Just Another Magic Monday: Why I Still Think Penn And Teller Rule

.:Just Another Magic Monday: Why I Think Penn And Teller Rule:.

Anyone who has known me for long enough probably recognizes that I am one of the biggest fans of Penn and Teller out there. I really think that as a tandem of magicians, they really know how to get the most mileage out of their magic, and have mastered the art of the duo act by the way they have successfully delineated their roles and functions all throughout.

I've been a sucker for Penn and Teller for a while now, and I don't think that's changing anytime soon. While I may be recognized in the Philippines as a mentalist, I have no qualms shifting back into being a magician simply because Penn and Teller made it cool to be as old-school as I want as long as I know how to spin it in a way that's all my own.

While a few other magicians obviously aren't fans of Penn and Teller whether because they are brash and obnoxious, or because they expose secrets, I just can't help but respect how much they have elevated our fine art by being ridiculously visible outside of the magic arena. In fact, Penn and Teller have almost gotten to a point where they are as well-known for their political or religious opinions as they are for their magic, and that's quite an impressive feat in and by itself.

I do cite many influences for my performance style, but none of them have influenced me to the level that Penn and Teller have, and the way I look at magic effects has never been the same ever since. True, they may never be as famous as Blaine or Copperfield, but in being non-poster boys of magic, they have established themselves as people even non-magicians can aspire to, being quick of wit, funny, and outrageous all the same.

It is my hope that at some point, I would make the pilgrimage to Vegas and catch a Penn and Teller show and hopefully shoot the breeze with them afterwards, even for just a couple of minutes. A lot of what I do now, even in the realm of standup comedy, I certainly owe to them. That's just a living testament to how great they really happen to be as magicians in every sense of the word.

It's a shame that the Philippines doesn't appreciate the genius of Penn and Teller nearly as much, though.

Project 365 (228/365): Ony Carcamo

,.:228/365: Ony Carcamo:.

I was going to feature the bit that sir Ony did for “Bound and Gagged” last 2009, but decided that his award-winning commercials were better highlighted for this particular article.

Now, as sir Ony is not only a magician that I know of, but someone whom I’ve worked with numerous times already, I think that what I would have to say would be less a biographical look into the man, and more about my general experiences involving the guy.

I met sir Ony way back in September, 2008, when I hosted and did magic for a party by Ms. Ayn Monserrate. Immediately, I hit it off with the veteran ventriloquist, as I expressed my wide-eyed admiration for his craft, and I was pleasantly surprised to discover that he actually also happened to be a mentalist.

Known as the “Premiere Ventriloquist of the Philippines,” sir Ony is a true artist, who has created many different characters over the years, from the ineffable Mr. Parley to the knee-slap inducing Sampaguita, the multi-talented pig. His very unique approach and undeniable charisma has allowed him to perform both for children and for adults, and one could tell the difference between his kid shows and his adult shows, considering the wealth of material he uses.

Out of everything he has done, sir Ony is very popular because of his finale, which involves taping his mouth whilst his puppet demands for more and more tape to be stuck to his mouth, all the while earning a louder and louder applause each time the puppet barks out the order for more tape. It truly is a sight to behold, whenever he does this, and nobody can question the man’s skill at ventriloquism. In my book, when I try to think of American ventriloquists, probably only Terry Fator could be comparable to him as being on a whole differentlevel, as he writes his own material much like Jeff Dunham, and he has a wide variety of ventriloquism “tricks” like Kevin Johnson.

Overall, in the two years I’ve known this man, I’ve had nothing but the deepest respect and admiration for him and his skills as a ventriloquist, and I vividly recall catching his show, “Amagikomedinayt,” featuring himself, Brod Pete, and Jeffrey Tam in 2009. I just sat there, stupefied at how amazing that entire show was, and resolved to have him in “Bound and Gagged” in the same venue in the same year, which certainly made my show even more memorable than it already was.

But then, this is magic month, and while I can sing all the praises I want about his ventriloquism, that’s not officially considered magic. All the more reason why I was simply amazed at the fact that aside from ventriloquism, sir Ony is also a very accomplished mentalist, having performed some really amazing feats of mind-reading, and even incorporating his puppet into his routines, such as when he did a blindfold routine involving his puppet.

