Book Review

After Hours Magic: A Book of Al Thatcher Card Magic

Encyclopedia of Card Tricks

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SCATTERSHOT - A collection of neo-paleonic card magic by Phil Goldstein. Available from the author at 121 Charles Street, Apt 4A, Boston, Mass. 02114, U.S.A. Five dollars.

Containing twenty card effects within its 20 pages this is a decidedly 'meaty' publication. Covering many wellknown plots with interesting variations of methods, utilising what are modern basic sleights to achieve the effects. The enthusiastic card man will find much to get his teeth into. Most can be done with a borrowed pack only requiring facility with such sleights as the Elmsley Count — Ascanio Spread — Orlam Subtlety — Mexican Turnover — Buckle Count

Effects dealt with include Oil and Water

— Collectors — Elevator — Sandwich — Ace Transpositions — a signed card, freely selected penetrates a magazine. Among the others the following appealed. Spectator is given the four aces to hold between his palms. A freely selected card is pushed between the held aces, and then the spectator is requested to return the chosen card he finds that he only has the four aces. The chosen card is revealed face up in the pack.

The above information should be sufficient to indicate the kind of material offered and should it be your approach to card magic a purchase is recommended.

Fred Robinson

In the last few years 'mercenary' is a word that has been kicked around a lot all over the world. As far as the newspapers are concerned it is usually applied to ex-servicemen of one country who are prepared to fight for another, for money.

In showbusiness the word is usually applied to theatrical agents, and it isn't necessarily true. I'll give you an example. Agents come in all shapes and sizes, tall, short, fat, good, bad, honest and crooked. I work for several small ones, by choice, although I do get the occasional job from the largest theatrical organisation in this country (I thought I'd sneak that in).

A few weeks ago I had a call from a guy I do quite a lot of work for and he said, "Next Friday A —n Hotel, 10 o'clock, and keep it clean." He gave me the address and in the course of a 30 second conversation I found out that he had farmed me out to another agent because the job he had me booked for had collapsed, or he had given it to a cheaper act, or — or — or who cares about reasons. I was still working that night.

So-o-o on that very same Friday I arrived in plenty of time to find out that the hotel was actually a pub. I parked the car outside, left my bags in it, stepped inside to be greeted by five rock-type musicians belting away at full blast, plus maybe 300 customers trying to make more noise than the band. To add to the problem the room was L-shaped so around 50% of the audience wouldn't see the action anyway.

Now believe me, these kind of places don't frighten me one little bit; I grew up working in them and I can still do it, and will again, but only if I have to. Currently I don't have to, so I turned round, got back into the car and drove home.

Next day I called the agent and explained that the place was a pub and that I don't work in pubs any more, or bars or saloons or any other such-like places (which he knew). He was surprised because he had assumed, because of the 'keep it clean' instruction, that it was an after-dinner date in a proper hotel.

Now, usually with the agents I work for there is one simple rule: if you don't turn up you don't work for them again. But this is not a hard and fast rule. It has an escape clause. All you have to do is pay him the commission he would have received if you had done the job. That's mercenary!

In this instance I offered to pay the commission and he said "Forget it. It wasn't my job anyway." So I said "But what do I tell the cIhecPage boy^

other agent?" and he said "Tell him to *!*!*!*!"

Like I said a few paragraphs back. All agents aren't mercenary.

I remember many years ago when I first arrived in London entertainment in the pubs was quite common. Every other little pub used to have an act or two on a Saturday night. With the advent of TV and the so-called affluent society this tapered off along with the closing down of variety and music hall theatres. It stayed that way until a few years ago things suddenly started to boom again, but this time it was strippers and go go dancers; 'entertainment' was advertised every evening.

In the last 3 or 4 years 'acts' have been in again, mainly comedians. The problem is that many of those running the public house just have no idea at all about entertainment. They give you a microphone and assume that as you can talk louder than anyone else, that that's it for entertainment. Just a few places have an idea of what is needed, but not many.

One of the big things today in pub entertainment is the fact that they want to be able to put your name up outside in very large 'Dayglo' print and they want to tell the world that you have appeared on Television and it doesn't matter which programme you were on.

It's a strange situation that has arisen today. If you've appeared on TV you must be good. If you haven't appeared on it you can't be very good.

I'm not very good.

Goodbye.

Patrick Page

Last month it was mentioned that 'Martin Breese and the Sound of Magic' were the main people in this country for cassette tapes on magic, implying they were one and the same which of course they are not. Martin Breese runs 'Magicassettes' and Vic Pinto and Pat Page the Sound of Magic. Both trade completely separately; our apologies for any misunderstanding.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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