Dr. Derek Livingston’s Reflection on Danger of Magic & Science

Inside Magic Image of Dr. Livingston Performing in his Retirement“Our focus is sharp, but our light faded,” so wrote the famous, or perhaps infamous scientist and magician Derek Livingston in 1965. The man commonly associated with the dangers of quack-science or a magician’s claims of super-natural powers, was born on this day in 1936.

Dr. Livingston’s phrase had many possible meanings but all were tied to his confusion of magic and science.

Dr. Livingston’s fame and infamy arise from the same experiments in the late 1950s and 1960s with laser technology (Light Amplification by Stimulated Emission of Radiation) as well as his life-long love for magic.

Dr. Livingston worked his way through the distinguished and ivy-draped halls of the country’s finest schools. He was not from a wealthy family or noble ancestry but relied upon the kindness of others for his housing, food and supplies. In 1955, the then Mr. Livingston, took up work at the prestigious Bell
Labs whilst he considered the question of light’s structure. Was light made up of waves or particles?

He supplemented his income by performing magic shows for co-workers and their families in Murray Hill, New Jersey. He was known for his deft sleight-of-hand and charisma. His show was billed as “lasts 20 minutes, more than an hour’s worth of magic, you’ll remember for a lifetime.”

It was an old question. Prior to Sir Isaac Newton’s corpuscular theory, light was thought to be made up of particles. Newton demonstrated his wave theory by showing light could be reflected and refracted with mirrors and prisms.

So great was Newton’s legend that none dared to challenge his theory until early in the 1800s. Light is made up of waves, suggested some scientists. Their proof? When light is split into apparent constituent parts, it can be made to interfere with itself.

Just as waves going in one direction can be “cancelled out” by the same size waves going the opposite direction, light properly cast on itself could cause the lack of light.

Einstein postulated that as later proven by breath mint technology, light can be made up of two things at once. Light is a wave when one is looking to test its wave properties but exhibits particle characteristics when testing for particles.

This postulation gave support for quantum mechanics and our modern understanding of light, particle physics, and even scientific inquiry.

But back to Dr. Livingston. The good doctor studied light and its properties with the single-minded determination of a man possessed. He was particularly excited (pun intended) by the new field of lasers. In 1958, two Bell Labs scientists released a paper demonstrating that it was possible to build a functioning laser. (Physical Review v. 112, issue 6, “Infrared and Optical Masers,” A. L. Schawlow and C. H. Townes, Bell Telephone Laboratories).

Dr. Livingston’s loyalty for Bell Labs was evidenced in his public support for their patent application over the later-vindicated claims of Dr. Gordon Gould of Columbia University. (Dr. Gould challenged Bell Labs’ patent claims. It took 20 years, but he was finally awarded the patent rights for their patent application over the later-vindicated claims of Dr. Gordon  Gould of Columbia University. (Dr. Gould challenged Bell Labs’ patent claims. It took 20 years, but he was finally awarded the patent rights – see article in “MIT Inventor of the Week,” January 1998; List of Dr. Gould’s patents related to the laser from 1975 forward here). He spent his own funds to advertise support for Bell Labs’ position.

But back to the connection with magic.

Dr. Livingston struggled to find a way to incorporate his obsession with the nature of light, love of the new laser technology, and magic. He initially offered a public lecture for civic groups and schools where he discussed the newest laser/maser technology and used magic to enhance the demonstration. A
laser in 1965 weighed over 22 pounds and required an enormous power source.After months of lugging the “portable laser” from lecture to lecture, Dr. Livingston decided to replace the real thing with a light-weight prop and use magic techniques to duplicate the effects of the laser beam.

The lecture was a hit and his aching back recovered from its painful and repeated insult. When demonstrating the real laser, Dr. Livingston would demonstrate its awesome and precise power by igniting paper held by a spectator, lighting a cigarette in the mouth of another spectator (without burning the volunteer’s face or lips), carve the host’s name into plywood, and measure the
distance of any moving object (without harming the object).

