MAGICIAN´S MANUAL

Illusionism is a mixture of art and science, for the purpose of presenting apparently unexplainable events or experiments to entertain and delight the spectator. The purpose is to cause his admiration and guide him through a fantasy land where the child everyone has inside flies and plays by the artist’s hand.
The first advice for a good presentation is to prepare the show conscientiously. Select the feats to be presented through a list and order them in a logical sequence. It should be borne in mind that for the opening and closing of the show you should choose feats that draw the audience’s attention and which you master perfectly, so as to keep the public’s delight and mood until the end. Your show should be brilliant and spectacular. Thus, the spectator will be willing to witness magic again, when he remembers all the feelings aroused by your interesting show.
My next advice is: Once a feat has been chosen, practise repeatedly –and with conviction- every and all its movements or parts. Do it alone, assisted by a mirror or a video camera. Once you have mastered the technique and the time of each action, you should add to that cocktail an ingredient which shall make your audience either remember the feat or your performance for centuries or forget it immediately: include in your presentation the adequate talk, music, gags, or humor during the feat. You should also contemplate the possibility of the spectators’ participation in the feat. If such is the case, treat them with consideration. Please, bear in mind that you should never ridicule anyone who kindly offers to cooperate with you as you will only make that individual hate magic, and your mother.
Now you are ready to engrave in your memory a golden rule in magic: "NEVER PERFORM BEFORE AN AUDIENCE A TRICK YOU DID NOT PRACTISE ENOUGH AND WHICH SUCCESS YOU ARE NOT FULLY CONVINCED OF".
If, in spite of having complied with such rule you fail, don’t despair and remember the second rule: "DON’T DESPAIR AND TRY TO CONVEY TO THE AUDIENCE THAT YOU MASTER THE SITUATION". Magic has enough resources to cover you so that nobody even suspects that the trick has failed.
Stage presentation is of the utmost importance. Your correctness and elegance shall draw the spectator’s attention, and your show shall gain prestige. If you are untidy or your elements are unprepared or in bad condition, the audience will feel uncomfortable and it will take time to draw their attention. The evolution of magic throughout time has left aside oriental or etiquette costumes. The choice of your clothes shall depend on your personality and of the audience before which you are performing. If it is a children party, a business meeting or a disco show, bear in mind that the audience’s acceptance or rejection shall depend on your choice of the clothing.
Take into account that the apparatus or elements to be used in the show should be meticulously and carefully finished, and decorated with good taste.
When performing your tricks you should never announce from the very beginning which shall be the final effect, nor do unnecessary suspicious or garish movements at the time you make a trap; create an atmosphere to the end. It is better not to announce what happened after a trap has been made, but to prepare the audience to enjoy the final effect surprise: this shall bring you the applause.
Another golden rule to be taken into account is: "DO NOT REPEAT A SHOW BEFORE THE SAME AUDIENCE".
May be on one occasion you may be asked to repeat a trick. My advice is DO NOT. It would be very dangerous. The audience shall be ONLY TRYING TO DISCOVER THE TRICK. Do not categorically refuse to do it or they would form a negative opinion of your skills. Convince them that you can perform a more interesting and spectacular alternative of the trick.
If, on any occasion, you are asked to teach tricks, remember another golden rule: "NEVER REVEAL THE SECRET OF A TRICK". Try to find a humorous way to explain that, for example, saying that anybody can perform the trick, that the only thing he/she needs is the magic wand and the magic powders. Think that the game would lose value if the secret were revealed. There are, however, many feats that can be performed by you simulating that you are discovering the secret, when, in reality, the end is quite different.
Another thing to bear in mind is that if you have no great magic knowledge you should not show all the feats you know in only one show.
The participation of the audience may give credibility to your actions such as for example, mixing and cutting the pack of cards, or drawing one. You should study the possibility of inviting spectators, not to justify that the show includes some kind of participation by inviting a great number of people to help you who will then be standing around without doing anything. May be you can approach a spectator to see certain shade of the game without the need to bother him/her.
Another rule:"DO NOT PLAY A HEAVY JOKE ON YOUR ASSISTANTS". Otherwise, when you ask for help in another feat nobody will like to help you for fear of ridicule. Remembering his/her name and making it known to the audience will prepare him/her with a better mood to help you.
Next rule: "CLEARLY EXPLAIN TO HIM WHAT SHOULD HE DO TO HELP YOU". This is an essential rule, since you are the only one who knows what will happen, you’d rather not be the cause if he makes a mistake, but his clumsiness.
When choosing your assistant, bear in mind the psychology of the feat. Sometimes, the help of a lady shall be preferred; on occasiones, a gentleman will be better; on some others, may be a couple bearing in mind the gags you have prepared.
Among the audience you will find different types of individuals known as "the troublesome"; some cannot accept the existence of unexplainable phenomena and try to explain the solution to their seat neighbours. You can easily call their attention by asking them to be your assistants. Never discuss with them. Others may ask you to repeatedly revise the elements, explain his logic remarkably. Do not engage in controversy with them; do not give them importance, they will soon be compelled to remain in silence by their neighbours. A more complex example is the one that, due to his/her sick personality, does not forgive the fact that the artist attracts attention and likes to show off through bad taste comments or jokes; in some cases, even insults. My advice is not to reply to any of his "genial" comments because you will no longer be master of the game. If he persists in that attitude, tell him: "I see that you prefer to replace me. Here you have the pack of cards. Please, do entertain us with all you know". The surprise will quiet him down, apart from the criticism from the audience.
The last golden rule is: "NEVER COPY OTHER MAGICIAN’S PERFORMANCE". Your creativity and originality in your performance shall lead the opinion the audience will build of you. The success or failure of an artist depends on discovering his personality and appropriately choosing the effects in keeping with his physical character and technique, creating his own style.

