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Articles About Todd
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Sideshow Magic
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Sideshow Magic has become very popular
of late, and is frequently seen at rock concerts and comedy clubs.
Some of it is excellent. Some of it is rather grotesque. And,
as Todd Robbins points out, there is reason for concern that after
witnessing some of these Side Show Stunts, our members will attempt
to so these stunts at home, without proper training or, at the
very least, warning. In this unique magic section Todd Robbins
explains how a few of these stunts are done. Hopefully those who
have been experimenting with these items will be able to avoid
potentially hazardous mistakes. However, Todd cautions the reader
that no one, especially persons under the age of 18, should attempt
these tricks unless under the direction of a professional. Our
advice to you is to enjoy the explanations given here simply as
a part of our fascinating field of interest, much as you would
any other historical segment of our magic art.
The Society of American Magicians disclaims
and waives any responsibility for injury or damages relating to
anyone who attempts the performance of these effects. The performance
is the sole responsibility of the performer.
The
Bottle Walk I The Human Ostrich Card
Trick I Todd is Great, and I have Proof
I Mouthful I
The Iron Tongue I The
Bed of Nails I The Blow Off
To access the different
sections of the articles, click on the Title links above.
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Editor's
note: Variations of this trick are currently used by some self-help
promoters as an example of the power of concentration. Do not
allow such demonstrations to convince you to purchase their
wares. The following explanation clearly points out the scientific
principles involved in this stunt, and is presented for historical
reference only. We agree with Todd Robbins in discouraging readers
from any attempt to perform this trick unless under the direction
of a seasoned glass walker.
One of the staples of the sideshow is walking over broken bottles
in bare feet. Like many of the classic sideshow feats, the true
origins of the Bottle Walk have been lost to history. I believe,
however, that it may have come from Indian Fakirs.
Regardless of it's origin, the Bottle Walk still plays well
today. Is there a single person who hasn't cut his foot by walking
on a sharp object? Because of this, people can easily relate
to this stunt. When they watch the performer stroll across the
jagged glass, it is as if they are the ones doing the walking.
I am going to tip to you the work behind the Bottle Walk. As
with many of the sideshow skills, there is a significant element
of risk involved. I impart this information for educational
purposes only. If you wish to do this or any other of the dangerous
sideshow feats there is only
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one correct way to learn them. You must
learn first-hand from someone who knows what he or she is talking
about, and not from a few hundred words in a magazine. I can
not be held responsible for the harm that
will come to the idiot who reads this article, thinks he or
she now knows enough and then gives this stunt a try. Neither
can M-U-M Magazine.
The basic principle behind the Bottle Walk is the same as the
Bed of Nails. The weight of the performer is spread out over
enough points of contact with the glass so the skin is not punctures.
Also, glass loses it's sharp edge and dulls rather quickly.
The kinds of bottles used is another important factor. Thick
wine or champagne bottles are ideal. Old fashioned Coke bottles
also work well. Personally, I use beer bottles because people
recognize the broken piece as the real thing, and I also joke
about how I had to suffer for my art and empty each of the bottles.
I walk over a three-foot square patch of broken glass. I would
estimate that it takes about fifty beer bottles to make this
amount of broken glass. I first wash the empty bottles and let
them dry out. They are then put into a pillow case and, while
wearing protective eyewear and gloves, I break the bottles with
a small sledge hammer. I dump out the glass and carefully remove
the bottoms and necks of the bottles. These are the two most
dangerous parts of the |
bottles.
The bottoms have jagged edges that point straight up and walking
on the necks is like competing in a mini log rolling contest.
It's easy to lose your balance and that is when cuts occur.
The rest of the glass is put back into the pillow case and shaken
for a few minutes. This dulls the edges of the glass.
To perform the stunt I simply dump out the glass, remove my
footwear and saunter over the glass. This is not as easy as
it sounds. As I step on the glass I am throwing all of my awareness
to the bottoms on my feet. I am feeling for sharp edges and
constantly adjusting my balance. Once this basic skill has been
developed, the experienced bottle walker can then move on to
other variations such as jumping on the glass, pouring lighter
fluid on the glass and walking over it while it burns, lying
down on the glass, washing the face with handfuls of glass,
etc.
