Melting Point - Linking Rubber Bands Creator Casshan Wallace Interview

Melting Point by Casshan Wallace has now released in the UK. It's created quite a stir amongst the magic community in the United States, with good reason. If you currently do rubber bands magic tricks, like crazy mans handcuff's, this will blow you away:

Dominic Reyes caught up with Casshan Wallace to talk about Melting Point, how he invented it and some tips for getting the most out of your linking rubberbands tricks:



Dominic Reyes : How did you get into magic?


Casshan Wallace : I got my interest in magic at the very young age of 5. I started trying to perform miracles by the age of 6. My grandpa showed me a few magic tricks. The one trick that sparked my interest was an ambitious style card magic trick with a story trick about four jacks. The four jacks would be placed into the middle of a deck of playing cards and they would all jump back to the top. 


Dominic Reyes : And that gave you the 'magic bug'?


Casshan Wallace : Yes. After seeing that magic trick, I tried making up my own methods. 

Dominic Reyes : What made you start working on the Linking Rubber bands principle?


Casshan Wallace : I've always been a big fan of rubber band magic tricks, and making them link. They are easy to carry with you, everyody knows what they are, and I know I can get good reactions with them. 


Dominic Reyes :  So you studies the classic methods first?


Casshan Wallace : I went about learning probably every method of linking rubberbands ever conceived (well probably not, but it sure feels like it). The way I started creating my method was because of school. Teachers don't like me having cards out and coins are too loud, so rubberbands are the way to go. 


Dominic Reyes : So you wanting to perform magic at school without anyone knowing, lead to you developing your linking rubber bands trick?


Casshan Wallace : I was forced to do rubberband stuff in class. During class one day, I got the urge to make my own linking rubberband routine. I wanted to make the rubberbands look truly linked, seeing the band going through another, with no gimmicks. I had the vision in my my head of what I wanted it to look like in the end.


I just started trying to make a way for them to look like my vision. Once I got into the position of making the bands look linked, I just had to make it so I could have them unlinked from start and then link the bands while they watch the bands closely. The effect itself (making it link from an unlinked position, adding subtleties, and set up) kept being added upon over the years but the link you see in Melting point (with the band running through the other) was made in about 10 minutes in my classroom. 

Dominic Reyes : There are many linking rubberband routines, so why make Melting Point? 


Casshan Wallace : I created another linking rubberband routine because I would get many questions from a spectator when I would perform a linking rubberband routine. Some of those questions I just couldn't answer because the presentation of the magic trick wouldn't allow me to prove anything. Since I've created Melting Point, those questions have went out the window simply because of the presentation being nice, slow, and smooth. They see everything happen, leaving them satisfied.


Dominic Reyes : The focus on Melting Point seems to be a slow, smooth and clear presentation. How did you develop that as a goal and why is it so important?


Casshan Wallace : I wanted Melting Point to be slow because I feel that magic happens too fast sometimes. I want to slow the moment down for the spectator so they don't feel like they are missing anything. I think its better for the spectator that way. So I really hit on that when I was making the method for Melting Point. In order for me to make the rubberbands link with nothing changing at all was a huge task but that's why I put so much time into it. Many linking rubberband effects out there (impromptu and gimmickless) move very quickly and I feel the spectators don't know what to look for, so when they link, they feel they may have missed something cause they weren't paying attention or something. Melting Point happens slowly so they can't use the quote "you moved so fast, so it was probably sleight of hand". Ah the silly things spectators say.

Dominic Reyes : Do you have any more tips that will help magicians learn and perform Melting Point? 

Casshan Wallace : Practice and relax, the magic trick is slightly knacky. Watch the over-the-shoulder view many times cause its not easy. Some stuff you will get better at, the more time you practice because its something you don't really know. It's hard to understand at first, so just really work at it. Also make sure you're good at entertaining your audience so you don't have to rush your set up. Just relax and have fun.

Dominic Reyes : What was it like filming and working with Penguin to make Melting Point?

