New book: The Vernon Companion

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erdnasephile
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New book: The Vernon Companion

Postby erdnasephile » October 31st, 2014, 11:20 am

http://www.hermeticpress.com/product_in ... cts_id=105

A new book by Mike Perovich--looks great!

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Re: New book: The Vernon Companion

Postby brianarudolph » October 31st, 2014, 2:03 pm

And it's being published in a limited run of 600 deluxe copies.

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Re: New book: The Vernon Companion

Postby El Mystico » October 31st, 2014, 4:01 pm

Having read some of Mike's writings on Vernon, I'd say this is essential for anyone interested in Vernon the man.

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Re: New book: The Vernon Companion

Postby Bill Mullins » October 31st, 2014, 5:36 pm

He used to tell interesting Vernon stories on the Electronic Grymoire (is that still around?)

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Re: New book: The Vernon Companion

Postby Richard Kaufman » October 31st, 2014, 6:41 pm

And in MUM, too?
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Re: New book: The Vernon Companion

Postby Andrew Pinard » November 2nd, 2014, 1:50 pm

In my desire to understand, Why Vernon, I have placed my order. My appreciation is deepening, but I still don't have the reverence that some have for Vernon. I hope that this will help clarify the cult-like obsession some have for Vernon...

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Re: New book: The Vernon Companion

Postby Richard Kaufman » November 2nd, 2014, 1:53 pm

Andrew, if you had the chance to sit with Vernon and talk magic for a number of hours you would know the reason.

Ditto for Jennings, Cervon, Skinner, Freeman, or Carney. All students of Vernon's that really learned the lessons.
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Re: New book: The Vernon Companion

Postby Andrew Pinard » November 2nd, 2014, 2:32 pm

I've talked with both John Carney and David Ben about Vernon and what his significant contributions to magic are (and how they stand out from his predecessors). Both failed to satisfy my sincere request (and answered essentially "read my book" or "you either get it or you don't"). I would hope that his students could more effectively communicate the value beyond "if you got a chance to speak with Vernon you would understand"...

There is obviously some significant value to studying Vernon, but a better question than my "Why Vernon?" might be "How Vernon?" As in, how should one study Vernon for best impact. The material is spread wide, but I would welcome a more in depth look at the pedagogy of Vernon. Perhaps Michael's book will help answer that question, but simply asking his students has yet to provide a satisfying answer that inspired more in depth study.

Why *should* we care about Vernon? What among his creative output are examples of Vernon's approach towards magic? How does his output differ/improve upon his predecessors? What is the best order to study his material that best emphasizes the lessons of Vernon? And what exactly are those lessons again?

From what I've read (and seen), Vernon was a very complex individual that represented one ideal to the armchair magician and another entirely to the professional performer. His capabilities to sustain a living as a performer encompass both enormous success and spectacular failure. His work and life seem valid for study, but despite a sincere effort on my part owning and studying the published work, I still don't entirely get the reverence. Is it a desire of others to live the life of a "magician" without the apparent responsibility of providing for one's self or one's family? Is it a regard for the strength of the material? Is it the appeal of the approach (one that predates Vernon in the theatrical world, who nonetheless popularized the "natural" approach to magic).

I have no interest in tearing the man down. I agree that he was a compelling figure, but I would welcome a retrospective approach that supports the adulation. I am not the person to write the book, but I welcome attempts by Vernon's students to help those of us who were not graced by Vernon's presence to understand why we should remember him and how to study his work in a way that will benefit not only myself, but the magic world at large... I bought a copy of Michael Perovich's book (and recommend anyone interested in Vernon to do the same) and I will gratefully continue to look for answers.

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Re: New book: The Vernon Companion

Postby Leonard Hevia » November 2nd, 2014, 2:47 pm

Many of the answers are in David Ben's bio.

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Re: New book: The Vernon Companion

Postby erdnasephile » November 2nd, 2014, 3:03 pm

I think one thing that will always make me appreciate Dai Vernon is the incredible depth of thought he put into his magic. He took centuries old concepts and routines and pushed them a quantum leap forward by leaving no detail untouched in his quest for naturalness. In almost every Vernon routine, there's a moment or a tip where I just marvel at the solution he presents. Take "Topping the Deck" for example--once you've learned it, it's hard to fathom a better way to do it. Moreover, the more you study it, the more you realize how many problems Vernon solved with his genius. It's just elegant.

More evidence of Vernon's stature lies in his progeny. He spawned the likes of Miller, Thompson, Carney, White, Ammar, Jennings, Cervon, Nelson, Riser, Jay, et al. It's hard to name a master magician who was around when Vernon lived who wasn't profoundly influenced by him.

