:: June 15th, 2005 :: Issue# 25
:: Rick Carruth / editor
_________________________
:: Rick Carruth / editor
_________________________
Hello All
First things first.. I have to sincerely thank all the new
subscribers who have decided to be a part of Magic Roadshow. I
think there was about 70 signups in the past two weeks, and I
issue a hearty 'Howdy' to you highly intelligent individuals who
know a good deal when you see one...
Well, summers here and it's hotter than hello.. Speaking of
hot, here's a new issue of MRJOM for you to contemplate....
:: In this Issue
--Exclusive interview with Cellini
--Cellini video
--Takedown on Court TV
--Mysterious Ways
--Playing Cards for Magicians
--How to Cheat at Cards
--Jacks be Quick
--My Friend Bob
--Derren Do
--Expert at the Card Table
--Discover How..
Email me with any problem, question, request, or comments.. I'm
always online.. Rick C.
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:: The King of The Streets Speaks:
:: An Exclusive Interview with James Cellini
:: Conducted by Mona Morrison
---------------------
Even though I haven’t had the opportunity to meet James Cellini
in person, my interview with this man was like holding a cup that
was overflowing with the spirit of magic. His voice was full of
passion for an art that has been questioned from generation to
generation.
For a brief hour, James Cellini, allowed me to enter his world
and get a look of what it takes to make it on the streets. He
shared the beauty of the art as well as the beauty of the
performance. His relationship with the audience is personal. His
performance intimate.
----------------------
Mona: Good Morning. Let’s start with some background questions.
While I was doing some research for this interview I found that
one of the names associated with you is, "King of the Streets".
How did you acquire the title ?
CELLINI: I think that was Frank Garcia. I believe that he wrote
that in a book on close-up magic that he introduced some time
ago. It was strange how we met for the second time. I was working
on Broadway, actually, and he had been working for Tannen’s Magic
. He spent most days there from 11-3 in the afternoon. He would
walk by me every day on his way to home.
One day he stopped in the crowd; I saw him and I stopped the show
and I said, "Many years ago I met a very famous magician. Today
he is standing in the audience. "The Man With the Million Dollar
Hands", Frank Garica." He was very surprised. He hung around ‘til
after the show and he said, "How did you know?" I said, "You met
me a long time ago- I think it was 25 years back, and you showed
me a trick; and I still do it in the show today." He was rather
surprised.
He invited me over to his home/apartment, and we became friends.
He printed some stuff that I was doing in those days.. That’s the
way it started…
--------------------------
Mona: Talking about starting: In doing the research for this
interview, I came upon the name of a gentleman from the
1500-1600’s- Benvenuto Cellini,, Italian Renaissance; is it from
him you chose your name? How did this come about?
CELLINI: That’s excellently right. I got a phone call from
Slydini one day. He said, "Listen, I have a book written, I want
to put some students pictures in. I would like to put your
picture in, but you have to use a traditional name." I looked
down, I was reading the life story of Benvenuto and I said, " How
about Cellini"? and he said, "Yep." And in ten seconds I was
Cellini !
----------------------------
MONA: From what I found this gentleman was into the paranormal
some where back in the 15-1600’s.
CELLINI: He created the head of Medusa. I think they have a few
cups and some coins that he produced for Kings and for Popes and
that kind of thing. The odd thing is, my specialty was cups and
balls and coins; it was very fitting.
----------------------------
MONA: While we are still talking about roots and background, what
were the influences that pulled you into street performing,
street magic?
CELLINI: In street magic or magic in general?
-----------------------------
MONA: Start with magic and work your way to your specialty.
CELLINI: I was brought up in an orphanage, and I saw a magic
show. While we were eating, the people in the show came in and
said,"Hello", to everybody. The magician walked by me and I said,
"Hey, do a trick." He picked up my knife and made it vanish. And
that hooked me.. From that time on, I became hooked. His name was
Cabbie Dieon.
--------------------------------------
MONA: What other influences were there? I know you were a student
of Slydini’s.
CELLINI: He was, of course, my major influence. But it was the
older magicians that inspired me- Malini, Cardini, Silent Mora,
and of course, Slydini. The first day I came in, he asked, "What
do you want to learn?" I said, " Everything." He laughed and he
said, "Okay’.
My interest in those days were not on close up- it was more on
the stage. I had hired Slydini at a convention to watch him work
and he auditioned me. I’ll never forget- I was up in his room and
he said, " Let me see you do something." I did the coins through
the table for him, and every three seconds he would shake his
head and go, "Tsk, tsk." I thought, "Oh God," he was not going to
take me. But he did; said, "Yeah, I’ll teach you, but not for a
year. I have to go away." He was going away on a lecture tour.
It was the hardest year; I kept waiting and waiting for him to
get back. He would send me postcards every once in a while
saying, "I’m here," "I’m there," "I’m on my way back." And that’s
how we got together.
---------------------------------------
MONA: The other day you mentioned the name Charlie Cambra.
CELLINI: At that time I was living in Connecticut and he was
living in Meriden. He still does . He was a student just before
me, while I was taking lessons from Tony. I would visit Charlie,
and he would do Tony’s magic for me. We would talk about it and
that kind of thing; he was a great influence on me. He is a great
person. I always thought he was the best student of Slydini’s.
----------------------------------------
MONA: What about Johnny Fox? Where does he fit into this picture?
CELLINI: I was singing and doing magic in Florida, and I met
Johnny after one of the shows. He came up and said something to
me. I didn’t see him again for about a year. I relocated to
Florida. I was invited to do something at an SAM convention or a
club meeting, a Christmas show, and when I was finished, I sat in
the back and Johnny was sitting there and we got reacquainted . I
started showing him stuff. His main complaint was he couldn’t
learn any magic, and he didn’t know what books to buy. I sort of
pointed him in the right direction.
I left Florida and I was in Chicago and he called me one day. He
said, "I’m working on the street; I’m trying to, I’m a little
nervous and I need someone to work with me. Would you do it?" I
said, "Sure." Actually it was Johnny who got me into street
magic. Although I had done shows outside, I had never considered
myself to be a street magician until I went to Boulder, Colorado.
I was with Johnny and we were both young. I did Slydini’s act out
on the street. But that changed very quickly.
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MONA: How does "in-door" magic transform into the street, or does
it?
CELLINI: Actually it does. Any trick can be performed on the
street. It’s what do you want to carry with you. I said it on a
tape recently, a tape I just finished- I say, "What do you want
to carry with you?