As of late, though, I have had the great honor of performing with sir Ony and of course, Stanley Chi, on a monthly basis in Taumbayan, and we consistently get a good crowd and rave reviews of our performance there. I’d be happy to let you know about the next gig once we have a date set for it.

So to sir Ony, here’s a toast to you, for being an excellent performer, and more importantly, an excellent human being! For those who would like to contact or book this man, you may reach him at this website.

Project 365 Two-Fer (224-225)

.:224/365: Laser Cut:.

What is pretty much one of the most bizarre illusions you will ever watch, David Copperfield plays his role to the hilt here in a manner that can only be classified as “smarmy”. With laser lights seemingly cutting through Copperfield, he begins walking around all over the stage as if he were truly split into two pieces. The very eye-catching illusion was certainly an impressive feat back in the day, especially since it was performed live in Las Vegas, with viewing audiences completely stumped as to how it was pulled off.

Throughout this performance, what you will observe about Copperfield is how underrated his aptitude for comedy actually is. The fact that he gets to elicit chuckles without even uttering a word at key moments in the illusion only cement how amazing Copperfield really is when it comes to being a total package.

This illusion is actually not one of his best ones, but the way he packaged it certainly makes for a very interesting and entertaining routine altogether, and something worthy of performing as a Vegas main eventer. The day I ever end up performing in Vegas would be the day I believe I have made it as a performer, and here’s one of those amazing individuals doing it for years, and winning almost universal praise for his work.

Having said all that, I think it should be obvious what my final topic on stage magic will be on the last day of the month...

.:225/365: David Copperfield:.

Ladies and gentlemen, I present to you the most influential name in the magic industry of the last generation, bar none.

Many new magicians might claim allegiance to David Blaine and scoff at David Copperfield’s overly choreographed performances in favour of Blaine’s “gritty” style, but has anyone bothered asking Blaine if Copperfield ever influenced him? Has anyone ever bothered asking every street magician out there if they ever wanted to perform anything as awe-inspiring as walking through the Great Wall of China, or making the Statue of Liberty Disappear, or flying over the Grand Canyon, as opposed to, well, holding your breath for a long time underwater?

David Copperfield, in my eyes, is a man who defines “legendary” in every sense of the word. As the most commercially successful magician in history, Copperfield is the man practically all David Blaine wannabes inwardly aspire for. The man is graceful, funny, brilliant, and let’s face it, richer than pretty much any other magician has ever been.

I don’t think I need to sing the man’s praises so extensively for anyone to understand the kind of influence he has exerted on the magic industry, having raised the bar for performances to the point that anyone who is considered good at it will only hear one of two comparisons: you’re the next David Blaine, or you’re the next David Copperfield. Either statement is a huge compliment to any person, and I can tell you without any doubt that I would be deeply honoured to have people compare me to even a single percent of Copperfield’s skill and prowess as a performer.

Born David Kotkin to Jewish parents, Copperfield took on the name as a teenager because of the book of the same name. He started performing professionally very early, at around 10 years or so, and even became a lecturer about magic as early as 16 years old. He made a name for himself throughout his performances, earning accolades not just because he was a good magician but simply because everything about his performing persona screamed “magic”. In 1977, he had his first TV special called “The Magic of CBS”, and this gave birth to Copperfield’s “The Magic Of David Copperfield”, various magic shows on television, comprising almost three decades of great and captivating television.

When asked about his influences, it’s actually unsurprising to hear Copperfield say that it wasn’t a particular magician. He looked at the likes of Fred Astaire and other similarly influential people, and thought, “Hey, I want to do that for magic!”

And he did.

With a unique style and a kind of elegance that only he can elicit, Copperfield was in a league of his own. He was the total package: he was mysterious, he was elegant, and he was deceptively hilarious. While undeniably elegant, it took decades for someone like Lance Burton to hit his stride in the humor department, whereas Copperfield was exhibiting it from day 1. Penn and Teller are hilarious, but they were certainly anything but elegant. David Blaine is mysterious, but certainly not funny or elegant. Criss Angel... Criss Angel sucks and doesn’t hold a candle to Blaine, Penn and Teller, Burton, and certainly not to David Copperfield.