Once of the reasons I am sharing this information is because
of the Bottle Walk, like walking over burning coals, is still
being done as a demonstration of the power of superior spiritual
enlightenment. The fact is, this act is merely a display of
technique and physics with no mysticism involved.
This is what goes into doing the bottle walk. I hope you have
enjoyed finding out how this feat is done. |
White Magic Words:
A good friend, John Henry Scott, once performed this regularly.
With John's guidance I have walked on broken glass a number
of times.
The greatest danger is not the large flat pieces of glass. What
cuts you are the tiny slivers of glass. To eliminate these,
old-time performers put their broken glass pieces in a course
burlap bag and shook it around. This accomplished two things:
It dulled the edges of the shards, and the tiny slivers stuck
into the weave of the bag and were left behind when the glass
was poured out for the walk.
John also advised me to, as all glass walkers do, brush off
the bottoms of my feet BEFORE I stepped OFF the pile of glass
onto a flat floor. This brushes off any tiny slivers that will
cut you when you set your foot down on a hard flat surface.
I have a reprint of a wonderful book, MAGIC - Scientific Diversions
& Stage Illusions, by Albert A. Hopkins, originally published
in 1897. (You can get a paper back copy from Dover for about
$15 if you are interested). It explains the method for "Glass
Dancing" (plus other sideshow feats). The method requires
you to grind all the edges (of the broken pieces) round, and
to soak your feet in strong alum water, dry them and rub them
with pulverized rosin. NONE of these preparations are necessary,
but it makes me wonder how many long-ago glass walkers did these
things before they dared to attempt this feat. I wonder who
was the first daring soul to tried it with unprepared feet and
unground glass? Certainly today's Bottle Walkers thank him/her
for saving them from these totally unnecessary do-aheads.
But again, and we can't say this often enough, DO NOT TRY THIS
AT HOME unless you are the student of an experienced Bottle
Walker. This is not a self-working magic trick. BROKEN GLASS
IS VERY SHARP, AND IT CUTS, AND YOU CAN GET HURT! |
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"
. . . with Todd, I am certain I'll get solid, consistent,
imaginative, professional and sensitive work. Todd's terrific
and he makes me laugh!"
- Michael
Christensen (Big Apple Circus)
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"
. . . this is truly an amazing talent."
- Howard
Stern
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The
"Human Ostrich" act in sideshows consists of a performer
eating strange things. Light bulbs, burning cigarettes, razor
blades and other items have been consumed in the name of entertainment.
I came up with this trick as a homage to the great swallowers
of the past.
Todd actually eats a playing card in this routine. Naturally,
we do not recommend that you swallow the card. Our recommendation
will appear under Larry White's White Magic Words at the end
of the routine. However, Todd and other side show workers do
eat such things. . .
- Editor
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EFFECT
A Card is selected and signed by a spectator. A second spectator
tears up the signed card and feeds it to the magician. The
magician chews up and swallows the pieces. A third spectator
examines the magician's mouth and confirms that the card was
truly swallowed. This spectator then looks down the magician's
throat and reveals the name of the selected card. The climax
of the trick comes when the magician then regurgitates the
signed card completely restored.
PREPARATION
As you read the explanation of how it's done, you will realize
that there is an element of risk involved in this trick. A
card is truly chewed up and swallowed. Because of this I can
not recommend that you give it a try, and if you do, you do
so at your own risk. I, nor this magazine can be held responsible
for harm that may befall you if you undertake the performance
of this trick. This having been stated, let's move on to the
preparation and minor sleight of hand involved in making this
trick work.
First off, you are going to need three identical cards. I
prefer to use a card of low value. For explanation purposes,
let's say we will use three identical fours of diamonds. Once
card is left unprepared. With a felt-tip marker write a woman's
name on one of the cards. Use a common name like Ann or Susan.
