog

I was looking through a load of old photographs the other day and came across a whole load by an Edwardian photographer named Lewis Wickes Hine in 1929.

He chose, at that time, to chronicle the construction of the Empire State Building in New York and whilst this is not scrictly what we would call magic, it is amazing how they managed to build the then, tallest building in the world out of nothing but an oversized mechano set!

If you look at the three pictures here, tell me, would David Blaine, David Copperfield or the like really go to these lengths?  To be fair, these guys probably got paid a fraction of what some guys in our field do for a 45 minute gig.
Take care

Lukie

For our ninth installment of our "Magic Theory Blog Series" we revisit some great tips and thoughts from Liderc in on the topics of "Blocking" and "Staging." Essential reading!

Find the original forum thread here: Blocking and Staging.

Blocking
I Don't Feel proper importance is put on 'Blocking.' 'Blocking' can be utilized as a great technique for covering sleights as well as suspicious moments.
'Blocking' shouldn't be seen as 'Blocking;' it should have just as much motivation as everything else you do in magic.
If you're doing a routine where you need to get something in your Right Pocket, then you should have the spectator on your far right 'Assist' you as you can then focus your attention on him/her, which blocks your 'Right Side.'
So it wouldn't look like you're 'Blocking' or 'Covering,' because you're just paying attention to your 'helper.'
Compare that to having 'anyone' assist you, and then turning to the 'Far Right' to block without any motivation for doing so.

Natural Blockers
Sometimes you can use your environment to aid in your 'Blocking.' If you're sitting at a table you can use the 'Table' as a blocker to do a 'half pass' or some other 'Sleight.'
With Proper motivation of course, as you don't want to seem 'Suspicious' putting the deck lower than the table.
There are other 'Situational Blockers' that you can find by just being aware of your environment.
Staging
'Staging' is just as important for 'Close Up and Parlor' as it is for actual 'Stage Work.'
Know your routine. Know the 'Angles.' Know what needs to be 'Blocked.' Know which way you have to 'Face.' Know the best 'Angles' to accomplish something so  it won't seem 'suspicious' or where you might flash. Know the best 'Direction' for each routine.
Then when it comes to 'Performance Time' it becomes 'Fluid In Motion.' As you already 'Know' what needs to happen, it becomes 'Smoother.'
The more 'Natural' you can make it look, and less like a 'Staged Routine,' then the 'Higher Experience' it will be for everyone.
Having this knowledge also makes it easier to adapt to any situation.

In this I ask does any of our Magic brethren if any use quotes. I am not just talking about any kind of quotes I am thinking of the ones of old to make people really ponder on the facts of life. From a book I recently have reviewed I would like to share some of my favorites and my own.

“ Good is better than perfect” Goethe.

To credit to the author which a great one, “Don’t let yourself be limited by numbered lists”, Robert Giobbi.

I made a post earlier about the Morgan Dollar following up on a comment by a fellow member on the expense of buying one of these coins.  They are beautiful I must admit but, and I think its a big but, unless you are lucky enough to find one in a garage or boot sale for hardly any money it does seem a shame to use and invariably scuff and scratch it.  They now have a very strong collectors market and a scuffed, scratched coin will lose most, if not all its value.
My thought, and I have been doing this for a while, is flashing and using a large Morgan dollar for no 'contact' moves but when I then produce several into the same hand I swap out the morgan and replace it/them with a Crown.  These are extremly cheap to purchase here in the UK and also on ebay internationally, they are the same size, weight and look but they are a copper nickel alloy, making them way cheaper.
I find if I do the initial flashing etc. up close and then as I move away to do 'the moves' etc, swap in the crown, nobody ever notices, atleast no one has ever mentioned it, so thats good enough for me :-)). 
To be fair, I don't think anyone would ever pay any attention to it anyway and its such a lovely size and weight to use that quite oten I tell them I'm using a dollar and they believe me, maybe ofcourse thats easier in the UK, but its just an idea guys and it will save a whole heap of money
Hope this helps

Lukie

Writing a blog is new to me so here is my best shot.  Things are harder than we can imagine.  I am afraid that our brethren are are forgetting our magical heritage.  One of the first books that I believe that  was written on this subject was by Reginald Scot.  I challenge those on this website without googling, twittering, wikipedia, or what ever else can be done with a phone or computer.  Some I believe will cheat but I hope they will not.  Magic history is an important part of our lifestyle.  If history be forgotten than those that learn from new should know knowledge that come from dvds last but a little while but the knowledge from the eternal pages of a book last forever.

