* * * * * * * * * * * * * * * * *
* Magic New Zealand®
* Proudly sponsored by International Entertainment Ltd (New
* * * * * * * * * * * * * * * * * *
Issue Number: #1540
Date: Sunday 27th October 2019
Editor: Alan Watson QSM
Hi here is the latest news
1. Editor's Message
2. The Magician & The World's Greatest Performers
3. Post FISM Tour Of Quebec And S.
4. The First Showman
5. S.A.M. Preview Of November M-U-M
6. The Jackal - John Carey #58
7. The Orchante Saga - Beginnings
8. E-zine Archives
1. Editor's Message
Losander, master of object levitations, presented his first
New Zealand lecture here in Auckland on Wednesday night
which was a huge success. He's a creative genius and all
our club members found his lecture very inspiring. He will
continue through New Zealand lecturing in Wellington, Christchurch
and Dunedin. We highly recommend his very informative and
you would like to read the Magic New Zealand e-zine in HTML
go to: http://www.magicnewzealand.com/ezine-archive/2019-Jan-to-Dec-2019/1540-Oct27-2019.html
you would like to write a regular column for Magic New Zealand
or have some magic news drop me a line:
2. The Magician & The World's Greatest Performers
Message by Norbert Ferré
am glad to announce the creation of a new show, for which
I will be the director:
"The Magician & The World's Greatest Performers".
show will be performed on 13 and 14 December 2019 at "La
Sucrerie - Wavre" in Belgium.
do not hesitate to pass on the message to your friends!
a lot and hope to see you there.
3. Post FISM Tour Of Quebec And S. Ontario
Message by Joan Caesar (Canada)
FISM Tour of Quebec and S. Ontario August 1-7, 2021
for FISM WCM 2021 at www.FISMQuebec2021.com
For more information about the tour contact Joan Caesar:
Previous days described in last week's e-zine: Quebec City,
bison farm tour Montreal, Ottawa, dinner cruise on St. Lawrence
August 4: Kingston, Kitchener/Waterloo (B,D)
Breakfast in the hotel
Travel to Waterloo via Prince Edward County where you will
visit a local winery, Huff Estate Winery, in this micro-climate
Continue to St. Jacobs/Elora stopping along the way for
lunch on your own at a convenient rest stop area or Tour
of St Jacobs (shops, Mennonite info centre) and/or Elora
(gorge/shops) Stop in either place for lunch
Arrive in Kitchener/Waterloo and overnight at the Redisson
Dinner in Kitchener at the Charcoal Steak House.
August 5: Waterloo, Niagara Falls (B. D)
Breakfast in the hotel.
Visit a Mennonite Farm via horse and wagon, departing from
the St. Jacobs Farmers' Market. http://stjacobsmarket.com/
This farm is a mixed farm, also has a sugar bush but harvested
in the old-fashioned way. This family is well-known for
their quilting skills and have quilts for sale in a small
on farm sales area.
Lunch on your own at the Farmers' Market
Travel to Niagara Falls, visiting the famous small English
style town of Niagara-on-the-Lake.
Visit a large-scale winery located in the lower plains area.
This region is at a latitude the same as Bordeaux France
and Northern California, with perfect soil and climate to
produce Ice Wine as well as some of the world's best red
and white wine.
Visit Chateau des Charmes Winery at the edge of the escarpment.
Continue along the Niagara River and the Niagara Gorge,
stopping at the precipice at the start of the Escarpment
and location of the start of Niagara Falls. http://www.fromtheboscfamily.com/chateau-des-charmes
Check into your hotel after a drive by of the Falls
Dinner at the Elements Restaurant located within 30 metres
of the Horseshoe Falls and with the best view in Niagara
of these amazing waterfalls.
Free time at night to see the illumination of the Falls
and Fireworks over the Falls.
week: Part 3 of the tour, including a visit to Greg Frewin's
theatre in Niagara Falls
4. The First Showman
Message by Andrew Van Buren
First Showman - a new book written by New York Times Best
Selling author Karl Shaw comes out in November. It tells
the story of Philip Astley, who was the Original Ringmaster,
Military Hero and Creator of the modern-Day Circus who just
so happened to also have published books on & performed
magic, even in the mid-1700s performing trickery with guns
fascinating read with never before published information
about this amazing lost in history creative legend. There
are pre order discounts for this amazing new Hardback book.
