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Magic Magazine: August 2014 ISSUE
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Fourteen products are reviewed this month by Peter Duffie, Gabe Fajuri, Jared Brandon Kopf, and Francis Menotti:
The Art of Presenting Magic to Teenagers by Danny Orleans
Paul Harris Presents Lubor's Gift by Lubor Fiedler
Shock Twist by Gary Jones
Nukes by Doug Edwards
Rubik's Rod by Andy Clockwise
Evaporation by Louie Foxx
Stretcher: The Uncanny Collection by Jay Sankey
The Business by Romanos
Cue Command by Deceptively Simple
DeMuth Milk Bottle by Frederick Demuth
Unshuffled by Anton James
Defiance by Mariano Goñi
Deflect by Skulkor
The Box by Mark Southworth
Chris Westfall is a rarity: he is a working pro who performs only original material. He makes his living performing close-up magic in the Toronto area, and his shows are filled with fresh magic that he creates for his own use. His style is playful, self-deprecating, and visual. He rarely uses a table. His material is worked through completely, tested in every conceivable environment, and honed to perfection through countless tableside performances. Calculated Chaos, his new booklet from Vanishing Ink, offers some of Chris' favorite original routines, including out "First Look" selections this month: Cheeky Triumph and Nested in Nothing.
The Monk's Way: Mr. Fogg Tracked Down
As we continue to reestablish the audience's role not only as viewer but also as an integral part of our methods, let's turn to the subject of routining. Magicians tend to take a linear approach: step one leads to step two leads to step three and bang! We use misdirection and sleights and presentation to cover this direct-line process. But imagine if the primary method could be hidden elsewhere - in the context of another trick. Unlike multiphase routines, with one phase setting up for the next, our objective is disjointing the method from the effect. In this way, the sleight-heavy baggage has been dropped and the effect has a much more magical sense. Let's examine this approach as applied to Vernon's classic Travelers, in which four signed Aces are first lost into the deck and then magically appear in four separate pockets.
Loving Mentalism: The Spirit Scrawl
Spirit writing is a timeless effect that still packs a powerful punch. We're all familiar with the traditional methods using old-fashioned slates with secret flaps, as well as more modern variations on the same theme. This month's "Loving Mentalism" item is a simple, easy spirit writing effect that uses nothing more than a few business cards - and they aren't even gaffed. After displaying the cards slowly and fairly on both sides, you can make any writing you want appear on the cards while they are held in the spectator's own hands. What's more, you end completely clean with nothing to hide. This is a highly versatile method that you can adapt to suit many different themes and styles. The ultra-simple method is sure-fire and always leaves a lasting impression.
Bent on Deception: Have a Great Show!
This month, Mike unleashes upon the magic world his Amazing Three-Step Miracle Marketing Success System. People have hypothetically offered to buy this system for over million! But he's not going to charge that, because he wants to give back to the magic community that has given so much to him. This no-holds-barred marketing approach is guaranteed to produce results that will get you more gigs, virtually overnight! Well, results not guaranteed, and "night" at the North Pole is approximately six months long.
Classic Correspondence: Lloyd Jones to Dave Fiscus (Part 2)
We rejoin Lloyd Jones' letter to Dave Fiscus, written in 1958. The letter represented a master's thesis on the state of the magic world in America during the middle of the 20th century. Lloyd continues to point out the pros and cons - well, mostly cons - of becoming a full-time professional magician:
For What It's Worth: Judgment Day
There is not a formal body of literature that can properly be called "magic criticism." Certainly there is nothing that compares to the formal body of criticism for literature, art, and film. Written, "legitimate" criticism of magic is relatively rare. If there is not legitimate criticism of the art form, how are we supposed to refine our art and pass guidance down to subsequent generations? (By the way, how good a job have we done with that recently?)
Walkabout Soup: Life, Death, and the Hollywood Fringe Festival
As I write this, I'm in the middle of a week of severe crunch-time preparing for a solo show in the Hollywood Fringe Festival. The show opens in four days. It involves a lot of new material. Much of this material requires complicated R&D, weird shopping lists, and unusual construction techniques. You know, business as usual for anyone attempting to create an original magic show.
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