In our 8th installment of our "Magic Theory Blog Series" we visit Liderc's post about the importance of being able to perform an effect using various methods.

The original forum thread is here - The Importance of Variational Methods.

The Importance Of Variational Methods
Spectators don't or shouldn't be savvy on what 'Method' we use to achieve the 'Result' be it .. Osterlinds or Banacheks.. so does the method we actually utilize in performances matter?
For that matter, if you had a 'Nail Writer,' could you not make a living off of that? Would you need other 'Methods' to achieve a 'Prediction' or 'Mind Reading'?
If your 'Retention Vanish' is spot on.. would you need to purchase 'Alchemy'?
I believe you are following the path now and where I am leading you.
'Methods' are 'Situational' and also 'Character Based' and that is how you should approach all 'Magic/Mentalism.'
One should be well versed in many 'Methods' and ways to 'Achieve' a desired result for any situation.

Ponder this..
You are a 'Mentalist' and all you use is a 'Nail Writer' - you are in a situation where there is no 'Paper' and you have none on you. What do you do?
Maybe that new 'Effect' is the most visual, but will you honestly ever utilize it? Would you ever be in that 'Situation,' and does it truly fit your character? One must be completely honest with oneself.
Sure one might look 'Cool' blowing smoke out of one's mouth, or stopping one's pulse.. but at what cost?
So indeed.. 'Methods' are important up to a certain point - some are 'cleaner' then others, and some are more 'motivated' by ones personal 'Character' then others. Just because one method is seemingly 'Superior' to another doesn't mean your 'Character' will motivate its actions - in which case it becomes 'Inferior.'
Now On The Other Side Of A Double Faced Coin...
One should never get 'Hung Up' on acquiring every 'Method' in the literature. Whilst we all search for the 'One' method, we should still be focusing on the ones we utilize to perfection.
"If One Want To Be Known For Something... Take That And Make It Perfect.. Make It Superior To Anyone Else. Only Then Will You Be 'KNOWN' For Something."

Sitting here now thinking about a new routine for my Fushigi ball got me to wondering, what was the first trick some of you guys ever bought, learned or performed?
With a profusion of packet tricks and magic kits out there these days its so easy for people with an interest, to get their hands on magic in all its different forms.  But, like those other momentous moments in life, no one ever forgets their first, so what was yours?
Mine and even now I remember it, rather cringingly it should be said, but remember it none the less, was the ubiquitous '4 jacks in the house'.  You know the one, 4 jacks are shown and then placed at various points 'in the house' (deck) and amazingly all end up, big flash and pooof,  on the roof!!
Come on guys, I was 7, be nice!!
Hopefully I've gone on to better things now but I still remember the pleasure and satisfaction of being able to do it and moreover, showing it to people, seeing their reaction and wanting to recreate that with something new.  As many of you may have guessed, I'm a bit of a bookworm and I love the works on magic published in the late 18th & early 19th century, the moves, the ideas and motivations of those early forerunners just gets me hooked.  I have often wondered what got them started in those times (hunger apart obviously), sadly unless already stated in their writing, we can't ask them. 
So, I thought, with so many great names in magic now here on the magic network, it would be a good time to ask the current luminaries of our field, "WHAT WAS THE FIRST TRICK YOU EVER BOUGHT OR PERFORMED"

Lukie 

I have just posted a review of Davenports in Central London and I thought you may like this.
As a quick side note, I called them one day regarding an old manuscript for a trick which I found in an old magic book.  Having been put through to the lady who dealt with such things and explained what I had,  I received what was probably the best piece of advice from anyone I have ever received, I stick to it even now.
The manuscript was written and signed by Peter Warlock, the lady on the other end of the telephone was Betty Davenport, the Grand-Daughter of the late, great Lewis Davenport, what she said to me was 'Yes, I knew him, he was a great friend and a marvelous magician.  Go away and learn it, perform it, you wont find much better!!'
Thats what I did and she was bang on right, it is one of the best card to anywhere routines I have ever used! 
I carry that bit of advice with me now,  when I'm looking through a conjoring book from the turn of the century and thinking, 'Oh, thats a bit bland or old hat' I try it out and you would be amazed at some of the reactions you get from people when you show them.
Lukie.

