Dustings #115

/

If you ordered the hardcover reprint of the Amateur at the Kitchen Table essay, you received an email this morning telling you how to confirm your shipping address so I can mail it out to you. That email went to the email address associated with your Paypal account.

I can’t ship you the book until you confirm your address.

Speaking of books, this week, I received my third email in the past year from someone saying one of their Jerx books was stolen from their car. Clearly the value of the Jerx supporter reward books has gotten out to the gangs of smash and grab car thieves and they’re now targeting the vehicles of my supporters so they can resell the books for massive profits.

No, I’m kidding, I’m sure those books are now sitting at the bottom of a dumpster somewhere. This is just a reminder to keep your magic books—or at least your magic books from me—out of your car. I feel bad when I hear these stories, but there’s nothing I can do as I have literally no extra copies of any of the books I’ve put out.

A bunch of people have sent me this and asked me my thoughts on it, given that the idea is similar to a trick I came up with years ago…

My thoughts on it are…

  1. It’s probably not legit.

  2. If it is legit, it will probably cost a fortune.

  3. If it is legit and doesn’t cost a fortune, then it will be so well known to be virtually useless for magic purposes. Sadly.

After I made my post on reviving cigarette magic, a bunch of people wrote in to suggest that we focus on reimagining these cigarette tricks as weed tricks—especially given the much more lax regulations against marijuana these days.

It makes sense, I think I probably know more people that smoke weed than smoke cigarettes.

There’s just one problem with this idea though…. weed is corny.

I’m not saying you are corny if you smoke weed. Just that—for whatever reason—weed itself has a sort of “dopey” connotation to it. It’s not a cool look.

Smoking cigarettes is strange. It can be seen as sort of trashy. But there is also a weird elegance to it that allows it to come off as romantic or sexy for some people. It can be seen as “stylish.”

Unfortunately, smoking weed is never really stylish.

Wait…

I spoke too soon…


Mailbag: Declining Performing

/

I like performing stuff, but it’s usually when I feel like it. There are contexts where for whatever reason it feels off. And I usually decline. I have noticed a few things and situations that make this happen:

- if there are other people around (not part of the group) and my friends ask specifically for some card tricks. I think I feel self-conscious of the magiciany look of pulling a deck of cards out and people seeing. Or even... getting outside people seeing us and asking for more tricks. There is something about doing more than 1 or 2 tricks one after the other that feels weird to me.

- if there is the potential of other outside people asking for more tricks. It’s not the performing for a stranger that bothers me at all. I’m fine with that. It’s the, i just did 1 or 2 tricks so now a 3rd or 4th is like too much. As if 1 or 2 things is normal and over that is already magiciany and performing monkey or whatever you want to call that. I don’t actually enjoy that feeling.

[…]

- Even though i love doing card tricks. It’s like there are moments where it’s just weird to do card tricks even if people ask. Specially standing up. If there are tables around that I can use, card tricks feel normal. But actually holding a deck in hand and performing standing up for example, that way is part of that magiciany look. Again. I love card tricks. And performing them. It’s just some contexts that make it feel weird to me. Like a full group standing up and I’m part of the group

[…]

Do you actually have times when you decline performing? Or have heard this situation for other magicians?

I have no clue exactly what the "magiciany look" is that bothers me. But it’s there enough to notice it.—JFC

It sounds like you’re carrying around a deck of cards with you. If you do that, and if you show people card tricks, then you are going to be known as the guy who goes around and shows people card tricks. So yeah, you can’t be surprised if people are asking for more and more.

It’s like you’re walking around with a bag of potato chips. Someone is going to take one, then another, then another. Why? Because they’re fucking potato chips, that’s why you do with them.

But imagine you took that person over to a table and had a waiter bring out a single slice of potato, blanched to achieve an optimal texture before being gently submerged in a bath of premium, high-smoke-point oil; then crisped to a golden hue before being dusted with artisanal sea salt—and then you had them eat it, slowly, piece by piece, savoring each bite. They’re still eating a potato chip, and they might crave more, but they’re not going to say, “I’ll take 50 more of these.”

