Magic Lessons - Brad Burt

Brad Burt's Magic Shop Online
"Enhancing Your Ability To Work Wonders"
Mini Magic Course Lesson #1

Audience Proximity
Hello davor
One of the things that I wanted to do when I set up my e-mail list was to come up with a
series of 8-10 basic (now 24!) introduction to magic lessons that would be helpful to folks just
starting out in magic and perhaps even helpful to those who have been involved for a while.
This is the first of those lessons and deals with one of the critical areas of magical
performance whether you are just starting out or whether you are a full time pro. The issue?
SPACE and Audience Proximity.
davor, here is a situation that you can probably see in your minds eye....maybe it has even
happened to you! You are performing a trick for one or more friends and one of them reaches
over and grabs the critical prop at the critical time and basically ruins the performance. Got
it? Everyone and I mean Everyone has been through this. You hate it, but it happens.
BUT....here's the cool thing....it does not have to ever happen again and I'm going to tell you
how to manage things so that it does 'not' happen again.
First, simply be prepared. It is very much as if you are looking for the hitman in the shadows
when you go to the store at night. Just being aware that it can happen will stop it from being a
problem about 75% of the time. Why is that? Because, if you are aware of it you can move at
the same time the 'mugger' does. You can take action.
Second, you can now become more aware of SPACE and 'Audience Proximity'. Here it is:
Look at the show situation. PLACE your spectators far enough away that they simply CAN'T
grab anything!!! Trust me on this: YOU control the situation... especially before anything
starts! Say, "Look let's get everyone (or 'you' if only one person) situated like this so that
everyone will be able to see exactly what is going on." See what I mean. Be the nice guy
who want's to help your audience out!
It is this simple....put audience members at just that distance from you so that they cannot
mess with your show. As time goes on you will KNOW who will be a problem. Not always,
but mostly. Anyone drunk can be real bad news, but not necessarily. For what ever reason
women tend to grab more than men and they are FAST! It is like a Zen stone snatching trick.
Watch the wise guy who seems to be in your face verbally. Watch how people are poised.
Relaxed and sitting back having a good time. Leaning forward with the skin of their face
stretched tight their eyes glowing with a feral animal like light desiring to mess with your
performance? You won't get many of that last, but I thought I should bring him up.
In the end, simply control the situation gently. People 'want' to see the magic and they will
almost always help you get it going by doing as you politely request.
Take care and talk with you soon,
Brad Burt, owner
Brad Burt's Magic Shop
http://www.magicshop.com
bburt@magicshop.com


What I Learned Early
Hello again, davor
Welcome to Lesson No.2 in my Mini Magic Course series. A little history.
I first became aware of magic when my best friend in Junior High showed me a couple of
very cool 'tricks' from a small magic set that he received for Christmas. One of the items
fooled me and then fooled me again and then again! I was totally blown away. I examined the
props and was simply clueless.
I thought cool, I have to get some of this stuff, but, there simply was no magic shop, etc.
close to me.
I ended up finding a small magic book and spent hours learning the tricks inside, but they
ALL used props as opposed to skill. I had to prepare stuff or have some special item or
tricked up deck of cards.
Then the breakthrough: I found a used copy of the Amateur Magician's Handbook by Henry
Hay and I was in a whole new and wonderful world. I was in fact in the world that I most
wanted to be in magically. This classic taught me the basics of solid sleight-of-hand
technique with cards, coins, and much more. I was learning how to pick up a standard, normal
deck of cards and do miracles. This was the 'REAL' stuff and I was truly in magic
heaven.
Look, the reason I am telling you this is that after 35+ years of Teaching and selling magic I
KNOW that although you can and WILL have a great time with self-working gimmicked
magic items, you can have MORE fun if you will take a little time and learn how to do some
of the basic sleight-of-hand technique that is now available via books, video and DVD! In
many cases, your favorite 'self-working items' can be made 100% better and more effective
with the addition of a little...hmmmm...how shall I put this?.....SNEAKY HAND STUFF!
You see the problem that I noticed years ago was that most folks just getting into magic did
not know that they
COULD learn these things!!! They didn't know that there was in fact material available to get
the job done.
What does all this mean? I have tons of tricks that I love that do NOT take any of the
technical skill I have acquired. BUT...
Take care,
Brad Burt, owner
Dear davor:
Had a question come in recently: How DO you do great magic at a moments notice? It's a
good question and what's really cool....there is an easy to implement answer!
Being able to do some 'good' magic at a moments notice is really more of a mind set than
anything else. Just asking the question is the best place to start, because it makes you aware
of what is basically a lack of preparation for most folks.
One of the nice things about being able to do sleight-of-hand with coins, small balls, sponge,
thimbles and billiard balls is that the skill sets you acquire can be moved laterally to items that
you are more likely to find anywhere and anytime.
For instance it's not that difficult to find either a small 1 3/4"-2" solid ball of some kind that
you can manipulate ala Billiard Balls, you just can't do the multiplying part. Think of all the
things that you could use to do the one, two in the hand, one in the pocket, look all three are
back in the hand!
Here...right off the top of my head: Three bottle caps. For a finale you produce the large cap
from a jar of some kind, etc.
I highly suggest getting any or all of the Tom Mullica DVDs on Impromptu magic. Here's a
link to my site for volume 1:
http://www.nexternal.com/bburt/Product370
but everyone carries or can get them. The sheer amount of usable NON-CARD material is
stunning! Mullica does a superb job of performing and then explaining the routines.
And...unlike some 'impromptu' material out there it REALLY IS impromptu.
Really, even now, sit down and think about what you know that you could do with borrowed
items? What would you have to carry with you to do a nice little SOLID ten minute set if
asked?
Although I am pretty much prepared whether I have something with me or not, if I want to
make it easier on my self I carry thefollowing which takes up almost no extra room on my
person: Two pennies with which I can do Two Pennies on the Knee and Tenkai Pennies from
Bobo's. A TT and small silk. The two bill tricks I sell, Wonderland Dollar and Two Ones to a
Two which fit nicely in my wallet and take up almost no extra room. Possible adds: Color
Changing Knife, half dollar and english penny, but not usually.
Sometimes a Color Monte.
Pretty much everything else I can borrow: Shoelace or piece of thin rope, finger ring, deck of
cards, coins of all kinds, etc.
Work towards setting yourself up with a 'mini act'. Script it out, rehearse it, etc. It will make
you look like a pro and relieve a lot of the anxiety that comes with getting asked to do
something in a casual setting when 'you' don't feel prepared. Best,
Brad Burt


