Finishing the Show with some Style……..

•September 25, 2011 • Leave a Comment

OK, if you have been reading my series of blogs about performing then you realize I am currently talking about the structure of a show and choice of material.  Let’s talk about that all important closing to the show. This is where you collect up all the threads you have thrown out during the show and bind them together into a braided cord in order to have a big finish. Here are a few basic thoughts about the final segment of your show.

 1 Never, ever finish a show with a spectator onstage. It splits the attention of the audience and slows down/clutters the closing of the act. Like the opening of the show, this moment is about YOU, YOU, YOU!

 2 Conventional wisdom (and I tend to agree with it) says that it is a mistake to finish with a trick that causes the audience to have to think too much or leaves them so amazed that they forget to applaud.

 3 It really doesn’t hurt to have a highly visual item at the end of the show. Much of the same rules that I applied to the opening of the show apply to the closing, except now the audience know who you are and what you do–it is nice to wrap it all up in a pretty package to finish your act.

 4 False calls are a bit of a clique these days in a variety act. There is nothing more ‘icky’ than watching a performer begging like a dog and asking the audience, “One more?”  However there is much to be said for packing two tricks together to create a very strong closing to the show. In my formal/full show I almost always close on a combination of the Multiplying Bottles and the Elmsley Newspaper Tear. The bottles is a great closer and supplies lots of fast flash and visual impact and then when it looks like I am all done I go into the Elmsley Tear which really brings the action back into my hands, get’s them looking at my face and displays obvious physical skill. Then as the applause is starting to peak I actually close with the Jumping Stool which kicks up the applause another notch just when you need it.

5 Make sure you know how to take a bow. One of the most important lessons I was ever taught was how to take a really professional bow at the end of the show. There are dozens of great tips you can learn watching quality pros taking their curtain call; even if some of them have become a little to obvious (even to lay audience) such as turning up the house lights to help achieve a standing ovation.

6 Please never say anything that includes the words standing ovation to ‘coax‘ the audience into standing. There are some great ways to do this, but…… they have all been done to death over the years. Let’s not be tacky. As an added thought here, PLEASE don’t do the snowstorm trick and tell the audience you did it for a dying boy who had never seen snow. There are about four magicians doing this on the cruise ship circuit and it does more to lower professional bookers/entertainers opinion of magicians than anything else I know.

So in the last couple of postss I have given you my thoughts on shaping your material into a strong show. Here are a few caveats to my observations that should be too obvious to mention, but…….

In all my columns I speak entirely for myself—which is something I am uniquely qualified to do! There are exceptions to everything I have said and there are many roads to Rome. However, before you start breaking ‘rules’ it pays to know what the ‘rules’ are so you’re not just doing it out of ignorance.

Oh, and make it look like you are having fun onstage. Audiences love that, even if it isn’t true!

Drop me an email at nicklewin26@gmail.com

Posted in Magic, Magic and Magicians
Tags: ,

Time to talk about Magic Material

•September 24, 2011 • Leave a Comment

In my last blog I wrote a few thoughts about material for the performing magician. This week I want to continue with my musings on the same topic. There really is nothing else that can make a bigger difference to the quality of a show. A bad magician can make himself look better  by consideration of this subject and a good magician can make himself look great.

You can’t look at each trick as a separate entity, you need to think holistically when choosing the pieces that make up the jigsaw puzzle that make up your act. I choose that word with care, not just to sound smart, because just as when you shatter an actual hologram, each tiny particle it breaks into, contains within it a fully fledged picture of the entire image it represented before being de-constructed.

When assembling a show, you can’t go far wrong using the old fashioned theatrical master plan as your performing model. A start, a middle and an ending. This may sound like very basic advice but as you will realize when you watch a bunch of magic (and comedy) acts that it is more often missing in its execution than you would believe possible.

What makes a good opening to a magic act? Well here are some thoughts to chew on, the trick should;

1 Be fast and interesting and capture your audience’s attention as quickly as possible. The estimate is that you have about 30 seconds to win over an audience at the beginning of the show. If you don’t win ‘em over fast it probably won’t get done at all.

2 The real purpose of that first trick is to introduce the audience to you as a performer/person. More than any other part of your show it is just a vehicle to present yourself in the best light. That is one reason that I strongly believe that you must choose a trick that allows you to make eye contact as much as possible with your audience. You should never need to look at the props you are using unless it is to emphasis something important.