HISTORY OF MAGIC

The origins of the Magic Art trace back to remote times, in a remote land. It can be asserted that ever since life started on Earth, the human being has tried to amaze and surprise others, through effects that could be surely called magic. A caveman might have shown his mallet appearing, not just as defense but to charm his lady. Naturally, there is no tangible evidence of those times, or of subsequent periods. The fact is that from time immemorial, magic has been a part of man’s life –firstly as an essential aspect of the mysterious and the religious; secondly, by attributing the occurrence of key events in his daily existence, such as rain, draught, birth, and others, to a sign from the gods; thirdly, as a way of life through the influence of magic power on health and behavior. It could be concluded that man has tried, ever since magic was born, to obtain admiration and reverential fear for the most diverse purposes, and above all, some individuals rather unholy or uncommendable, took advantage of their natural ability to deceive through words or images.
The first engraved or written documents, as well as the objects found, show that some sorcerers and magicians without supernatural powers used magic to bewitch others. The Bible itself includes data on those facts. In ancient Egypt, evidence was found of, probably, the first magic show performed by the Egyptian magician Dedi before the Pharaoh in Memphis as detailed on a papyrus called Wetscar which is exposed in a German museum. The show consisted of a series of tricks, such as small round pebbles vanishing, and a bird being beheaded which, supposedly, continued walking.
Later on, even though records have been found on the existence of prestidigitators -unknown by that name-, they actually used their skills to deceive and take advantage of the peoples’ ignorance and poverty to dominate them, to obtain favors from the powerful, and become rich.
The Middle Ages mark the coming of obscurantism, known today as "Black Magic". Merlin, counsellor to King Arthur, was the most famous magician of that period. His stories are testimony to the cortesan mystique, and his love for the witch Morgana, his apprentice, who enchanted him and left him a prisoner of a rock. The Discovery of Witchcraft, by Reginald Scot, was the first book to include major magic knowledge such as detailed spells, sorceries, and cures, and the first record of the Big Magic Apparatus. The author’s intention was to expose false sorcerers; the book, however, was not available to all. Only a few pseudopowerful individuals had access to the book, which was obviously used to improve their techniques.
At that point in history, many street artists started to walk through the cities and the country, gathered in puppeteer and juggler companies, performing their shows in pubs, castles and hamlets, singing satiric and emotional songs on epic themes or fables, farses and dramas, acrobacies, and sleight of hand and apparitions. No doubt they laid the foundation of the circus.
In the East, legends and fascinating tales on miracles and powers from magic and enchanted places would travel from China to Arabia, reminding of sahos (the Arabian word for "magicians") who went from one city to another dematerialized, like in a science-fiction tale. An example are the Sherezade’s stories of the Thousand Nights and One Night.
Following our journey through time, many documents and programs in the Renaissance mention open air performances in fairs, bridges or popular festivities. Their acts to attract people disguised their actual activities as peddlers or swindlers. Worth mentioning is master Gonin from France, a very popular artist in the XVI century whose name means "to make something disappear", who was actually a pickpocket living of what he could steal in his shows. His name was used by other jugglers after he died.
In the XVII century, a list of artists too long and boring to mention can be found in newspapers, memories, chronicles, and letters. Worth mentioning are Delisle, Jonas, Palatin, Perrin and Pinetti, apart from a change in the art, and a multiplicity of magicians and showmen performing their acts with excessive skills and the sole intention of amusing the audience, as opposite to those ridiculous individuals who preferred deceiting. Some started to rent –and those fortunate enough, to build- spacious places with wooden tiers so that the public could attend their shows (the so called white magic).
Mr Charles Morton, an enlightened and visionary living in the mid XIX century, changed the usual practice of entry to the parlor which, so far, had been free; a drink being the only prerequisite to witness the show. It can be asserted that the music hall or vaudeville was born at that time, with the construction of a theater in Canterbury by Morton, who started to collect an entry fee to the audience interested in witnessing the performance. Very quickly, other owners of different theaters in England and the States imitated his initiative. In a few years, that practice extended worldwide.
The evolution of the feats for the so called "recreational physics", name given to magic at the time, evidenced no remarkable progress. There was an excessive use of double bottom apparatus, exotic costumes, bright colors, copper and tin objects, carpets and tapestries; in brief, there was an abuse of bad taste, as opposite to aesthetics. A pastry cook called Phillip introduced the Chinese rings, (iron rings which were either interweaved or loosened by a magic mystery), and the Chinese silks with exotic drawings. The contribution of the period to the great illusions is attributed to an Austrian named Dobler who presented effects with big apparatus.
Robert Houdini, a French artist who may be considered as the father of modern magic, brought about a true revolution, and the concept of magic as an art to be used to amuse the spectator and cause admiration through the production of apparently marvellous and unexplainable effects. He was a watchmaker who lived a complex life, did not reside in the same place for long, travelled all over Europe and the North of Africa. He built automatons of excellent functionality and applied electricity to magic. Among others, the changes contributed by Robert Houdini were: stop wearing ridiculous costumes, and start wearing sport clothing of an elegant and moderate black; eliminating jests and bad taste jokes, a remarkable change in scenery and presentation of apparatus, discarding for ever the use of double bottoms and elements the audience could not examine, transforming the clown helper in an assistant. He was the creator of many feats, and had so strong, genial and creative personality that he marked his fellow citizens and founded the French school. In spite of his brief career (only 6 years) performing before the public, he was the author of several books making up a volume so far unbeatable which was translated into different languages.
Worthy of mention is another creative French, Bautier De Kolta, author of stunning ideas and feats. He failed in the presentation of his creations before an audience.
The multiplying effect of show parlors widespread throughout Europe. Worth mentioning in England are David Devant, PT Selbit and many others. At that time, an Austrian-Hungarian school was created by the famous Carl Compars Hermann and his brother Alejandro Hofzinser who may be considered as the one who gave an spectacular nature and subtleties to close up magic and artistic card magic. In United States, as a result of the European influence, Harry Houdini distinguished himself as an illusionist. He was one of the wonderful escape artists who applied his knowledge as locksmith in his youth, and a body plasticity to escape from every invented chain and padlock. Even Scotland Yard was amazed by his performance, when he escaped from a jail by accident.

ABOUT MAGIC AND MAGICIANS

The term "Magic" is etymologically derived from the Old Persian word Magi. Performances we would now recognize as conjuring have probably been practiced throughout history. The same level of ingenuity that was used to produce famous ancient deceptions such as the Trojan Horse would also have been used for entertainment, or at least for cheating in gambling games, since time immemorial. However, the profession of the illusionist gained strength only in eighteenth century, and has enjoyed several popular vogues.