Using magic methods, he was able to duplicate these effects but instead of a high-powered laser, he needed only a pen-light encased in a plastic “gun” device. Dr. Livingston never viewed his demonstrations as fraudulent but he also never advised his audience the effects were caused by magic tricks rather than laser science.

There are many articles written about Dr. Livingston’s arrest and conviction following the New York World’s Fair and this essay will not repeat those sordid details here. What has not been covered previously, is the psychological and emotional trauma Dr. Livingston suffered in the days prior to his arrest on the fair grounds.

Dr. Livingston’s understanding of laser technology was capped when he left the research field and entered into entertainment. At the time of his arrest and the alleged “Mass Laser Burns,” Dr. Livingston had no idea how far laser technology had progressed since 1960. He still carried his “laser gun” and magic show, and still carried on his charade of demonstrating the effective power of the space-age technology.

As an adjunct to one of the corporate pavilion set-ups, Dr. Livingston offered 12 demonstrations a day to interested laymen from around the world. It is remarkable he was not challenged by a scientist during the first few months of his appearance at the World’s Fair.

Dr. Livingston’s repertoire had grown from lighting, burning, and measuring things with the “laser gun” to effecting miraculous cures and changing the very essence of items.

Using a slightly modified Dove Pan trick, he was able to light a fire in the pan, extinguish the fire by covering it, and producing a live rabbit from the pan. With the help of a modified Bengal Net trick, he demonstrated the ability of the laser to “vaporize” anything in its beam. The previously produced rabbit was loaded into the net, the beam was fired at the bunny, the net dropped open and the bunny had vanished.

He also used the laser beam to help cut and restore rope, open and immediately and seamlessly fuse steel rings (ala Chinese Linking Rings), bring an apparently dead pigeon and rabbit back to life (using the well-known “animal hypnotism techniques”), and finally to read the thoughts of spectators.

It was this last effect that brought him much attention and ultimately tragedy.

Modern psychics have considered Dr. Livingston’s methods for mind-reading. They uniformly agree the techniques were basic (essentially center-tear and one-ahead) but the presentation was breath-taking.

On July 2nd 1965, Dr. Livingston was confronted with a choice whether to reveal his magic secrets or affirmatively commit fraud. He chose the latter and paid dearly.

The following is taken from reports in the local newspapers of the day as well as police investigation reports:

Dr. Livingston began his demonstration the way he always began. He gave a  short description of the “concentrated and focused” power of laser light beams.

With the flash of a beam from his “laser gun” he started a small fire in the dove pan and produced the rabbit. So far, so good.

In the next portion of the lecture, Dr. Livingston would show the laser’s enormous potential for weapon technology by making the bunny vanish in a puff of vaporized smoke. Witnesses said they could actually smell what they thought was an animal burning. These reports are likely evidence of the power of suggestion. There is nothing to indicate the rabbit was hurt in any manner.

The last portion of the lecture offered spectators a “glimpse into tomorrow’s laser.” It was at this point that the bunny (possibly the same one from the Bengal Net but there is no record of this) and pigeon were “killed” by the beam and then then brought back to life with a different hued beam.

The response to this section was always strong but on this sweltering July day, the reaction was near hysteria. The following from a witness as captured in the police report:

“Then he made the rabbit come alive and the rabbit seemed to be fine and breathing. We were all amazed and started to applaud like we have (sic) just seen a magic trick or a miracle. A lady near me said something I didn’t hear but it was loud enough to hear over the clapping. She pushed through the crowd up to the stage, up front and told him she had some tumor or something he needed to kill with the laser gun. He said he wouldn’t use it for that purpose because it was unethical.”

From another witness, we know the crowd encouraged Dr. Livingston to carry through with the ad-hoc surgery.