One idea I did have was that we could set up a library of magic DVD's and other instructional media so that we could share knowledge that way.  I know there are video's up already but I was thinking more of DVD's that one member might have to buy when another member may have it sitting there on a shelf doing nothing, - Like me.  I don't know if there would be copyright issues and I don't want to do anyone out of royalties but I just thought in these cash straightened times it might be a kool idea.
Anyway, just a thought and like I say, if its a non starter then I am happy to be corrected,

Lukie

Hi Guys, my name is Ian Luke and I'm on here as Masterofillusion and on Twitter as Lukiesillusions, yes, I know, confusing by the MOI is my hotmail addy and I've had it a while. My friends call me Lukie.
I love magic, have done since I was a kid, but as I 'grow up' instead of wanting to make learning the magic easier I seem to be wanting to make it harder.  Instead of buying a packet trick in the morning and using it in a performance, impromptu or otherwise, in the afternoon I would much rather spend three weeks learning and perfecting the same, bone crunchingly, finger numbing techniques in order to do the same thing.  The satisfaction I gain from being able, at the end of a trick to throw the cards down on a table or in their laps and know that the magic will live on way past what I have done because there's nothing for them to find, no gaffs, no crimps, just cards.  That is a feeling you can't replace and I am sure I'm not the only one here who gets that, its good aint' it!!
I recently got a deck of the 'berry back' cards, I love them, the colour both back and front seems to give the cards a whole new feel and they float so nice for a fan.  I love the history of magic too, the Victorian Parlour Magicians, Lewis Davenport, Dai Vernon, the great Alex Elmsley but also all things theatrical and magic, Lewis Ganson and his stage work and of course Grimaldi, the Clown, they all have a part and I love being able to recreate their work and 'try' to bring it back to life.
I see from the members list there are some true legends of magic here and I am so looking forward to being able to learn from you and pick up pointers which, I hope will make me a better magician, wherever that may take me.
Oh my days, I do go on, better shut up now as I'm sure your looking at this and thinking, 'how much more!!'. 
Its great to be here guys, this is gonna be great!!

So... What am I doing over here?

Its been so busy over the last 2-3 weeks. Haven't been able to catch up with TMN or even my friends over here. So its great to finally have some time.

Now, on the 30th of April last week, I completed exactly one year of being into magic. So it feels kinda good now. I can dare call myself 'not totally ignorant' now. And I also look back at how much I've learnt (and spent) and it makes me wonder how would my life have been had I not got into magic. I would've taken guitar lessons perhaps.

But its been really great. Its a great part of my life now, and I'm fond of it. 

In the latter part of my years as a magic-geek, I've been more into mentalism, so thats really good. I've also learnt a lot from TMN, so nothing but gratitude for you guys. It does disgust me to see how people in magic are misleading young kids these days, but more on that in relevant topics.

Hey Guy's been awhile since I shared some thoughts, I recently got a full time job on top of doing gigs, I figured If I get no sponsors I won't be able to do my challenge, so I'll do it myself.

In this restaurant where I work is awesome...Unlimited silverware for me to play with.

Anyways there a a pair of brothers who came to Canada to work and told me straight up they where of Muslim faith ( I don't care and have never cared about race, religion nothing) I make my own judgement of the kind of person you are inside. Well they told me about them and I learned a lot and realized media just focuses on the bad in people same for them in there country they also had ideals of how Canadians where supposed to be .

But I started showing them some magic just little things, in there culture they take magic very serious, so they asked "do you like the devil". I responded with no Im a entertainer Neither the devil or god help me in anyway to achieve illusions.