Cut the index off of the thirds card and glue the index onto
the fingernail of a Vernet Finger Tip. Discard the rest of
this card. You will need a pen flashlight and a glass of water.
Put the unprepared card and the signed card onto the deck
of cards The two identical cards should have backs matching
the rest of the deck. The order of the deck is as follows,
the unprepared four of diamonds, the four with a woman's name
on it, then the rest of the deck. Put the felt-tip marker,
the pen flashlight and the fingertip in your right pants pocket
(this is assuming that you are right handed). Have the glass
of water near by.
As for the sleights, you will need to force a card, do a top
change, palm a card, fold it into sixths and finger palm the
folded card. This is not as daunting as it sounds, because
with the exception of the force, There is ample misdirection
to cover your moves.
PRESENTATION
"I am going to present one of the oldest card tricks
in the books. For this I will need the help of three people
in the audience. First off, I need someone to be the Selector.
Madam, please say 'Stop.'" I force the top card on her.
The force I use is a standard one. I bring out the cards,
cut them and hold the deck in my left hand as I maintain a
break above the unprepared four of diamonds. I riffle the
outer left corner of the deck and when she says "Stop,"
I lift off all the cards above the break and push off the
four with my left thumb, handing it to her at the same time.
"Take a look at the card but don't show it to anyone
else. This is your card Alan Please memorize the card. Since
this is your card, please personalize it by signing your name
across the face of the card." Take the marker out of
your pocket and hand it to her. Take back the marker and pocket
it. Then ask for the signed card. Hold it face down at your
finger tips.
"As the Selector,
I need you to choose someone to be the Destroyer. It should
preferably be someone you don't know over in this region."
Motion to the area of the audience on your right. When the
woman points to someone, top change her card for the one you
signed earlier. Hand the face down card to the person she
selected. To the Selector say, "You have done well."
To the Destroyer say, "You are the Destroyer. Your's
is a simple task. Tear up the card." As the person does
this, palm off the selected card from the top of the deck,
put it in your pocket and fold it into sixths. I do this by
simply curling my fingers to fold that end, use the thumb
to put a sideways fold in the card. Leave the folded card
in your pocket.
"Now, oh mighty Destroyer, feed me the pieces of the
card." Stick out your tongue and have the pieces put
in your mouth. With your mouth full of torn card say to the
Destroyer, "You have done well." Chew up and swallow
the card. Use the glass of water to wash the card down. This
can take awhile to do so, so while I am masticating, I usually
tell this old joke. "I learned how to do this trick from
an old sideshow performer. This guy would do an act where
he would eat all kinds of strange stuff. I remember one time
when I was a teenager, I took a date to see him perform. As
we stood there watching him eat paper, cigarettes and tin
cans, I turned to my date and said, "Pretty neat, huh?'
She said. 'That's nothing. A goat can do all that and give
milk too.'"
After you have downed all of the card,
turn to the Selector and say, "Oh Wondrous Selector,
please choose someone to be the Keeper of the Light."
Motion to the opposite side of the audience from where the
Destroyer was. Reach into your right pocket, slip the fingertip
on your middle finger, and bring out the pen flashlight. "You
are the Keeper of the Light. Come forth." Bring the person
to you and hand him
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the
pen flashlight. "Yours is a two-fold job. First, use the
light to look into my mouth and declare to all that the card
is nowhere to be found." Stick your index fingers into
your mouth and use them to show the mouth empty. Keep the rest
of your fingers curled to avoid flashing the fingertip. "Not
there, is it?"
After the Keeper has responded, continue, "You know not
what the Selector's card is, this is true, yes?" Let the
Keeper respond. "Now for your second task. Look down, look
down deep, and see if you can tell her what her card is. If
you get an idea of what her card is, loudly proclaim to all
the land the identity of her selection." I usually hold
up both of my hands briefly, with the palms towards the audience,
as I ham this part up. It shows my hands empty without drawing
attention to it. I then stick my first and middle fingers into
my mouth and show my mouth to the Keeper. He will see the fingertip
with the card index on it. I sometimes wiggle it a bit to draw
more attention to it. I try to look the Keeper in the eye and
shake my head a little. What I am doing here is creating an
instant stooge. It's an idea I adapted from Kerrell Fox's "Little
Red Table" routine.
