Rip off acts on You Tube and around the world

[Ben Robinson]

Hi, Ben Robinson from New York writing. I generally shy away from organized magic because I pride myself on creating my own effects and novel presentations and amateurs thing nothing of just copying ebcause after all "whose it gonna hurt?" I remember back in 1976 when I was standing in the back of a comedy club and another comedian was writing down material he heard on stage and I saw another guy rip the paper out of his hands and tear it up. Now we can see all sorts of rip off acts like the guy who does Lance Burton lock stock and barrel on You Tube. So, age old question mates, how can we stop creativity from being ripped off, or can we?

[John Macdonald]

Soooo True Paul what you said ..I have actually seen other acts in the Audience ( after they have done there spot ) sit down in the audience watching the main act, and writing down the gags etc, as the main act performed !! these peole have no guilt whatsoever it seems ? and no doubt also have NO orginal ideas in there brain ...and must rely on other entertainers success to fullfil there ambitions ..what a sad world we live in...I have also seen it a lot quite recently' with the new performers and generation coming in to the business !! where they watch a particular part of someone's act ..and then insert it quite causally into there next show...yes I suppose it is quite a compliment when someone wants to do it your way....but not so when they do at a venue etc before you !!!!

[Bev Bergeron]

Ben Robinson – Rip Offs
Bev Bergeron

Ben has asked that I comment about “Rip Offs.” I really don’t know if I’m the one to make a statement. Yes, I feel that I have been “Ripped Off” too many times in my life time, but as one person put it to me: “Well you used a lot of stuff from others in the past.” And I have – we all have.
As a young teenager in magic I used all the cataloged magic that I could find or buy. I did not realize then that when I performed the Head Guillotine and the Snake Basket that I was “borrowing” from the man who created the original comedy routines for these tricks: Russell Swann. I started performing a cigarette act that has changed very little in 62 years at age of 15. I had heard of Cardini, but would not see him perform until ten years later. The originator of the cigarette act, Jose Frakson, I would not see and then become very close friends until 15 years later. I’m thankful that my version of the cigarette act was not similar to either of these masters. But I have had several bits that I added to my act taken by others with no thank yous or credits. I would never do my cigarette act on any show, which Frakson was on – we worked many shows together in the 1960s.
When it was suggested to me to produce many bottles in an act in 1953, I did not realize that I had purchased the Original set of Multiplying Bottles and I had the first act with them. The way I originally presented the act (from 1953 – 58) was taken by a magic dealer and sold as his routine – it is being used around the world by scores of magicians with no credits. The same is true with making an animal (hat, etc) with one balloon. I introduced my method on network TV in 1959 and it took the magic world a few years to run with it. Took an idea that Billy McComb suggested in his “First Book of Willams.” I made it work in the 1960s and called it the Hot Book. I even gave one to Billy and thanked him as he said, “You know this was my idea, but my version did not work.” His worked like the Abbott’s Fire Bowl with chemicals – I added a simple Zippo cigarette lighter. It took the magic world only about three years and my name was dropped from the prop and others names added to it. My Multiplying Wands (or as the dealers call it “Nesting Wand”) was stolen by dealers after I asked two of them not to do it. One of them I could have put in jail and ended up with his magic company since he used my Copyrighted instruction sheet – he took my name off of it and put his name on it. He even went so far as to sell the rights to a magic company in England. The story goes on with many more magic effects and illusions that I developed for our TV shows like: Platform Levitation, Big Stove, Big Shoe (a Doll House version), Stacking Tubes, (this became the Stacking Boxes that fathered the Miss-Made-Lady and other effects.). To be fair: The principle is the same as the old Costume Trunk of Servais LeRoy – so I should thank him for this inspiration and about ten others that this man inspired.
I could go on and on with the scores of effect that I designed for my Bottle/Water Fountain act, Golf Act and so on.
What hurts me as someone else mentioned: To have a magician – total stranger, walk up and ask how I did something and then get angry that I would not tell him how it works.
Now the funny part: I get upset at some professionals who have “borrowed” routines, prop ideas, jokes, etc, but I forgive them as long as they don’t start telling the world that it was their idea.
I do get upset and I’m not too forgiving for magic dealers who take my ideas and not only sell them, but put their names on the items as their creations. Now that is gall and very sick on their part. I realize it is an ego trip for them.
I have always tried to bow down to the performers that came before me and give them credits. Without what these people did, I would not be in a very good position enjoying a very prosperous life style.
Bev - b

[Ben Robinson]

Thanks Bev. I knew yo had something to say,and as a fellow whose done it all and been there and done that, I truly appreciate you chiming in. Any others who have thoughts about how to protect your work?