Jean Eugène Robert-Houdin, the first modern magician.
From 1756 to 1781, Jacob Philadelphia performed feats of magic, sometimes under the guise of scientific exhibitions, throughout Europe and in Russia. Modern entertainment magic owes much of its origins to Jean Eugène Robert-Houdin (1805-1871), originally a clockmaker, who opened a magic theatre in Paris in the 1840s. His speciality was the construction of mechanical automata which appeared to move and act as if they were alive. The British performer J N Maskelyne and his partner Cooke established their own theatre, the Egyptian Hall in London's Piccadilly, in 1873. They presented stage magic, exploiting the potential of the stage for hidden mechanisms and assistants, and the control it offers over the audience's point of view. The escapologist and magician Harry Houdini (real name Ehrich Weiss, 1874 - 1926), took his stage name from Robert-Houdin and developed a range of stage magic tricks, many of them based on escapology (though that word was not used until after Houdini's death). The son of a Hungarian rabbi, Houdini was genuinely highly skilled in techniques such as lockpicking and escaping straitjackets, but also made full use of the whole range of conjuring techniques, including fake equipment and collusion with individuals in the audience. Houdini's showbusiness savvy was as great as his performing skill. There is a Houdini Museum dedicated to him in Scranton, Pennsylvania. In addition to expanding the range of magic hardware, showmanship and deceptive technique, these performers established the modern relationship between the performer and the audience.
In this relationship, there is an unspoken agreement between the performer and the audience about what is going on. Unlike in the past, almost no performers today actually claim to possess supernatural powers. There is a debate amongst people who perform mentalism as to whether or not to perform their style of magic as if they have real power or if they can simulate this power[3].
It is generally understood by most people that the effects in the performance are accomplished through sleight of hand (also called prestidigitation or léger de main), misdirection, deception, collusion with a member of the audience, apparatus with secret mechanisms, mirrors, and other trickery (hence the illusions are commonly referred to as "tricks"). The performer seeks to present an effect so clever and skillful that the audience cannot believe their eyes, and cannot think of the explanation. The sense of bafflement is part of the entertainment. In turn, the audience play a role in which they agree to be entertained by something they know to be a deception. Houdini also gained the trust of his audiences by using his knowledge of illusions to debunk charlatans, a tradition continued by magicians such as James Randi, P. C. Sorcar, and Penn and Teller.
Magic has come and gone in fashion. For instance, the magic show for much of the 20th century was marginalized in North America as largely children's entertainment. A revival started with Doug Henning, who reestablished the magic show as a form of mass entertainment with his distinctive look that rejected the old stereotypes and his exuberant sense of showmanship that became popular on both stage and numerous television specials.
Today, the art is enjoying a vogue, driven by a number of highly successful performers such as David Copperfield, Lance Burton, Penn and Teller, Derren Brown, Barry and Stuart, Criss Angel, Dorothy Dietrich, Greg Frewin and many other stage and TV performers. David Blaine is sometimes included in this category, though his major performances have been more a combination of Houdini-style escape tricks and physical endurance displays than the illusion magic performed by others. The mid-twentieth century saw magic transform in many different aspects. Some performers preferred to renovate the craft on stage (such as The Mentalizer Show in Times Square which mixed themes of spirituality and kabbalah with the art of magic). Others successfully made the transition to TV, which opens up new opportunities for deceptions, and brings the performer to huge audiences. Most TV magicians are shown performing before a live audience, who provide the remote viewer with a reassurance that the illusions are not obtained with post production visual effects.
Many of the basic principles of magic are comparatively old. There is an expression, "it's all done with smoke and mirrors", used to explain something baffling, but contrary to popular belief, effects are seldom achieved using mirrors today, due to the amount of work needed to install it and difficulties in transport. For example, the famous Pepper's Ghost, a stage illusion first used in 19th century London, required a specially built theatre. Modern performers have vanished objects as large as the Taj Mahal, Statue of Liberty, and the Space Shuttle, using other kinds of optical deceptions.

[edit] Categories of effects

David Blaine is a modern magician who incorporates street theater in his performances.
There is much discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist -- for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. It is generally agreed that there are very few different types of effect. There has been disagreement between some magicians (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe) as to how many different types of illusion there are. Some of these are listed below.
Production The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, or the magician themselves, appearing in a puff of smoke on an empty stage -- all of these effects are productions.
Vanishing The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
Transformation The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
Restoration The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
Teleportation The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
Levitation The magician defies gravity, either by making something float in the air, or with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion of the magician himself being levitated, such as the Balducci levitation, the King Rising, Criss Angel's stool levitations, and the Andruzzi levitations.
Penetration The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as 'solid-through-solid'.
Prediction The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate. Prediction forms the basis for most 'pick-a-card' tricks, where a random card is chosen, then revealed to be known by the performer.
Many magical routines use combinations of effects. For example, in the famous 'cups and balls' a magician may use vanishes, productions, penetrations, teleportations and transformations all as part of the one presentation.