Lastly, I think Lewis Ganson's chapter on "The Vernon Touch" gives further insight into what made Dai Vernon so special.
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Re: New book: The Vernon Companion

Postby Q. Kumber » November 2nd, 2014, 3:50 pm

Here's a couple of quotes from Al Schneider talking about Vernon on the Magic Cafe. I trust that neither Al nor Steve Brooks will mind. Al's posts there are well worth checking out. And these two paragraphs may explain a lot.

"Someplace along the way I saw him do the cups and balls. I was stunned. However, I have a hard time explaining why. I think it was because he was so natural and the magic happened anyway. On the forum here all kinds of people do really good stuff. I am often fooled. But often, I do not care. I see a move that looks good, but I see fingers jam something in a palm. They the guy shows the hand a moment later empty. But I saw a whole bunch of stuff that just does not look normal. I think the kid has some kind of a weird nerve disease. Vernon, though, does none of that. His hands always move in a natural way and the magic happens.

Sometime later I went to a convention where Vernon was a headliner. He performed a wine glass and coin routine. He got up to perform and dropped the glass. It broke. A number of people got up and hovered around him like mother hens. He was old at the time. Everyone felt bad. Someone got another glass. Then he did the routine. It was stunning. I could not imagine how he performed the routine. Later I got instructions for the routine. It was incredibly basic. The moves were very simple. I could not believe that was the routine he had done. Yet as I went over the moves the write up matched exactly what he had done."

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Re: New book: The Vernon Companion

Postby Andrew Pinard » November 2nd, 2014, 4:30 pm

Leonard: That was David's answer. I read the book twice. Didn't get it. I would read it again, but I'm not sure it will answer all of the questions on my third reading. Maybe Volume Two will have the answers I seek! ;)

I do appreciate you all for trying to enlighten me. It may be that I seek something that is not there. As I mentioned, I appreciate the construction of the routines (although I think that for the most part they are light in conceptual terms, following the dictum of "adventure of the props") and believe that he refined many ideas in ways that made them stronger, but revolutionary? I'm not certain. There is no argument that he did have a significant impact through his students and that is of significant value. Did his presentations capture the imagination of the lay public? I would argue that they did not and if it were not for his students with their personal connection (and their proselytizing) that not only would lay audiences have no idea who he was, but very few magicians would as well. Fluid (and invisible) technique is only one part of a performance. Character, theme and aspiration are other aspects that are far more memorable and it is these I seek. Perhaps they are not to be found in great quantity in Vernon's work, except in the students who have gone on to outshine their teacher.

As I've mentioned, I am simply seeking understanding. I may well never "get it." I have made a living as a performer for almost twenty-five years (so far) and found other performers and creators that I have connected more deeply with. Several of them I have never met (Al Baker, Don Alan, Matt Schulien) and several I have (Jay Marshall, Danny Tong, etc.); the thread I see is that I learn more lessons from those who have done what I wish to do - connect with audiences in a way that go beyond a magic trick and become more of an experience. I draw a parallel with the distinction between and act and a show. I often think of an act as a "taste" of what a performer has to offer - an appetizer. A show is like sitting down to a full meal. Watching Vernon (and performing a few of Vernon's pieces) feels like the former; a nice taste, but not terribly fulfilling. Once again, I may never be satisfied with Vernon; he may not be my cup of tea, but I do wish that I could understand the enthusiasm of those who revere him.

I am fully willing to accept that the failing may lie with me.

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Re: New book: The Vernon Companion

Postby Leonard Hevia » November 2nd, 2014, 5:35 pm

I don't believe there is one clear answer to Vernon's popularity among magicians. It was said that he was charismatic, and in magic, that goes a long way. The natural, stripped down presentations we employ in our magic owes a debt of gratitude to his guidance. We owe Vernon a debt of gratitude for the Cardini we now enjoy. It was Vernon who told him to switch to a silent act because his patter was atrocious.

It was Vernon who almost singlehandedly kept the magic of S. W. Erdnase, Malini, Leipzig, Keane, Gray, Finley, and other greats alive for subsequent generations to profit from. As a historian, he secured place in the cannon of magic literature by recalling and documenting their magic. As a raconteur, he probably had no equal.

And then there's The Dai Vernon Book of Magic. In the December 1994 issue of Genii, Jamy Swiss noted in his review of this classic text:

Vernon once said to Johnny Thompson that he'd pay a thousand dollars to find another Erdnase--meaning another book on conjuring that was as invaluable as "The Expert."
Thompson replied that he already owned such a book, and that he did not have to pay so dearly for it--he had a copy of the Vernon Book of Magic.

