Stephen Fry leads Hugh Laurie in a masterpiece of pedagogical punditry.
Thanks to YouTuber irehouse
If Lenny Bruce were a magician, he would be Steve Spill.
Lenny has long since passed onto that great big comedy stage in the sky, but fortunately our friend Steve Spill is alive and well and has come out with a new book aimed at magicians called How To Make Love The Steve Spill Way. His first book, I Lie For Money, was aimed at a general audience and contained lots of advice on how to live a creative life. It was served along with large dollops of autobiography and spit-take funny stories about the people he met along the path while building an artistic life for himself. In this new book, Steve not only continues his general advice for would-be artists, but also gives up the details of a dozen of his most creative and hilarious tricks. It would be an understatement to say that I think everyone interested in performing magic should read this book.
It’s always a great gift when a wonderful performer tips the secrets of his act, but it’s an even greater gift when the performer himself does the literate and humorous writing chore. Because it’s in that act of writing that Spill divulges his biggest secret: the most powerful thing a performer can do is to find her or his own quirkiness and unique qualities and put them out on display in a performance-oriented way.
When you read one of Spill’s books, you instantly understand what he’s talking about when he says to trust your own personality, because the pages of his books are drenched in the unique persona which he has nurtured. While on the one hand it’s instructive to pick up a Dai Vernon book written by someone like Lewis Ganson, on the other hand, the fact that Ganson, not Vernon, wrote it deprives the reader of real insight into much of Vernon’s personality. With a writer like Steve, though, it’s all hanging out there, and it’s plain as day. You understand immediately that the twelve killer presentations that Spill has detailed are perfect for Spill. Those who are not Steve would most likely fall on their faces if they did his presentations verbatim, but that’s not the point. The point is…who are you?
There are so many lessons to be learned here, not the least of which is the courage of one’s convictions. I read the beginning chapters twice, because the first time through I was laughing too much at the jokes to pay attention to the content.
But if you’ve got as warped and crazy a mind as Steve does (that’s a compliment, I think) there are bound to be doubts about whether anyone else will appreciate what you’re doing. However, Steve’s examples of himself being true to form, along with his constant brainstorming, testing, discarding, and revising of effects, serve as a model of what can be done, and act as a spur to one’s own creativity.
For each of the twelve effects Spill describes, he gives the background story on how and why he created it, and these stories are useful adjuncts to understanding how to create your own effects. The methods are tried and true, and for the most part they probably won’t surprise you with their cleverness after the fact. But that’s not what Steve is after—what will surprise and delight you is the way that Steve takes an effect from column A and a presentation from column Z, and juxtaposes them to create something never seen before, something to amuse and mystify an audience, which leaves them with the impression of a strong magical personality and experience.
What’s in the tricks section? Well it’s a compilation of Spill’s greatest hits—The Lemon thing, the Needle thing, The Himber Ring thing, the drug and hemorrhoid jokes, they’re all there, with full scripts and extra handling and performance tips explained with loving care. The most audacious routine is one called “Abra Cadavers” which involves, well, a tale of cadavers wrapped in a personal story of tragedy. You would have to be nuts to perform it. I’m happy to report that Spill has done it many times, and tells you how to do it so that you too can be the object of abject speechless horror. I also thought that the presentation given for the UltraMental Deck was one of the best ideas for it I’ve ever come across.
At the end of the nineteenth century, the British magician David Devant expressed his appreciation of his audience with the tagline, “All Done By Kindness.” Likewise, Devant’s American contemporary, Howard Thurston, would prepare to go onstage by intoning in the wings to an imaginary audience, “Thank you, thank you for coming to my show tonight. God Bless You.” And now in the same spirit, as we navigate the twenty-first century, Steve Spill urges us to make love The Steve Spill Way. His love for magic, his love for his audiences and for his unique self are all part and parcel of How to Make Love The Steve Spill Way.
I don’t know if this makes any sense to anyone under 60, but I found this SCTV send-up of a small-town Lawrence Welk-type polka music television show hilariously true to form. John Candy and Eugene Levy lead the proceedings.
“There’s Rhythm in My Lederhosen.”
More at SCTV
Was there anyone cooler than Louis Jordan? Wild singer, saxophonist, songwriter, and bandleader who also had dance moves of elegance and wit to compare with Fred Astaire. Monday morning, the call goes out to “Caldonia.”
Thanks to YouTuber vintage video clips
Whenever I am envious of the talent and skill of a great performing artist, I like to remember the following story, which the famous one-armed Spanish magician, Rene Levand, told in his book about his magic and life, Mysteries of My Life:
A man sees the great virtuoso cello player Pablo Casals crossing the street. The man, so thrilled to get a glimpse of his artistic idol, dashes across the street and manages to catch up with Casals.
“Maestro,” the man says, almost out of breath, “I just wanted you to know that I’d give my life to be you!”
Casals pauses and then replies drily, “I already did.”
Shin Lim’s card magic raises the bar for everyone. It’s rare that card magic looks and feels magical, rather than just an intriguing puzzle or demonstration of skill. Shin Lim’s performances give me that feeling of wonder.
Thanks to YouTuber Talent Recap
The New-York Historical Society recently opened a small exhibition on the history of magic in New York, drawn from the vast private David Copperfield Collection. An unannounced surprise at the opening was the presence of Copperfield himself, who gave us a short guided tour of the exhibit (as Homer Liwag toiled in the background, putting last minute touches on the exhibit).