[edit] Secrecy
The purpose of a magic trick is to amuse and create a feeling of wonder; the audience is generally aware that the magic is performed using trickery, and derives enjoyment from the magician's skill and cunning. Traditionally, magicians refuse to reveal the secrets to the audience. The reasons include:
Exposure is claimed to "kill" magic as an artform and transforms it into mere intellectual puzzles and riddles. It is argued that once the secret of a trick is revealed to a person, that one can no longer fully enjoy subsequent performances of that magic, as the amazement is missing. Sometimes the secret is so simple that the audience feels let down, and feels disappointed it was taken in so easily.
Keeping the secrets preserves the professional mystery of magicians who perform for money.
Membership in professional magicians' organizations often requires a solemn commitment to the "Magician's Oath" never to reveal the secrets of magic to non-magicians.
The Magician's Oath (though it may vary, 'The Oath' takes the following, or similar form):
"As a magician I promise never to reveal the secret of any illusion to a non-magician, unless that one swears to uphold the Magician's Oath in turn. I promise never to perform any illusion for any non-magician without first practicing the effect until I can perform it well enough to maintain the illusion of magic."
Once sworn to The Oath, one is considered a magician, and is expected to live up to this promise. A magician who reveals a secret, either purposely or through insufficient practice, may typically find oneself without any magicians willing to teach one any more secrets.
However, it is considered permissible to reveal secrets to individuals who are determined to learn magic and become magicians. It is typically a sequential process of increasingly valuable and lesser known secrets. The secrets of almost all magical effects are available to the public through numerous books and magazines devoted to magic, available from the specialized magic trade. There are also web sites which offer videos, DVDs and instructional materials. In this sense, there are very few classical illusions left unrevealed, however this does not appear to have diminished the appeal of performances. In addition, magic is a living art, and new illusions are devised with surprising regularity. Sometimes a 'new' illusion will be built on an illusion that is old enough to have become unfamiliar.
Some magicians have taken the controversial position that revealing the methods used in certain works of magic can enhance the appreciation of the audience for cleverness of magic. Penn and Teller frequently perform tricks using transparent props to reveal how it is done, for example, although they almost always include additional unexplained effects at the end that are made even more astonishing by the revealing props being used.
Often what seems to be a revelation of a magical secret is merely another form of misdirection. For instance, a magician may explain to an audience member that the linking rings "have a hole in them" and hand the volunteer two unlinked rings, which the volunteer finds to have become linked as soon as he handles them. At this point the magician may shove his arm through the ring ('the hole in the ring'), proclaiming: "See? Once you know that every ring has a hole, it's easy!"
See also: Intellectual rights to magic methods

[edit] Learning magic
The teaching of performance magic was once a secretive art. Professional magicians were unwilling to share knowledge with anyone outside the profession to prevent the laity from learning their secrets. This made it difficult for an interested apprentice to learn magic beyond the basics. Some had strict rules against members discussing magic secrets with anyone but established magicians.
From the 1584 publication of Reginald Scot's Discoverie of Witchcraft until the end of the 19th century, only a few books were available for magicians to learn the craft. Books remain extremely useful today, and are still considered the best way for a student to learn magic. Videos and DVDs are a newer medium of tuition, which many inexperienced magicians rely on as a primary source of information; in reality, many of the methods found in this format are readily found in previously published books. However, they can serve useful as a visual demonstration.
Nowadays, magicians can join magic clubs. Here magicians, both seasoned and novitiate, can work together and help one another for mutual improvement, to learn new techniques, to discuss all aspects of magic, to perform for each other — sharing advice, encouragement and criticism. Before a magician can join one of these clubs, they usually have to perform an audition. The purpose is to show to the membership that they are a magician and not just someone off the street wanting to discover magical secrets.
The world's largest magic organization is the International Brotherhood of Magicians; it publishes a monthly journal, The Linking Ring. The oldest organization is the Society of American Magicians, of which Houdini was a member. In London, England, there is The Magic Circle which houses the largest magic library in Europe. Also PSYCRETS - The British Society of Mystery Entertainers, which caters specifically to mentalists, bizarrists, storytellers, readers, spiritualist performers, and other mystery entertainers. The Magic Castle in Hollywood is home to the Academy of Magical Arts.

[edit] Types of magic performance
Magic performances tend to fall into a few specialities or genres.

A mentalist on stage in a mind-reading performance, 1900
Stage illusions are performed for large audiences, typically within an auditorium. This type of magic is distinguished by large-scale props, the use of assistants and often, exotic animals such as elephants and tigers. Some famous stage illusionists, past and present, include Harry Blackstone, Sr., Howard Thurston, Chung Ling Soo, David Copperfield, Siegfried & Roy, and Harry Blackstone, Jr.
Cabaret magic, Platform magic or Stand-up magic are terms used to describe magic performed for a medium to large audience. Night club magic and comedy club magic are also examples of this form. The term parlor magic is sometimes used but is considered pejorative. This genre includes the skilled manipulation of props such as billiard balls, card fans, doves, rabbits, silks, and rope. Examples of such magicians include Jeff McBride, Penn & Teller, David Abbott, Channing Pollock, Black Herman, and Fred Kaps.
Close-up magic is performed with the audience close to the magician, sometimes even one-on-one. It usually makes use of everyday items as props, such as cards and coins (see Coin magic) and seemingly 'impromptu' effects. This is also called "table magic" particularly when performed as dinner entertainment. Ricky Jay and Lee Asher, following in the traditions of Dai Vernon, Slydini and Max Malini, are considered among the foremost practitioners of close-up magic.
Mentalism creates the impression in the minds of the audience that the performer possesses special powers to read thoughts, predict events, control other minds, and similar feats. It can be presented on a stage, in a cabaret setting, before small close-up groups, or even for one spectator. Magicians in this field include Alexander, Max Maven, Kreskin, Luke Jermay, Derren Brown, The Zancigs, and Banachek.

Amateur magician performing "children's magic" for a birthday party audience.
Children's magic is performed for an audience primarily composed of children. It is typically performed at a birthday party, daycare or preschool, elementary school, Sunday School, or library. This type of magic is usually comedic in nature and involves audience interaction as well as volunteer assistants.
Online magic tricks were designed to function on a computer screen. The computer essentially replaces the magician. Some online magic tricks recreate traditional card tricks and require user participation, while others, like Plato's Cursed Triangle are based on mathematical, geometrical and/or optical illusions. One such online magic trick, called Esmeralda's Crystal Ball, became a viral phenomenon that fooled so many computer users into believing that their computer had supernatural powers, that Snopes dedicated a page to debunking the trick.
Corporate Magic or Trade Show Magic uses magic as a communication and sales tool, as opposed to just straightforward entertainment. Corporate magicians may come from a business background and typically present at meetings, conferences and product launches. They run workshops and can sometimes be found at trade shows, where their patter and illusions enhance an entertaining presentation of the products offered by their corporate sponsors. The pioneer performer in this arena is Eddie Tullock.[4]
Street magic is a form of street performing or busking that employs a hybrid of stage magic, platform and close-up magic, usually performed 'in the round' or surrounded. Notable modern street magic performers include Jeff Sheridan and Gazzo. The term "street magic" has recently (since the first David Blaine TV special "Street Magic" aired in 1997) come to be used to describe a style of "guerilla" performance where magicians approach and perform for unsuspecting members of the public on the street. Unlike traditional street magic, this style is almost purely designed for TV and gains its impact from the wild reactions of the public. Magicians of this type include David Blaine, Criss Angel and Cyril Takayama.
Bizarre magic uses mystical, horror, fantasy and other similar themes in performance. Bizarre magic is typically performed in a close-up venue, although some performers have effectively presented it in a stage setting. Charles Cameron has generally been credited as the "godfather of bizarre magic." Others, such as Tony Andruzzi, contributed significantly to its development.
Shock magic is a genre of magic that shocks the audience, hence the name. Sometimes referred to as "geek magic," it takes its roots from circus sideshows, in which "freakish" performances were shown to audiences. Common shock magic or geek magic effects include eating razor blades, needle-through-arm, string through neck and pen-through-tongue. Magicians known for performing shock magic include Criss Angel, Andrew Mayne, Sean Fields, and Brian Brushwood.