Casshan Wallace : All I can say is that it was a blast! It was my first time ever recording with a magic company and they made me feel welcome. I didn't expect to record in a studio the night I did it. I wasn't ready or prepared, all I had on me were some cards and my rubberbands (and clothing obviously). They made it very easy for me and I appreciate it.

I plan releasing a lot more in the future.

Dominic Reyes : What are your three favourite magic books or DVD's?

Casshan Wallace : I thoroughly enjoyed Stars of Magic book and DVDs, Paul Harris Presents - Art of Astonishment collection, and Strong Magic. All very creative and innovative work

Dominic Reyes : Where do you see your magic going in the future? 

Casshan Wallace : I see my magic definitely going into a more commercial approach. I want to make stuff that you can add to existing routines that can make certain magic tricks better. I also want to try to make new concepts and not just new methods. That's what magic needs, more concepts. We have enough magic tricks as it is, so creating something new to magic is key. A spectator sees one concept and one method so they won't know what's different. I see my magic getting more and more creative and original in the future.

Dominic Reyes : What's next from Casshan Wallace? 

Casshan Wallace :  I have many things that I've been working on over the years and they are about ready to be revealed but I'm going to give it some more time. Exciting things are to come! 

10,000 Hours of Practice to Master a Magic Trick? No Thank You

Would you like to be able to learn magic tricks faster than you thought possible? 

There is a rule becoming a master any anything. It's called the 10,000 hour rule. Proposed by Psychologist K. Anders Ericsson, the 10,000 hour rule claims you need 10,000 hours of practice to master any skill. That's around 10 years of consistent magic practice!

Have you got time for that?  

Would you like a quicker way?

Let's look at some ways that you can cut that time down, and still get the same results. The 10,000 hour rule refers to practice through simple repetition. Is it possible to looking at your practice technique, and introduce some smart behaviour into your routine that could cut the time needed to master a magic trick?

Practice your magic tricks just before you sleep.

Sleep is a lovely thing, and it's very good for you, but it's also a time when your brain processes the information that it has taken in through your day and sorts it for long term storage. Information is consolidated during sleep as memories are created and associated with previously stored information.

If you study your magic shortly before you go to bed, you should find that you retain much more of the information than if you studies earlier in the day. Bookending your day with your magic practice sessions can greatly boost the effectiveness of your practice.

Commit to formal magic practice.

What did watching all those kung-fu films teach you? The Zen masters know a thing or two about mastering skills!

Instead of just going through the motions as you perform your moves, focus on every detail. Slow your practice down so you can pay attention to the process just as much as the result. Practice in the present, thinking about what you are ACTUALLY doing, not about the past or what you hope for the future. Continually ask yourself how you could adapt or change the process to improve the final result). This is a move away from mindless 'reps' as you examine each step of the movement and timing the technique requires.

Know your strengths.

You can get anywhere you want, with enough hard work and commitment.  But some people have an easier journey than others. We can develop skill over time, but you will have a natural talent for some aspects of magic. Perhaps you are a natural actor, maybe your mind is hardwired for creativity. If you have a talent, find it and use it to your advantage.

Channel your time and effort towards magic tricks you already have a natural ability for, build a  compatible set of skills to complement it. You will be practicing magic that you already have an advantage to use.

Stand of the shoulders of giants.

Pretty much everything in magic has been done before. New magic is often a variation of previous techniques with a new spin added.

The core principles are classic principles – adapted and refined from magicians that worked on designing magic tricks long ago.

Read as much as you can, and study the classics from famous magicians. Learn from other magician successes and their mistakes – You can learn faster by avoiding errors that have already occurred.

As you build up your core knowledge. Seek out new magic tricks that take the principles that you already know. The core sleights from your already mastered material, and build up a working set of material around those moves. It's possible to do a wide range of different coin magic tricks that secretly all use the same 2 or 3 moves. There's no need to re-invent the wheel every time you add a new magic trick.