Hopefully, the Keeper will get the cue and say the card is the
four of diamonds. If this happens, take back the pen flashlight
and say, "You have done well." Dismiss him, put the
pen flashlight back into the right pocket and bring out the
folded card finger palmed. Ask for a round of applause for those
who helped you. As people are clapping away, load the folded,
palmed card into your mouth and hold it against the inside walls
of your mouth as you stick your tongue out. This should all
be done in one smooth movement and should look like you are
merely showing the mouth empty once again. Tilt your head back,
remove your fingers and close your mouth, allowing the card
to lie on the tongue as you pretend to be regurgitating something.
Tilt your head forward, pause, smile and show the folded card
between your teeth. Using only your lips and tongue, unfold
the card ala Tom Mullica. Ask the Selector if that is her card
with her signature on it. When she says "Yes" say,
"We have all done well," and take a bow.
The only potential fly in the ointment with this trick is if
the Keeper doesn't say the correct name of the card. If it is
wrong, you can always say in a consoling tone, "You have
done well. Not as well as hoped for, but well enough."
Send him back from where he came and continue on with the routine.
Done this way, the climax seems almost like an impromptu out
for the mistake, and might even play stronger than if the Keeper
had gotten the card right. |
White Magic Words:
A good friend, John Henry Scott, once performed this regularly.
With John's guidance I have walked on broken glass a number
of times.
The greatest danger is not the large flat pieces of glass. What
cuts you are the tiny slivers of glass. To eliminate these,
old-time performers put their broken glass pieces in a course
burlap bag and shook it around. This accomplished two things:
It dulled the edges of the shards, and the tiny slivers stuck
into the weave of the bag and were left behind when the glass
was poured out for the walk.
John also advised me to, as all glass walkers do, brush off
the bottoms of my feet BEFORE I stepped OFF the pile of glass
onto a flat floor. This brushes off any tiny slivers that will
cut you when you set your foot down on a hard flat surface.
I have a reprint of a wonderful book, MAGIC - Scientific Diversions
& Stage Illusions, by Albert A. Hopkins, originally published
in 1897. (You can get a paper back copy from Dover for about
$15 if you are interested). It explains the method for "Glass
Dancing" (plus other sideshow feats). The method requires
you to grind all the edges (of the broken pieces) round, and
to soak your feet in strong alum water, dry them and rub them
with pulverized rosin. NONE of these preparations are necessary,
but it makes me wonder how many long-ago glass walkers did these
things before they dared to attempt this feat. I wonder who
was the first daring soul to tried it with unprepared feet and
unground glass? Certainly today's Bottle Walkers thank him/her
for saving them from these totally unnecessary do-aheads.
But again, and we can't say this often enough, DO NOT TRY THIS
AT HOME unless you are the student of an experienced Bottle
Walker. This is not a self-working magic trick. BROKEN GLASS
IS VERY SHARP, AND IT CUTS, AND YOU CAN GET HURT! |
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| Todd
Robbins doesn't do much magic in his show; he does sideshow
stuff that is "real." Audience members do a lot of
examining and testifying, but that's not what sells it. It's
all sold after Todd eats the light bulb. To "Wash it Down"
he opens the previously used bottle of windex and prepares to
take a drink. Just as he gets the "Yeechs" from the
audience, he tips the G. He says it's water, alcohol, and blue
food coloring. The audience was believing the Windex. The audience
knows that he would have gotten away with it, but he tips the
G. They're thinking that when they tell the story of seeing
Todd, they themselves might lie and say he drank Windex. They
feel the temptation and are amazed that Todd didn't succumb.
From then on, he doesn't really need to have anything verified
again. The trust that he has commanded from that one little
tip propels the rest of the show. The audience trusts him so
much; that it's a shame he doesn't lit to them more.
