New book: The Vernon Companion

[Andrew Pinard]

I continue to appreciate the thoughtful (and enlightening) responses. I deliberately made a choice to revisit Vernon yet again and I started with "The Vernon Touch" (and a couple of the video links posted). Every time I dip my toes into the Vernon pool I have a different experience and my appreciation deepens. The lessons are subtle, but revealing...

[Diego]

"I could only live in my art, but never in my life" (Andre Gregory)

This may or may not relate to Vernon, but I remember a documentary about the Jazz/Band leader, Benny Goodman, that included his daughter vividly remembering how her father would spend great a deal of time testing many mouthpieces, before actually deciding which one to use, during a performance with his clarinet. While speaking with admiration of his perfectionism, she casually remarked, "I only wish he had been just as interested in spending time with his family."

Others have noted/wondered how/why some better-off amateur magic enthusiasts, gave Vernon money to pursue his life's interests.
In the movie, "The Return of The Secaucus Seven", a group of friends from college, now in their late 20's, reunite and talk/reflect on their lives. Most have gone on to careers and relationships with varying success...but one has, and is still the itinerate musician, going from some club, some bar, and someone's couch to another, all those years. As they start departing, one of the group, privately gives him some money.
He responds by saying she is just one of several in their group that has already given him money and he explains,
"The reason you/they gave this to me, this is your way of living/wishing the dream, for me to live, that you can't, with your obligations and responsibilities."

Does this relate/reflect to Vernon? Others could better say than myself.

Looking forward to reading Book 2 of David Ben's work.

[erdnasephile]

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).

I'm wondering: why has no one done this? Does it have to do with living in the information age where we fool ourselves into thinking DVD's, streaming lectures, and Skype can replace personal interaction?

[mattsedlak]

I don't know about that. In my experience magicians love personal interaction with each other. Think about conventions. In other areas, some conventions offer virtual access. You can view the panels via livestream. You could do the same for a magic convention too, but I've always found the shows and lectures to be a distraction when I go to a convention. It is the opportunity to sit down and talk to other magicians that I relish.

I remember a convention probably 10 years ago in Cleveland (I'm pretty sure) where I was sitting in the lobby of the hotel during one of the shows. It was pretty empty and I was just hanging out with a non-magician friend that lived in the area. Paul Harris was walking around and sat and joined us and I got to spend time just talking magic one on one with him. Needless to say I have zero regrets for skipping the magic show.

There are probably a number of reasons that no one else has filled that role, both from a logistical viewpoint as well as magical. I don't think a disdain for personal interaction is the reason though.

[Ted M]

About the book itself:

Richard, might the December issue of Genii contain a review?

This thread suggests that, as with the second Hofzinser review, it might be helpful if it supplied some contextual background on Vernon.

[Leonard Hevia]

The Hermetic Press website has a few sample pages from various chapters that you can peruse at your discretion.

[MManchester]

This thread has me thinking about the possibilities of a magic family tree where teachers and students are identified showing how they influence and were influenced. This could take the form of a poster alone, or possibly combined with a digital version that would allow viewers to choose a name for more information about that specific performer.

Of course, it requires someone to have the time, resources and motivation to compile it.

[Richard Kaufman]

Review will be in January

[erdnasephile]

I'll be curious to see how quickly the book sells out (or if it does). I think Hermetic Press is printing 600 of them (100 more than Max's previous limited edition that sold out rather quickly as I recall).

I think the magic family tree chart would be interesting magazine article, but there will be a lot of cross pollination there. (There have been several articles like that in the sports world regarding football and basketball coaching trees for Parcells and Knight, respectively).

In terms of why no one has become the epicenter of US magic like Vernon, I suspect the same forces that assault the B & M magic shop (i.e., the notion that magic is just a commodity) are also in play in the question at hand. For example, I'm positive that the vast majority of people who do an Elmsley count are unaware of who Alex Elmsley was. There's no incentive in making the effort to seek out a master if you do not recognize they exist.

[Bill Mullins]

This thread has me thinking about the possibilities of a magic family tree where teachers and students are identified showing how they influence and were influenced. This could take the form of a poster alone, or possibly combined with a digital version that would allow viewers to choose a name for more information about that specific performer.

This goes on in academia quite often.

[Joe Pecore]

This thread has me thinking about the possibilities of a magic family tree where teachers and students are identified showing how they influence and were influenced. This could take the form of a poster alone, or possibly combined with a digital version that would allow viewers to choose a name for more information about that specific performer.

This goes on in academia quite often.