3 It shouldn’t be your strongest piece of material–leave that until the audience knows you a little better, otherwise it is wasted. The opening of the show is all about YOU, YOU, YOU! Save the strongest piece of material for later on in the show and choose something easily accesable that compliments your strengths.

4 It shouldn’t be a trick you have to worry about in the slightest. Choose a trick you are really comfortable with where you don’t need to think about the mechanics involved. When you have a good opening effect (or two) STICK WITH IT/THEM. This is such a key part of the show don’t mess with it!

Now the middle part of the act is when you have more leeway in your choice of material. This is when you can do things that are lightly to slow down or introduce variables into the proceedings. It is the time to bring an audience member onto the stage, I’m sure I don’t need to tell you how I feel about doing that in your opening to the show–if you have any doubts then read the last three points again.

The middle of the show is the time to present longer and more complex pieces of material, the time to leave the stage, borrow items from the audience etc. etc. This is the meat of the show and should really be thought of quite literally as a shorter show within a show.

The middle of the show is the time to experiment with newer material and different handling of familiar effects or familiar handling of different effects. Read that last sentence again–there is a lot of hidden wisdom in it that is very relevant to the topic at hand.

One important part of the middle section of the show, is that it is vital to insure you add the variety, texture and pacing that will hold your audience’s interest in what you are doing. You must be very careful to add some subtle changes of tempo and mood in order to fully flesh out your show if you want to achieve the theatrical model that we are aiming for.

It sounds obvious but……even with a great opening and a dynamite closing, if you loose/bore them in the middle you go back to Start and do not receive your two hundred dollars. Don’t fall into an easy comfortable rut here. Make a point of applying some dynamics in order to really add punch to your show. Here is my computer’s  Thesaurus description of dynamics;

energetic, spirited, active, lively, zestful, vital, vigorous, forceful, powerful, positive; high-powered, aggressive, bold, enterprising; magnetic, passionate, fiery, high-octane; go-getting, peppy, full of get-up-and-go, full of vim and vigor, gutsy, spunky, feisty, go-ahead.

As for the third part of our mini-theatrical production……..Next blog my dear readers, it is far to important an element to rush!Why not RSS this blog and make sure you don’t miss it?

Drop me an email at nicklewin26@gmail.com

Posted in Magic, Magic and Magicians
Tags: ,

Never mind the Style, feel the Quality…….

•September 21, 2011 • Leave a Comment

 I recently wrote a blog that gave my thoughts on finding the right style to maximize your impact as a magician. It didn’t touch on a parallel aspect of your performance and it’s potential success.  If you have got all the style in the world it doesn’t mean much if you don’t wrap it around some quality material, otherwise it falls into the ‘all style but no substance’ category. You might be a stylish performer but like the 80’s TV commercial—”Where’s the Beef?”

Beef is a great source of protein and protein is what keeps your body really ticking along. If you are a magician it is job #1 to perform good magic. If you are a comedy magician it is your job to amuse your audience while performing good magic. It is necessary to perform strong magic while entertaining your audience. I am all to familiar with the oft quoted, “First and foremost you need to be an entertainer.” Duh, isn’t that a given fact? I guess not when I think about a few of the magicians I have seen perform!

Are there times when a visual gag or magical ‘trifle‘ can be inserted into your show to adjust the pacing and change the tone of your act.?Of course, they are like the sorbet they serve between the courses in a fancy meal at a fine restaurant. They don’t replace the protein–they just enhance it by refreshing the palate. You wouldn’t sit down in a ritzy restaurant and order 6 different kinds of sherbet or sorbet as your entire meal. I have seen many comedy magicians who seem to think that this is acceptable. Just because you are performing a comedy magic act it doesn’t mean that you should present the magical equivalent of a sorbet buffet.

In order to really create a strong comedy magic show you need two things.

1 Strong comedy.

2 Strong magic.

If you don’t balance these two items you are shortchanging your audience. Worse still you are beginning to fall into one of the only entertainer categories held in lower respect in the industry than a magician–a prop comic. Ahhhhhhhhhhhh! I will let you take a moment or two to register the enormity of this scary prospect. The next thing to happen is the airline looses your case and ZAP–you are a mime.

I will change the tone of this column before anyone falls into a deep depression.

