BByy::

MMoorrggaann SSttrreebblleerr

TASTE CONDITIONS

2

TTaabbllee ooff CCoonntteennttss

II.. DDeeddiiccaattiioonn

IIII.. MMoorrggaann SSttrreebblleerr’’ss BBiiooggrraapphhyy

IIIIII.. IInnttrroodduuccttiioonn

IIVV.. EEffffeecctt

VV.. HHiissttoorryy

VVII.. PPrreelluuddee

VVIIII.. MMeetthhoodd

VVIIIIII.. EExxppeerriieennccee TTaassttee CCoonnddiittiioonnss

IIXX.. BBeeffoorree YYoouu BBeeggiinn

XX.. SSccrriipptt LLeeggeenndd

XXII.. SSccrriipptt

XXIIII.. RReeccaapp NNootteess,, TTiippss && SSuubbttlleettiieess

XXIIIIII.. CCrreeddiittss

XXIIVV.. AAcckknnoowwlleeddggeemmeennttss

XXVV.. OOtthheerr AAvvaaiillaabbllee PPrroodduuccttss

MORGAN STREBLER

3

II.. DDeeddiiccaattiioonn

II wwoouulldd lliikkee ttoo ddeeddiiccaattee tthhiiss pprroojjeecctt

ttoo mmyy wwiiffee,, MMiikkaallaa,, aanndd oouurr ttwwoo ssoonnss,,

CCaalleebb aanndd HHuunntteerr.. YYoouu aarree mmyy iinnssppiirraattiioonn!!

WWiitthhoouutt yyoouu,, II wwoouulldd nnoott bbee wwhheerree II aamm

ttooddaayy.. II lloovvee yyoouu!!

MMoorrggaann SSttrreebblleerr

TASTE CONDITIONS

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IIII.. MMoorrggaann SSttrreebblleerr BBiiooggrraapphhyy

Having grown up in a small town in the Bootheel of Missouri,Morgan has been captivating audiences for over a decade with hiscommanding stage presence and breath-taking illusions.

Morgan's entree into the World of Illusion began as a child whenhis parents gave him a magic set for his birthday. Instantly bittenby the "magic bug", Morgan began performing for family andfriends. By his early teens, he was a local celebrity, performingclose-up and stage magic for birthday parties, corporate eventsand church functions. At age 17, Morgan was immersed in thedesign and construction of his first full-scale illusion show. Theshow opened with Morgan magically producing a convertiblesports car out of thin air!

That first show held greater significance for Morgan than even heanticipated. He was joined with Mikala, who would become hispersonal and professional partner. Morgan & Mikala performedmagic shows throughout the Midwest, capturing the attention ofnumerous television and radio stations. In an astonishing displayof wizardry, Morgan & Mikala shocked and amazed the publicwhen they vanished a 20-story municipal power plant thatsprawled over 2 city blocks!

Morgan stretched his creative capabilities even further when hebecame the youngest magician in the world to catch a live bulletbetween his teeth.

This deadly illusion, which had killed 13 performers in the past,garnered front-page newspaper coverage for Morgan, as well asexposure on the CBS Evening News.

Feeling the call of the World Mecca of Magic, Morgan, Mikala andtheir young son, Caleb, soon called Las Vegas home.

MORGAN STREBLER

5

Recently, the dynamic magical duo finalized design andcompleted construction of their revolutionary, multi-million dollarshow, which ranks as one of the largest in existence. Thisextraordinary show will be supported by a professional cast ofover twenty dancers and crew. Morgan & Mikala rely on thestellar technical expertise of Greg Mulvey of Las Vegas-basedPresto Productions to capture their "magical presence" on theWorld-Wide Web and in custom video productions.

The buzz is spreading fast about The Magic of Morgan & Mikala.In the past few years, they were featured in a front-page articlein the Los Angeles Times, interviewed live by the BBC in Londonand Scotland, performed on the NBC special, Extreme Variety,contributed their magical skills to a national televisioncommercial, entertained a “Who’s Who” list of Hollywoodcelebrities at a party given by Michael Jackson for his father’sbirthday at his Neverland Ranch Estate.

During 2005, The Magic of Morgan & Mikala went internationalduring a tour in Seoul, Korea. They performed hundreds of live,sold-out shows in front of over a million people in the spectacular2,200-seat SeoulLand Amphitheatre. Also, Morgan performedpersonally for hundreds of Hollywood stars and celebrities, suchas Tom Hanks, Ben Stiller, Jude Law, Quentin Tarantino, MichaelJordan, John Stamos, Paris Hilton, Tara Reid, Vince Neal of MotleyCrue, Carson Daly, Jason Biggs, Lisa Marie and Priscilla Presley,R. Kelly, Ice T, and Anna Nicole Smith.

