Sage advice...

 This might be my new favorite YT channel. 

The incredible journey...

 The internet giveth and the internet taketh away. It has enabled some amazing things in our world but it has also created so many voids. For a few years now I have been lamenting the loss of journey and discovery and what it might be doing to future generations.

I am the last generation to not have internet and then have it. That means I have experienced wacky things like video rental locations, records stores, and and brick and mortar magic shops. You see, there was a time that when, if you wanted something, you had to leave your house to go procure it. If you didn't have a car you had to bug friends or family to get you there before they closed (or take public transit) and Anubis forbid they didn't have it and you had to go to another (and another, and another) store.

Never again will you discover new music while searching through piles of CDs for that ONE song you recorded onto a cassette tape from the radio. You will never know the JOY of standing in a Blockbuster Video for hours while your siblings fight with your parents over what movies to get. Long gone are the days of going into a badly lit treasure trove of magical offerings while some grumpy mage slings advice you don't want to hear but one day will be thankful they did.

We have lost something amazing without the act of the journey and discovery. 

Everything is at our fingertips now and because of that so few things have any real value. You cherished that record or CD because you had to travel the realm and interact with the locals to get it. You had to slay that dragon called "the outside world" to find your treasures. Now so much is disposable and that includes magic. 

The social media generation doesn't have to work hard to learn or obtain the secrets of our art so they treat it like everything else... disposable distractions. Without the experience of the journey and discovery they no longer put stock into it's importance hence it becomes another trivial and fleeting toy to be abandoned as quickly as they purchased it from their phone.

Sure, there are those who know the intrinsic value of certain things, magic or otherwise. However, they are currently outnumbered by those who vie for imaginary internet points and that quick hit of sweet, sweet dopamine. The joy of those thumbs up and views fade fast and they have to chew through material to get that high over and over. Who has time to sort through bins and shelves when you can tap a few buttons and be done with it?

So my advice to you is make more of an effort to go on adventures. Call up a friend, leave your house, and go on a journey to discover something new.

You might just find more than you bargained for.

Carry your own load (ew)....

To give you some advice I need to tell you a story:

When I first moved to Vegas I started working with a group called "Short Bus Comics". It was all of the experimental and outcast comedians. The ones doing weird characters or experimental stuff. It was aptly named.

Around the same time I saw a post on a forum by a magician lamenting how the video he put up could have been better if the audience member he selected had been more enthusiastic or whatever. My first thought was, "It's not up to the audience member to carry the routine. It should be the performer." 

Those two things made me decide to scrap all of my audience participation material I was doing and not do anything with someone else on stage with me until I had 30 minutes of material I could carry with just myself on stage. Now I could still interact with the audience. Throw them stuff, borrow things, go into the audience, etc, but I wanted a more "comedy club" feel to my material and less "birthday party clown". It forced me to create presentations that were more engaging, entertaining and "adult". 

I eventually had a solid 30 minutes and started adding the odd borrow-a-person routines back into my shows. Those bits got stronger because of the lessons I learned flying solo. It was a necessary challenge to let my performing persona shine through and not be distracted by another warm body on stage with me. 

So my advice for you is to try the same thing. Not necessarily the 30 minute thing, but find ways to be entertaining without the help of someone else.With Covid still fresh on people's minds, the time is nigh to work on material of this type. Learn to write jokes, find magic that stands by itself, maybe develop a silent routine or two to slip in between the talking bits?

Also, I know this journal has been quiet for a while. Unfortunately/fortunately I have been busy with consulting/prop making/escape room making/performing. I do have a backlog of topics I want to complain about and I will try to get to them soon so stay tuned.

Until then...

Same as it ever was...

 "Repetition is the death of magic" - Bill Watterson

Visual magic seems to be the crack cocaine of the magic world. Everyone is looking for that next fix. That next "hit" if you will. As a consultant for other performers and TV shows, I am often plagued by taking a magical idea and "making it more visual". There are a few problems with this line of thinking however....