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Re: New book: The Vernon Companion

Postby Tom Gilbert » November 2nd, 2014, 5:52 pm

I sure wish David would finish Volume Two.

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Re: New book: The Vernon Companion

Postby Andrew Pinard » November 2nd, 2014, 6:17 pm

Leonard Hevia wrote:It was Vernon who almost singlehandedly kept the magic of S. W. Erdnase, Malini, Leipzig, Keane, Gray, Finley, and other greats alive for subsequent generations to profit from. As a historian, he secured place in the cannon of magic literature by recalling and documenting their magic.


Regarding magic history, there is some debate as to how rigorous Vernon was as an historian. I know that Ozzie Malini (Max's son) didn't have very kind words for the book that Vernon "penned" (allegedly ghosted I believe by Lewis Ganson). While I own several books on Erdnase (another fascination I don't quite get), I long to read Jim Maloney's book on Leipzig (whenever it comes out). Regarding the others you listed: Keane, Gray & Finley, I am not sure that they are necessarily well known due to Vernon's efforts.

Regarding Johnny Thompson's thoughts (and there is a man that I have significant regard for) on The Dai Vernon Book of Magic, I recently wrote a blog posting with the "five foot bookshelf" theme (http://magicmatters.com/?p=174) and The Dai Vernon Book of Magic never even crossed my mind.

Rather than quote others, Leonard, I would love to hear your thoughts regarding Vernon. What, of Vernon's creations, should a student of magic study? What philosophies (besides "be natural" which, in the arena of performing arts, goes back to Constantin Stanislavski, who wrote extensively on the subject for actors) did he espouse that hold significant value? What movements did he inspire (beyond the lecture circuit as a profitable way to make a living)? Looking at what I wrote it seems negative, but I really am trying to find some takeaway that makes sense. Are there no students of Vernon's who can succinctly communicate Vernon's accomplishments and suggest a path for study? Or is Vernon the "Forrest Gump" of magic? A likeable rogue with some talent who happened to be in the right place at the right time? I am not trying to be deliberately controversial regarding such a highly-regarded figure in magic history, but I would welcome a discussion that results in a more concrete sense of Vernon's importance coupled with a direction of study.

As I said, likely my failing, but I continue to appreciate the feedback and perspective of others.

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Re: New book: The Vernon Companion

Postby Richard Kaufman » November 2nd, 2014, 7:12 pm

Charlie Miller was Malini's student.
Dai Vernon was Nate Leipzig's student.
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Re: New book: The Vernon Companion

Postby Ted M » November 2nd, 2014, 9:59 pm

Andrew, it sounds like you prefer theatrical performance within meaningful narrative. You're not going to find a stylistic match with Vernon, but you may still appreciate his impact. Here's my take on it, which others may deem way off base:

Vernon massively influenced the entire field of magic to value and privilege his favored style: the beautiful, spare and restrained performance of mystifying sleight of hand. He chose, refined and created sleights that would fit this naturalistic aesthetic, and routined them with naturalistic misdirection and focus management.

Vernon won admiration for his own skill, but that's where many performers stop. Instead, Vernon spread his influence by making others better. His tools were shared with others, some intentionally ($20 manuscript, Select Secrets), some not (Expert Card Technique). He then lectured and taught those tools not just one-on-one, but broadly, to all who could fit in a room and listen. He propagated his tools, his values, his aesthetic. They spread.

He kept creating sleights and routines privileging this aesthetic, and distributed them widely through further books, lectures and magazine columns. His friend Charlie Miller amplified his signal. They taught students, who taught others, and so on. And they sustained this for decades on end.

Like a publishing editor or theatrical director, Vernon constantly analyzed other magicians' work and helped refine their sleights, routines and/or performances. This helped those performers, and this in turn helped further promote Vernon's favored style.

Maybe Vernon's influence eventually grew too broad, too diffuse, or just reached too many rude mechanicals who lacked the skill or dedication to effectively deliver beautiful sleight of hand. Maybe the simple elegance of Twisting the Aces accidentally paved the road for unbearably complicated and meaningless packet tricks that could not be saved by a mere style of handling. Maybe Vernon's style became so dominant that it became the default, and was practiced by those with no aptitude for it, with that activity coming across as nothing but "the adventures of the props in the performer's hands," against which Eugene Burger would famously rebel.

And maybe that wreckage of overextended dominance of a particular style is all that you see.

But if your work makes use of any sleight that goes unseen in plain view, you can probably thank Vernon, either directly or indirectly, for at least some aspect of it.