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As
you may have noticed, a lot of what I do involves the openings
in my body. One person even defined my act as combining objects
and orifices in unexpected and entertaining ways.
This trick is also in this class of effect. It's a sucker trick
I do when I am called to do magic in the sideshow at Coney Island.
I do it right after performing Slydini's Flight of the Paper
Balls and just before I do a hat tear. Yes, I Admit it, I do
hat tears. Next to hammering a nail into my nose and eating
glass, the hat tear is the thing spectators comment upon most.
I don't know what it is about those dumb paper hats that people
like, but like them they do.
The only requirement for this trick is that you put a mouth
coil in your otherwise empty left pants pocket. You can't be
wearing jeans for this trick as you need a pants pocket that
has an upper inner corner. You will see why in a moment.
Instead of trying to state the effect and explain the
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workings, it's easier to walk you through the whole thing. I
set up the trick by saying I am going to explain how magicians
fool their audiences with sleight of hand. I roll up a ball
of toilet paper and do a rather ham-fisted French Drop, retaining
the ball in my left hand.
I show that I didn't really take it into my right hand and that
it is still in my left. I do it again and say, "To make
this more of a fooler, while everyone is looking at my right
fist, I slip the ball into my left pocket," suiting the
actions to the words. I continue with, "This way, when
I open my right hand, I can show both hands empty. If someone
saw me put it into my pocket, I say, "No, there's nothing
there," and hold the ball in my hand while I show the pocket
empty."
As I say this I reach into my left pocket, stick the ball of
toilet paper into the upper inner corner of my pocket and then
get a hold of the mouth coil and hold it in my hand as I turn
the pocket inside out,
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showing
it apparently empty. "People can look all they want at
the pocket because it's right here." I flash the white
paper of the mouth coil in my fist. "If someone notices
the ball in my hand, I still have an out."
While I say this last sentence, I cough a couple of times. I
cough once more, turning away from the audience and covering
my mouth with my left hand. Under the cover of this action I
slip the mouth coil into my mouth and then close and lower my
left hand as I turn back to the audience. I point to the closed
left hand with my right and then open my left. In garbled tones
I say, "It's gone." This usually gets a laugh when
the audience realizes what I have just done. I continue on with,
"If someone notices there is something in my mouth which
they sometime do, I do one of two things. I either swallow it,
or do this. "I then unfurl the mouth coil and finish with,
"And that's how the trick is done." |
White Magic Words:
I have never liked the basic mouth coil effect which ends with
the magician pulling yards of streamer from his mouth while
a kid . . . Who tried to do what the magician did ... ended
up with a mouthful of slimy paper.
BUT, that said, I must now admit I like Todd's use of the mouth
coil in the mouth. It is simple, quick, and obviously very entertaining
to a select audience. It "fits" perfectly where Todd
does it and, as simple as it is, he has developed it over hundred
of performances. Obviously you should not do this at a kid's
birthday party or at a formal afternoon tea, just as you should
not do the Multiplying Whiskey Bottles in a show for the local
Alcoholic's Anonymous either!
As my dad used to say, "There is a time and a place for
everything."
OOPS, sorry to ramble. The purpose of my White Magic Words is
to offer positive suggestions. So here is one. When you find
that right time and that right place to perform Todd's "Mouthful"
I recommend you exercise etiquette and use a proper color
mouth coil. "Bloody Throat Red," "Frog Vomit
Green," "Tossed Cookies Brown," or "Sticky
Spit Yellow" would all be in appropriate good taste. |
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So
you want to add a sideshow stunt to your repertoire? Here's
a gaffed one that will make people sit up and take notice (and
possibly run away screaming). It's called the Iron Tongue Act
and it consists of showing off the Herculean strength of your
tongue. There are many ways of doing this: Hammering a nail
through your tongue into a board, running a skewer through your
tongue, putting a hook through your tongue and lifting a bucket
of nails, etc.