How To Get Revved Up Magically
Dear davor,
This is Lesson No.3 in the Brad Burt Mini Magic Course. Actually, it is more like
commentary up to this point, but that's ok.
I have been doing this over 35 years and I have one major goal in teaching magic:
Make it possible for folks to have not just a good time doing magic, but a GREAT time.
I am going to tell you my Super Secret Formula for magic addiction: As soon as you can fool
the snot outta someone. Really.
I mean just blow them away. Leave them in the dust. Have them drooling on
themselves.....well, you get the idea.
I was in my late teens and just really coming into some really cool technique with cards, coins
and rope. I just could NOT fool my mom. It literally drove me nuts. Now, understand, my
mom has a really high I.Q., and is tough as nails on the fooling front, but, come on!
Finally, I bought this killer little rope trick called the Professors Nightmare. You may know
it: Three ropes of different length change visibly to three ropes of exactly the same length.
You even count them one at a time
to show that the transformation was real. Well, I worked it and worked it and finally showed it
to my mom and ...... SHE FREAKED OUT! WAS TOTALLY FOOLED AND I HAVE
NEVER FORGOTTEN IT!
Oh, man, I am not kidding....NOW, that was having fun!
The down and dirty of this is that I want to assure you that YOU CAN do it too. Magic is just
not as difficult as most folks think and that is part of the secret: Some of the best tricks are
some of the simplest and easiest. Don't
get me wrong. I'm trying to be upfront and tell you the way it REALLY is and not some
swill. Yep, there is some hard stuff in magic, but you don't want to start with that!
I have some good recommendations on the site at:
http://www.magicshop.com/online_store.htm
in a variety of categories. Have questions? Please let me know. You can contact me online at:
bradburtmagic@yahoo.com (My, I don't get a lot of spam address!!!)
Good luck and let me know if I can be of any service,
Brad Burt,


Getting Shows?
Dear davor,
I realize that a 'getting gigs' lesson might seem a little advanced for Lesson No.4 of my Mini Magic
Course, but I also know that some of the folks who have signed up for this course and Updates are
at the stage of doing shows for money. Soooooo....I thought I would insert one of my favorite mini
lessons on getting shows once you have an Act commercial enough to sell. Let me tell you up
front....the stuff you are about to read is KILLER! If you are able to make what I suggest happen
you could easily be sitting on $5,000 to $30,000 in extra income a year working part time!
This is NOT bunk. I have an old and dear friend who was a successful commercial realtor. Part
time he did magic shows that put $30,000 plus in his pocket a year!
Look you may never want to perform for money. That's cool. Most magicians are hobbyists doing
magic simply for the fun of doing it. But, YOU may be surprised that as your technique gets better
and as you start to impress your friends with the professional look of what you do....YOU ARE
GOING TO GET ASKED IF YOU DO SHOWS!!! I guarantee it. All of a sudden someone offers
you a $100 for showing up at a party you were going to go to anyway to do an hour of close-up
magic. You figure why not? The next thing you know three people at the party ask what you
charge and you are off to being a semi-pro magician making a $1000 extra each month.
Well, enough of that. Below is some totally HOT information on booking magic shows. If you
have the Act, give that advice a try and you will be very surprised at how much work you can
get........
Holidays produce a lot of show opportunities and I have some great booking ideas. The good news
is that they are really not that hard to implement. The bad news is that they are not 'snazzy', may
not be sure fire, although they probably would insure extra bookings and they don't just work
themselves. On the other hand, a couple of good focused methods of booking shows that can be
fairly easily worked are a good thing.
Idea number one should be the lynch pin of all your magic show marketing: You should have a list
of EVERY client you have ever worked for and you should make a mailing to those clients 2-4
times a year with offers of shows.
And, MAKE an offer. Make them a deal. Tell them the truth that the holiday booking season is
coming up fast and it IS the busiest time of the year for performers. IF they will book a show NOW
you will give them 'X' deal. Let's say your holiday shows go for $500.00 or a half hour stand up
show. If they book NOW within the next 10 days (or whatever) you will not only give them the
show for $400.00, but toss in 30 minutes (or whatever) of warm up close-up! Be creative. What
you want to do is BOOK a bunch of shows.
A full slate of shows. More than you would normally, because of the aggressive marketing you are
doing.
Have you read Guerrilla Marketing by Jay Levinson? You should. Cheap book filled with
KILLER information for the small businessman.
I think I have said this before, but it really bears repeating this time of the year: LOOK for a
relationship with a Party Planner!!!
Find someone who puts together the place, food, etc., but not necessarily the entertainment. Offer
them a nice inducement to give you an in with the folks that are putting on the party.
You get $600 for the show give the planner $200. Let me tell you.....a hot planner with the right
performer is a match made in heaven money wise.
REALLY! A planner that clients love and trust can get you a ton of gigs that pay what you want
them to! If you up your price give the planner more. Don't be stingy!!! BUT....BUT...
BUT....you had better have a show that delivers the goods. You better have a show that reflects
like gold off the face of the sun on the planner. IF you do you can be making a very good part time
or full time living! A good enough contact could give you all the work you need.
But, you can also look for multiple contacts. Watch out for a need to be someones 'exclusive'
performer. It very seldom works to the advantage of the performer. Well, that's it for now!
Take care,
Brad Burt, owner


Practice
Hello, davor,
I really mean it. Practice can be fun. In fact, in order to move forward in your magic
journey you really have to like the process of practice. Want to know my practice secret?
Once, I have the basic moves, etc. down so that I can sit and do something else while I
practice that's exactly what I do: I do something else.
My favorite happens to be watching a movie or even something worthwhile on TV, but you
could be into the music thing, etc.
What I'm saying is...don't let practice be a drag, a hassle, boring.
Remember that the goal is to get down a trick or technique so well that when you finally do
it for friends or family you blow them away. Oh, ya! In most cases if you have a good
instructional source you will find that you can learn a lot of technique in a fairly short time
Go forth and fool 'em! Take care,
Brad Burt, owner
bburt@magicshop.com


Learn It Right The First Time and
Save Money
Dear davor,
I am going to attempt....hmmmm....to make this pretty short and
sweet. Although this may seem pretty 'personal' in the sense of each
person having their own preference, I still get a ton of questions on
this.
Here's what I tell everyone who brings this
up online. Anyway, what I recommend is that you use some of the
excellent video instruction available to learn CORRECTLY the
basics of the craft. O.K., my Private Lesson Teaching Videos for
instance! Whatever tape or DVD you
select is will be much easier to learn the
basics from a live performance than from a
book.
I can't imagine how much further, how much better I would be today
if I had had the advantage of learning material correctly and visually.
Books are great, but in many cases it took me months of daily work
just to get the basic move down before I got to the practice cycle.
Look here is how goes: You learn how to make the basic move with
cards or coins or whatever. You begin to practice. You repeat the
move over and over looking for that flow, that perfecting of the
move that tells you that you will be able to
perform the move and FOOL people with it.
You continue to practice until you actually do reach the level of
competence that you desire.
Consider that initial learning phase. That time that you use to read
and reread the move out of a book in order to just get to the place at
which practice can begin. It can be a very long time indeed.
Books in many ways are better ONCE you KNOW the basics.
That's why a good solid video that is designed to TEACH the basics
is not only an investment in learning the material correctly from the
start, but
it is an investment that can save you literally thousands of dollars in
TIME!
On my first card video (#4 in the numbering system) The Basics of
Expert Card Technique there is material that took me about 2 years
to get down via books. I have had clients learn and perfect
that same material in a matter of months and without the travail that
comes of learning it from books!
Now, once you have your basics, books then become one of the most
extraordinary deals in magic. They give much more generally than
they cost. And, they can be easily carried about and don't need
batteries!
Anyway....comments, questions? Let me know!
Brad Burt, owner
bburt@magicshop.com