The 10,000 hour rule isn't set in stone. You can create shortcuts in your practice by spending time, designing a strong practice program. Take just 1% of the time you spend browsing the internet for new magic tricks, and spend it organising your practice regime. By practicing smart, you can get to the mastery of any magic technique or trick, much faster than you ever thought possible.

7 Magicians Hooks That Make People Pay Attention to Your Magic Tricks

A magicians hook is a technique that magicians can use to make people interested in their magic tricks. It's a dramatic technique most often used in good writing and advertising  You may have an amazing magic trick to show your audience, but unless you capture their attention quickly, you may not be getting the best reactions to your magic. Let's look at 7 hooks that professional magicians use to make spectators pay attention to their magic:


1. Begin your magic tricks with a simile or a metaphor.
Your mind is like an open book. These coins are like people.

2. Ask a question.
Do you know what real magic looks like?

3. Give a definition.
Magic is....  A magician is.... 

4. State a quotation.
Charles de lint once said: “That's the thing about magic; you've got to know it's still here, all around us, or it just stays invisible for you.” Let me show you what he means..

5. Explain you have a dilemma.
Create a problem, and then propose a solution. Suggest that what you want to show them is very secret and special: 'You know, many magicians have asked me never to show this magic trick to the public..'

6. Begin with a scene.
Imagine what it was like being a slave building the pyramids in Egypt, thousands of years ago.. 

7. Give them an anecdote.Tell a short story, setting a scene from your childhood, your first experience of magic or how you became a magician. 

Using a hook to introduce your magic, or a specific magic trick can be much more effective than simply saying; "and for my next trick". As a magician, you are also a storyteller. Give your magic tricks a context and a purpose for being performed. The results will surprise you.

How Many Magic Tricks Should You Do? How to Never Run Out of Tricks

By Dominic Reyes

How many magic tricks should I do? That's an important question for professional magicians.

I was recently emailed by a magician, who was worried about how many magic tricks he should prepare for a small dinner party.

Most often, magicians perform to a large group of people. At weddings or parties there tends to be 100-200 guests. At large events, there many be 500 - 1000 guests standing around, having drinks and chatting. That's the perfect environment for us strolling magicians. We can mix and mingle with guests, moving from group to group and performing the same sets of magic tricks many times through the course of the event. In these situations 5 or 6 polished and practiced magic tricks will keep most magicians performing through the whole evening.


Sometimes things are very different.

Quite often, we find ourselves booked for a small intimate event. Perhaps only 15 or 20 people having dinner or drinks and looking forward to being entertained by a magician. That's much more of a challenge to a close up magician. It's very easy to burn through our normal working set of magic tricks far too quickly. Especially if, the guests stay in one large group, so we are pretty much doing a small parlor magic show rather than walk around. Performing 2 hours of none stop magic to the same small group can be a real challenge.


Michael Fairall is a very good friend of mine, and a professional magician that I perform with on a regular basis. Michael's main clients are affluent socialites in the best parts of London. He is often booked to arrive at small intimate parties to present after dinner magic. I asked Michael to share with you, his experience dealing with small events, and his most useful tips:

How close up magicians deal with small events.

If you know in advance that the party or event will only have a small audience, it may be wise to explain to the client that a 2 hour none stop show would not be the most effective way to use a close up magician. A better way to present the magic would be to have a 30 minute after dinner show, rather than 'walk-around magic'. You can then enter the room, capture the rooms attention and entertain them all as a group in a balanced and structured show.

If that's not possible, or you discover the size of the audience on the night, you need to pace your magic.  Take your time. Allow the natural course of the evening to roll out as you pop in, a few times through the evening and perform some magic. Chat with the guests, engage with them, and don't feel you have to blast magic trick after magic trick at them for 2 hours straight. Keep them wanting more.


Hold it back.

Remember to hold back one of your strongest magic tricks for the very end. There is a good chance that you will be asked to do, 'one final trick' to everyone right at the end. You need to have something special, in reserve for this request. This last magic trick will be the climax and the most remembered magic of the evening. If you don't keep some strong magic held back, you run the risk of burning through your best material, and having to end on weaker magic tricks, which haven't been worked on as well as your main core tricks. That's no way to be remembered by your guests!