Look for Morgan in several reality shows, specials, anddocumentaries on various national cable television networks, suchas E! Entertainment Television, Bravo and VH-1. Currently,Morgan & Mikala are immersed in pre-production design andplanning for a future network television special and global tour in

2007.

TASTE CONDITIONS

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IIIIII.. IInnttrroodduuccttiioonn

Thank you for buying Taste Conditions! I hope you have asmuch fun performing this routine as I have had creating it! Inthe magic world, there are few truly innovative effects that debuteach year. I hope that you will agree that Taste Conditions isone of those!

The first time that I mentioned Taste Conditions to the magicworld was on my website. I announced that this routine would behitting the market soon. That was a couple of years ago! Forvarious reasons, it is just now seeing the light of day. Long ago,I made myself a promise. I refuse to release a product that isn’tfully developed, easy to understand, and yields the desired effect.Also, I have chosen not to release a demo video, digitaldownload, or DVD on Taste Conditions. This effect is veryunique, but it’s not particularly “visual or flashy”.

Taste Conditions is best described as a “psychologicalrollercoaster” for the audience because the “magic” happensinside the spectator’s mouth after they take a drink of plain oldHO! Using their “imagination”, the spectator creates anunimaginable visual climax to the effect when they spitmouthwash into a clear glass. In short, this routine is bestexperienced and performed LIVE! In my opinion, it does nottranslate well into a video medium.

As you study the routine’s setup for the audience and spectator,you will perceive a “hypnosis” aura. This prelude is really adeliberate “mental misdirection” to achieve the desired “WOW!”factor from the audience at the dramatic ending! However, Idon’t want anyone to think that the methodology for this effectteaches “legitimate” hypnosis techniques. That would simply beinaccurate and disappointing.

As you are probably aware, I already have several other productson the market in video format.

MORGAN STREBLER

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This time, I really wanted to give writing a go. I hope you enjoythis gem and Taste Conditions finds its way into your workingrepertoire!

IIVV.. EEffffeecctt

This effect is relatively simple, but the impact is simply dramatic!A volunteer from your audience opens a bottle of water and takesa drink. Then, you transform the plain water into mouthwashINSIDE of their mouth! At the end of the routine, they spit themouthwash into a clear glass. Everything can be examined!

VV.. HHiissttoorryy

I have been working on this effect for the better part of a decade.The original concept for Taste Conditions surfaced for the firsttime when I met my wife, Mikala, back in high school. Mikala’sbrother is blind, and I wanted to create a piece of magic thatcould transcend the visual barrier between us. I wanted him toREALLY experience magic. So I started playing with various ideasthat utilized all of his remaining senses. Taste Conditions wasthat solution! The routine has continually evolved over the years.Within this document, you will find the exact script that I usewhen I perform this routine, as well as “insider” tips gleaned fromten years of “trial and error” experiences in live performances.Plus, I will explain in detail the psychological subtleties that make

this effect work for both the spectator and the audience.

TASTE CONDITIONS

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VVII.. PPrreelluuddee

Before I get into this simple, but highly dramatic, method, I wantto stress a very important point. This effect is 99% presentation.Simply put, this means that your performance will have to SELLthis effect to your audience. If you are a devoted performer andare willing to invest significant time in reading, understanding,and practicing the Taste Conditions’ script and methodology,you will soon be generating “real world” audience reactions thatare truly priceless! Before we introduce the effect’smethodology, I want you to experience first-hand how strong thiseffect really is! Only then, will you realize the long-lasting impactyou will leave with your participating spectator. Now, go andgrab a glass of “room temperature” water and a bottle ofmouthwash. In another upcoming section, I will share with yousome tips and subtleties that explain why warm water ispreferable, as well the brand and flavor of mouthwash thatdelivers the best results for this effect.

WELCOME BACK! Did you just move down to Method or did yougo get the water and mouthwash?

VVIIII.. MMeetthhoodd

What makes Taste Conditions work is very simple andextremely subtle. For this effect, I have made the sense of smellthe “Star of the Show”! As we all know, water has no taste.When the audience member takes a drink of water and swishes itaround in their mouth, the taste buds are not stimulated.Therefore, when they smell the mouthwash, their sense of smellcompletely overrides their sense of taste. In other words, thisstrong olfactory sensation fools their brain into believingthat the water in their mouth has just been transformedinto mouthwash! I’ll share how you achieve the final “proof” ofthis shocking transformation ahead.