Magic First Aid Kit
Yo, davor,
This one is for those of you that are actually doing shows for
MONEY or who plan on doing shows. You have an act and you
are actively promoting that act AND getting some paying gigs.
Well, here is my little essay up on what I call the Magic First Aid
Kit.
This emergency kit contains those supplies that might mean the
difference between doing a solid or great show or offering up a
bomb. It contains little things that you may need on the spur of the
moment and wish that you had. Let's take a look at what I put
in my Magic First Aid Kit and why. Note first that I use a small
fishing tackle box.
In the box I have: 1 each Sharpie markers in red, green, black and
blue; 1 bottle of liquid paper; several sizes of Band Aids; small
bottle rubber cement; rubber bands, various sizes; small tin of
asprin; 2 packets of Alkaseltzer Plus Cold tabs; tape of various
kinds; thread of various kinds; small sewing kit with thimble, thread
and needles; some small velcro self stick tabs; X-Acto knife. A
protein energy bar or two.
If you examine the above basic kit you will see that it offers
the widest possible range of emergency supplies. (Note:
YOUR kit will have other items that are particular to the routines,
etc. that you do.) The Sharpies are wonderful for masking scrapes,
etc. on props and tables, having cards signed, making signs, etc.
The Liquid paper is really nifty for masking things that need white
for the cover. The rubber cement has more uses than you can shake
a stick at from making up your Torn and Restored Newspaper to a
quick repair of a prop to attaching something to the bottom of a table
and on and on.
The Alkasletzer Plus saved my performing life twice when I was
so sick that I could barely see. Wonderful stuff for drying up a
runny nose and giving one the illusion that he will survive the next
hour and a half. A small sewing kit can literally save your life if you
need an emergency removal of some non vital organ. The x-acto
knife subs in as a scalpel of course. Well....think a torn tux, bird
jacket needs a mend, almost any prop made with cloth that needs a
stitch or two. Tape is always handy.
Another must for me was always to have some bottled water. If
you have four or five shows back to back it is REALLY nice to
have a protein bar and some water on the way to your next two
hours standing and doing close-up!!!
Put some thought into this and you will quickly see how much
more professional it is to have your own emergecy supplies than
it is to have to go to your host and ask for some help. The time
lag alone can really throw off a schedule. Think ahead and attempt
to 'see' each and every possible contingency. With any luck at all,
you will never, ever have to use your kit....but, I can tell you
from personal experience that when you need one of the items and it
is there at your finger tips...well, it is, well, really cool. Take care,
Brad Burt, owner

bburt@magicshop.com


Favorite Magic Books
Dear davor,
One of the questions that I get on a very
consistent basis is what are the my favorite
magic books? 25 years ago this was a much easier question to
answer because the number of books was much, much smaller! But,
for all that there are some classics that are probably better buys
today than they were 25 years ago.
My all time favorite book is Henry Hays Amateur Magician's
Handbook. If you can find ANY of the hardbound editions of this
you have found a treasure. I believe that there is a small paperback
edition, but it so small that it is difficult to learn the material. This is
a perfect
example of a book that was published in hardbound for a reason.
Even the paper version is worthwhile if only for the first couple of
chapters on theory. Superb. Check you local used book stores.
My all time favorite card book is Harry Loraynes stone cold classic
"Close-up Card Magic". (Hopefully by the time you get this it will
be up on the online catalog!) This book is just filled with
some of the best card effects ever devised. As with all Lorayne
books the writing is First Rate. Easy to understand, you will learn
many valuable techniques as you learn the tricks themselves. Highly
recommended.
J.B. Bobo's New Modern Coin Magic is the basic textfor those who
want to learn good solid coin magic. The book is filled with
technique and tricks that will keep you busy for years. One
suggestion: Buy only the Hardbound version and not the less
expensive Dover edition. The Dover edition is missing about 1/3 of
the best material that the revised hardbound edition has. I do not
carry this book at this time, but it is available from Magic, Inc. in
Chicago, Illinois.
For books that are of recent publication the Card College books
volumes 1-4 by Roberto Giobbi are incredible. They are systematic
and well illustrated. If you are looking for a book as opposed to a
video to get you into card technique these are without peer.
Books on general magic such as the Mark Wilson Course in Magic
are still a must if you can find a used copy. Look for it! I also like
the Magic for Dummies book that at it's low price is a real deal. You
will find information in this book that I have not seen elsewhere!
O.k., that's it for now. Anyone out there have any questions that I
can help with please let me know.
Brad Burt, owner
bburt@magicshop.com


What To Say
Hey davor,
Before we get into this days lesson I think it's
only fair that I tell you about some of the cool stuff that Brad Burt's
Magic Shop Online has to offer.
First, I have one of the most carefully chosen
selections of magic in the business. I just
don't carry everything. Lot's of online magic
stores carry pretty much everything that comes out. Good, bad, ugly
they got it. Not me.
We have online Gift Certificates! Very cool.
You just have all your friends and relatives buy you what amounts to
'Brad Money' and bang, you're off to a good time!
PAYPAL! We take Paypal at checkout and it's really easy to use.
Oh, man, how fun is that!