There are three ways you can accomplish this:
1. Have your tongue pierced. Besides hurting a lot, this also
limits the amount of weight you can lift if you wish to do this
part of the stunt.
2. Use a fake tongue with a hole in it. This allows you to do
all the stunts listed above. It does require a bit of sleight
of hand (or more appropriately sleight of tongue) to get the
gaffed tongue in place. Some old-time sideshow workers would
cover their head and face with a bandana to hide the ringing
in of the fake tongue. They would justify this by saying that
the sight of the skewer (or nail or hook) being put through
the tongue had caused some people to faint. After they had inserted
the tongue and put in the impaling implement they would remove
the cloth and exhibit the tongue. If you want to go the fake
tongue route, you can get one from Simon Lovell or check with
your favorite dealer.
3. Use a gaffed hook or skewer. There is a U-shaped bend in
the skewer or hook that allows it to pass around your
tongue. This indentation is hidden in your mouth behind your
front teeth. The illusion that the skewer is going through your
tongue is quite good. For the hook, the bend is a little more
elaborate. This allows you to lift weight with the gaff. I also
would suggest that you have a duplicate ungimmicked skewer of
hook that you can show first. Put it down on your table and
"Sterilize" your tongue with some alcohol on a cloth.
Then pick up the gaffed one and put it in. Use both hands to
cover the "insertion" and don't forget to add in some
pained grunts and groans.
Here's a little tip for those of you that have had your tongue
pierced. As I stated earlier, you can't lift much weight with
the piercing. To get around this, after you have clearly shows
that the piercing is real, ring in a gaffed tongue or hook and
lift all you want. This can be very effective as there are a
surprisingly large number of people these days with pierced
tongues. Pretty sneaky, huh?
As with all the sideshow stunts, it's not something everyone
will want to do. But if you give it a try, you'll see that this
is a very strong performance piece.
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White Magic Words:
Don't you love it when Todd describes this disgusting sideshow
stunt as a "strong performance piece?" It's like calling
real tongue piercing "charming body enhancement."
Ah well - I can assure you this trick, despite which method
you use, WILL garner you "a different kind of response"
will also be VERY different depending on your audience.
As you will see in my photo elsewhere in this issue I HAVE done
this (much to the embarrassment of my wife, Doris.) I use method
#3. Look close and perhaps you can see the curve of the skewer
around my tongue? No you can't, but it is there and that just
shows you how visually perfect this method is (Thanks Ben!).
I LOVE the idea of using Simon Lovell's fake tongue ("Pen
Through the Tongue" available from your favorite dealer
for under $15). It will blow away those strange people who really
went through the pain of having their tongue pierced.
Todd's final suggestion comes from personal experience. If you
have seen Todd's video "Magic of the Sideshow," you
saw Todd's Coney Island tattooed cohort, Michael Wilson, pound
a nail through his tongue into a board. Michael uses method
#1 - his tongue is pierced - in the video, but Todd tipped that
he also later added the fake tongue bit because he noticed increasing
numbers of people in the audience laughing and pushing pens
through their tongues! |
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Lying
on a bed of nails has been a standard stunt in the sideshow
since the early part of the nineteenth century. It was at this
time that the stunt was introduced to the West by a troop of
performers from India.
Through originally it was (and sometimes still is) presented
as a demonstration of spiritual enlightenment, somewhere along
the line it was discovered that there is nothing supernatural
about the stunt. The secret lies in physics. The performer is
able to lie on the nails because his weight is distributed among
the points of the nails. Because of this principle there is
not enough pressure at any given point to cause a puncture of
the skin.
