January 2018 Volume 107 Number 8

Behind the Scenes With

107-08 Cover_FINAL.indd 1 12/12/2017 10:36:07 PM he sound you may be hearing? It’s a sigh of relief. The of TJohnny Thompson, one of the most anticipated magic books of the past few years — indeed, decades now — is at the printer. Here is a sneak peek as to why it is so important, and why it took so long. The book is important because — hey, it’s Johnny Thompson! If one canvases the rich history of magic in print, the best books tend to be those written by or about profes- sional practitioners. Works by or about Robert-Houdin, Hofzinser, Houdini, Leipzig, Malini, LePaul, Schulien, Wonder, and Vernon, among others, are pivotal texts. Johnny Thompson is part of that esteemed group. And, although he often adopts the self-ef- facing moniker of “General Practi- tioner” — someone who has made a living performing all facets of magic, from close-up to stage, magic and mentalism, in large theaters and on the

is, to extend his analogy, really much moretrade likeshow a highlyfloor — skilled Johnny surgeon, Thompson one who can apply his brilliance to any specialty. He truly is adept in all areas of magic. I doubt that any of the previ- ously mentioned performers, nor any others that you might care to list — Kellar, Thurston, Miller, Alan, Henning,

mastered so many facets of the great THE MAGIC OF artPollock, of magic Blaine, to such or Copperfield a degree as — Johnny have Thompson. He thoroughly buries the old adage, “Jack of all trades, master of none.” In magic, Johnny is truly the Johnny Thompson Master of All. The Magic of Johnny Thompson serves another purpose. It is a bridge to a living past, presenting new information on By Max Malini, and on Johnny’s mentor, Charlie Miller. Just as Vernon was in his generation, Johnny is now one of the few, if not the last, major link between the great creators and performers of the generation that came before him. He became that link naturally, keeping

Marlo, Riser, Zarrow, and Diaconis knew that,confidences. if they tipped Practitioners something of the to Johnny,art like he would not share it without permis- sion, and when he did share it, he would give credit where credit was due. So, [Above] Johnny Thompson (center) with The Magic of Johnny Thompson not only ’s Julie Eng and David Ben. contains advanced technique, and the