O.k., the above IS a blatant commercial, but
there you go.....on to the ESSAY:
What to Say When They Have to Know
By Brad Burt
Copyright 2006
When I was a beginner in magic my worst fear was not only
gettingcaught or messing up a trick, but what to do when asked if a
spectator could look at a particular prop? What to do when they
wanted to examine something? What do you say when
you are asked how a trick is done? These are related problems for in
the end what they are about is the special and secret knowledge of
the magician.
Too often the solution is a wise-ass remark made in a nervous tone of
voice. We have a special double edged problem: We don't want to
be rejected BECAUSE of our magic and we don't want to be rejected
because we seem churlish about letting go our secrets. If
we get through the first problem and find that the person or persons
watching LIKE magic....COOL! Then we only have to hope that no
one will want to KNOW how it's done bad enough to cause a
problem.
Many of the problems in this area are simply not a 'problem' for the
working pro. In a professional setting you don't get many folks
wanting to see your props, etc. It might happen, but it's just not that
big a deal. Where most of the problems happen is with friends of the
hobbyist. BECAUSE you are friends they find it easier to take
advantage of that friendship! The most heard phrase here is this,
"Look man, just tell me how you did it. After all I'm not going to do
it." I have literally heard this a hundred times. The
friend, of course, thinks this is a great deal. You tell him your secret
and he promises not to reproduce your miracle! What a
deal!! What they don't understand and frankly never will is that you
won't tell them how your trick works BECAUSE they are not going
to do it. At least if they were willing to learn all that goes into the
trick you could feel that you are passing on the art, but
to gratuitously tell the method so a friend can have their curiosity
taken care of? No, I don't think so. So...how do we deal with this?
#1- You WILL find some friends that just HAVE to know. They
have an ego problem and magic is a force that threatens them. If you
want to keep these folks as friends DO NOT DO MAGIC FOR
THEM...PERIOD. You will not win. Don't mistake what I am
saying...these are the guys who will not let up. They just have to
know. They are in a class by themselves.
#2- Mostly the above type is not the norm. Mostly folks will really
be caught up in the moment of magic and casually want to see
the prop you used. The ultimate method of handling this and it's the
one I took (and thus my 17 DVD's on Sleight-of-Hand! Found
here: http://www.nexternal.com/bburt/Category18). That is I went
for pure sleight-of-hand and only used things that could be
examined!
#3- But, what if you want to use an Invisible Deck or my pocket
favorite the Two Ones To A Two? Neither one can be looked at!
Well, you can get very good at switching things. A useful thing to
know how to do, but it takes thought and planning. Some folks use
this method and it's great.
Myself, I try to plan my routines such that I always end with a
routine that is essentially clean. Most folks will only ask to see
the very latest thing that is before them. Thus, if as you finish a trick
you put it away out of sight you are 'generally' clear on
those props. If you end with a normal deck of cards or ungimmicked
coins you can leave them out to distract the audience after you are
done!
On some occasions you DO need a line that will disarm the person
who wants to see something. I stay away from the old lines like,
"Can you keep a secret? So can I!" I guess they are o.k., but they are
not that satisfying really. Some years ago I stumbled upon an almost
perfect line to use when it is needed. I tossed it out once and the
reaction was perfect causing the spectator who was asking to see
something to instantly shut up! I analyzed what I had said and
figured out why it worked so well and have used it since.
Here it is, "I can't let you see that. It's a trick." Yeah, I know. I tried
honesty and boy does it work! You see conversations between us
magic types and the spectator usually go like this:
"Can I see that box?" They say.
"No." We retort.
"Oh, then it a trick!", they surmise and assert.
Blah, blah, blah and on and on and on, both looking like kids in the
third grade.
Of course it IS a trick you moron! If I could do real magic would I
be here talking to you? I'd be on the beach in Brazil with a cold
drink and binoculars! You see when you come right out and fess up
they simply have no place to go. You short circuit the
process. If they continue after that you just continue also. "It's a
trick", says it all! It says, look, I am NOT going to show
you my TRICK. Yes, you are correct, I am not a real magician.
Oooooo, there's a revelation.
Most of the last paragraph is sub text. When I use my magic line I
say it in the LEAST OFFENSIVE MANNER POSSIBLE. I say it
lightly and without cheek. I DON'T WANT to start a war. I want to
avoid one. In one sense you can't win. So you have to learn to avoid
as much as possible being in the position to get hassled and if that
doesn't work learn to duck.
Thought and practice has made all of the above automatic for me. If
you want to enjoy your magic maximally, you have to make it
automatic for you also. AWARENESS is your first line of defense.
Read this article at least once or more a month for a year. Watch
carefully where you get in trouble and then work out how you could
have avoided it or made it better, etc. Awareness. Awareness.
Awareness. Once you are aware you have nine tenths the battle won.
Trust me. Once you work on this a little if you have had problems in
this area they will be reduced to almost nothing. Very cool.
Go out and ENJOY your magic! Take care,
Anyway....take care and have a great day!
Sincerely,
Brad Burt, owner


Magic is Just Plain Fun
Dear davor,
I remember two things about magic that are still vivid to this day. I
remember the first time that I was REALLY fooled and amazed by
a card trick and I remember the first time that I really fooled and
amazed someone with a magic trick.
I liked it both times. I LIKE being fooled
by a magic trick. Getting the psychic rush
as my brain was left behind at some point only to arrive a little too
fast and slip on the
effect generated by the magicians skill and
subtlety. Ooooooooooo, but that's fun.
I know that some folks are offended and/or
threatened by a good magic trick. That's sad. There is no reason to
be threatened, bummed out, etc. The easiest people to fool as a rule
are in fact the most intelligent. I won't go into why, but trust me on
this.
But, I'm not really writing this about 'them'
out there, but about 'you' and your experience of magic. Here's the
bottom line: Magic is just plain fun. It may have historical roots in
the disreputable. In the con games of hucksters and other even
more dark trade, but modern magic has
come out of the dark corners and offers
something that is important to the world: A visual manifestation of
what wonder is in a small child. What happens when the hair on the
back of your neck stands on end and a glimpse of something from
the corner of your eye turns out to have vanished before you could
focus on it. Magic is the fun that reveals what it is like to be new
again.
Have fun. Enjoy life. Do magic. Sincerely,
Brad Burt, owner
bburt@magicshop.com


A Misdirection Lesson
Dear davor,
O.k., it WAS the most exciting thing at
the time and to tell the truth I still
think it is one of the most powerful
techniques in magic. What am I talking

about? Here, let me describe one of the
best close-up magic tricks ever devised.
The name is Peter Rabbit and the classic
presentation is thus: You display two sponge
rabbits. In the case of the classic set
they are yellow and about 1" long. Your
hands are seen empty and there really are
only the two bunnies in full view on the
table. You pick up one of the bunnies with
your right hand and place it openly in
your left hand which closes around it.
You now pick up the second rabbit and place
it in the spectator's hand asking him or her
to close their hand around the single bunny.
A magical gesture and you open your L.H. to
show that it is now EMPTY! The spectator is
asked to open their hand to find that
they now have both rabbits. But...wait!
You now repeat the procedure. Again, you
place one bunny in your hand and one
in the spectator's. Gesture and when
they open their hand they not only have
the two adult bunnies, but 4-5 little
baby bunnies as well.
This effect is pure magic. The appearance
of the small rabbits at the end is so
powerful that it is difficult to get the
nature of that power across in print. You
have to try it.
Here is the rub on this effect: WHERE did
the small bunnies come from??? Done correctly
that IS the mystery and I can tell you from
35+ years of personal experience that the
magical APPEARANCE of something is pretty
much the strongest effect in magic. AND,
when it happens in the hand of the spectator?
Oh, boy!
First, the manipulation of the two larger
rabbits is basic Sponge technique. I use
my 1-2-3 move taught in detail in my Sponge
Video (Like all my personal videos it is 100%
Guaran*t*e*e*d by the way! If it
doesn't work for you...return it.)
But, let's take a moment and start from
the beginning, because what I really want to

