I’ve been keeping notebooks for idea for magic since I was a teenager. Most of the ideas from the early ones are horrible, but every now and then I’ll flip through them and find something interesting. About 10 years ago I had an idea for a trick, but it was missing something that would make … Continue reading “Ideas Become Reality…”
I’ve been keeping notebooks for idea for magic since I was a teenager. Most of the ideas from the early ones are horrible, but every now and then I’ll flip through them and find something interesting. About 10 years ago I had an idea for a trick, but it was missing something that would make it functional.
I was running at the gym and notice something triggered an “ah-ha moment” that made the idea work. When I got home, I created the two parts on my 3D printer and printed them up. Here’s one of them in the CAD Program:
And here’s the other one that’s printed out:
Now that I have these two pieces, I’ve assembled the trick and am happy to report that the trick works!
The sad news is that in the 10 years since I had the idea my performing style has changed a lot and this really doesn’t fit how I perform. However it’s been in my head for so long, I’m going to keep developing it at home and try to figure out a way to make it work.
TLDR: Always keep an eye out for solutions to a problem
Many years ago I read that Steve Fearson wanted to create his version of classic magic illusions. A quick Google Search and I managed to find the quote: “About 10 years ago I took it upon myself to reinvent 3 of magic’s greatest stage illusions, adapting them so that they could be performed in a … Continue reading “Your Own Versions…”
Many years ago I read that Steve Fearson wanted to create his version of classic magic illusions. A quick Google Search and I managed to find the quote:
“About 10 years ago I took it upon myself to reinvent 3 of magic’s greatest stage illusions, adapting them so that they could be performed in a close up situation. The three illusions were the levitation of a person, the sawing in half illusion and the vanish.” – Steve Fearson
That’s a quote that stuck with me for some reason. I’ve worked to create my version of tricks that I like. By my version, it’s a reworking of the trick, not simply a different sequence of events. I’ve marketed several of these tricks and am working on a patent for one of them.
I’m writing up my version of the “floating dollar trick”. My main issue with the classic version of the trick, is that if the gimmick breaks, you are toast, the trick doesn’t work…and the gimmick is super fragile. My version has multiple redundant gimmicks. Here’s a demo of it:
I think me not being happy with things how they are, has led me to some interesting solutions to fixing what I don’t like about many magic tricks. In fact some days that’s my creative exercise, taking tricks I don’t like and trying to make a version of them that I do like.
The moral of this post is to customize your magic to fit you and what you need from your gimmicks!
I really need to get off the internet. I can’t believe the things magicians complain about. Recently someone was complaining about them quoting $895 for a 3 hour roving gig and booker claimed people were quoting $150 an hour ($450 for 3 hours). The magician was all upset because the other magicians were “working too … Continue reading “Zen and the Art of Not Counting Other People’s Money”
I really need to get off the internet. I can’t believe the things magicians complain about. Recently someone was complaining about them quoting $895 for a 3 hour roving gig and booker claimed people were quoting $150 an hour ($450 for 3 hours). The magician was all upset because the other magicians were “working too cheap”.
Here’s my thinking on this, when you stop worrying about what other people do, you will be a lot happier. You can’t control what other people charge for their services. When you do, there’s a term for it called, “Price Fixing” and it’s illegal.
In this specific example the person saying the people charging $450 for three hours was too cheap, yet someone chimed in and said the person charging $895 for the three hours was too cheap.
You will find its place and price point in the market. I honestly think someone starting out should be charging a lot less than someone that’s been doing it for a decade (and gotten better over that decade). If someone starting out charges the prices of established acts and they come in and don’t do well, it hurts everyone. There’s a lot to be learned at a $150 gig for someone starting out.
Think about the last time you went to buy a car. Let’s say you budget was $25,000. Did you buy a car that was $10,000? Probably not. I’m betting your purchase was in the $20,000-$30,000 range. You spent your budget. I think the same goes with party planners, you have been given a budget of money….money that’s not your own personal money. The party planner is going to spend all of it on the event, they don’t get a bonus for coming in under budget. The gig that’s going to hire the person for $450 was probably never going to book you for $895 this year. However next year they may put more money into their budget for live entertainment.
Yesterday in the car I was listening to CNN and one of the people being interviewed kept saying “ummm”. I suspect the reason people say this is because they are thinking, and it’s a word to stall while your brain is figuring things out and sending them to your mouth. A while ago a buddy and … Continue reading “Ummm…”
Yesterday in the car I was listening to CNN and one of the people being interviewed kept saying “ummm”. I suspect the reason people say this is because they are thinking, and it’s a word to stall while your brain is figuring things out and sending them to your mouth.
