In this live performance from The Ed Sullivan Show, you can barely hear Buddy’s guitar because Ed demanded that the sound be turned down. But Buddy bangs it out nevertheless. After that, Buddy reportedly refused to perform the second song he was scheduled to sing on the show.
Thanks to YouTuber Maniana14
As Congress argues about whether, Please Sir, May We Have More Gruel? let’s not forget about who is really important here.
Riki “Garfunkel” Lindhome and Kate “Oates” Micucci in a dead-on satire of “We Are The World” type celebrity videos.
Warning: Language Not Suitable For Work.
More At: Garfunkel And Oates
Here’s the audio version of my commentary on Shakespeare’s King John, which I recorded for Arts Express on WBAI NY radio and Pacifica affiliates across the country..
It’s one of the least known of Shakespeare’s plays, but no less a writer than George Orwell said about it, “When I saw it acted, what with its intrigues and double crossings, non-aggression pacts, quislings, people changing sides in the middle of a battle, and what-not, it seemed to me extraordinarily up to date.”
To listen, click on the triangle or mp3 link above.
Monday morning, Dion, now pushing 80 years old, sings “Here in America,” his moving tribute to Sam Cooke, with whom Dion toured. The harmonies by the unseen Paul Simon raise it to a whole other level.
More at Dion
It’s here! The August issue of the Arts Express Newsletter. Eighteen full color pages!
* Prairie Miller interviews legendary journalist Peter Arnett who talks about meeting Osama Bin Laden and trying to report the truth about the Vietnam War.
*A portfolio of the haunting photographs of Antony Zacharias
*Dennis Broe reviews Spike Lee’s new film about Vietnam veterans, Da Bloods
*Our staff and listeners weigh in with their Summer Reading Picks.
*Plus The Guest List, News and Gossip, and more!
To get your free pdf copy every month to your email address, just send an email to ArtsExpressList@gmail.com and put Subscribe in the subject line. We’ll do the rest!
“If I Loved You,” from Carousel, one of the greatest ballads of the Rodgers and Hammerstein catalogue, has been covered easily over 150 times. It’s a great song, but not easy to sing. YouTuber Beatrice Powell has put together this terrific compilation of thirteen different versions. To me, they range from poor to great. I watched the video once, and had one set of opinions, and then closed my eyes and had a different set. Who’s version is your favorite?
(Robert Mantell as King John, 1915)
Recently, NPR broadcast their audio production of Shakespeare’s Richard II. I‘d like to discuss a less often performed play of Shakespeare’s about another failed English king, Shakespeare’s King John. It resonates as an absolutely modern play in the sense that Machiavelli is modern: with penetrating insights into the hypocrisies and double-dealings of the ruling elites.
The Shakespeare scholar James Shapiro likes to say that in Shakespeare’s plays, the kings are brought down because they don’t understand that the pressures of the time are going to be far more intense than anything they had previously imagined. They don’t grow into their roles to meet the time; instead they are crushed by their inadequacies. They don’t recognize that the old order has lost all legitimacy and the new world is struggling to be born. It’s always a time of great anxiety for both the elites and the underlings. Feel free to draw comparisons to our own time—as you should.
As King John opens, John, the English King, is readying for war with France, with the French declaring their legitimate right over several disputed territories. But King John will have none of it and vociferously defends England’s claim: “Here have we war for war and blood for blood/ Controlment for controlment: so answer France.”
And John is not just defending the legitimacy of England’s ownership of territory—John is also defending the legitimacy of his personal claim to the throne. It’s not a given that John is the legitimate heir. John’s dead older brother, Geoffrey, still has a living heir, a young boy named Arthur, and though John has declared himself King of England (he of the Magna Carta) with the backing of the newly risen landowner class of nobles, there are those pushing the line of the young Arthur, and they ally themselves with the French to stake their own claim to legitimacy.
And Shakespeare really likes to play with this notion of legitimacy and illegitimacy. One character, a military adventurer named Philip, is literally illegitimate, having been secretly fathered by Richard The Lion-Hearted during an adulterous rendezvous. Phillip would rather be known as an illegitimate son, and give up his ancestral rights to his family property, than to disavow his real father. Rather than run from illegitimacy, he embraces it with the title “The Bastard.”
