* * * * * * * * * * * * * * * * * * * Magic New Zealand * Proudly sponsored by International Entertainment * www.magicnewzealand.com * * * * * * * * * * * * * * * * * * Issue Number: #781 Date: Sunday 22nd August 2010 Editor: Alan Watson www.watson.co.nz e-mail: Editor@magicnewzealand.com ================================ Hi here is the latest news ================================ 1. Editor's Message 2. Richard Webster Celebrates His 100th Published Book 3. North American Championship Of Magic 2011 4. Terry Seabrooke Needs Help 5. Replacement Plaque On The Grave Of Robert Kudarz 6. More Remarkable Magic - Nick Lewin #51 7. Not Good Enough - #176 - Kyle Peron 8. Tony Brook In Conversation With Tom Waldrop (Part 1) 9. Franquin The Great Showman 10. Michael Finney Lecture Review 11. Fourth And Final Volume Ultimate Reflections 12. Update The Innovention 2010 13. The Return of the Mandala - Free Issue! 14. Been Banned From TheMagicCafe.com 15. The History Of The Zaney Blaney Ladder Levitation 16. e-zine Archives 17. Privacy Policy and Copyright Notice -------------------------------------------- 1. Editor's Message -------------------------------------------- Thanks to International Entertainment's sponsorship Magic New Zealand is in the process of going through a major upgrade. This week we registered the domain magicnewzealand.com If you would like your message to be considered for publication please use the e-mail address: Editor@magicnewzealand.com Remember if you have any magic news drop me a line: Editor@magicnewzealand.com -------------------------------------------- 2. Richard Webster Celebrates His 100th Published Book -------------------------------------------- Message by Paul Romhany (NZ) Last night I was honored to be invited and attend a very special event, along with about sixty other close friends and family of author Richard Webster. It was to celebrate the incredible achievement of his 100th Published book. Richard is a household name in the magic and mentalism community around the world for his books, tricks and DVDs, but is also one of, if not the world's leading author on New Age books. Richard's first published book was in 1972, fulfilling a childhood dream of becoming an author. His bestselling books include Spirit Guides & Angel Guardians and Creative Visualization for Beginners. He has appeared on TV shows around the world including Hard Copy, KTLA-TV (Los Angeles) and the Mike and Matty Show (ABC) in the USA. What an amazing celebration it was. Last night, thanks to Alan Watson and Gene McCarthy of International Entertainment, the guest artist for the special event was none other than Michael Finney, who was joined by his lovely wife Lori. I wish every magician in the world could have watched that performance last night, because it was one of the most professional, most entertaining and for me educating experiences of my life. Michael is such a sincere person who has this incredible charm about him that you instantly want to like him - and you do! His opening thirty minutes of straight stand-up comedy was a lesson in timing, great material and perfect delivery. I decided to stand at the side of the room to take photos and to watch the audience - there were people wiping their eyes from laughing so much. I knew that I was in the presence of a comedy genius! To be honest I didn't get that many photos because I was shaking so much from laughing. At one point I noticed Michael's wife who was laughing just as much as everybody else. I thought for an act that can still make his wife laugh, after seeing him work for over 30 years, he possesses a quality about him that is truly special. Every single person left last night enriched by the inspiration of Richard Webster achieving an incredible milestone in his career, and the incredible natural high and buzz we all got from laughing so much by the performance of Michael Finney. Today there are people in New Zealand who will be walking around with a big smile on their face and a very warm glow in their heart, just thinking about the experience they shared last night. -------------------------------------------- 3. North American Championship of Magic 2011 -------------------------------------------- Message by George Schindler North American championship of magic to be held at S.A.M. Convention in 2011. Colorado Springs, CO. The Society of American Magicians will be hosting the North American Championship of Magic as an integral part of its annual four day convention to be held in Pittsburgh, Pennsylvania, July 13-16, 2011, it was announced today, 20th August, by Mark Weidhaas, S.A.M. President. In addition to its stellar line up of gala shows, lectures and other popular events for young and old magic enthusiasts, the convention will be holding up to six contests of magic to accommodate the 50 contestants who will be selected to compete for the title of North American Champion of Magic. Multiple winners across six categories of magic will be guaranteed a position if they wish to compete at the FISM World Championship of Magic to be held in Blackpool, England, in July 2012. All contest applicants must be a member of either the Society of American Magicians, the International Brotherhood of Magicians, the Canadian Association of Magicians or the Academy of Magical Arts. They must submit an application plus a DVD of their act by April 15, 2011 to be reviewed for an acceptable quality level by a preliminary judging panel who will decide the final acts for the competition. Contestants selected for the competition are required to be registered for the convention. A full description of contest rules, fees, requirements and procedures will be available on the S.A.M. website, www.magicsam.com shortly after Labor Day. The Society of American Magicians, founded in 1902, is the world's oldest international organization devoted exclusively to advancing magic as an art throughout the world as well as elevating its ethical standards for professionals, amateurs, hobbyists and collectors. -------------------------------------------- 4. Terry Seabrooke Needs Help -------------------------------------------- Message by Paul Daniels (UK) This is a message to all those who have enjoyed Terry Seabrooke's performances, learned a routine or technique from his scribblings, or just have a love for brother magicians. Terry has not been well. He has not been well for a long time and his operation will mean it will be a long time before he earns an income again. This a great business to be in until you are ill. If you can't perform, you can't earn but the bills keep piling up. Terry, and his wife Hilda, DO NEED HELP and to this end I have chased a couple of charities who are investigating whether they can help. Can YOU help? No matter who you are, famous or not, pro or amateur, please make a donation via PayPal to thepauldaniels@aol.com and mark your donation Seabrooke. I will create a list and although you may not receive a thank you believe me it will be gratefully received. Mind you... Terry will be mad at me for doing this... but the lad needs help... so let's do it. AND... if you don't trust me... send an anonymous donation direct if you can... whatever... Thanks for reading this, Paul Daniels -------------------------------------------- 5. Replacement Plaque On The Grave Of Robert Kudarz -------------------------------------------- Message by