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It's chalk full of great magic. Work through it slowly and try to get an idea of each trick. There is a ton of great magic in there, its not presented all that great so its a bit of a hunt sometimes.

It's a teenager thing for sure. I perform regularly for adults and never have any issues with hecklers. I also taught middle school for a few years, it was considerably harder. In these situations I always keep a couple self working tricks no me that will fool them in a very hands free manner.

If they can see your thumb nail, you need to check your angles and change how you hold your hand while performing.

Okay, first off, David Blaine doesn't have an original double lift. The type of doubles you are looking at are called stud doubles. This has to do with the way the card is pivoted at the base of the hand. I don't think what you have is original. The most influential stud doubles are as follows...

I've always said that there should be a place where we can go to find this information. Similar to Mier Yedid's Magic TV Guide http://www.magictimes.com/ Right now there is no place for this. Maybe I should make one!

Mostly you are going to be able to do a thousand different revelations. Magicians have been super creative with these revelations. I'd look at Stigmata by Wayne Houchin (It's actually a very old principle), Ashes on Arm, Card to impossible location and so on. Jay Sankey uses this move a ton. He...

I don't think he's talking about the annoying click because he mentions using the crimps in controls. If this is the case crimp one card and use it over and over again like a key card. I use the breather crimp on the 5 of diamonds as I feel like it outlines the placement of the crimp well. If...

The reason this is good is because of his presentation. For the cards, if he is using the method I think he is using then you want to look at the work of Chan Canasta or David Berglas. By the way, Chan Canasta is famous for failing often on television doing precisely this kind of trick. It is...

The person that comes to mind for me is Bill Cosby. I grew up in a generation where he was completely idolized. I think his comedy is still good, but there is something in my head that makes it hard to listen to. I think I have a different gut response to opinions then I do actions. I am able...

I taught French for 3 years. I used a Rubik's cube to time the kids on writing assignments. I'd have someone mix it, then I'd solve it. Once the cube was solved the time was up. Of course I never taught them any magic secrets in class. I used the professor's nightmare to teach lengths, I used a...

You progress at any skill super quickly at first. As you progress it gets harder to get better. I think there are masters, or at least experts in the field. I also think that being fooled or failing to be fooled is not a great metric to measure ones skills. In fact, magicians of all skill...

I'm still looking. Do you know who is in the picture?

For close-up I don't use a case at all. In my formal show I use a single deck of cards and for walk around everything fits in my pockets. For stand up I use an old fashioned suitcase on a chair or TV table.

Great, super insightful. I'm not sure if this has been said yet but Michael O'Brien and a couple other members of the Theory11 community have auditioned as well. I'm glad it was a good experience.

I agree. A fake story can still be honest as well. It can be honest emotionally, and intellectually.

Hahaha! It can't be done any slower.

Force decks are great but you have to use them wisely :) There are various ways to show that the deck is mixed, David mentioned a switch. There are a few subtleties you can do, then there are decks like the Svengali and Pop Eyed Popper that are basically modified forcing decks. They fool...

I guess I don't have the patience haha. Most of mine are fairly resilient, then again I could be putting too much work into them.

I've had that, "Well that one looked different so I chose it". It makes you want to do it again haha

I agree that it's a powerful tool and could make a routine more emotional. You can have a very emotional show or act without music as well. I'don't consider my stage show to be full of emotion and I don't use very much music at all. I think that there is also a danger in choosing music poorly...