Today if I were going out again, I would only carry the things in
my pocket." In the early days, a table set up before you gives
you confidence; it sets up a barrier. As far as stage magic, the
streets are the best way to learn. I would recommend anyone to go
out on the streets.
----------------------------------------
MONA: While you are talking about watching you do street magic,
do you mind telling the story of when Slydini came to watch you
do street magic?
CELLINI: I was involved in doing a show with him, a show for Dick
Cavette. Myself, Garcia, and Slydini were suppose to appear on
the Dick Cavette show. He said, "I’ve never seen you." Although
he taught me, he never saw me perform. I said, "I’ll be up on
72nd Street tonight. Come up and see me."
I was a little nervous. He came up, pushed his way through the
crowd, saying, " My Student.. My Student". And got in front of
them and he stared, no expression at all. He cupped his chin in
his hand and folded the other hand across his chest. He stayed
for three shows. In fact, the fellow who brought him up worked
for Time Magazine; his name was John Willy. Tony was very proud
of him because he could do his Second Deal . He said that he,
John Willy, could do the second deal better than anybody.
Anyway, they come up and watched three shows. When I finished, I
walked up to him and said, " Well, what do you think, Tony ?" He
says, "Call me tomorrow." All night I couldn’t sleep. I thought,
"Oh God, what is he going to say?" When I called him the next
day, he said "It’s the best I’ve every seen." He said he would do
anything. It was the first time that I felt that he treated me as
an equal.
-------------------------------------
MONA : You graduated?
CELLINI: I was no longer a student. And I cried, it brought tears
to my eyes.
--------------------------------------
MONA: In talking about street magic, is costuming, awareness,
senses, how much of that factors in what you need to be doing out
there? A lot of kids say they are going to go out there and do
street magic. They go out there in their sweatshirts and jeans,
and off they go.
CELLINI: I think its okay for young guys. As a magician I look at
it as what am I going to carry my props in? Do I need a suitcase
or a table? Am I going to carry everything in my pockets? So your
dress is sort of important, but I’ve seen guys do it in shorts.
I used the old gypsy image, mainly because I always worked that
way. Tony had the Spanish influence in his costuming and
everything. My influence was basically a theatrical gypsy, or
what I thought a gypsy would look like. I was amazed when I first
went to Europe; Gypsies weren’t very well liked. And I got the
impression when I was in Europe. People would look at me. If I
went into a store, I was followed around, afraid I was going to
steal something. I thought, "God what’s going on?"
But, I got my image from an ol Ray Milland picture called "Golden
Earrings." My image of a gypsy was always of a nice, likable guy.
It wasn’t that way at all. It was something all through the
years; it was just my custom. It demanded attention.
-----------------------------------
MONA: You mentioned performing over in Europe. How different is
the European market in approach, acceptability of street
performing verses what happens here in the United States?
CELLINI: Oh, it’s much better. First of all, they support art.
They look at anyone that works on the street- painter, musician,
mime, or juggler- they look at him as an artist and they support
their art. The difference in territory, in America if you want to
work, you have to go to Boston, some big city; you need to travel
hundreds of miles to get there.
In Europe around every corner there is another working area, a
plaza or something. I always thought it was much nicer to work in
Europe then in America.
-----------------------------------
MONA: Can someone make a living working on the streets here in
the United States?
CELLINI: They can; they have to be precise. They have to get
ready to do it. I think in Europe you can step out a door, walk
down the street and find a plaza and set up there. Here in
America you have to have a truck or a car to travel, to get that
distance. If you fly, already you are in a hole before you get
there. So, you need a vehicle, and usually the street performers
ends up living in their vehicles because they can’t afford
accommodations.
It’s very expensive. I lived in a bus for a couple of years, when
I traveled around America. Today it means having a car, and
making it so you have enough money to pay for a hotel, food and
enough money to move on.
----------------------------------
MONA: What do you see as the hazards of working out there?
CELLINI: Well in the 70’s, 80’s, 90’s- working in New York for me
was never a danger. Today I would think twice about it. There are
so many brutal things. A young kid could step out of a car and
shoot you for no reason, like they do in the schools. Not that
I’m afraid to work in New York. I love New York. It’s a great
training ground for any magician; at least you have people.
That’s the idea of street performing- you have to go to where
there are people. You have to go to a city or a town that you
know there are tourists there. Any place where people gather-
that is where you have to go. In the states is such a long ways.
In Europe they have what they called walking streets. It’s
usually in the older part of town or the village. There is no
traffic and people walk up and down the streets. Here in the
states it’s very hard to find a place like that. The only two or
three that I know of are in New Orleans; Boulder, Colorado, maybe
San Francisco and Key West.
-------------------------------
MONA: What about Florida?
CELLINI: You can’t work anywhere around Disney. Maybe Key West,
but Key West is a difficult place. There is only one area they
allow you to work in , Mallory Square. You get 35 acts all trying
to get into the same place because they only have an hour and a
half to work. You have some guy ringing a bell while you are
trying to do your show. It’s brutal. Only the strong survive
there. Like working Pompidou Center in Paris.
-------------------------------
MONA : If you were to give advice to a start up, someone wanting
to start in street magic, where would you guide them; what would
you suggest?
CELLINI: I would tell them to go either to New Orleans or
Boulder.
-------------------------------
MONA: How would you tell them to prepare? Is there any suggestion
as to what they should have under their belt before they go out
there?
CELLINI: I feel they should have at least three effects. And the
rest they could build around their show. I would suggest any new
fellow going out there do the three tricks that he does best. It
doesn’t matter what they are- it could be the dime and penny
trick; it could be the lota bowl. But build a presentation around
it; build a show based around those effects, what they do best.
One of the mistakes I see is they are always trying to learn new
effects. But there is a time that you have to put those things
aside. Say, "Ok, I’m going to do it." And then be prepared.
Know what you are going to carry with you, if the tricks you do
reset immediately. I do some Slydini material, for instance. The
only thing I have to replace is the rope. The only reason why I
do it is that I have been doing it for a long time; I know it
plays well for people. Slydini did it for years, and I do it the
same routine. My patter has changed, of course. I only do it
because he taught it to me.
If I was going out today, I would probably do one that you don’t
have to replace the rope, like George Sands material. The hanks,
I use to buy them 30 at a time. I used more rope than Carter had
liver pills.
-----------------------------------
MONA: Today’s kids, a lot of them are learning off the internet
or tapes. When you suggest a book, they turn their noises up. Do
you see this as an attribute or a deterrent?