1. You chew thru more material - "Visual" magic is often presented with little to no presentation other than "watch this". Without build up it becomes a throwaway gag sometimes.
2. Weaker Magic - A lot of stuff that is done visually on camera can be re-wound and watched frame by frame and figured out OR it falls prey to the "too perfect theory" and people will dismiss it as CGI because that is the most obvious answer, even when it's not.
3. Too much of a good(?) thing - If you already have a dozen "visual" effects in your show/on your timeline/etc, eventually everything starts to blend and look the same.
4. No Mystery - The audience needs a breather. Sometimes obscuring something and letting the magic happen in the audiences' head is WAY stronger than shoving it in their face. Give those watching a little mystery and it will stick with the longer. (But don't turn it into a puzzle)

 While visual magic might thrill TV producers and get you that contract, not everything has to look like a camera trick.

 

 

A gift...

For all of my loyal readers, this is just for you.

If you ever need to glue pieces of flashpaper together, use rigid collodion.

It's mostly used nowadays for making fake scars but it can also be used for things like sealing the ends of rope. It also burns up without leaving any residue unlike glue stick or other adhesives you might see recommended online at large green gaudy forums.

Try it, you'll be surprised.

What does a hipster weigh?

I swear this journal isn't going to turn into nothing but "look at these idiots on instagram" every post. It just happens to be an easy target for my ire right now.

This is a piece of advice for those of you out there who might be new to this racket. When you get a new trick, maybe read the instructions before performing it. It's likely got two backs for a reason and showing people the gaff is just going to tell them it's a prop of some sort and in no way ordinary.

I'm not targeting this one person in particular either. He just happens to be my example. I see this all the time on social media and it feels like a slap in the face to the people who take it seriously. All I am asking is you put in more practice time than it takes to open the packaging.

We can all be better?

I'm more amazed than you are...

I recently saw a magic show and was reminded of a bad habit some performers fall into and want to share it with you so maybe you don't fall into the same trap.

Don't know what has happened before the audience does.

What do I mean by this? Imagine You are doing a drawing duplication and before you ever see the drawing your helper has done you pronounce "and the drawings match" THEN you look at them both and THEN show the audience. This usually happens when you are following a script too tightly or have been doing a routine for so long you just speed through it (or you have not been taught anything about being theatrical AT ALL).

Now there are times when this is ok. When you cause the magic to happen on purpose and you know ahead of time what the outcome is supposed to be. The problem comes into play when the magic is supposed to be a "surprise" for you and the audience. I don't mean you have to act surprised, but you discover something at the same time as them.

If you know what has happened before you are supposed to know, it lends itself to the fact that there was no free will on the part of the audience and can even point towards a method.

So be aware that even if you are playing the part of a mind reader, you shouldn't get ahead of your audience.

Don't Be This Guy

Part of the problem?

I think if you are a female in magic and happen to be considered "attractive" there are a few things you should know.

If you become high profile you will become a target. Plain and simple. People will attack you for the way you look over what you can do. Humans are shitty that way. Don't let it shake you but also don't become famous if you can't handle it.

The second thing is you will be a role-model and you should be more aware of how you present yourself, especially in the age of "the internet is forever". The younger generation, male and female (and other), look to those they see in the media, social or otherwise. It's where they draw their inspiration from and if you are on TV or have a big social media following they are looking at you closely.

It is (or should be) your responsibility as a performer to be the example of how to do things right be that in skill or motivation. There is nothing wrong with being hot and showing off what yer mama gave you, but temper it with talent as well. If what you show is nothing but TnA there are those out there who will think that is all you need and voila', more shitty performers in the world trying harder to get by on their looks than cultivating a skill set.

There is nothing wrong with choosing to use your assets to your advantage. It's entertainment after all. People like their "celebrities" to be easy on the eyes. However, the novelty will eventually wear off and if you can't deliver in the talent portion of our show, you might just fade into obscurity (or become a judge on a shitty TV talent show).

This post brought to you by Ariana Grande.