Started a quick draft on MagicPedia if anyone would like to help expand on it
Academic_genealogy_of_magicians

[AJM]

See Pete Frame's 'Rock Family Trees' for a music related version.

[Brad Henderson]

For me, seeing up close the work of bob White and Roger Krause opened my eyes to Vernon. What I read in the books was not what I saw these men do. That was my failure.

[Richard Kaufman]

It was not your failure: it was the failure of the author. Klause knew Vernon. I'm not sure if Bob White spent time with Vernon, or learned from someone who had.

[erdnasephile]

I think Bob White also spent time with Charlie Miller as well.

[Jonathan Townsend]

...reached too many rude mechanicals who lacked the skill or dedication ...

Lovely reference to Shakespeare. At least his were funny, served the play then and live on stage today to audiences delight.

Is that a Vernon attitude?

[David Ben]

Andrew

I will attempt to answer your question. Vernon is important and, as I like to describe him, the most influential magician of the 20th century, simply because he thought about magic more than any other person in the history of the art/craft. More than Robert-Houdin, Hofzinser, Houdini, Herrmann, Thurston, and any other magician you could possibly name.

This is not my original observation. It was Lewis Ganson's observation, when asked by Martin Breese on his tapes whom he thought was the greatest magician and why. I happen to agree.

Vernon spent almost a century thinking deeply about magic and, to the astonishment of many people (some of whom may include his family) nothing else. He thought about every aspect of magic - studying the performances of others, studying technique, experimenting, performing, conversing with others. No one in the history of the craft spent more time thinking about it. No wonder Vernon liked to describe himself as a 'student' of magic.

(Contrary to popular belief, he did perform a great deal. Probably 99% more than the people who have ever posted on this Forum. He was being self-effacing to say that his greatest accomplishment was that he never worked for a living.)

It is because he thought so much, so deeply, about all aspects of magic that he has served to inspire so many others. Some, like Max Maven, would converse with Vernon about show business, absorbing his thoughts and impressions of the acts that he saw. Others would focus on technical issues, be it gambling or general sleight of hand. There was something for everyone because he thought about practically every aspect of it.

Vernon became a guru, or in the subject line of my biography, our 'muse', because he led a life of contemplation, but one focused on magic. And when people think about what he said, and really try to understand it, that is where he was coming from and why, they come away inspired.

[Q. Kumber]

Andrew

I will attempt to answer your question. Vernon is important and, as I like to describe him, the most influential magician of the 20th century, simply because he thought about magic more than any other person in the history of the art/craft. More than Robert-Houdin, Hofzinser, Houdini, Herrmann, Thurston, and any other magician you could possibly name.

This is not my original observation. It was Lewis Ganson's observation, when asked by Martin Breese on his tapes whom he thought was the greatest magician and why. I happen to agree.

Vernon spent almost a century thinking deeply about magic and, to the astonishment of many people (some of whom may include his family) nothing else. He thought about every aspect of magic - studying the performances of others, studying technique, experimenting, performing, conversing with others. No one in the history of the craft spent more time thinking about it. No wonder Vernon liked to describe himself as a 'student' of magic.

(Contrary to popular belief, he did perform a great deal. Probably 99% more than the people who have ever posted on this Forum. He was being self-effacing to say that his greatest accomplishment was that he never worked for a living.)

It is because he thought so much, so deeply, about all aspects of magic that he has served to inspire so many others. Some, like Max Maven, would converse with Vernon about show business, absorbing his thoughts and impressions of the acts that he saw. Others would focus on technical issues, be it gambling or general sleight of hand. There was something for everyone because he thought about practically every aspect of it.

Vernon became a guru, or in the subject line of my biography, our 'muse', because he led a life of contemplation, but one focused on magic. And when people think about what he said, and really try to understand it, that is where he was coming from and why, they come away inspired.

To which I would add that besides deep thinking, he distilled, analysed and came to conclusions he could articulate and demonstrate with reasoned argument and clarity - and was happy to share.

[Brad Henderson]

The MOMA had an exhibit on the history of abstraction in art not too long ago. One wall was a giant web of connections of people and their influence. There was a book published along with the exhibit. It might provide a good framework for presenting the lineage concept being discussed. Inventing Abstraction is the name of both the book and exhibit.

[Andrew Pinard]

Thanks to David for a thoughtful reply. It is not enough that Vernon thought about magic, but he put it into practice (something he mentioned in one of his earliest "Touches")... Appreciating this thread more and more...