It’s what Copperfield has achieved that makes me marvel at him altogether. He’s done it all, to say the least, and nobody can deny how much impact he has had on the world of magic, bringing it to the mainstream consciousness long before David Blaine gave magic yet another resurgence, albeit by taking it back to its grittiest. Copperfield dressed everything up, polished it, and made everything he did larger than life. And really now, name me a single magician who doesn’t want to be regarded as larger than life, no matter how “gritty” they may project themselves to be?

Mr. Copperfield, thank you for your unique brand of magic. You are truly a once-in-a-lifetime performer, and we may well never encounter another one quite like you again for at least another decade.

Project 365 (102/365): Aldo Colombini

.:102/365: Aldo Colombini:.

Quite honestly, I don’t know how best to describe Aldo Colombini as a comedy magician except for one word: underrated.

Colombini is one of those magicians whom you tend to know for one thing, but not for another. As a performer, his execution is smooth. As a lecturer, his teaching style is very effective. But as a comic, his timing is absolutely impeccable, and it’s criminal how many people tend to forget that Colombini is a very hilarious magician, because of his ability to drop relevant one-liners in the middle of his routines, and his penchant for absurd humor at times.

Colombini is obviously an Italian who migrated to America, and has established himself as one of the premiere names in magic not just in Italy and America, but all over the world. What makes him especially effective as a performer though is his ability to establish rapport with his audience the instant he presents himself onstage. He likes telling stories about friends, family, memories. Very simple anecdotes with comedic gems snuck in between excellent magic.

Aldo Colombini is one of the magicians I may not have had as much exposure to, but already is one of my favourites, if only for the few times that I have seen his work. The routines I’ve seen him utilize have been consistently powerful, and as if that weren’t enough, his patter has been top-notch. There’s something about his accent that enhances the way he tells his stories, such that he becomes a pretty good raconteur himself, all the while flawlessly executing his work, which is something that proves to be a testament to the man’s excellent multi-tasking skills.

Watching this video alone, you already get a feel for how hilarious and quick-witted the man can be. With a career spanning decades, it’s hard to imagine Aldo Colombini’s handiwork ever going out of style.

Project 365 (98/365): Michael Finney

.:98/365: Michael Finney:.

Here’s another one of my personal heroes when it comes to comedy magic: Michael Finney.

As a veteran in the industry, Michael Finney is simply one of the most popular performers in his genre, having received numerous awards for his work, including both Comedy Magician of the Year in 2005 and Parlor Magician of the Year in 2006 from the Academy of Magical Arts. Having performed for everyone from Magic Johnson to George Bush, Phoenix, Arizona’s favourite son has been around the block more times than anyone could care to count.

Here is a man who does it all: standup comedy, magic, hosting, and even charity work. As a performer with a heart, I certainly respect his contributions to the industry, more so his philanthropic work, as the founder of the Michael Finney Foundation, which has certainly been an amazing foundation in the service of kids. It’s something that I have tried to do in the past couple of performances I have done for a cause. As performers, we are blessed with so much, and the least we could do is share these blessings in any way we can.

Michael Finney is someone I can’t help but really respect because he is involved in the fields I find myself very much involved in as well. From his humble beginnings to his meteoric but sustained rise as a great performer in the world of magic, Finney’s career is a career that no magician can have shame in if they happened to meet the same fortune.

I will always hold Mr. Finney with the highest regard, knowing that he is the complete package for any comedic entertainer. His ability to pick routines that most other performers have apparently forsaken in favour of others, and then giving said routines a unique twist all his own is one of the most admirable things about the man. Whether it’s his six-card repeat gag, or his simple card to forehead routine, he has never failed to impress people with his rapid-fire comedic timing and panache, all the same.