So it’s off to war. The poor citizens of a disputed walled town have to decide which of the bellowing forces, the French or the English, they would rather surrender to. One citizen of the town agreeably says that they would gladly be ruled by the King of England—if they only knew who that legitimately was. So when you decide, let us know. And in an attempt to forestall what they know will be a coming war, the town’s citizens propose a compromise—why not have the son of the French King and the daughter of the English King marry and form a happy alliance between the two forces and establish legitimacy that way?
But not so fast…
Constance, the mother of young Arthur, the Mother of All Tiger Moms, who has aligned with the French forces, bitterly refuses such a compromise—she wants to see her son Arthur on the throne: “War! War! No peace. Peace to me is a war!” So Constance along with the French get their war.
And how ineptly the English King John handles it! John bumbles from one misstep to another. The English, under the military direction of The Bastard, do manage to capture the young Arthur, and take him prisoner. But King John fumbles the ball. Because even King John’s advisors recognize that young Arthur must be treated well in captivity or the public will turn against the King. In a duplicitous world where no one can be trusted, Arthur’s purity and naivete stand out. He is the one totally sympathetic character in the play. But the narcissistic King John, against the advice of his counselors, secretly orders his henchman, Hubert, to murder the beloved boy. And in an excruciatingly horrific and tender scene, the boy pleads with Hubert to spare his life:
Arthur: Must you with hot irons burn out both mine eyes?
Hubert: Young boy, I must.
Arthur: And will you?
Hubert: And I will.
Arthur: Have you the heart? When your head but did ache,
I knit my handkercher about your brows—-
The best I had, a princess wrought it me—
And I never did ask it you again
And with my hand at midnight held your head,[….]
Saying, “What lack you?” and “Where lies your grief?”
Or “What good love may I perform for you?” […]
If heaven please that you must use me ill,
Why then you must.
This is all too much for Hubert to bear. He relents and lets Arthur escape. Meanwhile, King John realizes he’s made a terrible public relations mistake. He fears the public will turn against him for killing the boy. Hubert comes back to John, ready to lie about Arthur’s execution, but before Hubert can get a word out, the King turns on Hubert, outrageously blaming him for Arthur’s death. When Hubert protests that John had ordered him to kill Arthur, John with audacious bluster, disavows all personal blame and accuses Hubert instead. John says to him:
I faintly broke with thee of Arthur’s death
And thou, to be endeared to a king
Made it no conscience to destroy a prince.
Hubert can’t stand the accusations anymore, so he admits to John that Arthur is actually still alive. John is elated, and with scarcely an apology to Hubert, he’s ready to make war once more. With the beloved Arthur alive but safely imprisoned, John feels he can win the public relations battle and the war.
But in an amazing piece of plotting by Shakespeare, as Arthur escapes from the prison, the boy falls from a high wall and actually dies for real this time. It’s an extraordinary moment. After having been spared—Shakespeare kills him off!
It brings to mind the infamous scene in Hitchcock’s movie, Sabotage. There, a young schoolboy unknowingly boards a bus with a parcel that contains a time bomb. Of course, the audience knows the bomb won’t go off with the boy holding it, because legitimate suspense movies don’t have bombs go off in the arms of little schoolboys. But it does go off, and it’s absolutely shocking. Hitchcock later said that he regretted that scene—it wasn’t a legitimate use of the suspense genre. Well, Shakespeare’s scene is every bit as shocking, but he gets away with it because the whole play is about the fraying of old expectations. Shakespeare is saying that the world is that messed up.
Was Shakespeare grieving about his own little boy Hamnet, who had died sometime around the estimated time of composition of the play? Were the laments of the play’s Constance, Arthur’s mother, the bitter words that Will faced when he came back from London to his wife Anne in Stratford on hearing the earth-shattering news?
The news of Arthur’s death is so awful, even to the English, that two of John’s noble advisors defect to the French side. John is clearly overwhelmed by events: The French seem to be winning battle after battle.