 
DO THIS: Unless you find out in advance about the number of guests that will be attending an event, you leave yourself open to the unknown. To a professional, the unknown is the enemy. It stops you from being prepared, and preparation is the key to success. Make sure you always ask the audience size when you take a booking. If your work comes in from an agent, ask them to include that information on the contract.

Pace your magic throughout a small event. Leave the guests to chat, eat and socialize. Move in and out of the action, in a way that keeps them wanting more and means you don't burn out of your working material too early.

Choose one of your best tricks, that you will hold back as your finale. When you end your booking and meet the client to thank them, expect to be asked to perform your finale. If they don't ask, you can always offer. It will highlight to the client that you are not clock watching, and that you have gone that extra mile for them.

Dee Christopher - Is Something Missing in Your Magic Tricks Practice?

 
The traditional advice that magicians give beginners is Practice, Practice Practice. But that's not really the best advice. Practice is vital, and it's the first step to better magic, but it's only one part of the process for improving your magic tricks. A better line would be:

Practice, Practice, Perform.

Dee Christopher recorded this short video with his tip for beginners wanting to practice their magic:

Regardless of the advice that many magic books and teachers will tell you, every  secret to performing a magic trick isn't given to you in magic books and videos. They teach the mechanics and touch on a particular performers style for presenting the magic trick, but that's only a small part of the magic secret.

A magic book or DVD can never give you the whole story because magic happens LIVE, and live events are not predictable. There is no set pattern for how a spectator will interact with you, or how you will influence and engage an audience. There are too many variables to ever be predictable.

In the magic tricks performed by Dee Christopher, the lack of a set pattern in the presentation of a magic trick is even more evident. His chosen branch of magic is mind reading and mental powers demonstrated to the public. By its nature, mentalism is about interaction. 

Dee Christopher can't follow a simple recipe as the magic is created in the communication between the mentalist and the spectator. Dee Christopher understands this completely. He urges you to perform live as much as possible as that's the secret of professional magicians. They practice the method to performance standard, but the real schooling happens when the magic tricks are shown to the public and audience tested.

Do Close Up Mats Belong in the Bin?

 By Dominic Reyes

Close up mats sell very well in magic shops, but are they a waste of money? Let's look at the reasons for using close up mats, and if it's actually doing more harm than good.

Close up mats come in a wide range of shapes and sizes, from the small circle pads through to table hopping strips and ending in huge display mats. How you use your close up mat and the types of magic you perform will determine the size of the mat that's right for you. The purpose of most close up mats can be grouped into two basic types:

• Walk-around temporary surfaces
•  Stages areas for a fixes show.

The Close Up Mat Surface

There are two main types of close up mat surfaces. The traditional surface is made of felt, similar to the fabric used on a pool table. This looks great, but can attract dust and dirt quickly. Felt close up mats can wear out quickly and don't take well to being washed.

The alternative to felt is a close up mat which is made of the material used for mouse mats. It's a tighter weave than felt, and had a thicker rubber backing. These mats are more hard wearing, and easier to clean so have started to become much more popular than the traditional felt mats.

For most magicians, the surface material is mainly a cosmetic choice. The most important aspects of a good close up mat is the tension of the surface, the resistance it gives to an item being presses against it, and it's ability to grip the surface it is placed on.

Advantages of a close up mat for table hopping.

As a magician, you may like to carry a small close up mat with you when you table hop. Close up mats can define an area of the table as 'your turf' which can help reduce grabbing of props by spectators.

Close up mats can also create a frame in which the magic is presented. It moves the action away from the cutlery, glasses, and other items on a table.

You may find that using a close up mat can help with many of the moves and techniques requires for sleight of hand. The springy surface of the mat can be a core part of the mechanicals of a magic trick. This is especially the case with many coin magic tricks.

If you perform your magic tricks in a set area, and draw a crowd, a close up mat looks great. It's a professional surface, sets a tone and helps the action on the table to be visible and clear.