A while ago a buddy and I started doing a podcast called the Odd and Offbeat Podcast. When listening back to the episodes and editing them, I noticed how much I say, “ummm”. It’s not just me, it’s my cohost and guests that do it. Being conscious of it really helps cut it down. I’ve now developed a couple of new stalling words. Ideally I’ll have none, however they are better than “ummm”.
There are techniques to help you stall while you think. Contestants in beauty pageants uses these all the time. A common one is restating the question, and that gives you time to think.
Using stalling words is less of a problem in a scripted routine. This is also why routines should be scripted, so you don’t have to stall to think, you know what’s coming next. If you watch an amateur show and a professional show, the main difference is the tightness. They profession know what’s coming next. It’s not just in speech, but prop management, etc.
Recently someone in a magic group on the internet said that you should give credit during your shows for magic tricks you didn’t create AND for things that inspired the tricks. This is an interesting concept and within magic it’s not really done, outside of a presentation angle. The person thinks you should “live credit” … Continue reading “Why Not To Give Credit…”
Recently someone in a magic group on the internet said that you should give credit during your shows for magic tricks you didn’t create AND for things that inspired the tricks. This is an interesting concept and within magic it’s not really done, outside of a presentation angle.
The person thinks you should “live credit” your tricks to honor the people before you, not for a presentation angle. They then posted a video of them performing, where they say the name of the person whose routine they are doing. Then they say, “I’ll never be able to do it as well as them, but tonight I’m going to try…” There’s a couple of things wrong with that.
First you are telling the audience a story about a show that’s better than your show. Why are we are your show, if there’s a better one? Second is that by trying and succeeding, you are saying you are better than the person you are doing a tribute to. Also in their credit they don’t give us any info on the person whose routine they are doing, and any background about them. It’s simple a credit, not a tribute.
Now here’s an example of it done well:
What makes Penn and Teller’s version good, is they don’t just say the name of the performer, they give a little bio. They also don’t say they will do it better or worse, they let their performance be judged by their performance.
My position on crediting during a show is that you don’t need to do it. It’s stupid and would be an insane waste of time if you had to live credit every move, or bit. You bought the book / DVD / media, the author has gotten compensated, that’s the end of the deal…Unless it’s specifically required by the creator of the trick or bit as a condition of you using it.
Here’s a noteworthy example. Ricky Jay did a trick from Expert at the Card Table, almost exactly as written in the book (moves and patter). He never live credited it to Erdnase in his shows. In fact he got upset when other people did the routine because he thought they wouldn’t have been doing it if they didn’t see him do it!
TLDR: Crediting during your show is a waste of time and dumb.
If you are a professional performer, you will run it to all sorts of unanticipated challenge in your career. For 10 days this month I’m performing at the airport in Seattle. One of the unusual challenges is getting my props past security, and since I’m there to 10 days, being able to do any repairs … Continue reading “Unusual Challenges…”
If you are a professional performer, you will run it to all sorts of unanticipated challenge in your career. For 10 days this month I’m performing at the airport in Seattle.
One of the unusual challenges is getting my props past security, and since I’m there to 10 days, being able to do any repairs on the spot. The big challenge is that I can’t really bring tools or anything sharp past the security check points…and all of my props needed to be approved and cleared by security.
Once my gear goes past security, it lives there for the whole run. That means I can’t use any of the props for shows outside of the airport. That was an important consideration when pitching what material I was going to do. If my main show was stuck at the airport, I’d need a back up set of props to use. I do have a back up set of my main show (mostly), and it has come in handy many times.
Be ready and most importantly, be flexible with the challenges that come with performing in different venues!
Are there any magic tricks that you’ve always wanted to perform? I’m not talking about the flavor of the month, new trick that just came out. A trick that you read about or saw as a kid, and you still think about decades later? I’ve had many, and luckily for me I’ve gotten to do … Continue reading “Magic Trick Bucket List…”
Are there any magic tricks that you’ve always wanted to perform? I’m not talking about the flavor of the month, new trick that just came out. A trick that you read about or saw as a kid, and you still think about decades later?
I’ve had many, and luckily for me I’ve gotten to do many of them. In the summer I do some library shows and those have allowed me to work on new tricks for my show and do them a lot in a short amount of time. What’s great about that is I quickly figure out if I like the trick or not. If I like the trick and so do audiences, then I can move that trick up to my main show.
Usually the tricks I’ve always wanted to do don’t make it into the main show. However it’s nice to have done them and scratched the itch and no longer feel the need to do them. There is one trick that I keep coming back to, and that’s the Multiplying Billiard Balls.
I did a version of Alan Wakeling’s routine on a tour of 90-ish shows. The routine got really tight and while I liked it, I think it didn’t connect with the audience as much as I thought it should. I did a routine one summer that produced 4 balls with no shell! I really enjoying doing that routine, as it had some creative moves in it.