There is very little emotion involved in a lay audiences reaction to  magicians. David Copperfield is one of the few magicians who created some real emotion with his material and the way he presented it. Yes, I do realize that I put that in the past tense. In his TV specials David created emotions using visuals, music, movement, strong magic and then he tied them up in a tasty package using the skills of talented technicians who were able to film the tricks and make mini-movies out of them.

When you compare notes with musical acts about DVD sales after performances (which is the real nitty gritty of what performers really like to discuss) it is a humbling experience to discover how much more product they shift! The reason usually has nothing to do with the quality of the performers, it has to do with the emotion they invoke. Believe me you will never, ever hear a potential customer say, “Oh, we must buy that DVD–you remember we saw the Torn & Restored Newspaper on our honeymoon.” It does, however, work that way with a music CD that includes a song that the couple heard on that same honeymoon.

This is why the heart of my comedy magic show is an unabashedly nostalgic and emotion filled version of the Gypsy Thread. It is the emotional sorbet in my show that makes the funny stuff seem even funnier. It just makes for a much better entertainment package to deliver to the most important element of your show, the invisible folks who are sitting out front in the dark.

What are the other elements that create strong magical material for you to ‘beef up’ your show? What are the easiest pitfalls to avoid? Well, I have some thoughts on that too, but that is going to be the subject of my next blog. Oh, what a tease I am!

As always feel free to drop me an email at nicklewin26@gmail.com

Posted in Magic, Magic and Magicians
Tags: , , , , ,

How to develop your own style……….

•September 16, 2011 • Leave a Comment

It seems extremely correct to begin any article about style with one of my portraits of one of the most stylish human beings ever to breath air–Audrey Hepburn.

Before we talk magic, let’s look at the definition of the word style that comes up on my Mac after I double click the word and then three finger click it. Ah, I do love these new gestures that are possible with the Mac trackpad!

Here is what arrived,

1 a manner of doing something:

2 a distinctive appearance, typically determined by the principles according to which something is designed:

3 elegance and sophistication:

4 a rodlike object or part, in particular:

I think we can rule out the fourth definition, but let’s look more closely at the first three. How can we apply them to magic?

‘A manner of doing something,’ well, to me this implies a consistency of approach that unifies all the separate ingredients that blend together and create a show. It applies to what you do in the show, what you say in the show and how you execute these elements. The first step to becoming an elegant and sophisticated (see definition three) performer is to follow that great aphorism ‘Know Thyself‘ which is most often attributed to Socrates. You can not develop any form of individual style without looking very carefully at who you are–in particular your strengths and weaknesses.

While it is possible to construct a totally separate stage persona from your real life attributes, it isn’t easy. If you are aren’t a smooth, elegant, good looking charmer, who moves well–then a silent manipulative act probably isn’t your thing. Look at yourself physically and make sure that you are actually seeing yourself as an audience member will see you. Better leave that to the Lance Burton’s James Dimmare’s and Jason Andrews of the world.

If you aren’t a skilled talker, with a ready wit and sense of humor then chances are you shouldn’t be telling jokes in your show. You can’t just take a bunch of stock lines and string them together and have any hope of achieving style. Maybe you should be looking at the kind of magic where the situation is funny and it is this that makes the audience laugh. Then little by little you can add a line or two that is funny because it came from within you and is truly your style.

The sad truth is that you can’t borrow style, you can’t buy style, you can’t steal style. If it belongs to someone else then it will never really be your style. What you CAN do is to learn about style by watching how other people have developed and applied their own style.

In magic there are so many routines available in books, DVDs etc. that a magician can begin to believe that everything out there is available and it is acceptable to borrow, use or steal anything. You don’t own a trick by buying it, reading it or outright purloining it. Style is something that has to come from a master game plan that you have developed. Otherwise it’s monkey see-monkey do.

I am a huge fan of Jeff McBride and Eugene Burger, I am also a big fan of the style which Jeff has brought to teaching magic to his lucky Mystery School pupils. It worries me more than a tad when I see how many of his students seem to want to become McBrides. They dress like him, perform like him and although I haven’t any inside knowledge of Jeff’s take on performing, I find it hard to believe that this is any part of his philosophy. I suspect/hope that it is a passing phase for these individuals though.