This is the difference between presenting something like it’s meant to be scarfed down, and presenting something like it’s meant to be savored.

Most magicians treat card tricks like they’re Peanut M&Ms, meant to be consumed by the handful.

That’s fine if you want to do a lot of card tricks for people.

But if not, then it’s up to you to reframe the nature of the interaction.

For me, that means not coming off as someone who has a bunch of card tricks memorized. Sure, I occasionally have one that I’m working on. But—as far as they know—I don’t have a library of card tricks in my head ready to go at all time. I never perform that way, so they don’t expect it from me.

A strong premise also helps for this sort of thing. If they think of what they’re seeing as simply a “card trick,” then they might expect you to have a bunch more to show them.

But if I say, “Hey, can you help me practice this gambling move I’m working on? I’ve got a poker game I’m going to next Friday, and they actually encourage cheating—so long as you don’t get caught.” Then it makes less sense to ask to see another one when it’s over, because the context of the interaction wasn’t just: “Watch me do a card trick.”

If people already know you as the “card trick guy,” it may be hard or impossible to change that. But you can always just tell people you haven’t really been keeping up with the card tricks so much recently. “Oh, I do have one that I’ve been working on.” This preps them for the idea that you don’t have an endless stream of tricks to come, so they should really focus on this one.

But the “magiciany” look you’re worried about seems primarily driven by pulling out a deck of cards and showing multiple card tricks. If you don’t like that look (and I don’t blame you if you don’t), then you should challenge yourself to leave the deck at home and build your repertoire of stuff that can be done with everyday objects or nothing at all.

A Cross-Cut Tweak Tweak

/

For the first time in a long time, I got called out on the Cross Cut Force a couple of months ago. And then 10 days later, it happened again.

Now, normally if someone were to question the Cross Cut Force—if they were to say, “Wait, that’s the bottom card, not the card from the middle”—I would just play stupid.

“Huh? Wait… what are you saying? Oh…I see… yeah, it doesn’t really matter, but go ahead and look at whatever card you want.” And then I’d change course and go into a different trick.

This is one of the good things about the Cross Cut Force. If they are ever to question if they’re really looking at the card they cut to, you can just act like you lost track yourself, and then go forward with something else.

But I couldn’t really do that this time, for reasons I’ll discuss.

The thing which got me busted was a tweak from Benjamin Earl that I’ve endorsed in the past. And that is the idea of telling them to cut the deck, and then put the remaining cards on top “at a weird angle.”

This gets the deck in the position you want with very few words on your part. The bottom half is on top of the top half, without them being lined up.

But there’s a problem with this phrase, as I learned in my two recent failures.

Failure #1

“I know how you did that,” my friend Justin said. “You’ve used that before. The ‘weird angle’ thing. The card I looked at was actually the bottom card.”

At this point it was kind of too late to play dumb because he had called out the specific language I’d used that allows for the deception.

Failure #2

In Toronto, back in June, I was performing a trick for someone, and he paused me when I picked up the pack and told him to look at the card he cut to.

“That’s not the card I cut to,” he said.

At this point, because it was a testing situation, I didn’t want to try and cover for it. So instead, I asked him how he knew. Had he studied magic before? (Which is something we sometimes get.)

And he said, “No. But when you told me to put it on top in a weird way, or whatever you said, it just struck me as odd.”

What I think he was saying is that it caused him to pay more attention to that moment, and so he noticed the discrepancy later on.

These are the issues with telling someone to put it on top at a weird angle:

First, it’s a semi-memorable phrase. If they’re someone who sees you perform every now and again, and you use the Cross Cut Force frequently, it can cause suspicion if they hear it more than once.

Second, it’s a phrase that draws attention to itself. It requires interpretation and judgment. “Put it on top at a ‘weird’ angle? What does that mean? Is this ‘weird’ enough? Am I doing this right?” Perhaps those thoughts are only subconscious but still, I don’t think that’s the point of the trick where you want people doing any thinking.

So I’m not using that language anymore.

I haven’t settled on exactly what I’m going to say, but I’ve been using one of the following.