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Re: New book: The Vernon Companion

Postby JustinM » November 2nd, 2014, 10:09 pm

Ted M wrote:Andrew, it sounds like you prefer theatrical performance within meaningful narrative. You're not going to find a stylistic match with Vernon, but you may still appreciate his impact. Here's my take on it, which others may deem way off base:

Vernon massively influenced the entire field of magic to value and privilege his favored style: the beautiful, spare and restrained performance of mystifying sleight of hand. He chose, refined and created sleights that would fit this naturalistic aesthetic, and routined them with naturalistic misdirection and focus management.

Vernon won admiration for his own skill, but that's where many performers stop. Instead, Vernon spread his influence by making others better. His tools were shared with others, some intentionally ($20 manuscript, Select Secrets), some not (Expert Card Technique). He then lectured and taught those tools not just one-on-one, but broadly, to all who could fit in a room and listen. He propagated his tools, his values, his aesthetic. They spread.

He kept creating sleights and routines privileging this aesthetic, and distributed them widely through further books, lectures and magazine columns. His friend Charlie Miller amplified his signal. They taught students, who taught others, and so on. And they sustained this for decades on end.

Like a publishing editor or theatrical director, Vernon constantly analyzed other magicians' work and helped refine their sleights, routines and/or performances. This helped those performers, and this in turn helped further promote Vernon's favored style.

Maybe Vernon's influence eventually grew too broad, too diffuse, or just reached too many rude mechanicals who lacked the skill or dedication to effectively deliver beautiful sleight of hand. Maybe the simple elegance of Twisting the Aces accidentally paved the road for unbearably complicated and meaningless packet tricks that could not be saved by a mere style of handling. Maybe Vernon's style became so dominant that it became the default, and was practiced by those with no aptitude for it, with that activity coming across as nothing but "the adventures of the props in the performer's hands," against which Eugene Burger would famously rebel.

And maybe that wreckage of overextended dominance of a particular style is all that you see.

But if your work makes use of any sleight that goes unseen in plain view, you can probably thank Vernon, either directly or indirectly, for at least some aspect of it.



I get that! lol. I watched a video of Andrew doing the Miller cups and balls move published in The Vernon Book of Magic, hmmmmmm?

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Re: New book: The Vernon Companion

Postby Richard Kaufman » November 2nd, 2014, 10:18 pm

Ted M, that was a very thoughtful piece.
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Re: New book: The Vernon Companion

Postby Leonard Hevia » November 2nd, 2014, 11:16 pm

Much of what is currently known about Arthur Finley, and Larry Grey's magic has come to us by way of Vernon via the Inner Secrets and the Vernon Chronicles books. Ted summed it up nicely and the only thing that I would add is that Vernon treated magic with dignity and importance. To Vernon, no magic was trivial.

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Re: New book: The Vernon Companion

Postby Andrew Pinard » November 2nd, 2014, 11:28 pm

I appreciate Ted's thoughtful response and his analysis of where my interests lie certainly reveal my level of appreciation. He has helped to provide some perspective. I never claimed to not be influenced by Vernon; I have stated that I have studied his work and have not been able to fully comprehend the ardor of some of his students. What he infers about Vernon's influence (and possible dilution of same by tyros) may well be true. This is why it might be even more important for one of his students to catalog and direct studies on "The Vernon Touch". The experience of magic is accomplished through many factors, technique being but one part.

What I have seen in Vernon's work (as represented through the writings and video) is an exploration of powerful, graceful, yet invisible, technique to achieve a magical plot. It leaves audiences with a strong experience and with one specific question in mind: "how" did he do that. It is not until later that a thoughtful spectator might say to themselves: "why" did he do that (with usually one answer: because he could). The notion that a magic trick can be more than a magic trick does not appear to be a question. Vernon has very defined senses of what magic he likes and how he likes it performed. While there is a lot to be learned from technical study, and pure sleight of hand with a magical plot can be a very strong experience for an audience, I have not read much of Vernon's perspective on dramatic plot. More specifically, I would love to understand more about what Vernon thought about the context and framework of a piece of magic. He had a remarkable awareness of magic composition and apparently boundless enthusiasm at exploring and creating techniques that would achieve his end of being thoroughly natural in performance, but little emphasis has been shown in the writings that reveal any depth of interest in concepts of presentation.