So when I found that they take it serious I decided to take it up a notch, I performed stigmata and got the best reaction ever, confusion....but not confused, HOW?, how can you do these things with out the help of god or the devil. I let it go went back to cooking, later on I noticed that the one brother was sad, I asked why? he had just moved here and was having a hard time being away from his family, He went on doing his work and I remembered the effect I did to him earlier on, I prepped for Stigmata one more time, walked over to him and said no need to be sad they think of you all the time see, I showed him Stigmata bright red on my arm again. Instantly a big smile came over his face, that is what magic is about, it is like music listening to a song can take you from happy to sad, I took a effect they though was evil and made him smile with joy that his family back home was thinking of him.

In our 7th installment of our Magic Theory Blog series, we visit Liderc's thoughts on time... namely, Timing, Pacing, and Time Misdirection. You'll find the original forum post and thread here.

Let us talk about Time...
I don't know if many magicians really understand the importance of Timing, Pacing, and Time Misdirection.
Timing
How do you time your routine? Trivial as it may sound it has great impact.
How do you time your words? Your actions? How do you time your movement?
Have you ever seen a performance that felt choppy? With no flow? Some things were done fast, some slow?
You want to have an even "timing" to start with so you can use speeding up and slowing down as a dynamic thing. to create mood and tension.
Does everything have a beat? How many beats do you hold? How is your voice rhythm? How can you judge a slow... intense... reading... versus... a fast one, when your timing is all over the place? You need even ground upon which to build a solid structure.
Pacing
How do you pace your routines? One after another? Do you have a lull in between? Do you do one effect, then have a chat with the audience, then go into another one? Do you jump from an ACR to mentalism, to a coin trick?
Pacing is important. It's creating an easy to follow line for the spectators to be able to follow and understand. Whats the motivation and why? Why would you go from mentalism, into a sandwich, do a 3 fly, and then another piece of mentalism?
Do you give your audience enough time to react? Do you even let them react? Do you know your not giving them enough time to react?
Most people are afraid of not doing something. Some people are afraid to let them react... let them get in everything and take it all in.. and then lead them on another path.
That's why you see some magicians always talking.. always trying to make them laugh or something, but making them uncomfortable is good at times, as long as "you" are in control of the situation and you know where and what you're doing.
Time Misdirection
I don't believe a lot of people fully understand time misdirection, and use it to their advantage.
It is not "Misdirection" in the sense of directing attention from a "move." Rather, it is directing them away from an action through the passing of time. You want to disconnect their mind from an action to a move by giving them time to focus on something else, and then when you go to do your "move" the focus is now on that, and it disconnects the two actions.
Now this is something I detest...
Getting a break from the back of the deck with your thumb pulling up two cards, and then turning it over right away..
*Off Topic*
If you're serious about cards learn a Pinky Count, from the top and bottom.
*On Topic*
Not trying to take the Piss out of anyone.. in fact Harry Lorayne gets his breaks like that. Many magicians do get their break like that. But most of the time it has no motivation... why do you fiddle with the pack right before you turn it over, why do you lift up some cards and then turn over right away?
See the questions it raises?
Lets say you do get your break like that (please with some kind of motivation), then, using "Time Misdirection" let them focus on something else, i.e. another thought.

Then, when you turn over the cards, the two actions have no connection. Now they focus on the card they're seeing and forget about the fiddling you did a earlier.
That's a small example, lets try another...
You have someone write something down for a peek, you take the piece back for a second, hand it back, and then reveal... you can see where that one is going...
You need Time Misdirection to get the their focus away from what you did.
Have them write something down. Take it.. now this paper is not see through.. you can't see through it right? Right, okay good.. I don't even want to touch it, keep it safe. Then, go into a reading, or something.. get the mood away from you holding the paper... there are even key-words you could say to remind them they have been holding it the entire time. Then, eventually, slowly, get to the reveal.

In our 6th installment of our "Magic Theory Blog Series" we re-visit a forum post from Liderc about Voice Control, Energy Control, and Choice of Words.

Your participants' reactions to your effects will depend a great deal on how you master these, so even if you read this before, give it another read for good measure.

The original forum post is here (Voice Control, Energy Control, Choice of Words in Magic).

Voice Control

In our fifth installment of our Magic Theory Blog Series, we re-visit Liderc's excellent post about the need for motivation in your routines. Take heed!

