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Bill Hegbli
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Eternal Order
Fort Wayne, Indiana
22648 Posts

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I have been reading a lot about this Classic effect. Ade Duval, Keith Clark, and Tony Marks comes to mind. They of course added their own ideas to the effect with multiple silks appearing between silks, ending in a long line of silks.

My discussion is more on the "To Perfect" idea with this trick. I recently ran across an little different (to me) placement of the tied silks in a trick description.

I am sure most of you are aware that there are many different versions of this trick on the market. Mechanical using a device and the classic version just using the silks. For this discussion, I am discussing the "standard" version with the gimmicked silk.

Mostly this effect is discribed as the knotted silks being placed in a glass or on a table or even held by an assistant. Tony Marks just laid them over his box table and attached one silk to a hook.

To get to my question, I recently read Rice's description of placing the knotted silks behind the neck of the performer, leaving the silks hang down on his chest. After a silk is vanished, the silks are taken off the chest, and the knots are brought into view. As this is being done the vanished silk, from moments ago, appears tied between the exposed silks.

Now here is the the "To Perfect" theory. If the vanished silk was to be revealed while lifting the knotted silks upward, this would leave a question in the minds of the spectators, that the silk came from the performers collar. But if, the silks were raised above the performers head before the knotted silk made it appearance it would leave no clue to a method for the audience how the vanished silk became tied between the 2 knotted silks.

So which handling would be preferred? The "To Perfect" handling or the one that will leave a possible solution for the spectators watching?

To my way of thinking there is a difference in the minds of the spectators, and how they would perceive the appearance of a silk being knotted between 2 previously knotted silk scarves.

Thanks for joining in the discussion.
Herr Brian Tabor
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Special user
West Virginia
726 Posts

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My preference personally would be as it always is when it comes to the "To Perfect Theory". I'd rather do it in the air, leaving the audience nowhere to go. I never understood the point of this theory, and side with Tommy Wonder: we are magicians. I want what I'm doing to look as close to real magic as I can. If I do the trick in a way that gives the audience a hint of how I did it, regardless if it is correct or not, I'm doing weak magic. I'm not trying to display puzzles for my audience, I want to display mystery and magic. If you're going to leave a possible solution, and the audience picks up on it, they aren't going to be fooled, even if they are wrong. Just my two cents Smile
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Inner circle
old things in new ways - new things in old ways
8854 Posts

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Seems to me that hanging the silks over one shoulder would accomplish the same end without the "from his collar" inference -- but that doesn't answer your question. I would side toward any method that does not leave a possible solution in their mind, even preferring to toss the silks into the air and have them fall with the third silk revealed. Methinks Rice was attempting to produce a "no skill" version of the effect with audience participation.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst

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Profile of Hookem
Re the "too perfect" way Harold Rice recommended, I have done it that way for over 50 years. It works fabulously every time. I can only conclude that it looks like real magic.
Dick Oslund
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Inner circle
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I've been doing MY routine for the 20th C Silks for about 40+ years. My little boy assistant, ties the two silks, and they are placed in HIS pocket. While waiting for the knot to disappear, I then vanish a rainbow silk WITHOUT A RED VELVET BAG ON A STICK. I can't find the vanished silk! A string of silks is "found" in my pocket, but the rainbow is lost. Finally, we check to see if the knot has disappeared. VOILA! The rainbow, is found!

It's my "idea" of an "O. Henry" finish! You want to see it? Check out my dvd!

SURPRISE is an important element of ENTERTAINMENT!

The "classic" 20C effect has no surprise. Check out the YOU TOOB! There are a "hundred" different "DEMONSTRATIONS" of 20C,-Not one that I would consider a PERFORMANCE!

My 20C is NEXT TO CLOSING! --because NOTHING can follow my MISERS DREAM.
Dick Oslund
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Inner circle
8363 Posts

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P.S. Every time I pick up the silks, I silently thank T. Francis Fritz!
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1837 Posts

Profile of Anatole
My magic friend Roger Sherman pointed out to me once that if a lay person _thinks_ they know how a trick is done, then as far as that lay person is concerned, they are right!

A classic example is card fan productions. A chemistry teacher saw my manipulation act at a school show and he was absolutely certain that the cards came out of my sleeve. I thought so myself before I began my study of magic.

The first time I saw Karson's Zombie performed back around 1962 on "International Showtime" I was convinced that it was done using a thread.

----- Amado "Sonny" Narvaez
----- Sonny Narvaez
Bob Sanders
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Grammar Supervisor
Magic Valley Ranch, Clanton, Alabama
20507 Posts

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I love the flexibility of routines available with 20th Century Silks. I have about 20 different routines with them by changing colors, prints and patter. After just 58 years as a magician, I use 20th Century silks in about 1/3 of all my shows. (Today will be for the Red Hat Society.)

Bob Sanders

Magic By Sander / The Amazed Wiz
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