The Reel Works
By Pete Biro
Not to be confused with the Real Work.
When
I first began writing for magical publications,
I lived very close to Lloyd E. Jones, who was
the book reviewer for Genii Magazine. Lloyd
was a pharmacist and book collector par excellence.
As a
matter of fact, Lloyd didnít realize it, but
he had the absolutely, indisputably, finest
antiquarian book collection on the planet.
When
Lloyd was on in years, he told me he was going
to donate his library to his alma mater, the
University of California, at Berkeley. I said
to Lloyd, "No, donít do it, the books will rot
in a basement somewhere and be lost forever."
Lloyd
did some checking and found that there were
a number of "donated libraries," of various
descriptions that were, indeed, just rotting
away.
So Lloyd
said, "OK, Pete, then Iíll sell it to you."
I wasnít really into books (then!!) and hesitated.
Persi Diaconis heard about Lloydís thought of
selling and called, but Lloyd said, "No, I want
the library to stay in California." (Diaconis
was in Massachusetts at the time).
Enter
my high school mate and magic pal Byron Walker.
Byron "was" into books, but didnít have the
money at the time. He was, like Lloyd, a pharmacist
(later to become pharmaceutical salesman they
make more money), and he really wanted the collection.
So, "Unca
Lloyd," as Byron and I called him, decided to
let Byron have the collection, on a pay when
you can basis.
Byron
got the collection, and did pay Lloyd in a timely
fashion. Since then, Byron has substantially
increased the collection, and it still ranks
as the most solid and valuable antiquarian libraries
anywhere.
If you
ever get to San Leandro and visit Byron, you
will realize that Byron is "really into books."
There is only one room in the house without
tomes and that is the WC!
Not only
does Byron have lots of books (maybe nine rooms
with shelving from floor to ceiling, wall to
wall), but a huge collection of magazines, posters
and props and toys related to magic and its
allied arts.
Gee,
I got off track, I was going to talk, er write,
about The Reel Works.
Many
of you know, The Reel Works, was the title to
a monthly column I wrote for Genii for many
years (I lost track)!
I thought
I would revive this column here on GeMiNi, and
should explain what the title means.
The Real
Work is a phrase used by inner circle close
up guys in particular, for the real secret to
a particular trick. My title is a play on that.
The Reel.
A utility device, most often used to cause a
dollar bill to jump from the ground into your
hand when a sucker reaches for it. Or, it is
a device used to cause a silk handkerchief to
"untie" magically, or "penetrate" a mike stand.
When
it Works you got mojo. When it doesnít work.
You got Nuttiní Honey.
Clear?
OK. So,
I have been booked to lecture at the PCAM in
Portland, Oregon later this year. I am really
looking forward to it, as the PCAM and the Northwest
was the site of one of my favorite moments in
my magical life.
I decided
to enter the stage competition there in 1968.
I wrote a comedy act and worked with the late
Emile Clifton, who helped to direct and produce
my routine. It was mainly visual sight stuff
using a German Helmet (Laugh In was big
at the time and Artie Johnsonís German Soldier
gag was hot), Berlandís enchanted cigarette
holder and John Boothís multiplying billiard
balls with the Cannonball finish to open.
To be
honest, I canít remember what other effects
I did back then (other than the Linking Rings).
There
was a 10 minute limit to contest acts, and with
Clifton, I had developed a tight 9 minute act.
I did not want to risk going too long (as so
many often do)!!!
When
showtime came, I went on and was working "in
one" (ahead of the curtain) because the next
act needed a full stage and a lot of time to
set.
Well,
I was going along very well (if I must say so)
and all of a sudden there is a lot of talking
going on behind the curtain with the guys setting
up the next act, a haunted house routine with
lots of threads. I recall it was Merlin Eifertís
act. The crew couldnít find a thread and were
saying, loudly, as the entire audience could
hear them "Where is it?" "Itís over there."
"No, itís there." Etc. etc.
After
a near minute of this disturbance, I stopped,
pulled the curtain back and said, "Hey, THERE
IT IS."
Well,
that got about a 2 minute laugh. And then, you
guessed it, the red light came on (10 minutes
was up) and I was overtime. Since I was "dead"
I figured, what the heck, and I went on a bit
more and, since I had nothing NOW to lose, just
had fun on stage.
At the
awards presentations at the banquet, I was totally
relaxed, no pressure, just sitting there waiting
to see who the winner might be.
You guessed it. Me! The MC, Ernie Bryan, came
out and said something like, well normally when
an act goes overtime it is disqualified, but
there was one act that had something happen
beyond his control, and we decided to forget
the time on his act, and present the Harvey
(a rabbit character much like the Academy Awardís
Oscar) to yours truly.
So, I am
looking forward to going back "up North" and having
a great time at the PCAM. (Note: I will only be
there on the Thursday, as I have to leave to attend
a dear friendís daughterís wedding).
|