Let me liken it a bit to music. I admire many musical composers for their ability to write pieces of music that are novel and surprising. I have rarely (if ever) heard a music composer perform their own work in a way that has moved me emotionally. The same is true in my appreciation of Vernon. I am impressed by his capability in composition, but most of his material fails to move me in a way that it moves some. I believe that part of this may be due, in part, to what magicians appreciate in a magic performance as opposed to what lay people appreciate. There are many, many tricks out there that may fail to have any significant impression on a lay audience when presented as a pure demonstration of sleight of hand, but, when presented with a broader theatrical context, obtain a much stronger response.

Blending the two - magical plot and dramatic plot - in such a way that one does not overwhelm the other is no mean feat and perhaps Vernon was content to let others explore the dramatic side. Perhaps he took to heart what Nevil Maskelyne wrote in Our Magic: "when magic and drama are associated, the diverse requirements of the two arts must call for a certain amount of mutual adjustment ... Neither art aids the other in the slightest degree; while the magic is being presented, the drama has to halt." I have long interpreted that to mean that, when magic and drama are combined, one must necessarily suffer for the other.

One must play to their strengths...

Thanks again for the discussion; I look forward to hearing more perspectives (and reading the book when it arrives)...

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Re: New book: The Vernon Companion

Postby Rick Ruhl » November 2nd, 2014, 11:58 pm

I don't think you can catch the essence of Vernon in a book or video. Dai was an experience you had to have in person. And you had to experience him more than once to 'get it'.

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Re: New book: The Vernon Companion

Postby Bill Mullins » November 3rd, 2014, 1:37 am

It's been a while since I've read them, but Roberto Giobbi's notes on Dai Vernon gave at least some insight to your question.

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Re: New book: The Vernon Companion

Postby El Mystico » November 3rd, 2014, 5:02 am

I have a feeling that none of our posts is going to 'convert' Andrew; but it is proving to be an interesting discussion...

Andrew's latest post focuses on dramatic plot. I'd urge him to watch the Revelations DVD set where he talks about the importance of the presentations for pieces like Triumph and Cutting the Aces.

I've said it before here but I'll say it again; my sister, after growing up with three brothers who insisted on practicing tricks on her, hates magic. But she still remembers enjoying a performance of Vernon on TV many years ago.

For me, part of the delight of Vernon is that he came up with such great solutions for problems that in retrospect they seem like the only possible solutions. But you can only properly understand the brilliance of the solution after you've wrestled with the problem yourself. As erdnasephile comments, Topping the Deck is a fantastic example of this. Another small touch of genius comes in the note at the end of the Red Backed Aces; simple and practical, it is great for this effect, but also for McDonald's Aces.

To be clear; for me it is not "a desire ...to live the life of a "magician" without the apparent responsibility of providing for one's self or one's family". It is "a regard for the strength of the material" and "the appeal of the approach"

It would be good to have a 'Vernon Primer'; but not essential. I, to my regret, never met the man. But started with More Inner Secrets and continued until I had everything published on him.
You might benefit from the Skinner Tapes. At one point Skinner compares the Vernon books with those of another magician, and recognises that every time he goes through a Vernon book again he finds something new.

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Re: New book: The Vernon Companion

Postby Q. Kumber » November 3rd, 2014, 6:20 am

Back in the 80's I saw two clips of Vernon on Irish TV. They were from a US show, possibly Dick Cavett.

On one show he did the Linking Rings, with, I think, 6" rings. It was a delightful and engaging presentation.

On the other he did his Ambitious Card routine, right out of Stars Of Magic. What surprised me was how humorous the presentation came over. Vernon's routine has in-built humour and draws them in, qualities sadly lacking in practically all other Ambitious Card routines.

In the very early 80's Tommy Wonder lectured in Dublin and did his Ambitious Card routine and I remember thinking, "That's just like the Vernon routine." In the explanation Tommy said that his structure (not the moves) was based on Vernon's.

If anyone has a link to the clip of Vernon on that TV show with his Ambitious Card, I'd love to see it again.

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Re: New book: The Vernon Companion

Postby Joe Mckay » November 3rd, 2014, 7:13 am

I agree with Andrew. I am often a little sceptical of the praise surrounding Vernon.

But - I sense his influence is so large that you no longer see it.

Having people obsess over sleight of hand and small details is something that I don't see much evidence for, before Vernon. Except for Erdnase of course.

You could argue we would have had a similar influence through Marlo - even if Vernon had never existed. But Marlo was more of a mechanic working through hundreds of variations and then publishing all of them.

Vernon's work was of more use to actual performers since it revolved around an obsession with what would make the most difference in actual performance. And that is an emphasis I don't see in Marlo's more hobbyist approach to magic.

It is strange - but people really didn't take the small details of sleight of hand until Vernon came along. At least - I don't see much evidence for it.

