MagicShow.Tips – Page 161 – A daily blog about magic by Louie Foxx

An Idea…

For about nine months I’ve had an idea for a trick kicking around in my head. I keep thinking about it, and that’s a good sign, I just haven’t sat down and put a lot of directed energy into it. The week I’ve started to take action on making this idea a reality. Unfortunately this … Continue reading “An Idea…”

Someone from the audience thinks of something and whispers it into a mason jar and closes the lid. They hand you the jar, you open the lid, listen to the inside and tell them what they are thinking.

Then you write something (unseen) on a giant pad of paper and whisper it into the jar, and they tell the audience what you were thinking. You confirm this by turning around the paper.

There are many variations of this that can happen. Two people from the audience could whisper into the jar and hear each others “whispers”.

The hurdle I’m hitting right now is what information do I want them to whisper? Obviously I’ll need to force the info, so it could be a book, it could be a birthday, or whatever. The one thing I know is that it’s not going to be done with playing cards.

Using a Gimmick…

Yesterday I wrote a post about the Linking Pins. Today I’m going to write a bit about one of my favorite things about the routine. My routine uses a gimmick, but only for a small part of it. The rest of it uses ungimmicked pins, but by the time the gimmick is in play, I’ve totally negated the idea that I could be using what I’m using.

In the first three phases of the routine that don’t use the gimmick, they look just like I’m using the gimmick. Also they get the audience to check out the pins, when there’s nothing to find, so when they is something to find, no one is looking!

Here’s the final phase with the gimmick:

In the video you see how I put a lot of “tension” into what’s going to happen. The guy can see and feel them together. I’m building tension with that. Once they go through each other, he has to relax. That release of tension gives me a natural moment to get rid of the gimmick.

Linking Pins…

One of my favorite close up tricks to do is the Linking Safety Pins. What I like about it is that is uses an common object and the magic is direct and visual. Those two things save me a lot of time with the expository phases of the trick. I don’t really need to explain what they are, but I do. I also don’t need to explain what going to happen, because it’s obvious.

The other thing about my routine for the Linking Pins trick is that all of the props are handled by the audience and all but the first effect in the routine happens in their hands. This makes a simple trick a bit more hard hitting.

Sometimes when I’m out doing my routine, after the pins go through each other the first time, someone will say they are trick pins. I tell them they can keep them after I’m done. I have a pocket full of pins so leaving a set is no big deal. This 100% removes the idea that they are trick pins.

Dealing With The Wind…

This week I’m an a conference for the fair industry. A good friend of mine, who is a great magician was also there and we were chatting magic and the subject of the Torn And Restored Newspaper came up. We were chatting about doing the trick outdoors, and the challenges of doing it in the wind.

He doesn’t do it outdoors, where I do. There’s one difference that allows me to do it outdoors (usually) and that’s the style of newspaper tear we do. He does the Gene Anderson Newspaper Tear and I use Nick Lewin’s Slow Motion Newspaper Tear. The Newspaper Tear that I do has less pages to it, so that means less changes for the wind mess it up.

The routine that most people use with the Gene Anderson Tear, is the one that I think was popularized by Doug Henning:

In this routine the newspaper is held open and flat a lot. Also all of the tears happen from the newspaper in an position where it’s flat. In Nick Lewin’s version, the newspaper is tear is started from a folded position and that helps a lot with wind.

Travelling…

Newer performers frequently ask me about how I travel with my show on an airplane. People are worried about lost luggage. Unfortunately the only thing you can really do about that is to either carry everything on, or accept that can happen. I guess there’s a third option and that is having a show where you can find all of your props in your destination city. Then there’s combinations of the three.

Unfortunately for my show, I can’t do it all in my carry on. Some of the items I use can’t be taken in the cabin of the plane and can’t be sourced locally, so I’m stuck checking at least some of my show. Since I have to check a bunch of stuff already, I check almost everything.

Currently here’s what I carry onto the plane in my backpack:

The white tube has my vanishing birdcage. If that wasn’t so easy to break by someone who examining it, I’d check it. In the zipper compartment is my cage pull, a thumb tip, mismade bills and a thumb drive with everything the people running the theater would need (cue sheets, video, music, intro, etc). Then in the yellow case is my audio gear (mics, mic packs, audio ape, etc). Everything else in the backpack is my personal stuff, so books, my laptop, etc.

I’ve had my luggage “lost” by the airline once, and they had it delivered to me within six hours. I also have had TSA screen my bags and forget to put a couple of things back into it, luckily after weeks of phone calls I tracked down my props!

What do I do if my luggage gets lost?

I’m lucky that I can do a lot with simple stuff and in the past I’ve done a lot of standard magic, so I can source a show locally. It’s not the ideal situation, however I can go to the Walmart in any city and pick up a two deck of cards, rope, scissors, yarn, pad of paper, duct tape, a couple of handkerchiefs and some markers and I’m good to go. This isn’t the show that I want to present, but I can do a decent show with that.

ACAAN???

One trend in magic that I’ve noticed lately is that whenever someone puts out a new gimmick, or principle one of the routines they come up for it is an Any Card At Any Number. The problem with this is that none of these are truly an ACAAN. as there’s a limitation at some point. … Continue reading “ACAAN???”

One trend in magic that I’ve noticed lately is that whenever someone puts out a new gimmick, or principle one of the routines they come up for it is an Any Card At Any Number. The problem with this is that none of these are truly an ACAAN. as there’s a limitation at some point.