“We all yelled, ‘help her!’ And he kept saying ‘No, No!’ Another lady came up and said she had a growth in her that was causing her to bleed and he needed to help her too. He kept saying ‘No, No!’ and was trying to get off the stage towards the fire exit on the right.

“The first lady jumped up to the stage and went to grab the gun from him to shoot it herself, I think. He was fighting her to see who could hold it and was trying to keep it from going off or hurt anyone. But she was real strong and angry and she got the gun away from him and pointed it at her stomach or around there and shot herself with it for a long time ’til he got it back.

“We all smelled the same smell that we smelled when the rabbit got lasered the first time so we thought something went wrong or that she was hurt from it. The lady let go of his arms and fell on the stage and hit her head on the table on the way down. She was knocked out but I didn’t know if she was knocked out from the head hit or the laser beam.”

We do know from press reports that the first woman was unconscious for much of the ensuing activity and did not regain consciousness until she arrived at the medical pavilion a half-hour later. The second woman took advantage of the first woman’s fall to take the laser gun from Dr. Livingston and she too used it on herself. There was a similar odor produced and she fell unconscious to the stage but was quickly revived.

More audience members came forward and stormed the stage demanding they be healed. Dr. Livingston said later he must have been caught up in the hysteria to do what he did next.

As the crowd approached, Dr. Livingston pointed the “laser gun” at the first few spectators and told them to stand back or he would “vaporize them.” The crowd stopped and some jumped off the stage to flee. A few men and women remained but did not progress further. There was an eerie silence as three women and two men faced Dr. Livingston. The doctor and the five audience members were about ten feet apart. The two unconscious women were in a heap between the opposing sides.

Dr. Livingston said in court documents later that the moment felt like “the old west, like the quiet before the shoot-out at the OK Corral.” One of the women took a step forward and Dr. Livingston pointed the gun towards her and “fired.”

The same odor was produced, and the woman dropped to the stage. Dr. Livingston the fired the gun at the remaining four on stage and one-by-one, they fell to the stage amidst the smell of vaporized matter.

Before a second wave of the mob could attack, Dr. Livingston tried to escape through a curtain at the back of the stage but was apprehended by New York police.

Later forensic examination of the “laser gun” proved it was nothing more than the pen-light with a connection to the trigger of a plastic gun body. Experts for both the prosecution and defense agreed the gun could not have injured any of the victims and that their reaction was purely a function of their hysteria.

“It was similar to mass hypnosis. They believed so fervently this gun was real, they fainted from ‘being shot.'”

Dr. Livingston wrote a portion of his attorney’s closing argument; including his now famous defense “Our focus is sharp, but our light faded.” Some wondered if he was making a philosophical point, giving an assessment of his legal defense, or just trying to explain his defense.

Although Dr. Livingston was convicted on seven of the eight counts, those seven charges were misdemeanors relating to fraud in shows or exhibitions. The eight count was essentially a battery charge and the court dismissed the charge after hearing the evidence. Under the law, a battery consists of the “unwanted touching or striking of one person by another, with the intention of bringing about a harmful or offensive contact.” The court ruled the gun could not have caused harm to the victims and there could not have been a battery.

The lawyer in us wonders why the prosecutor did not charge Dr. Livingston with assault rather than or in conjunction with the battery count. Assault does not require a physical touching or striking but only an act that causes a victim to believe he or she will be injured, a threat of physical harm. Perhaps the New York Criminal Code in 1965 included the language found in some versions of assault requiring the attacker to have the physical ability or the means to carry out the threat.

Dr. Livingston served just two months in the city jail for his offenses. His victims recovered from their “laser burns” on the day of the incident. Sadly, the first woman on stage, later died believing she had been cured by the laser beam. She was struck by a streetcar six weeks later while returning from a “celebration of her cure.” The autopsy found no evidence of any tumor within her body.

There is no documentation that a physician ever told her she was dying of a cancerous tumor and some have speculated her belief was unfounded but seemed as real to her as the “laser gun.” There are a few commentators who suggest she did indeed have a tumor and either by miracle or placebo was “cured” by the soft glow of a pen-light.