[edit] Misuse of magic
In modern conjuring, it is not considered ethical to give a performance which claims to be anything other than a clever and skillful deception.
Fraudulent psychics or mediums have long capitalised on the popular belief in ESP and other paranormal phenomena for financial gain. Controversy still surrounds the hugely successful 1970s illusionist Uri Geller and his ability to bend spoons, for instance. During the height of the vogue for Spiritualism and the wave of popularity for séances from the 1840s to the 1920s, many fraudulent mediums used conjuring methods to perform illusions such as table-knocking, slate-writing, and telekinetic effects. The great escapologist and illusionist Harry Houdini devoted much of his time to exposing such fraudulent operators. Magicians James Randi and Penn & Teller are involved in similar debunking today. Randi has, for example, shown how people have been taken advantage of by unscrupulous faith healers who, using simple sleight-of-hand, remove chicken-giblet "tumors" from the patient's abdomen. More recently, British magicians Barry and Stuart used some of the Biblical accounts of miracles as inspiration for the tricks they presented in two TV specials.
Con men and grifters often use techniques of conjuring for fraudulent goals. Cheating at card games is an obvious example. Other scams continue to defraud the innocent, despite having been exposed and debunked. The card trick known as "Find the Lady" or "Three-card Monte" is an old favourite of street hustlers, who lure the victim into betting on what seems like an easy and obvious win. Another example is the shell game, in which a pea is hidden under one of three walnut shells, then shuffled around the table (or sidewalk) so slowly as to make the pea's position seemingly obvious. Although these are well-known as frauds, people are still fooled enough to lose money on them.

[edit] See also
American Museum of Magic

[edit] References

[edit] Notes
^ Henning Nelms. Magic and Showmanship: A Handbook for Conjurers, page 1 (Mineola, NY: Dover Publications, Inc, 2000).
^ Jim Steinmeyer. "A New Kind of Magic," in Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear (New York, NY: Carroll & Graf Publishers, 2003).
^ Pogue, David (1998). [www.dummies.com Magic for Dummies]. Hungry Minds, 255. ISBN 0-7645-5101-9.
^ Bill Herz with Paul Harris. Secrets of the Astonishing Executive (New York, NY: Avon Books, 1991).
Indian Magicians Web Site
Indian magicians About Indian Magic and History of Indian Magic

[edit] Bibliography
Milbourne Christopher (1962). Panorama of Magic.
Dunninger, Joseph. The Complete Encyclopedia of Magic.
Randi, James (1992). Conjuring: A Definitive History. New York: St. Martin's Press. ISBN 0312086342.
Randi, James (1982). Flim-Flam!. Prometheus Books. ISBN 0879751983.
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History of magic · Timeline of magic · Magic tricks · Parlor magic · Manufacturers and Designers of Magic Effects/Illusions · Card magic · Street magic · Mentalism · Coin magic · Escapology · Exposure of magic tricks · Intellectual rights to magic methods · Professional magicians · Magician's assistants · List of conjuring terms · List of magic tricks · Magic Club · Extreme card manipulation

