magic – Page 7 – MagicShow.Tips

As You Wish…

One of the most common joke questions people ask is if you can turn a one dollar bill into a hundred dollar bill. When people ask things like this they think they are the first person to every ask you that. There are three ways to deal with it. First you can laugh with them, next you can try to one up them with a joke, and finally you can do what they ask.

Of the three reactions to the joke, the only one I don’t recommend is the second one. Let the person have their moment, they are going to allow you many more. Now as for the first and third option, I prefer being able to comply, but that’s not always possible with the “make my wife disappear” jokes, so then you have to laugh it off with them.

For something like turn my dollar bill into a hundred dollar bill, you can comply. You can keep a hundred dollar bill in a thumb tip and do a bill switch, however if you do this you have to give them the hundred dollar bill. It’ll cost you ninety nine bucks, but you’ll have created a miracle that they’ll talk about forever.

Another way would to be to take their dollar and switch it for a bill that has the serial number altered. The serial number reads “A 00000100 S”, so it’s a hundred dollar bill. You could also have the serial number read “1 HUNDRED”. Either way you’ve turned their bill into a hundred. Changing the serial number takes a bit of work, but it’s a lot cheaper than spending $99!!!

Keep Notes…

Last year for a gig I built a Girl Without a Middle illusion. Basically, it’s a Sphinx Illusion, but I put it on wheels so that I can get in it and walk around. Then I can stop and put other people in it, and pictures and be taken. Here’s what it looked like: After … Continue reading “Keep Notes…”

After doing it last year, I think I must have thought it wasn’t going to get rebooked as I kept nothing about the box, not even the building notes. When the time came to rebuild it, I was basically starting from scratch. I found the receipt for the mirrors, so that gave me some basic info about the box and a starting point.

My learning lesson was doing something as simple as taking a picture of my build notes would have helped a lot.

Good vs Not Good

I love meeting magicians. When I travel, I make it a point to visit the local magic club, or try to meet up with magicians. Yesterday there was a magician that I hadn’t met yet at conference I was at. He clearly crashed the conference as he didn’t have a badge. I don’t judge too harsh, as I’ve crashed conventions before.

I met him during a slow time for me and asked him to show me a trick. He then proceeded to explain how he normally does the trick as he was doing the trick. “I normally have the person take a card…” Someone who knows what they are doing will just do the trick as they normally do it.

The other thing that surprised me was how sloppy his sleight of hand was. He was trying something fairly technical, but flashed every part of it. I wonder if no one had ever told him he flashed a lot, and big time. This was someone trying to get some professional work and the level he was performing at was at a fairly poor level and nowhere near what it should have been.

It was probably good for him to see the level of the performers in the industry he was trying to get into, however I don’t think he was aware that he had a long way to go. The biggest tip to growing as a performer is to be realistic about your ability.

How to Stand Out…

This week I’m at another conference where I’m showcasing. This week I’m doing close up magic. There are a lot of close up magicians at this conference, so how do I stand out? I have two ways, first is a unusual trick and there other is by making myself desirable to other magicians.

Everyone here does card and coin tricks, and probably some sort of cup and ball(s) type trick. What I do is add an additional trick that’s no one else will (probably) be doing. For me that’s usually the Linking Pins. It’s a trick where the right gimmicks haven’t been available in decades, so not many people do it.

The second thing I do is that I talk to other magicians. When bookers see other magicians seeking me out to talk to or to jam with, that shows them that I’m good and respected by other magicians. It also shows that I’m easy to get along with and that I can get along with other acts.

So be unusual and be friendly!

Best Show I’ve Seen…

After all of these years, I’ve finally seen Esther’s Follies in Austin TX. I’ve heard about it for years, and a friend of mine was the variety act in the show early on. This show has been running for 40 years, and there’s a simple secret to it’s long run…aside from talented performers and that secret is that the show is stays fresh!

The show is full of jokes and sketches around current events. After the show I was chatting with Ray Anderson who is the magician in the show. He mentioned that every week they have a scheduled writing meeting.

The show keeps changing, and this goes against the “advice” I as given when I was a kid, which was to put together a show/act that you can do the rest of your life. I think that doing one thing and not changing it, is very antiquated advice. Times change and what was once edgy material eventually becomes either cheesy or offensive.

I’ve been pretty good about keeping up with the times, but I’m always evaluating my show looking for things to cut.

Ummmm….