Michael Woolf (NZ) On Friday August 27th the Society of American Magicians represented by "Magicana" Editor Michael Woolf will unveil a replacement plaque on the grave of Thomas Driver ("Robert Kudarz" - SAM Member #167) in Wellington's Karori Cemetery. Driver died in December 1922 and in 1929 the SAM undertook responsibility for the gravesite. In the late 1990s the late Wellington magician Graham Grant installed a tablet with Driver's name and acknowledgment to the SAM. Subsequently the Broken Wand symbol attached to the grave was removed by some unauthorized person and this is now to be reinstated in a simple ceremony attended by members of Driver's family. -------------------------------------------- 6. Remarkable Magic #51 - Nick Lewin -------------------------------------------- Message from Nick Lewin (US) Recently I had the good fortune to attend Mitzi Shore's birthday party. Mitzi has been the driving force and creative compass for the world famous Comedy Store in Hollywood. The party was held in her gorgeous hillside home and was attended by a group of comedians ranging from the very famous to the newest 'Young Turks' from the Store. I was delighted to be in the company of Jeff 'Big Daddy' Wayne whose skill, tact and diplomacy have earned him a very special place in the heart of comedy. For those of you who are not familiar with the Comedy Store it has been the training ground for most of Los Angeles' top comedians. Mitzi has ruled her domain with a combination of instinct and judgment that have nurtured comedians in a very special way. They were actually trained! Trained in front of tough audiences who expected the very best from their comedians. Unlike the Magic Castle, the 'Store' gave its top ranking performers to work a short set once or maybe twice a week. You never knew whether you might be following Robin Williams, Richard Pryor or a new promising comedian from Idaho. It trained comedians in a very special way because their chief goal was to fine tune a five minute set and polish it like a gem for that Tonight Show set that might (or might not) be round the next corner. However, nothing was allowed to stagnate and everyone was expected to develop new material. I always say that when a comedian gets the timing, reaction and delivery of a joke just right-then he drops it from his act. A variety performer when he reaches that same point with a 'bit' or gag, heaves a sigh of relief and it remains in his act f-o-r-e-v-e-r! While I did perform at the Comedy Store, it was never a true home for me in the way that the Castle was. The Magic Castle allowed you the 'luxury' of Performing your show 21 times within a 7 day period. You would think that this would lead a performer to experimenting on a night by night, if not show by show basis. I have been visiting the Castle more recently than at any other time in 25 years since I stopped working there. With a handful of exceptions I am amazed by how static the performers material has been. It is as if performers expect to be congratulated because the act is still as good as it was last time! When I stopped performing at the Castle, I went on the road and headlined in Comedy Clubs across the country. One week was New Jersey, the next Atlanta and then on to Alaska. This meant that you really needed to be able to judge the mood of the crowd or be prepared to die the proverbial death. You try treating a late night audience in a New York club like a mid-week audience in Greenville N.C. and you are ready for the shock of your life, and not a pleasant one. You suddenly realize why real comedians are always scribbling in notebooks and tape recording their sets, it is how they improve and develop. The path to perfection (impossible of course) is to live up to the real message of Charles Darwin, which was not the often misquoted 'survival of the fittest,' but the survival of the most adaptable. At the very least a Comedy Magician should throw away his dependence on 'patter,' joke books, Robert Orben and 'heckler stoppers.' Even a newbie comic will hold you in disrespect when you do the same trick with the same patter that the magician they worked with the week before did. That is their definition of a hack, and in the comedy world that is not a place you want to be. Obviously there are similar themes in comedy such as relationships, traveling, childhood, etc. just as in magic there are similarly themed effects; The destroyed and restored whatever or the vanishing/appearing this or that. Just as in comedy jokes riff of other jokes, in magic tricks develop around other tricks. However, you can't let them remain static. I have featured a burnt and restored banknote in my act for years, but it has been a never ending series of both small and larger changes that has kept it relevant. If you are going to perform Comedy Magic, and not just be a magician who gets laughs, then you need to combine the tough love competitiveness of the Comedy Store with the cheerful glow of the Castle where people laugh at something because they know it is supposed to be funny instead of because it IS funny. Being a comic magician is kinda' taking the easy way out, if you want to really stretch a little (and improve your chances of working and making bigger bucks) then work at becoming a Comedian Magician, either that or keep well away from real comedians who understand the difference. Happy Birthday Mitzi! I really wish I had worked harder to become a true Comedy Store regular. It would have probably taught me in a year what it took 11 on the road to learn. In next week's Magic New Zealand e-zine I will try and distill what I have learned. Send any bricks or bouquets to nicklewin1@me.com -------------------------------------------- 7. Not Good Enough - #176 - Kyle Peron -------------------------------------------- Message by Kyle Peron (US) magic4u02@aol.com http://www.kyleandkellymagic.com "Not Good Enough!" Not the kind of phrase one tends to want to hear. Not good enough to make the soccer team. Not good enough to be accepted into a club. Not good enough to win the contest. All convey a sense of negativity and bring about a feeling of anger or worthlessness. Not good enough also carries over into the magical arts. Not being good enough can sometimes come about through comparing yourself to others of a higher caliber. It can derive from many sources or from many situations you find yourself in. But does this simple phrase always have to be bad? Does this phrase always have to be a negative thing? My belief is the exact opposite. Not good enough can actually be a powerful tool aimed at empowerment. It can be used as a weapon for improvement and advancement. But how can this be when the phrase itself is bound with notions of negativity? I think the only reason why this is a negative phrase is because you and I make it that way. Words are simply words and phrases are simply phrases. It is up to US to make something from them. We can choose to make the phrase a bad thing or change it entirely into a form of good. Not good enough can be a form of self-advancement. We must learn to realize that there are some cases when we simply have to say to ourselves "that is not good enough." We can become so complacent with our magic that over time, we seem to think a routine is good enough even when we know it is not. We may think our customer service is fine when we know it not to