LANCE BURTON BIOGRAPHY

LANCE BURTON

A World Champion Magician is leading Magic Into the Twenty-First Century! Lance Burton's achievement is a quintessential American success story. His introduction to the world of magic began before his sixth birthday as a result of being taken to a Christmas party by his mother, where the featured performer was magician Harry Collins. He asked for a volunteer and an eager Lance bolted up onto the stage. The maestro performer a trick known as "The Miser's Dream" and (seemingly) pulled silver dollars out of his bewildered, impressionable assistant's ear. Lance thought, "What a great way to make money and people like you too." The hook was in. From that moment on, he knew what he wanted in life and nothing would deter him from it. The progression towards eventual international stardom was both consistent and steady. A neighbor, hearing of young Lance's new interest, gave him a book, "Magic Made Easy," which her now grown children had used. It contained 10 tricks, all of which Lance swiftly learned and performed for his neighborhood friends. The fee charged for admission was five cents per head. The child's zeal and perseverance were not going unnoticed. Harry Collins, the man who had impressed Lance years before, was a full-time professional magician in Kentucky. He noted the intense devotion the young boy was putting into his magic act. Lance entered his teens and Harry became his mentor. The die cast by this teaming molded the classical education of a future magic star. Under this expert and wise tutelage, Lance learned both the fundamentals and techniques of performing sleight-of-hand, and the correct way to manipulate playing cards. An important portion of Lance's education was spent in perfecting the art of misdirection. His superb mastery of this art has earned Lance the title, "A Magician's Magician." Lance Burton entered his first competition as a junior magician at a convention in 1977 and walked away with first prize. His maturity as a performer was becoming evident. It was no longer a matter of if, but when, the "break" would come. The recognition from his peers continued. In 1980, shortly after his 20th birthday, Lance Burton became the first winner of the coveted "Gold Medal for Excellence" from the International Brotherhood of Magicians. Lance decided that the time was right to leave home and move to Southern California. Bill and Milt Larsen immediately signed him up for their annual "It's Magic" show and used their contacts to have him introduced to all of America by Johnny Carson on "The Tonight Show." This one appearance put Lance Burton permanently into the pages of magic history. The offers poured in for the new star. Lance wisely accepted an eight-week trial engagement at the prestigious "Folies Bergere" in Las Vegas. His contract broke all records by being extended for nine years. In a rare act of courage, Lance decided to put his professional career on the line and asked the management if he could take a week off to enter the competition at "F.I.S.M." (Fédération International Société de Magie) in Lausanne, Switzerland. He honored his country on July 10, 1982 by winning the "Grande Prix" that recognized him as a "World Champion Magician." Lance Burton was both the first American and the youngest performer to be so honored. His star continued to ascend. Lance was brought back to "The Tonight Show" with Johnny Carson nine more times, for a total of 10 appearances and has appeared 5 more times with Jay Leno as the host. Hailed by Dai Vernon, the universally acknowledged "Patriarch of Magic," as "The most brilliant magician of this century." He was twice awarded "Magician of the Year" by the Academy of Magical Arts. He was honored to have performed for President Reagan, (during his presidency) and Mrs. Reagan, in Washington, D.C. Presented to Her Majesty Queen Elizabeth II, after a Royal Command Performance at London's venerable Palladium Theatre. Produced, directed and wrote his own show, which opened at the Hacienda Hotel in mid-1991 and played to packed houses for five years. On May 12, 1994 Lance Burton was given the honor of having the "Mantle of Magic" passed to him from Master Magician Lee Grabel which made Lance the new member of what has been called "The Royal Dynasty of Magic." This honor, which can neither be bought nor sold, has been passed in an unbroken line beginning from Kellar to Thurston in 1908, to Dante in 1936, to Lee Grabel in 1955 and to Lance Burton in 1994 who is now charged to take his classically conceived art boldly into the 21st Century! On August 11, 1994 Lance Burton entered into a contract to star in, produce and direct a new and lavish version of his, already great, magic show in the Monte Carlo Resort & Casino which opened on June 21, 1996. This 13-year contract is the longest legal agreement ever given to any entertainer in Las Vegas history. And apart from the financial terms which are significant, the greatest honor of all was to have a $27 million theatre built especially for him and designed to his specifications which has been named The Lance Burton Theatre. In 1998, the first Blackstone Theatre Award was presented to Lance Burton for excellence in the arts. Lance Burton recently completed his fourth TV special which will be shown worldwide along with a new television special featuring young magicians. His specials air regularly on FOX Family Channel and internationally. He's a regular guest on talk shows such as "The Tonight Show" with Jay Leno and "The Late, Late Show" with Craig Kilborn. His homecoming was in November of 1999 when the Louisville native returned to his hometown to perform five shows at the 2,000-seat Kentucky Center for the Arts. He also performed at the Cerritos Center for the Arts in California in 1999 and 2000 selling out the $70 million theatre. In nearly every poll Lance Burton has been voted "Best Magician" and "Best Entertainer." In the R-J's 1999 Editor's Poll he was chosen as "Favorite Male Las Vegan" for his contributions to community charities. Especially The Shriners, The Variety Club and New Vista Ranch. The Legend Continues!

LARRY JENNINGS BIOGRAPHY

The Life of Larry Jennings

Larry Jennings is born in Detroit, Michigan on February 17, 1933. His parents are John Alfred Jennings and Eva Jennings (nee Jones).Three years later in 1936, his brother Jerry is born.
His parents divorce and his mother moves back to Georgia to live with her parents. Her father owns a grocery store as well as a large home.

Larry divides his time between staying with his father in Detroit and his mother in Georgia. His mother can only have one boy stay with her at a time so he and his brother switch between parents.

In his mid-teens, Larry sees his first magic—a four ace trick.

At age 16, while in Detroit, Larry joins the United States Navy. He starts his service on June 29, 1949 and is honorably discharged on April 22, 1953. He proudly serves aboard Naval Boat #US 839.

While in the Navy, a fellow sailor shows Larry a trick. Larry keeps pestering the sailor to teach him the trick and after a while he relents.

After his discharge, Larry moves to Detroit and meets a French-Canadian woman named Nina Chauvin. She lives across the border in Windsor, Ontario with her eleven-year-old daughter, Sheila. Larry moves to Windsor and the two are married.

In 1956, while in Windsor, Ron Wilson moves in across the hall from Larry. It is Ron who introduces Larry to the world of magic. Larry has a unique way of meeting his neighbors. First, he places his trashcan in front of someone’s door; then he knocks on the door to ask if the neighbor has taken his trashcan. It is in this manner that Larry meets Ron. Larry comes over and asks Ron if he has a deck of cards. He then proceeds to show Ron the trick he had learned in the Navy. Afterwards, not knowing Ron is a magician, Larry asks him if he knows any magic. Ron then shows Larry “Out of This World,” which completely fools him. He asks Ron to teach him the effect, but Ron resists. Instead, he tells him to think about it. Larry eventually figures it out and Ron continues to teach him magic, introducing him to the magic of Edward Marlo and Dai Vernon.
Larry joins the Windsor Magic Circle.Larry’s job as a combustion engineer has him watching a boiler to make sure that the pressure doesn’t get too high. So, basically he has nothing to do but practice. He practices the coins through table so much that he eventually makes a groove in the table.

In the early 1960s, Larry and Ron Wilson meet Dai Vernon for the first time at a convention in Cleveland. Besides seeing the Professor perform they also get to spend a little time with him, sharing a walk back to the hotel.

Larry would walk around the conventions he attends with a deck of cards in his hands asking, “Are there any cardmen here?” During the stage shows, Larry would practice faro shuffles.

In 1961 at the Columbus MagiFest, Larry meets a cardman who shares his interests—Bruce Cervon. They become instant friends, sharing their knowledge and discussing the works of Marlo and Vernon. They subsequently meet at the MagiFest for the next two years and correspond with one another between conventions. At one of these conventions, Larry sees the card to wallet for the first time. Performed by Walt Rollins, it completely fools him. After everybody leaves, Larry picks up the envelope used and checks it for rubber cement.

In the early 1960s, Larry’s mother dies.

In 1964, Karrell Fox tells Larry about the Magic Castle. Knowing that Dai Vernon now lives in Hollywood, Larry quits his job as a combustion engineer and he and Nina move to California. They live at 2005 Ivar Street, Apt. 7.

In Hollywood, Larry gets a job working for Leo Behnke’s father in the plumbing repair business.