Disadvantages of a close up mat for table hopping.

For close up magicians that table hop, a close up mat is a strange item to pull out and add to your guests table. Using even a small mat, requires you to move guests items and make a space. This can be seen as rude by some people, as you not an invited member of the group, when you first approach a table.

Using a close up mat can make you dependent on a specific surface for your magic to work effectively. Over time, you develop your technique to work with that specific surface and become dependent on it.

Close up mats encourage magicians to perform magic at table level. This has huge viability issues, and unless you are seated behind the mat, the background to your magic is your crotch, nice.

Dinner tables are messy places. They have wet patches, food stuck to them and drinks get spilled on a regular basis. If you are going to use a close up mat, it's vital that it looks clean and new if you are putting it down on someones dinner table. That can be very hard to control, unless you carry a spare. Your ability to judge if the mat looks good, fades with time due to familiarity.

Close up mats at home.

There are several good reasons to have a close up mat set up in its own space in your home:

1) Using a close up mat at home is fine and establishes an area in your room set aside for practice. Noticing the mat, set up and ready to go, can spur you on to practice.

2) Guests that visit you, will notice the area, and may ask to see some magic.

3) Your family won't be tempted to move your magic props if they are on a close up mat.

4) It looks awesome.

Using a close up mat for a formal display.

If you have a special table set up to present your magic, then a good quality magicians close up mat is a wise choice. It finishes the look of the stand.

The larger the close up mat the better.

Street performers often use a table as a focal point for their act. If it's not already felt covered, like a card table, then a close up mat creates a perfect surface for the table.

If you are positioned in an area to perform your magic tricks. Perhaps doing magic at a bar, or on a trade show stand. A large close up mat advertises that 'magic happens here' and  gives your area an official feel.

Not using a close up mat.

It's important that you learn to perform your magic on a wide range of surfaces. This may just require practice, or it may mean a tweak or adjustment to the method of the magic trick. Learn to perform on glass, table cloths and wooden surfaces. It's OK to use a mat as you work on a difficult move and need to focus on the sets involved. However, once you have gotten an understanding of the move, work to remove any dependence on the mat. Make sure that using a magicians close up mat doesn't become a crutch.

Do you really need a close up mat?

No, not really. They can help in the early stage of learning a magic trick, but developing or adapting a magic tricks method to work anywhere is a much better approach.

Look at Close up mats as dressing and useful for creating a staged area for magic shows. It shouldn't be vital to your performance.

Sticking to Bicycle Playing Cards and Trouble with a Double Lift

We receive a lot of questions about using Bicycle Playing Cards. Here's one that just arrived to the magic shop:


 Howard writes: 

'I have already decided to work only with US Bicycle playing cards in the future so that I build up some inter-changeability with my packs.  The only sleight that I am still struggling to master is the 'double-lift' - having looked at a variety of recommendations I still cannot find a method that guarantees it will work without the spectator being aware of what I'm up to.' 

Also, if you have a routine that involves using a mixture of straight and gaffed decks, is there a way for smoothly moving from deck to deck without arousing too much suspicion (this is one of the reasons that I am now going to stick to Bicycle playing cards).' 

Should I use Bicycle Playing Cards?

Nice thinking Howard, you're 100% right about sticking to Bicycle Playing Cards because you need to become familiar with one standard size and feel of deck. However, Bicycle make playing cards for just about all the leading magic playing card designers. So, if you want to use NOC Playing Cards, Ellusionist design playing cards, Blue Crown playing cards etc, you will be fine as far as muscle memory and feel. 

You might want to check out the post about the difference between playing cards.



Trouble with your Double Lift.
Take a moment to study at how the move looks when you just do a single lift. That's what you want to copy. Avoid methods that look odd, such as twisting the playing card as you turn it. Try to find a method that looks as normal and natural as your 'real' action. A good source for learning the double lift is Gregory Wilsons DVD Double Take.  



