Thoughts Sa Far 7

Ken'1edy

H' there. ..just a few notes befo~ewe delve in. As far as I am

aware, and I have done my best to research, all of the effects
'1ereinare original and of my creation or at very least have my spin
0'1them. I use fairly regular principles to create the effects I
~orm and my focus is on presentation. This is probably due to
"""Jtheatrical background. So if you are to use any of these ideas
t>esure to act them through as good as, if not better than me.

When creating these effects llike to consider a principle I enjoy

working with, for example I went through a phase whereby I had an
obsession with Himber Wallets, and I would create many different
effects employing the ruses of the device.

All of the material contained I have performed at some time and

many of the effects were specifically designed with a particular
performance in mind. 1would be looking ir)to my diary tor the
coming three months and see an event and begin planning the
show for it. From this planning process I would create new effects
to fit the context. This is how much of what you are about to read
was bom.

Some people may overlook some of the effects within, as they

seem to require toa much preparation, setting things up or
purchasing specialist tools and props. That is fine, because the
people who do make the effort wil! be fewer and the effects wil!
remain more exclusive. In my honest opinion, if you invest the time
and effort into creating one of the props I describe you wil! be weil
rewarded.

I was going to hold back on some of my favourites, such as Gold

Bending, The Hand, Sightless Dupe and Second Philling tor Graffiti
as they have been my trademark pieces for a few years and until
now I have held on to them like I would my offspring. I hope you
enjoy my thoughts, so faro

Kennedy
 Thoughts So Far 13

Kennedy. who am I?

Well- sometimes it's useful to know a

IiWeabout the person whose work you
are about to read. More often than not
it's a waste of time. Nevertheless, I am
going to give you a little bit of
background on myself.

I was bom in Northumberland, England

in July 1984. My interest in magie began
by watching television specials of the
great Paul Daniels and David Berglas.
They showed me the enjoyment that
both their audiences and the performers
get out of the art of conjuring.

I was a member of many theatres and quickly became very

successful as a young aetor, playing lead rales in Oliver and The
Railway Children at major theatres in the North-East of England.
During this time I met someone who I can only recall as Dilion. he
was a scenic artist who would show me card tricks for hours on
end. I would beg him to teil me how they were done and his
answer was "Go to the magie shop and find out". I eagerly
researched the location of this place of wonder and went along .

I did my first paid show when I was 13, where I was humoured by
many adults who would say "You're very talented", at the time it
was a compliment but in retrospeet,why are people so sickly?

I then decided that I wanted to do magie which didn't require

sticking cards to ceilings, signing cards or the likes, but it would be
really great to be able to read minds. I was fifteen at this point. I
began to work on simple card forces and a pparently pluck these
thoughts out of people's minds. At school I would hang around the
social block surrounded by people younger and older saying "Do
me"...and I would!

Kennedy

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