cover is the technique for the 'STEAL' of
the small buns. Take your small rabs
and mash them into a small ball and place
them in the inner upper corner of your RIGHT
REAR PANTS POCKET. Don't worry whether
they stay really mashed up, they will be
fine. The two large rabs are on the table.
You pick up #1 with your R.H. and fake
putting it into your L.H. which closes
over nothing and moves away to the Left.
Your R.H. immediately picks up the rab on
the table smashing it together with the
#2 big bunny. Place both in the hand
of your spectator. (What I want you to
get is the FLOW of the routine and the
philosophy behind the 'STEAL' of the
small rabbits. The actual physical
technique of the handling is much better
taught on video or a book with illustrations.)
Now, here is where you will learn todays
lesson! Consider where you are at this point:
The spectator has BOTH mommy and daddy
rabbit in his hand, BUT...thinks that he has
only one rabbit while you have the other.
So...you open your hand and show that your
bunny has VANISHED! They open their hand
and find that they have BOTH bunnies.
Note that this situation now sets them up
psychologically for the misdirection needed
for you to OBTAIN THE SMALL RABBITS WITHOUT
THEIR KNOWING! They are focused for the moment
upon how the other large rabbit got into
their hand! Always keep this principle in mind
for the future. I call this the Pre Set-Up.
O.k., let's continue. Let's go back to the point
where they opened their hand to show that they
had both large rabbits. Here is what actually
happened in totality: You open your hand to show
it empty. SURPRISE! You now turn you left side
more to the audience. Your R.H. goes down casually
to your hip as your L.H. points to your
spectator's closed hand and you FOCUS all
attention on that hand. YOU stare at it. YOU
point dramatically at it. YOU CONTROL THE
ATTENTION OF THE AUDIENCE!!!! YOU! As the
spectator opens their hand your R.H. sneaks up
and simply grabs the little rabbits out of

your back pocket. JUST DO IT! Co-ordinate the
'STEAL' with the pointing and opening of the
spectators hand.
Now, the best part. You immediately grab one of
the large rabbits with your R.H. and mash the
small rabs with the large one and then pick up the
other large rabbit and place ALL in the spectator's
hand saying something to the effect of, "O.k.,
let's give you both mom and dad rabbit. Now,
shake them up and little...yes, like that." You
have them open their hand and YA!
Look closely at what is taught here, because it's
all there. You can misdirect your audience in
different ways, but they will ALL have aspects
of what I teach above. Go forth and blow minds!
Your buddy,
Brad Burt
Oh! By the way I love notes from clients telling me
that what I have produced has in fact worked for
them. My videos in particular were and are a
labor of love. They are made to a very, very
specific formula helped by the fact that I taught
magic technique in four different magic schools for
over 20 years. Here is one letter:
"Hi Brad,
Just a wee note to say how much I enjoy your teaching tapes. I
think you are a great teacher, you are full
of enthusiasm and simplicity in the given techniques.
As a teacher of drama I can appreciate this. I have
three of your videos and I am eventually working my
way through each tape so I have the complete collection.
Keep up the great and excellent work!!!
Regards Shaun
Ireland" (Thanks Shaun!)


Succeed Right Away
Dear davor,
Did you try the material in the last lesson?
You know...you don't need little bunnies to
give it a try. Take a sponge and rip it into
two large sponges about an inch square and five or so little sponge
pieces. I've used wadded up napkins, etc.
Anyway, I wanted to talk briefly today on how to kick start your
magic hobby. Here's the secret: Just get one trick. Just one. Either
from your friendly dealer or from a book in the local library, etc.
Just one trick that sounds good to you. That sounds like just the
thing you would like to learn. And, then simply learn it and do it.
But, there is a further secret that I can
guarantee from over 35 years of selling, inventing, performing and
teaching magic that will make your magic experience REALLY,
REALLY cool. What
is it? Simple: Succeed right out the first
time! Let's face it, magic is fun because
you fool, amaze, befuddle, entertain your
friends and clients and whoever else to whom you show your
magic. WE want to fool 'em!
, anyone who thinks I do what I
do just for the money is crazy. I do magic
for the exact same reasons that everyone else does. That you do. I
like to amaze people. I LOVE that smile that comes into peoples
faces and lights them up when I do something so amazing that it
can't help, but bring a little joy and light into peoples lives. It is
FUN!
Pick a trick and get it down. I've included
6 suggestion in this e-mail of items that are
guaranteed to produce. None of them are that difficult to do although
they will take some practice. But, if you do them even half way
decently....you will kill with 'em! This is
great stuff that will get you off to a solid
start and none of the items are expensive.


The Magic State of Mind
Dear davor,
This is lesson No.13 in the Brad Burt Mini
Magic Course. Remember if they are starting to drive you nuts a
simple click at the end of this email and you are gone. No problem.
I honestly believe the what you are about to read is one of the, if not
THE, most important concepts you will ever learn magically. I
mean that.
Today I am going to address a technique that anyone can use to
literally make the magic that they do from 100-300% better.
Perhaps even more! The technique itself is based on a philosophical
notion that I had many years ago when I was teaching magic on an
almost full time basis. What is it? I call it the Magic State of Mind
and, well, here is what one student/client had to say recently:
"I am also enjoying your mini lessons very much. Makes one think
again about their magic. I hope you stress something that I know I
have said to you many times that the thing I have got most from
your
videos other than the skills themselves is what you called the Magic
State of Mind. I think that concept and the way I use it is just the
best advice anyone can get. I use it with my illusions and I know
what
a difference in audience response it has made. To me it affects your
body language and face expressions powerfully and transmits MY
belief to those watching.
Hope everything is great with you
Graham Rogers"
Here is an example of what the Magic State of Mind (MSOM) is:
Close your left hand and IMAGINE that there is
a half dollar in that hand. Attempt to 'feel' the size and weight of the
coin. Feel the ridges on the edge of that coin. Now, open your hand
and notice that the coin has vanished. That's not meant as a joke.
Think for a moment: When you PRETEND to put a coin in your

Left Hand so that a moment later you can open that hand and show
it empty...WHAT is it that you are trying to DO??? Isn't it fooling
your
audience into believing that the coin was IN your L.H. so that when
you open that hand and find it empty the audience will believe that
the coin is no longer there because, well, BECAUSE, it HAD
vanished?
Look....face it...if your audience does not buy into the FACT that
you REALLY placed the coin in your L.H. there will be no magic.
Right? Think about this carefully. The magic that we do only
happens because the audience, if only for a moment, buys into OUR
DELUSION if you will.
And...here it comes....the important part...The stronger WE (you and
I) believe in that delusion the better and more powerfully will our
BODY LANGUAGE transmit that belief to the audience!!!
We are acting here gang. ACTING as if it is real.
Think about this for a couple days......I will
be back.
Take care,
Brad Burt, owner