Release date 15th Nov. Available from UK shops WH Smith,
Amazon, Waterstones, Bookdepository, Amberley, or online:
5. S.A.M. Preview Of November M-U-M
Message by Lindsay Smith (US)
You may have trouble keeping up with M-U-M columnist and
PNP Dal Sanders cover feature article "Magic and Shabum"
- not with Dal's writing, but with the energy, accomplishments,
and activities of Emanuel Soltero, better known as Shabum.
He's a national figure (national treasure among kids) in
his native Puerto Rico, combining magic, puppets, and education
in a television show that's been running for 21 years, and
is now a regular feature on the Puerto Rican network, Telemundo.
That's just the beginning. But has he performed at The Magic
Castle? Yes. The White House? Yes again. Read more about
this enthusiastic, entertaining educator beginning on page
In "Magia con Shabum," Emanuel Soltero details
two routines that he uses in his kids' shows. The Vanishing
Ketchup Bottle and My New Living Magic Table both use onstage
volunteers and get the audience involved and laughing.
"FISM Winner Bill Cheung" who was crowned the
World Champion of Card Magic at the 2018 FISM convention
is Busan, Korea, is interviewed by Kien Meng Wee. Cheung
describes his award-winning act, explains how the act developed,
how he brainstorms and practices, and shares his emotions
about competing at FISM.
SAM National President Steve Spence notes that "
strength of our society has always been its members."
That's one reason he enjoys traveling to visit Assemblies
and meeting members. He recounts recent trips to Louisville,
Vancouver, and Seattle. Steve highlights two young magicians
from Louisville who performed on the 76th anniversary of
It's Magic, the annual magic show produced by the Louisville
SAM's esteemed Dean George Schindler takes us back 80 years
to the beginning of The Clinic, an informal Parent Assembly
#1 group session that became a regular after-meeting event.
In "The Dean's Diary," George explains the simple
rules and how it evolved into The Open House. After 80 years,
the original idea is still alive and viable.
Malinda R. Lodge tackles the topic of magic and gender in
this month's "Guest Editorial." She begins with
the early history of magic, its fall into negativity (ritualized
magic and occultism), and its emergence onto mainstream
stages as a form of entertainment. Malinda notes that this
is a time of transition, and offers suggestions on how we
can drive the success of our art.
"Illusions of Grandeur" columnist David Seebach
opens with his observations on directions - printed instructions,
DVDs, and the (dreaded) digital downloads via a supplied
code. Often, experience from someone who has performed the
trick numerous times is the best teacher, as David explains
using the Broom Suspension and the Dollhouse illusion as
After 36 months, "No Smoke, No Mirrors" is David
Corsaro's penultimate marketing column for M-U-M. For his
final column in the December issue, he promises an offer
for an exciting, free book and another surprise. One of
David's collaborators on marketing projects is Susan Spaulding
who agreed to share her thoughts on mistakes that start-up
companies make. David closes with thoughts on social media
Kien Meng Wee, a.k.a. Mr. Bottle, discusses photography
and videoing of your show and offers plenty of ideas, gags,
and photo opportunities to help get your name in front of
as many people as possible through today's many social media
outlets. Basically, our "Magic in a Bottle" columnist
is talking about free publicity.
It being the Halloween season, "On Second Thought
columnist Paul Draper was in the thick of performing haunted
magic shows in October. Accordingly, he offers a wonderful
Living and Dead Test for your consideration. It's too late
for your use this year, but Paul suggests several variations
to use throughout next year. Definitely for Halloween 2020.
If you have questions about social media video programming,
as one reader did, "TV or Not TV" columnists Cinde
and Dal Sanders deviate from their regular column on traditional
television programming to explain many of the ins and outs
in this emerging field.
Brian T. Lees offer the opinion in this month's "Taking
the Stage" that most magicians cannot get to the next
level (the best magic performance possible) on their own.