With a resume like his, he certainly hasn’t done so bad for a guy who makes “a hundred dollars a trick.” Given how his routines aren’t actually so physically demanding for the average performer, it’s actually amazing how he can capture the audience’s attention. He is the kind of magician who has the layman in mind, and not fellow magicians. What would normally be frowned upon by his contemporaries are nuances in his act that the layman appreciates immensely.

If there could be more magicians just like Michael Finney, I’m sure the world would be a better place. We need more people like him: willing to bring on the laughs, thoroughly smooth, well-spoken, and blessed with a heart of gold.

Project 365 (91/365): Penn And Teller

It's April, so we start a new month, hot on the heels of a very exciting escapology-themed month. I'm not one to play any April Fool's gags this year, so let's just theme April as the "comedy month", which I do believe suits our purposes very well.

Without further ado, I'm republishing with a few minor tweaks a piece I wrote about the magician duo that I've admired and respected the most over the past couple of years...

.:91/365: Penn And Teller:.

Made for each other.

Who They Are: The Origins

According to Wikipedia, Penn Jillette and Raymond Teller have been at it since the early to mid-80's as a duo magic and comedy act. They were initially a trio act in the 70's along with Weir Chrisimer, but it was Penn and Teller as a duo that really made waves in the world of magic.

Known as "the bad boys of magic", as well as "the tall, loud guy, with the short guy who never talks", Penn and Teller took the magic world by storm with their cutting edge act. You see, unlike most other magicians, they are unabashedly opinionated (Penn and Teller are libertarians and atheists.), and when they're on TV, they're not always doing magic. Penn is a raconteur (A storyteller.), an accomplished juggler, and even knows how to play bass. Teller is a master of sleight of hand, and mime performances. There's something about Teller's amazing facial reactions that draw you to his performance despite his never having to say a single word.

Penn and Teller have had numerous TV specials, and lots of guestings. They are headliners in Las Vegas, and have an act comprised of amazing feats like the two-man bullet catch, cups and balls with transparent cups, and a host of other effects they've managed to tailor for their show. I'd love to link you to clips of these acts, but I think you should look for them yourself, because they are just splendid things of beauty.

What They Mean To The Industry: Polarizing

As opinionated and as high profile as these two are, they have earned the respect and ire of the magic community, insofar as their acts have garnered a lot of attention for its inherent shock value, and cruel humor, as you will see below. I'm merely reposting a video I put up for your amusement the last time, but I do believe it bears repeating.

This, along with acts where they would actually expose magic secrets for some of their routines, have earned mixed reactions from people, who either think they're geniuses or think they're attention-starved hacks who need cheap thrills and shocks to impress people. They've taken shots at other magicians like Paul Daniels, and are very opposed to quacks like John Edward, going as far as to exposing certain methods other performers also employ in their performances just to discredit him. The fact that they are very good friends with the Amazing Randi should tip you off that they're prone to that.

No matter how polarizing the opinions may be when it comes to Penn and Teller, one thing can't be denied: they have made their mark on the history of magic, and few tandem acts can ever approach the kind of energy and dynamism Penn and Teller inject into their performance, no matter how mundane an effect may seem to be. As a duo act, they are one of those quintessential yardsticks by which other duo acts must peg themselves against, and among comedy performers, they are quite amazing in that department as well.

What They Mean To Me: Tandem Par Excellence

As a performer, I believe that I have a long way to go in the realm of comedy. I may be a member of the Comedy Cartel, but I recognize that my yearlong body of work in standup comedy is just a miniscule drop compared to what the likes of a Mike Unson or a Tim Tayag have accomplished. I can and do inject humor even during some of my magic routines, but it's never been the other centerpiece of my act (The first, of course, being the routines I do themselves.). I can talk, given my experience in radio and in debate, and I can hold my own for a bit in improv, but I really don't think of myself as a comedic genius, especially not since mentalism has to have some realism and seriousness attached to it, and I do a lot more of that than magic, since I'm more adept with sleight of mind than sleight of hand, more so now than ever.