On a very practical level (my favorite one) to fine tune your own style you can examine your act and pick it apart with a fine tooth comb and eliminate items that may work on some level but are counter intuitive to making you the performer you really want to be. First develop the vision of who you want to be–make it based on who you are, and then chip away everything in your act that stops this happening.

I often hear magicians excuse the use of a hack trick or a hack line by saying, “Well, it works,‘ or “It get’s a laugh.‘ However, ask yourself what it says about you that you haven’t found a better way to express your personal style and personality. The failure to do this is one of the reasons there are so many magicians and so few artistes and stars in the magic world.

 You are selling yourself short if you just want to be a haphazard amalgamation of everyone else. Learn from others how to develop your own style, when you have learned everything you can from them–move on to someone else and see what you can learn from their approach. We all need teachers, role models and heroes, but at some point (to steal a key lesson from ‘A Course In Miracles,) “The time for learning is over.”

It is way tougher to learn to be yourself when performing than to execute the perfect second deal! A second deal is only perfect when you don’t realize it is happening–I guess that’s kinda‘ my theory on style. While not wanting to simplify it to the “You’ve either got or you haven’t got style………” from the song lyric, I guess what I’m saying is work like a maniac to become a person with your own style and then learn to forget about it so it doesn’t look phony.

Posted in Magic, Magic and Magicians
Tags: , , , ,

The Magic Castle–Then and Now.

•September 14, 2011 • 3 Comments

Here is a cool picture of the billboard at the Magic Castle from 1977.  I was alternating shows in the Close-Up Gallery with my dear friend Jules Lenier. In the Cabaret (this was long pre Palace of Mystery days) were Peter Pit, Dale Salwak and Robert Harbin. My wife Susan and I have argued for years because she insisted she had seen Robert Harbin do his charming construction/performance of the Zig Zag Lady at the Castle. I said it wasn’t possible or I would most certainly have seen him there, now as I look at the show times I realize she was right and I was wrong.

It really doesn’t seem possible but it has been 26 years since I last played the Magic Castle. Over a quarter of a century since I had my free prime rib dinner! I wonder what made me decide to do it again?

I certainly don’t regret my decision to stop performing at the Castle, it was the start of an incredibly productive, profitable and creative phase of my life and career.  It was very easy to become a ‘Castle magician’  and this really did limit ones thinking about the rest of the entertainment world. When you work primarily for magicians, or around magicians, you begin to adapt/adopt a magician’s thought process to the work you are doing. You start to add little things that magicians will enjoy–even if complicates or obscures things for the lay public. Sometimes it works the other way around and you remove things that are old hat to your magic buddies but actually mean a lot to non-magicians.

Making audiences laugh at the Castle was/is too easy– they are lovely crowds of people who are there to enjoy magic and are more than eager to have a good laugh as they do so. They usually give the performer the benefit of the doubt and laugh more easily than the kind of slightly more judgmental folk you often bump into in less specialized circles.

The best part of playing the Castle is the big bucks they pay you, well maybe not! The great part about the Castle is getting to do those 21 shows in a week and now I’m not joking. If you can’t get a routine up and running and moving towards perfection after that many shows, in that space of time–you just might be in the wrong business! I cut my eyeteeth and carved out many of the routines that have earned me a fine living over the years. I am truly grateful to the Magic Castle for that opportunity.

What have I learned in my ‘post Castle’ years? I have learned how to present a non-stop 60 minute show that moves so quickly and seamlessly that it seems like 30. I have learned how to win over audiences who not only are indifferent to magic but even somewhat hostile to it. I have learned the techniques and ethics of the comedy world. I have seen the United States and most of the rest of the world–traveling in style and as a true ‘Road Warrior.’ Not a bad list and it only scratches the surface. I couldn’t have learned any of these things if I hadn’t flown from the safety of the MC nest.

As I enter the next phase of my work I am excited to perform for magicians again and I’m enjoying lecturing and writing about the performance of strong comedy magic. It feels good–there is a satisfactory feeling of passing on some knowledge and sharing my discoveries. I am past the age limit where I am likely to be much affected by what magicians think about what I do or say. I like that.

When Jack Goldfinger asked me about working a week at the Castle, I thought about it and said yes. Of course, if Jack said, “Come on Nick, let’s fly to the moon.” I would probably just start flapping my arms.” Jack is one of the wisest, funniest, coolest cats it has ever been my pleasure to know.