CELLINI: I see it as a bad thing. None of the tapes gives you a
history, of where it comes from and what it’s all about. I
compare it to going to school: You have to go through all the
things. It’s like going from the 1st grade up through the 12th
grade. You can’t skip any of the parts. If you skip , later on in
your career you’ll find something missing.
Once you have gone through the whole gamut, whether it’s sleight
of hand or box tricks or illusions, then you start eliminating.
There is no success without it. You can’t skip a grade; you have
to go through it all.
-----------------------------------
MONA: Looking back over the years that you have been performing,
if you had one favorite story to tell, which one would you
choose?
CELLINI: There are a lot of them, but meeting the Lord of
Cornwall is one and doing a show for the King of Saudi Arabia, is
another. It was a funny thing. He saw me on the streets and he
asked me to come to his palace. He had about 35-40 guests. I was
introduced. I didn’t know who he was. I was doing the card on the
ceiling and I happened to pick him, still not knowing he was the
King. So I come to the part where I asked him to sign his name on
the card, he hesitated, at least three minutes, which made me a
little nervous. I’m trying to figure out why he won’t put his
name on the card. He is looking at me like, "Huh?"
Finally he does. He has a beautiful hand writing-Arabic writing.
In the middle of all their houses, they have a dome in the
ceiling. They have a special rug under it. I’m thinking this is
where they pray. Once he signed the card and I was all prepared I
do it, I threw it up and the card stuck right just on the corner
of this religious thing . Of course I didn’t know it. It was very
high, about 22 feet high. The card just barely made it. But it
did and bang down came the deck and I finished the trick.
After I finished, they allowed me to mingle with the guests. He
had hired a photographer so at every opportunity I was asking him
to take my photo with the King. So I had my pictures with us
shaking hands and with our arms around each other shoulders. I
was told that all these pictures will be ready in the morning and
you can pick up the ones you like.
The next day his car comes around and picks me up. When I got
there, there was all this piping, they were building, scaffolding
to get the card off the ceiling. He said it cost him more to do
this than to pay me. I asked if I could have the card. I thought
that his signature was beautiful. He said, "Oh no, my signature
is something I cannot give out. As for the picture of us shaking
hands, it could be put in the you that paper and you could say a
deal was being made between us. All the pictures with his arm
around me and shaking hands, none of those were available.
--------------------------------
MONA: I understand that you are coming out with tapes?
CELLINI: I think the tapes will be very helpful to the people who
want go out on the streets. It shows exactly how to do it. A lot
of young kids ask me, "I go out there, but I can’t seem to get
the crowd. How do you make them stay there?" This tape shows how
to do it.
There are some magicians performing on there. It’s primarily for
street performers. How do you stop them? How do you make them
stay? How do you make them pay? And it takes you step by step by
showing you live examples. You see other performers from Canada,
from Europe, from America, all using the same techniques.
A picture is worth a thousand words, and I thought if I do make a
tape, this would be the first thing I would work on, show the
people how to do this, that there is no great secret. You see and
hear, in the very beginning of the tape I say that. Then you see
different artists using bells, horns, radios, whistles and even
the human voice. It’s sound that attracts people.
----------------------------
MONA: So its like the psychology of street performing. No tricks-
A, B, C.
CELLINI: No tricks. A formula that teaches how to attract, stop,
and hold an audience and ask for support. No tricks as we think
of them, but I believe there is the most important illusive
tricks of all! To create an audience any time you want without
the need of an agent, newpapers, or television. What is that
worth?
There are many, many books and tapes but they don’t show you how
to make a living. This one will show you how to make a living.
Look at it today, there are 30 million people out of work. If you
sit at home, it won’t come to you. This tape will show you how to
do it. I believe this tape is the most important tape that has
been made in the last 30 years.
--------------------
MONA: Do you know when the tape will be released?
CELLINI: I think it will be in the next couple of weeks. I sold
the European rights to Ron MacMillan, so he will be the first
getting it. The American distribution is still being worked on.
--------------------
MONA: If you were to write your own epithet what would you like
it to say.
CELLINI: Here today, gone tomorrow, or, "You’ll wonder when he
came and wonder more when he’s gone". - Malini-
---------------------
MONA: That short and sweet?
CELLINI: That’s it.
----------------------
Mona Morrison -
Mona is currently a reporter/writer for The Linking Ring, as well
as Advertising Manager. Known throughout the magic community as
an excellent photographer, Mona performs backup photography at
the I.B.M. convention, and partners with Ryan Piling to showcase
her hundreds of photos of magic's unforgettable moments on her
site- http://www.Yomographs.com
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:: Cellini - The video
Want to see and hear Cellini, the King of street magicians...?
The video referred to by Mona and Cellini is out, and available
for immediate shipment.
I promise you, you can earn back the cost of this street DVD in
an hour with what you'll learn about performing on the street...
'This video will do much more than entertain you. It will
enlighten you and excite you. It can even change the course of
your life. I have tried my best to explain this illusive art. You
will learn how to attract, build, hold and entertain an audience,
while making a good living. Those I have influenced found
themselves transformed by the experience in ways they never
imagined. All the secrets are here...it's up to you. It could
change your life forever..it did mine!' - Cellini
Dear readers... this video isn't cheap. And it doesn't teach you
HOW to do specific street magic tricks. What it does teach is
WHAT tricks to perform and not perform. You learn the actual
techniques of doing business and entertaining on the streets.
This dvd is an education that would easily cost you several
hundred dollars in a classroom, and is a genuine investment that
can earn you back the cost of the dvd hundreds of times over...
-link no longer working-
Rick C. / Magic Roadshow
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:: Takedown - Starting Tonight on Court TV
R Paul Wilson, a regular at the Magic Castle and a magician and
cheat of international renown, stars in his own show, beginning
tonight, on Court TV.
Paul, the cheating consultant and second unit director for
'Shade', along with a motley crew of handpicked technical experts
and professional fakers, will attempt to infiltrate a casino in
each episode and defeat the millions of dollars of hi-tec
security devices in place to stop the likes of Paul and his
crew..
Only one person knows the 'crews in town'; the casino owner who
invites them in to put his security to the test.
The Takedown... It’s a real-life Mission: Impossible. The risk is
real and the stakes are high!
http://www.courttv.com/takedown/
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:: Mysterious Ways
Magician Donny Crandell blows a cloud of bubbles around his head.
Most float and pop midair. All but one. Crandell reaches out and
captures it in his hand.
It doesn't pop.
Among all the parts of life that break and float away, there is
one that's solid, Crandell said, appearing to hold a bubble
between his thumb and forefinger. "That's God's word.".......