Dr. Livingston traveled to Europe for a few years after his release and gave a new lecture about the power of suggestion and the danger of charlatans. He returned to the United States in 1972 and gave an updated version of the same lecture for the next five or six years before settling down in Bisbee, Arizona — just south of Tombstone, the site of the shoot-out at the OK Corral — an event he referenced in describing the “laser burn” incident.

Dr. Livingston never married and had no close friends or family. He was a prolific author of magic books and tricks under various pseudonyms. Some of his effects can still be seen in stage shows performed in Las Vegas. Because he did not publish under his real name, few magicians ever linked the inventor of so many unique effects with the events of July 2nd 1965. Dr. Livingston wrote that he had received enough publicity in his life and preferred living outside the limelight.

He ultimately passed away in his sleep on June 11th, 2000.  A slightly corroded penlight was found under his pillow.

Our Irish Magic Heritage

Inside Magic Image of James Joyce MagicianWe are almost never asked about our proud Irish heritage; likely because people avoid making eye contact with us after shows and some have gone to the extreme of faking (we think) illness to quickly depart the performing area as soon as we complete our standard 80 minutes.

Yet, despite never being asked, we thought it appropriate to share our story with our kind reader(s) of Inside Magic.

We descend from a long line of magicians who willingly fabricate their lineage – each adding to stories of greatness as the generations rolled through the years and across the Atlantic.

Our great, great, great step-mother, Maeve Hardy was the assistant to Ireland’s third or fourth greatest street magician for the time, Buster Seamus who performed under the stage name, Busted Seams.

At the time, there were very few streets in Ireland for a performer to utilize so Buster would waddle (he was very heavy, hence the stage name) up and down dirt roads looking for intersections and audiences.  He was delighted to find Dublin after several years of wandering and that was where he met the matriarch of our proud family.

They shared a love for entertaining, drinking, fine art and horse racing.  It was natural that they would develop an act that included none of those loves.  Buster performed the standard street magic fare: Cups and Balls, the Chop Cup, Multiplying Balls, Cups from Nowhere, Balls from Nowhere and, their finale, Hippity Hop Rabbits.

This was a different time.  Magicians could not buy tricks in magic stores because they did not exist and the Internet was apparently unavailable in Dublin.  Consequently, Maeve and Buster made their own props and are credited with innovations still used today.  For instance, their Cups and Balls were made from allegedly gold chalices they “found” whilst performing at a local church.  The balls were hand knitted by Maeve from wool taken from their pet sheep, Woolina.  Buster’s wand was a long wooden dowel “snapped from the face of a lying, Italian, wooden boy who wouldn’t keep his yap shut during our act,” wrote Maeve.

But it was their Hippity Hop Rabbits that set them apart from the rest of the magicians working at the time.  They used real rabbits, sedated with “a wee bit of ale” and “affixed” to small placards.  The trick delighted or horrified audiences depending upon the crowd’s willingness to “go along with the gag” and the potency of the pre-show ale administered to the bunnies.

On a fateful day just outside of Trinity College in the heart of Dublin, Maeve and Buster performed for a “taciturn, dour man with glasses and a nasty breath.”  That man was James Joyce.  The great author watched their show throughout the day and noticed how the routine did not change regardless of the audience or their reaction.  He wanted to help the couple and offered to write bits for them for a “kind word as a reference for future writing jobs.”

Maeve and Buster understood this to mean he would work for free and took him up on the offer.

It was Mr. Joyce who first suggested they ditch the real rabbits and use “painted images of the vermin on placards” and to shorten the trick to a few minutes.  The suggestion was genius and gave the act a new sense of purpose and entertainment value.  It also provided some respite from the angry complaints they would occasionally receive from “do-gooders” who would “spit hateful and nasty things at them for the sake of the bunnies.”