Switching decks.
When you learn magic tricks, it's usually in isolation. You practice one trick fully, then go onto the next one. The problem you are facing may be due to lack of act construction. There's no need to follow a card trick with another. Put the deck away, and move on to a coin trick, or some mentalism. Return back to playing cards later in your set. Breaking up your card magic like this, means you don't have to worry about decks being ready for multiple tricks.

Another popular option is to choose tricks that don't require a switch. Many gimmicked playing card decks can be used with 'follow on' tricks, that will still work with them. You may ruin the stack of the deck, but unless you are table hopping and find it difficult to reset later, then that shouldn't be a problem. 

If the gimmick is just a few cards, consider  using a clean up device. The product:  Any signed card to any wallet is a great trick, but the device will also allow you to remove gaffs and add them to a deck of cards whenever you want, right under the spectators watchful eye. This may be a good solution for you. 

I hope this helps you.
 

Image Source: World of Playing Cards

The 3 Types of Magic Tricks Magicians Use at a Wedding

More and more people are looking to hire a magician for a wedding. That's understandable as weddings are a perfect venue for magic to be presented.

Unlike many events, weddings have a traditional structure which dictates the course of events far more so than parties or corporate events. As a wedding magician, it's important to understand the format of a wedding, and how it can influence the types of magic tricks you will need to use. In this post,  we look at the 3 main situations magicians experience at a wedding, and the types of magic that suit each situation.

 
Dominic Reyes talks about the three types of tricks he performs at weddings.

The Drinks Reception.

The wedding guests have arrived after a formal ceremony, and this is their first chance to meet and catch up with each other. Drinks are being ordered, and people form into small groups which break off into new groups as people meet and greet each other. At the same time, photographs are being taken, and people are being called away to join the photographer.

Your job as a magician, is to 'break the ice'. You mix with the guests, performing to small groups. The magic tricks that work well in this situation tend to be:

• Short.
• Easy to follow.
• Create a magical event early in the trick.
• Can be abridged if a group is called away.
• Has multiple points where new spectators can join and still understand the plot.

Guests will be joining the group, waiters will be passing around canapes, and guests will be called away to join a photograph group. The goal is to entertain, encourage guests in small groups to join into a larger group to watch the magic and in doing so, get an introduction to each other.

Ideally, props should be kept to a minimum. A deck of cards, some coins, some magicians business cards, and a sharpie should give you everything you need to work the room.

The drinks reception is the 'opener' performance for the magician. You establish your skills, show that you are fun and entertaining and leave the guests wanting more.

This is a great time to assess the guests, noting which groups are the most responsive. You can use that information to great effect when you meet them again at the tables.


The Wedding Breakfast.

Some clients like their magician to perform for the guests that have made it through the wedding line and are seated. Others prefer for the magic to start once the bride and groom have made their formal entrance and been applauded. Find this information out ahead of time so you know in advance when to approach the tables. Your magic tricks for the wedding breakfast can have a longer plot and be more demanding on the spectators. The table is your stage and the audience are seated, ready to watch your magic in the 4 or 5 minutes you are with them between a course.

The goal at their tables is to involve everyone. Present to the whole table, not just the guests on the side you are standing. Ask questions, address people around the whole table, and choose a spot that is the most visible for everyone seated.

This is the part of your performance where you can really shine. Present the magic you are most proud of, and build to an applause cue.


The Evening Reception.

The evening reception turns back into strolling magic. New guests arrive, and those groups can be shown material that you performed during the drinks reception. New guests gravitate to the bar area, so spending some time there, will allow you to meet most of the new guests very quickly.

The 'all day guests' may stay at their tables, go off to get changed or move to the bar or outside grounds. Travel around the venue as much as possible, revisiting the most responsive guests, the bridal group and the new arrivals.

You will be competing with loud music, low lighting and alcohol fueled guests, so pick magic tricks that are easy to follow, interruptible, and don't require the spectators to remember to many things. Add in a set of tricks that don't require verbal instructions or patter. These tricks are tools you can pull out when you perform to a group near the DJ or dance floor.