My current reading is Ken Weber’s book Maximum Entertainment 2.0. This is the expanded version of the original book. It’s something every magician should have. It’ll make you think about your show, and hopefully make some changes. In one part of the book Ken writes about performers saying “ummm…” and how it’s a bad thing. … Continue reading “Ummmm….”

My current reading is Ken Weber’s book Maximum Entertainment 2.0. This is the expanded version of the original book. It’s something every magician should have. It’ll make you think about your show, and hopefully make some changes.

In one part of the book Ken writes about performers saying “ummm…” and how it’s a bad thing. I’ve been hyper aware of it, and a ton of performers say it a lot! I went back and reviewed some video and I say it a lot in my newer routines. I need to go back and work on my learning my scripts

Go watch video of yourself performing and listen for the “Ummms“, I was really surprised when I heard them!

The Vanishing Bird Cage is one of the hardest tricks I’ve ever worked on. It seems like every problem I solve, another problem pops up. In the recent past when I did the cage, the plan wasn’t for it to stay in the show for very long. Because of this, I didn’t put a ton … Continue reading “”

The Vanishing Bird Cage is one of the hardest tricks I’ve ever worked on. It seems like every problem I solve, another problem pops up. In the recent past when I did the cage, the plan wasn’t for it to stay in the show for very long. Because of this, I didn’t put a ton of time into it.

Now that I think this is something that’s going to be in the show for a little while, I’m putting more time into it. I want to do the vanish of the bird cage faster than the “slow motion” vanish. I’m having a frequent problem with the cage hanging up on my sleeve at the exact same spot. I think it has to do with the coat more than the cage. Material seems to bunch about 3 inches inside my sleeve and the cage gets stuck about 20% of the time.

My solution was to have it not run up the sleeve. I’m having it run across my hand. This gives me a more unusual grip of the cage, the cage sits on the palm of my hand. It’s similar to the one handed grip that John Carney uses in the CARNEY 2013 video on the Vanishing Bird Cage.

The main difference Carney’s grip and mine is that my hand is completely palm up. The cage can be displayed with no support from either hand, aside from my right palm as a base.

Adjusting my grip has reduced the cage hanging up to less than 5%. This is good, but still a long way to go!

Gozinta Boxes…

A couple of weeks ago I wrote about an idea I had for the Gozinta Box magic trick. The idea was that you produce two cups from the boxes, then for the finale you open the boxes a final time and pour out liquid to fill the glasses. I picked up a small set of the boxes earlier this week and have been trying it out.

The first challenge was that the set was so small that finding a cup that fit in them was virtually impossible. Luckily I managed to find something that was cup like to fit into the boxes. With the first challenge out of the way, I needed to try to the trick to see if it actually played well.

It does play well, just not HUGE. I think part of it is scale, the boxes and cups are tiny. Right now I’m producing about two thimbles full of liquid, with is virtually nothing. With a larger cup, one that’s close to a shot glass size, I think it’ll play much better.

Always Be Tweaking…

Over the last year I’ve been working on a Take Up Reel of my own design. If you don’t know what a Take Up Reel is, it’s a complicated process to do something very simple. All it does all you to have a piece of string and shorten it. That’s it. It becomes very handy if you use a wrist to wrist pull and need freedom of movement before using the pull.

What I designed works great for me, however I designed it for how I use it, not how other people may use it. Recently I sent some out to other performers and am getting feedback. Based on that feedback, I’m working for it to hold a thicker gauge line.

Adding a thicker line is a small change, but it adds a bit of an engineering challenge to the device. Hopefully it’s not too hard, I’m working on the first adjustment now and we’ll see how it is once it’s done printing.

Being open to other people’s feedback is something that I think is very important, especially if it’s something that I want to bring to market.

Borrowed Dollar Problems…

In my interview on The Variety Artist podcast I talk about working on a drawing duplication trick. It hit me yesterday that this could be the solution to the hurdle of borrowing money from the audience. The challenge of borrowing money is the time it takes people to get out money, or whether anyone will have money to offer.

How do you get from a drawing duplication to borrowing a dollar bill?

Simple, they draw the picture, I fold it up and it turns into a dollar bill. I give them the dollar bill. Then a bit later I need to borrow a dollar bill and of course the person who I just gave the dollar to has one ready for me to use.

Then later, I have the picture that they drew that I can load as a prediction, or as a production of their drawing. I think this solves the problem of time and uncertainty of borrowing money from the audience.