Some of the crowds wanted the couple to free Woolina as well, but for reasons never really discussed in our family, Buster was adamant that “the beautiful creature would remain always close.”

Mr. Joyce wrote several jokes for the couple as well.  His work was acerbic, more biting.

“Is that your head or is ye neck blowing bubbles?”

“This trick is foreign, I got it from a broad.”

“Want to know how to keep a Dubliner in suspense? I’ll tell ye on the morrow.”

Mr. Joyce wanted to learn magic and join the act.  He did a mean series of card manipulations with beautiful split fans, back and front palming, diminishing cards and color changes.  All were impressed with his skill but Buster and Maeve dropped him from the troupe.  Yes, they hated sharing their meager proceeds with a third person but they also objected to his constant, stream-of-consciousness narration during the tricks.

“Just shut up and do the tricks,” Buster yelled at the bespectacled author as he performed in front of a fairly large crowd.

“That’s what she said!” replied Mr. Joyce.

The crowd roared with derisive laughter and commented that Mr. Joyce had “burned Buster but good.”

Buster was humiliated. Mr. Joyce was elated.  He felt the adrenaline rush that comes with succeeding in front of an audience.  He then used his new catch line “Aye, that’s what she said!” incessantly.  Audiences never tired of it.  Buster and Maeve, on the other hand, grew impatient and resentful.  They hated being the foil.

They agreed to go their separate ways on this very day, St. Patrick’s Day, so many years ago.  Mr. Joyce went on to write novels and occasionally performed his manipulation act as an interlude during his public readings of his stories.  Audiences seemed to enjoy his “incessant jabbering” as he worked the card miracles.

Mr. Joyce never fully left magic and was credited for the invention of several items still used today such as: Torn and Restored Newspaper, Glorpy (or “Hyrum the Hilarious Hank”), Sucker Sliding Die Box, the Whoopie Cushion and, of course Hippity Hop Rabbits.

Maeve and Buster were married but a few years before he passed away due to a gas explosion – an internal one.  He was a very heavy man who ate poorly and experimented with fire-eating.

Maeve migrated to the US where she married a young performer who would later become the scion of our magic family, Thomas “Big Tom” Hardy.

And so on this special day for Irish and those who want to be Irish, we remember our proud history.

Our Magic Plan for the LA Marathon

Inside Magic Mile Marker on LA Marathon Course Pure genius is how we modestly describe our latest development in bringing our act to the vast, unwashed and sweaty masses of Southern California.
We have done our research and determined some interesting facts about the greater Hollywood area: there are several movie and television studios within an Uber ride from the Magic Castle, many people who work at high-levels in popular media are health conscious and run to stay in shape, and a substantial subset of moguls and moguls-to-be (we think they are affectionately called “mogulettes”) will be in the Los Angeles Marathon this Sunday.
We think you see where we are going with this.
We have been working on an act we can perform for the high-fliers as they run the marathon course right by our spacious studio apartment near the bakery for dogs on historic Santa Monica Boulevard.
Because the marathon will be run outdoors, we have eliminated several effects from our tentative set-list including: our barehanded dove production, our gloved-handed falcon production, our take off on the classic Think-a-Drink we perform with scratch-and-sniff imbued playing cards under the title Think-a-Stink, the Kellar Spirit Cabinet and Kevin James’ Snowstorm.
Our research confirmed that by the time the throng of influence-wielding runners reach the water station adjacent to our staked-out position, they will have run 17.3 miles. They will likely be pretty tired and because it is supposed to be a very hot day, they will probably be thirsty too. As they slow to grab a cup of what scientists inexplicably call H2O, we will be there with our well-rehearsed abbreviated routine ready to entertain.
The genius part of our plan – other than what we have set forth so far – is that as the marathon proceeds, the slower runners tend to follow the faster runners. So, yes, we won’t be able to do our full routine for the Kenyan front-runners that should pass our table just minutes after the race begins, but after about two hours, we will have gobs of heaving, perspiring audiences filing past.
Our research also revealed that professional marathoners do not tend to be members of upper-management in the major studios. World-class runners have to focus on things like training, eating enough to maintain their ideal weight and studying the latest techniques in not dropping dead whilst enduring horrible physical torture.
Studio moguls, on the other hand, are often able to run 17.2 miles in 3 to 4 hours. What a treat they will have when they hit what we are calling The Magic Mile Marker®.
Because our time with each runner will be limited, we have cut down much of our opening monologue. Yes, we’ll still do our beloved bits about our brush with mental illness, how unattractive the last audience was and, of course, how airline food is terrible. But then, it is right into the good stuff. By meeting up with the runner/audience as they approach the water station, we can lengthen our time together, giving them time to select a card, return it to deck and watch with delight as we go into our wacky Ambitious Card routine.
As our fan knows, our original take on this classic card trick – which we cleverly call, Oh, No, Not Again! – usually lasts about 90 minutes and involves revelations from all parts of what some less-attentive audience members believe is a well-shuffled deck. We have shortened it to 90 seconds by limiting it to just seven reveals.
Even a runner cannot jog in place for all 90 seconds, we can run along with them and finish the bit with our big finale where their card ends up in small box, inside a bigger box, inside a handkerchief removed from our specially-tailored silk MC Hammer sultan pants. Because of the ingenious method in which we perform this effect, it resets almost instantly.
We expect this to be a big hit and it will probably be pilfered by less-creative magicians but we do not care. As we say during cold and flu season, “there’s a lot more where that came from.”
See you Sunday!