  1. If they cut the deck from the table or from my hands, I take the remaining packet and set it on top myself.

  2. I tell them to “turn that packet and set it on top” and I mime the action.

  3. I tell them to place that packet on top “crossways.”

In any case, I immediately follow that up by saying, “And we’ll get back to that.”

This is, I think, the key phrase. I want the spectator to think: I’ve cut the deck into two packets. We didn’t coalesce the deck because we’re going to get back to it at some point later. In the world of magic, that’s fairly logical.

Again, I’m not suggesting this is some “huge flaw.” Out of the other three people who were helping out with testing in June, only one mentioned having an issue with the “weird angle” language in the past. But that being said, I just don’t see a reason to ask them to engage their mind in that moment for any reason.

Ben Earl has quite a few great subtleties for the Cross Cut Force in his work that I use often. But this is one tweak, that I will be re-tweaking. Or de-tweaking. Or un-tweaking. Or whatever the word should be.

On Pacing

/

Letterman’s youtube channel recently posted Penn and Teller’s first appearance on the show.


I’m so glad I grew up in the era that I did. With so little magic to consume on TV, every appearance became something to record and obsess over. Penn and Teller on Letterman or on their PBS special, Copperfield’s annual CBS shows, up through Blaine who was kind of the last vestige of that era of excitement.

It was really a lesson in pacing. And I try to remember it when I’m performing. If you show someone something just a few times a year, I don’t think they will ever get tired of magic.

But start showing that person something every few days and they will soon grow weary of it. Sure, the worse you are as a performer, the quicker they will be over your shit. But no matter how good you are, I don’t think it’s possible to genuinely amaze and enchant someone 100 times a year. I don’t know if you can even do it 20 times a year.

My new rule that I’m (mostly) sticking to is this:

If someone is really blown away or really affected by a trick I show them, I wait at least two months before showing them something else.

That means they will see, at most, six really strong moments of magic a year. And even that might be too much. I might switch to waiting three or four months in between.

I’m good enough that I can show someone 20 tricks a year that all have a distinct feeling to them. In fact, I could probably show someone 100 tricks a year and have each one be different and memorable in some way.

My concern isn’t that they will be come accustomed to the tricks themselves.

My concern is that they will become accustomed to the feeling of astonishment.

Theoretically, I could control that by constantly doing more and more impossible magic for them.

But in reality, I think the only way to prevent that is to regulate how much you perform for them.

Wonder, awe, enchantment, astonishment, and mystery—these emotions are most powerful when experienced sparingly. To preserve their impact, I think you must carefully control the pace at which you evoke them.

Let 80s TV be your guide here. Give people time to miss seeing you perform and build anticipation for what you’ll show them next. If you want to perform more often, broaden your social circle and spread out your performances. Don’t heap the performances on one person or group to the point that the magical becomes commonplace.

Mailbag: Insecurity/Jealousy

/

Do you have any experience of dealing with insecurity/jealousy(?) when performing for a guy's girlfriend. And what do you think the best way of dealing with that is? I ask because I found a trailer for a new trick recently that really captures that awkwardness on camera.—JM

This email came to me over five years ago, so this “new trick” isn’t exactly new anymore. (Take this as a good example of why you shouldn’t hold your breath waiting on a response from me. But at the same time… don’t ever give up hope!)

The video above is pretty amusing. Even the preview image alone tells a story. Look, I can’t read the guy’s mind, but it certainly comes across as a symphony of annoyed insecurity—or at least discomfort. Lots of raised eyebrows, focus on his drink, and glances across the park. You can almost see his mind working. What would a cool guy do in this situation to show he doesn’t care? Probably drink his drink to show how disinterested he was in what was happening. Yeah. What’s that over there? A blue bicycle with a red seat? Cool, cool, cool.

Here is my advice for everyone in that video.

The Girl

You may need to reconsider this relationship. If your boyfriend feels threatened by a magician, that doesn’t bode well for your future together. It’s going to be a lot of him telling you to cover up at the beach and getting mad at you for hugging your cousin for too long.