Of course - this obsession with the small details can become a fetish in its own right. And often lead people to seeing genius where others simply see a nice idea, as they try to consider the other aspects of magic as well.

It all depends on how you see magic - and from how close or far away you want to work on the details. Some people are concerned with the performance as a whole. Others are concerned with the ideas and construction behind the tricks. Whilst others develop an obsession with the tiniest details which almost go unnoticed except when pointed out to another expert.

It is like with painting. With some people focused on the picture as a whole. Whilst others are obsessed over the tiniest brushstrokes over the canvas.

It reminds me of the artist, Billy Pappas, who spent 8 and a half years drawing a small portrait of Marilyn Monroe. The result was an incredibly hyper realistic image of her.

But - to most people it just looked like an ordinary drawing of Marilyn Monroe. The sort of thing most artists could do in a couple of days. You really needed to a microscope to appreciate the details in the drawing.

Is this good art? Depends who is looking.

Some people can appreciate the level of detail that went into the drawing. Whereas others, such as David Hockney, dismissed it with "not another damn Marilyn Monroe picture"...

There was a good film about Billy Pappas and his 8 and a half year project called 'Waiting for Hockney'. It is worth checking out.
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Re: New book: The Vernon Companion

Postby Q. Kumber » November 3rd, 2014, 7:20 am

Joe Mckay wrote:

Having people obsess over sleight of hand and small details is something that I don't see much evidence for, before Vernon. Except for Erdnase of course.



Hofzinser perhaps?

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Re: New book: The Vernon Companion

Postby Joe Mckay » November 3rd, 2014, 7:25 am

Hard to say.

I don't see much evidence of it in the Hofzinser book that Dover put out.

Really - I am focusing here on who was the first to really push out a lot of books and articles stressing the attention to details that we now take for granted.

I see the lineage running from Erdnase to Vernon. And then via Vernon - dozens of other influential magicians ran with the same idea. And now the idea is so commonplace that most magicians take it for granted.

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Re: New book: The Vernon Companion

Postby mattsedlak » November 3rd, 2014, 10:25 am

In many ways I agree with Andrew. I've never really understood the level of admiration given to Vernon but then again I've never met him and I don't really have a direct understanding of what magic was like ante-Vernon. My interest in magic is much more academic than professional, and I do understand and appreciate the influence of Vernon and his students. I think it is human nature to continue to raise the pedestal we put people on and so over time the respect and admiration turns into worship and that can certainly come across as annoying. When someone who has never met Vernon and has just a bare-bones knowledge of his material starts talking about "The Professor this and the Professor that," it is exhausting to listen to. But I can spend an entire Saturday afternoon listening to David Roth tell stories about Vernon.

A very long time ago I read Kuhn's Structure of Scientific Revolution where he talks about paradigm shifts. I certainly did not have magic in mind when reading it but certainly there are parallels. You could argue that there was a paradigm shift in magic around the time of Vernon but perhaps humans also have a tendency to want to focus sole responsibility for that shift onto a single person. Certainly we do it in science with Einstein.

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Re: New book: The Vernon Companion

Postby Jonathan Townsend » November 3rd, 2014, 10:29 am

Joe Mckay wrote:... I don't see much evidence of it in the Hofzinser book that Dover put out.


The Hofzinser book is pretty clearly a few translations (and editors) between the artist and his work. It's fairly obvious that JNHofzinser was no hack when it came to sleights or lacking in attention to minutia.

Really - I am focusing here on who was the first to really push out a lot of books...


a shift in the craft from effect into minutia?

"really push out a lot of books"... that's about the market rather than the craft.
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Re: New book: The Vernon Companion

Postby erdnasephile » November 3rd, 2014, 10:42 am

I think it's entirely possible to appreciate what Vernon brought to magic, without worshipping him. He was a genius in magic, but a man, nonetheless--just as frail and fallible as the rest of us.

What I think tends to draw the sternest responses from acolytes is the implication that this was some sort of "emperor's new clothes" scenario, which it clearly wasn't.

Maybe part of the problem is that virtually no video footage of Vernon in his prime exists. This, coupled with the natural skepticism of anything lauded in today's society, tends to make some incredulous when confronted with seemingly tall tales of how great Vernon really was.

Thankfully, his published work remains. It sounds cliche, but there are precious few books that give and keep on giving--most of Vernon's books are amongst them. Although he was not necessarily the first to glom on to the importance of certain concepts, he was a brilliant synthesizer--a person who could make a move or a routine better with a critical attention to detail that others heretofore had overlooked. I think we've all had teachers like that--they see what others do not, but when the flaw is pointed out, we laugh and say: "Of course!". Unfortunately, that can sometimes lead to the notion that the teacher simply told us something we knew already, completely forgetting that we didn't see it in the first place.

