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Commercial Close Up Sept 2 2013

Sep 5th 2013, 01:14

JeffMcBride

Joined: Apr 29th 2010, 15:37
Total Topics: 36
Total Posts: 53

What are the most "COMMERCIAL CLOSE UP EFFECTS?"
What do you consider is the most commercial effects you perform?
What do you consider the " most commercial" magic effects you've seen?
What makes an effect "commercial?"
( when we say " commercial" we mean immediate and mass appeal)
We will share your thoughts on the show
Monday at 7pm vegas time
COMMERCIAL CLOSE UP MAGIC
WWW.MCBRIDEMAGIC.TV
1
FACEBOOK NOTES:


What are the most "COMMERCIAL CLOSE UP EFFECTS?"
What do you consider is the most commercial effects you perform?
What do you consider the " most commercial" magic effects you've seen?
What makes an effect "commercial?"
( when we say " commercial" we mean immediate and mass appeal)
We will share your thoughts on the show
Monday at 7pm vegas time
COMMERCIAL CLOSE UP MAGIC
WWW.MCBRIDEMAGIC.TV

TOM OGDEN
Why my vote for sponge rabbits (Peter Rabbit Goes to Turn). Hmm: Strong Magic. ALWAYS a whoop of laughter and surprise. Mild flirtation possibility. Subtext of (bunny) sex. Bunnies fly; silliness ensues. But most importantly: It's the only trick I do that people (especially kids) DRAG me to their friends or parents and DEMAND that I do it again. It's the only trick I do where the other people in the group say, "Do it to me. Let ME hold the bunnies." I say, "But I've just done the trick." They cry, "I don't care." I can just repeat the last sequence over and over again AND THEY DON'T LOOK FOR METHOD TO TRY TO FIGURE IT OUT. They just want to open their hands and let the bunnies pop out.



Mark Philip Lichtenstein
Anything that links one effect to a different effect eg make a sharpie appear, draw something with it, do something impossible with the drawing, etc.



Roscoe Tarwater
Beaumont It's a toss-up between my shell game, which draws 'em to my pitch on the street -- and my human blockhead, which they talk about after they leave, and which everybody who has seen my show remembers me for

.

Cody Clark
Anything with lots of audience participation!




David Pepka
To me, commercial means the one that everyone always talks about. They want to see it over and over, and bring their friends to see it. For me, that's Card in Wallet. I almost get sick of it, but people love it. There is a legend that Robert Plant hated to sing Stairway to Heaven because it's all the crowds ever wanted. C2W is my Stairway.




David Groves
I'm sorry, but I disagree. Blockhead could never be commercial. Even though many people remember it, it disgusts many others and chases them away. That's not commercial, that's niche and esoteric.



Roscoe Tarwater Beaumont

I'm just sayin' it works for me. I do the "double-barreled" blockhead in every show, often eating a light bulb between the insertions and extractions, and it gets huge laughs. I could never pull off many of the "commercial" things other successful magicians do, for example, Gazzo's hilarious insults; but for me and my show, the big nails work. 



Marcie Annamora McGrath
One of my favorites is the collapsible flower boxes. I typically use 12 boxes vs 3 which is a big hit at birthday parties because the pyramid of boxes is so much wider and taller than the bag. For camps and libraries I've taped parts of a story (subject, action, etc) on the front of the boxes. One of my favorite ways I used this trick was to tape across the front, the names of different businesses (SBA, SCORE, etc) that assisted me in getting started. Most of the time the bag is held upside down to appear empty so when I waved the bag and $20 bills flitted across the stage when I talked about the company that gave me my business loan, the crowd was thrilled. It was a great success

😊


Paul Coyle ·
Self tying shoelace




Tom Ogden Peter Rabbit Goes to Town. Hands down.'



Jeff McBride
Jamy Swiss said that The Card on the Ceiling was an effect that had a FUTURE.. most card tricks end…but the c.o.c. has people buzzing long after about how and why that card is stuck way up there…and the story of the magic moment is told again and again.


Jeff McBride yes the rabbits! one of the most requested too!




Luis Benavides ·
Ambitious card!


Paul Nathan

Vanishing silk. The most magical trick in the world when done well.