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107-08 Johnny Thompson.indd 2 12/12/2017 10:55:57 PM nuances that have been developed over to see Ton Onosaka. And then, as Jamy And it progressed — too slowly, the course of several decades by Johnny, writes in the introduction to The Magic no doubt, but it did crawl along his mentors, and his peers, but it also of Johnny Thompson: on its own steep and unsteady sets the record straight — published pace. and unpublished — for all concerned. In the summer of 2003, John Johnny’s passion for the history of magic called to tell me he didn’t have And then, in 2010 at 31 Faces shines through. It makes us proud to be much on the calendar for the next North, the conference produced by associated with the lineage. few months — why not come and Magicana in , It is true that the book has taken a to Vegas and start work on his Johnny and Jamy approached me about long time to come together. It might be book? We could take our time. having Magicana publish the book. Of interesting to explore how The Magic of I had demurred from this course, we had no idea how large an un- Johnny Thompson was produced. It will task for years. It was tempting dertaking it would be, but when Johnny shed light on why the best magic books whenever he would ask me, but Thompson asks, who can refuse? I owed often spend years in development. I didn’t really want the responsi- him a great deal. bility of attempting to do justice make no mistake, Johnny himself is a to such a colossal body of work, the early 1980s. I got to know him much First, you have to find a writer. Now, especially that of a beloved better,I first however, met Johnny,in 2001, albeitwhen he briefly, showed in material better than anyone. Writing, - up on my doorstep in Toronto, with a giant however,fine writer takes and anhe enormouscertainly knowsamount the of tering but intimidating. Every bow on his head — a surprise present time, particularly when it is a labor of timementor. we Thediscussed invitation it, I wasdeclined flat from Slaight for my fortieth birthday! love. And let’s face it: all magic books as gracefully as I could. was another surprise guest. are the labor of someone’s love. But this time, he talked me At the time, Johnny offered to show me Johnny’s primary vocation was into it. I knew his work so well. anything I was interested in. I refused performer, and although he is now He had the summer free and so his generous offer, as I had been trained semi-retired, he is more active than did I, so why not come to Vegas by Ross Bertram never to ask another ever, particularly as a consultant for and get started? We’d have a book performer to share a secret. I told Johnny Penn & Teller, among others. He has also in a couple of years. that, because of that, I could not make any served in the past as a consultant for That was more , , and David than a dozen years Blaine. ago. The beginning So, Johnny has been too busy making was exciting and He thoroughly buries the a living performing, and sharing his fun. I went to Vegas knowledge, to take the time to write the and lived with John old adage, “Jack of all book himself. Johnny also knew that it and Pam for about would take someone who could write a month. I talked trades, master of none.” but who also had an appreciation for the magic with John most evenings, either In magic, Johnny is truly essence of his craft, and to tease out the staying up later or detailsfiner aspects and communicate of the art, to thecapture nuances the getting up earlier the that separate not just the professional next day to write. He the Master of All. from the amateur but, more important- would read it, and ly, the artist from the journeyman. we would review the material in formal requests. I added that I would be Enter Jamy Ian Swiss. detail. We made our own hours, happy to watch and absorb whatever it Jamy was the obvious choice. and I tackled some of the most was that he cared to show or share with Although Jamy is known for his writing me. It was, however, up to him. Needless through his book reviews, essays, and Bag, the $100 Prediction. I knew to say, he showed me a lot, and my eyes observations on magic, Jamy is also thedifficult bird chapters section first:would The be Egg a popped. a performer. More importantly, Jamy challenge … performs sleight-of-hand magic and it It was a glorious month. In the met at a holiday party hosted by Roger is sleight of hand that is at the root of years since, we returned to work DreyerI also in knew New York,Jamy, and of course. we hit itWe off. first He Johnny’s magic. It also helped that Jamy was aware of our show The Conjuror, has known Johnny for decades, having here, then a long gap, then a few which pleased me, and we discovered Miracles morein fits weeks and starts,there, our a fewrespective weeks that we were both interested in Jack of Magic show, produced by Tannen’s lives, work, and travel schedules Miller’s handling of the Linking Rings. Magicfirst seen at the him Barbizon on stage inPlaza the Hotel in interfering. We became good friends, and have New York in 1969. The two of them have Along the way, we traveled, spent much time together in Toronto, spent a great deal of time together and met up, visited… We added tricks New York, and other places. developed an especially special bond in to the book, and more tricks, and Although we agreed to publish the late 1980s while both were in Japan still more tricks. The project grew. Johnny and Jamy’s opus, it became

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107-08 Johnny Thompson.indd 3 12/12/2017 10:55:58 PM clear that we had no real sense of its size or scope. And over the course of the next few years, it became evident that neither did Jamy! The reason: the project was ever-shifting, ever-expand- ing, like one of those great astronomical phenomena. Johnny Thompson is simply a tour de force, constantly revising his repertoire, adding new touches, new handlings, discarding the old, and then reviving them later — perhaps decades later — adding the insight of experi- ence to make them even better. And, as Johnny wanted everything to be in the book, The Magic of Johnny Thompson was, until the day we sent the proofs off to the printer, a real shape shifter. The magic world is replete with books on sleight of hand. Very few,