MORGAN STREBLER

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VVIIIIII.. EExxppeerriieennccee

TTaassttee CCoonnddiittiioonnss

There’s no better way for you to understand the mechanics ofTaste Conditions than to experience it for yourself. Grab thewater and mouthwash that you got earlier. Take a sip of waterand swish it around in your mouth. DO NOT SWALLOW THEWATER. It’s very important that you take continuous deepbreaths in and out. With your eyes closed, I want you to put thebottle of mouthwash up around your mouth.

Even knowing the method, you have to admit that was prettyoverwhelming! Now, imagine how your spectator is going toreact! Obviously, you can’t stick a bottle of mouthwash up to thespectator’s nose. So, in the upcoming Script section, I am goingto color code the text so you can thoroughly comprehend andmaster every aspect of this routine.

IIXX.. BBeeffoorree YYoouu BBeeggiinn

Obtain a small, flexible plastic bottle (See Figure 1 on next page)for the mouthwash and a small, old-fashioned cocktail glass (SeeFigure 2 on next page). This clear glass is roughly 4 inches talland similar to those found in a bar. If you don’t already have aglass like this, you can easily buy one at Wal-Mart or otherdiscount stores.

Slowly pour the mouthwash inside the glass just covering thebottom. Don’t put too much liquid in the glass or it won’t lookrealistic after the spectator spits the water into the glass at theend of the effect.

TASTE CONDITIONS

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By doing this, you have insured that the small amount of waterthat the spectator spits into the clear glass does not noticeablyalter the color or smell of the mouthwash that you have alreadysecretly loaded into the glass.

Now, the liquid inside the glass provides both the spectator andthe audience undeniable visual and olfactory “proof” of thetransformation of water into mouthwash while INSIDE thespectator’s mouth!

Remember, now that you have actually poured and determinedthe exact amount of mouthwash necessary to cover the bottom ofyour own glass, pour all of this mouthwash into the small plasticbottle (See Figure 1 below). Use a Sharpie indelible ink markerto now make a “fill line” on the plastic bottle. This tip insures thatyou will always put the correct amount of mouthwash in yourbottle prior to each performance. Also, this allows you to easily“load” the glass (See Figure 2 below) during the performancewithout looking!

NOTE: If you ever change glasses, you must re-measure theamount of mouthwash and mark a new “fill line” on your plasticbottle.

Remember these important details! You are setting up thebig payoff moment at the end of the routine!

Figure 1 Figure 2

MORGAN STREBLER

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XX.. SSccrriipptt LLeeggeenndd

BLACK – All of the script to be spoken by you, thePerformer, is written in BLACK text.

RED – All of the critical technical strategies, details,physical actions (e.g. blocking, etc.) and “in’sand outs” required to professionally andsuccessfully perform Taste Conditions arewritten in RED text.

BLUE – What your spectator is thinking andexperiencing will be in BLUE text.

GREEN – What the audience viewing the routine is“thinking and experiencing” will be in GREENtext.

NOTE: Please remember that the Taste Conditions script is NOT“cut in stone”. You may have to tweak it from time-to-time to fiteach of your particular performance venues.

XXII.. SSccrriipptt

“I want to attempt an experiment based upon the strength of aperson’s imagination. I would like for one volunteer to come upand allow me to help you build a bridge between your imaginationand reality. Does anyone here feel like they have a vivid andcolorful imagination?”

Wait for a response from someone in the audience. If someonevolunteers, great! However, don’t worry if you don’t get avolunteer immediately.

TASTE CONDITIONS

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“Scientific studies strongly suggest that it is possible tocommunicate with a person’s subconscious. Through extremerelaxation and concentration, it’s possible to amplify someone’simagination by almost sixty-percent (60%).”

Again, this could go either way. If someone openly volunteersand says they have a great imagination, you have found yourparticipant. If not, it’s now time to select a spectator.

Invite the chosen spectator to join you and be seated on stage.Regardless of your performance environment, make certain thatthe participant is sitting down during the entire effect.