-link no longer working -
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:: Playing Cards for Magicians
Can't figure out the brand? Don't know if it's new or old? Just
want to know a little something about the cards you've got in
your hands?
Playing Cards for Magicians is an excellent site to have in your
bookmarks.
'This website was created to catalogue and display various
playing cards that are of interest to magicians throughout the
world. For our purposes, cards of interest to magicians have
several distinguishing characteristics. First, they are almost
always poker-sized cards. Jerry Andrus notwithstanding, this is
the preferred size for almost all professional magicians. Second,
they usually have borders. Two notable exceptions are Bee brand
cards (Back No 67) and Steamboats. Finally most magicians seem to
prefer that their decks are...... read more..'
-link no longer working-
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:: How to Cheat at Cards - Not That You Would
( for those of you who have not bought brother Jeff Wessmiller's
dvd... Jeff has agreed to an interview as soon as I can get my
questions together... I'm working on em' Jeff... )
Excellent article, courtesy of Juiceenewsdaily.com, on the
methods used by cheats, and teams of cheats...
'Let us define cheating as any behavior outside the rules
intended to give an unfair advantage to one or more players. Many
people make the distinction in poker between hard cheating
(mechanics, collusion, and the like) and soft cheating (noting
the bottom card that the dealer happened to expose without
calling for a misdeal).'
'Cheating in poker is more common than most people care to
believe. Although most cheating occurs in private games that do
not follow strict gaming procedures, it is also very common in
...'
'It is common for a player who has folded to appoint himself
tender of the pot, stacking chips, counting them, and delivering
them to the winning player, just so he doesn't have to get up.
Nobody seems to notice the chip palmed in the hand of this
helpful player. This is called check-copping. This happens a lot.
In fact, odorless adhesive can be used for this purpose. Once
again, the.....' read more...
-link no longer working-
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:: Jacks Be Quick (Magicinsider.net)
Effect: A spectator selects a card from a completely shuffled
deck. He or she is then asked to sign their name on their card.
The card is lost in the deck, and then again shuffled. The
magician then takes out (2) Jacks from the deck, which are held
in the hand of the magician. Instantly, the chosen card appears
BETWEEN the 2 Jacks, REVERSED. The rest of the deck is now given the spectator to hold.
With a magical movement, the chosen card then suddenly disappears
from the packet of Jacks. The magician then reclaims the deck.
The magician then takes the deck and flips over the top card
revealing it to be indifferent. Acting disappointed, the magician
then rubs the card, revealing that the signed card has actually
jumped from in between the 2 jacks and back into the deck.
Discover the secret at ...
-link no longer working-
This is an impromptu ‘sandwich’ effect / ambitious card routine.
It was inspired by "Face Lift" in Paul Harris’ Art of
Astonishment Vol. 2. Robert Pellissier has re-done all the
handling, subtracted and added some effects to the routine to
make it completely original.
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:: My Friend - Bob...
My friend Bob - of BobSolariMagic.com - just contacted me with
great news for all you readers in the New York City, tri-state,
and New England area.
Sunday, November 6th, 2005.. go ahead and mark it on your
calendar...
Because the top 225 ONLY close-up magicians in the NY area are
invited to attend an exciting, brand new, annual, one day, close
up convention, conveniently located at the New Jersey
Meadowlands....
Featuring - the legendary Steve Dusheck, one of magic's most
prolific and imaginative minds. - Darwin Ortiz, one of the very
best card technicians in the world. - And Bobby Gallo, who
regulary performs over 400 shows a year throughout the country.
It's an eleven hour drive for me - but I'm already making plans
to be there. It's that important.....
Call Bob at 973-546-6110 or 973-773-8818 -or- visit
http://www.metro-magic.com for all the details ...
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:: Derren Do
London taxi drivers have a reputation for being the best in the
world - until along came Derren Brown. In one of his Mind Control
programmes, the illusionist hailed a cab and asked the driver to
take him to the London Eye. An hour later, having passed the
famous attraction several times, the taxi driver was still lost.
He's made bookmakers pay out on lost bets, revealed information
to people that only they could know about and caused others to
fall asleep in phone boxes. But nothing compares to the
controversy aroused by his Russian Roulette Live and Seance
television specials, the latter attracting more than 700
complaints to Channel 4......
Read More.. http://snipurl.com/fl5w
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:: The Expert at the Card Table (again)
For those of you who have not bookmarked 'Expert at the Card
Table', here's another chance.. To quote from EATCT...
'Of course it is generally known that much deception is practiced
at cards, but it is one thing to have that knowledge and quite
another to obtain a perfect understanding of the methods
employed, and the exact manner in which they are executed....
Many professionals have attained their success by improving old
methods, or inventing new ones; and as certain artifices are
first disclosed in this work so will others remain private
property as long as the originators are so disposed....'
Bookmark it, read it, learn from it, take the magic and re-create
it... Why pay ten bucks on Amazon when Magic Roadshow will take
you there gratis..
-link no longer working-
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~~:~:~
- Discover how......
..to book more shows and double your income.. guaranteed! If you
have any hope of making a full-time living as a
magician/performer, let someone who does it - and has hundreds of
satisfied customers as proof that his system works - show YOU
exactly what to do..
As David Breth and I have both discovered - great magic is only
half the answer. Being able to market yourself and grab those
valuable school shows, cruises, conventions, and trade shows are
the keys to success. If you don't read and learn this valuable
information, you are forever destined to compete against
magicians who KNOW the 'inside secrets' ..
-link no longer working-
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
If you have a site and would like to be a sponsor at the Magic
Roadshow, send me an email and let's negotiate.. ( I'm a
push-over) .. I also joint-venture.
I've got several other great sources for magic, patiently waiting
in my bookmarks, to be delivered to your doorsteps, sorta....
-------------------
Email Me with your request, rants, and raves. I love to hear
from you, just to know that my newsletter is making it to it's
intended
If you have a suggestion for a resource, let me know what you've
found. And, if you have a magic related article, send it to me
(no attachments please) and let's see if we can't send your ideas
to readers around the world. If it needs a little editing for
spelling or because english isn't your given language, don't
worry... I'll take care of that...
Forward this newsletter on to others, if you have friends you
think may be interested.
--------------------
Don't forget to visit my blog. I've posted a
lot of stuff since last issue..
-Magic Bullets-
http://streetmagic.info/blogger.html
Street Magic Bullets.... http://streetmagic.info
Magic Roadshow........ http://magicroadshow.com
--------------------
May my next issue find you well...