to elevate fundamental techniques of,

say,however, palming, detail false the dealing, finesse and required false ENG JULIE PHOTO: Johnny Thompson’s hand in close-up, detailing the advanced performer. To Johnny’s an otherwise hidden move. eternalshuffling credit, to the he realmwas not suitable interested for in releasing a book with cursory de- scriptions of technique. No “use your favorite method” in these pages. Johnny card in The Travelers from a wallet, and employed different deals, different them accessible to more magicians. yet that is exactly how Johnny recalled Sometimes,years or had Johnny been simplifiedalso kept tothe make real seeing him perform it. Johnny said that in mind — to employ the best move - atshuffles, the best different moment shifts, in witheach oneparticu goal- dence. But now, for the book, he comes piece on The Steve Allen Show in the lar routine as presented before a par- work a secret just to preserve a confi- earlywhen 1960s,he first Vernon’s saw Vernon performance perform leftthe ticular audience. Johnny applied this ing that have made his handlings so an indelible mark. He swore that Vernon standard to everything he touched — legendary,across with even both with the scope fabled and sleights fine-tun like produced the card out of the wallet. parlor pieces, mentalism, illusions — Sure enough, according in Mel Brown’s and to Jamy’s credit, he was willing to detailed notes of Vernon’s appearance follow Johnny’s lead, and to capture and the sequenceZarrow Shuffle. described Coupled in the with upcoming some on that show, which were sold at auction communicate the nuance in everything booklovely makes finesses for by the Vernon most and deceptive Johnny, last August, Vernon did perform The Johnny has performed or developed. The scale of the whole undertaking appear in print. card from the wallet! So, document- - handlingJames ofalso the playedZarrow aShuffle pivotal ever role to ingTravelers, the origin and heof ideas,did produce and correcting the final icana’s James Alan to the project. James the printed record, which sometimes hunteddid finally down hit us published after we assignedhandlings Mag of where possible the name of the author, included disowning elements attribut- Johnny’s work that Jamy had not yet had andin chasing the correct down title credits, and publication. confirming ed to Johnny in print and assigning the the time to review, as well as Johnny’s Despite the proliferation of digital in- proper credit to the person who taught presentations in other media. Magi- formation, and cross-referencing of him the technique, took a great deal of cana’s recent exhibition on The Magic data, pursuing credits to their lair is time. Palace television show was a partic- James also organized the material so ularly fruitful resource, as Johnny for example, rely on a Google search, a that we could process it internally. It was performed quite frequently on the foraystill a difficultinto Ask undertaking. Alexander, orOne a cannot,search - program. Jamy would use this addition- of Denis Behr’s site for accuracy. While cies in the writing. Given that Jamy had al source material to write up tricks for beenalso his working job to flagon thestylistic manuscript inconsisten over Johnny’s review. It was then that we and at best serve only as a snapshot of a the course of many years, it was not sur- learned that many of the methods that purportedcertainly useful, public they record. are not definitive, prising to see that his own writing had Johnny used over the years — partic- Nailing down the historical record evolved. So, James tabled inconsisten- ularly those performed on the Stevens was always interesting. It is often cies that we could then present to Jamy Emporium and the L & L tapes — had reported, for example, that Vernon for his consideration and revision. As either evolved over the intervening we knew that there would be a burn-out

34 MUM / January 2018 disliked the idea of producing the final

107-08 Johnny Thompson.indd 4 12/12/2017 10:56:00 PM PHOTO: JULIE ENG JULIE PHOTO: KARL JOHNSON PHOTO: A panel session in Toronto about the forthcoming book, with (from Julie and Johnny going over notes during left) Paul Vigil, co-authors Jamy Ian Swiss and Johnny Thompson, a photo shoot in . Alpen Nacar (obscured), Jared Kopf, and Jason England.