So, November 28th through December 4th I will be working the early shift in the ‘Close-Up Gallery.’ Most people these days think of me as a stand-up comedy performer but I spent many a week in the Gallery and even got nominated as close-up magician of the year a couple of times. It will be a real return home.

I don’t have any real desire to perform my comedy magic show at the Magic Castle, I have nothing to prove and a lot of funny lines to loose. The thought of being in a jewel box showroom and performing some sleight-of-hand and card tricks—-now that’s different! I can set myself some goals and work on regaining some slightly rusted skills. I can’t wait to see the show progressing and improving each day.

I hope all my old friends, and any of my readers who haven’t met me, will stop on by and say hullo. I might be another 26 years before I do it again!

Posted in Magic, Magic and Magicians
Tags: , , , ,

A Mind is a terrible Thing to Read, or how I met Ross Johnson.

•September 14, 2011 • Leave a Comment

I have always had a special love of mentalism and mind reading. I think it dates back to the sheer delight I experienced watching Maurice Fogel when I was a kid. I remember the reaction when he started his show by dramatically stating that he could tell you the winning number in the lottery and the name of the horse that would win the Kentucky Derby!

You could almost feel the audience’s disbelief of these claims. Fogel then deflated the moment and reassured the audience that if this were the case he would be a multi millionaire and happily retired. Instantly the audience relaxed and started to bond with this eccentric fellow.  Maurice then explained that on certain occasions he could sometimes demonstrate some rather unusual abilities. The audience was in the palm of his hand by then and couldn’t wait to see if this was going to be one of those occasions!

I am a huge fan of Max Maven’s contributions to the art of mind reading. I think Max is one of the great thinkers on the magic scene.  Watching Max work is always a delight and to read his books is a sure fire way to stretch your mind and learn something really new. I perform a version of Max’s ‘Four Sided Triangle’ and every time I do it I am grateful that Max has chosen to share so much great material with the rest of us in the magic community.

Having enjoyed watching Mentalism for so many years I would like to share my first meeting with the man I consider the most convincing mind reader in the world. Please note that the word I used in the last sentence was convincing, not flashiest, dramatic or unique. If you want your mind reading to be convincing then you need to check out Chicago’s own Ross Johnson.

I first met Ross on a Monday night at the ‘Catch a Rising Star’ comedy club located in the Hiatt Regency in Oakbrook. I was scheduled to headline the club for the week but unknown to me the club had booked Ross to perform for a special audience. The manager asked me if I would mind opening the show for Johnson. I replied that it would be a pleasure to do so, however I pointed out that Ross had better be good if he was going to follow me. I wasn’t being a big head, just honest; I needn’t have worried!

What makes Ross such an interesting performer is that he never looks like he is performing. Heck, he doesn’t even look like a performer let alone a mind reader. Ross has an intense delivery that makes his blindfold Q & A act into a masterpiece of modern mind reading. When Ross is mulling over the details he reveals to his audience he has an edgy and slightly abstracted manner. He always looks like he is more upset by the information that he can’t get than the stuff he does get.

As an actor Johnson is world class and he sells his act in a way that is almost over the top in its simplicity. People ask questions and then Ross answers them. There is just something so real about the way he gets slightly petulant with some of his audience as he seems to be chasing some piece of information from the back of their mind.

That night at ‘Catch a Rising Star’ I started a fine friendship with Ross that even included a séance performance at the ‘Catch’, which is still talked about.  During the séance a grown men fainted and a bolt of lightning hit the window of the showroom and broke open a shuttered and bolted window. These things would have been great special effects if they had been planned but in fact they were total surprises to us.  Some time I will have to write the full story of ‘The Awful Goings On In Oakbrook’ and tell you how crazy the evening really was!

Posted in Entertainment News, Magic, Magic and Magicians
Tags: , ,

World History in a Chinese Cookie……….

•September 12, 2011 • 1 Comment

I am a great believer in Woody Allen’s belief that all of life can be summed up in a Groucho Marx joke. Actually I am not totally sure if he exactly said that or whether it was something like it. However, the truth in the statement is pretty undeniable.

For me, the History of recent World Financial Geography (especially the rise in economic/financial fortunes of China)–can be perfectly summed up in the evolution of three jokes I have told over the last thirty years, whenever finishing a meal in a Chinese restaurant. All the following jokes is delivered with a bewildered look while pretending to the read your ‘fortune slip’ from your freshly crushed cookie.