Magic State of Mind Again
Hello davor,
Been thinking about the Magic State of Mind? Well, let's tune it up a bit. In each
and every magic trick, routine, that we do you can use the Magic State of Mind. I
will say this: There are tricks, etc. that are more easily enhanced by this
technique, but
in the end you can use it in all your presentations.
Really, all it is is ACTING as if what you are
asserting in your routine is true. Let's look
at that for a moment. Let's say you are doing the classic coin routine Coins from
Hand to Hand. You show four half dollars and one at a time they seem to
magically jump from one hand to the other.
You show them apparently all in the L.H. and zap one is instantly over in the R.H.
and so forth. Now, as you present this effect you could do it so casually and with
so little emphasis that your audience won't really care what you are doing. But,
let's say that's not the problem. Let's say
that you are really attempting to do the best job technically you can. You pause for
emphasis at the correct times. You build suspense. You perform the moves
perfectly. That's GREAT....BUT! What
if while you are doing all this what is going
through your mind is something like this: I place all four coins on the palm up
L.H. As I close the hand I palm one coin and actually only toss three coins into
the R.H. This is exactly the opposite of what you would be doing to be using the
Magic State of Mind!!!
Do you see why? Here is what the internal dialog should be like instead of the
above: The magic IS about to happen! As I place the four coins on my L.H. hand
I can feel the power surge forth! As I toss the four coins into my R.H. the energy
is amazing. As I knead the coins in my R.H. I can feel
one coin dissolve away and almost see it travel from my Right to L.H.....and on
and on.
The more YOU believe what you want your Audience to believe, the more they
will! If you never learn anything else from these lessons or essays I can
guaran*t*e*e that this secret alone will make you a much better magician if you
use it. Take care,
Brad Burt


Audience Control
Hello again davor,
I don't know if you remember as far back as Mini Lesson number one, but this is a
follow up to that lesson and hits on another aspect of Audience Control.
One of the finest performing magicians that I know, a guy who has made a ton of
e*xtra c*ash every year doing shows part time is my good friend Stan Gerson.
You have to understand that Stan makes money in the real world and does the
magic just because he loves it and well, he can. But, Stan is different than a lot of
part timers in that he is probably one of the two or three best stand up magic
performers working. He is
superb and when Stan sends me a note with a suggestion on working with an
audience in it I take a very close look at what he has to say.
What I'm going to do is rephrase it for you. Here goes: When you are working
for an audience, YOU must be in control and you must be in control from the
start. Yes,
audience proximity has to be taken into account when working, but more than
that....YOU, must be in charge. Stan has a terrific suggestion: Start by moving
your
audience around. This is subtle. You walk out to do a stand up set. "Hello," you
say "Could I get you folks in the back to move up." No question here. You are
really saying, MOVE UP. You may move a couple of people around for another
logical, but again CONTROL reason. You can do this in a close-up situation also.
I worked
mostly standing at my table at parties before 2-12 spectators at a time. Ask that
the guy or gal in the back move over to the side. Shuffle a couple of folks in the
front so the ones in back can see better.
Now, understand that you don't always have to do this. There will be times in
which you know that you have the control that you need and go from there.
Just remember: In the world of entertainment YOU the performer are the one in
control. You organize the entertainment and present it before the crowd in such
way that they are entertained. That's what you are hired for. And, it all comes with
experience. So the other rule is:
Never, never, never, NEVER give up. Take care,
Brad Burt
www.magicshop.com


Requests?
Dear davor,
This is the 16th in my series of Mini Magic Lessons. By the way, this is probably
the most successful thing I have done
online! The response has been far beyond my wildest hopes. I mean that. The
truth of the matter is that this course was originally designed to be 8 maybe 10
lessons, but the
feedback from YOU has been so terrific I have just kept them coming.
I figured the time was perfect to put out a formal call to my subscribers: What
would you like to know? So we don't
waste time, let's talk for a moment about what I won't talk about. Please don't ask
how specific tricks on TV are done.
Don't ask for the actual methods of tricks except, to ask where in the literature or
videos, etc. those secrets might
be available. This is a legitimate question and I will do what I can to get you the
answers.
That's about it. I can't think of anything else that could get me in trouble or
disadvantage the magic craft in any way. Questions on starting a magic business,
getting shows,
practice, etc. are welcome. Take care and let me know personally if there is
anything that I can help you with.
Best regards,
Brad Burt, owner
bburt@magicshop.com


Positive Negative Principle
Dear davor,
This lesson is a very exciting one. I was taught the basic idea of the
Positive/Negative Principle (PNP) many years ago by Stan Allen the publisher of
Magic Magazine as part of the material he wanted me to teach. I have used and
taught this little bit of magical philosophy ever since. Get an understanding of
WHAT the principle is and HOW it can be
used to make your magic better, sharper and more effective and you will be
excited also.
O.k., enough with the intro....Basically the PNP is way to enhance YOUR
awareness of WHERE you should be looking, concentrating, turning YOUR
attention in order to TURN the attention of your audience AWAY from the 'hidden
work'. It is in fact a method of learning HOW to become aware of how your
MISDIRECTION is working for you. It is a technique to help you command the
attention of your audience in such a
manner that they are unaware that you are in fact controlling WHERE they are
looking.
Let's look at an example that might seem basic, but in fact this particular
technique is butchered on a daily basis. Sometimes by magicians who should
know better! We are
going to examine the French Drop vanish of a coin. For those unfamiliar with the
technique I encourage you to look
it up. (For an in depth teaching session I cover it in my Brad Burt's Private
Lesson Teaching DVD #5 on coins.)
I am going to assume that most of you have a general working knowledge of the
move: The L.H. holds the coin in full view of the audience as the R.H. moves
over to take
the coin. The R.H. covers the coin for a moment and closes over it. (Actually, the
coin falls into the L.H. and is palmed away as the R.H. FAKES taking the coin
and closing.) The L.H. secretly palming the coin falls to your side as the R.H.
supposedly holding the coin clenched in it's closed
fist moves up and to the right.
Question: Where IS the coin????
Answer: In the R.H.!!!!
Remember the Magic State of Mind? Well, here is an application! READ THIS
CAREFULLY: If the coin is NOT in
the R.H. then there will be NO magic possible. Come on, did you get that???
Think about it. IF...your audience knows
that the coin is REALLY in the L.H. then when the R.H. opens there will be no
surprise.
What does this have to do with the PNP? Everything! The Positive point of
interest is the point WHERE THE COIN IS
SUPPOSED TO BE! The rule is: The positive point ALWAYS attracts the
attention of the performer and thus by example
the attention of his or her audience. You see in the example above the L.H. has
nothing in it, thus you need pay it NO attention! It falls to your side forgotten. I
mean that literally: Forgotten. All your 'magic mind' attention
is commanded by the R.H. which bears its precious cargo up and to the side. The
R.H. opens slowly and with focus. The hand is found empty leaving the only
conclusion: The coin has vanished! Magic has taken place. YOU are very, very
cool to be able to do such things!
Use PNP as a tool to help you become a better magician and then let it fall away.
My sincerest regards,
Brad Burt


