I own both of his DVD's and loved them. But I have been told that this is one of his strongest effects and is only in his book.

Can anyone describe what happens? I'm not fishing for methods.... I would just like to know what the routine is and what the audience sees.

I would be very grateful for any other comments, especially from those who have worked it.

Is this better than Cassidy's "Fourth Dimensional Telep."???

Xavier.

General premise: Audience members return covered drawings, doodles (or handwriting) samples to you. You analyse the samples, one by one (reading); guess who drew each one (psychometry); and then climax the effect by drawing a copy of the last, unseen drawing (design duplication).
The method and handling can be varied, but the basic entertainment value is in the combination of effects in the routine itself. It can be very funny and it all depends on your personality (and a smaller audience, familiar with each other, helps).

I mentioned this in a previous post, but last year I did Sneak Thief at an outdoor fair in 44 shows over 11 days. By the last day, the stage crew (who were the only folks besides myself who were there for EVERY show) were still stunned that I could know who drew what picture and had no clue how I could know what they drew without ever seeing it. It is a VERY good effect and worth every penny I paid for it.

That's pretty cool! How was the impact on a larger, outdoor crowd? Did you pick artists who were with a group of friends? (So they can giggle at their own friends drawing & your analysis).

If one uses Becker's original version, they are limited by the drawing's visible size (3"x5") & need more angle considerations, esp. on a stage (and around a "stage crew"). But it sounds like it came off pretty well!

My own version uses larger, ungimmicked, half (or even full) letter size binders. They are closed and sealed with rubber-bands. (The "method" is said to be significantly "sneakier" and more angle-proof. )

But I only used it for rooms, parlors, small conventions and banquets. So an outdoor platform would be an interesting challenge.

In the end, as I wrote above, the genius is in the sequencing (and how you handle them). The methods are secondary to the entertainment value. I credit Larry with creating and popularizing this great effect. Though I recently learned that it was Phil Goldstein who first published a drawing dupe climax to Koran's Doodle routine (I need to study-up more!).

Adolphus,

I'd like to know more about your version. where I can I find it?

One Love!

I'm also curious, Adolphus...let's hear about your version.

Larry is absolutely wonderful...and I've enjoyed the routine--but would like to learn more about what you've contributed!

Erik--do you use all 'natural' materials...or did you purchase pre-made contraptions for the effect? I myself buy the materials at an office supply store--and do not use any binders...or note-pads or anything other than the surface they're writing on...if you know what I mean.

Brandon

It is called "Banned Art" and it is part of my manuscript "Happenstancity" (aka "Coincidentalism II").
It has been variously called "vicious, diabolical, devilish" and "the perfect method" by Chris Carter.
I am only releasing a few more copies on eBay in the next few weeks (I now have a rare, just discovered copy of my 1st book, "Coincidentalism" now currently on eBay - search on "adolphus" + "mentalism" for either book in current or completed auctions). They're limited editions, and not cheap but said to be valuable to a pro who'll use the routines in them.
To find out a little more, see these threads:

http://www.themagiccafe.com/forums/viewt......forum=15

http://www.themagiccafe.com/forums/viewt......forum=15

I originally bought the 8.5x11 boards from Hocus Pocus, but later found the effect tipped in Stunners Plus and SYZYGY. It is this larger version I used at the fair. The fun part about that venue is that there were a couple other acts sharing the stage with me and they would go out in the audience to watch it because they were facsinated with how the rest of the audience would also try to figure out who's drawing belonged to whom. That, I think, is one of the strongest parts of the effect.

Recently, I bought 4 leather "jotters" from Tumi that hold 3x5 cards for parlor work.

Brandon, what "natural materials" from office supply stores are you using for your stage size boards?

I am also curious about using full-sized (I am assuming hinged cover) binders.

Erik,

How many drawings do you do at a time? I think Becker's routine is 4.

Is 8.5x11" the "larger size" you use for the fair?

While my written routine is for 3 hinged, 6"x9" vinyl binders (ones you can buy anywhere), Chris told me he can manage with full 8.5x11" pad binders. I suppose I could also use 4 or more binders at once in mine, but it may get more unwieldly.