By rights, here we are in Act V, there should be no hope for the English. But we know the history doesn’t end that way; and in one more piece of somersault plotting, the two English advisors who had previously defected to the French side find out the true French policy towards defectors: make nice with them now, but kill them later. So the defectors make a run for it and head back home to join King John. But John meanwhile has been poisoned, which is perhaps a blessing for the English. For now, the new order can take over. The young Prince Henry, son of John, is installed as King, a kind of mirror image of the young dead Arthur; The English under the Bastard’s military direction start winning more battles, and by some miracle, a peace treaty between the French and English has been arranged by the Church. Prince Henry forgives the defector Lords and he prepares to attend his father’s funeral as the play ends.
It’s a decidedly precarious ending. Onstage there is an unspoken pall of anxiety about the future. The new king’s legitimacy is as questionable as his father’s was. The Bastard bravely tries to reassure them that the new time calls for a unity of all English factions including the forgiven wealthy Lords–that’s the only way they can proceed forward safely. But as the play ends, the audience understands that it is not clear whether this new arrangement is really going to work.
Shakespeare himself lived on the cusp of the old and the new, in the transition from a dying feudal order to the rise of the bourgeois capitalist class. The power of kings was being chipped away as rich merchants and landowners bought themselves royal titles with the profits they made from world trade and financial speculation. King John stands at the beginning of that period, and while The Bastard recognizes the inevitability of the capitalist transition, he despises it as well. It’s a system where every person is a commodity, and thus capable of having their honor being bought and corrupted. But even The Bastard doesn’t know whether he can resist the new world’s monetary temptations with its commodities. In an earlier part of the play The Bastard says:
And why rail I on this Commodity?
But for because he hath not woo’d me yet:
Not that I have the power to clutch my hand,
When his fair angels would salute my palm;
But for my hand, as unattempted yet,
Like a poor beggar, raileth on the rich.
Well, whiles I am a beggar, I will rail
And say there is no sin but to be rich;
And being rich, my virtue then shall be
To say there is no vice but beggary.
Since kings break faith upon commodity,
Gain, be my lord, for I will worship thee.
Your old road is rapidly aging. You better start swimming or you’ll sink like a stone. Shakespeare’s King John captures the time when the old legitimate has become illegitimate and no one knows what happens next.
(photo by Alma Har’el)
What do Kevin Kline, Meryl Streep, Viola Davis, Laura Linney, and Patti LuPone have in common? They all were students of Moni Yakim, the legendary acting teacher at the Julliard Drama Division, who is the subject of a recently released film documentary, Creating A Character: The Moni Yakim Legacy.
You can hear my review of the film as broadcast today on WBAI 99.5FM NYC, WBAI.org and Pacifica affiliates around the country, by clicking on the triangle or mp3 link above.
If you are at all interested in acting or teaching, I highly recommend this film.
Monday morning, Matty told Hattie about the thing she saw, as reported by Sam the Sham (aka Domingo Samudio) and the Pharaohs.
This is from a performance on the Mike Douglas Show out of Philadelphia, which unlike most variety shows of the era, had performers sing live rather than lip-synch.
I think it was on the Patty Duke Show where I first learned that “L-7” meant “square,” because if you put your two hands together, one with your fingers in an “L” shape and the other upside down as a “7,” they formed the image of a square.
Ever-Reliable Wikipedia tells us it’s Butch Gibson on the saxophone.
Thanks to YouTuber jthyme
Some years ago, mentalist Bob Cassidy published “The Thirty-Nine Steps – A Mentalist’s Library of Essential Works” a list of what he considered the most important books for a mentalist to be familiar with. He undoubtedly was inspired by his hero Ted Annemann’s list first printed in The Jinx in 1936, called The Jinx Five-Foot Shelf. The idea of TJFFS was to put together a list of books that would be foundational texts in the arts of magic. The ground rules were that you had five feet of shelf space to work with, all the books had to still be in print, and the primary purpose of the list was to pick out those books that would best help beginners start in magic and continue on as their skills and knowledge grew.
