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All my friends are hilarious.
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Roy Orbison, my living room. Jam session!
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I haven't, and I'm not going to make the same mistake as Jordan and reply to this spam.
... oh shoot. -
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The Expert at the Card Table
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TV - I've practically trashed it already. Mine happens to be a second hand hotel-TV from the late eighties.
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Latin, without a doubt.
The problem would be to find people speaking it. I'm sure me and the pope would become buddies. -
That's really difficult to answer!
It would have to be a song that had enough variation in it, for me to not grow sick of it.
My first thought was "Bohemian Rhapsody", but I doubt I'd manage to listen to that "song" more than a couple of times before going completely insane.
So, I'll go with Roy Orbison - In Dreams, and the motivation is:
- The song has a lot of variation in it
- It never goes too high (which could turn out to be a sick-factor eventually)
- It's great! -
During FISM, I fell asleep while drinking from a can of cider.
It was a mess. -
Not anymore! Well... sort of.
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I do play the guitar, and I have written a couple of 'songs' myself. Feels bad calling them that, actually.
I dare not share any lyrics here though, since I'd probably get sued and my family would disown me.
Hopefully I'll be able to write songs one day that I can be proud to share. -
I find myself using "The Trick That Cannot Be Explained" quite often, and because of that, I have close encounters with 'luck' all the time. Since you go in with nothing, good luck is a fine tool.
One of the most memorable things that happened to me once, didn't just turn into an awesome effect; it also kicked my butt.
I brought out my invisible deck, and had someone name a card. The deck was removed from the case, and I noticed that the joker I always used have on the face of the deck wasn't there. Figured the deck had been cut or something, so I began spreading the cards. Turns out it wasn't my invisible deck I had brought out, but rather a standard pack. Before panicking too much, I decided to cull the named card out and do some half-assed 'card to pocket'. Then I notice that one card is reversed in the center of the deck, and I can't for the life of me see the named card anywhere. I had the spectator remove the reversed card and look at it.
Since then, I am a god in that company. Don't dare performing anything more to them though, since nothing will be as awesome as my examinable Invisible Deck.
Thanks for asking! -
There's still a bit of a language-barrier. I find it difficult to understand Norwegian when spoken fast.
Slow down, and I'll be there soon! -
I rarely perform much, so this is a bit of a difficult question to answer.
There are certain effects I like performing, but they are not necessarily the strongest ones in my repertoire.
I'd say though, that the effects I find myself using most include:
- Re-set by Paul Harris
- Estimated Toss by Larry Jennings
- Flawed Transposition by Larry Jennings
- The Trick That Cannot Be Explained by Vernon (with ideas from Ed Marlo and Eric Mead)
Regarding sleights, I can't really pick any favorite ones. Sleights are tools for me, and I choose whatever suits the situation best. I make sure to have multiple ways of controlling, peeking, forcing and revealing cards. That way I can perform most effects in most environments, by sl(e)ightly altering the method. -
If you go on any common video site, you will see new people showing off their latest creations. They've tried creating their own thing, but it didn't turn out very awesome.
Creating original material is tough. You need to have a reason for creating it, other than "just because I wanted to create my own thing".
Much like in programming or web development, a very important step while learning is to imitate others. As wrong as it may sound at first, it is a very good way to see how things should or could be done.
This can be applied to card magic as well. People keep telling newbies to "be original" and "do your own thing". If I had gotten that advice when I started out, I probably wouldn't have continued practicing this art.
Material-wise, being original isn't really important unless you want to put out a product. Laypeople won't give a damn if you are performing an effect by Marlo, Vernon or yourself.
So, the advice is; don't get too obsessed with trying to create original material at first. Try and learn great, existing effects instead. Your originality will develop once you learn more and see flaws in existing effect, or ways to improve them.
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Erik’s Bio
Born in Sweden. Raised in Sweden. Don't work at IKEA, but I enjoy meatballs and ABBA.