“What’s your name? _(NAME)_. Thanks for helping me outtoday! OK, (NAME) , I want you to sit back and relax in thechair. Take a deep breath in……now exhale. I want you tocontinue taking deep breaths…….in and out, in and out. Witheach and every breath you take, you are going to start feelingmore and more relaxed. Now, close your eyes and put your headdown. I want you to loosen up all of the muscles in your body.Starting with your face muscles, relax your nose…….yourmouth…….your eyes…….your lips. Make sure your teeth are notclinched. Continue taking deep breaths……..in and out. Let thatwave of relaxation run down through your neck…….yourshoulders. Just let go. Let it roll down to your backmuscles…….your upper back…….and continue to your lower backarea. Continue taking deep breaths …….in and out. Now, let thatwave of relaxation flow through your arms…….down to yourfingers. You are feeling more and more relaxed with each andevery breath that you take. Let that wave of relaxation continuedown to your legs……..all the way to your toes. I am going tocount backwards from five (5) to one (1). Between each number,I want you to take a deep breath………inhale……..exhale. 5-----4-----3-----2-----1. Your body and mind are now totally relaxed. OK,(Name), slowly open your eyes.”

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NOTE: Remember, this extensive script (spoken by thePerformer) is the “mental misdirection” I mentionedearlier. It is very, very important NOT to underestimatethe necessity for this part of the effect. YOU are preparingboth the participant and the audience for the astoundingclimax of Taste Conditions!

Make sure you take time when you are counting backwards fromfive (5). Don’t rush! Allow the spectator to inhale and exhalebetween each number.

Watching and listening, the audience will think that you have“hypnotized” the volunteer. This desired perception will greatlyenhance the impact of the dramatic ending of Taste Conditions.They will NEVER see it coming! It also makes for a very easy“load” because there is no “heat” on you.

Grab an unopened bottle of plain, non-carbonated, unflavoredwater and the glass from your table. (MAKE SURE IT’S CLEAN!)Open the water bottle and pour a small amount (just covering thebottom) into the glass.

“I want you to put the water into your mouth and swish it allaround for about twenty seconds. OK, swallow the water.”

Hand the spectator the glass of water. This is VERY important.When you tell the spectator to swish the water around inside theirmouth, you should mimic the desired “swishing” action for themwith your own mouth. This will serve as a visual aid for thespectator and clearly communicate the intent of your request tothe audience. In a moment, you will try to get the spectator tospecifically say, “mouthwash” But, because the liquid is “now”water, you tell them to swallow it. This makes the upcoming“transformation” of the water into mouthwash INSIDE theirmouth even more amazing!

“Now, I want you to use your imagination.”

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“While you were swishing the water around inside your mouth,did it remind you of any actions, sensations, or feelings that youhave EVER experienced?”

Wait for them to respond.

Based upon my experience, 98% of spectators will say itreminded them of using “mouthwash”. As a very familiar part ofour daily hygiene regimen, mouthwash is the only liquid thatpeople regularly put into their mouth, swish around, do notswallow, and spit out. Also, the likelihood of the spectator saying“mouthwash” was greatly enhanced when you used the visual aidof mimicking the “swishing” action with your own mouth. It’s aroutine we are all used to doing. All of these factors contributedto my choice of mouthwash as the perfect liquid for this effect.

In the unlikely event that someone would not answer with“mouthwash”, do not panic. You are still in control. Because theaudience and spectator do not know your routine, you are alwaysahead of the game. When you look at the actual script, you willnotice that you are giving the spectator the freedom to respondwith more than one answer. Use this flexibility to re-phrase youroriginal comment and say, “Ok, very good! There’s one answer.What other liquids does a person swish around in their mouth?”Again, use the visual aid of mimicking

with your mouth the “swishing” action. You will get the answeryou want, “mouthwash”!

Pour the participant another small drink of water in the glass.

“Now, (Name) ,we are going to take this a step further. Asbefore, I’m going to ask you to drink the water from the glassand swish it around in your mouth. But, here’s where yourimagination is going to come into play. While you are swishingaround the water, I want you to really believe (strong emphasis)that the water is (strong emphasis) mouthwash. Only, this time,I don’t (strong emphasis) want you to swallow the water.

MORGAN STREBLER

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I want you to spit it out inside of this glass, when I hold it up toyour mouth. Do this as if it were really (strong emphasis)mouthwash. (Name)_, do you understand?”

It is very important that when you are explaining the instructionsabout spitting the water in the glass that you actually touch theglass to their mouth under their lower lip. (See Figure 3 below)This will be a cue for them to spit it out.

Figure 3

“Take the glass and put the water in your mouth.”

Take the glass from the spectator and put it on a table that’ssitting behind you and the spectator. The table needs to sit fairlylow and positioned very close to you. Your bodies will be blockingthe glass completely. You are going to “load” the mouthwash in asecond.