Rick Carruth
::-::-::-::-::-::-::-::-::-::-::-::-::-::-::-::-::
First things first.. I have to sincerely thank all the new
subscribers who have decided to be a part of Magic Roadshow. I
think there was about 70 signups in the past two weeks, and I
issue a hearty 'Howdy' to you highly intelligent individuals who
know a good deal when you see one...
Well, summers here and it's hotter than hello.. Speaking of
hot, here's a new issue of MRJOM for you to contemplate....
:: In this Issue
--Exclusive interview with Cellini
--Cellini video
--Takedown on Court TV
--Mysterious Ways
--Playing Cards for Magicians
--How to Cheat at Cards
--Jacks be Quick
--My Friend Bob
--Derren Do
--Expert at the Card Table
--Discover How..
Email me with any problem, question, request, or comments.. I'm
always online.. Rick C.
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: The King of The Streets Speaks:
:: An Exclusive Interview with James Cellini
:: Conducted by Mona Morrison
---------------------
Even though I haven’t had the opportunity to meet James Cellini
in person, my interview with this man was like holding a cup that
was overflowing with the spirit of magic. His voice was full of
passion for an art that has been questioned from generation to
generation.
For a brief hour, James Cellini, allowed me to enter his world
and get a look of what it takes to make it on the streets. He
shared the beauty of the art as well as the beauty of the
performance. His relationship with the audience is personal. His
performance intimate.
----------------------
Mona: Good Morning. Let’s start with some background questions.
While I was doing some research for this interview I found that
one of the names associated with you is, "King of the Streets".
How did you acquire the title ?
CELLINI: I think that was Frank Garcia. I believe that he wrote
that in a book on close-up magic that he introduced some time
ago. It was strange how we met for the second time. I was working
on Broadway, actually, and he had been working for Tannen’s Magic
. He spent most days there from 11-3 in the afternoon. He would
walk by me every day on his way to home.
One day he stopped in the crowd; I saw him and I stopped the show
and I said, "Many years ago I met a very famous magician. Today
he is standing in the audience. "The Man With the Million Dollar
Hands", Frank Garica." He was very surprised. He hung around ‘til
after the show and he said, "How did you know?" I said, "You met
me a long time ago- I think it was 25 years back, and you showed
me a trick; and I still do it in the show today." He was rather
surprised.
He invited me over to his home/apartment, and we became friends.
He printed some stuff that I was doing in those days.. That’s the
way it started…
--------------------------
Mona: Talking about starting: In doing the research for this
interview, I came upon the name of a gentleman from the
1500-1600’s- Benvenuto Cellini,, Italian Renaissance; is it from
him you chose your name? How did this come about?
CELLINI: That’s excellently right. I got a phone call from
Slydini one day. He said, "Listen, I have a book written, I want
to put some students pictures in. I would like to put your
picture in, but you have to use a traditional name." I looked
down, I was reading the life story of Benvenuto and I said, " How
about Cellini"? and he said, "Yep." And in ten seconds I was
Cellini !
----------------------------
MONA: From what I found this gentleman was into the paranormal
some where back in the 15-1600’s.
CELLINI: He created the head of Medusa. I think they have a few
cups and some coins that he produced for Kings and for Popes and
that kind of thing. The odd thing is, my specialty was cups and
balls and coins; it was very fitting.
----------------------------
MONA: While we are still talking about roots and background, what
were the influences that pulled you into street performing,
street magic?
CELLINI: In street magic or magic in general?
-----------------------------
MONA: Start with magic and work your way to your specialty.
CELLINI: I was brought up in an orphanage, and I saw a magic
show. While we were eating, the people in the show came in and
said,"Hello", to everybody. The magician walked by me and I said,
"Hey, do a trick." He picked up my knife and made it vanish. And
that hooked me.. From that time on, I became hooked. His name was
Cabbie Dieon.
--------------------------------------
MONA: What other influences were there? I know you were a student
of Slydini’s.
CELLINI: He was, of course, my major influence. But it was the
older magicians that inspired me- Malini, Cardini, Silent Mora,
and of course, Slydini. The first day I came in, he asked, "What
do you want to learn?" I said, " Everything." He laughed and he
said, "Okay’.
My interest in those days were not on close up- it was more on
the stage. I had hired Slydini at a convention to watch him work
and he auditioned me. I’ll never forget- I was up in his room and
he said, " Let me see you do something." I did the coins through
the table for him, and every three seconds he would shake his
head and go, "Tsk, tsk." I thought, "Oh God," he was not going to
take me. But he did; said, "Yeah, I’ll teach you, but not for a
year. I have to go away." He was going away on a lecture tour.
It was the hardest year; I kept waiting and waiting for him to
get back. He would send me postcards every once in a while
saying, "I’m here," "I’m there," "I’m on my way back." And that’s
how we got together.
---------------------------------------
MONA: The other day you mentioned the name Charlie Cambra.
CELLINI: At that time I was living in Connecticut and he was
living in Meriden. He still does . He was a student just before
me, while I was taking lessons from Tony. I would visit Charlie,
and he would do Tony’s magic for me. We would talk about it and
that kind of thing; he was a great influence on me. He is a great
person. I always thought he was the best student of Slydini’s.
----------------------------------------
MONA: What about Johnny Fox? Where does he fit into this picture?
CELLINI: I was singing and doing magic in Florida, and I met
Johnny after one of the shows. He came up and said something to
me. I didn’t see him again for about a year. I relocated to
Florida. I was invited to do something at an SAM convention or a
club meeting, a Christmas show, and when I was finished, I sat in
the back and Johnny was sitting there and we got reacquainted . I
started showing him stuff. His main complaint was he couldn’t
learn any magic, and he didn’t know what books to buy. I sort of
pointed him in the right direction.
I left Florida and I was in Chicago and he called me one day. He
said, "I’m working on the street; I’m trying to, I’m a little
nervous and I need someone to work with me. Would you do it?" I
said, "Sure." Actually it was Johnny who got me into street
magic. Although I had done shows outside, I had never considered
myself to be a street magician until I went to Boulder, Colorado.
I was with Johnny and we were both young. I did Slydini’s act out
on the street. But that changed very quickly.
--------------------------------------
MONA: How does "in-door" magic transform into the street, or does
it?
CELLINI: Actually it does. Any trick can be performed on the
street. It’s what do you want to carry with you. I said it on a
tape recently, a tape I just finished- I say, "What do you want
to carry with you?
Today if I were going out again, I would only carry the things in
my pocket." In the early days, a table set up before you gives
you confidence; it sets up a barrier. As far as stage magic, the
streets are the best way to learn. I would recommend anyone to go
out on the streets.