You can listen to Copperfield’s commentary, as broadcast yesterday on the Arts Express radio program on WBAI 99.5 FM, by clicking on the grey triangle above.
The 61 impressions in this recitation of the Declaration of Independence by impressionist Jim Meskimen are not all perfect, but when he hits, which is the majority of the time, he’s very good. Given that he does this all in one take, with a pre-determined text, and seamless transitions, it’s a pretty remarkable feat. Favorites: George W. Bush, JFK, Nixon, Jimmy Carter, Woody Allen, Ian McKellan, Cary Grant, and Peter Falk.
More at Jim Meskimen
There were giants in those days. Monday morning, the Gershwin brother’s standard, sung by two greats. According to the pre-performance chit-chat, this was the first time the two had sung together.
Thanks to YouTuber rockinhillbillies
Given yesterday’s anecdote by Groucho concerning Houdini, I thought it would be fun to hear from Houdini himself. In 1914, magician Harry Houdini recorded the introductory patter for his Water Torture Cell effect onto the cylindrical records of Thomas Edison. The six cylinders are the only known examples of Houdini’s voice extant. The voice begins at 2:00, but watch all of it for the history.
Thanks to YouTuber houdinimuseum
In 1972, Groucho did a one man show of reminiscences at Carnegie Hall called An Evening With Groucho. In this short clip, he shares what happened when he encountered the magician Harry Houdini.
Click on the grey triangle to play.
Thanks to https://archive.org
Bob and Ray’s “World’s Oldest Lady Caddy” is one of the first Bob and Ray routines I ever heard. My son can still break me up laughing by simply saying “With increased leisure time…” It’s kind of the catchall sociological explanation for everything.
Thanks to YouTuber The Classic Archives
My friend Alan who is a prolific playwright asked me if I’d like to write a very short three-minute curtain raiser for his new play reading. I said yes, having no idea at all what I would write. As it happened, the Parkland school shootings and the government response were still on my mind, so out came this merry little sketch.
Mother in the breakfast room; two children ages seven and eight (should be played by adults) offstage.
Mother: Justin, c’mon you’re going to be late to school.
Justin: (off) I’m coming.
Mother: You, too, Mercy, the school bus is going to be here any moment.
Mercy: (off) I’m coming. Give me a chance. (Justin enters with backpack on hand)
Mother: Look at you. Your hair’s a mess. And what about your sweater?
Justin: Yes, Mom. I have it.
Mother: And did you remember about your homework?
Justin: Really, Mom, you don’t have to remind us about every little thing. (Mercy comes down with her backpack in hand)
Mother: Can’t you get yourself together a little earlier so you don’t have to rush each morning?
Mercy: I’m sorry I was just packing up my backpack. We have a lot of equipment for our new class. And it’s so lame, they make us drag everything back and forth.
Mother: What class is that?
Mercy: Oh, the target class.
Mother: Target class?
Justin: It’s a new required class we have to take in school. We have to be able to kill 65% of potential intruders in order to pass the class, graduate, and go on to middle school.
Mother: How do they know if you’ve done that?
Justin: Well, a wound in one limb counts as a score of 30%, an eye counts for a score of 25%, for a kill you obviously get a 100.
Mercy: Well, unless someone else hits the guy first, in which case you only get 50% for an assist. It’s so unfair. So the thing to do is, if you can’t get a clean kill, try to mix and match so that it adds up to over 65%.
Justin: So two eyes and you pass.
Mercy: No you idiot, that doesn’t add up. That’s only 50—25 and 25.
Justin: I’m not good in math. It’s not my fault. My math teacher only has one eye. She was mistaken for an intruder.
Mother: Well all right, put on your backpacks. Wait a second. What’s that you got in there?
Mercy: Just a gun.
Mother: Oh. Okay. And what’s that?
Mercy: That’s another gun. Hi-powered, semi-automatic.
Mother: All right. (to Justin) You’re looking very guilty young man. And what’s that ?
Justin (ashamed looking down at the floor) Gum.
Mother: Gum? Gun or Gum?
Justin: Uh, Gum.
Mother: Oh my gosh. What is wrong with you? Hand that over young man. You should know by now you’re not allowed to chew gum in school. It’s not allowed. It’s really disrespectful to the teachers and staff. Didn’t I bring you up right?
Justin: I’m sorry. I just couldn’t…
Mercy: Ooh I’m telling.
Justin: Be quiet, you.
Mother: I am really, really so disappointed in you, Justin. Wrigley’s Spearmint. The most deadly flavor. In my day, you know what we did with students who brought gum to school? (pause) We shot them. Of course we were only allowed to graze them in my days. Old-fashioned I suppose, but the world has moved on. I guess you can’t stop progress. I don’t know what we’re going to do with you, Justin.
Mercy: (reluctantly) Ohhh…I guess you can have one of mine. But not the AR-15. Just one of the handguns.
Mother: That’s really kind and unselfish of you, Mercy. Maybe I did bring you kids up right after all. (Sound of bus horn honking) Okay here’s the bus. (kids run off) Don’t forget your lunches. Love ya. And children—No chewing in class! Knock ‘em dead!