Flop Sweat – A Magical Metaphor

Flop SweatHis fevered brain was unmerciful.

“A grown man reacting like this?  What are you going to do, cry?”

His consciousness was becoming focused as it careened off the neural pathways on its way to activating the part of his brain where options were binary: fight or flight.  It was not a direct path, however.  His psyche made an apparently mandatory stop along the way to trigger the cluster of neurons that apportion shame and blame.  It was hard to believe there was an evolutionary benefit to having shame and blame sensors in the neural pathways but they were there.

The sweat – which, if he survived, he knew he would later describe as “flop sweat” – was spreading across his flushed face and he could feel his body rapidly heat up.  His vision narrowed to exclude almost all but the botched effect sitting before him on the table.  He had to physically lift his head to see the audience and then lower his head to again look at the prop.

What could he do?  He could fight – think of a way to get himself out of the botched effect, hope the audience indulged his mortal failing and move on.  Or he could take flight – give into the panic and embarrassment and walk briskly from the small stage.

At the moment, however, he was unable to make a decision.

He was frozen on stage, looking at the table and the visible evidence of his failure to sufficiently practice a new effect before adding it to his routine.  The shame and blame sensors were firing even if all other parts of the brain were quiet.

He was amazed that he could have these feelings of panic and indecision and shame at this point in his career, his life.  He was no kid, not even a young middle-aged performer.  He had been around for quite a while and performed audiences larger than this, on stages far nicer and for more money. So why was he on the verge of tears?

Time was stopped, it seemed.  Perhaps it was the same sensation experienced by the deer caught in the headlights or the gazelle being stalked.  This wasn’t life or death.  There wouldn’t be a scar or anything more than a good, humiliating war story that he could to choose to tell.

But tears?  Why would he cry about this?  Why would tears be a response to a public failure of his own making?  Wouldn’t tears just add to the shame and embarrassment? Was that part of the evolutionary plan – make the humiliating event thoroughly and irretrievably a moment of failure?

The audience was looking at him but apparently without judgment.  Perhaps they had not seen his failure or thought it was part of the routine? They would soon realize it was a failure that would cut short his performance.  Then the faces would reflect a different attitude, he thought.  That’s when the judgment will kick in and his shame, flushing, sweat and inability to calmly fix things would become obvious.  They would see that he was a fraud – not a good performer, worthy of their attention and enthusiasm.