be the case. We feel our skills and talent is fine the way it is when we know it simply is not good enough. Let me share with you a perfect example of how the phrase "not good enough" can be a powerful tool to make oneself better. Say you are at a show and something does not play like it should but you never stop to address the issue and to work out the problem. You tend to think it is good enough the way it is. We all have to realize that saying it is NOT good enough is not a bad thing. it is what forces us to always strive to do better and to learn every time out. Not good enough can be what forces us to develop drive and ambition and to take the action to always move forward with our magic. It is about learning to be self-critical with what you do in every aspect of the magical arts. Many great people in history can be said to have adapted this philosophy. Thomas Edison is a person that comes to mind. Where would we be today if he simply gave in and allowed "not good enough" to be a negative thought process? Instead he allowed the term to empower him and push him forward in his pursuits. Edison went through close to 900 different ideas and filaments before he developed what was to be the light bulb. How many times do you think he said, "That is not good enough?" As a magician, I take what I do very seriously. I have a passion for the magical arts and a desire to give my audiences the best that I can. I am not happy without pushing myself to do better. I am not excited enough unless I am constantly learning. This phrase empowers my magic and me to always give 100% effort every time out. So next time you hear this phrase or hear yourself saying it, remember that it does not have to be a bad thing unless you let it be. Instead allow it to push your magic to levels you never dreamed of. As always, I encourage you the readers to let me know your thoughts. So if you have any thoughts on my articles or suggestions or comments, please feel free to e-mail me directly at magic4u02@aol.com. I would love to hear from you. Kyle Peron Magician and Illusionist www.kyleandkellymagic.com -------------------------------------------- 8. Tony Brook In Conversation With Tom Waldrop (Part 1) ------------------------------------------ Message by Anthony Darkstone Brook - Europe/USA Tom Waldrop is an excellent Magician. He is well versed in our Art, highly skilled and extremely talented. Tom is Secretary for The S.A.M Assembly 59 in Portland, Oregon and is highly praised for his wonderful work in making it an outstanding Assembly. It becomes obvious within moments of meeting Tom that he is a very erudite man with an interesting background coupled with a grand passion for the Art of Magic. An experienced and accomplished Performer, he knows and understands the true Art of magic. I first met Tom in 2007, when a mutual friend of ours, Michael Roth, then President of S.A.M Assembly 59, introduced us. Michael Produced my 'Illusions of Reality' Show and Tom was my opening act. I was backstage in my dressing room and obviously could not see Tom's act but could hear everything piped thru the speakers. The audience loved him and I remember thinking, "Damn, I gotta follow that". Tom's act was excellent. A true professional in every sense of the word. After my lecture in Portland, Oregon he was kind enough to write some nice words about me. We've remained good friends and he was definitely on my Top 10 list for this series. TB: Tom, great to catch up. Been a while. Thanks for taking part in this series. TW: My pleasure, Tony. Thank you for inviting me. TB: You are most welcome, Tom. Let me start by asking you about your role in the SAM Assembly. Apart from your duties as Assembly Secretary, you put together and publish "Flash Paper," the Assembly newsletter . share some of that with us.. TW: I was elected to the Assembly Secretary position and assumed office in January 2006. I had previously served in other offices including Assembly President for calendar years 2002 and 2003. My tasks as Secretary are fairly common: publish the "Flash Paper" one week before each meeting, prepare minutes after each Assembly and Board meeting, write the monthly report to be published in the M-U-M magazine, maintain the Assembly web site, originate and respond to correspondence on various matters, interface as needed with the S.A.M National officers and National Administrator, and respond to member questions and concerns. The monthly "Flash Paper" typically consists of four pages.the first page provides the agenda for the upcoming meeting as well as information about meeting activities: ShowTime theme, Teach-In topic, StarLight Magic presenters, and other pertinent items. The rest of the newsletter contains general information, magic convention schedules, announcements of upcoming magic lectures, and monthly articles by our Assembly President and Regional Vice President. In addition to all of the writing, I also help recruit and coordinate the folks who provide the Teach-Ins, the presenters for StarLight Magic, and members to compete in one or more of the three contests we hold each year. These are the annual competitions we put on: Will Desmond Close-Up Contest, Stan Kramien Excellence in Stage Magic Contest, and Leo Haglund Most Entertaining Card Trick Contest. The contests always attract members to the meetings. I suppose there are other things I do as Secretary, but this is enough for now. Since I'm retired from the work world, I have plenty of time to devote to these matters. (Hidden in this article are deliberate grammatical & spelling mistakes. After much hard work, my proofreader & I have included these to please those who enjoy finding them.) Send comments & corrections to:- tbrook47@gmail.com End - Part1 -------------------------------------------- 9. Franquin The Great Showman -------------------------------------------- Message by Dave Upfold Dave Upfold. Comedy Stage Hypnotist / Entertainer Francis Harry Quinn. Franquin the Great Showman, 22nd January 1914 The day the Final curtain come down on a Great Kiwi Entertainer. 5th August 2010 The Great Franquin, as he was known in the Golden Era of Theatre. He was by far the best know Stage Hypnotist of his time and even 50 years later people still remembered him. The normal saying today at Hypnosis Shows is "I remember when I was very young there was a Hypnotist that used to do shows in New Zealand, can't remember his name" However the moment I would say "Franquin" their eyes would light up and say "Yes he's the ONE" Franquin traveled with his show all around New Zealand, Australia and a number of other countries around the world. He used to play to sell out audiences. At some of the major theatres he would have to extend the show dates because he was that popular. One of his publicity stunts was to hypnotise a person and leave them in a shop window, in a main street for the day. People would knock on the window to try and wake the person up. Needless to say Franquin had them well and truly hypnotised so they would stay there until he brought them out of hypnosis. He will always be remembered as the Great Showman and he was 96 when he died. Link sent by Jon Zealando: http://www.classifieds.goldcoast.com.au/view/2037306853/ -------------------------------------------- 10. Michael Finney Lecture Review -------------------------------------------- Message by Mick Easterbrook (NZ) Last evening I went to the Michael Finney lecture having been the night before, to his show arranged by Richard Webster. It was good to see Richard back to his old self and started on his 102nd book! Michael's show you will read about elsewhere in this magazine suffice to say it was a blast. I'm sure when the lay public look at Michael they wonder if he is going to be 'THAT' entertaining. I mean, he has a mo, long hair, looks like a biker (he is!), in his brightly coloured suit he took charge and thoroughly entertained everyone present receiving a standing ovation. I thought the lecture would be good. It really was. How refreshing to have someone who was not about teaching tricks or selling products. The lecture was more of a conversation as Michael described his humble beginnings, starting with a very supportive father and going on to overcome obstacles in his path to his eventual success. I think it was probably a revelation to some of those gathered, how hard Michael has worked to be where he is right now. One of the most successful comedy magicians of the times and humble with it as if he can hardly believe it himself. He has an interesting delivery. Nothing left to chance, the talk flows like the magic, the control of the audience a marvel, and his handling of assistants, I'm sure, made them feel relaxed and engaged with his performance. I would say nobody except Michael Finney could get away with what he does how he does. There is not one difficult trick in the whole show but there is a huge amount of useful information he imparts. I can't wait for the book. How many magicians that you know who could close their act with Card on the Forehead? I can think of only one who has the balls, the misdirection and the audience control to be able to pull that one off! It can so easily turn to custard. A lesson in audience management right there. How many do you know who have their own foundation which has over the past few years, raised $900,000.00 for charity? I can think of only one. As Michael said, towards the end of his 'lecture' it has not been 'all glamour'. 14 years of comedy clubs and its associated pitfalls can put an end to a career very quickly. A lot of his friends did not make it through like he did. He acknowledged Lori his partner of many years as a huge support in his life. I'm sure we could have listened to his stories for most of the night but he was off on a NZ tour the following morning. Michael and Lori were welcomed by Alan Watson at the start and thanked at the end by Malcolm Silverman. As I have said before, there are not many I would get into my car, and drive for 2 and a half hours to attend a lecture for. Michael was worth every cent it cost in petrol, time and travel to spend time with. I hope you return Michael it was a blast! Oh, I've said that already. But... it really was. now.... where did I put that six card repeat....!!! Just joking! -------------------------------------------- 11. Fourth And Final Volume Ultimate Reflections ------------------------------------------ Message by Tony Griffith (UK) When Tony Griffith started writing his Reflections series of books a couple of years ago he had in mind a trilogy of books. However, he decided to write a fourth and final volume Ultimate Reflections which he has just published. Like the three previous volumes, Reflections, Further Reflections and Final Reflections it has been produced in both Comb Bound and Channell Hard Bound formats. Ultimate Reflections follows the pattern of the three previous books and contains some of Tony's commercial routines, items from his school Magic of Science shows, anecdotes and articles. Details of reviews, prices and how to order can be obtained by logging on to his web site www.tonygriffith.co.uk and then clicking on 'Publications.' A special 10% discount on prices shown is in operation until the 30th September 2010. -------------------------------------------- 12. Update The Innovention 2010 -------------------------------------------- Message by Paul Stone (US) The Innovention which is taking place at the excellent Suncoast Hotel & Casino in Summerlin, Las Vegas really has a stellar line-up of talent! Quite apart from two of Magic's Superstars Teller and Criss Angel, who rarely, if ever, appear at any Magic Convention, The Innovention also has a terrific line-up of several of the top Stars in Magic. Johnny Thompson, as well as being a magical treasure, is arguably the best all round magician in the world. Johnny is a great Stage performer, a terrific Close-up worker, a successful Tradeshow worker and is probably the world's most sought after Magic Consultant and has played a major role for Lance Burton, Criss Angel and more recently Penn & Teller. Johnny will be presenting the 'Johnny Thompson Hour' which promises to be a fantastic session. Johnny will also be appearing with Pam in their multi-award winning act, The Great Tomsoni & Company, which is a true classic. Gaetan Bloom is another world Star who is flying in from France specially to appear at The Innovention. Gaetan will be presenting his fantastic Lecture and will also perform his Stage Act, direct from 'The Crazy Horse' in Paris. Another wonderful performer. Add to that Lennart Green, Joanie Spina, Richard McDougall, Joseph Gabriel, Shep Hyken, Seth Kramer, Bob Kohler, Magic Al and many more surprises, and you'll realise just what an outstanding Convention this will be. Hot News! We have just added another fantastic session to The Innovention! As part of the Night Before Reception will be a 'Comedy Classic' event featuring three of best Comedy Magicians in the world, Mac King, The Amazing Jonathon and Johnny Thompson! Remember that numbers are limited, and the last remaining spaces are now filling up fast. So, if you don't want to miss this one-off and unique magical event, go to www.innovention2010.com NOW for full details, you might even be able to take advantage of the 'Special Offer' if you hurry by going to www.innovention2010.com/specialoffer . This offer runs out on 31st August. -------------------------------------------- 13. The Return of The Mandala - FREE ISSUE! -------------------------------------------- Message by Shawn McMaster Witness the return for FREE! "The Mandala is a fun read. Not just facts and dates, but insights and commentary on what's going on in magic today, from someone whose insights and opinions are worth hearing." --John Carney Get your free issue here: http://themandalamag.com/trial/ Be a part of the much anticipated return of magic's most unique periodical by downloading the first issue for FREE. An exclusive interview with Charlotte Pendragon appears in the first issue with Charlotte detailing, for the first time, what went on that fateful day last summer. Go to http://themandalamag.com/trial/ and see what everyone is talking about. The first issue of The Mandala was only released a few weeks ago, and already it is taking the magic industry by storm. It was written about in the July issue of MAGIC Magazine and featured on Dodd Vickers' Magic Newswire podcast. The Mandala originally started in the year 2000 as a small, underground magic publication. Unlike other magic trades in content and attitude, The Mandala quickly built a following of amateurs and professionals alike. The Mandala pulled no punches and offered basically unedited content from a wide variety of contributors. While