It involves recording your act, reviewing it, and rehearsing
it again. Then add a support team: neighbors, family, friends,
and other magicians to critique your work. Finally, add
a local expert, like a local drama coach.
This month, our well-posted reviewers evaluate five tricks,
two books, and one miscellaneous item in "Shop Talk,"
one of the magazine's popular go-to features. Two of the
items in November's lineup received lavish praise from our
reviewers. We suggest you turn to this column to see if
one or both are something you need. Christmas is coming.
"Tech Tricks" columnist Bruce Kalver suggests
three diverse tech products and an idea to consider, and
offers a tribute to the late magic app developer Max Krause
who was killed in a tragic bicycle accident.
In "The S.A.M. History Project," David Goodsell
follows up with more information about W.D. LeRoy, thanks
to some extensive research by Brent Morris who saw the photo
in the July 2019 M-U-M. David follows that with information
from an article by G.G. Laureyns in the July 1916 Sphinx
about an early SAM emblem, or amulet.
Norman Beck, who knows a thing or two about pot odds, pays
an undeserved $87 speed trap ticket and walks away smiling.
He explains it all in this month's "Thoughts on Thinking"
column. Follow his thinking as he takes you through the
As always, other go-to favorites are here, including 20
idea-filled pages of "Assembly Reports" to consider
for your Assembly, Editor Alan Howard's "Preshow"
column, Alan Wassilak's colorized "Basil the Baffling
and Chloe," and PNP Dick Bowman's "Magic IQ."
There's also "Broken Wands," "SAM News,"
and "Diversions." Our valued advertisers always
appreciate knowing that you saw their ad in M-U-M.
6. The Jackal - John Carey #58
Message by John Carey (UK)
follows is a structural description of an effective and
fooling mental routine using playing cards. I have deliberately
left out specific details of my personal script and presentational
approach, in favor of a more functional explanation. I encourage
you to learn the technical aspects of this effect, and then
craft a presentational framework suitable to your own personality
and sense of aesthetics. Although this routine can be performed
impromptu with a very small amount of memorization, it is
made slightly easier by preparing a deck of cards in advance
of the performance.
any three cards you can easily remember. It doesn't matter
what they are, but I recommend using three cards that have
nothing in particular in common. (I always use the three
of clubs, the six of hearts, and the king of diamonds.)
Place these three cards on top of the deck, and you're ready
to go. (Should you choose to go the impromptu route, simply
glimpse and memorize the top three cards at any opportune
moment. It is not necessary to remember their order - only
ready to perform, remove the deck of cards from the case,
and spread through them, face up, to show the random distribution
of cards. Turn the deck face down, and give it an in the
hands riffle shuffle, retaining the slug of three cards
on top. When I do this, I usually say something like, "Now,
I'm not great at shuffling, but you can see that they really
are well mixed." I then follow with a standard Ose
false triple cut, while saying, "And we'll give them
a cut as well."
to the participant that you will turn your back, and that
he is to deal the cards face down into three piles. Gesture
for him to pick up the deck, turn your back, and wait for
him to start dealing. When you're sure he has dealt at least
the first three cards, tell him (almost as an afterthought)
that he doesn't have to deal the cards rotationally, but
he should instead deal them haphazardly. It is not important
for the piles to be perfectly even. The point of this is
that by dealing the cards in a haphazard fashion, it further
randomizes their distribution.
the participant has finished dealing, comment that there
is no possible way that you could know exactly what cards
are in any particular pile. (This is essentially true, with
the exception of the bottom cards of each packet - your
original three key cards.)
him that he can even switch the packets around on the table.
(Technically, this accomplishes nothing, although it appears
to add one more layer of fairness to the procedure.)
ask him to mentally select any one of the three packets.
When he has made up his mind, ask him to pick it up, and
shuffle them some more. Make the comment that you couldn't
possibly know which packet he has chosen, much less the
cards it contains. He will have to agree. Remind him that
the cards were not only shuffled before we started, but
due to the random dealing, and the fact that he shuffled
again prevents you from knowing anything at all about their
order. Tell him that we need to have a card chosen totally
at random, in a manner that is completely free of influence.