On several of the magic forums, some people are putting together their own more recent lists; Jeff Kowalk in particular has a very nice series of videos he’s produced which you can see here. I thought I would contribute my own list, based on books that I’ve owned or read. As a little update to the rules, I do not allow ebooks or DVDs—not that ‘s there anything wrong with them. (Perhaps one day I will do a post on the great Books vs Video debate.) Also, if a book is out of print but is readily available through second-hand sources, I allow it.
I figure I can fit about ten average volumes in a foot of shelf space, so here are my nominees for the first foot, which I’ll call Getting Started:
Magic For Dummies by David Pogue: I rarely see this book on lists of this kind, but it’s a great introductory book that teaches a variety of magic without overwhelming the reader. There are contributions in each chapter from some famous modern magicians, but the real contribution is that it teaches from the get-go that magic is a performing art, more than just a collection of methods. It encourages readers to create compelling presentations, not just learn the moves. There are some great tricks in here, pretty much self-working in terms of method, but even if you’re more advanced in magic you’ll find some usable material here. Hot tip—Don’t let the Dummies in the title put you off: on page 64, you’ll find a method that fooled Penn & Teller a few weeks ago.
Hiding the Elephant by Jim Steinmeyer: A practitioner of any art should have a knowledge of its history, and that’s certainly true of magic. Steinmeyer, who is one of the great modern illusion designers, is also one of modern magic’s best historians. By telling the story of Houdini’s disappearing elephant—and how it might have been accomplished—Steinmeyer introduces the reader to a whole cast of larger than life personalities and what it was like to be a stage magician in a rough and tumble, competitive performing era. But more than that, he gets you inside of magical thinking—what is it to imagine an effect and then to invent a way to bring it to fruition?
The Glorious Deception by Jim Steinmeyer: Another great magic history book by Steinmeyer, it tells the wild story of Englishman Will Robinson, who performed as a Chinese-born magician under the name of Chung Ling Soo. Robinson started out as the backstage assistant and “brains” for several famous nineteenth-century magicians, but his biggest trick—his secret double life—was not discovered until he died in a Bullet Catch trick that went wrong—or did it? Steinmeyer writes books that you would read even if you were not into magic—they’re that full of vivid writing, period detail, compelling action, and some of the most colorful characters in show business. It helps the reader to understand that s/he’s stepping into a deep tradition, and has something to uphold.
Royal Road to Card Magic by Frederick Braue and Jean Hugard: Most people learn a few card tricks along the way, but when you’re ready to get more serious about cards, this is the place to start. It’s an absolute model of how-to-do-it pedagogy. Each chapter adds a new sleight, incrementally, and then teaches a few tricks that focus on that sleight. By the time you reach the end of the book, if you’ve been following it, you are well on your way to card magic mastery.
Some people recommend Roberto Giobbi’s five volume Card College as the more modern place to begin with card magic. There’s no doubt that Card College is quite an achievement, and its teaching is impeccable. But I find Card College dry, better used as a reference resource than a series of books to be read straight through. There’s a ton of information in Card College, but for beginners I would still recommend Royal Road over the Giobbi series. Royal Road is inexpensive, the teaching is very good, and there are some wonderful tricks in there that you will do for the rest of your life.
Fast Track Coin Magic by Al Schneider: Here, I’m again going to go against what a lot of people recommend for a first coin book. People invariably recommend J. B. Bobo’s Modern Coin Magic as the place for beginners interested in coin magic to begin. Frankly, I think Bobo’s is a horrible book for beginners. It’s cramped descriptions are difficult to follow, it’s illustrations are not helpful, and it’s massive size is way too much information for a beginner in coins.
Coin magic is famously one of the most difficult branches of magic in which to achieve mastery. It’s very reliant on what can be difficult sleight of hand. It also depends a lot on the timing and co-ordination of the two hands’ movements. A written description of a deceptive two-handed coin vanish may take very few words—but if the timing is slightly off, there’s no illusion. Frankly, I think coin magic is the one area of magic where video illustration is of immense help.