As magician comedians, this duo act sets the benchmark, in my opinion. There may be wittier or funnier acts out there, but Penn and Teller broke the mold. Their clash of personalities, their harmony as mouthpiece + performer, and their overall stage presence plainly adds up to one of the most impressive acts I've ever witnessed. Watching them, I never fail to laugh at Teller's physical comedy, and Penn's ability to just keep rattling off at a hundred miles an hour. They're a perfect team, and nobody ever outshines the other, by sheer dint of their role division, although of course, being the silent one means Teller didn't get a radio show when Penn did. Heh.

If I ever had the chance to be a part of a permanent duo act, I wanna be Teller! There's just something so cool about not having to say a single word and yet holding the audience in the palm of your hands with your riveting performance. These two are among my personal heroes in magic and mentalism, and though this piece was originally written two years ago, my sentiments about Penn and Teller have hardly changed. I still hold them in very high regard, and I believe that they really put magic at a different level that is both low-brow and high-minded at the same time.

Project 365 (67/365): Casey At The Bat

.:67/365: Casey At The Bat:.

A skinny Penn! This is so rare!

The “Casey At The Bat” routine is, admittedly, also an escape act involving a straightjacket. Despite that, it’s the presentation Penn and Teller use that makes it worthy of discussion.

A few days ago, you saw a fairly simple escape from a straightjacket. It wasn’t particularly amazing, but there was nice by-play in the scene that was shown. What Penn and Teller have managed to do here was to take the upside-down escape, already quite a spectacle on its own, and then go and turn it into something even more frenetic and exciting than it already is, to begin with.

The poem “Casey at the Bat” was perfect because it was just long enough for Penn and Teller to play around with the poem to deliver the poem at an increasingly speedy pace at key points in the act. This humorous take and apparent sadism on Penn’s part certainly catches the audience’s attention as Teller helplessly struggles to get out of his restraints, knowing that he could break his neck if he failed to finish the escape before Penn could finish reading the poem.

Penn and Teller are very well-known for this kind of shock value that they employ in order to really leave an indelible mark on their audiences. The impact they have, and the genius of being able to employ even the simplest of magic routines and turning them into a grand and comedic spectacle is something I idolize about Penn and Teller so much. This pretty much explains why I’ve always been a huge fan of the duo, and it makes all the sense in the world why I would be so.

Project 365 (65/365): Dixie Dooley

.:65/365: Dixie Dooley:.

One of the biggest fans of Harry Houdini and himself an accomplished escapologist, Dixie Dooley is one of my personal favourite performers when it comes to the art of escapology.

As an escapologist, Dixie’s repertoire is either a great homage to Houdini, or a blatant ripoff, depending on your mileage. His appeal though is that he has successfully managed to mix good humor and comedic timing with his routines to make the inevitable moment where everyone is gasping in fear over his death-defying escape acts become all the more impactful after keeping the audience laughing and at ease for the better part of the show.

One thing you might notice if you catch Dixie’s video is that he has an extensive collection of Houdini memorabilia. The man is a big fan, and it shows. It’s also good to note that he has his own personal touches on a few classic routines, especially his take on the milk can escape that only he seems to be utilizing at the moment.

Sometimes, I wonder, though. How many in and out moves can one guy do throughout a show before people get the joke? He seems to have a lot of similar routines that all happen to utilize that very principle, and it’s just odd.

Project 365 (60/365): Harry Houdini

.:60/365: Harry Houdini:.

Welcome to escapology month.

Harry Houdini, born Erik Weisz in 1874, is best known as the greatest escape artist of our time. From the milk can escape to the straitjacket to metamorphosis, he has done it all, and he has gained legendary status in the magic industry. To this day, his sudden and tragic death mystifies people and makes them wonder what greater things could’ve been in store had he not passed on at the height of his fame.

In the realm of magic, Houdini isn’t very popular despite the fact that he has performed feats such as making an elephant vanish in the middle of a carnival tent. Owing to his small frame, most people were much more entertained by the prospect of seeing him put himself in mortal danger as he tried to escape from locks, shackles, handcuffs, and other implements, using a wide variety of methods he was familiar with. He is very well-known for his ability to dislocate his shoulders when he tries to escape from certain devices, so that he’d be able to gain some slack.