I frequently do a ball manipulation sequence in my show, and that for the most part keeps me satisfied and I don’t feel I need to work on the multiplying balls. That is until recently. I had an idea for a non traditional version of the trick. This version only uses one ball that the audience is aware of. I’m excited about working on this trick because it’s so unusual!
That brings me back to John Carney’s book Magic by Design. In this book he talks about how there are tricks you will constantly come back to. It’s because they may not be right for you now, but they may be right for you in a year. I totally agree with him, I find ideas in notebooks that I didn’t expand at the time, but that’s probably because I couldn’t. I lacked the knowledge, or hadn’t thought of a second part to it that would make the trick possible.
Last night I was at a comedy show and one of the comedians asked me if I knew a local magician. I said yes, and they had mentioned they were chatting with them earlier today. One thing that came up was the magician said they had a hard time with the local magic crowd. Right … Continue reading “Local Magicians…”
Last night I was at a comedy show and one of the comedians asked me if I knew a local magician. I said yes, and they had mentioned they were chatting with them earlier today. One thing that came up was the magician said they had a hard time with the local magic crowd.
Right now in the Seattle area we have a pretty active magic scene. There are three national magic clubs, then a weekly magic meet up that’s not affiliated with any club. In addition to that there are a couple of monthly “magic open mic” type shows.
The magician that thinks the local crowd doesn’t support them, doesn’t go to any of these magic clubs or hangouts. This magician frequently tries to get other magicians to hang out, HOWEVER it’s done in this way, “Let’s hang out. Come to my show on Thursday, and we’ll hang out afterward“, and then there’s a link to buy tickets.
If you want to meet the other local magicians, why not come out to one of the eight magic events that happen each month. The whole “buy a ticket to my show to hang out with me” thing makes me not want to hang out with this magician.
There are a lot of local magicians who have worked hard at building a magic community in Seattle, one that doesn’t require buying a ticket to a show. In fact all of them have a component that’s free (i.e. you could attend and never pay a dime).
The moral of the story is when you support the magic community, it will support you.
Some magicians take pride in not breaking a sweat while they perform. I used to be very physical in my show, then slowly over time I stopped moving around in my show. I stood there and did what I needed to do, and I didn’t break a sweat. This year I performed at GrapeFest in … Continue reading “Are You Working Hard Enough??”
Some magicians take pride in not breaking a sweat while they perform. I used to be very physical in my show, then slowly over time I stopped moving around in my show. I stood there and did what I needed to do, and I didn’t break a sweat.
This year I performed at GrapeFest in Texas and saw an act that changed my mind and made me move around a bit more when I perform. The act played saxophone and while he didn’t move much, he was dripping with sweat. As an audience member watching him, I got the feeling that for the 50 minute set, he put his entire life into that saxophone!
So how does one do card tricks or tell stupid jokes with energy? I think something that Tony Clark said in a lecture 25 years ago is the secret to doing this:
“When you move, you move with purpose”
That’s something that has stuck with me ever since I heard him say it. Don’t pace the stage, but when you move you put energy into it. And it’s directed, so it has purpose.
I also remember hearing an interview with Jerry Seinfeld where he would hear comedians tell each other to “go on stage and have fun”. Jerry’s position was that you shouldn’t be having fun on stage, you should be working your ass off.
So your homework is to work harder when you are performing.
If you’ve ever seen my magic lecture, there are a couple of main points to it. First is to take what you are doing a step further. The second is to put endings to things. This blog post covers both of them. I’ve always liked the Fifty Two on One gag card. If you don’t … Continue reading “An Ending to a Gag…”
If you’ve ever seen my magic lecture, there are a couple of main points to it. First is to take what you are doing a step further. The second is to put endings to things. This blog post covers both of them.
I’ve always liked the Fifty Two on One gag card. If you don’t know what this is, it’s a card with all the cards on its face.
How you use it, is you set it face down as your prediction. You ask someone to say any card, let’s say they name the King of Diamonds. You say, “your card is right here” as you turn over the card and point to the king of diamonds.
Funny gag, but it really needs a punch to it. How can we turn the gag into a trick? We could glue a king of diamonds onto the back of the card, and put our prediction in an envelope and force the king of diamonds. Now we get the gag, followed by turning the card over to show you knew their card.
That’s a good trick. It’s been done, but still a decent card revelation. Let’s take it up a notch:
By using a flap card we’ve added a magic trick to the revelation. Honestly I don’t know if this is better than just turning the card over, but it’s certainly a lot more magical!
Also by using the flap card for the change, we’ve added an ending to the trick AND taken it a step further. This is actually something I’ve wanted to make for a long time and just finally making one. I’ll try it out sometime soon and see how it plays.