See the original forum thread here.

Motivation

Without proper motivation, your effects and routines become a mix of "moves" for the spectator to follow and raises questions in their minds.

Hahaha, I finally came up with something worthwhile. I think this is one of my favorite designs so far. Tell me what you think guys!

I'm working on a new design. This is just the first few ideas, they're nowhere  near done, but I thought maybe you guys would like to take a look: 

I also have a design  of a magician that I'm working on that I'll post as soon as I scan it. I'm trying to figure out a cool magic reveal for this design so if you guys have any ideas please shout em out, lol. 

So I know it's been a long time since I've blogged.  I have a good reason: school.  Seriously.  Majoring in Biology Pre-Vet Medicine takes a lot of work.  I'm in Organic Chemistry as well as an Introduction to  Biological Research class and I have two other classes as well, so I always have school work to do.  But, I have managed to keep up my magic, and I have delved more seriously into something I started trying out before: fire eating and breathing.  I do not suggest that anyone tries to do fire eating /breathing as it is extremely dangerous etc. However, if you want to learn more, Brian Brushwood wrote a fire eating book, which is amazing.  But, as he says, you need personal instruction.  You can't just read a book.  So I am claiming no liability for any of you who read this blog.  Okay.  Now that that is out of the way, I actually practice the safest possible form of fire breathing.  I do not use liquid fuel for fire breathing.  I use either cornstarch, or powdered sugar.  When in a clump, neither of these will light on fire (easily).  But, when puffed out into a dust, they light similarly to liquid fuel, but with a whole lot less danger.  DON'T TRY THIS WITHOUT PROFESSIONAL TRAINING OR SUPERVISION!  You are still working with fire, albeit more safely than with liquid fuel.  Granted, you will be covered in white powder once you poof out the cornstarch or powdered sugar, but that's a small price to pay for not dealing with liquid fuel.  Liquid fuel is a crapton more dangerous (using the Metric Crapton here).  Liquid fuel has huge flashback risks, so I doubt I'll ever use liquid fuel.  Here is where I learned about the cornstarch/powdered sugar : http://www.instructables.com/id/Non-Toxic-Fire-Breathing-with-Food-for-Fuel-10-F/ ONCE AGAIN: DO NOT ATTEMPT WITHOUT PROFESSIONAL TRAINING/SUPERVISION

Ok.  I have to run to class now.  Bye

Drew

In part four of our Magic Theory Blog Series, we re-visit Liderc's thoughts on the perils of "over-proving,"  or "over-selling," and look at ways to avoid the trap of over-proving yourself to your participants.

Find the original forum thread here.

Avoid the "Overproving Trap"

Many magicians, from professionals to hobbyists, fall into the trap of over-selling/over-proving.

For Part 3 of our Magic Theory Blog Series, we will take a look at Liderc's thoughts on "Conditioning Your Audience." This is very valuable advice, so even if you read the forum post, please re-read it here.

The original forum post is here.

It is important to think about how you condition your audience.
Think of it like this:
Before every effect you freely hand out the deck to be shuffled... you say, "shuffle it as much as you like; I want you to make sure you're happy it's mixed well.."
Then, for your next effect, you bring in a Stack. All of a sudden no one can touch the deck, you don't let them shuffle nor mix it... just a straight cut.
Right off the bat something different has happened. Now they're wondering why you let them shuffle before, but not now.
Not saying you should never let your spectators shuffle the deck, but sometimes I think we play into the spectator's hands too much, and we give them a little more control over the situation then we should.
If you seem suspicious, they will suspect.
You should: 1) not feel guilty, and 2) not seem any more "different," while doing a shuffle or a false shuffle. As far as they and you are concerned it's the same thing, so why should they suspect anything different?
And it goes beyond letting them shuffle.
You let them inspect everything, and then for one "thing" you can't let them touch it.
Or, you're always talking with bigger gestures, and then all of a sudden your arm is dead at your side.
Let's say before you even start effects your hands are in your pocket when you talk. Now the audience is conditioned that this is your "normal." So then, while doing an effect and talking, and your hand goes into your pocket, it's not a "Foreign" Movement .
Something to keep in mind for your performances.