----------------------------------------
MONA: While you are talking about watching you do street magic,
do you mind telling the story of when Slydini came to watch you
do street magic?
CELLINI: I was involved in doing a show with him, a show for Dick
Cavette. Myself, Garcia, and Slydini were suppose to appear on
the Dick Cavette show. He said, "I’ve never seen you." Although
he taught me, he never saw me perform. I said, "I’ll be up on
72nd Street tonight. Come up and see me."
I was a little nervous. He came up, pushed his way through the
crowd, saying, " My Student.. My Student". And got in front of
them and he stared, no expression at all. He cupped his chin in
his hand and folded the other hand across his chest. He stayed
for three shows. In fact, the fellow who brought him up worked
for Time Magazine; his name was John Willy. Tony was very proud
of him because he could do his Second Deal . He said that he,
John Willy, could do the second deal better than anybody.
Anyway, they come up and watched three shows. When I finished, I
walked up to him and said, " Well, what do you think, Tony ?" He
says, "Call me tomorrow." All night I couldn’t sleep. I thought,
"Oh God, what is he going to say?" When I called him the next
day, he said "It’s the best I’ve every seen." He said he would do
anything. It was the first time that I felt that he treated me as
an equal.
-------------------------------------
MONA : You graduated?
CELLINI: I was no longer a student. And I cried, it brought tears
to my eyes.
--------------------------------------
MONA: In talking about street magic, is costuming, awareness,
senses, how much of that factors in what you need to be doing out
there? A lot of kids say they are going to go out there and do
street magic. They go out there in their sweatshirts and jeans,
and off they go.
CELLINI: I think its okay for young guys. As a magician I look at
it as what am I going to carry my props in? Do I need a suitcase
or a table? Am I going to carry everything in my pockets? So your
dress is sort of important, but I’ve seen guys do it in shorts.
I used the old gypsy image, mainly because I always worked that
way. Tony had the Spanish influence in his costuming and
everything. My influence was basically a theatrical gypsy, or
what I thought a gypsy would look like. I was amazed when I first
went to Europe; Gypsies weren’t very well liked. And I got the
impression when I was in Europe. People would look at me. If I
went into a store, I was followed around, afraid I was going to
steal something. I thought, "God what’s going on?"
But, I got my image from an ol Ray Milland picture called "Golden
Earrings." My image of a gypsy was always of a nice, likable guy.
It wasn’t that way at all. It was something all through the
years; it was just my custom. It demanded attention.
-----------------------------------
MONA: You mentioned performing over in Europe. How different is
the European market in approach, acceptability of street
performing verses what happens here in the United States?
CELLINI: Oh, it’s much better. First of all, they support art.
They look at anyone that works on the street- painter, musician,
mime, or juggler- they look at him as an artist and they support
their art. The difference in territory, in America if you want to
work, you have to go to Boston, some big city; you need to travel
hundreds of miles to get there.
In Europe around every corner there is another working area, a
plaza or something. I always thought it was much nicer to work in
Europe then in America.
-----------------------------------
MONA: Can someone make a living working on the streets here in
the United States?
CELLINI: They can; they have to be precise. They have to get
ready to do it. I think in Europe you can step out a door, walk
down the street and find a plaza and set up there. Here in
America you have to have a truck or a car to travel, to get that
distance. If you fly, already you are in a hole before you get
there. So, you need a vehicle, and usually the street performers
ends up living in their vehicles because they can’t afford
accommodations.
It’s very expensive. I lived in a bus for a couple of years, when
I traveled around America. Today it means having a car, and
making it so you have enough money to pay for a hotel, food and
enough money to move on.
----------------------------------
MONA: What do you see as the hazards of working out there?
CELLINI: Well in the 70’s, 80’s, 90’s- working in New York for me
was never a danger. Today I would think twice about it. There are
so many brutal things. A young kid could step out of a car and
shoot you for no reason, like they do in the schools. Not that
I’m afraid to work in New York. I love New York. It’s a great
training ground for any magician; at least you have people.
That’s the idea of street performing- you have to go to where
there are people. You have to go to a city or a town that you
know there are tourists there. Any place where people gather-
that is where you have to go. In the states is such a long ways.
In Europe they have what they called walking streets. It’s
usually in the older part of town or the village. There is no
traffic and people walk up and down the streets. Here in the
states it’s very hard to find a place like that. The only two or
three that I know of are in New Orleans; Boulder, Colorado, maybe
San Francisco and Key West.
-------------------------------
MONA: What about Florida?
CELLINI: You can’t work anywhere around Disney. Maybe Key West,
but Key West is a difficult place. There is only one area they
allow you to work in , Mallory Square. You get 35 acts all trying
to get into the same place because they only have an hour and a
half to work. You have some guy ringing a bell while you are
trying to do your show. It’s brutal. Only the strong survive
there. Like working Pompidou Center in Paris.
-------------------------------
MONA : If you were to give advice to a start up, someone wanting
to start in street magic, where would you guide them; what would
you suggest?
CELLINI: I would tell them to go either to New Orleans or
Boulder.
-------------------------------
MONA: How would you tell them to prepare? Is there any suggestion
as to what they should have under their belt before they go out
there?
CELLINI: I feel they should have at least three effects. And the
rest they could build around their show. I would suggest any new
fellow going out there do the three tricks that he does best. It
doesn’t matter what they are- it could be the dime and penny
trick; it could be the lota bowl. But build a presentation around
it; build a show based around those effects, what they do best.
One of the mistakes I see is they are always trying to learn new
effects. But there is a time that you have to put those things
aside. Say, "Ok, I’m going to do it." And then be prepared.
Know what you are going to carry with you, if the tricks you do
reset immediately. I do some Slydini material, for instance. The
only thing I have to replace is the rope. The only reason why I
do it is that I have been doing it for a long time; I know it
plays well for people. Slydini did it for years, and I do it the
same routine. My patter has changed, of course. I only do it
because he taught it to me.
If I was going out today, I would probably do one that you don’t
have to replace the rope, like George Sands material. The hanks,
I use to buy them 30 at a time. I used more rope than Carter had
liver pills.
-----------------------------------
MONA: Today’s kids, a lot of them are learning off the internet
or tapes. When you suggest a book, they turn their noises up. Do
you see this as an attribute or a deterrent?
CELLINI: I see it as a bad thing. None of the tapes gives you a
history, of where it comes from and what it’s all about. I
compare it to going to school: You have to go through all the
things. It’s like going from the 1st grade up through the 12th
grade. You can’t skip any of the parts. If you skip , later on in
your career you’ll find something missing.
