Oklahoma Entertainment

Misdirection is the art of distracting the audience while you perform your ’secret move’ without being spotted. Some think it is more important to get 100% correct than your patter. After all, if you can misdirect well enough, your trick can go completely wrong and the audience will never know!

It is essential to ‘control’ your audience’s thoughts and eyes – you should not give them the opportunity to think “how does he do that” or to see your subtle move.

This is easily accomplished on stage with careful use of lighting, props, assistants and pyrotechnics. However, for the majority of us, we need to use misdirection when standing less than a metre away from the audience.

You can control the audience with a wide range of techniques. Start by positioning them in a suitable place. This is especially important in tricks where angles are important, such as the Balducci Levitation. Once they are in a suitable position, you can start concentrating on the more subtle forms of misdirection.

Eye contact is essential – you should always monitor your audience – sustain eye contact while you are doing ‘your move’ (so you can execute your move with perfect timing, knowing that they are looking at your eyes). If you believe someone may see your move, make a larger move with another part of your body – you may cough, itch your face, wave your magic wand, put something on the table… the list is endless.

You can also misdirect the audience by allowing time from the ’secret move’ to the point where the audience is made aware that something has happened. This is perfectly demonstrated in the Cross Cut Force

It is possible to develop your routine to include the necessary distractions. Try to think of what would naturally be done at the time when you need to misdirect. It would be stupid to toss a coin when doing a card manoeuvre, but tossing a coin would be natural if you are in the middle of a coin routine. Once mastered, your routine should leave the audience entertained by the magic you have just performed, and the fact that they don’t know how it is done leaves them mystified, thinking about your performance, and possibly, your next performance!

Edward Jellard has been a professional magician for many years, performing on stage, at children’s parties and close-up magic.

You can find many free magic tricks at Magic Hat to practise your misdirection techniques.

Why not sign up to the Monthly Magic Hat newsletter to be kept up to date with the new tricks on the site?

There are a lot of factors to writing a hit song. First, you should focus on writing a good song. Once you’ve done that, you are not far away from writing a hit.

Like most other things in life, it takes persistence, patience, drive, knowledge, belief and maybe some luck.

Stop and think about your favorite songs. Really analyze them and figure out what it is that you like about those songs.

Different factors may come to play here. Maybe it is the good beat, lyrics that hit home, a beautiful melody, something spiritual or patriotic, or maybe even that it is humorous.

If you include one of these elements in your songwriting you are well on your way. If you combine two or more of these elements, you may have yourself a hit.

A Good Beat

Rhythm is important in music. I have to laugh and think of Jerry Van Dyke on “The Dick Van Dyke Show” years ago trying to play the banjo and sing, “I’ve got rhy-rhy-thm, I’ve got mah-mah-music…”

But, unless you are very funny like Jerry Van Dyke, your audience is not very likely to stay with you.

Your music not only needs to have a good beat, but must fit the genre of music you are trying to write. A Metallica beat in a George Strait type song may not get you very far. A song with a good enough beat might be a hit even with no melody and no lyrics. Remember “Green Onions?”

Along with the beat is the tempo. Country music is easy to write (I did not say it is easy to write well) because it is about people’s lives and everyday experiences. However, too often people write slow songs for country music, when in fact the industry is starving for upbeat country material like “Country Roads” and “Rocky Top.” It is much harder to write a good up-tempo country song than it is a tear jerker.

Lyrics in popular music can range from broken relationships to political issues, and just about any point in between. Those that tend to be the most popular are about situations you and I may encounter in our everyday lives; “Workin’ 9 To 5,” “I Just Called To Say I Love You,” “Your Cheatin’ Heart,” “God Bless The USA” (which ingeniously incorporates spiritual, political and patriotic views).

A beautiful or interesting melody can get you into the ranks of hit songwriter with no lyrics required. Going back in time to prove a point about beautiful melodies, you might consider songs like “Last Date” and “Sleepwalk.”

Songs with great melody lines are very easy to be found in many hit TV show themes like “Peter Gunn,” “Hawaii 5-0,” along with many of the 60’s surfer songs like “Wipe Out.”

Well done humorous songs usually find an audience, such as Ray Stevens “The Streak,” and Jerry Reeds “She Got The Goldmine, I Got The Shaft.” If you have a knack for both humor and music, you might make a fortune.

Spiritual and patriotic songs, if they are well done and come out at the right time, are easy hits. Every time the U.S. gets involved in any type of world conflict, the songwriters get their pens out.

Keep your ears and eyes open, and keep a shoe box to put your ideas for songs in. Every time you think of an idea for a song or a song title, write it down and drop it in the box. It could be your first, or your next, big hit.

Michael Russell
MgrCentral.com
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