Never left magic: Raymond Singson kept performing during service in Marines

March 31st, 2014 | Joe Hadsall | Filed Under General

Never left magic: Raymond Singson kept performing during service in MarinesThe U.S. Marine Corps is one of the toughest branches of the U.S. Armed Forces. Standards for admission are higher. Marines are members for life, and pride themselves on being “disciplined, professional warriors”; the best of the best.

“So it was always really fun to see that stoic facade fall apart when they were amazed by something,” said Raymond Singson. “I worked with Marine Drill Instructors for the past three years. These are some of the hardest, most intimidating men the Marine Corps ever trained. They are responsible for making men out of boys and getting them ready for the challenges of war. Despite that, some of my favorite memories in magic were making these drill instructors scream and giggle at each other like children by doing magic for them.”

Before Singson served as a Marine Officer, stationed in places such as San Diego, South Carolia, Iraq and Afghanistan, he was a magician featured in Kard Klub and earned a reputation for redefining reveals in Stained Skin. He has rejoined Ellusionist as lead forum manager and content writer. You’ll see him on our Performance HQ Forums, on the Ellusionist Blog and more.

He got his start in magic early, with a copy of “Royal Road to Card Magic” that he bought at 10 years old with his own money. That led to a key moment with his dad that cemented his love of magic.

“Everything about that orange, hardcover book exuded mystery to me,” he said. “I remember legitimately fooling my dad for the first time. It was such a rush, it was like a power trip. When first starting out in magic, I wanted to experience that over and over again.”

But what really made Raymond connect with getting a reaction was inspiration from David Copperfield. Before seeing the legendary stage magician, he had an idea that magic was just a method for fooling people, but Copperfield showed the power of emotion, and how it bolstered the rush from performing.

“It’s not until you experience magic a different way — GOOD magic — to acknowledge that it’s art,” Raymond said. “For me, that was Copperfield. After seeing Copperfield, I knew magic could be a worthwhile emotional experience for people. I also knew it was something I’d do for the rest of my life.”

Never left magic: Raymond Singson kept performing during service in MarinesTrue to his word, magic has remained an important part of Raymond’s life — even as a Marine. Care packages always included playing cards, so he was able to keep up his chops and make jaws drop. No matter where he was stationed, he always performed for fellow Marines, locals, anyone. Those performances, for him, highlighted how “human and dynamic” everyone is — even in the face of one-dimensional portrayals of servicepeople and citizens.

“Magic strips away so many layers and just reveals an awesome innocence in people,” Raymond said. “I performed magic for Marines as well as the locals, and it was really interesting to see how similarly they all responded when they saw magic. Regardless of rank, culture or background, magic reminds us that we’re all equals at some level. Not many performance arts do that.”

Lately, mind-reading and mentalism has snared his attention. Influenced by the work of Derren Brown, he’s been diving into Annemann and other work. With a drive to study how to get in someone’s head and challenge core beliefs about the way the world works, Ray is enjoying the exploration.

“After performing close-up magic for 15+ years, I really appreciate how people respond to mind-reading so dynamically,” he said. “Even today, epople still legitimately believe in the possibility of psychics and the paranormal. So phenomena like mind-reading feels much more possible and real to people, and I enjoy that because it really facilitates a human connection.”

Ollie Mealing: The unique creative process that led to moves in Control

March 10th, 2014 | Joe Hadsall | Filed Under General

Ollie Mealing: The unique creative process that led to moves in Control

About 10 months ago, Ellusionist introduced Ollie Mealing’s Control — 11 controls infused with finesse, refinement and class. The collection of beautiful, natural sleights represents a brilliant combination of skill and magic that lets audiences appreciate the beauty of card handling without spoiling the mystery.

The project was his Ellusionist debut — soon after filming that project in Toronto, he was hired by Derren Brown to work on his “Infamous” tour. Despite a packed schedule of working with Brown and filming new performances, he got a chance to recall a bit about the filming of Control and one of the biggest lessons in creativity that can be learned from it.

It’s been more than two years since I flew to Toronto, yet it still feels like yesterday! After a long flight, you can imagine how nice it must have been to be greeted at the airport (two hours late) by Ellusionist’s very own cinematographer extraordinaire, fantastic magician and dear friend Peter McKinnon. I still haven’t forgiven him.

The next few days consisted of shooting, sightseeing, laughing at Pete’s ridiculous (in a good way) anecdotes and generally being pleasantly introduced to new ways of life and the Canadian dream! (Something to do with loyalty to Tim Hortons and escaping rush hour.)

So on to the point of this post, the project itself — how the controls came to fruition and a few things which up until now I haven’t previously mentioned.