factor — one can only read, and reread, with the wonderful routines that have starts strong, and ends stronger, the so much before losing focus — we re- been the cornerstones of Johnny’s reader can enter the opus at any point, stricted the number of times that career and, indeed, his creative life: spend some time with a trick, routine, any one person could read the manu- The Gambler’s Ballad, Mixed Macs, The or sleight, and work on that. The reader script, searching for inconsistencies or Balls in the Net, the Egg Bag, the Cups & language issues, before turning it over Balls, The Bird Act, and the Trade Show As for the layout and design, our to another member of the team. Act. Then, we decided that we would guidingis sure to principle always find was something that it was new. to be Overseeing all of us, of course, was balance those with the specialty tricks Julie Eng, the executive director of and routines that may be less familiar not only his material, but also his sen- Magicana. Julie has become the go-to to fans of his work, which grew out of Johnny’ssibility as book an —artist that and is, it as must a person. reflect person for just about everything imag- his close association with a roster of Knowing Johnny’s affection for the inable in the magic community. It’s not magical greats like Harry Riser, Ed Stars of Magic, the design pays homage surprising, really. Regardless of the Marlo, Zarrow, Vernon, Malini, Ascanio to that monumental work. The book size or scope of the project, she excels and, of course, Miller. features an extraordinary number of at bringing it to completion with verve, We also decided that, although photographs, black and white in the practicality, creativity, and originality. there are many offerings of Johnny’s best Stars of Magic tradition, in a large More importantly, in addition to her un- handlings of the material of his friends, format to give both room for images paralleled organizational skills, she has as this is Johnny’s book, we generally on the page, and space for the text a keen eye for design and editing, and avoided variations of Johnny’s work by and tricks to breathe — and a dash of is a talented photographer. (More about his friends and peers. One of the ex- color — Erdnasian green in the title that later.) ceptions to that rule is Jamy Ian Swiss’ and headings for a bit of pop. We also As Jamy was completing the writing, handling for the large loads in the Cups wanted the book to open on the table and it was being passed to Johnny for his & Balls. It has been included in the book with ease. This meant splitting the comments, we had more than enough not because Jamy was the author but in hand to create a table of contents. because Johnny now incorporates that plan called for two volumes — over 325 The issue, of course, became how the very handling into his own routine. And, pagesmaterial each! into — two nestled volumes. together The finalin a material should be organized and then to Jamy’s enormous credit, even though slipcase. We also persuaded the parties parceled out in the book. Fortunately, as he wrote most of the text, and his style involved that this was meant to be a an organization, Magicana has always of writing is uniquely his own, it is book of tricks, with the biographical been interested in curating magic. Even- still Johnny’s voice that comes through content incidental to the magic. This tually, a solution came to light: We, of throughout the book. meant that Johnny’s life story would course, had to anchor the two volumes Finally, even though each volume have to wait. Johnny’s life is an extraor-

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107-08 Johnny Thompson.indd 5 12/12/2017 10:56:03 PM PHOTO: JASON ENGLAND ENG JULIE PHOTO: PHOTO: JASON ENGLAND

[Top] Karl Johnson and Julie confer while shooting explanatory photos. Hand-written notes, printed plans, and computer files were all referenced during the creative sessions for the book. [Bottom] Julie Eng and Paul Vigil look on as Johnny performs during a video archiving session.