Proper construction of the bed of nails is important for the
success of the stunt. Four-inch, 20-penny common nails are a
good size, although larger nails are sometimes used. If four-inch
nails are used, they should be spaced one inch apart. A one-pound
box of nails will cover an area roughly 5 by 6 inches. A 1/2-inch
plywood board is used with a square or rectangle outline of
the bed drawn on the back of the board. This is divided up into
a grid of one-inch squares, Using a power drill with a bit that
is the same size or slightly smaller than the nails, holes are
drilled where the lines of the grid cross. The nails are hammered
through
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the
holes and another 1/2-inch plywood board is put on the back
of the first and the two boards are secured together with wood
screws. This will insure that the nails are held in place and
don't wobble. Let me tell you from experience that wobbly nails
are not a good thing! Also, the nails should all be manufactured
by the same company. Nails from different companies sometimes
are of slightly different lengths, and a bed of nails with nails
of different lengths can make a bad impression on you (pun intended).
After this has been done, a grind stone bit is put on the drill
and the points of the nails are ground down a little. This needs
to be played with a bit to see how dull they need to be before
the nails can be comfortably lain upon. Perhaps I should substitute
"tolerate" for the word "comfort" because,
to be honest, lying on a bed of nails that have been dulled
a bit, they still feel sharp to spectators when they are examined.
The bed of nails can be finished off by staining and distressing
the wood so the whole piece looks viciously nasty, or it can
be painted silver so it shows up better from a distance. A nice
touch is to have red paint drizzled on it so it looks like dried
blood.
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In
presenting the stunt, first members of the audience examine
the nails. Then an apple is lightly thrown onto the nails. It
hits with a dull thud. A spectator is asked to remove the impaled
fruit. They find this hard to do and this hammers home (pun
intended) the fact that the nails are real.
The performers sits on the bed of nails and gently lies back,
spreading the flesh of his back over as much of the surface
of the nails as possible. The stunt is often augmented by having
someone stand on the person reclining on the nails, or a cinderblock
brick, slabs of concrete or a large stone are put upon the horizontal
miracle man and broken with a sledge hammer. This is possible
because the weight of the extra person is also spread out over
the nails. The principle involved with the breaking stunt is
that the brick, slab or stone will absorb the impact of the
hammer blows. All that's required is that the item to be broken
be of sufficient mass.
It should be noted that all of the above is presented for information
purposes only. There are no two ways about it, THIS STUNT IS
DANGEROUS! I cannot be held responsible for what may happen
if someone should build a bed of nails and give it a try. If
you do this, you do so at your own risk!
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White Magic Words:
Before you invest your time and money be absolutely certain
you have use for a Bed of Nails! Consider: you will require
50-75 pounds of nails so the finished bed will weigh that plus
the weight of the plywood; it will be very awkward to transport,
will have little use outside a sideshow atmosphere, and is downright
uncomfortable to lay on. Todd and M-U-M offer these plans for
historical interest and as "information only." I recommend
any reader who plans to actually attempt to construct and use
a bed of nails contact Todd, or someone who has actually done
it, for more information. A Bed of Nails is definitely not a
"Bed of Roses." A Bed of Rose THORNS maybe??? |
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So
you say you want to know more? You want to find out the low-down
on sideshow stunts? You want to learn about the history of this
dark corner of popular entertainment? Well, step through that
opening in the canvas over there and you'll see it all, learn
it all, and find out what it's all about. There is an additional
charge for this exhibit, we make no apologies for this, and
when you witness what we have to offer there, you'll understand
why. Walk this way, now's the time to go.
Welcome to the blow-off, the final act of this show. Now let
me start off with a disclaimer. There's more to learn about
the sideshow than can be presented right here and now. I will
tip to you that a good place to start your journey is with Stevens'
Magic Emporium video, The Magic of the Sideshow. It's an entertaining
and informative romp through the world of the ten-in-one (we
agree - editor). And that Robbins kid is one hell of a performer,
even if I do say so myself. In addition to that there are tons
of books and publications on the subject., so if you want to
wrap your eyes around some of |
them, then this is what you should do. Send me a SASE and I'll
return to you a list of what's out there. There ain't no catch
to this, it's free. I guess I'm getting soft in my old age!
Here's the address:
Todd Robbins
646 9th Ave #1RS
NY, NY 10036
So there you have it. I guess the real reason I'm doing this
is because I think this stuff is pretty special and I want to
share it with others. So drop me a line and have a red one!
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