A Blacklisted American Magician Became a Hero in Brazil

I hadn't heard that. It also strikes me as a little odd since both of those effects can be done for real so there's no good reason to cheat in that way. Houdini popularized the elephant vanish as part of his stage show over a hundred years ago and Copperfield vanished a Lear jet from an airport tarmac in one of his early TV specials. The jet was completely surrounded by blindfolded audience members who were holding hands. I know how both were done and neither relied on a stooge audience.

Streaming video and social media have been mostly terrific for the art of magic as there's a tremendous amount of excellent performance material now widely available. Even more importantly, anyone interested in learning magic can access very high-quality instruction videos. There's also interactive instruction with top notch magicians available one-on-one and in groups via Zoom. Growing up I got to see magic once or twice a year on TV and when I wanted to learn how to do it the local library had exactly three magic books. Fortunately, I happened to live in the Los Angeles area, auditioned for the Magic Castle and got accepted as as a junior member (a kind of apprentice program), where I was mentored by some of the greatest magicians of the 20th century and had access to the world's largest magic library. I was very, very lucky because 99.99% of teens interested in magic had nothing like that. Today, there's so much great magic readily available the only problem is curating what to see and learn.

The downside of streaming video magic is there's an entire generation of magicians who've only performed alone in their own house via recorded video clips. This has led to some oddly perverse outcomes. Not having a live, interactive and unpredictable audience eliminates a huge part of the challenge of magic. Some of the sleight of hand effects I've seen from Youtube-only performers only really look great from the exact angle of that one camera shot. Also, nailing some high-difficulty sleights every time can take years of practice but when you can make dozens of attempts and only post 'the good one', it's a different thing than repeatedly doing it five shows a night. Magic is really about solving for constraints, so having infinite 'backstage' time to prepare one effect as well as being able to 'cleanup' afterward hidden from the audience is profoundly different than creating a non-stop sequence of different effects while surrounded by a live audience looking wherever they want, whenever they want.

As a magical inventor, the thought of creating a new magic effect solely for the context of one-stationary-camera, single-effect-per-clip with infinite attempts is like shooting fish in a barrel. It removes so many constraints it's almost not even interesting from my perspective. It's like those amazing demo scene graphical demos on a 1987 Amiga 500. They're amazing because they create those effects within the constraints of the Amiga 500. Creating the same visual effects on a Geforce 5090 is hardly the same challenge. My Mom wouldn't understand why and, in much the same way, a non-magician may not understand how some Youtube magic isn't the same challenge as creating the same effect in an unpredictable, uncontrolled live context. And I'm not even talking about video editing tricks or special effects. Performing a single trick exactly one time (out of dozens of attempts) for a 'one-eyed' single-person audience whose head is locked down on a stationary tripod at one angle and who is blindfolded immediately before and afterward is, for many types of magic effects, as big a difference as that Geforce 5090 is to an Amiga. Both the Geforce and Amiga demos can look equally impressive but the skill, artistry and challenge are vastly different. I also suspect creating the demo on an Amiga vs 5090 was a lot more fun because it's a much more interesting challenge.

This is indeed true. Those who look at magic as merely a puzzle to be solved are really missing out on the beauty and wonder of it. After a lifetime of studying magic, I know how almost every effect I see is done. Sadly, knowing how they are all done is the worst part of studying magic deeply. The best part is being able to appreciate really great magic on deeper levels.

Growing up near the Magic Castle and traveling to magic conferences over several decades I've had the privilege of seeing some of the greatest magicians in the world perform live. At the highest levels, great close-up sleight of hand transcends finger flinging dexterity and becomes all about timing, tone, pace, body language and other subtle cues which combined control the focus of the audience in stunning ways. One of the best I ever saw live was the legendary Albert Goshman, who died in 1991. By the time I met him, Al was in his late 60s and his hands were so arthritic he could barely grip his cane. Yet, somehow, it didn't matter. I watched Goshman perform at the Magic Castle dozens of times. I knew his entire act by heart, beat by beat - and it fooled me silly every time.

Al's signature routine was the Salt Shaker trick. A coin would magically appear underneath a salt shaker sitting on the table. That was the entire trick. But it kept happening. Over and over. Nothing else was on the table, no cover, nothing. And you never saw him put the coin there. The entire audience would just be burning that damn salt shaker with unblinking stares. There was no trick to it. It was just a normal salt shaker. The table was a normal green felt-covered poker table sitting under a bright spotlight with the audience at the table right alongside Al. The shaker, coin and table could all be borrowed. It didn't matter where you were or how close. You could even stand behind him.

Al's gnarled, shaking hands clearly weren't doing any sophisticated slight of hand. The only magic on display was Goshman's Jedi-like ability to control the attention of the entire audience, which he honed over decades of performing this one routine. I heard from older magicians that there was a time decades earlier when Goshman relied more on sleight of hand but he got so good at mind control, the trick still worked even when Al's hands no longer did. Toward the end of the trick he'd point out that maybe all that salt was keeping you from seeing when the coin arrived under the shaker, so he would replace the salt shaker with a clear water glass placed upside down in the middle of the empty table. Then he'd warn you he was going to put the coin under the glass. And, somehow, he managed to still do it when you weren't looking. Which was freaky because everyone in the audience would realize the coin had appeared under the glass at different moments. Then he'd proceed to do it again. And again. For the finale, a giant 3-inch coin bigger than the glass appeared under the glass. The coin was so big, the glass was actually sitting on the coin! The stunned silence usually lasted a good 15 seconds before the standing ovation.

Unfortunately, the effect of the unique misdirection ability Goshman developed over decades is largely muted in videos of him performing, So, sadly, the sheer mind-fucking visceral impact of that trick died with Goshman. A lot of good sleight of hand specialists could do every move in Goshman's act, probably better than Goshman could, but the clear glass - others could do the trick - but it only fooled people when Al himself did it. I've seen a lot of world-class close-up magic over the years, but that... that was special.