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Made to ‘shake foundations’: Justin Miller’s BOLD Project filled with his most evocative, astonishing effects

March 7th, 2014 | Joe Hadsall | Filed Under Artist Interviews

Made to shake foundations: Justin Millers BOLD Project filled with his most evocative, astonishing effects

Maybe it started when he was performing in Las Vegas with Lance Burton’s show at the Monte Carlo. Maybe it was when he delivered his first magic lecture at 13, or managed a magic shop at 15. Maybe it started during his first shows, held in his garage when he was 7.

Justin Miller really can’t point to a time when he hasn’t had a fearless attitude about magic.

“It did not come overnight, but it did come easily for me,” Miller said. “I have no idea why; it just did. That’s not to say that in the beginning, 13 years old or so, that I was not shaking every time I performed for anyone, because I most definitely did!”

The more he performed, the more confident he grew in what he showed. That confidence bred an attitude to try anything and everything in order to get more astonishing reactions.

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FOUR POINTS: Question shows our customers have minds for magic

February 28th, 2014 | Joe Hadsall | Filed Under Four Points

FOUR POINTS: Question shows our customers have minds for magic

We have the best customers in magic, and we love it when they prove it.

Tailing off of Ollie Mealing’s brilliant post about the next level after being a move-monkey, we were curious about what moves caused obsessive practice and pursuit among magicians, So we turned to our Facebook page, one of the largest magic-related groups on the social networking site, and asked them the following:

What move, sleight or effect has consumed more of your attention and practice, or driven you to attempt mastery?

We were expecting a lot of difficult, knuckle-buster type of moves to be listed. Greek Deal, Praxis Change, Perfect Riffle Shuffle, that kind of thing. That’s what we see on other modern magic forums and pages, after all — a bunch of people bragging about what they say they can do. But out of more than 120 comments, our Facebook fans picked out fairly basic, utility, not-flashy-at-all sleights. Even better were some of the justifications for picking those sleights. The comments they left behind pointed out four clear things to us:


The sleight that got mentioned the most was the pass — the very definition of an invisible sleight. One of the most functional sleights for magicians ever created, the pass used to be the primary move taught to aspiring card workers. Erdnase later corrected that notion in “Expert at the Card Table,” but the main reason that people learn the pass is for what it offers: A fast way to control a card. Because the pass is the sleight that got the most attention, that tells us you’re thinking not about the move itself, but what you can do with it. This comment best described that attitude:

Isaac Jason Petrie Simple the double lift. It is the one I have to use the most.


The pass and double lift came in at No. 1 and 2, respectively. No. 3 was the bottom deal. And those three moves were the only ones to get double-digit mentions (27, 18 and 11 mentions). And think of the versatility of all three of those moves. The pass and double lift open up an entire world of card magic, and the bottom deal is the one move Erdnase called the most valuable for the table. That tells us you that the things you want to master are the things you need, not the things you want. You’re thinking of function. The attitude is best described here:

Robbie Yeadon French Drop – not the move, but things to do with it!


Those top three aren’t exactly easy moves. The basics can be picked up, but mastering the subtleties and intricacies takes time and practice. But the mastery of those moves reveals its value. And because each of those moves are more utilities instead of displays, That tells us you’re thinking about impressing your spectators, not mastering a flashy move that looks good only on YouTube. That tells us you agree with Ollie and are putting that philosophy into practice.

Dylan Dunnington Gamblers Cop for sure. It’s such a versatile move and creates amazing effects used properly.


Out of more than 120 comments, there was no spam, vulgarity, flame wars, trolls or other typical immaturity that we see on other Facebook pages. There were even a couple of good snarky comments that made us laugh. We’ll let you find those on your own.


FOUR POINTS is a regular feature that celebrates magicians’ favorite number by highlighting four critical bits of importance, awesomeness or otherwise. Send your suggestions to

Ollie Mealing: Move-monkey is a good goal, but this one is better

February 24th, 2014 | Joe Hadsall | Filed Under Artist Interviews, General

Ollie Mealing: Move monkey is a good goal, but this one is better

We all wear the badge “move-monkey” with pride. Ollie Mealing is definitely one, as evidenced by his work with Control. But if you’ve seen his YouTube videos, his effects are about so much more than doing a move. This is the thought process that helps Ollie create real magic.

I love chasing a new move, generally the more profound it is, the more interested I am in pursuing it – possibly because it leads to a greater sense of achievement or perhaps the idea of an unpredictable journey is too seductive to shake off. Regardless of the challenge, I find it to be a thrilling experience from the start – the discovery, the development, the accomplishment & the resultant new addition to your arsenal as well as new lessons learnt along the way.

Through this addictively satisfying process, it’s no wonder that so many of us consider ourselves as ‘move-monkeys’. While I think this title is beneficial, we should place focus towards becoming it’s older, wiser accomplice – an ‘effect-monkey’.


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