Joke One. (circa mid ’70s thru mid ’80s) This one was taken directly from the title of a VERY, VERY (OK I know I’m shouting!) book by the wonderful comedian Alan King. “HELP, I’m being held prisoner in a Chinese cookie factory!”

Joke Two. (mid 80’s thru 2000)  Although I don’t think it actually is his line but I always think about Jasper Carrot’s wonderful ‘on the money’ observation that in any sized group that you go to a Chinese restaurant with there is always one person who insists on doing an impression of the waiter while he is still within hearing.  (Reading fortune) “It says, “I just peed in your soup!” and it’s HANDWRITTEN!”

Joke Three (2000 thru the foreseeable future) “You owe us TRILLIONS and we want our money back, you deadbeats!”

It’s kinda depressing now I come to think about it—but I thought I’d share.

Posted in Entertainment News, Magic and Magicians
Tags: , , ,

Dai Vernon. The Master.

•September 10, 2011 • 10 Comments

There are many magicians but very few masters in magic. Dai Vernon was above all a master. The professor, as he was known around the World was the man who changed the face of modern magic and reinvented close up magic.

I first met Dai when I joined the Magic Castle in Hollywood. He was every inch the master when you saw him holding court in a corner of the Castle with brandy in a snifter, a cigarette in the ashtray, and a deck of cards in his hand. Magicians would discretely shadow him for hours just to add a little touch or move from his endless store of wisdom. Dai was very subtle, nothing he did was flashy or “show-offy”, it was just right. For any situation that might present itself during a card trick, the professor had at least half a dozen ways to get where he wanted to go. Some of the greatest books of sleight of hand routines can be traced directly to gems from his fertile mind; he was also generous and a true gentleman.

In spite of the fact that I have always made my living performing comedy magic I have a guilty secret, I am also a first-rate sleight of hand magician, shh, don’t tell anyone! However, for me, the mark of a true magician is to appear not to be doing anything other than watching the magic happen. My greatest joy is to find a move that works perfectly and then find a way to make it look like nothing is happening.

Dai was a fan of my magic but deeply suspicious of the laughs my show created in audiences, to him anything that wasn’t magic was unnecessary and indeed a detraction from a magic show. Dai kept asking me why did I feel the need to make people laugh and in honesty it was a good question. I learned a great deal from the ‘spirit’ of Dai, he was unique and a true living legend, in a world where everyone thinks they are legends. In spite of his disregard for comedy Dai gave me a comedy line once: “When you lick the envelope to seal it say, “I will seal this envelope in this unsanitary manner. There is a long list of people Dai gave ‘moves’ to but I was always pleased with him giving me a line for the show.

Sometimes late at night after the Castle closed I would take Dai for a late-night supermarket run to the all-night Hughes market in Hollywood, I would push the cart and he would throw some groceries into it, then I would drive him home and carry the grocery bags to his door. I always enjoyed these late-night runs, it was fun to spend time alone with the great man and watch him choose between brands of dishwashing liquids. It made the legend into a real-life person.

Well, I never did give up the comedy in my act and I still haven’t quite worked out why I need to get those laughs. However, after seeing one of my shows in the ‘Parlor of Prestidigitation’ Dai said something that I will never forget. He looked me in the eye and said that one of his greatest joys was that he had never needed to perform magic for a living. He then added that if he had to actually earn his living doing magic then he would come to me and buy my linking finger ring routine. He loved the strength of the magic and thought the comedy was perfect for the routine. Then he gave me a big wink and said; “But I wouldn’t ever want to perform magic for a living, it’s more fun perfecting it.”

Here’s to the great perfector, if there is a heaven, I know Dai will be in a corner of it with brandy in a snifter, a cigarette in an ashtray, and a deck of cards in his hand.

 

Posted in Magic, Magic and Magicians
Tags: ,

Now that’s what I call a honky tonk…………

•September 9, 2011 • Leave a Comment

What is a trip to Texas without a visit to a honky tonk! We visited a really great one in Austin–and as historic as any museum I’ve yet encountered. The honky tonk was ‘The Broken Spoke’ and it sure is a dandy and has been home to many of the greatest musicians in the world of country music. Bob Wills and the Texas Playboys have played on it’s stage…….now that is a real slice of history!

