WEBVTT - BrainStuff Classics: Who Does the Real Magic: Magicians, or Assistants?

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<v Speaker 1>Welcome to brain Stuff production of I Heart Radio. Hey

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<v Speaker 1>brain Stuff, Lauren Vogelbaum here with a classic episode from

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<v Speaker 1>our archives. I love stage magic and sleight of hand

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<v Speaker 1>precisely because I know that it's fake, but that doesn't

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<v Speaker 1>always mean that I know how it's done. It creates

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<v Speaker 1>a space of curiosity for me. In this episode, we

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<v Speaker 1>go behind the scenes of stage magic to talk about

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<v Speaker 1>the relationship of magicians to their assistance. Hey brain Stuff,

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<v Speaker 1>Lauren Vogebam Here. In magic industry, lingo magicians, assistants are

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<v Speaker 1>called box jumpers because to the audience, that's all the

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<v Speaker 1>lovely assistant appears to do. She's there to distract the audience.

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<v Speaker 1>You know, look pretty, smile big, and wave her hands around,

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<v Speaker 1>then pop out from the padlocked box precisely when the

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<v Speaker 1>magician says tada. But magic insiders know the real story.

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<v Speaker 1>When the trunk lid closes, the sheet is raised, or

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<v Speaker 1>the saw is lowered into the box, it's often the

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<v Speaker 1>assistant who does the real magic of the illusion, releasing

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<v Speaker 1>the latch on the false bottom and cramming herself into

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<v Speaker 1>a two foot space while executing her third costume change

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<v Speaker 1>of the evening, all before the guy in the top hat,

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<v Speaker 1>says Tada. Although magic is undeniably a male dominated profession

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<v Speaker 1>if you only look at the name on the marquis,

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<v Speaker 1>those who know the most about the stagecraft behind the

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<v Speaker 1>magician assistant relationship say that the industry isn't as sexist

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<v Speaker 1>as it might appear. Blair Baron, who co produced the

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<v Speaker 1>two thousand eight documentary Women in Boxes about the Unsung

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<v Speaker 1>Magician's Assistant, explains that onstage, both the magician and the

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<v Speaker 1>assistant are playing roles, roles that artfully play off of

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<v Speaker 1>the audience's gendered expectations. Baron says the biggest misconception is

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<v Speaker 1>that the magician's assistants are marginalized, objectified bimbos, if you will,

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<v Speaker 1>who are deferring to some guy, when actually, in my experience,

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<v Speaker 1>they are the brains behind a lot of the illusions.

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<v Speaker 1>Baron would know. She married into one of the royal

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<v Speaker 1>families of magic. Her husband, Dante Larson, is the son

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<v Speaker 1>of ire and Bill Larson Jr. Two of the co

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<v Speaker 1>founders of The Magic Castle in Hollywood, the world's pre

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<v Speaker 1>eminent magic club, and Irene, who passed away in twenty sixteen,

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<v Speaker 1>was herself an accomplished magician's assistant in her day, Baron

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<v Speaker 1>says that Irene and her generation of assistants doubled as

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<v Speaker 1>the business brands of the operation, keeping track of finances

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<v Speaker 1>and booking appearances. And although they played integral roles in

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<v Speaker 1>both the planning and execution of allusions, these old school

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<v Speaker 1>assistants never wanted to steal the spotlight from the magician

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<v Speaker 1>off in their husband by billing themselves as equal partners.

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<v Speaker 1>Modern magicians assistants see their roles a little differently. Hannah

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<v Speaker 1>Lynn Wagster is half of the South Carolina based duo

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<v Speaker 1>The Wagster's Magic and Illusion, who perform a weekly show

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<v Speaker 1>at the Carolina Opry Theater in Myrtle Beach, South Carolina.

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<v Speaker 1>Hannah is still primarily the one who gets locked in

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<v Speaker 1>the boxes, but says that she and her husband Brandon

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<v Speaker 1>are very much equal partners on and off the stage.

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<v Speaker 1>Hannah considers herself a magician, not just an assistant, and

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<v Speaker 1>does a few solo tricks in the act. She also

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<v Speaker 1>runs the show backstage, giving technical and lighting cues to

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<v Speaker 1>stage managers and making sure the next illusion is lined

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<v Speaker 1>up and squared away. But Hannah admits that at the

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<v Speaker 1>end of the day. Her primary role on stage is

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<v Speaker 1>quote to make sure the magician looks good, which often

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<v Speaker 1>means contorting herself into tight spaces or dangling from high

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<v Speaker 1>wires without giving the audience a clue about how incredibly

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<v Speaker 1>difficult it all is or how many bruises, scrapes and

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<v Speaker 1>sprained ankles she's endured along the way. And despite her

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<v Speaker 1>husband's efforts to give Hannah equal billing and equal credit

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<v Speaker 1>on stage, the audience often can't see behind the traditional

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<v Speaker 1>magician assistant divide. Hannah says after shows, folks always want

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<v Speaker 1>to talk to Brandon and congratulate him on his magic.

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<v Speaker 1>They'll literally push me aside. We also spoke with Dean Carnegie,

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<v Speaker 1>a veteran stage magician and the magic historian behind the

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<v Speaker 1>blog The Magic Detective. He explains that the first magician's

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<v Speaker 1>assistants were the product of new school of magic that

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<v Speaker 1>emerged in the mid nineteenth century called the Illusionists. In

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<v Speaker 1>the eighteen fifties, pioneering French conjurors Jean Eugene Robert Houdin,

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<v Speaker 1>the inspiration for Houdini's stage name, and Boutier de Culta,

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<v Speaker 1>created startling illusions that involved the levitation or disappearance of

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<v Speaker 1>a second person and assistant. Carnegie says Robert Houdine's first

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<v Speaker 1>assistant was his young son, but as more illusionists entered

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<v Speaker 1>the game, the assistants were invariably female. Women. It turned out,

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<v Speaker 1>were much more effective victims in the minds of the audience.

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<v Speaker 1>When a woman was in peril, it raised the emotional steaks,

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<v Speaker 1>and that still seems to be true, says Baron. She said,

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<v Speaker 1>they've tried to reverse it and have the female be

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<v Speaker 1>the magician in the alpha role and the man be

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<v Speaker 1>the assistant, and it doesn't work. No one cares. Magic

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<v Speaker 1>trends come and go, and for the moment, the bigger

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<v Speaker 1>names and magic are focusing on close up card tricks

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<v Speaker 1>and mind reading, which don't require assistance, or at least

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<v Speaker 1>not visible ones. But there are plenty of acts like

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<v Speaker 1>the Way Ugsters, who still wow with set piece illusions

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<v Speaker 1>executed with precision choreography. Baron, who now runs the Los

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<v Speaker 1>Angeles Drama Club, a Shakespeare program for kids, reminds us

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<v Speaker 1>that what the audience sees on stage is itself a

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<v Speaker 1>play within a play. She said, the assistants are winking

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<v Speaker 1>at you. It's all very tongue in cheek because it's

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<v Speaker 1>trickery and illusion. Today's episode is based on the article

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<v Speaker 1>is the Lovely Assistant the Real Magician on hous to

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<v Speaker 1>works dot com written by Dave Roose. Brain Stuff is

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<v Speaker 1>com and it's produced by Tyler Klang and Ramsey. Out

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