Wayne Goodman
for me commercial means workable, so if a trick has a convoluted set up and can only be done once then its not commercial, anything that has almost instant reset or can be done on the fly, for me my favourite effect (apart from my own releases of course) would have to be Michael Murray's springboard, possibly the most commercial piece of mentalism i have ever seen.



Wayne Goodman ·
also have to agree with Jamy too re the card on ceiling 


Shane Miller COINVEXED by David penn, if u dnt have it your missing out!!



Morten Deurell
For me an effect with a watchsteal is the mist impactful



Ray Eden-Zweidinger
I'm going with the "appearing/vanishing silk streamer" that Jeff taught in his seminar. I've carried this with me everyday for a few years now. Not only is it "magical", but it leaves the spectator with a little "something, something" to recall the memory of the magic.




Bizzaro Galore
Devious by Papercrane (Screwing a bottlacap into the neck of a bottle)


Scott SteelFyre
anything Visual! and quick




Scot Grassette
"Extreme Burn" does it for me. also "Crazy Man's Handcuffs"


Scot Grassette To me commercial magic is what it says; an effect that sells you as a magician. Openers should always be commercial. It lets the audience know if they should invest time in watching you further. Commercial magic can be used throughout your show.




Mumdo Marzouki
Commercial = Done before, Tested, and appeals to all audiences
My favorite commercial close up routine (The Sponge Balls)




Duck Cameron
I remember Jeff telling me 20 years ago how important it is to hit hard and fast in the first seconds of the act...and also establishing the character quickly. I hope my opening is commercial, as it introduces my character quickly, and shows many effects within the first 30 seconds, and also hopefully setting up what style will follow. My new coin matrix routine projected on to screen is getting the best response recently (better than some of the larger illusions) as it is pretty as well as working with and being complemented by suitable music which effects the audience emotionally, as well as showing skill. This would be my 'current' commercial piece, as well as a constant thread throughout the act, whereas I keep producing champagne bottles as gifts for audience members, which is then a talking point thereafter.





Bill Wells
The bunnies! Sponge rabbits ... like Pepka says you may grow sick of doing them, but they are always a winner




Roscoe Tarwater Beaumont
First seconds of my show: Pompom Stick. No kidding! It does indeed set a fun, funny, fast-paced tone.



Charles Pfrogner
Roy Bensons Bowl..... .It has every thing . Involves the audience , to a gang buster finish . Also an item that not everyone is doing ..




Daniel Pollack
My most commercial effect is printing my business card in the spectators hand. I show the card blank on both sides and then print it by slapping the card down on their outstretched hand. Wham! Remove my hand and it's printed. It's visually, physically and auditorily impactfull. It not only becomes a magical gift, but also leaves them with a way to get in touch with me. What could be more commercial than that?




William Thorpe
The crafting and Marketing of my now-Famous Transcendental Medication (TM) At $23.32 per 4 oz bottle, it IOS the most Commercial close-up Magic that I do... ironically also the Least!



John B. Pyka
I do Mark Leveridge's Sponge Ball routine. It is the best piece of commercial magic I've seen.



Warren Epstein
The most common, of course, is the card force with an elaborate reveal.




Noureddine Bellaoui
My favorite close-up effects: sponge Balls, chop cup, 3 cards monte Michel Skinner, the invisible deck and the ring in wallet...!!




Warren Epstein
DLite and UFO must be up there or they wouldn't be demoing them non-stop at Houdini's.




Kevin Burke
I like things the audience has seen a million times. That way, they know what's going to happen. Otherwise, they don't know when to applaud. I also like to pepper it with lines from Bob Orben. Those are guaranteed laugh-getters!




John B. Pyka
Except, Kevin that only 2% of people ever see a magician live so your assertion that they've seen anything a million times isn't based in reality, unless you are performing for the same people over and over. Even then, creativity and theatricality can make the oldest routines brand new all over again.




Joaquin Ayala
What I consider to be commercial effects are anything to do with money and anything to do with gambling. I am not listing every commercial effect in those two genres but rather a few examples. From my own personal experiences, any three coin production and vanish, three fly or the mutilation/transposition of a borrowed bill always get the attention of the audience. In the gambling genre, the three card monte (a demonstration of the genuine scam), poker/blackjack deals and the endless chain are always audience favorites.