Magician as Psychic
Yo, davor,
TIP: We as magicians have a wonderful position vis--vis WHY we are doing an
obviously 'psychic' effect. Read this carefully, because it is not really thought
about that much: Magicians tend to look
at ALL categories of magic as if they are the same or equally ultimate for you
philosophy majors. It is a natural mind groove to
fall into and I do it myself and I'm more aware of what is happening than most.
Here is a truth: Laypersons tend to believe

that PSYCHIC stuff is REAL. They tend to think of MAGIC as a hustle or con.
If you are going to put a mental routine into your
show, you need a solid reason WHY you are suddenly putting it in. Why?
Because the dissonance between the one and the other will dilute what you are
doing.
Here is my suggestion on how to segue into a psychic 'bit': "One of the things that
is asked of magicians ALL the time is the
difference if any between magic and things psychic. I'll be honest, that's a tough
question to answer because in some instances the natural 'mind' techniques that
magicians develop seem to be very much the same as what a psychic does. I have
myself developed a very, VERY narrow range of psychic ability. Would you folks
like to take a moment to be part of an experiment in ESP?"
Ta, da! Look very closely at what I've done semantically. Although I have
claimed to have a little psychic skill I have deliberately set it up so that I can't be
asked to DO things that are out of my range of ability latter. I have also given a
solid reason WHY I as a magician...and everyone KNOWS that magicians just do
tricks...can in fact seemly do something that is psychic! The above script can be
tweeked to your own use.
Have a GREAT day!
Brad Burt
www.magicshop.com


Practice and Rehearsal
Hey davor,
I have had some great responses to my request that you give me suggestions for
topics. This is a response to one of those suggestions. The topic is: Practice vs.
Rehearsal.
The distinction between the above two situations is an important one and one that
is almost never discussed! At least not in the magic world in general. In fact I
would say that most magicians who are interested in performaning for
compensation do not in fact know that there is a difference between the two or that
the difference is so subtle as to be easily ignored.
I'll say this: Ignore the difference between PRACTICE and REHEARSAL at your
own risk. Here's why....
Practice is that set of actions that ALL good magicians engage in during #1- The
learning phase for a new trick, sleight, or routine. #2- The phase in which the
newly learned action, patter, routine, etc. is PERFECTED

TECHNICALLY! Let's say that again: PRACTICE IS THAT TIME USED TO
PERFECT A NEWLY LEARNED TECHNIQUE!!!
Rehearsal is that time spent in practicing your full ACT. Your ACT is all of the
above LEARNED and PERFECTED techniques strung together into a cohesive
whole. Read
what comes next REALLY carefully: When you rehearse you will do your act as
if you are REALLY in front of an audience. That means you will get into your
costume. You
will set up the entire act and perform every segment exactly as if you were doing a
real show. ANYTHING else is practice!
When you rehearse this is your Magic State of Mind: SEE the audience in front of
you. HEAR what they are saying before
and during the show. FEEL the hand of the volunteer that comes forward to help
you do a routine as you shake that hand. SMELL the perfume of the overly made
up lady or the
too heavy after shave of the guy in the front row. TASTE the slightly elevated
amount of ozone in the air because of the huge amount of extra electricity needed
to run the
house lights. Get it? Start by putting yourself THERE, at the show. Start by
BEING there at the show. Imagine differing performance venues and situations.
Get yourself in trouble during each of your routines and work out what you would
do if that really happened. Rehearsal get you
READY for real life performing.
Now...move out into the show. HEAR the following: Ladies and gentleman, we
are honored to have one of the finest magical entertainers in this part of the state
with us
tonight! Please give a big BIG COUNTRY welcome to !" Hear that applause and
WALK ONTO the stage! Don't mess around. DO it as if YOU MEAN it or don't
do it at all. Walk ON. Bow and look to your left and then right and then to the
center and address your REAL audience with your opening lines!
Do every single action as much as you conceive of them actually playing out in
real performance. Move your assistant around if you have to. If you follow this
mode of rehearsal 3 times a week minimum for one year I GUARAN*T*E*E that
your show will improve 100's if not 1000's of percent. It has to if.......IF you
ATTEND to what you are doing. IF...you audio tape and video tape your
rehearsals and watch what you do and make the adjustments and corrections that
are obvious. If you have some friends
you trust that will watch some of your tapes and make suggestions.
Take care and SUCCEED,
Brad Burt, owner


Exercise That Voice
Dear davor,
During the years that I was performing I came up with what I liked to think of as TOOLS
or EXERCISES to help me be a
better more expressive performer. I devised these exercises to help expand my range
both verbally and physically. That
is I wanted 'things to do' that would help me learn to control my VOICE and it's range
and my FACE and BODY and how they appeared to the audience.
I am going to release these exercises to you one at a time in the hopes that their use will
help YOU become the best performer of which you are capable. The nice thing about
these little 'TOOLS' is that the performer who really has no desire to hit the big time can
use them at home and alone
to create a better working persona while the performer looking to go into full time work
as a magician will want to explore things beyond what I am going to describe.
For instance: Take acting classes at the local JC. Take speech, dance, movement. Take
classes on Theatre arts and stage management and work. Take mime, juggling, etc.
EXERCISE #1 - Since most of us will begin our magic work doing what we can call
'Talking' or 'Personality' performance then it behooves us to work on or voice. Our
range of expression and intonation. For that purpose you are going to READ OUT
LOUD to a room filled with an imagined audience. (Magic State of MIND) You are
going to read both poetry and prose. My favorites were Poe, Shakespeare, etc. Select
material that STRETCHES you as a performer. Work it!
Don't read something once!!!! Read it over and over and over.
AND....when you read, especially once you get the material down...change HOW you
read it: Read The Raven by Poe with
a fully realized DREAD in your voice. Read it so that it sounds HAPPY! Read it with a
SNARL. Make a list of the ways
in which you could read a piece of material and do it. You will find this quite fun
actually.
Now, read a long piece and do vocal change up in tone, volume, etc. Vary quickly up and
down the scale and then stretch the changes out. Start with a very high volume and and
work downward to a whisper and vis versa.
And...do all of this to that Audience that sits watching you raptly from the couch. Look at
THEIR eyes. Try to draw them into the drama the comedy the story that you are
telling them. When you suddenly shout out a part see them come to rigid attention and
then slump back down in emotional exhaustion because of the power of your
presentation!
That's it. Go forth and capture an audience with your new powers of performance and
presentation! Best,
Brad Burt
www.magicshop.com