The Guy

You were shooting for “aloof disinterest” but the fidgeting and the faces and looking all around isn’t how you express that. In the future, if you’re approached by a magician in the park who wants to show your girlfriend a trick for his magic demo (this seems unlikely to happen a second time, but just in case) here’s how you handle it. Just watch the interaction with a small, self-amused smile on your face. You’re not threatened by the pathetic clown doing tricks for your girlfriend, right? Right. So you’re just going to watch it play out. When it’s done, you say something positive, but underwhelming, like “fun stuff, thanks.” Or, “Clever. Thanks for the show.” Or, “Neat. My nephew did something similar once, I think.”

You don’t want to seem enthused, but you don’t want to seem upset. You want it to feel like your pulse rate was the same the whole time.

The Magician

JM asked if I had any experience dealing with insecurity/jealousy when performing for someone’s girlfriend. Yes. But only when I try and cultivate that. If I sense the guy is a douchebag and the person he’s with is cool, then I don’t mind making him feel small or unimportant by having a somewhat “intimate” exchange with his partner.

For the most part, though, it’s not something I deal with. I’m almost always trying to de-emphasize my confidence and certainty when performing. So I don’t come off like, “Check this out. Pretty cool, right?” My attitude is almost always, “Let’s try this and see what happens.” It’s a totally different vibe.

And unless I want to piss someone off, I wouldn’t perform “for the girlfriend” of a guy who is also there. I’m performing for everyone. The performer in this video is so focused on the girl, it’s not surprising her boyfriend is annoyed. (He only engages the guy once, to tell him to pay attention.)

If you don’t want to risk alienating one part of a couple while performing, here is a technique you can use when doing mentalism. Instead of focusing on the woman and ignoring the guy, if you know the couple has a good connection, or you sense they do, then you can suggest that you’re going to read the one person’s mind through the mind of the second person. So, the woman writes something down or whatever, and then the staging is like this: you’re looking at the guy, and the guy is looking over your shoulder at the woman. You’re going to ask some questions or make some probing statements, and the woman is supposed to respond in her head. The guy is supposed to focus on the woman and you focus on him. And because of their history and connection (or whatever), you’ll be able to sense her responses through him. So it’s just adding a supposed intermediary for your supposed mind reading.

The benefit is that it brings both people into the equation somewhat equally. You’re reading her mind, but your attention is on him. If he is potentially jealous or insecure, then he’s not going to feel like he’s being left out of the equation. Plus, the idea of reading someone’s mind through their connection with someone else is probably more interesting than just, “I’m going to stare at you and tell you what you’re thinking.” How might this one person’s thought get changed or adulterated as it passes through another mind? If nothing else, you’re at least giving the third person something to do besides drink their coffee and stare at the squirrels.

Until September...

/

This is the final post for August.

Posting will resume on Monday, September 2nd.

The next newsletter will be sent to supporters on Sunday the 1st.

Got an email from Vanishing Inc. that says…

Hmmm… is it a regular sharpie?

I can’t say for 100% certain.

But it’s $300, so I really, really hope not.

Although, to be fair, if you spend $300 on this and it turns out to be a 99¢ Sharpie, you can’t exactly say they misled you. They’ve made it very clear that one possibility is that this is just a regular Sharpie. Buy at your own risk.

Regarding the Tag Question Ploy (as discussed in multiple posts), Dusty H. offers this alternative, which is no less fooling than the way people usually use this technique.

Here's how I handle it. I form it as a statement like so...

Me - Ah ha! A red card.

Them - Nope!

Me - You didn't let me finish! A red card... is what you didn't choose, you interrupting p.o.s. You chose a black card! 

Them - You're soooo goooood!

Summer is pretty much over, folks. Did you have a good one? I hope so. You can’t let these seasons slip away because it means you’re letting your life slip away.

What about autumn? What are you going to do to appreciate that season while it’s here? Write down three things and then schedule them.

For example, for me, to make sure autumn doesn’t pass me by, I will be:

  1. Going apple picking with friends (Yes, I’m a basic bitch. Don’t worry about that. Most of the ways of appreciating the seasons aren’t going to seem wildly unique.)