We just missed visiting when Austin legends, ‘Asleep at the Wheel’ where playing there. Damn! We had to make do with eating and drinking at Ray Benson’s ‘Asleep at the Wheel Roadhouse’ in the Austin airport!  Great food, drink and live music in the center of an airport—a dream come true.  Winners of 8 Grammy’s ‘The Wheel’ are the current Kings of Texas Swing. If you aren’t familiar with them—hell, you’ve not lived!

Other Texan great’s who have graced the rickety old stage at the end of deceptively large room at ‘The Spoke’ are Doug Sahm, Willie Nelson——hey, the list goes on forever! The show/dancing kicks of at 9.00pm and before that you can enjoy live music, pool, or their legendary chicken fried steak in the front restaurant/bar area. If you are a fan of Texas music a visit to the ‘Tourist Trap’ memorabilia room is mandatory to admire the dusty and priceless collection of country music relics.

In the main showroom/dancehall there are free dance lessons most every evening to help you brush up on your Texas two step and the latest line dance moves. It is pretty much impossible to sit there and not want to join in the dancing when you have had a couple of  ‘Shiner’ beers or a Bourbon Sweet Tea. I am NO dancer and even I wanted to get out there on the floor! The last time I danced in public was in the aisle at a Tito Puento concert at the old Sands Hotel in Vegas.

An evening to remember——-and item #47 on my list of reasons that being in any other city than Austin (when you have any kind of choice at all) is willfully foolish! I pretty much feel that way about the chance of eating a Salt Lick taco and drinking a Ray’s Route 66 Margarita at the airport. We need to encourage more Roadhouses at airports and life would be a more exciting place!

Posted in Entertainment News
Tags: , , ,

The Worlds greatest Bar-B-Cue……………Pure Magic!

•September 7, 2011 • Leave a Comment

Now although the blog normally focuses on Magic and Comedy–the more observant amongst you will have noticed the words ‘…and what have you.’ as an addendum to the description. Today is an, ‘…what have you entry.’

During our post TAOM mini-vacation in Austin, Texas we made the 30 minute drive from Austin to the little town of Driftwood to eat at what many people consider to be the Worlds greatest Bar-B-Cue joint, ‘The Salt Lick.’ Let me say it plain and simple/loud and clear that anyone who doesn’t share this opinion has quite simply not eaten there!

The rustic and quietly elegant setting for the serious job of eating is nestled in 750 acre estate that houses the oak trees that supply the live oak that flavors the meat coked on the gigantic wood pit  bar-b-cue that is at the center of the eating experience. The sauces and rubs that are used to prepare and serve the food are obviously from some hidden an possibly extra-terrestial source. The foods are simple and perfect. The menu consists of beef brisket, sausage, turkey, pork ribs and beef ribs that defy description. No, really they do!!!!! Each meal comes with side orders of beans, German potato salad, bread, pickles and sweet onions. For dessert only the fool hardy would ignore the blueberry cobbler with Bluebell ice cream.

What is truly amazing, is the unbelievable value that is part and parcel of the quality, service and environment that make this the food sensation of all time! 20 bucks buys you an all you can eat plate—and believe me if you love great food this is a bold offer! For the slightly more timid 3 or 4 meat plates cost around 12 dollars, with a senior plate that costs about 8 dollars. Both Ruth AND Chris should take time out from there overpriced steak houses and having observed the quantity and quality of the available food it would be unseemly if they did anything other than hang themselves , until dead, from one of the adjacent oak trees!

You are encouraged to bring your own wine or beer to consume–although a wine tasting annex supplies optional bottles of wine–much of it made from grapes grown on their own property. Only cash is excepted and live acoustic music compliments the dining experience during the evening. Perfection—pure perfection, and I state this not only as a world traveling Bar-B-Cue eater but an ex-resident of Central Coast California, which has more great bar-b-cue joint hidden away than you can shake a stick at!

I know EVERYbody has there favorite bar-b-cue joint and swears it is the best, however I say with an easy confidence and slight swagger that you are ALL wrong. I can only very firmly insist that you all fly out to Austin (America’s greatest little hippy/slacker heaven) drive out to Driftwood  and have the thrill of a lifetime realizing I am right! Good eating y’all!

Posted in Entertainment News, Magic
Tags: , , , ,

« Previous Entries
Next Entries »