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Telling someone how something is done, isn't teaching - which is why you are starting to feel uncomfortable about this. The difference is that when you are teaching someone they want to learn how to do something NOT how just how something is done. Think about that for a minute and you will...

As Rick said, you should be prepared to do a show without anyone touching your props. I'm working on a parlor show for a hospital that only has one effect where a spectator touches the props (and working to figure out how to eliminate that one). That doesn't mean that you don't have spectator...

It defiantly sounds like you did more than something right. A couple of thoughts. For an opener, you should do something that hits them with magic quickly or something that is interactive. Gets their attention and establishes credibility. The traditional invisible deck routine isn't a good...

NOOOOOOOOOOO. That is the worst place to start. His technique is awful. Check out the routine in Mark Wilson's book. One of the best. Next, check out Ben Salinas' Encyclopedia of Sponge Ball Magic. Then go to Steve Darci's Sponge Ball Toolbox. For some more advanced stuff check out the...

If you want to do the color changing Triumph, send me a PM. I have a method that I've come up with that will work. I appreciate that you took the time to respond. It is clear that you've done your homework... literally. One more source that you may not have seen is the Tax Foundation's...

Excellent. What did you end up performing? What went over the best? What went right? What wasn't as strong as you thought it would have been? In hindsight, what would you do different? Doing a post-show analysis is the best way to improve your magic.

This post is meant to provoke thought rather than any arguments. When people see any issue as being absolutely clear on either side I think it means they really haven't explored both side's positions and thought about what the implications of those positions are. Hopefully this will help you...

Check these out: http://www.thetrickery.com/full/exclusives-performers-pouch__6196.htm http://www.llbean.com/llb/shop/68599?feat=847-GN1 I have one of these and it is great: http://www.llbean.com/llb/shop/53797?feat=68599-ppxs&dds=y I can pack a whole show in that bag. In the main...

The short card riffle glimpse Is in Encyclopedia of Card Tricks but I don't think there is any crediting there. I don't think you will find out who created this because it use lot of basic principles that have been around for a long time. I also think that Dan and Dave have. Method to force a...

Time to start diving. Page 230- Bill in Lemon. Page 235 - Rope Magic (three different cut and restored rope routines). Page 319 - Three Way Test. Page 391 - Spongeball Magic (a good routine - just don't point). Page 423 - Cups & Balls (can use plastic cups or glasses covered with paper)...

The big problem with card routines is that they are difficult to play to a larger crowd. It can work for less than 10 kids, but more than that, kid's won't be able to see what is happening. The typical invisible deck routine (with the spectator opening, shuffling and sorting through an...

No, no and maybe. A silk vanish will have them rolling their eyes. The mouth coil will have them asking if you know how old they are. And, from my perspective, NEITHER of those is strong magic. The ACR might work, but you need some entertaining patter. I don't think anyone should take a gig...

I call mine Casper because I use white ghosts ;) If you didn't come across the name of Al Baker, you didn't do enough research. Also, looking at tutorial videos on Youtube isn't really research. If you really want to do research, check THIS out. I'll grant you the shadow is somewhat...

Try keeping your right thumb still. Resist the urge to push with the bottom phalanx of the thumb to get the move done more quickly. Bring the card to it with your left index finger. However, keep pressure on the card where the edge contacts the right thumb. PM me if you need any...

Let's start with a bit of trivia. Mercury wasn't invented by Hugard and Braue, but by John Scarne. A lot of Hugard and Braue's work doesn't give proper crediting. I believe the Fred Braue gives credit for the move to Scarne in the Fred Braue Notebooks, Volume 3. Whey you square up a deck...

Generally, it should look like you are squaring the deck and be done at that speed. It should feel like a single motion and then moving the deck back in mechanics grip to cover the card. I often do it under cover of handing the deck to the spectator to shuffle which avoids the having to move...

First off, creativity (as I understand VisualArtist) isn't just new effects and methods. It is much more than that. It is choosing what to present, deciding how to present it, deciding how to fit those choices together in routines or a show, deciding how to improve your presentations so that...

I think there is a lot of power in having spectators WANT there to be specific ending. The key is to build up the impossibility of what they have been lead to want and then deliver it. I also think that having the spectators "get there" a moment before the reveal makes the kicker perfect. For...

There are (at least) three different schools of thought in presenting magic. The first is the Fitzke school of thought, which thinks magic needs to be dressed up to be entertaining. The second is the Paul Harris school which thinks that showing a little piece of strange is enough. The third...

Don't get Noblezada's DVD. His technique isn't the best. The routine in Mark Wilson's Complete Course is very good (but don't point to the hand where the ball is supposed to be). Spongeball Toolkit is a good DVD as is the Encyclopedia of Sponge Ball Magic by Ben Salinas.