A year or two ago someone got the idea of marketing an appearing cane as a portable Bo Staff to be used as a self defense or martial arts tool. I’m sure someone made a ton of money on it as well…assuming they didn’t get a lot of people returning them and asking for their money back.
Visually it looks great for what they are selling it as, but the reality is different.
This brings me a social media magician’s group I’m in where someone is complaining about “exposure” and it ruining the trick for them. First of all, I honestly don’t think many people are fooled by the appearing cane. It’s a second of eye candy, but not the strongest magic trick. If you showed someone the appearing cane, then asked them how they thought it would work, I’m betting they’d say it must be collapsible.
As for the exposure part of it, the appearing cane was invented in 1947 by Russ Walsh, so it’s 75 years old. If you’re hanging onto the exclusiveness of a 75 year old piece of technology where probably hundreds of thousands have been sold worldwide and that resembles nothing that exists in the real world. That style of cane really hasn’t been used in my lifetime. I wonder if you put an expanded appearing cane in front of a kid without context, just set it on the table and asked them what it is, I’m betting you won’t hear “cane”.
Honestly, I think it’s up to the creator of the trick to get publicly upset first. Once they’ve voiced their opinion, you can jump on the bandwagon. If the creator has been dead for 50 years (like Rush Walsh is, the trick is legally (in the USA) in the public domain and not a “secret”.
I would say 99% of appearing canes don’t fit within the acts they are used in. It fits James Dimmare‘s act:
James Dimmare’s act is very stylized and it fits. Just because you wear a tail coat, that doesn’t automatically mean an appearing cane fits your show. You’ll notice that Lance Burton‘s act has no appearing or vanishing canes:
Look at what you do in the your and why you do it. Are you doing the appearing cane because it’s an easy way to get a reaction, or does it actually move your show forward? -Louie
We’re getting ready to move and I found this picture of me with Shimada! It made remember the fun adventure that let to me hanging out with him.
Way back in the mid 1990’s I went to Vegas for the first time. I was a teenager and went to the Desert Magic Seminar by myself. One of the shows that I wanted to see was Lance Burton‘s show at the Hacienda. I walked over there from the Tropicana and was turned away at the box office because the show was sold out.
As I was walking away, legendary magician Shimada was walking in with a big group of people, who were all Asian. Just as they all went into the showroom, and Peter Reveen (who I think was Lance’s manager) stopped me and asked why I was leaving. I was totally confused, and he told me I should go in with Shimada’s group to get seated. He then brought me into the showroom and seated me with Shimada and his group!
Lance Burton’s show was amazing and it was a lot of fun to watch a legendary show with a legendary magician!
Today started with a walk down to Abbott’s shop where there was some vintage racist art on some props:
I think it’s time to pull these props off of display. I’m not necessarily saying to throw them away, but not having them on display for an asian family to see when they walk into the shop wouldn’t hurt.
That afternoon, I went on the graveyard tour which was hosted by Al The Only.
The tour was a lot of fun, and I highly recommend it!
We did the spaghetti dinner at the church:
The highlights of the dinner were Bill Cook playing the piano and Fielding West telling dirty jokes while Lance Burton scolded him for telling them in a church!
The evening show was great!
and then I finished the night at the American Legion hall with some late night jamming:
Something that’s important to doing magic is your internal script. What that means is what you are thinking when the magic happens, or how is it happening. A good example is when Lance Burton made a lady float, the energy he had coming off his hands was almost like he had strings going from his … Continue reading “Internal Script…”
Something that’s important to doing magic is your internal script. What that means is what you are thinking when the magic happens, or how is it happening. A good example is when Lance Burton made a lady float, the energy he had coming off his hands was almost like he had strings going from his hands to the girl.
In my three ball routine, where balls travel from one hand to another, I imagine that they get sucked into my palm, then go up my arm, down the other and finally out of my other palm. I was doing it the other day, and a kid asked me if they went through my arms. That meant that my silent script worked.
For a silent script to work you, the audience doesn’t have to know what it is. What it does it help you sell the trick to the audience. Sometimes it can be obvious, sometimes it’s just something internal that helps you act out a part of the trick and sell it to the audience.