“OK, (Name) , close your eyes and keep them closed.

From this point forward, keep in mind that their eyes ARE andmust REMAIN shut.

TASTE CONDITIONS

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Now, I want you to mentally isolate yourself from everything youhear and feel. I want you to only focus on the power of yourcolorful imagination……NOW (strong emphasis)! Start swishingthe water around inside of your mouth. Take deep breaths…….inand out, but never (strong emphasis) stop swishing the wateraround.”

It’s during this time that you will remove the plastic bottle withthe mouthwash from your right coat pocket. Flip the spout of thebottle open with your thumb and pour it into the glass. Once you“load” the mouthwash, discreetly return the empty plastic bottleback into your pocket. You will have plenty of cover between youand the spectator. Also, please remember your audience iswatching the spectator. Your primary goal is to keep the “verbalpatter” going while you are doing the “load”.

“Actually, _(Name) , your extraordinary imagination is sopowerful (strong emphasis) that you are slowly realizing thatthe water is in fact changing (strong emphasis) to mouthwash.The taste is getting stronger and stronger (strong emphasis).That cool mint flavor is chilling your taste buds! Keep swishing!OK, you can actually taste it NOW (strong emphasis)!! Spit itout! (pause) Open your eyes!”

This is very important!! You must bring the glass back intoview from the table as soon as you begin speaking the abovesection of “patter”. To do this, simply turn your body slightlytowards the table, grab the glass with your right hand, and

casually transfer it to your left hand as you are turning back. (Youare not turning your back to the audience because you arealready standing sideways. Just rotate your upper body at thewaist and return to your original position. The entire motionshould take no more than two (2) seconds.)

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Make sure you position your fingers to visually block themouthwash that you have “loaded” in the bottom of theglass. (See Figure 4 below) Hold the glass slightly below thespectator’s lips and directly UNDER their nose. (See Figure 5 onnext page) YOU MUST NOT TOUCH THE GLASS TO THEIRFACE, NOSE OR LIPS!

Figure 4

Execute this action IMMEDIATELY BEFORE you STARTspeaking the line……”You can actually taste it NOW!”

This is the critical point where the spectator’s sense of smell isgoing to override their sense of taste. Because you haveremembered to place the glass near their lips…….and under theirnose…….WITHOUT TOUCHING THEIR FACE………they will“taste” mouthwash at this point!!

During many of the times that I have personally performed TasteConditions, this moment has generated larger-than-life facialreactions!!

TASTE CONDITIONS

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NOTE: Timing and positioning are everything at this stageof the effect. To insure success, you must master thesetwo issues:

1. CORRECT POSITIONING OF THE GLASS - Do NOT placethe top lip of the glass ABOVE the spectator’s lips and tooclose to their nose. This might look suspicious or strangeto the audience. At this point, the spectator’s eyes MUSTstill be closed. Remember, you want the audience tobelieve that the ONLY reason you are placing the glass upto the spectator’s face is for him/her to spit out the waterthat has been “transformed” into mouthwash. Even in thelower, correct position, (See Figure 5 below) the spectatorwill still be able to easily inhale the desired level of themouthwash’s aroma. You do NOT want the audience to beaccidentally tipped off to the basis for the effect by havingthe glass above the lower lip of the spectator.

Figure 5

2. TIMING OF REQUEST TO SPIT - The spectator shouldstill be breathing in and out…….as well as swishing aroundthe water in his/her mouth.

MORGAN STREBLER

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You can only hold the glass (with the hidden mouthwash init) up to the mouth of the spectator for a FEW seconds.AND, THE SPECTATOR MUST BE TOTALLY UNAWARE THATTHE GLASS IS THERE (AND THAT THEY ARE SMELLING THEMOUTHWASH) PRIOR TO YOUR REQUEST TO SPIT. THISTIMING IS CRITICAL AND MUST LOOK NATURAL TO THEAUDIENCE.

Now, with your left hand, place the glass against the spectator’sface immediately under their lower lip. Firmly tell the spectator,“Spit it out!!” They then spit into the glass the water that hasbeen “transformed” to mouthwash. Then, command them,“Open your eyes!!”

At this very moment, switch the glass back to your right handshowing both the spectator and the audience the mouthwash.

“Wow! (Name) , you did an amazing job! You truly do have aone-of-a-kind imagination!!”

At this point, the spectator really believes that they have changedthe water into mouthwash INSIDE their mouth!