Once you have gone through the whole gamut, whether it’s sleight
of hand or box tricks or illusions, then you start eliminating.
There is no success without it. You can’t skip a grade; you have
to go through it all.
-----------------------------------
MONA: Looking back over the years that you have been performing,
if you had one favorite story to tell, which one would you
choose?
CELLINI: There are a lot of them, but meeting the Lord of
Cornwall is one and doing a show for the King of Saudi Arabia, is
another. It was a funny thing. He saw me on the streets and he
asked me to come to his palace. He had about 35-40 guests. I was
introduced. I didn’t know who he was. I was doing the card on the
ceiling and I happened to pick him, still not knowing he was the
King. So I come to the part where I asked him to sign his name on
the card, he hesitated, at least three minutes, which made me a
little nervous. I’m trying to figure out why he won’t put his
name on the card. He is looking at me like, "Huh?"
Finally he does. He has a beautiful hand writing-Arabic writing.
In the middle of all their houses, they have a dome in the
ceiling. They have a special rug under it. I’m thinking this is
where they pray. Once he signed the card and I was all prepared I
do it, I threw it up and the card stuck right just on the corner
of this religious thing . Of course I didn’t know it. It was very
high, about 22 feet high. The card just barely made it. But it
did and bang down came the deck and I finished the trick.
After I finished, they allowed me to mingle with the guests. He
had hired a photographer so at every opportunity I was asking him
to take my photo with the King. So I had my pictures with us
shaking hands and with our arms around each other shoulders. I
was told that all these pictures will be ready in the morning and
you can pick up the ones you like.
The next day his car comes around and picks me up. When I got
there, there was all this piping, they were building, scaffolding
to get the card off the ceiling. He said it cost him more to do
this than to pay me. I asked if I could have the card. I thought
that his signature was beautiful. He said, "Oh no, my signature
is something I cannot give out. As for the picture of us shaking
hands, it could be put in the you that paper and you could say a
deal was being made between us. All the pictures with his arm
around me and shaking hands, none of those were available.
--------------------------------
MONA: I understand that you are coming out with tapes?
CELLINI: I think the tapes will be very helpful to the people who
want go out on the streets. It shows exactly how to do it. A lot
of young kids ask me, "I go out there, but I can’t seem to get
the crowd. How do you make them stay there?" This tape shows how
to do it.
There are some magicians performing on there. It’s primarily for
street performers. How do you stop them? How do you make them
stay? How do you make them pay? And it takes you step by step by
showing you live examples. You see other performers from Canada,
from Europe, from America, all using the same techniques.
A picture is worth a thousand words, and I thought if I do make a
tape, this would be the first thing I would work on, show the
people how to do this, that there is no great secret. You see and
hear, in the very beginning of the tape I say that. Then you see
different artists using bells, horns, radios, whistles and even
the human voice. It’s sound that attracts people.
----------------------------
MONA: So its like the psychology of street performing. No tricks-
A, B, C.
CELLINI: No tricks. A formula that teaches how to attract, stop,
and hold an audience and ask for support. No tricks as we think
of them, but I believe there is the most important illusive
tricks of all! To create an audience any time you want without
the need of an agent, newpapers, or television. What is that
worth?
There are many, many books and tapes but they don’t show you how
to make a living. This one will show you how to make a living.
Look at it today, there are 30 million people out of work. If you
sit at home, it won’t come to you. This tape will show you how to
do it. I believe this tape is the most important tape that has
been made in the last 30 years.
--------------------
MONA: Do you know when the tape will be released?
CELLINI: I think it will be in the next couple of weeks. I sold
the European rights to Ron MacMillan, so he will be the first
getting it. The American distribution is still being worked on.
--------------------
MONA: If you were to write your own epithet what would you like
it to say.
CELLINI: Here today, gone tomorrow, or, "You’ll wonder when he
came and wonder more when he’s gone". - Malini-
---------------------
MONA: That short and sweet?
CELLINI: That’s it.
----------------------
Mona Morrison -
Mona is currently a reporter/writer for The Linking Ring, as well
as Advertising Manager. Known throughout the magic community as
an excellent photographer, Mona performs backup photography at
the I.B.M. convention, and partners with Ryan Piling to showcase
her hundreds of photos of magic's unforgettable moments on her
site- http://www.Yomographs.com
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: Cellini - The video
Want to see and hear Cellini, the King of street magicians...?
The video referred to by Mona and Cellini is out, and available
for immediate shipment.
I promise you, you can earn back the cost of this street DVD in
an hour with what you'll learn about performing on the street...
'This video will do much more than entertain you. It will
enlighten you and excite you. It can even change the course of
your life. I have tried my best to explain this illusive art. You
will learn how to attract, build, hold and entertain an audience,
while making a good living. Those I have influenced found
themselves transformed by the experience in ways they never
imagined. All the secrets are here...it's up to you. It could
change your life forever..it did mine!' - Cellini
Dear readers... this video isn't cheap. And it doesn't teach you
HOW to do specific street magic tricks. What it does teach is
WHAT tricks to perform and not perform. You learn the actual
techniques of doing business and entertaining on the streets.
This dvd is an education that would easily cost you several
hundred dollars in a classroom, and is a genuine investment that
can earn you back the cost of the dvd hundreds of times over...
-link no longer working-
Rick C. / Magic Roadshow
:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: Takedown - Starting Tonight on Court TV
R Paul Wilson, a regular at the Magic Castle and a magician and
cheat of international renown, stars in his own show, beginning
tonight, on Court TV.
Paul, the cheating consultant and second unit director for
'Shade', along with a motley crew of handpicked technical experts
and professional fakers, will attempt to infiltrate a casino in
each episode and defeat the millions of dollars of hi-tec
security devices in place to stop the likes of Paul and his
crew..
Only one person knows the 'crews in town'; the casino owner who
invites them in to put his security to the test.
The Takedown... It’s a real-life Mission: Impossible. The risk is
real and the stakes are high!
http://www.courttv.com/takedown/
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: Mysterious Ways
Magician Donny Crandell blows a cloud of bubbles around his head.
Most float and pop midair. All but one. Crandell reaches out and
captures it in his hand.
It doesn't pop.
Among all the parts of life that break and float away, there is
one that's solid, Crandell said, appearing to hold a bubble
between his thumb and forefinger. "That's God's word.".......
-link no longer working -
~:~:~:~:~:~:~:~:~:~:~:~:~:~::~:~:~:~
:: Playing Cards for Magicians
Can't figure out the brand? Don't know if it's new or old? Just
want to know a little something about the cards you've got in
your hands?