magic effects appeared in its pages, The Mandala offered so much more: frank discussion about the state of the magic industry and its heavy hitters, performers' profiles and interviews, current news, and performers' journals were all part of what gave The Mandala its unique style. The Mandala ceased publication in 2005 when its editor and creator, Shawn McMaster, was offered an associate editor position for MAGIC Magazine. Now, after a five year absence, Shawn has decided to breathe new life into his publication with an even better version than before. The Mandala is a bi-monthly E-zine with some of the best qualities of the old publication, but with exciting new content and contributors. Taking advantage of technology that wasn't available 10 years ago, The Mandala is now a highly visual and interactive reading experience. Each issue will contain opinions, tricks, news, and insights all written in the style that the original Mandala was known for, but in a much more attractive and easy to read format. If you missed it the first time around, don't miss it now! Once again, download the first issue for FREE at: http://themandalamag.com/trial/ After reading it, subscribe for the ridiculously low price of $4.95 per issue. "I believe Shawn and his writing help fill the void of creative and informative voices in magic with his witty writing and expert reporting of all the real goings on in the world of illusion." --Jon Armstrong -------------------------------------------- 14. Been Banned From TheMagicCafe.com -------------------------------------------- Message by James George One of James George's close associates has been Banned from TheMagicCafe.com for standing up on behalf of James in regards to yet another blatant knock-off of his intellectual property and invention the ITR. Steve Brooks Banned James over standing up for what is right when a past knock off ITR came out. It seems that he must be getting paid from these companies that support and promote knock-off Magic Products is my only conclusion as to why he would do this kind of thing? Do we not have a voice in our Industry as Magic Creators? Am I supposed to just sit down and take this and remain happy? I really would like some help with this and to get some thoughts and input from you guys as to what I should do? This has really put me in a state of deep depression as this is the second time now. It is my sincerest hope that all of you will care enough about the Creators in our industry that you will personally send Steve Brooks a message letting him know how wrong this is and that you plan on supporting other Magic Forums that are more willing to stand up for those who bring new innovations to our Industry. Here are other options when it comes to the Forums you choose to hang out in: www.talkmagic.co.uk/ www.magicbunny.co.uk/ All we ask is that we have a voice and can point out knock-offs of our intellectual property when we are made aware of these realities? Why should the bad guys have a voice and not us? That is the question that needs answering? We have created a Boycott Group on Face-book and hope that you will join us in giving the creators in our Industry a voice so that we have the power to stand up to this kind of evil. Click Here to Join our Cause for Magic Creators everywhere! If Steve Brooks is your friend on Face book I hope you tell him what you think about this, or contact him directly at themagiccafe.com "All that is required for evil to prevail is for good men to do nothing." - - Edmund Burke -------------------------------------------- 15. The History Of The Zaney Blaney Ladder Levitation -------------------------------------------- Message by Walter Blaney (US) As it appeared in "Magicol Magazine", May issue, 2010 Reprinted with permission of The Magic Collectors Association From the Magicana blog: This long-awaited issue of the Magic Collector's Assn. "MAGICOL MAGAZINE" features the history of the world-famous Ladder Levitation by Walter "Zaney" Blaney. Walter recounts his inspiration for creating this wondrous illusion, who he has performed this illusion for, and who else has featured it in their shows and television specials. The story is a rich one full of laughs and loving memories. The date was January 25, 1973. I was standing in the wings of the NBC Studio in Burbank, California and I heard Johnny Carson say, "Would you please welcome the Texas Ambassador of Good Will, Walter Zaney Blaney." As Doc Severinsen's NBC Orchestra struck up a rousing "Deep In The Heart of Texas," I took a deep breath and walked onto The Tonight Show stage. Now 20 million Americans would soon see what I could do in the eight-minute spot I was given. First, a few minutes of comedy with my Vanishing Birdcage helped win over the studio audience of about 300. Then I invited a charming young lady up from the audience, Miss Irene Kay, who happened to be Johnny Carson's secretary. I proceeded to levitate her on my "Anti-Gravity Board," my original magic invention that Johnny had heard about through the magic grapevine. While Doc and his orchestra played an upbeat version of "That Old Black Magic" I succeeded in baffling everyone. After I took my bows, Johnny turned to Ed McMahon and said, "That was Walter Zaney Blaney. Now wasn't that a great illusion?" Ed replied, "Sensational, sensational, the best I've ever seen." It was one of the brightest moments in my sixty-year career in show business. As most magicians know, Johnny started his showbiz career as a magician in Omaha, Nebraska. After the show Johnny came over to chat with me and say he had been completely fooled. He told me his first illusion was the "Grant Chair Suspension", and I said, "Me too." Then he bought an "Abbott's Super-X Levitation". I again said, "Me too, but I changed things around and it eventually led to my levitation you just saw." Since I knew he would keep my secret, I offered to show it to him backstage. Johnny was delighted with the offer. He had the curtains closed so I could privately show him the prop and the hoop. He was absolutely intrigued. Needless to say it was a thrill for me, as Johnny was one of two of my favorite show business idols. The Tonight Show success made it easy for me to get booked on the other TV talk shows: The Merv Griffin Show, then floating Dinah Shore on Dinah!, Kitty Carlisle on To Tell The Truth, and magician Chen Kai's wife, Carmelita, on the big Siempre En Domingo program in Mexico City, which aired all over Latin America. Another highlight with my Ladder Levitation was opening for Bob Hope, my other main idol in show business. I did two nights with him at the Los Angeles Shrine Auditorium, packed with 5,000 people at each show. As a kid I grew up loving Bob Hope on radio, in movies and on TV. You can imagine how it felt to walk off stage after my act and levitation, and hear the offstage emcee say, simply, "Ladies and Gentlemen, Mr. Bob Hope." The big orchestra played him on to "Thanks for the Memories." Bob's first words were, "How about that Zaney Blaney from Texas? I'm watching backstage and I don't see how he did all those things." They were nights to remember, and all because of my favorite trick, the "Zaney Blaney Ladder Levitation." Here's the story of how it all began. I was born on Thomas Edison's birthday, February 11, in 1928. In my childhood years Edison became my idol; I wanted to be an inventor when