He could survive this if he just had to deal with the flop-sweat, the feeling of embarrassment and a momentary lapse in what had been a smoothly running routine.  All of that could be explained and laughed about but if he couldn’t avoid crying, all was lost.

He felt his consciousness move towards one of the two impulses.  His battle would focus solely on not crying.  He took a breath, smiled, stepped forward and took another breath.

“For my  next trick . . .” he offered with a forced smile and a humbled tone.

Guest Article: The Kids’ Show Done New

Inside Magic Image for Tony Spain's Seance for Children[It is the policy of Inside Magic to offer its readers new and different views on the art of magic — even if they are offered by those who have no reputation for honesty or integrity.  Today’s submission is an essay on a new and different approach to magic for kids.  Inside Magic does not approve of Tony Spain’s thoughts or approach to kids’ magic.  In fact, we find them horrible.]


It is a given – and so I’ll write it at the beginning and get it over with – that people are reluctant to accept the new and cling so tightly to the old.  The old is comfortable, fits well with their beliefs (in part because the beliefs have been formed by the comfortable fit with the old pattern) and to leave the comfortable is to risk the unknown.

I think it was John Wilkes Booth that yelled Sic Semper Tyranus as he hit the stage floor after assassinating President Lincoln.  His words are reportedly from some foreign language, maybe Latin – even though people didn’t speak Latin then – and some scholars have translated them to mean, “So Always Goes (or With) Tyrants.”

Phillipe Anjou, the cartoonist and creative mind behind the 1870’s most famous one frame comic, “Li’l Trachea: The Funny Passage Way,” reworked the assassin’s declaration with humor.

The cartoon showed Li’l Trachea jumping from the Presidential Box at Ford’s Theater with a pistol in his ligaments and the ever-present hand-rolled cigarette balancing ever so gently on the top of his tube like head.  Li’l Trachea shouts “Let’s Try Something Different!”

Li’l Trachea’s little friend, Liver Boy is about to jump from the box as well and it looks like he will land right on the proud little trachea.  Li’l Trachea wants to try something different but only we, the audience, can anticipate the fun that will follow shortly.

I traveled down that side road of cartoon history, to make a point.  Even within 10 years of the death of a great public leader, the method of his assassination is lampooned as trite.

So what does this have to do with my innovation in Kid’s Magic?

Only this: I believe I have hit upon a formula that works and works independent of the traditional trappings we associate with the Kid Show or Kid Magic.  I believe it takes a certain kind of personality to perform this method but then again, so does any kid magic.  You have to feel comfortable with the children and make them feel that you are safe and you are there to entertain them for exactly 55 minutes pursuant to your written agreement with their mother, father or legal custodian.

Rather than go into the nuts and bolts right now, I thought I would relate to you my experience this weekend as I tried out my new, novel, approach to Kid’s Magic.

At the age of seven, psychologists tell us, children become aware of mortality generally and their own mortality specifically.  Perhaps a relative has passed away or maybe a family pet or close friend.  Regardless of the trigger, the age of seven, is the time to understand that few will make it out of this life alive.

Most Kid Shows ignore this ground-shaking revelation and allow the Birthday Boy or Girl to reflect silently that their birthday also means they are moving irreversibly along the river of life towards their final day.

The kids are terrified but they cannot verbalize their fear.  By pretending all is sugar and donuts, the entertainer is really just reinforcing their fear.  Every breath used to inflate a balloon is one less breath available to the child.  Blowing out the candles on their cake provides only a harsh reminder that, as Buddha said, they too will vanish from life like the flame from the candle — even a birthday candle.

I say, don’t fight these fears.  Exploit them.  Use them to make this the best birthday ever.

That’s where I came up with my concept for Kiddy Séance.  I will get to the marketing opportunities in a second, but imagine this scene.

Continue reading Guest Article: The Kids’ Show Done New