Daniel,

I lived in Las Vegas, essentially to be near Michael and Larry, when I was 20 years old. I used to eat dinner with Michael on Thursday nights when he got off work at the Golden Nugget. Michael was a true master. I learned much from Michael. Most importantly, how to reveal a selection.....Michael really took his time. See my comments on Michael in Paper Engine.

Wow, we've been visited by Cy Keller, a renowned card man of the old guard. Great to see you Cy. Tell some of the kids here what it was like to know Frank Thompson. They won't believe you, but give them somthing to dream about.

Clearly, many modern masters have been mentioned recently in this thread. I'd like to comment on a few of them. Billy Goodwin is perhaps the greatest card handling magician I know. His style is so unique, there's nothing like him on the planet earth. He leaves me dropjawed. Not just his hands, but his thinking.

Earl Nelson is a master sleight of hand artist, and one of the only people I consult with new material in my area, plus Billy. I feel so proud to be a Californian, greatly because I can keep the company of these two men.

I haven't met Paul Chosse, though I've heard his name whispered for years. They say he always turns up in the most unlikely of places....


Roy Walton is one of the greatest living card masters imaginable. I can say I've met him on a few occasions, and been fortunate enough to see him work. He too has an approach and style all his own. It's no suprise that the Scotish school, amost entirely consisting of Roy Walton students, is one of the strongest in the world. My friend Paul Wilson is a formidable card handler, Jerry Sadowitz is a terror, and the list goes on. I've not met Duffie, Bruce, Kaplan or the others, but man, Roy is out of this universe.

I do not feel that sleight of hand is a dying art, I simply feel the "classical education" might be. That is sad. In card magic, I prize my classical education, and wouldn't want to live in a world without it. Soon, it won't even be available to students, no matter how many master courses they pay for. There is a big difference between a lecture, and training. Training takes years. "It's in the notes...."

Cy Keller said he feels my book shows there's "an interest in the difficult." I hope the book does not stand out as some kind of "difficulty advocacy." I don't want it to. Nor do I want people not interested in difficult sleight of hand to assume the book will hold nothing for them. The examples in the book are used to discuss sleight of hand issues important to all of us. If all you use to switch cards is the glide, it's still important to know if the glide you use is well suited to your needs. Does it facilitate your performance, or work against it. That's what the book is about. Not hard moves.

Pete,

As far as I can tell, things in New York hit the reset button when Derek Dingle appeared. By then, Vernon was a memory, and living the good live here in beautiful southern California.

New York magicians can tend to do magic like someone is chasing them with a gun. Fast, so they can get to the ending without being shot. They do a lot of dribbles, riffles, snaps, crackle and pops. Charlie Miller hears them and starts spinning in his grave.

In California, the ghost of Vernon still holds sway over the few and fewer all the time faithful. There's Earl, and Alfonso there to remind us that the slower we go, the less room there can be for suspicion. That's California. That's why I came here. Let them riffle themselves into a stupor back east. We don't care.. .we do magic slowly....by the pool.....in November. Which reminds me dude, tasty waves are up. Later......

Aaron
I share your feelings about prizing a "classical education" in magic – but I don't agree that it's not available, or won't be available, to those who truly want it and are willing to have the patience to work for it.

One component of a "classical" education is precisely that it starts with, is built on the foundation of, the classics. And fortunately those classics are available to us all, in book form. The very same books that the masters used. Look at Vernon's earliest formative years: it was he and The Expert at the Card Table, spending time alone together for years. And we all have access to the very same Erdnase text Vernon had. What is required (for any art) is an appreciation that basic principles, solid techniques and underlying theories do, at least in part, come from our predecessors and the history of our craft. And that building on that foundation gives one solid roots and deeper insights. It also lets us work through the processes that the masters worked through, and thus get a feel for how they approached problems, what they deemed important, and how they tried, experimented and worked through improvements step by step. (This is part of what makes The Paper Engine so impressive – your own thinking, priorities, influences and choices are shared with us at each step, each important turning point.)

I don't for a moment mean that the classic texts should be the exclusive thing one studies, or to imply that the classics haven't been improved upon in many ways. But they're the starting point. And the ever-present fear (perhaps what you're worried about) is the age-old worry about patience: will students forgo (somewhat) their instant gratification urge, their desire for what's current today, to spend a little more time with those classic texts. My impression is that it's about the same now as in any age: most people won't do it, but a smaller number of dedicated people will do it, and they'll be the better for it. But the point is: those classics are available.

The other component of a "classical" education is, as you mention, the personal training. And yes, the masters and mentors change over time, but they're still there, and for a significant part, they are really dedicated to passing on their expertise to the next generation, to those who seem sincerely willing to work at it. I was truly fortunate to be with Marlo for 25 years, and I agree fully that nothing can substitute for working and sessioning with greatness: being criticized, challenged, praised, and shown, and living in the midst not only of genius, but of great passion for the art. But my observation is that there are more, not less, of the current greats who are willing to assist, teach, session with, and share their knowledge, skill and enthusiasm with those who are coming along next. Just as you're doing in your book and on this forum. We just won't know who's currently a classic for a while longer.
Simon

Aaron,

As a (generally) confirmed advocate of the slow school, it's good to know that I'm living on the right coast.

Pete

*** straight....surf's up, boys....got to go.

I suppose Simon is right. The classical education is available, if you really want one. I managed to get one, and after the death of the masters. It just seems undervalued today. People seem unlikely to find out what it can offer them. That's the point I want to make. There will be time for originality. Make sure you take the time for training. After the formative years, that time no longer be availabe to you. Get it now, while supplies last.

Masters always go. Everything is on its way to some place else. I think we each have the responsibility to strive to be masters so that the art never dies. The few of us who make it to that level will inspire the next generation...


TCR

I must say that around a month ago I got to meet and learn from Roberto Giobbi, if he is not a master I don't know what one is. The level of thought put into every element of his magic was amazing.


Noah LEvine

I watched a lecture of his on video, and I must say I was very impressed. I can't wait to meet him. Thanks Noah, and thanks also TCR. You have been wonderful with your comments, and very supportive all week long. Thanks.

Aaron