I grew up. Then at age nine I saw Harry Blackstone Sr. at the Majestic Theater in Dallas, Texas with his show of 1001 Wonders, and from then on I wanted to be a magician. As it turned out, I became both. In 1945 Blackstone returned to Dallas to present his two-hour concert show, complete with a live orchestra in the pit, at the Texas State Fair Auditorium. He featured the "The Dream of Princess Karnac", and it was the most beautiful illusion I had ever seen. It made me fall in love with magic, and the levitation effect in particular, for the rest of my life. For my first stage illusion I saved my money and spent two dollars on the plans for the "Grant Chair Suspension". I couldn't afford the $15 price for the prop itself. But with some scrap lumber and two old wooden folding chairs, I was able to construct the apparatus myself. It was a good trick, and I used it all through my high school shows and on into my college years. In my third year of college, in 1948 at the University of Texas in Austin, a group of fellow magician-students created a magic club we called the "Texas University Magicians Assn." Together, we presented a big stage show in Hogg Auditorium on campus. I had just thought of a new method of doing something similar to the "Abbotts Super-X Levitation", and this would be the perfect place to try it out. I built the prop out of used water pipe and some discarded plywood. In one week I had my "pipe dream" completed at a cost of less than ten dollars. It was a big improvement, I thought, as it allowed me to walk away from the floating lady and all around her. My new version duped magicians and lay people alike, and I successfully featured it in my shows for the next fifteen years. Then, one night in 1954, while performing my suspension I was struck by a thunderbolt of inspiration that would make the trick completely different. What if I did THIS instead of THAT? I knew that good ideas are sometimes born during the heat of a performance, and at the end of my show, I might not be able to remember what idea I'd had. Luckily, I was closing with the suspension. I literally ran off stage to get a paper and pencil and draw out my idea. The next month was spent making a small balsa wood working model of my new suspension. I built a small stage platform, two tiny stepladders and used a rather ugly little 8-inch tall, 12-ounce, plastic doll for the volunteer. Barbie Dolls wouldn't come on the scene for another five years. My wife, Joyce, and I often hosted parties for professional magicians appearing in Houston. Word on my "doll illusion" had gotten around among magicians and they all wanted to see it in action. I would roll out my table and set the props on it in full view and then make the doll float. To a person, they were always amazed. Among the believers I made were Mark Wilson, Tom Palmer, Aldo Richiardi, Celeste Evans, and Don Alan to name just a few. The inevitable question was, "When are you going to build the real thing?" My answer was that I was working all the time, on the road flying to shows across the country, and didn't have the time or the money then to engineer the life-size illusion. Ten years later, in 1964 I thought I had saved enough money to start the serious work of building my invention. That project turned into a year-long series of experiments. Starting over and over, without success, I soon found that my "dream illusion" was probably not to be. It was a lot harder to make a 120-pound lady float in the air than a 12-ounce plastic doll. I made so many wrong decisions. But I kept going, night and day. Sitting in restaurants, flying on airplanes, I always had my pen and tablet in hand trying to solve the impossible. After each trip home, my newest solutions were put to the test. I only had my garage as a workshop, and no electric tools save one battery powered screwdriver. But as soon as I solved one problem, it seemed to create two more. But the illusion became my "magnificent obsession". I learned it had to be perfect, or it wouldn't work at all. Finally one bright and beautiful day in April 1965, it was finished. All the problems had been solved. I fine-tuned everything and knew it would from then on always work perfectly. I had spent nearly all of my spare time for twelve months, and most of my savings- $13,000 in cash. That would be $88,000 in today's dollars. I want to thank my daughter Becky Blaney who laid upon "that darn board" over and over as I was inventing it. She would often ask, "Oh daddy, do I have to?" I always smiled and said, "Only if you want to eat." My younger daughter Carol also was a guinea pig on the board when Becky was unavailable. If neither was at home, I used my set of Encyclopedia Britannica. I used to joke it was probably the smartest "floatee" I would ever have. Immediately my new illusion was booked to premiere at the July 1965 IBM convention in Des Moines. I was anxious to debut the suspension in front of a live audience. At the "Magic Roundtable" lunch we had every Saturday noon in Houston, I asked the dozen or so magic friends attending if they had heard of some sort of trick levitation hoop. No one had. So it was back to the "invention mode" again, and I soon figured out a possible solution. Plans were drawn up and I went to a huge corporation that built a "lot of stuff " for NASA. In two months time we finally got a hoop that worked perfectly. There was just enough time to stick it in my car along with my illusion and head for Iowa. The following month, Abbott's booked me for their Get-Together in Colon, Michigan. Again there was the same response as before. It was the main topic of conversation among the magicians late into the night. By then I knew I had a good trick for public shows. It frankly astonished me that magicians would all actually be totally perplexed as well. I learned years later that after that performance at Abbott's a teenage magician from Canada named Doug Henning sat for hours with his friend Dennis Loomis in the Colon, Michigan Laundromat until 3am trying to reverse-engineer the suspension. Coincidentally, at that same time just two blocks away, I was showing the apparatus to my friend and magic idol, Jack Gwynne. We drove away from the crowd and set up the props under the streetlight by the Colon post office. Jack loved it and played with it like a kid with a new toy. He was the first person, and the last, that I showed my method to for many years to come. The decision was made to keep the modus operandi from everyone. At magic conventions the rule was adopted that no one could view my illusion from backstage. If another act on the bill wanted to see my trick, they had to view it from the audience. And there were many audiences that saw it. I performed the suspension at about fifty magic conventions over the next dozen years. In September 1965, the annual TAOM was staged in Dallas. The Dallas Daily Times Herald sent a reporter and a photographer to see me perform my new illusion. The following morning there was a feature story with a three-column photo of my levitation on the top half of the front page in the Sunday edition. It got the top spot because I had made friends with a passenger on a recent cruise ship where I had entertained. He loved my act, and as it turned out, he was the editor of the Times Herald. I'd been a carrier for his paper all through my high school years, a fact he remembered. It's