The Angry Man of Magic - Stop Thief!

jasa seo murah My colleague has recently had a problem with theft. Of material. But not in the way you might instantly think. This is theft of props... at a gig... by the punters... punters who are expecting to be entertained with a few pieces of laminated cardboard and a rubber band, but will now suffer another card trick because one of their klepto klunt friends has walked off with the props.

Whisky Tango Foxtrot?

What exactly did this reincarnation of Forrest Gump's alat bantu sex more stupid brother think he was stealing? This isn't the 'piece of cardboard to million dollar pot of gold' transformation that we've all thought suitable to bring to the working mans club. Nor is it something that can be resold on ebay for beer money. It's worthless to you, and everyone else.

Can you imagine the advert?

“Plez l@@k - mega magick trick!!! no idea how it works becuz I didnt' steel the instructions but sure YOU can work it out yourselfs. LOL. thanx for lucking” (all spelling, punctuation, and grammar errors are likely to be real, since he's the sort of person who puts the 'retard' into 'illiterate.')

In fact, to anyone other than alat bantu sex  a magician his haul is pointless. So why do it? Would you hang around the back doors at a rock gig, and nick Robert Plant's guitar if he turned his back to talk with another fan? (Actually, don't answer that - it was meant to be a proverbial question, but I realize I've just given you another business plan in your next 24-hour day release.) peluang usaha online

We don't even have any money to pay a ransom. Was that your plan, Mr. Thief? Instead of pirating material from teh interwebs, are you on an exchange program from Somali and though that magic was the game to be in?

What Rainman doesn't even realize is that it isn't just the cost of the props. Sometimes it'll have a alat bantu sex sentimental value (our personal prototype, or a gifted trick); or represent a great deal of time in manufacture or easing the product in until it's usable; or that we have to make rush purchases to get a replacement for tomorrows gig which is a 50 km drive north... while the only magic shop is 50 km drive south.

Hate. Hate them all. pembuatan toko online murah

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The Angry Man of Magic - The middle lane magician

I got into magic seriously when I was in my 20's. That quite late by most accounts, but I don't care. I feel it has added a maturity to my character, and a depth to my understanding of the art. I'm happy to talk with the youngsters about the latest and greatest gimmicks; although I'm old enough to realize they're only adaptations of older principles... and their latest 1-trick DVD was a throw-away routine in a book from 30 years ago. However, the conversation doesn't always last very long, since they think I'm too long in the tooth because I haven't bought the latest XYZ on pre-release from Jay Sankey. Alas, I am spurned.

I'm also happy to talk with the elder statesmen of our art; those who worked alongside Canasta and have shunned technology since Gutenberg. Each day they pray for the death of the internet, and still haven't learned to work their DVD player. However, the conversation doesn't last very long, since I'm too young to have the original 1954 edition of a tome so dusty that it falls foul of health and safety, or that I learned a sleight from a DVD, instead of the original in the (now out of print) hyper-expensive collectors edition lecture notes that exist in a singularity within another universes time-space continuum. Alas, I am spurned.

Whisky Tango Foxtrot?

Am I such an objectionable person that no one wants to talk to me? Er no - because it's not just the conversation.

The youngsters haven't learned enough manners to wait in the queue without pushing, barging, or giving frat-boy aggravation. The oldsters haven't learned that age doesn't grant you the right to push to the front of the queue. Although maybe it should, perhaps they're so old they might die in the next 12 seconds if they don't get to the front. They have, after, got to pass comment on how Slydini did it. And better. And that they taught him.

The youngsters haven't learned that - I not knowing the name of a new sleight - doesn't mean I'm stupid. The oldsters haven't learned that I not knowing the name of an old sleight doesn't mean I'm stupid. They're probably the same sleight, anyway. And the only way I'll know this is if magicians gave proper crediting throughout (which they often don't), and I have read the exact same set of books that they have (which I almost never have.)

The youngsters haven't learned that the magical inheritance isn't theirs yet; they haven't earned it, there's lots of people in the bequeathal queue before them; particularly if it's not a self-working card trick from Ellusionist. The oldsters haven't learned their magical legacy is out of their sleight-weary, wrinkled, old hands. Magic moves on. They no longer own it. It's time they realized.

I'm beginning to come to terms with this. I am a "middle lane magician". It's just like driving a car where everyone on the road seems like an idiot - those going faster than you are un-safe idiots. Those going slowly are retarded, plodding, idiots. Except in this case, I'm not sure which are the youngsters, and which are the oldsters.

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The Angry Man of Magic - Concentrating on the presentation.

There are two broad strokes to learning my magic - the method, and the presentation. The method is the bit in which most of us are interested. Learning the sleights and being able to show the exposed view to our friends at the magic club is the closest to a circle jerk we've had since high school. It's hidden, and it's enjoyable.

Then there's the presentation. A cool and effective delivery. Strong patter lines, interspersed with relevant humor (not random jokes ripped from other acts, or the Internet). It all makes something with which an audience can engage.

To be an effective entertainer, I need to be able to do both. Blindfold. At the same time. Without mistakes. In fact, if something outside of my control causes a mistake, I must be capable of resolving the mistakes. Blindfold. At the same time. Without further mistakes.

So why do tricks insist in telling me the method is so easy I can "concentrate on the presentation"

Whisky Tango Foxtrot?

Magicians need to be able to walk and chew gum at the same time. If I can't perform the sleights required by the routine, I should not be doing it. Period. No one should. Practice not until you can do it right, but until you can't do it wrong, as they say. You must be able to commit each move, turn, block, and misdirection to muscle memory and handle it as smoothly as if you aren't doing a move. Or turn. Or block. Or misdirection.

If the trick has simple sleights, say so. But the Google translate function inside my head just replaces "concentrate on the presentation" with "there's no incentive to practice this, so you will mess up and look as stupid as an amoebic dysentery diet plan.

Maybe the other interpretation is "you'll be performing this right out of the box". This actually means, "you won't bother even writing a script, so you can concentrate on ad-libbing incoherent verbal durchfall during the presentation". And since, unless you're Bill Malone, ad-libbed presentations consist of a running commentary of the moves; so don't be surprised if I don't concentrate on your presentation.

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The Angry Man of Magic - Self-workers : an apology

When I was starting in magic, I did a lot of self-working tricks. Unfortunately, most of the self-working tricks I did were the same ones that everyone else did. And 50 years previously. So there's no buggering Uncle, PEdo teacher, or big brother, that didn't know how it was done. Yes, I probably did the 21 card trick, I don't remember. And I probably did some spelling deals. But I also did others with stacks that I thought no one else had heard of.

But they had.

So for the first few years I equated self-working to bad.

Later on, I discovered a lot of other (truly wondrous) effects, like OOTW and Gemini Twins. These are tricks that I still perform regularly. They are masterpieces of our art, and I feel should be studied and performed by everyone wanting to progress. In fact, I'd like every snotty-nosed XCM worker to be forced into presenting (i.e. not showing off) these effects in a way that doesn't involve the phrase "check this move - totally sick, blud". To my mind, no longer is self-working equated to bad.

But when I hear some magicians talking about them, why is the comment "self-worker" always preceded with the words "it's ONLY a"? And always followed with the emphasized rendition of "BUT".

Whisky Tango Foxtrot?

Self-working is not an apology! So stop apologizing for it!

By saying it's self-working isn't like saying "I ran over your dog, BUT he's no longer in pain". Self-worker is the method, not the presentation. The effect on the audience is same regardless. Have some respect for the art and what it can do. Even I managed to do it...

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