The truth is, Houdini has done a lot over his entire career. Calling himself “Harry Houdini” in honor of both Robert Houdin and (supposedly) Harry Kellar, he was a cross-country runner and trapeze artist even before he got into magic. He started in magic as a cardician, even dubbing himself as the “King of Cards” at some point, but at 5’5 and with a stocky frame, he wasn’t terribly entertaining to watch. He then got into escapology, and the rest is history.

Aside from magic, Houdini was also into aviation, and was a very big skeptic who has attempted to debunk many mystic performers of his time. In fact, one of the most infamous instances of his scepticism was when this resulted in a rift between him and Sir Arthur Conan Doyle of Sherlock Holmes fame, who believed in the Cottingley Fairy hoax, which at the time, seemed completely impossible for them to disprove.

Houdini’s contribution to magic and escapology in particular would be insurmountable. From the Chinese Water Torture chamber to the milk can escape to simple handcuff escapes, he brought to the mainstream a kind of exciting act that offered magicians an avenue that goes beyond “tricks” or “powers”. The best escapologists, as most laymen would tell you, are outright skilled people. They know how to escape, they know how to liberate themselves from the most difficult of implements, and there is no reason for them to rely on trickery or supernatural powers. They are simply that talented.

Without Houdini, it would be hard to imagine escapology as it is today. It’s still dangerous, it’s still high-profile, but ultimately, there’s little to do that Houdini hasn’t already done in his time.

It was rather unfortunate, then, that his death was most likely linked to an incident where he was punched multiple times in the stomach before he was ready to take such a blow. This supposedly ruptured his appendix, and it led to his untimely demise. Ever the skeptic, he gave a secret message to his wife prior to his death that would be his means of disproving from even beyond the grave any psychic or medium who would claim to be able to communicate with the dead. All Houdini’s wife had to do was ask for the specific message his husband gave her before his death, and if the soothsayer couldn’t give it, then he fails the challenge.

Houdini kicks off this month of escapology, and is certainly worth a moment of recognition and honor, no matter what controversies may hound him in life and in death.

Project 365 (7/365), And Backstreet Boys Return To Manila!!!

.:7/365: Derren Brown:

Derren Brown is one of the most recognizable names in mentalism if you’re from Europe, and with good reason. As a mentalist, Derren’s very fresh approach to mentalism has been a huge success in England, and has made him one of the most “unusually attractive” men on the planet. He’s witty, he’s funny, and he’s quirky. He’s got all the tools a mentalist needs to put on a good show, especially with the kind of material he has to work with.

His numerous TV shows, as well as his critically-acclaimed collaborations with Andy Nyman are stuff of legend. Most mentalists realize that he’s not really reinventing the wheel. What he’s doing is that he’s making mentalism cooler than ever, and he’s doing such a great job at it.

While many people think less of him because he has come out of the closet a few years ago, I think Derren’s value as a performer should never be undercut by his sexual preference. The man is a genius, and the epitome of a guy who knows how to dress up the simplest of effects so that they can become interesting again.

Derren’s performances are very gripping and exciting. To be honest, the way he presents a lot of his acts tend to make me re-evaluate how I am as a performer, and make me reconsider how much showmanship should really matter. Many critics of mentalism say it’s boring, but Derren’s act is anything but that.

I can keep on singing the man’s praises, as well as his influence on me, but ultimately, all you need to know about Derren is that he is one of the most amazing individuals in the mentalism industry today. It’s a crying shame if you never get to experience the kinds of things he has been able to pull off, and if that video was any indication, his mammoth memory cannot be understated, either. He is simply one of the most brilliant minds I have ever met, and I can’t help but feel completely floored by the man’s accomplishments, period.

I’ll end up talking about a few of his other feats as well, by the way. One thing you need to watch out for is his infamous newspaper prediction: a feat that I have managed to duplicate with great difficulty, but was certainly worth the effort.

Derren Brown is the real deal. He has taken mentalism to its logical next step, and he really did a bang-up job with it, to say the least.

.:Backstreet’s Back, All Right!:.