Larry quickly becomes friends with Dai Vernon and studies under him.

In September 1964, Larry’s first published ideas, “A Snappy Lift” and “Lift No. 2,” appear in a letter from Dai Vernon to The Gen magazine.

During this time, Larry, Dai Vernon, Charlie Miller, Ron Wilson, and Tony Giorgio would regularly play poker with the provision that you could cheat. However, if you got caught you would have to forfeit your pot and leave the table. At one game, Larry grabs Giorgio’s hand to reveal a palmed card.

In July 1967, Larry publishes his first set of lecture notes, Lecture Notes On Card And Coin Handling. These notes are written by his wife, Nina. Larry gives this lecture at the Kansas City Jubilee, traveling there with Dai Vernon and Ron Wilson.

In this same year, a collection of Larry’s magic appears in Dai Vernon’s Ultimate Secrets Of Card Magic.

In 1969, Larry travels with Dai Vernon on his lecture tour of Japan. Here he meets Hideo Kato who acts as their interpreter.

In 1970, a second set of notes are published for a special lecture Larry gives at the Hollywood Roosevelt Hotel. Again, they are written by his wife, Nina.

Larry’s one-man issue of Genii is published in May 1970. The effects are written by Jules Lenier.

In 1970, Hideo Kato comes to America and studies card magic with Larry. He writes a book on Larry’s card technique entitled Larry Jennings-No Card Magic Nyuumon. Written in Japanese, the book has yet to be translated into English.

Larry and Nina get divorced in the early 1970s.

In the mid-1970s, Larry meets his second wife, Geri, in Los Angeles. They are married and move to Lake Tahoe, where he opens up his own plumbing company, Jenco. They are later divorced.

Larry dates a real estate agent named Greta.

In the mid-1970s, Karl Fulves publishes a special two-part issue of Epilogue featuring Larry’s magic.

Larry meets B.J. in Lake Tahoe in 1977, where she works as a blackjack dealer at a casino Larry frequents.
Larry meets Jeff Busby who releases the effects Stabbed Coincidence and The Coin And Beer Can as well as the book Larry Jennings On Card And Coin Handling (1977).

While in Tahoe, Larry performs after hours in the Baccarat pits for the pit bosses. He is so popular that he is hired to do private shows by the high rollers who come into town.

In 1979, Larry is the guest of honor at the annual Fechter’s Finger Flicking Frolic. He presents a new lecture for the event.

Following his appearance at Fechter’s, Larry is invited to lecture in Japan. The Japan Lecture Notes are produced for the occasion. These are put together by B.J. and Louis Falanga.

In the early 1980s Larry sells his business in Lake Tahoe and moves to Newport Beach, CA to work at the Magic Island. Larry is the resident magician and is placed in charge of booking. He tries to get higher pay for the magicians and when the management refuses, he quits.

Larry moves in with James Patton and the two frequently have sessions. Jim convinces Larry to do another lecture and in 1982, Larry lectures at the Magic Castle, presenting the material from A Visit With Larry Jennings.
Larry goes to work for the Los Angeles Unified School District and moves to North Hollywood.
In the early 1980s, Larry goes to France and shoots his first magic videos for Pierre Mayer.
In 1986, Larry and Louis Falanga start L&L Publishing.

In April of 1986, Larry Jennings and Dai Vernon are invited to perform at the Circulo De Magios Maxicanos IV Convencion De Magia in Mexico.

In 1986, The Classic Magic Of Larry Jennings is released. It is the largest collection of Larry’s magic to date, containing over eighty effects.

This is quickly followed by the publication of Neoclassics (1987) and The Cardwright (1988).

Larry and B.J. are wed on December 28th, 1990. Michael Skinner is the best man.

During the 1990s, Larry continues to share his magic with two new sets of lecture notes and five videotapes.

In 1995, Larry is awarded the Creative Fellowship by the Academy of Magical Arts.

Larry continues to frequent the Magic Castle, performing both formally and informally.

Larry and B.J. continue to live in North Hollywood until his death on October 17, 1997 at age sixty-four.

Since his death, Larry’s magic continues to inspire with the publication of his effects in various magazines and most notably in Richard Kaufman’s book, Jennings ’67. It is the largest collection of Larry’s magic since The Classic Magic Of Larry Jennings.

In 1998, Larry Jennings is one of the topics studied at the Escorial in Spain.

DAVID BLAINE BIOGRAPHY

The Magic of David Blaine
In three decades, David Blaine has succeeded in transforming the world of magic and magic around the world. Born of humble beginnings in Brooklyn, New York, Blaine's earliest exposure to magic was watching a street performer in a New York subway. He was just four years of age at the time; however, the experience had a profound impact on the youngster. After learning his first trick, the "Pencil through Card," which he purchased at a Disney shop, Blaine continued to practice and refine his skills. Tricks with cards became the logical choice for a young man of limited financial means. What's more, Blaine found he had a natural aptitude for card manipulation. Soon he carried a deck with him everywhere he went - taking advantage of every opportunity to perform for friends and strangers alike.
When Blaine was ten, his mother, Patrie White, remarried and they moved to New Jersey. He continued to dream of being a master magician. At the age of 17, he moved back to New York. It was here on the mean streets of Hell's Kitchen; Blaine began to polish the skills and unique performance style that would later help him astonish TV audiences around the globe. These hard-won performances honed his skills to a razor sharp edge.
He was becoming an accomplished performer. Yet his approach was different. It was more hip, more contemporary. In addition, while Blaine did not fit the image most people had of a magician - his street audiences accepted him, because he looked like them. He was an "everyman," but an everyman that could perform seeming miracles. An urban shaman, as card man and magic columnist Jon Racherbaumer would later put it.
In 1994, at the age of 21, David Blaine's mother died of cancer. With this devastating loss came a renewal of self-purpose. Blaine’s drive to succeed against the odds became stronger than ever. He worked harder to promote himself. His performances began to attract the attention of top celebrities around New York. Soon he was performing his "in-your-face" miracles at fast, inner circle parties for the rich and famous. Places you might see Al Pacino, Jack Nicholson and Robert De Niro. Blaine also became a good friend of Leonardo De Caprio around this time. Blaine's pals in the entertainment business encouraged him to send a video tape of his magic to ABC-TV.
In 1997, his first special, "David Blaine: Street Magic," aired. Audiences in the United States were so impressed; ABC syndicated the special worldwide. The impact of David Blaine’s magic transcended all cultural barriers.
David Blaine's second TV special aired in 1999. Called "David Blaine: Magic Man," it featured some more exotic locales than the first special, including Haiti and South America. The focus of the magic was even more offbeat than the first - interspersing close-up tricks with mentalism and some obscure Eastern magic effects. To promote the special, Blaine was buried alive for seven days in New York.
In his third special last year, "David Blaine: Frozen in Time," Blaine was frozen inside a block of solid ice. More of a stunt than a magic trick, it generated a huge amount of publicity and inevitably some controversy for being over hyped.
This year, David Blaine appeared in his fourth television special entitled, "David Blaine's Vertigo." Blaine, known for his headline-making daring and his death-defying feats of physical and emotional endurance, put his life on the line by balancing on a small circular platform one hundred feet above the crowd for 35 hours. He finished the stunt by falling into cardboard boxes - live - on the special. Viewers were also treated to pre-recorded segments of David Blaine performing his unique brand of in-your-face style street magic to astonished onlookers.
In his most recent endeavor, "David Blaine: Drowned Alive", millions of ABC-TV viewers tuned in for two hours to see if he could hold his breath for over 8 minutes and 58 seconds - the current world record. While, he ultimately came up short, a little after seven minutes; it was clear his attempt had earned the respect of the live audience that had witnessed it and many of the television viewers as well. Some magical effects were also interspersed with background pieces on the challenge and David's life.