sometimes not just what you know but who you know. The next year, I worked the PCAM Convention in Santa Rosa, California. By then it seemed the whole magic world knew of my original levitation through magazine coverage, and PCAM attendees were waiting in anticipation to see it. (As an aside, I hope you will forgive a Texan his right to brag a little here. That's what Texans do.) That night was the very best response I had received to date, and I got all the curtain calls I was almost coming to expect. After the crowd quieted down, British emcee Harold Taylor said, "That, ladies and gentlemen, for my money is the most amazing illusion I have ever seen in my life." The crowd was on its feet again and erupted a second time. I remember this night in particular because years later I secured an audiotape of that appearance made by show producer Dick Zimmerman. Dick ran across it in his files and sent me a copy, for which I am ever grateful. Sometimes if I feel a bit blue, I can listen to that audience responding to my "baby" that night in Santa Rosa, and I can be reminded that at least one night things went off in grand style. In 1970 at FISM in Amsterdam I levitated the beautiful Magic Castle princess, Irene Larsen, another great moment. Magicians from around the world told me they had come to FISM specifically to see my illusion that they had read so much about. NASA had opened in Houston, and several of the brass saw my levitation at a convention where I appeared, and were stunned by it. They arranged a special showing of my trick for all the space scientists and astronauts. I levitated Pat Collins, wife of Mike Collins, the pilot of the first moon landing. Afterward, I overheard astronauts Jim Lovell and Thomas Stafford say to each other, "There's no such thing as an Anti-Gravity Board." Then Frank Borman said, "But Walter has one, and it works." They all wanted to just touch the board to see if it was real. Many asked if it were something that could be used in the U.S. space effort. Twenty-five years later, Admiral Alan Shepard asked me to appear for a reunion party of the original seven Mercury astronauts, the "Right Stuff " guys, and their wives. It was an intimate party of just eighteen, and I floated Scott Carpenter's wife Maria just five feet from the group. They invited me to stay after the show and just be "family" with them the rest of the evening. It was another unforgettable night for me, sharing it with those brave American heroes, and all because of my "Blaney Anti-Gravity Board." In 1981, a young David Copperfield called and asked if I would build and sell him a copy of my "Ladder Levitation" to use on one of his TV Specials. I explained I was flattered that he asked, but it was my signature trick and I preferred to keep it for myself. Undaunted, each succeeding year David called again asking if I might change my mind. When he called in 1985, David was by then the megastar in magic and had taken the art to heights unknown before. That year I finally said, "Okay, David, let's do it." I explained I was honored that he liked it so much, that I now felt I had had my fun with it exclusively for over twenty years, and that I would be happy to build and deliver one to him in time for his 1986 China Special. I got busy and organized a real workshop, this time buying all the necessary power tools. When the first copy was completed David flew me out to his apartment near the Magic Castle in L.A., and I set it up in the small living room after moving the furniture out of the way. Magician Ray Pierce came over with his wife, and I floated her for Copperfield to see. He looked at me, and having already paid for my illusion, said, "Walter, I own that trick, and I'm still fooled. Now show me how to do it." It was such a pleasure teaching him the moves for the next few hours. When his special aired he surprised me, and everyone, when he lip-synched Frank Sinatra's recording of "Come Fly With Me" while he levitated a lady from the audience in the air at the beautiful American Embassy in Beijing. This clever and unique presentation on David's China Special is the best I've ever seen. David kept my illusion in his road show for the next four years. When he appeared on stage at beautiful Jones Hall in Houston he invited my family and me as his guests, seated front row center. It was a unique experience for me since I had never seen my levitation done live before - from the front. As I watched, I remember whispering to my mother, "Darned if it isn't a pretty good trick." David then told the audience that I was the inventor of the trick they had just seen, that I was in the audience, and he asked me to, "Stand up and take a bow, Walter." I thought this was a very kind thing for him to do. I felt ten feet tall as I stood up in front of my family and friends and David's packed house. Another pleasure was getting to show my illusion to some of my boyhood magic idols. One was The Great Virgil. He and Julie had appeared several times during my college days in Austin with a magnificent stage show they had toured the world with. Virgil was an inventor of magic and a great craftsman, so his accolades meant a great deal to me. Willard the Wizard had a sensational big tent show and made his work seem like "real magic" through sheer force of personality. I never thought I would become close friends with this great man. But he adopted me as part of the Willard family. After retirement he lived in a small home in San Antonio. I set up the "Ladder Levitation" in his living room. He sat and watched me float his daughter Gloria just a few feet away. He chewed on his cigar trying to figure things out. Afterwards I showed him my invention, and he was delighted, playing with it like a kid, just as Jack Gwynne had done years before. Once my illusion was seen on the various TV shows, kinescopes and video recordings were made and passed around. A few magicians could now watch it over and over, in slow motion, and glean parts of the working. But until that began, no one that I know of ever had the mystery figured out, from 1965 to 1986. That 21 year spread - or so I am told - makes it the stage illusion whose secret remained a secret for the longest of any illusion in magic history. I have no way of knowing this for sure. When I first introduced my illusion I called it "The Blaney Anti-Gravity Board". For years I clung to that name. However in the magic community everyone kept referring to it as "The Blaney Ladder Levitation." There was the natural alliteration of the "L's" in "Ladder Levitation". Also, for a long time the magician's differentiation of the words "suspension" and "levitation" had pretty much vanished since Abbott's had called their suspension the "Super-X Levitation" since the 1940s. When I am personally performing the illusion I still refer to it as my "Magic Anti-Gravity Board... a board that can float in the air. If you lie upon the board you will be floating too." Lance Burton still uses that patter as well when he performs my illusion. I have written of some of the highlights of my shows for magic conventions and show business people. But the vast majority of appearances were for lay audiences at hundreds of hotel banquet shows around the country. There are dozens of anecdotesI could relate. At the conclusion of a show for the IEEE, The International Electric and Electronic Engineers