A Backup

Sometimes things will be a little different. The format of the day changes, the guests all form one large group or you are asked to do extra time. Keep a few tricks back as 'reserve back up' These can be pulled out if you find you burn through your material and then get suddenly asked to return to a group at the end of the night, or need to do another sweep of rooms for 30 minutes at the end. Always make sure you have something none of the guests has seen, ready as a backup trick.


DO THIS: Make a note of the three performing situations at weddings. List your working material and group them into these 3 types. If you find one list is longer than the other, what could you do to modify or adapt some of the tricks to build in the qualities needed for a different situation? 

Metal Bending - 5 Reasons Why Metal Bending is Strong Magic

Metal Bending is a genre of Mentalism that has become a lot more popular in recent years. For many years however, it was very rarely seen and only ever spoken about when people mentioned Uri Gellar in conversation.

 

What Uri Gellar did with some simple and direct demonstrations of metal bending was amazing. He inspired almost everyone who owned a television at that time to believe in the power of mind over matter. Millions of people worldwide would be heard shouting “BEND” at their TV screens on a Saturday night just willing a fork to bend in Uri’s hands!

This is how powerful metal bending can be.

Here are 5 reasons why metal bending still is some of the strongest magic you can perform.


1) A lot of people still believe telekinesis is possible.

To a lot of people telekinesis is an ability we all have but just can’t tap into, so if you can portray the illusion that you can tap into your ability then it instantly is more believable than say, a card repeatedly coming to the top of a deck of playing cards. Metal bending is believed to be a real phenomenon, (which it may be, who knows?!) to a lot of people. Therefore, if a spectator were to encounter metal bending in real life then this experience would be much like if they spoke with a psychic or fortune teller. They automatically believe that it is real as their primary belief is that it IS possible to do. 

2) It cannot be explained as sleight of hand by a lay person.

Any card trick can be explained in the eyes of a spectator as ‘sleight of hand’. Now, nearly everyone who says this does not understand what sleight of hand really is. Sayings like ‘the hand is faster than the eye’ or ‘very good with your hands’ are the extent of the explanations you will receive from a lay person when asked what they think sleight of hand is. Metal bending does not fall into this trap (unless performed very badly). It cannot be explained as ‘being clever with your hands’.

3) Some visual bends are undeniable.

Thanks to some amazing minds in magic such as Banachek, Morgan Strebler and Dee Christopher there are some very visual bends that can be performed with regular metal cutlery that are undeniable. What do I mean by that? I mean that the spectator sees the metal bending before their very eyes. It is the old saying, ‘I’ll believe it when I see it.’ the spectator’s see it, so they believe it.

4) There is lasting evidence of the magic that occurred.

Metal bending is one of the types of magic tricks that finishes with evidence of what has just happened. You begin with a straight, regular fork or key, coin or nail, and you end with it bent, distorted or twisted, it is proof of what has just occurred. Also, it is a very bizarre sight, no one in their right mind would actually bend their cutlery, so the image of a twisted and bent fork is a very strong and bizarre image.

5) Metal Bending is still shrouded in mystery.

Everybody has seen, or knows a simple card trick, even if it is just the one with three piles of seven cards! There has been tonnes of exposure and trick decks sold in toy stores; There are whole sections in magic books for beginners on Card Magic Tricks, some are common knowledge, and although most of the secrets are still secret the mystery has been lost, the performer, with his or her performance, can bring back the mystery and feel of magic, but card tricks especially are seen as tricks, not magic. Metal Bending is still mysterious and not common place in magic sets, toy stores or even in magic shops, this certainly helps gives you the edge as a performer.




As mentioned previously, metal bending has become more popular in recent years, thanks to magicians such as Banchek, Dee Christopher and Morgan Strebler. So studying and learning some of these secret techniques is easier than ever before.

The Best Rubber Band Tricks - Top 5 Rating/Reviews

 

Rubber band tricks have always been popular with magicians. We are going to look at the top 5 best sources for learning magic tricks using rubber bands.

We will suggest the best teaching for general rubber band tricks and also the best method for performing the linking rubber bands trick.





