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“We want you to come to Puerto Rico for a variety show — in a tent!” You mean a circus? “No, this is a variety show — in a tent.” When Kalin & Jinger journeyed to Puerto Rico for their “not a circus” experience, Mark thought it might be unusual enough to warrant keeping a diary. He was right. The result is a hilarious ten-page recollection of their once-in-a-lifetime experience working “a variety show — in a tent!”
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In July of 2009, Shawn headed to Beijing for his third FISM and one more shot at the top prize. “Everybody was saying, ‘Quit! You’ve already proven yourself. You got second, second’s a great prize, anybody else would be happy!’ But not me.” He presented a double signed-card-in-sealed-deck routine and his Shape of My Heart with a shuffled deck. He received a standing ovation — and the world championship in cards. “It took three trips to win IBM, three trips to win the PCAM’s Grand Prix, and three attempts to win FISM,” Shawn says. “Well, you know what they say, third time’s the charm.” |
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Fechter’s Finger Flicking Frolic, the invitation-only convention dedicated to close-up magic, premiered in April 1971 at the Forks Hotel in Buffalo, New York. Magician Eddie Fechter had purchased the venue twelve years earlier, and he worked there behind the bar until his death in 1979. When the idea came up of having a gathering strictly focusing on close-up, Fechter worked with magicians Bill Okal and Ronald “Obie” O’Brien to make it a reality. Now, forty years later, Fechter has passed away and Okal has moved on to other pursuits. The convention is no longer held at the Forks; these days, it can be found at the end of each April at the Holiday Inn in Batavia, between Buffalo and Rochester, New York. O’Brien remains the driving force behind the FFFF, where he was named Guest of Honor this year in recognition of his four decades of finger-flicking festivities. |
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Let’s be honest for a minute. When someone tells us to check out a video on YouTube, I think we can all admit that we have mixed feelings about it. Mixed feelings of sheer terror and perverse joy. Sheer terror because we know that it’s going to be terrible, and perverse joy because, well, we know that it’s going to be terrible. Thanks to the Internet, we’re not at a loss for material to make us feel slightly better about ourselves. But there’s also a feeling of sadness that perhaps all the good stuff has already been seen and maybe there’s nothing more to come. So how was it that my jaw hit the floor upon the viewing of someone doing a card trick? Not even a card trick really, but a false shuffle? How could this have been not only good but downright inspirational? Because the magician did this without the aid of something we all take for granted: hands. |
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A new generation of seniors will graduate from high school this month, some with dreams of becoming magicians. As we wish them all luck in their future endeavors, we once again take a look back at a few high school conjurors who have gone on to enjoy a lifetime in magic — including appearing on the cover of MAGIC Magazine. See if you can recognize any of these faces, then turn the page to learn who grew up to be who. |
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Matt Marcy: Disillusioned, Again Much Ado by Nothin’ Plus…
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Fourteen products are reviewed this month by Michael Claxton, Peter Duffie, Gabe Fajuri, Brad Henderson, Alan Howard, and John Lovick: The Rice Papers with Homer Liwag
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Rick Lax offers a new spin on a classic coin penetration, in which a marked coin passes through a t-shirt in a most convincing way. Brett Bishop, one of magic’s rising creative stars, offers an offbeat routine using a “Kick Me!” sign that appears on your back, and then on the back of your spectator. Iain Moran and Greg Chapman offer elegant card effects without difficult sleight of hand, and our issue closes with Alex Rangel’s terrific impossible location routine.
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Kid Shows — A Source of Experience and Profit |
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Child Abuse and Overuse
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Doc Mahendra to Al Monroe
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It’s absolutely true: in watching other performers, we can see ourselves. We sometimes make the same mistakes or the same brilliant choices, but don’t recognize them until we observe them in someone else. Through this series of articles, enhanced by the accompanying videos you can find at www.MAGICmagazine.com, you can learn from watching other performers as I gently point out ways that their material can be improved, as well as the aspects of their acts that are working well. Although they refer directly to the video in question, these points also carry over as general principles of performing. There are many right ways of doing things, and these are a few options.
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Magic Magazine June 2010
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