Whit Hayden and Chef Anton present the School for Scoundrels notes on three-card monte

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This is a 4 loop Mouse String Figure. Matlin, Phil : Tips, Tricks and Routines. Perfect Magic. Lecture Notes includes Endless Chain. This was originally sold by Phil's Perfect Magic company as a separate routine. Norman, Karl : Here's How. Softcover, , Collector's Workshop, 51 pages. Ray, Jimmy : A Ray of Magic.

Tricks Of The Trade, Inc. : MJM Magic, Magic for Magicians, Jokesters, and Mentalists

Softcover, , Morrisey Magic, 48 pages. Includes The Magic Figure 8. Softcover, ca, I Saw That! Hardcover, , Magic Inc. Not a routine, but may be useful for historical purposes.

Browse Magic Tricks

Scarne, John : Scarne's Magic Tricks. Hardcover, , Crown Publishers, pages. Includes a variation of the chain effect, but with a belt, The Famous Belt Trick.

Whit Haydn

Strivings, Mark : Endlessly Elevated. Softcover, , saddle-stitched, 5. An entirely in-the-hands Endless Chain routine. Trost, Nick : Expert Gambling Tricks. Softcover, , Trik-Kard Specialties, 26 pages. Contains On the Barrelhead by Dennie Flynn. Zenon, Paul : Street Magic.


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Chapter 8 on Street Scams includes an endless chain routine. Lecture video with Chain. Interactive routine, highly commercial, minutes. Presented as history of the game, and includes audience management techniques. Supplied with velvet carrying pouch and a gold anodized chain similar in length, size and style as used by Marc DeSouza. Performed in real world environment.

Includes a bonus performance of Chain Gang, the endless chain routine. Jump-start your magical journey into the world of card magic. On this complete course you get everything from beginner to expert level card magic. You will also learn the great sleights, controls, and flourishes of a proficient card technician. Highly respected magic instructor, Gerry Griffin, This DVD presents 2 different versions of the trick: The Basic Routine - comes complete with the special gimmicked card to perform. The Ultimate Version - designed for card magicians.

The plots, presentations, methods and handlings are all designed for maximum audience The Double Turnover most usually referred to as a double lift is perhaps the single most essential move in all of card magic. It is the act of turning over two playing cards whilst creating the impression that you are handling just a single card. It is invariably the first sleight magicians learn once they decide to progress from The Teleport card.

Inspired by Darwin Ortiz's psychotronic card, this approach to the classic mystery card hits hard and will create a striking impression. No weird moves, just elegant construction and routining. For many readers the material is difficult to understand. Now for the first time you can see exactly how the moves should look and, Call us!

DVDs: Card Magic. Impromptu Card Magic - Colombini This three-volume set of DVDs features 45 impromptu card routines that you can do anytime, anywhere, at a moment's notice. The Heinous Collection Vol.


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Post a Comment. Interviews with Magicians from around the world! Born in Clarkesville, Tn. Whit's family is from the western part of Virginia--near Martinsville , Whit lived in Tennessee until he was nine, then moved to Greenville, NC where he went to high school. Whit finished college at Lynchburg College in Virginia, and went to graduate school at Virginia Theological Seminary in Alexandria, Va, where he studied for the Episcopal ministry. His charm is instantaneous. He feels like family and friend all rolled into one from the moment you first meet him.

And yet, his wry smile and twinkle in his eye give you the feeling that if you were a betting man, your money would soon be parted from your wallet--forever. His mechanics are perfection personified. His showmanship in a class all by itself. MK: What first drew you into the magical arts? WH: I saw a performance when I was eight or nine by a Methodist minister at a summer camp. It turned me on to magic in a big way. There was an old man in his eighties that lived close to me in Clarkesville, and he claimed to have been a professional gambler.

He taught me the basics of the Three-Card Monte and the Shell Game--at least the basics of the moves. I didn't understand the shills and all the psychology until many years later. MK: Who were your inspirations when you first started, and if they have now changed, who are they, and why have they changed? They taught me and introduced me to other great magicians like Bill Spooner and Rick Johnson.

I was only ten or twelve when I first met Dick Snavely. He was a great magician and a college friend of my parents. He introduced me to Bill Tadlock, who lived much closer to me, and the two of them gave me a great grounding in magic. Later, my friend Brian Gillis introduced me to Eddie Fecthter and his magic. Eddie became a huge influence on my work.

MK: Did you join any magic clubs when you first started?

Notes on Three-Card Monte

WH: No. MK: Did you have a mentor? As we are always constantly learning, do you still have mentors or trusted eyes when trying out new material? It is a terrible loss, more than just emotional. Billy was like a part of my brain--I could always call him and ask "Where is this from? MK: Do you remember your first act? What was the lineup of illusions you presented in that act?


  1. DVD Three Card Monte.
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  3. Magical Links;
  4. WH: I did many shows as a high school kid, always featuring the rings and ropes. I did some puppetry, and all the usual magic shop magic--Zombie, Hippity Hop Rabbits, etc.

    Chef Anton - Fast and Loose Demonstration

    My first real "original" magic act was what I created for the street in the late sixties--cups and balls, linking rings, cut and restored rope, billiard balls. The two of you share a unique ability to get genuine laughs from the audience even if they know the punchline to the joke. I attribute it to a great sense of comic timing, but what do you feel is the reason for the success of your act especially in light of the fact that you have many repeat audience members seeing your act?

    WH: Thanks. That is the best compliment you could give me, and I am sure my dear friend Dana would agree as well. I believe that art is judged by just that standard. Most magic acts you can see two or three times and truly enjoy, but never care to see them again. Great acts you can watch over and over and never seem to tire of them. Billy McComb was one of the greatest magicians of the Twentieth Century, I always felt, because you could watch him a thousand times and still find him thoroughly charming, entertaining and interesting--he had many layers and levels of theatrical and magical interest.

    The Mona Lisa is great because you never tire of looking at it.

    Gypsy Switch

    It is always "fascinating. WH: Well, the accent is real. I have worked without a Southern accent for most of my career, having learned to speak general American dialect when I was an actor in my early twenties. The accent is thickened up a bit--I am sort of doing an impression of my grandfather's accent. The character is based on Nineteenth century sure-thing gamblers like Soapy Smith and Doc Baggs, combined with a bit of Medicine Show pitchman, and vaudevillian.

    MK: Was the character you now perform as the first character you chose? Of not, what were some of the other characters you tried first?

    go here WH: My original stage character, which I have worked with for more than thirty years, is a sort of clueless substitute teacher dealing with a subject he doesn't understand and "put-upon" by the unruly and rowdy class he is trying to teach. MK: How important is it to you for magicians to perform original material as opposed to performing proven material with their own presentation?