The Backstreetboys are coming to Manila on February 27!

Can I hear a “Sqqqqqqquuuuuuueeeeeeeeeee?!?” A manly one, at least? I’m excited beyond belief! I am sooo going to go out there and watch this amazing ensemble of talent and beefcake all on one stage.

DON’T JUDGE ME.

Project 365 (2/365)

.:2/365: Richard Osterlind:.

I want to republish a classic post I wrote about a year ago, when I talked about my Heroes Of Mind And Magic. This guy was my favourite mentalist, and despite the soft spot I have for Derren Brown, this man continues to be my main influence as I continue performing mentalism despite the obvious shift into comedy for the most part.

The master at work.

Richard Osterlind may not ring a bell to the average person, but in the world of mentalism, he is one of the most popular names in the industry to ever hail from America. Carrying himself in a very casual, even fatherly manner, Osterlind's performance style is very natural and relaxed, and unlike most of his contemporaries, he does not seem to make any pretenses to maintaining a “mentalist persona” whenever he performs (For contrast, see Max Maven.). Richard is very straightforward, yet his open-armed sincerity is precisely what keeps his fans coming back for more as he astounds and mystifies them with feats of the human mind we often assume impossible.

As the man behind the groundbreaking “Mind Mysteries” and “Easy To Master Mental Miracles” series for mentalists from all walks of life, Richard Osterlind has influenced an entire generation of mentalists who can only hope to have half of the natural charisma that he oozes with whenever he performs, again, despite the lack of an attempt to maintain a hint of a persona. While Derren Brown may be regarded as the quintessential mentalist of this generation, Osterlind is the man people turn to when they want to learn how to do mentalism, mainly because Derren doesn't really teach his material the way Osterlind does.

Osterlind's website is also very helpful in answering what it means to be a mentalist vis-a-vis being a magician, and he even provides a very helpful FAQ that answers some of the more common questions thrown at mentalists. Few people have helped elevate the art of mentalism the way Osterlind has, from teaching aspiring mentalists the secrets to unlocking the mysteries of the mind, all the way to coming up with new and ingenious items meant to enhance the performance of any mentalist worth his salt.

Richard Osterlind: Mental Magician?

Osterlind's critics tend to disparage him because of his tendency to include magic tricks in his mentalism acts, and unlike Derren Brown, he makes no attempt to mask it as a mentalism feat whatsoever. For instance, in one of his videos, he does the infamous “Paddle move”, and feebly passes it off as hypnosis on the audience.

While this is a valid criticism, it cannot be denied that Richard Osterlind is still a genuine mentalist insofar as he knows the ins and outs of the mindset, and in the sheer command he has over his audience, despite the sometimes-ludicrous premise he sets upon his own performances. While he may be guilty of doing mere “mental magic” at times, Osterlind still manages to shine simply because he is so earnest that people can't help but still assume what he is doing is outright mentalism. Purists may understandably cringe, but the man hasn't been in business all over the world for three or so decades already if people didn't appreciate his material.

What He Means To Me

Osterlind will always be one of the first mentalists I have learned from, along with Banachek, Max Maven, and to a limited but important extent, Morgan Strebler (Yet another influence of mine. More on him in the future.). As a performer, I always ask myself, “what would Richard do?” This is because as a veteran mentalist for decades, Osterlind has honed his craft to a point where his material is a fit for nearly any kind of mentalist, no matter what personality or performing style you may choose to employ.

While few people reading this right now would ever get to know the man the way fellow performers already do, I think Richard Osterlind, as one of the men who has inspired this generation of mentalists, deserves a tribute for all his contributions to the art, especially to the significant influence he has exerted on me, including routines I have performed thanks to him, such as the Blindfolded Rubik's Solve, the 20-Card Test, the Acid Test, and 4-Dimensional Telepathy. As a prolific thinker whose ideas know no bounds, Osterlind's massive volume of material on video will never lack an audience of eager learners.

Another Post Up At Magi-Kel!

.:More On My Personal Heroes Of Mind And Magic:.

This time, it's one of my favorite mentalists, Richard Osterlind! Read about him here!