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107-08 Johnny Thompson.indd 6 12/12/2017 10:56:06 PM dinary one, touching upon all branches from Lance Burton — who had his own words he uses, words he had labored of show business, not just magic, and over for years to achieve a particular warrants its own work. Fortunately, In between Julie’s forays to Las Vegas, beat or meaning. Johnny is already at work on his own wepecking had regularorder: first — almost Johnny, daily then —Julie. pro - Meanwhile, on a regular basis memoir as a separate project. duction meetings in Toronto revolving for the past year or so, Julie would With the look and the feel of the around the text. Of primary concern was speak with our printer, Friesens, in work on track, Julie traveled to Las the editing. (Proofreading would come Winnipeg to make sure that we were Vegas several times to photograph later.) Fortunately we had the right coordinating closely on what exactly Johnny performing the rich material man for the job — Karl Johnson. Karl is we wanted in terms of look and pro- included in the book. Anyone who has a professional writer and editor, with a duction for this historic book. The seen the photography in Zarrow - A keen insight into card work — he wrote trend today, of course, is for magic Lifetime in Magic and The Experts at the The Magician and the Cardsharp — and books to be published in China and Card Table will recognize Julie’s style he knew Jamy well from Jamy’s days then shipped to North America. We immediately. In addition to her eye for in New York. Karl also felt an abiding arresting composition, contrast, and indebtedness to Johnny because of detail, Julie is poised, patient, and re- the time Johnny spent with him while backwardsprefer to work to provide with theus with firm more we know than he dug into the saga of Vernon’s quest justin North the America,requisite a firmtechnical that bends support. over Julie actually found herself shooting for the Kennedy Center Deal, and They sent us, for example, bound copies bothlentlessly material efficient. that Forhad Johnny’sbeen written book, especially Johnny’s willingness to of blank pages to give us a sense of the up already, and some that had yet to be open up freely about his years spent written. with Charlie Miller, which contribut- product. They also made sure that Julie Photo shoots of this magnitude and ed greatly to the portrait of Miller in hadsize, an weight, open line and to feel their of print our finishedtechni- complexity, however, could not be done Karl’s book. Karl embraced the project, cian. He made numerous suggestions on without the help of like-minded people. - Fortunately, Julie assembled a team in initial face-to-face production meeting ularly with how the photographs were Vegas willing to do just about anything whereand we theflew four him toof Torontous — Julie, to have Karl, an tohow be to treated prepare for the publication, digital files, so partic that for their beloved Johnny. In addition James, and myself — could work out a they would reproduce beautifully on the to Penn and Teller, who altered their page. They even sent us test proofs of schedules so that Johnny could alter his editor, Karl became heavily involved to accommodate the photo shoots, Jason flow for processing the material. As an so that we could decide which look best England, R. Paul Wilson, and Paul Vigil, Vegas twice to join the crew in the servedsample chapters,our vision. with It wasdifferent at this finishes, point amongst others, volunteered their time photoin the shoots.project and even flew out to Las that we decided that each copy of the to help out in the most important ways. As for organizing the material, we book should have the look, feel, and Julie shot thousands of photographs elected to follow the process developed quality of what typically passes as a “Col- over the course of several extended for our publication The Experts at the lector’s Edition” in the magic community, Card Table. A Dropbox was created including a tipped-in signature page. at the home of Jason England, and then with subdirectories for each chapter, So, there you have it. shoots and visits in studios erectedMAGIC first and further subdirectories for each With the advent of on-demand pub- Magazine. Jason was also on hand at trick within each chapter. Each of the lishing, many magicians believe they eachlater shoot, at Stan archiving Allen’s each offices performance of can do it all by themselves — write the on video so that we would have them tricks housed the photographs and material, add illustrations, and then available to check later to ensure the videosubdirectories captured of dedicated the trick, to as specificwell as accuracy of the text and for greater ease the various versions of the text as they What was both interesting, and in pairing each image to the words. made their way through the various extremelyprint and rewarding, ship the finished for this product. project To prepare Johnny for each shoot, layers of editing and production. The was that a group of very accomplished James Alan would create a prop list people, with strong personalities and for the session. Pretty much whatever approved by Johnny. So, it is safe — and beliefs, banded together to work with prop was needed, Johnny still had on importantfinal copy — was, to say of that course, every the word copy of and for someone they admire and truly hand, which further attested to how this book was reviewed and approved love — Johnny Thompson. the material in the book represented by Johnny Thompson himself. Johnny’s his true working repertoire. And it is tweaks and corrections to what we David Ben is the artistic director of a large repertoire. The crew — led by Magicana, an arts organization dedicated the example of Johnny and Julie — was draft were always enlightening. He to the exploration and advancement focused, and determined to shoot until wouldwere submittingadd a phrase to himor sentence as the finalhere of magic as a performing art, based in all hours of the morning. The shoots and there to ensure that the particular Toronto. Magicana is also the publisher could be eclectic, and even uncomfort- of The Magic of Johnny Thompson; the able at times. At one point, Johnny and communicated clearly to the reader. He two-volume slipcased set will be available the crew even had to fend off an aggres- wouldfinesse alter or move the scripts,he was focusing ever so slightly on was in early 2018; see www.magicana.com/ sive untrained parakeet — borrowed thompson.

/ MUM 37 where required, to reflect the actual January 2018

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