  2. Seeing a horror movie in October at the drive-in movie theater.

  3. Taking a hike at peak fall foliage time at Watkins Glen, NY.

Those are just three. I’m sure I’ll do other fall activities like attending a college football game, going to a Halloween party, visiting some sort of fall fair or harvest festival, going to a haunted house or hayride. And so on.

But the point is, I’m going to make sure to schedule those three things, so even if I do nothing else particularly “autumny,” when winter rolls around I will have at least these three moments that captured this time in 2024.

The goal is to not let time blur together. And you have to be proactive about it.

As I have in the past, I’ll let The Happenings take us out this month…

Mailbag: Social Magic Clubs

/

So, at the university I go to, there is a magic club. Well, there used to be one, at least. It has been standing for a few decades, but it finally breathed its last breath last year, and now the club is no more.

I want to bring it back, to make a new magic club that will take the place of the one before it. Partly because I love magic, partly because I might be the first woman to run a university magic club in the history of humanity, but mostly because I know that if I don't do it, someone else eventually will. And if all my history knowing magicians is to say anything about it, the club that gets created will almost certainly teach its members the wrong lessons when it comes to being an amateur magician.

So, for the sake of all of the women these men will ever meet, I want to teach the beginners joining my club how to perform in a Social Magic style. To teach them to be creative, casual, and personal with their magic, instead of being, y'know, all the things that magicians normally are. 

You've written before about how to transition from a traditional magic style to a social magic style, but I'd like to ask you on advice on how to make Social Magic be the first thing someone learns. What would you say I need to focus on teaching if I want to take someone just learning their first few tricks and guide them towards becoming an actually half-decent social magician?

If you have any advice at all on how to go about this, I'd be very grateful.

PS - How would you feel about the idea of this magic club becoming the first "Official" "ring" of the GLOMM? —JF

I think that’s a worthwhile goal, but I think it’s something that will be very hard to achieve. What I mean is, I think it will be difficult to just happen to find a group of people at your school who are interested in the social magic style of performing.

It would be like saying, “I want to start a karate school. But I really want to appeal to people who have an interest in self-defense and self-discipline.” When really, what most people get into karate for, is because they want to hit people and break boards.

If I had to guess, I would say that about 15% of people who have an interest in performing magic, have an interest in presenting it in a Social Magic/Audience-Centric style.

The other 85% are people who want to perform in a “traditional style”—where the focus is on them. They don’t care about creating more natural moments, or shifting the focus off themselves. That’s the opposite of what they want. They want to create moments that stand out of them exhibiting a power or skill that makes them seem special.

And of the 15% who do like the social style, most of them probably started out in the other group. They just happened to have the emotional intelligence and social IQ to realize that you’re not really going to “impress” people by performing magic tricks in the long term.

So, I think any social magic groups that ever form will probably end up being sub-sets of larger magic groups which perform in a more traditional style.

If you wanted to push things in the social direction, then I think you need to make performing a central focus of the group. And not performing for each other. Most magic groups I’ve been exposed to consist of guys swapping secrets and performing for each other. They are, in all reality, ANTI-SOCIAL magic clubs.

So I would make it an element of the club that you get out and actually show people stuff when you get together. And I’m not saying you go out to a bar and say, “Hey everyone, we’re the University Magic Club, and we want to show you some tricks!” Don’t portray yourself as a “group of magicians,” but just a group of friends who are out. And then let one of the members lead an interaction with someone nearby. You guys can be bystanders, or stooges, or wing-men, but let this person take the lead. Then afterward, you can break it down with each other. Maybe it came off as too scripted. Or he wasn’t clear enough in his instructions. Or maybe it was perfect, but he didn’t let the moment breath. Having some outside parties to secretly help with the performance and critique it could be incredibly beneficial.

That’s probably the only real advice I could offer: If you want to steer a club in a social direction, then you need to make performing socially (for people outside the group) an element of the club.

And yeah, you can become the first “official” GLOMM Lodge.

In fact, anyone who can get three magicians who aren’t sex criminals together in a centralized area can be an official lodge. If you want, you can inform me who your group consists of, and I’ll let you know your official lodge number.