Playing Cards for Magicians is an excellent site to have in your
bookmarks.
'This website was created to catalogue and display various
playing cards that are of interest to magicians throughout the
world. For our purposes, cards of interest to magicians have
several distinguishing characteristics. First, they are almost
always poker-sized cards. Jerry Andrus notwithstanding, this is
the preferred size for almost all professional magicians. Second,
they usually have borders. Two notable exceptions are Bee brand
cards (Back No 67) and Steamboats. Finally most magicians seem to
prefer that their decks are...... read more..'
-link no longer working-
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: How to Cheat at Cards - Not That You Would
( for those of you who have not bought brother Jeff Wessmiller's
dvd... Jeff has agreed to an interview as soon as I can get my
questions together... I'm working on em' Jeff... )
Excellent article, courtesy of Juiceenewsdaily.com, on the
methods used by cheats, and teams of cheats...
'Let us define cheating as any behavior outside the rules
intended to give an unfair advantage to one or more players. Many
people make the distinction in poker between hard cheating
(mechanics, collusion, and the like) and soft cheating (noting
the bottom card that the dealer happened to expose without
calling for a misdeal).'
'Cheating in poker is more common than most people care to
believe. Although most cheating occurs in private games that do
not follow strict gaming procedures, it is also very common in
...'
'It is common for a player who has folded to appoint himself
tender of the pot, stacking chips, counting them, and delivering
them to the winning player, just so he doesn't have to get up.
Nobody seems to notice the chip palmed in the hand of this
helpful player. This is called check-copping. This happens a lot.
In fact, odorless adhesive can be used for this purpose. Once
again, the.....' read more...
-link no longer working-
~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~:~
:: Jacks Be Quick (Magicinsider.net)
Effect: A spectator selects a card from a completely shuffled
deck. He or she is then asked to sign their name on their card.
The card is lost in the deck, and then again shuffled. The
magician then takes out (2) Jacks from the deck, which are held
in the hand of the magician. Instantly, the chosen card appears
BETWEEN the 2 Jacks, REVERSED. The rest of the deck is now given the spectator to hold.
With a magical movement, the chosen card then suddenly disappears
from the packet of Jacks. The magician then reclaims the deck.
The magician then takes the deck and flips over the top card
revealing it to be indifferent. Acting disappointed, the magician
then rubs the card, revealing that the signed card has actually
jumped from in between the 2 jacks and back into the deck.
Discover the secret at ...
-link no longer working-
This is an impromptu ‘sandwich’ effect / ambitious card routine.
It was inspired by "Face Lift" in Paul Harris’ Art of
Astonishment Vol. 2. Robert Pellissier has re-done all the
handling, subtracted and added some effects to the routine to
make it completely original.
~:~:~:~:~:~:~:~:~:~:~:~:~:~~:~:~:~
:: My Friend - Bob...
My friend Bob - of BobSolariMagic.com - just contacted me with
great news for all you readers in the New York City, tri-state,
and New England area.
Sunday, November 6th, 2005.. go ahead and mark it on your
calendar...
Because the top 225 ONLY close-up magicians in the NY area are
invited to attend an exciting, brand new, annual, one day, close
up convention, conveniently located at the New Jersey
Meadowlands....
Featuring - the legendary Steve Dusheck, one of magic's most
prolific and imaginative minds. - Darwin Ortiz, one of the very
best card technicians in the world. - And Bobby Gallo, who
regulary performs over 400 shows a year throughout the country.
It's an eleven hour drive for me - but I'm already making plans
to be there. It's that important.....
Call Bob at 973-546-6110 or 973-773-8818 -or- visit
http://www.metro-magic.com for all the details ...
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:: Derren Do
London taxi drivers have a reputation for being the best in the
world - until along came Derren Brown. In one of his Mind Control
programmes, the illusionist hailed a cab and asked the driver to
take him to the London Eye. An hour later, having passed the
famous attraction several times, the taxi driver was still lost.
He's made bookmakers pay out on lost bets, revealed information
to people that only they could know about and caused others to
fall asleep in phone boxes. But nothing compares to the
controversy aroused by his Russian Roulette Live and Seance
television specials, the latter attracting more than 700
complaints to Channel 4......
Read More.. http://snipurl.com/fl5w
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:: The Expert at the Card Table (again)
For those of you who have not bookmarked 'Expert at the Card
Table', here's another chance.. To quote from EATCT...
'Of course it is generally known that much deception is practiced
at cards, but it is one thing to have that knowledge and quite
another to obtain a perfect understanding of the methods
employed, and the exact manner in which they are executed....
Many professionals have attained their success by improving old
methods, or inventing new ones; and as certain artifices are
first disclosed in this work so will others remain private
property as long as the originators are so disposed....'
Bookmark it, read it, learn from it, take the magic and re-create
it... Why pay ten bucks on Amazon when Magic Roadshow will take
you there gratis..
-link no longer working-
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- Discover how......
..to book more shows and double your income.. guaranteed! If you
have any hope of making a full-time living as a
magician/performer, let someone who does it - and has hundreds of
satisfied customers as proof that his system works - show YOU
exactly what to do..
As David Breth and I have both discovered - great magic is only
half the answer. Being able to market yourself and grab those
valuable school shows, cruises, conventions, and trade shows are
the keys to success. If you don't read and learn this valuable
information, you are forever destined to compete against
magicians who KNOW the 'inside secrets' ..
-link no longer working-
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If you have a site and would like to be a sponsor at the Magic
Roadshow, send me an email and let's negotiate.. ( I'm a
push-over) .. I also joint-venture.
I've got several other great sources for magic, patiently waiting
in my bookmarks, to be delivered to your doorsteps, sorta....
-------------------
Email Me with your request, rants, and raves. I love to hear
from you, just to know that my newsletter is making it to it's
intended
If you have a suggestion for a resource, let me know what you've
found. And, if you have a magic related article, send it to me
(no attachments please) and let's see if we can't send your ideas
to readers around the world. If it needs a little editing for
spelling or because english isn't your given language, don't
worry... I'll take care of that...
Forward this newsletter on to others, if you have friends you
think may be interested.
--------------------
Don't forget to visit my blog. I've posted a
lot of stuff since last issue..
-Magic Bullets-
http://streetmagic.info/blogger.html
Street Magic Bullets.... http://streetmagic.info
Magic Roadshow........ http://magicroadshow.com
--------------------
May my next issue find you well...
Rick Carruth
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:: Home
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