Make sure that you make your closing comments “all about thespectator”!!! Give them (and their amazing imagination) fullcredit for the astounding results of the effect!! It’s not about whatyou as a performer did. But, by taking this “humble” approach,you will win the hearts, loyalty and professional respect ofeveryone!

This is also THE time to have the audience examine the glass andits contents.

TASTE CONDITIONS

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XXIIII.. RReeccaapp NNootteess,, TTiippss &&

SSuubbttlleettiieess

Taste Conditions works well in several environments. It’s greaton a stage, in a parlor, a stand-up environment, or in your ownliving room for your family and friends. I think it can even beworkable in a restaurant. However, I do NOT recommendperforming it on the street or in walk-around situations. PeopleMAY be very hesitant about drinking from a glass presented by acomplete stranger.

Do not perform Taste Conditions for people who have beendrinking alcohol.

If you feel uncomfortable about the possibility of the spectatoropening their eyes before the end of the effect, have them wear ablindfold from the start.

The big selling point for your audience is when the spectator spitsthe water into the glass at the end of the routine. There are two(2) keys elements that must be mastered:

1. Amount of Water for “Swishing” – When pouring thewater into the glass that the spectator will “swish” inside theirmouth, you MUST keep in mind that the combined volume of thewater and mouthwash should not look suspicious or obvious tothe spectator or audience.

2. Amount of Mouthwash for “Loading” - With a littleexperimentation and practice, you will be able to easily determinethe right amount of mouthwash to “load” into the bottom of theglass. There must be enough mouthwash to prevent a noticeabledilution of its distinctive aroma and blue color by the water (spitinto the glass by the spectator). If you don’t want to “load”mouthwash into the glass, another option is to utilize a “glassswitch” using your favorite method.

MORGAN STREBLER

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Keep in mind that both liquids have a critical impact on eachother. So, you must make certain that you determine and usethe correct amounts each time you perform Taste Conditions.

I strongly recommend that you use Listerine “Cool Mint” Bluemouthwash. In my opinion, its deep blue color and strong aromaare very effective and it works great!

This is a very subtle point, but it is very important. Just likemouthwash, always use water that is “room temperature”.If you could REALLY change water to mouthwash insidesomeone’s mouth, it would not be ice cold.

Follow the script!!! If you should decide to revise this script, makesure you NEVER say the word, “SMELL”. It’s always “TASTE”.

Do not let the audience or spectator know upfront what’s going tohappen as the routine progresses. NEVER say, “I am going tochange water to mouthwash inside of your mouth!” As you haveread, the routine is scripted so the final outcome is based on thespectator’s “powerful imagination”.

Give your spectator ALL of the credit!!! Compliment them on howwell they did and how strong the power of their imagination is.This will make you look even better. I CAN’T STRESS THISPOINT ENOUGH!!!

TASTE CONDITIONS

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XXIIIIII.. CCrreeddiittss

_________________

Photos and Layoutby

Morgan Strebler

_________________

Editingby

Glenn W. Milligan

_________________

Cover Illustrationby

Peter McKinnon________________

Morgan Headshot Photoby

Kelly Garni

________________

MORGAN STREBLER

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XXIIVV.. AAcckknnoowwlleeddggeemmeennttss

I would like to thank my wonderfully supportive parents,my brothers and sister; Wes, Connor, and Meggy, mymanagement team; Glenn Milligan, Sam Burnett, EricClayton, Jeremy Bowen, Brian Barry and Julie Detmer,and my close friends; Sam Blankenship, ChrisBlankenship, Daniel Garcia, Jay Noblezada, Luke Jermay,Maxwell Murphy, Acar Altinsel, Oz Pearlman, PenguinMagic, Greg Mulvey, Gareth Hobson, Edd Withers,Chezaday, Peter McKinnon, James Clark, Dexter,Banachek, Dave and Kim Zenger, and Keith Barry.

I would also like to recognize and thank my loyal andenthusiastic fans who have supported me over the years.I appreciate you guys more than you will ever know!!

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XXVV.. OOtthheerr AAvvaaiillaabbllee PPrroodduuccttss

Liquid Metal DVD

Spun DVD

The Closer

Corkscrewed Tine Forks

Website www.morganstrebler.com

Email morgan@morganstrebler.com

All rights reserved. No part of this publication may bereproduced, scanned, and/or stored in retrieval systems, or transmitted inany form or by any means electronic, mechanical, recording or otherwise

without prior written permission from the publishers.

© 2007 Liquid Metal Productions

Las Vegas, NV 89183

MORGAN STREBLER

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