Aloma Alber dah-ling anytime you get a paycheck that's commercial.......there's not biz like show biz everything about it is appealing.......remember your own school everything old is NEW again......all I do is classic from my costume to my tarot to a coin....in fact my whole life....but I am from washington DC....we have manners and taste.....pirates and wars too but manners and taste.....sending polite xoxoxo




Aloma Alber
love ALL rabbits, coins, costumes, vaudeville, flying cards, marcel marceau, masks, venice, mixed drinks on stage, asian inspired, and bird shows, but for some unknown reason I hate chinese sticks, I do not know why.....it is like nail on chalk to me.....

.



Jeffrey Williams
We are getting into theory here...do you mean commercial to the magician or the spectator? If the former, then we consider what has been on the market for a long time, and also the popular appeal of what famous magician is using it. The audience's perception of what constitutes a commercial effect should not be examined, because good magic is good magic, regardless of cultural fads and trends.





Josh Burch
To be commercial it:
-needs to be somewhat straightforward and simple
-needs an easy reset our cleanup
-needs to be easy to do
-it can be used in almost any environment
-for the most part it wouldn't use a table.

Some of the most commercial effects I know are the classics. Sponge balls, invisible deck, or magic square





Heather Rogers
"Immediate" is the operative word here. While I love my ambitious card routine and Contimental, when I approach a group I'm first armed with homemade voodoo doll, fire wallet to Hundy 500, apparatus that makes reading glasses stand up by themselves, and bubble to large crystal ball effect. But the term "Mass appeal" relates to effects that are most about THEM.



Brian J. Hatcher ·
I define commercial as high magic, low limitation. By high magic, I mean effects that appear magical on their own, not relying on mountains of exposition or appearing to come from the prop or the performer's skill. In my opinion, if someone saw only the moment the magic, a great commercial effect would be understandable, appear truly magical, and the spectator would not be able to explain how it was done. And by low limitation, I mean effects that have little to no reliance on issues such as angles, setups, and props. Effects that can be performed surrounded, use simple or even no gimmicks, and/or require little to no setup or reset are, to me, more commercial than ones with tricky angles, elaborate gimmicks, or huge stacks. Sometimes we will except challenging setups if the effect is good, but if the same effect can be had by simpler means, that seems to me to be a better way to go.




Jacobo Justicia
Charlie Justice's PROHIBITION



Joaquin Ayala
Perhaps I can take what Jeffrey Williams said a little further: perhaps the term 'commercial' would be better used to describe effects that evoke powerful reactions in any situation, or those that fit a particular purpose in a multitude of places/venues. For the latter, think of using a Professor's Nightmare in a trade show to illustrate three different main ideas or characteristics of a company.



Danny Archer
Sponge bunnies without a doubt is the most commercial trick I have ever performed...


Kevin Burke
John Pyka, could you point me toward the study that concluded only 2% have ever seenu magician live? In seriously interested.

Leland Earl Eiben · 17 mutual friendsWow! I would have to agree with Danny Archer... "Sponge Bunnies" 3D style. People that I perform for always ask to see the Bunnies. I also modify my routine so they are fresh even though the core routine is the same.




Jeff McBride
Brian raises a good point. As Juan Tamirez has said to our master class students. " The more POWERFUL and DIRECT an effect is, the LESS presentation is needed." especially in close up magic. Juan makes some good points in this talk and makes a very persuasive argument. I will talk about this on the show tonight.

EvilDan Terelmes
 Some commercial close-up effects that I perform would be Crazy Man's Handcuffs, Color Monte, B'wave and the Chop Cup. For me, the trick itself is not commercial, it's the presentation. These four effects are staples for me in my strolling/walk-around repetoire (spelling?) because the plot is simple to follow and there is a nice payoff at the end. I guess that answers the last question as well.

Andrew Spike Norstrum

 I would tend to agree with EDT... but I would add one other.. and that is the "GIFT MAGIC"... that both Tim. and I use.. the Gem Stone... really brings magic to the forefront of those watching and experiencing the moment.. from my experience... the jar fills with appreciation..

Jun 28th 2016, 15:51

loucircus@aol.com

Joined: Jun 15th 2010, 07:24
Total Topics: 1
Total Posts: 2
I like the Balls in the Net (aka 3 Ball Routine) or Vernon's Dice Routine when you want noise and the props to STAY on the table.
Yours in Magic,
Lou Johnson
The Magical Juggler