Association, for example, I was busy packing up the props from the three-foot high hotel platform. While the big crowd was away dancing to the orchestra, I noticed one man standing close by watching me intensely as I put the props into their cases. He then walked up and said, "You have a great trick there, but I know how you did it." I told him I was delighted and asked him how he managed to figure it out. He said he was an electrical engineer. I said, "Of course, I should have guessed that. Do you think I am using AC or DC current?" He said he supposed it was AC. I told him I had not left the platform since doing my trick and asked him to look around the area to see if there were any electrical wires. Of course there were none. He said, "You mean you are using DC?" I then asked him how many 12-volt car batteries hooked in series would it take to float a 120 pound lady three feet in the air for two minutes? He agreed it would be a lot. I told him he could look under the platform on the backside that was undraped. There were three one-foot high platforms stacked on top of each other to make the three-foot high stage. He stared into the upper level, then bent down to look in the second level, then lay on the floor to look under the bottom platform. He said, "Hell, there aren't any batteries there at all." He was absolutely bewildered. My early "flash of inspiration" in 1954, fifty-six years ago, has helped make my reputation, and a sixty-year career in show business a lot more fun. Now I have taught my magician daughter Becky Blaney to perform my "Ladder Levitation." As I mentioned earlier, she was the first to float on "that darned board." Now it's her favorite trick too. Meanwhile I have just retired from performing and am now writing a book on my experiences. I plan to sell my original "Ladder Levitation" to the highest bidder. I'm in no hurry. I consider it almost like a fourth child, and I will make sure it gets a good home. And yes, it still works perfectly, every time, and looks in great condition. I am also selling my original levitation hoop which is also still in perfect condition. They are packed in the original fiber cases that they have traveled in for forty-five years to all parts of the world. Since 1986 I have built and sold about 200 of my levitations. This past year I taught illusion builder and designer, my friend Dan Summers, how to build my illusion for me and market them. Dan is a great craftsman, and I am pleased to say that they all look and work perfectly too. My second-last appearance with the original "Zaney Blaney Ladder Levitation" was at the Ft. Worth TAOM Convention in 2008. My friends dedicated that convention to me, for both my long performing career and for the inventions I have shared with the magic world. There are many friends and people along the way who helped me with my "Ladder Levitation" - on stage, backstage, in the workshop, the ladies who floated in the air for me, and those helping appear on so many TV shows. Many of these friends I was able to personally thank. But there is one fellow I never got to say thank you to, and his contribution had a great deal to do with the success I had with the illusion. I never even learned his name. Who was he? An amateur piano player. I started this story telling of my experience on The Tonight Show. There was a behind-the-scenes preamble to what happened in the studio at the early afternoon camera rehearsal. I had my props all set up in place. I knew there would be no orchestra at that hour, so had a tape recorder on hand to play my music. But no taped music was allowed, not even at camera rehearsal - union rules. But without music, the trick is dead. I looked around and there were now over a hundred technicians, secretaries, NBC employees, the show executives, all gathered to watch me perform "the trick that even fools magicians". So this was it. This run-through was all-important. If I failed to impress now I could be cut from the show that night. And I had no music. While lights and cameras were being positioned I overheard a man at the piano playing a few tunes. I approached him and quietly asked if he were a studio musician. No, he was just a technician on coffee break. A few quick questions of desperation, and the answers came back. Yes, he played the piano by ear. Yes, he thought he could play "Lady of Spain". Yes, he'd be glad to play it if I asked, that is, if he were still there on his break. Just then came the words, "Ready for Blaney!" I asked if any music had been arranged. The answer? "No, just run through it without music for the cameras." I asked if the gentleman at the piano that was playing during his coffee break could continue, since a bit of noise or any kind of sound would be preferable to silence. After a few scary moments of discussion over union policy, they agreed to let the man continue playing. I was saved. I smiled at my new friend at the piano, and he burst forth with the most magnificent rendition of "Lady of Spain" I had ever heard. I was so inspired that I waltzed through my levitation routine like a matador. The crowd cheered and awarded me both ears and the tail with their applause and olés. I knew I had won. - Walter Blaney -------------------------------------------- 16. Magic New Zealand e-zine Archives -------------------------------------------- Back issues of the Magic New Zealand e-zine go to: www.watson.co.nz/fezine.html When you enter the archive the e-zines are in issue order and are coded. Eg 001 Nov06 1999.txt first three numbers (001) denote issue number, then the date (Nov06) and the last figures the year (1999) -------------------------------------------- 17. Privacy Policy and Copyright Notice -------------------------------------------- Our subscriber list is NOT made available to any other companies or individuals. We value every subscriber and respect your privacy. You can subscribe to or unsubscribe from the Magic New Zealand® E-zine at www.Alan-Watson.com Magic New Zealand® E-zine is published each Sunday. The opinions expressed therein are those of the individual contributors and not necessarily those of Magic New Zealand®. Neither Magic New Zealand® nor Alan Watson vouch for the accuracy or reliability of any opinion, message, statement, or other information reported via Magic New Zealand® E-zine. Subscribers to this publication and authors who contribute to it by doing so agree they will not hold Magic New Zealand® or Alan Watson, jointly or individually liable or responsible in any way for the opinions expressed therein. Magic New Zealand® reserves the right to alter, correct or disregard any articles submitted. Readers are encouraged to submit timely articles or news items which may be of interest to subscribers. By submitting articles to this e-zine, the authors grant Magic New Zealand® the right to publish such articles and such authors confirm their copyright of the material submitted. All works published by Magic New Zealand® are protected by international copyright legislation and articles must not be published for profit by anyone other than the individual authors without the written permission of Magic New Zealand®. Notwithstanding the foregoing, this publication may be freely redistributed, but not sold, to other magicians if copied in its entirety, including the copyright notice below and the above disclaimer. © Copyright 2010 Alan Watson