Why perform magic tricks with rubber bands?

Being able to perform magic with an ordinary object is powerful. The practical advantages of being able to wear a few rubber bands on your wrist, and being ready to perform anywhere at any time is a big draw to magicians. With the popularity of street magic in recent years, it's never been a better time to learn a few rubber band tricks.


How do magicians start learning rubber band tricks?

A rubber band trick called Crazy Man's Handcuffs tends to get most magicians hooked on rubber band tricks. Crazy man's handcuffs is the penetration of rubber bands stretched between the forefinger and thumb of each hand. Invented by Arthur Setterington and first in print in New Pentagram (May 1970) under the name "Getaway’. 

The technique was later refined by Herb Zarrow and it was republished in Tarbell Vol 7

Daryl came up with the name "The Crazy Man’s Handcuffs" and Michael Ammar released a booklet teaching the moves that became a best seller worldwide with magicians. Since then, rubber band magic has become more and more popular, with most close up magicians ensuring that they know at least one or two rubber band tricks.


Here are the best 5 sources for rubber band tricks currently available to magicians. We took several factors into account when choosing the best of the best list. 

• Easy of use
• Practicality of performance
• Magicians Reviews
• Customer feedback from The Merchant of Magic
• Feedback from magic shop demonstrators
• Popularity and sales volume

The best general rubber band tricks.

These are the 3 best sources for learning general rubber band tricks. Each gives a good grounding in technique and a wide range of tricks.

Rubber band Series by Dan Harlan - DVD

Dan Harlan is regarded as the king of rubber band tricks. He is credited with being the force behind the modern resurgence of rubber band magic tricks. Before Rubber band Volume 1, rubber band tricks tended to be presented as puzzles, or single tricks, Dan organized material into sections featuring complementary techniques to form fully developed rubber band tricks into professional, complete magic routines. There are more techniques, subtleties, even flourishes on these DVD's than anyone could imagine. Dan gives a great way to have a balances and wide range of magic using the bands. 

Rubber Band Magic (2 DVD Set) - By Greg Moreland

Greg Moreland has a great reputation as a magic teacher, and his DVD on rubber band tricks is a great example of this skill. Greg guides you through the techniques in a way that makes learning to handle the bands much easier than you think. The DVD teaches 22 rubber band tricks and features Concise, easy to follow instructions, live footage of the tricks in action, and performance tips. 

Extreme Rubber Band Magic Joe Rindfleisch, DVD

For magicians who don't shy away from hard work, Joe Rindfleisch has released a collection of rubber band tricks  that takes it one step further. As well as the classic penetrations and broken band restorations, Joe presents advanced mini-acts for close up magicians. This DVD makes a good 'next step, after you have mastered the core techniques in band magic.




The best linking rubber bands tricks:
These sources provide the best tuition for linking rubber bands tricks. We have picked a gimmicked version and also an impromptu ungimmicked method.

SLR - Souvenir Linking Rubber Bands - By Paul Harris

Gimmicked Version - The Paul Harris Presents label goes hand in hand with high production values and useable material. SLR teaches gimmicked versions of the linking rubber bands tricks. It requires specially gimmicked rubber bands, which may put off many magicians, but the ability to hand out the linked rubber bands at the end of the trick, makes the downside worth living with. Very visual and once the technique has been worked on, it's quick and easy to perform.

Melting Point by Casshan Wallace 

Impromptu Version - Casshan Wallace has brought some very clever thinking to the classic Crazy Man's Handcuffs rubber band magic trick. This is the best looking linking rubber bands trick we have ever seen, and being impromptu, using normal bands, we think it's the best choice. Just seeing melting point in action will convince you of how much of an improvement Casshan has contributed to the linking rubber bands.

 

Which do the Merchant of Magic Recommend?

When magicians as us to give an opinion on the best source for learning general rubber band tricks, we suggest Greg Moreland's DVD set. If a magician asks about learning the linking rubber bands, we point them to Melting Point by Casshan Wallace.