Of course, the more people you can "analyze" the more you can please (but I'd think 4-6 is the limit, for pacing reasons). My manuscript also gives a couple pointers, and a small bibliography, for those more serious about studying "doodle" psychology.

Adolphus,

Yes, I used the 8.5x11 at the fair with 4 participants.

I would like to know more about your binder routine. PM me and let me know where I can find/purchase it.

For any who are interested:
I'll probably have the manuscript "Happenstancity," containing "Banned Art," back up on eBay in a week or so.
I concocted it over 13 years ago after reading Becker's original "Sneak Thief" wallet ad in Linking Ring (and added my memory of an old Uri Geller move). I wanted something that would play bigger and more visual. I never bothered to actually read, or know, how Larry did his. I only just recently got ahold of a copy of "Stunners Plus" to finally read how "Sneak Thief" is done. It's no surprise that Larry adds a few really nice touches and suggestions that I wish I had thought of!
Of course, if one is happy with his own routine and it's a "worker," then my version may seem superfluous. It just makes it all seem a little more impossible to the audience. It covers your angles, "dirty work," & timing a little stealthier (maybe "a lot more" stealthy, if you believe what others say). It may also give you the distinct pleasure of frying a few fellow magi and mentalists.

By natural...I meant props from an office supply store--rather than a magic supplier.

I use foam-core boards in larger sizes, depending upon the venue.

I had thought about buying the props that have been offered over the years--but I think they are very proppy...and it looks better to just have the writing surface and markers.



Brandon

I agree with Brandon and use the same line of thinking

Take care

Kuffs

Ditto that. I never wanted to purchase any special, odd, or expensive wallets & stationery that would cause suspicion or be out of place among my "struggling entertainer's decor!" I never even KNEW they sold "special" boards or such for the Sneak Thief" routine until now!

Let me add my praise for BANNED ART by Adolphus.

Simple, effective, with everyday props... a winner!

There are so many things that Mr Becker has given us, and like Mr Maven (Goldstein) and Mr Cassidy. They are sometimes best given a 'twist' of your own!

True, and sometimes not!

LOFT,

I only said, what I said as so many seem (IMO) are a little lazy when it comes to the effect/methods.

From Mr Becker's basic effect there have many who have put their own 'special' twist on ST.

Just look at Marc Salem, Eddie Burke, Andy Nyman... I have also read two very interesting effects one by Peter Arcane (??) and one by an englishman called David Lang. Both again take Mr Beckers effect in a slightly different direction.

Sorry if what I said came across a little heavy-handed.

PSImon

As I mentioned, I probably need to a little "catching up" with all the newer developments out there. So I am not familiar with all the other variations you mentioned on this effect. When I have the time (and $) I would love to explore them all someday.

Do they differ in the "method, handling or convincers?" Or do they add some new routines and climaxes? (to what already seems to be a perfect combination in my mind)

One thing that Chris noticed different about "Banned Art" (besides using ungimmicked, covered binders that are sealed with rubber bands) is the "gaze factor."

He noted that the audience can tell when the performer is looking and processing information somewhere, (even when he's not supposed to be).

He pointed out that, unlike other routines, the head, face and eyes are never obscured. (and I'll also add that the "Psychometric" aspect is automatic, involving no handling or cover).

After hearing Chris' observation about the eyes, I then realized that your gaze is always seen to be on the drawing that is being viewed by everyone else. This is not just a "perception" by the audience of what you are doing, it is, IN FACT, pretty much what is happening.

Moreover, with added eloquence, you can take almost all the time you need doing the "Dirty Work."

While on the topic of Sneak Thief, variations, and modern materials, here is a nice little idea you may want to consider...

First, take a look at Richard Robinson's cute "pseudo psychometry" idea here

http://allmagic.com/magicshow/stage/pseudopsycom1.html

Then add a little "Sneak Thief" concept / procedure for the final DVD title. Pick up a board and draw an element from the movie you "see". Would make for a very nice complete routine.