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(RON MACMILLAN) 89 CLERKENWELL ROAD, HOLBORN LONDON E.C.1

IF YOU'VE NEVER HEARD A MAG I CASSETTE YOU DON'T KNOW WHAT YOU ARE MISSING -

MAGICASSETTES BY MARTIN'BREESE ARE CASSETTE RECORDINGS OF FAMOUS MAGICIANS

IF YOU'VE NEVER HEARD A MAG I CASSETTE YOU DON'T KNOW WHAT YOU ARE MISSING -

MAGICASSETTES BY MARTIN'BREESE ARE CASSETTE RECORDINGS OF FAMOUS MAGICIANS

— moderately priced at $11.00 each (£4.80) and professionally recorded

There are now 18 Martin Breese Magicassettes available and another 30 in production at the moment. Sid Lorraine said: "I am happy to see what you are doing to preserve the words and wisdom of the wizards of today". Genii July 1977 said: "I recommend you buy the Magicassettes being sold by Martin Breese of England . . . they are great to listen to and will become even more valuable in the years to come. We have ordered a complete set for the Magic Castle."

Available now: Goodliffe Vol One & Two/Terry Seabrooke/Magicomedian George Schindler Vol One & Two/Faucett Ross Remembers/Alan Alan Vol One & Two/Lewis Ganson Vol One & Two/Bobby Bernard/David Berglas/Francis White/Robert Harbin/James Randi on Uri Geller Secrets/Val Andrews on his Life Story. Each VOLUME £4.80 or 811.00 airmail post free or send for Magicassettes Highlights Recording with extracts from quite a few of the above at just £3.80 or S10.00 airmail. List for 10p stamp.

MARTIN P. BREESE - Creator of the Original Magicassettes 77 Bolingbroke Road, Hammersmith, London W14 0AA, ENGLAND.

Here is something for United States readers; the Pageboy is to visit your shores again next year, 1978, that is. Some magical organisation intends to hold their annual shindig at the Waldorf Astoria in New York City during July and the Pageboy has been invited to make his presence felt one way or the other and being in a benevolent mood I have agreed. Prior to this I shall be doing one or two or three (or maybe four, five or six) lectures, sometime, somewhere, but so far nothing has been planned. It seems to me that in recent years I have been to the U.S. so often that so many people must have seen most, or all, of the things that I do reasonably well (if there are such things). So if I do these lectures it means I am going to have to sit down and put my thinking cap on — which isn't too difficult as I do have one or two things up my sleeve that I have not yet shown to magicians. What would happen if someone was to do a lecture that consisted entirely of new things? When I say 'new things' I don't mean a bunch of new inventions, effects or principles. What I mean is supposing someone got up and did a lecture consisting entirely of things that were untested before audiences. What would the be the reaction of the average magic club? Would they think it was sensational? Would they be disappointed? Would they think anything? Probably not. If the lecturer was to do them with complete aplomb ninety-five percent of his audience would accept them as being great and the other five percent couldn't use them anyway, but they would enjoy the entertainment that evening and everyone would go home happy.

But this would not be the point of such a lecture. Would the audience respond with suggestions? Could the lecture become an open forum for debate as to whether the sleights effects or ideas were practical or not — in effect it would not really be a lecture but a presentation of something new. The problem is that to understand something that is new you have to understand the older things and as we all know too well many magic club members are strictly hobbyists who come along to the club once a month or whatever it is and that is their night out. Perhaps on other nights they will indulge in some other practice, should the wife permit, and that is it. They have very little to offer and they are strictly hobbyists. They enjoy the magic club. So what is to be done with new ideas whether they be in the form of invention, presentation or whatever? Are we to rely on the guy who makes his living from magic coming up with his own little presentations, used before paying audiences, experimenting with the timing,

methods etc and when it is all finished everyone else sits back, looks at it, smiles, then steals it? It seems to me that the man who is a hobbyist should be able to offer something other to the fraternity rather than just his presence. There are many intelligent people in the magic fraternity who are not involved in showbusiness and know nothing about it, but I am sure that somehow, sometime, somewhere they have a gem of an idea that could be contributed to a meaningful discussion on our great hobby, magic. I ask you again, would a lecture of ideas be a practical proposition? Would magic club members be entertained?

In this particular issue of Pabular all of the tricks have been contributed by Mr Eric Mason. I have known him for upwards of twenty years. He is an artist by profession which means he draws and paints for money. In all these years that I have known him he has been interested in two things (more than two actually, but two as far as we are concerned), one is mentalism the other close-up magic; during all these years I have never been sure if he knows which he prefers, which one he likes better than the other. He has been in a dilemma as to whether he should be a close-up magician or a mentalist. Maybe he should be a close-up mentalist. Are there such things? Yes, I think so. Didn't Dr Jaks do close-up mentalism? I know he did other things but I do recall his close-up mental magic effects.

Being a professional artist and a magic nut means that he does lots of illustration work for magicians and magic magazines, particularly this one, and he has been known to illustrate the odd book. The very odd magic book — for an artist who is interested in magic Eric's output is very high but his expulsion rate is very low.

Goodbye, Patrick Page photo-call

EFFECT: Spectator signs a blank piece of photographic papers which is placed into an envelope. Spectator then selects a card and mixes it face down on table with any four other cards. At this point even the spectator does not know the position of his chosen card.

Performer now displays an ordinary Flash Cube. Holding the envelope of photographic paper above the cards, the spectator passes along the line. Suddenly, as if of its own accord, the cube flashes above a card. This card is turned over and seen to be the selected card. Envelope is opened and photographic paper is seen to still bear the spectator's signature, BUT ALSO IT BEARS A BLACK AND WHITE print of THE CHOSEN CARD.

NOTE: Effect may be repeated and a different card be photographed each time. Any deck of cards cah be used. No connections, wires or batteries. Completely self contained. Flash Cube may be passed for examination. Very easy to do. No sleights, moves or difficult handling to learn. Generous supply of "Photographic paper" supplied. Sufficient for dozens and dozens of performances.

Gimmick is capable of dozens of applications, both close-up and stage. Many alternative ideas and applications supplied.

Send now for this exciting new effect. Guaranteed to be a sensation every time it is performed. Send today on our Money back Guarantee. You have nothing to lose and everything to gain.

48 EMU ROAD, LONDON S.W.8 ENGLAND 01 724 6257 Manufacturers of Flying Carpet Magic Catalogue - Import Brochure - Latest Lists 75p

# "THE KEN BROOKE STORY" or "IT'S BETTER THAN DIGGING ROADS"

Tells the story of how I became interested in magic to the days I worked for Sydney Lipton & Henry Hall. Gives several routines (taken whilst I was at it) — Many gags — B\ts of business —

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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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