To this end, instruct him to give the packet a complete
cut, and to peek at the card he has cut to (the top card
of his packet). Stress that it is imperative for him to
remember this card.
this has been acknowledged, tell the participant to reassemble
the deck by "sandwiching" his packet in between
the other two, and to square them up well after doing so.
(Since both of the two tabled groups possess potential key
cards on the bottom, it is not necessary to specify which
packet goes on top, and which goes on the bottom. This further
throws the participant "off the trail".)
once the deck has been reassembled and squared do you turn
around to face him. (Note that the process by which the
deck has been reassembled guarantees that the thought-of
selection rests directly below one of the three possible
key cards. Another of them will lie somewhere beneath the
selection, and the third will be on the very bottom of the
the fairness of the procedure, and explain that your task
will be to determine exactly what card the participant is
thinking of. "But first," you say, "let's
give these another shuffle."
this point, you have the option of false shuffling the deck.
If you can do a very convincing false shuffle that mirrors
the genuine shuffling technique you used at the beginning
of the routine, by all means use it. This has the advantage
of maintaining certainty that the thought-of card lies directly
next to the topmost key card in the deck.
if you like to live on the edge (as I do), you can take
the deck, and give it a genuine riffle shuffle. Though it
is genuine, there are certain special criteria to which
you must adhere. The selection and its corresponding key
card lie approximately one third of the way down from the
top of the deck. In dividing it to perform the shuffle,
you need to make sure that you do so near the midpoint -
maybe even slightly lower (by a card or two).
when you riffle shuffle the portions together, endeavor
to make it as even a shuffle as possible. It is not necessary
to do this with the precision of a faro, but the closer
you get to that "ideal" the better. (With practice,
you'll discover that it is quite possible to riffle shuffle
a deck in such a way that cards from the opposing halves
fall either alternately, or in clusters no greater than
riffle shuffling the deck, execute an additional Ose false
cut, to give false continuity to the "mixing"
this point, the selection will be found via estimation and
subtlety. Before actively through the deck to locate the
selected card, you must spend some time engaging in an apparent
"process" of reading the participant's mind. (This
is true whether or not you've opted to use a false or genuine
shuffle, of course.)
the participant to concentrate on his card, and pretend
to be receiving an impression of what it might be. Here,
you must act as if you're somewhat uncertain, in order to
set up a framework for how to handle certain variables that
can occur when you attempt to locate his card. After a moment
of contemplation, hesitatingly say, "You know, I think
I'm just going to go with my first impression."
then pick up the deck, and begin to run through the cards,
apparently looking for the card you were "receiving".
Here, there are two issues that must be resolved; namely,
(1) how to identify which of the three possible key cards
is the correct one, and (2), due to the nature of the shuffle,
the thought-of selection can be any of the three cards that
are immediately to the right of the correctly identified
key card in the spread, but you will not immediately know
begin by taking up issue #1:
identify the correct key card, simply observe the following
1. After the riffle shuffle and Ose cut, there will be one
key card that is either on or very near the face of the
deck. This will never be the correct key card.
2. If another key card appears very close to the face, it
isn't that one either.
3. If the two key cards are close to each other (in the
same area of the deck, but well past the face), the correct
one will be the leftmost of the two.
4. If the third key card appears near the top of the deck,
it can also be ruled out.
correct key card will be the one that is somewhere within
the deck, not too close to the top or bottom. (Note that
it is not necessary to check to see if there is a key card
near the top. If by the time you've looked up to about 1/3
of the way into the deck from the face, and have only seen
two key cards, you can be assured that the third has to
be near the top and can be disregarded.) In most cases,
there will be one key card on or near the face (disregarded),
single key card about a third of the way in (the "correct"
key card), and the last somewhere near the top (disregarded).