Perhaps one of Vernon's "flaws" was he made it all look so easy.
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Re: New book: The Vernon Companion

Postby Leonard Hevia » November 3rd, 2014, 11:01 am

I believe it's important to read The Vernon Touch columns to really get an understanding for the man. As you read through his essays, you realize that his knowledge of magic and magicians was astounding, let alone what he has to say about life in general. He was nothing less than a Western guru who exuded inspiration.

Last night I randomly opened my copy of The Vernon Touch to a story where a youthful Vernon and a friend were invited to a dinner that Thurston would attend. Vernon and his pal were eager to talk magic with the Master but were never given the chance because he only discussed business matters with the host and then left. Vernon unapologetically mentions that Thurston was a letdown.

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Re: New book: The Vernon Companion

Postby Joe Mckay » November 3rd, 2014, 11:10 am

Richard Kaufman made a good point once. He said that one of the things that stood out about Vernon was his ability to immediately spot what was wrong with a sleight or trick you showed him.

Kaufman compared this to the ability of acting coach, Stella Adler, who could immediately identify what was wrong with an acting performance.

Although with Vernon - he liked to tease his students a little. And rather than just point out the error, slowly guide them in their thinking until they could figure it out for themselves.

It is probably true that nobody thought as deeply about magic and its details before Vernon came along.

Michael Close mentioned in an interview that he has a similar ability. Close called it "perfect pitch" when it came to watching magic. With Close I think his ability is to immediately spot the flaw or weakness in the structure and construction of a trick. Which is one of the reasons he is the best magic reviewer I have ever read.

The above is a bit different to Vernon - who had an uncanny eye for how sleights should be performed. And the timing that should be used when they are used in a trick.

You can see a glimpse of this in this clip with Mark Tams.

http://www.youtube.com/watch?v=EuErFpsMuEI&index=6&list=PLEF8BDA877883F0E3

As such - a place like The Magic Castle was the perfect environment for Vernon to influence generation after generation of magicians.

Personally - I have a huge respect for Vernon. But I get more enjoyment from the work of people like Roy Walton, Alex Elmsley, Charles Jordan, Jerry Sadowitz and Paul Harris than I do from Vernon. So - I am not the hero worshiper that some may be.
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Re: New book: The Vernon Companion

Postby Jonathan Townsend » November 3rd, 2014, 11:38 am

Spotting a weakness is ... well it depends on how that's communicated. Slydini had constructive suggestions. As do some others we have around today.

Lewis Ganson may be the guy we should be thanking for our literature as he was the one transcribing Vernon on Malini, Leipzig, Art of Closeup Magic ... and the Vernon Book of Magic.

Vernon had a sharp eye for clever and useful in magic. Thanks to him we recall Arthur Finley's Tent Vanish and Pops Krieger's work on the cups and balls...
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Re: New book: The Vernon Companion

Postby Michael Close » November 3rd, 2014, 1:44 pm

I have the sense that this thread has barbed wire around it and a sign that reads “Abandon Hope All Ye Who Enter,” but I’m going to poke my toe in.

I had not thought about my comment of having “perfect pitch” when it came to spotting problems in magic routines for many years. Looking it that comment now, I think it’s vague and perhaps a little arrogant. I’d like to take a moment to clarify it, because I think it ties in with this discussion about Vernon.

“Perfect pitch” and “absolute pitch” are incorrect terms to use here, because they are something you are born with; you have ability to identify a note without any reference (like checking a piano) and without any particular musical training. If you don’t have the ability, you can’t learn it. What you can develop through practice and training is a high sense of “relative pitch.” Musically, this is something I have. (To my great regret, I don’t have perfect pitch.)

The problem with using the term “pitch” in a magic connotation is that pitch is objective. Whether or not a pitch is in tune with another pitch is objective, not subjective. Telling a musician he is out of tune is not an opinion. You could measure the frequencies and prove it empirically. Whether or not a magic trick’s method is “out of tune” is subjective. And that decision is based on aesthetics.

A creative artist answers two questions: 1) What idea or emotion am I going to express? 2) How am I going to express that idea or emotion? The answer to question two is an aesthetic answer. Jackson Pollock’s answer will be different than Norman Rockwell’s answer. Rachmaninoff’s answer will be different than John Cage’s answer. Vernon’s answer was different from much of what was being offered in magic during the twentieth century. And for many magicians (who uprooted and moved to where Vernon was located) Vernon’s aesthetic approach was the one they wanted to internalize and emulate. These are the people already mentioned in this thread: Larry Jennings, Bruce Cervon, Michael Skinner, Steve Freeman, Harry Riser, John Carney, Ricky Jay, Johnny Thompson, and others.