But if you’re limited to books, I’d go with this Al Schneider book. It goes over the fundamental sleights well with lots of clear photos and explanations, and it has directions for coin tricks with a variety of plots. You won’t find much in the way of presentation scripts, but Schneider does give the bare bones with which to add your own personality. Once you finish this book you’ll be much better equipped to dive into other coin books, including Bobo’s.
Mark Wilson Complete Course In Magic by Mark Wilson: Mark Wilson had a tremendously successful weekly magic show in the 1960s on Saturday mornings and here you’ll find a big book of entertaining magic with kid-friendly illustrations. It covers the range of magic—cards, coins, ropes, mentalism, and even platform illusions that you can make yourself. It’s kind of like a Forest Gump box of magic. It even includes whole routines for sponge balls and a section on impromptu magic. If you’re thinking about putting together a school show, this is a great place to start. Even for an experienced performer there is some surprisingly good material here. A lot of bang for the buck.
Magic With Everyday Objects by George Schindler: This is a great book for doing magic in casual settings like the dinner table or office. Technically, most of the tricks are not difficult, and it’s nice to have a repertoire of tricks that you can perform at a moment’s notice in just about any situation.
Scripting Magic (Volumes I & 2) by Pete McCabe and others: These are must have books. At a certain point you realize that if you’re going to spend time working to perform your magic for actual people and not just the mirror, your time is best invested by scripting your magic. McCabe gives dozens of examples of how a good script can take a trick from the mundane to the astounding. And as a bonus, there are lots of wonderful tricks–with scripts!–from some excellent magicians.
Theater of the Mind by Barrie Richardson: I have a special place in my heart for this book because it was the first magic book I ever purchased as an adult. And I was very lucky that I did. Not just because of the sheer volume of clever magical thinking per cubic inch, but because of the humanistic approach that Barrie Richardson takes towards his magic. His warm, kind-heartedness shines through the whole book and his magic; in an entertainment form that too often uses audience members as props, Barrie implicitly teaches a generous attitude which is one of the most important lessons a performer can learn. Some of the material is not beginner level, but there’s so much more to this book than just the tricks. And Barrie gives full scripts and presentations for each of the effects. He urges performers to keep thinking about what they ultimately want an audience to experience and walk out with.
Leonard Cohen’s brilliant triangle song has just the right amount of ambiguity and just the right amount of truth for everyone to read in their own story. The kind of song that has so many great lines, you argue with friends over which one you like best.
Thanks to YouTuber Tinkzy Martin
It’s “Spell To Any Named Card” once more, the Mnemonica edition.
I recently published the Aronson stack version of this effect, as I have been a long-time user of Simon Aronson’s memorized stacked deck. I got a very good response to that, but a number of people mentioned that they were Mnemonica users, and asked if I would create a version for the Mnemonica stack. Well, your wish is my command. I thought it would take me a long time, but strangely the work went very quickly by applying what I had learned from my previous effort. In fact, though I’m an Aronson stack user, I like this version better. Let me know what you think.
Monday morning, music maestro and melody mechanic Jacob Collier takes on The Flintstones theme. If you’ve never heard Collier before, this is just the tip of the iceberg. He’s somewhere on the cusp of self-indulgent and genius, but you can decide for yourself with this and other videos at the link below. Thanks to Arthur Stead of the Magic Cafe for introducing me to his videos.
More at Jacob Collier
I think “Your Song” was the first Elton John song I had ever heard, around 1970. I remember thinking it was cool writing a song about writing a song ineptly. Reina del Cid and Toni Lindgren with a lovely version of the Elton John/Bernie Taupin classic.
More at Reina del Cid
Yet one more for the magic nerds, and to make matters worse, it’s for a subset of a subset of us. Namely for those of us who have taken Simon Aronson’s most famous creation to heart…and mind.
For a long time, I’ve pondered how to spell to any card named in a deck of cards. Any card. And in almost all cases, to do it completely hands off, with only the spectator handling the cards and doing the spelling.
Well, the pandemic has given me a lot of time to think about it, and I finally wrote up the complete way to do it. I was thinking of asking a couple of dollars for it, but then I thought what the heck, I’ll give it away for free. All I ask is that you send me some feedback on it after you read through it. The method of course assumes you are already a committed Aronsonite.