Working on the Face
Dear davor,
O.k., you are practicing your interpretive reading skills, but there just seems to be
something missing. What is that something? Facial Expression and Body
Language. The reason that we attacked the VERBAL first is that WHAT we say
WILL affect WHAT we FEEL and HOW OUR BODY REACTS. The next step is
to learn to control our facial and body expressions so that we can maximize how
we come across to our audience!
For that I give you the following exercises. What I want you to do is make a list
of every conceivable Facial Expression that you can think of: Anger, fright,
helpful, stupid and so on. Now...go into the bathroom and close and lock the
door. Trust me here...I have had students that had trouble doing this alone much
less with someone watching!!!
Stand in front of the mirror (you need a mirror that will allow you to see at least to
your waist) and try to relax. Hands at your side, etc. Now, pick your first
expression and
basically start making faces at yourself. Move your arms in expressive motions.
Look at yourself and get ANGRY! How did
your body react? Mine hunches forward at the shoulders as my back tightens up.
My hands come up in fists, etc.
Now, switch to another FACE and so on and on. Again, you are going to make
faces at yourself and attempt to get them right.
Next, do a reading and see if when you read it angry you get a better look and
feel. And, so on through the emotions. Stretch yourself. What we are attempting
is to increase YOUR range of expression as a performer. Move you out of the
common grooves that performing that same material will get us into. Enable us to
more forcefully PULL our audience into the world that we are attempting to create
for them of wonder and the unexpected. Go forth and work,
Brad Burt
www.magicshop.com


You Can Do It
Hello again davor,
We've come some way now. If you are a beginner in magic you might be wondering HOW the
heck you can achieve the things that I have been talking about. Right? I mean, really, it sounds
tougher than you had expected!
Yes and no. I may be tougher than you expect, but so what? Really. What if I could offer you a
method to test the water on sleight-of-hand that is GUARANTEED to work? What if there was a
way to start learning this stuff that was so good at what it does that your enthusiasm for the
process of learning magic would only accelerate each day? Pretty cool huh?
Well, I have a series of 17 videos now on DVD that came directly out of the experience of
teaching thousands of students magic for over 20 years. I ran four different magic schools and
designed dozens of courses.
I took that knowledge and designed videos that would REALLY TEACH you how to do the most
useful and needed sleights in the shortest time possible and do it RIGHT! Do you have to
practice? You bet. Sleeping with the DVD's under your pillow at night DOES NOT WORK!
But, settling down with a deck of cards and getting into it DOES.
Look if you have no interest in actual work to achieve a real goal of becoming a solid card or
coin worker, then truly you shouldn't bother with my stuff. But, if you want to gain the skill that
will REALLY, TRULY put you levels above the average then you owe it to yourself to give them
a try.
"Hi Brad,
Just a wee note to say how much I enjoy your teaching tapes. I think you are a great teacher, you
are full of enthusiasm and simplicity in the given techniques. As a teacher of drama I can
appreciate this. I have three of your videos and I am eventually working my way through each
tape so I have the complete collection. Keep up the great work, excellent!!!
Regards, Shaun
Ireland"
Everyone does better with a teacher. That's HOW you get from Here to There from the Start to
the Finish. Believe that you can DO it. Start the process going and see what happens.
Magic isn't just fun once you know the secret. That might be cool, but it KILLS once you can
pick up a deck of cards, some coins and BLOW THE MINDS of your friends, family, coworkers, etc. It is just a gas! Give it a try and let's have fun!
All best,
Brad Burt
www.magicshop.com


The Problem of Critique
Hello davor,
This is not meant to be a looong essay as some of the past few have been. But, I have been
talking to some other magic friends and something really struck me. It struck me, because I
think it could be the most powerful way to improve your magic that is available. And, it's
free!
It's one of those good news and bad news things. The good news? This technique is free and
generally available to just about everyone. The bad news? For most of us, including myself,
it is a painful process. Oh, great Brad! That's just what we want.
Sure, give us a technique that's positive, but hurts. Great. Wonderful. Can't wait. Thought
you loved your customers and wanted the best for them Braaaaaaaad! Pain, that's what your
friends in magic need! More pain. Sheesh, mellow out. I'm not saying you actually have to
do it. Just 'consider' doing it. O.k.?
Here it is. It's coming now. Get together some magic friends and CRITIQUE each others
work. Do it as positively as possible, but no pulling punches. If you see someone flash, then
say you saw them flash. (Flash, verb, to show something that should not have been seen.) If
the patter used does not seem to fit say that it does not seem to fit. Whatever and everything.
But, you gotta have rules. Here's some rules.
#1- Keep all that's said in the group.
#2- Never attack the person, only criticize the technique, the patter, the dress, etc.
#3- Always strive for this: That at the end of the night you thought more about the 'good' of
the other people there than you did of yourself.
#4- You HAVE to put your ego aside and LISTEN. After you get mad, think about what was
said...they may actually be right! Make a change or don't make a change, but always think
about everything that was said. With practice you CAN get to the point where you set aside
your negative feelings and reactions to this process and GROW from it.
Knowing who you are allows you to 'be' someone else for a short period of time. To take on
the character of a role you wish to play in your ACT. Self knowledge is almost always
bought at the price of pain. Trust me though it is always worth it.
Want to get better at your magic? Then look to rise above ego and get banged about a bit by
folks who can help you look at what you are doing with different eyes. You get the right
group together and it can even become fun! Take care and all the very best to you and yours,
Brad Burt, owner
Brad Burt Magic Shop Online
www.magicshop.com
bradburtmagic@yahoo.com

Magic Lessons - Brad Burt

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Brad Burt's Magic Shop Online

"Enhancing Your Ability To Work Wonders"

Mini Magic Course Lesson #1

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Mini Magic Course Lesson #2

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #3

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #4

Brad Burt's Magic Shop Online

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Brad Burt's Magic Shop Online

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Brad Burt's Magic Shop Online

Mini Magic Course Lesson #7

Brad Burt, owner

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #8

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #9

Oh, man, how fun is that!

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #10

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #11

techniques in magic. What am I talking

the beginning, because what I really want to

and simply grabs the little rabbits out of

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #12

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #13

Think for a moment: When you PRETEND to put a coin in your

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #14

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #15

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #16

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #17

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #18

Here is a truth: Laypersons tend to believe

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #19

newly learned action, patter, routine, etc. is PERFECTED

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #20

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #21

Brad Burt's Magic Shop Online

Mini Magic Course Lesson #23

Brad Burt's Magic Shop Online

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