[Tom Gilbert]

I thoroughly enjoyed the first book of the Vernon biography. If Mr. Ben is still keeping an eye on this thread, when might the second book see completion?

[Rick Franceschin]

I think that Vernon’s greatest attribute, ultimately, was that he was the greatest catalyst in an era where magic was undergoing a crucial evolution. While he eclipsed his mentors and heroes, he always held them in great esteem. Though he was clearly the leader of his peer group, he embraced and promoted them so that today we see them as seminal players in our art. When he went to England, he left behind what could almost be described as a sort spiritual fervor. Elmsley, Walton, Ganson, Mason, and Robinson, among others, have written fondly about the experience. Then there is the Castle era where so many went to seek his influence and teachings, not unlike Whitman in his later years. He navigated New York’s 1920’s society circuit while simultaneously befriending gamblers, hustlers and shady types. Setting his magical accomplishments aside, I think it’s ultimately the connections he was able to make with and among people that make him such a striking figure. As someone stated before, the enormity of his influence and ability to energize others is such a huge web that it’s difficult to contemplate. It is therefore understandable how a small body of his published work doesn’t quite provide evidence of the man’s legendary status. The vast majority of the available material tends to offer handlings or revisions of existing plots, approaches to traditional sleights, and handlings of classic routine type magic. Perhaps the latter and his knowledge of the Erdnase book are the magic abilities he will most be regarded for. Vernon actually created very few effect plots, like Twisting the Aces. His student Larry Jennings was far more prodigious in that area. Another point to consider is that his material has been so processed that the source material’s power may seem languid in comparison to what folks are using today. Slow Motion Aces, Twisting the Aces, Triumph, and his Cups and Balls routine alone have probably spawned thousands of handlings. Personally, I’ve never found someone’s take on Vernon’s work that bested the originals, but clearly I have a bias. Ultimately, for me, Vernon’s legacy is the dynamic change he brought about in magic by using his remarkable skills and abilities to create fraternity and help establish a scholarly culture.

[Brad Jeffers]

I thoroughly enjoyed the first book of the Vernon biography. If Mr. Ben is still keeping an eye on this thread, when might the second book see completion?

While waiting for volume II of the David Ben book, you might want to take the shorter route of learning to read Italian, and getting a copy of this ...

...

[Rick Franceschin]

Select Secrets, by Dai Vernon and John Crimmons Jr.

[Richard Kaufman]

Select Secrets is a booklet.

[cardmaster]

I have actually seen Vernon perform in his younger years on television. He was indeed excellent. It was on a British television production of decades ago. It was black and white television. It was a gem of a programme featuring 3 wonderful magicians. Slydini, Vernon and Cy Endfield. I think it was called "Into Thin Air" and Harry Stanley may have had something to do with the production of it. It was 30 minutes long and it would be an incredibly wonderful thing if it could ever be unearthed from the BBC archives but I doubt it will ever happen and I suspect it is gone for ever.

Vernon was incredibly good on there and despite the tosh you read about him being only a performer for other magicians I can assure you he could perform for laymen very well. He certainly did a hell of a lot of it in his younger years.

[Rick Ruhl]

I thoroughly enjoyed the first book of the Vernon biography. If Mr. Ben is still keeping an eye on this thread, when might the second book see completion?

While waiting for volume II of the David Ben book, you might want to take the shorter route of learning to read Italian, and getting a copy of this ...

...

Hmm Richard could get it translated.

[billmccloskey]

The problem is: how do you make evident something to someone who just doesn't get it when to you it is self evident. To use your music analogy, how do explain to someone how great and influential someone like Bach is to someone who doesn't like or understand Bach? I don't think you can.

I think your original advice is the best: you either get it or you don't. And if you don't, I don't know how you explain it to someone.

Another musical example. I'm a huge fan of Tom Waits. How do I explain the importance of Tom Waits to someone who can't stand to listen to him. You can't.

[Jonathan Townsend]

If the words don't get the ideas across ... ??

I'm glad the Vernon anecdotes are being shared.

[El Mystico]

Oh, I do hope "Into Thin Air" reappears somehow ...

[Jonathan Townsend]

The problem is: ... you either get it or you don't. And if you don't, ... to someone who can't..

It's not so nice put put the burden on the reader or listener. If you "have it" - that's great for you - and if you have language you can also give "it" to others.

[El Mystico]

Much as I admire David Ben and Lewis Ganson, I have to disagree with the idea that "Vernon is important...simply because he thought about magic more than any other person in the history of the art/craft."