A good example is the Mental Dice that just came out. You are using the dice to get information, but unfortunately with 3 dice you can’t make any number between one and fifty two. You could use one die for the tens place and the other for the ones place, but that still won’t get you all the numbers from one to fifty two.

In the book Body Mentalism, which teaches a really cool technique for forcing a person, one of the effects is an ACAAN. Unfortunately it’s really an Any Card at Number, there’s not a free choice of number. It’s very limited, in this method. I’m all for brainstorming ideas and including them, but people need to stop passing off a Card at a Position as an Any Card At Any Number.

I may be a bit biased as I’m a fan of the ACAAN trick, and have done it on TV, my live show and published several variation of the trick. It’s one of those things that in my opinion have a very specific set of rules for it to be an ACAAN.

Ta-Dah?

When I was working on a cruise ship last year, I became friends with the comic on the ride to the ship. We had never seen each other work, and he asked me about how I did my “Ta-Dah”. He was referring to the moment when you tell the audience the trick is over.

I never thought of it as a “Ta-Dah“, but more of a “F*ck Yeah!” moment. In my head, it’s the moment where something amazing just happened it’s amazing, not just something cool happened. I’m trying to build it out to a moment where everyone understands what’s going to happen and why it’s amazing.

Also the shift from “Ta-Dah” to “F*ck Yeah!” is an energetic one. I’m going for a moment of an you believe that just happened, and not, wasn’t that cool. This change is reflected in my silent scrip that goes through my head while I perform.

Don’t Be a D*ck

If you want your magic show to stay relevant, you need to stay on top of what society say is “politically correct“. Yes, there is a place to push the envelope and be edgy, but for 98% of us we aren’t. Of that 2% that do probably less than a quarter of them do it … Continue reading “Don’t Be a D*ck”

If you want your magic show to stay relevant, you need to stay on top of what society say is “politically correct“. Yes, there is a place to push the envelope and be edgy, but for 98% of us we aren’t. Of that 2% that do probably less than a quarter of them do it in a way that has a purpose, the rest are just a-holes.

Last week I was in Washington DC and went to one of the Smithsonian Museums and saw this beloved Muppet’s character:

The Swedish Chef has been around longer than I’ve been alive, however it might be time to retire part of his humor. His imitation of the Swedish language borders on not being what’s acceptable in today’s world. If I saw someone doing a Chinese character and they spoke saying things like, “Ching chong, chin chang…” I would walk out of the show. There’s no reason that the Swedish Chef can’t speak actual Swedish. Part of the humor is making fun of a group of people’s language. If you took that out, would it still be as funny?

I get in 1975, it was a bit harder to just learn a language, but now it’s super easy to actually learn a language now. Here’s an example. I wanted to use the Khoisan language in my show, this is the one that has all of the mouth clicks in it. All I needed to do was count to three. I could have faked it and just made random clicking noises, but wanted to do it respectfully and the least I could do was learn to actually do it. It was really easy, and using the actual language was much funnier as it had a sense of build to it.

When something breaks are you still using the offensive and hack line, “Must be made in China“? Here’s why that line is bad, it’s putting down an whole group of people for the laugh, and it’s outdated as the quality standards in China are frequently higher than in the USA. In my show I have a fishing pole that breaks, in 1983 the “made in China” line might have worked, but I want to be better than that. The line I use when it breaks is, “That’s the last time a buy a fishing pole on Tinder…should have gotten it on Plenty of Fish…“. This line puts the laugh(s) on me, and I guess on the fictional person who would sell a fishing pole on a dating website.

Take a look at your show, are there any bits that have aged out of it?

A Bit of Effort…

Personally I love seeing any magic show, I’ll watch good ones, I’ll watch bad ones, however the ones I like the least are ones that are mediocre. Usually a bad show has some sort of merit to it, like someone is trying something new or they are new to performing. Watching a good show inspires me, but a show that’s just OK is well, just OK.

These mediocre shows are the ones where the person put the least amount of effort into their show. They bought a trick and do it per the instructions. It’s a trick where they as a performer don’t have to think. I’m not talking about thinking in performance, but thinking in preparation to performance.

They put no thought into the props, the script, the whatever. They simply bought a show, and that’s it. Recently I saw a show like this it feels like a waste time for the audience. Whether or not the audience knows it, the performer is not creating art. It’s like seeing a painting and hearing the artist talk about it, or having someone print out a picture and hearing someone unconnected talk about it. Personally, I’d rather hear from the artist.

Adding a Bonus Trick

It’s the little things that when people notice, I think it elevates your show. Before Darren Brown’s show, I noticed some posters in the theater that seemed out of place. Well, they played a role in the show, but their role wasn’t really IN THE SHOW, but after the show. They reinforced something that happened.

There was a very cool moment for some of the people that attended the show as we were leaving the theater. When walking down the stairs from the balcony to leave the theater, people noticed the posters and started commenting on how they were a part of the show. It was almost like the people got a “bonus trick” on the way out of the show.

I’m a huge fan of things that tell your audience that it’s not a bunch of tricks you threw together. That your put thought into your show. The easy way to do that is through call backs, when you reference things that happened earlier in the show later in the show. In magic, you can do more that just reference, they can have a role in what happens later in the show. Darren Brown’s show has this happen in the body of the show, but using it for something that people notice while they are leaving the theater is GENIUS!