We have now identified the correct key card, and can proceed
with Issue #2:
you have identified the correct key card, remove the card
that is immediately to its right in the spread, and hold
it with its back to the participant. Say, "I just want
to see if I'm close." In the action of removing this
card, secretly glimpse and memorize the next two cards to
the right of the one you removed. You may or may not need
to make use of this knowledge, depending on what happens
next. Continuing to hold the single removed card with its
back to the participant, table the rest of the deck. Acting
as if you're unsure, reiterate the fact that you'll be happy
if this card is even close to the one the participant is
thinking of. Turn the card around, while saying "Am
I even close?"
most cases, this will be the selected card, and the participant
will react appropriately (hopefully with amazement and disbelief).
In the event that you are wrong, the participant's response
to the question "Am I even close?" will provide
you with all the information you need to deduce which of
the two other possible cards is the correct one. (Some improvisation
is necessary when this occurs, but I will provide some examples
of how it can play out.)
most common scenario is that one of the other two cards
will possess a characteristic that can be interpreted as
being in some way "similar" to the first one you
removed. For example, it could be close in value, be of
the same suit, be the same color, etc. Perhaps one is a
picture card, and the other a number card. If the two remaining
cards are substantially different from one another, this
puts you in the most advantageous position (and occurs the
majority of the time.)
example, suppose the card you removed is the five of hearts,
and is "wrong". Let's also assume that the other
two possible cards are the seven of diamonds, and queen
of clubs. When you ask the participant if you are "close"
(with the five of hearts), his response will tell you which
of the two remaining cards can be ruled out.
example, if he gives you a prompt and unambiguous "no",
you can easily rule out the seven of diamonds, and therefore
be sure that the thought-of selection is the queen of clubs.
If the participant is really thinking of the seven of diamonds,
he will have to consider his answer when deciding whether
or not the card you removed is "close". (After
all, it's the correct color, and not too far off in value.).
Obviously, this can be easily observed, and you can therefore
eliminate the queen. You now know that he is thinking of
possibility is that one of the two remaining cards is genuinely
close to the first one you remove. For example, imagine
that one of the two is only one off in value, or even of
matching value but in a different suit. This, in and of
itself, is noteworthy to the participant, as it seems to
provide credibility to being so close on your first attempt.
illustrate how this might play out, suppose that one of
the two remaining cards is the six of hearts (which is legitimately
close to the five of hearts you removed first). If the participant
promptly indicates that you are close, simply toss the five
onto the table, and say something along the lines of, "I
knew it! It was the SIX, wasn't it?"
that you have not even looked through the deck a second
time, or even looked through the whole thing when retrieving
the first card. It will feel to the participant as though
you've extracted the thought from his mind.
the event that you are not "close" with the five
of hearts (and thus know that the card being thought of
is the queen of clubs), proceed in a similar fashion. Toss
the single removed card aside, and say something along the
lines of "Yeah, my first impression is sometimes way
off. Never mind, let's try this a different way. Think of
the color of your card... It's black, isn't it? I'm getting
a spade... No, a club! Number or picture. Number or picture...
It's a picture card. A queen. Queen of clubs?"
this point, you will appear to have read his mind without
the assistance of the deck of cards. Having been wrong with
your first attempt, the physical deck of cards becomes inconsequential,
and the effect takes on the appearance of direct mind reading.
The deck of cards, of course, bears no evidence of how you
may have accomplished this feat, and can be left with the
participant if you wish.
same routine could be performed with a symbol deck, as long
as every card is different. Imagine, for example, an ESP
deck in which each of the five symbols is represented in
five different colors. In such a deck, every card would
be unique. You could preselect any three symbols in any
choice of color to function as your key cards, and transform
the routine into a believable "experiment" in
7. The Orchante Saga - Beginnings
Written by the late Tommy Orchard (The Amazing Orchante)
what do you want to be when you grow up? A Magician - Fakir
- Projectionist? Well, yes - all of that - this episode
is about MOVIE Magic!
this for NOT QUITE following in Dad's footsteps! I have
two sons - one's a fire-fighter. I'm a fire-eater. The other
lays carpets - I lay on nails. What is that - an alternative
parallel - the same difference - dunno! I used to have nightmares
about this - imagine the scenario! I'm doing my show, and
about to drop onto the bed of nails - then, to my horror,
it has suddenly become beautifully carpeted, and standing
there is my son, hammer in one hand, the other full of tacks,
looking very pleased with himself, at a job well done.