DOUG HENNING BIOGRAPHY

Doug Henning was born in Winnipeg, Canada in 1947. By the tender age of 6, after watching a magician on television, he was determined to learn the art of magic. Young Henning began studying magician's manuals at his local library and purchased his first magic kit.
Henning performed his first show at the age of 14, when he was invited to a friend's birthday party. Amazed with his curious and spellbound audience, Henning placed an ad with a local paper that read, "Magician, Have Rabbit, Will Travel." Within months, teenage Henning was doing live shows on local television in Toronto and performing as an entertainer at parties.
After graduating high school, Doug Henning attended McMaster University, where he set his sights on becoming a doctor. Henning enrolled in psychology courses and studied the power of perception. Using his new skills, Henning began perfecting more detailed illusions.
Henning graduated McMaster University and decided to take a break from his studies. With the intention of enrolling in medical school after a two-year period, Henning turned his attention to magic. Eager to perfect his talent, Henning began working as a full-time magician after being awarded a small Canadian Council Grant. In order to fulfill the terms of the grant, Henning was to study magic. The $4,000 awarded him the opportunity to travel and view firsthand the talents of magic greats like Slydini and Dai Vernon.
In the early 1970s, Henning abandoned his goal to become a doctor. The enthusiastic entertainer took out a $5,000 loan and began building and designing stage illusions and props. It was Henning's goal to bring magic back to the "good 'ol days," when it was more of a theatrical art. With the help of a friend, Henning garnered more financial support and turned his dream into a live theatrical show. "Spellbound," a musical that combined an intense storyline and magic tricks hit the stage and broke every box office ticket record in Toronto.
His sudden success captured the attention of several New York producers, who made an offer that Henning couldn't resist. Traveling to New York, Henning revamped his show and took it to Broadway under a new title. "The Magic Show" debuted in 1974, and ran for 4-1/2 years straight. The highly successful show won Henning a Tony nomination.
The following year, Henning was approached by NBC, who wanted the popular illusionist to perform a live television performance void of trick mirrors or "old styled devices." Henning spent eight months working and reworking his act and in December of 1975, Doug Henning captured the attention of a nation. More than 50-million people watched as Doug Henning recreated Houdini's infamous "Water Torture Escape." "Doug Henning's World of Magic," won the Christopher Award for outstanding achievement and earned him a contract with NBC, who agreed to air yearly television shows based on the trickery of the new king of magic. For the following 7-years, Doug Henning amazed audiences worldwide and captured 7 Emmy nominations with once-a-year live television shows.
Henning relocated to Los Angeles in 1976, and created his own production company. For two months, he worked on building new illusions and inventing new stunts. Three years later, Henning's work paid off, as he wowed audiences around the globe with a new show, "World of Magic." The following year, Henning won the well-known Georgie Award from the American Guild of Variety Artists for Entertainer of the Year and Magician of the Year from Hollywood's Academy of Magical Arts and Sciences.
During the late 1970s and early 1980s, Doug Henning performed wherever he could. His magic was seen from Las Vegas to Japan. Henning also began to stage effects for music videos and concerts performed by Earth, Wind and Fire and Michael Jackson.
In December of 1981, Henning's career took a backseat as the magician exchanged vows in Fairfield, Iowa with Debby Douillard. A talented artist herself, Douillard would spend much of her married life accompanying her husband on tour, co-starring on stage, and helping to design sets and costumes.
In 1983, Doug Henning returned to Broadway, where he performed a $5-million dollar musical called "Merlin." The performance would earn Henning praise from critics and draw positive reviews from Time Magazine and The New York Times. "Merlin" ran for 8-months, receiving five Tony nominations.
The former worldwide tour "Doug Henning's World of Magic" was rewritten and taken to the stage, as well. Henning opened the reworked show on Broadway for a one month run. Due to its wide spreading popularity, the show's run was extended another 30-days.
In 1985, Henning set his own entertaining aside and was hired by the Walt Disney Company to do consultant work. His job: to find ways to put more magic into Disney theme parks, rides, exhibits and movies. By 1986, Disney opened Kingsman Island theme park in Washington, D.C. and the "Theater of Illusion."
In early 1990, Henning traveled to India to study with Maharishi Mahesh Yogi, the founder of Transcendental Meditation. Already an avid follower, Henning plunged himself into learning what he called "real magic."
Henning spent the 1990s appearing on game shows, performing occasional illusions and continuing his studies. He also began work on designing a transcendental meditation theme park in Ontario.
Doug Henning died February 7, 2000 in Los Angeles of liver cancer. Henning was 52 years old.