Here’s the problem. I don’t think you can internalize an aesthetic approach without being around someone who exemplifies that approach. It’s really tough to get it from a book. I think that the student absorbs this approach, rather than studies it. You learn by watching and asking why certain choices were made. You learn by having your own material critiqued. You can understand Vernon’s aesthetic choice by studying his material, but it’s tough. The Vernon Chronicles books are better for this than any of the Lewis Ganson volumes or Stars of Magic. I was very conversant with the latter books at the time I met Harry Riser, but within an hour of meeting him I realized that I didn’t really understand any of it. I never spent that much time with Vernon, but I spent a lot of time with Riser, and through him I gained an understanding and an appreciation of the Vernon aesthetic (and Charlie Miller’s, too).

So, to clarify the “perfect pitch” comment I made a few years ago, it would be more accurate to say that I can almost instantly spot moments of routines that sound “out of tune” according to my aesthetic sense of what magic should look like. This is subjective.

There are still some first- and second-generation Vernon students on the planet. Many of them don’t talk very much about what they know. In particular, no one has established himself as the focal point of magic in the United States the way Vernon did (and the way Juan Tamariz has in Spain).

Maybe this will provide some kind of an answer to Andrew and Joe. All I know is that without Vernon, my own creations, which have been regarded positively by the magic community, would be very different, and would assuredly be less magical.

M. Close

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Re: New book: The Vernon Companion

Postby Jonathan Townsend » November 3rd, 2014, 1:57 pm

To move away from the strictly musical - how about the word "incongruent"?
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Re: New book: The Vernon Companion

Postby Joe Mckay » November 3rd, 2014, 2:04 pm

Great article, Michael.

I really hope you are still working on further books. You are my favourite writer in magic.

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Re: New book: The Vernon Companion

Postby Richard Kaufman » November 3rd, 2014, 2:30 pm

That was very good, Mike. Excellent.

The reason The Vernon Touch columns (and book) are so important is because they are the only texts written by Vernon himself. All of Vernon's books were written by other people. It's the only place where his thoughts are given to you directly without another writer re-interpreting them.

Ganson was neither a theorist, nor a great writer. He left out or fluffed on details and really wasn't interested in the "why" in most of his books.

Minch is a great writer, but he never spent much time (if any?) with Vernon. Everything for The Vernon Chronicles that he wrote was shown or given to him via videotape by Jennings and Cervon because Vernon could no longer do most of it.

Note what Mike Close says above about sitting with Harry Riser as opposed to reading books. It's dead true: I had the same experience with Slydini, Dingle, Hamman, Jennings, Skinner, Berglas, Sawa and so many others (as many of us did). Reading a book, or watching a video, is in no way the equivalent of spending time with a great mind and/or talent.

I had the great privilege of spending, in total, about 75 hours with Vernon sitting in The Magic Castle, or at the Mid-West Magic Jubilee in St. Louis, or in New York at one of the Symposiums (last one, I think). 75 hours is not a lot, but considering that I never expected to even meet him, it was a gift to me. And the first time I did a sleight for him he nailed me cold, and he wasn't gentle about it. It was very helpful.

I have published everything he showed and taught me of his own material in Richard's Almanac and Genii, the last bit being the items from Erdnase. Go back and read the descriptions of the Erdnase Bottom Palm and The Diagonal Palm Shift. These are two incredibly valuable sleights to any cardman, and Vernon's scientific examination and improvements to them are a real lesson in how well he understood sleight of hand with cards and how laymen see things. Few people study a sleight for almost their entire lives, but musicians study the same piece of music for their entire lives.
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Re: New book: The Vernon Companion

Postby John McDonald » November 3rd, 2014, 4:00 pm

I believe Andrews post has been very helpful. It seems to have a been the grit in the Oyster of this thread. Grateful to everyone. Great thread.
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Re: New book: The Vernon Companion

Postby Rick Ruhl » November 3rd, 2014, 4:19 pm

Joe Mckay wrote:
The above is a bit different to Vernon - who had an uncanny eye for how sleights should be performed. And the timing that should be used when they are used in a trick.

You can see a glimpse of this in this clip with Mark Tams.

http://www.youtube.com/watch?v=EuErFpsMuEI&index=6&list=PLEF8BDA877883F0E3
.


THAT clip is the essence of Vernon. The best video catch of him being him.


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