I am pretty damn sure that if I'd had the same opportunity to think about magic, I'd have just ended up with minor variations on 20th century bra.

Yes, he did have the opportunity to think about magic; and we probably all feel uncomfortable with some aspects of how he got that opportunity. But he thought about it in a meaningfully different way. And it is in trying to understand this meaningful difference that I love this thread.

I'm glad others have recommended The Vernon Touch; the first two thirds of this are a magnificent guide to his thinking.

[cardmaster]

Oh, I do hope "Into Thin Air" reappears somehow ...

I think I would be in paradise if that was somehow resurrected! Sadly, I think it never will be. It would have been more than 50 years ago. Perhaps some persistent researcher with TV connections could dig it up from the archives. I think it must have been a BBC production. I am not even sure if ITV was even in existence then. It was Black and White television and I don't remember any commercials. I do remember Slydini doing the coin roll which I never associated with him somehow.

Maybe David Britland or John Fisher could somehow dig this thing up. My hopes are very dim though. It would be quite a coup though and a wonderful service to magic. I was young then and entranced by all the amazing technique of the performers. I must have been about 14 or 15 years old.

[Joe Pecore]

Oh, I do hope "Into Thin Air" reappears somehow ...

I think I would be in paradise if that was somehow resurrected! Sadly, I think it never will be. It would have been more than 50 years ago. Perhaps some persistent researcher with TV connections could dig it up from the archives. I think it must have been a BBC production. I am not even sure if ITV was even in existence then. It was Black and White television and I don't remember any commercials. I do remember Slydini doing the coin roll which I never associated with him somehow.

Maybe David Britland or John Fisher could somehow dig this thing up. My hopes are very dim though. It would be quite a coup though and a wonderful service to magic. I was young then and entranced by all the amazing technique of the performers. I must have been about 14 or 15 years old.

Some info if it helps anyone in finding it from Abra, SATURDAY, 29th MARCH, 1959:
Some info on Good News! . . have just heard from B.B.C. Producer Alan Sleath that the film he made of Dai Vernon, Slydini and Cy Endfield will be shown on B.B.C. Television on Monday evening, 13th April . . it is called “ Into Thin Air” . . don’t miss it !

And in The GEN Volume 15 No. 6. OCTOBER 1959:
Make sure you also look in on October 8th (Election Day) for the reshowing of friend Alan Sleath’s “Dai, Sly and Cy” programme, “Into Thin Air . . on B.B.C. Television . . it’s a grand half-hour of magic.


Looks like it aired again on 15th September 1960.

[Brad Jeffers]

he did have the opportunity to think about magic; and we probably all feel uncomfortable with some aspects of how he got that opportunity.

What does that mean?

[billmccloskey]

"What does that mean?"

I think he is referring to Vernon's well documented failures as a husband and father. the idea being that few of us would abandon our love ones and responsibilities and only think about magic to the exclusion of everyone else in our world.

[billmccloskey]

"If you "have it" - that's great for you - and if you have language you can also give "it" to others."

Wouldn't it be great if that were true.

[Jonathan Townsend]

Language is a tool for conveying information (ideas, details, aesthetics...)
Knacky stuff gets lost in vague description. What was the elder Frickel doing with that thumb grip for coin tricks? What was the miming Bosco did to convey a "shadow of a ball" when he did the cups and balls?
Text like "you had to be them" or "you have to see it done properly" ... is incomplete for a student working from the book.
Questions like "what does this add to our craft which was not available before?" and "how would this work for anyone who is not the inventor?" are left to the critical reader. Answers to those questions, if not in the text... leave room for improvement in our literature.

Getting back to out topic - the Vernon Companion book - the sample pages (first page of this thread, first post, click on the link ) are a fun read. Thanks!

[Leonard Hevia]

Hermetic Press has just announced that orders for The Vernon Companion have shipped. There are fewer than 200 copies left so there is still a small window of opportunity for anyone contemplating a purchase.

[erdnasephile]

Arrived today!

I just started feasting on the book--it's wonderful!

Not only does the book include Mr. Perovich's personal remembrances, but also writings and memories from the likes of Maven, Carney, Close, Altman, Goodwin, Lewis, Nelson, Plants, etc. The stories aren't all solely about Vernon either--several other Castle "Knights" are also profiled by those who were there.

I can't imagine anyone who is interested in the Vernon era at the Castle not being absolutely delighted with this book.

I'll probably comment more when I'm done reading, but so far, my favorite thing I've read is the last paragraph on page 119, where Mr. Perovich opines Re: the author of EATCT.