other 'night-fright', I'm in the middle of the fire-eating
act - a door bursts open and there is my other son, in full
fire-fighter's regalia, gripping a writhing fire-hose by
the nozzle, blasting a
mountain of water straight at me! (This scenario almost
happened at a Hotel in Napier, which was built on a hill,
circular in shape, with huge windows around the entire circumference,
giving panoramic views people looking up from their homes
saw the flames of my fire-eating, and assumed the hotel
was on fire. The next thing I knew, Fire fighters were thundering
up the stairs ready to give me a good soaking. They were
in Manurewa (Auckland, New Zealand) (1960 something) my
best mate was John Hickey. He was a Firefighter (in those
days they were called Firemen) He lived with his wife (or
girlfriend - can't remember which) in the Flat above the
Fire Station. I have no idea how we met, but remember marathon
sessions playing Ping-Pong in the recreation room at the
Fire Station, and listening to Elvis Presley records - John
was a fanatical Presley fan, and had every L.P. Elvis had
recorded. Somewhere along the line, he persuaded me to 'join
up' and become a volunteer
how some things from the past are clear as a bell, and others
just a vague memory - being a 'fireman' is one of the latter.
I have fleeting glimpses of rolling out 'miles' of fire
hoses to dry, and rolling them up again - the thick clothes
which were as hot as hell in the summer time, and racing
like mad to the Fire Station when the alarm went off.
God, the Police Station where I lived and the Fire Station
were only 100 or so yards apart. I do remember the running
joke/threat of having a fire nozzle shoved up my backside
and turned on full blast to 'extinguish all the fire I ate'.
HARRY ROYCROFT was the Officer in Charge of the Fire Station,
and also the Projectionist at the local Picture Theatre
in Manurewa (now long gone). If, for any reason Harry was
unable to 'show' the movies, a temporary replacement Projectionist
would come in from Auckland City. I've always been fascinated
with the hows and whys of 'what went on' in the 'mysterious'
projection box, with all those little glass windows you
can see when you look up, and where the man who showed the
films disappeared into. Guess it was the Magician and the
'how is it done' factor in me.
revealed all the 'secrets' of that 'little room' that few
Picture Theatre patrons get to see - he taught me how to
be a projectionist, thus, another string was added to my
bow- sleight of hand Magician, Ventriloquist, Fire-eater,
Fakir, Bed of nails, Sword swallowing, Mime artist, Hypnotist,
Volunteer fireman, and now, a Projectionist! All that, plus
doing shows, and to top it off, mowing 'acres' of Government
owned lawn for gratis (see Page 10 of Saga).
introduced me to his 'little room' - the Projection box.
Inside, two identical Cine projectors, standing 4 feet apart,
each facing out through a little window, angled down towards
the screen. To one side was a Slide projector to show all
those 'ads' before the start, and during
the interval. A long bench was fixed to the back wall -
two spindles were screwed to the front edge, their function
- to re-wind the film, the spools, one obviously empty,
were locked on with special nuts. That was my first 'job'
- learning how to rewind, making sure it was on the right
way round - not back to front or upside down. Also, as the
film rewinds, you held it lightly by the edges, feeling
for any splits or breaks in the film.
remember one Saturday morning, rewinding film ready for
the 2 o'clock matinee. I hadn't locked the spool of film
on properly. The nut came loose, the spool flew off, spinning
as it hit the deck, and thousands of feet of 'Ma and Pa
Kettle' became a twisted, curled up mess, on the
floor. Oh, Christ! It took two hours to sort that mess out,
ready for the Matinee showing.
LOCK THE NUTS ONTO SPINDLES, PROPERLY!!! That's it - don't
miss next week's 'SPINE TINGLING CONCLUSION OF MOVIE MAGIC!'
8. E-zine Archives
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When you enter the archive the e- zines are in issue order
in folders for each year and are Coded, e.g. 001 Nov06 1999.txt
first three numbers (001) denote issue number, then the
date (Nov06) and the last figures the year (1999)
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