From: HCM100@psuvm.psu.edu
Newsgroups: alt.magic
Subject: Re: alt.magic reader bios, also, "how do you get there from here"; mis
Date: 16 Oct 92 23:03:07 GMT
Organization: Penn State University

In article <Bw84wx.5F7@da_vinci.it.uswc.uswest.com>, ron@eatdust.uswest.com (Ron
Schweikert) says:
>
>I have a couple of quick questions (the first one is quasi-embarassing...)

Don't be.  Took me a long time to find out what the (@*$#& a biddle grip is.

>1) what is the "Hamman count" and "Biddle grip"?  It might be that I already
>   know these, but by other names.  They are referred to in Harris' "Las
>   Vegas CloseUp" book.

The absolute best source I have seen in one book is "Counts, Cuts, Moves and
Subtlety" by Jerry Mentzer.  Not a big book, run you about $6.50.  Small
paperback with a sin ugly green cover.  But the value of the inside is
priceless.  The Hamman Count, by Bro. John Hamman, is a method for switching
packets of cards while counting them.  It is similar in nature to Marlo's
"Bold Face Up Switch".  I already do Marlo, so I don't regularly use a Hamman
Count.  It is also similar to the Biddle Move, which incorporates the Biddle
Grip.

The Biddle Grip is done with the right hand.  Grasp the deck from above,
clipping it between your thumb and second finger.  The nail of the index
finger rests on top of the deck, and may apply pressure if needed.  That's it.
It's a very natural way of holding the deck, but it's got a name.  :-)

>2) Is Harris' "Intimate secrets" book good?  Again Harris defers to it a lot
>   in LVCU for reference and insight.

Never seen it.  Love Harris though (Paul AND Ben!!, but especially Paul).  I
revel every time I use his "Immaculate Connection" routine.

>Now for a more general question:
>
>The bios I've seen for DC and other magicians are very short.  I'm interested
>in how a hobbyist magician moves from neighborhood and small social
>gathering "shows" to semi-professional and then perhaps full-time.  How

That's exactly how.  There are two general, and for the most part, unrelated
areas of magic.  Close-up and Platform work.  Each requires different
techniques and different styles to perform.  Close up is an intimate, usually
"spontaneous" atmosphere (I say spontaneous because that is the feeling I
like to project), while with platform magic, people are there to see a show.

I have forayed into platform magic, but found that I prefer close-up.

The very first show that I did was after studying magic for just four months.
It consisted of a Color Changing Silks routine, a signed bill to orange,
Needle swallowing (a la Houdini), and Harry Andersons Needle through the
arm.  Lasted about 20 minutes and bagged me $35 dollars.  People didn't
know that it was my very first performance, and that I was so green I didn't
know who the Professor (rip) was.  The tricks that I did were not at all
difficult, they were simply entertaining.  I made people laugh, I goofed
up, I fumbled, but I made people laugh.  I sort of jumped in with both feet,
as this was in front of over 200 people that I had never met in my life.

My *second* show wasn't nearly as sucessful.  I was confident in my new
skils, and wanted to extend them.  Woops.  I learned the hard way that you
just don't do that too fast.  Disaster.  I got so caught up in the magic
that I forgot to entertain.  I decided then and there that I would spend
more time doing close-up, since I *HAD* to perfect it before I could show
people, and besides, if I screwed up it would only be in front of a couple
of folks at a time.  :-)

Now, many years later I have performed for single people, and for audiences
of 500.  Just doing close up.  (Doing Williamsons Torn and Restored transpo-
sition in front of 500 people is quite a treat.)  I find that the intimacy
of making magic happen IN PEOPLE'S HANDS far outweighs the enjoyment I
derived from making magic happen on stage.  People expect miracles on stage,
but when you can actually make it happen IN THEIR HANDS, when they didn't
even expect it, THEN you have performed real magic.  Not cutting someone
in two, not floating around the stage: when they are absolutely convinced
that they have a silver dollar in their hand, and when they open it they
have four different coins, different sizes, different colors and say WOW!,
that's magical and that's why I do magic.

I have never done a birthday party, I have never done a barmitzvah.  I have
performed at adult parties and in theatres and restaurants.  I
always have a deck of cards with me and a smile.  I always (even if I
really don't want to) will put a smile on someones face if they really want
to be entertained.  Magic is an art.  If you can make it your profession,
good luck.  But with professional work comes business responsibilities.  I
would absolutely love to make Close up work a full time job, but I think
that I would loose the magic.  That's why I work when I can, maybe a few
nights a week.  The rest of the time is for me.

Anyway, that's a long ramble.  To turn professional means a decision on your
part to PRACTICE PRACTICE PRACTICE until you are sick of it, and then
practice more.  Start doing family shows, then ask them to tell other folks
about you.  See if you can do a charity show at a childrens hospital or an
old folks home.  Make yourself known and before you know it people will be
calling you and asking if you want to work.  The strongest advertisement
is reputation and word of mouth.  (I am known as The Magician around campus.
People don't know my name, but they know what I do.  And I've only been
living here for four months!!)  If you have fun, people will know and they
will come to you to see your magic.

>How
>have some of you done it (I think the thread would be kind of fun -- the same
>type of thing occured in rec.aviation awhile back ("most memorable flights"
>and "personal bios") and was fun).  For those who do small shows, say mostly
>close-up work, how do they transition to learning the "big stuff"?  For
>those of us hobbyists (and others actually) there are numerous books on the
>market that teach not only basic skills but also specific illusions.  This
>is great, but are there the same type of videos/books for stage illusions?

I Dunno.  I would guess so.  Call Tannens and order their catalogue.  Or
call Stevens Magic Emporium.  They have a catalogue too.  If you want to
learn platform magic, be prepared to spend lots of money on tricks you
will never perform.

>Are these "grand" illusions learned mostly through mentoring, conferences,
>both? I don't see myself ever doing Andre Kole or DC type stuff, but I'm
>interested in the effects both for the art form, but also to see how some of
>the principles involved can be "scaled down" for more intimate gatherings.

For intimate gatherings, Close-up is what you want.  Some platform effects
(zombie, bill in lemon, and so on) can be used at home, but not all.

>Ron
>
>(Also, anyone know what Doug Henning is up to nowadays?  Anyone know how to
>correspond with Andre Kole (find out schedule etc.)?)

Transcendental Meditation.  No sh*t.

*  Hans C. Masing        |  "When you go in for a job interview, I  *
*  HCM100@PSUVM.psu.edu  |   think a good thing to ask is if they   *
*  Penn State MIS Dept.  |   ever press charges." - Jack Handey     *
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