Ellen is an incredible & kind human being.. I use my talent AND my sexuality all the time because i choose to. women can be sexual AND talented. naked and dignified. it’s OUR choice. 🖤 & we will keep fighting til people understand. i say this w all due respect but thank u, next. https://t.co/wSknRSlJN8

— Ariana Grande (@ArianaGrande) November 21, 2018

In tents...

I have talked a lot about creativity. Not only on this journal but in my lectures and to anyone who would ask (and some who didn't really). However I haven't really gone into a lot of detail about a process on it.

I'm getting there calm down you creepy %$#&.

One of the biggest things you can do to be creative is to place restrictions upon yourself. This means doing, or not doing, certain things. More accurately, it's creating within certain parameters. When you have a framework to operate in it's MUCH easier than having an open field of possibility at your disposal.

Having TOO MUCH freedom can lead to Overchoice or choice overload. Whenever someone hires me as a consultant for a TV show or to create something for them I always ask for the details. It can be something as simple as "I want to do X with B". Mind you that's if I create for others. What about creating for yourself? I find it best to start with asking questions. What is the main goal? Why am I doing this? What are the props? What am I trying to say/do? What is the ending? Asking questions is very important to the creative process. This allows us to erect Tent Poles.

Much like a real tent, these ideas give everything else structure. There is a reason you hear certain films from a studio referred to "tentpole movies". It's what gives that studio a structure. It's a different type of structure than trying to create magic, but the concept is still similar.

You need the main ideas that will support everything else that you will be doing. Take this routine for example:


When I decided I wanted to do tricks with duct tape I made a list of the things I could DO with that tape. Once I knew how it started and how it ended it made everything else find it's "natural progression". I also knew I wanted certain visuals. Smiling through the roll and then the tape appearing over my mouth was one of those moments. I almost always think of the effects first and worry about method later.

Sometimes you add more poles as a routine progresses. I didn't plan to split the rolls initially but I felt the act needed "something". When I decided on that happening, up went another structure to support the other parts of the story to make that happen. Having those moments and a story, either obvious or subtle, really helps. You don't HAVE to have a thread pulling you through the act, but people respond better to some sort of structure or theme because we like what we know. Humans are easy that way.

So if you are trying to make something new, or change something you have that already exists, just try to give your routines some framework with certain ideas/moments/effects/etc. It will force you to focus on what's important and cut the wheat from the chaff as it were.

PS: I hope you appreciate how difficult it was for me not to make any dick jokes while talking about tents and poles.

I decided to remove my pants for this post...

Lets talk about magic demos. There are more or less three prevailing kinds.

Filmed Live during a Show : These might be the most preferable for the serious professional entertainer. You can see how it works in front of a normal audience and hear/see the impact. Scott Alexander is pretty good about doing this as he pretty much lives on a cruise ship it seems.



Sometimes it's a teaser, sometimes it's a full performance, and sometimes he is black. Regardless, it's likely he has done these routines more than thrice and it shows. His stuff does tend to be on the expensive side but at least you know these tricks have seen battle.

Filmed using random people who said yes to being on camera:  This is the kind of demo you usually see for the bigger stores like Penguin, T11, E and so on. They walked up to someone and asked if they wanted to see some magic (or more likely lied to them about filming for a TV show and testing out effects on camera all without signing film releases). This kind of editing usually cuts around the important moments and might even splice in some reactions from other magic effects or jokes. There is no real way to know.



You have to be careful with these videos as what you see may not be what you get, especially if it's chopped all to hell and you don't see how they get into or out of the effect. I wish more of these demos would specify if it was for your social media feed or for real world performance.

Filmed in your parents living room a studio for just the camera: This one you tend to see for solo releases and kids who own a smart phone and don't tend to see sun light too often. This one tells us the LEAST of the three. You don't see real world reactions, handling, or practicability (I'm not entirely sure that's a word). If the ad copy sounds too good to be true it likely is. Here is an example:



On the website it says "Examinable Box has been Blake's GO TO opener for years" and yet there is no live video to be seen. You'd think after all these years he would have recorded at least one of those shows right? For the price tag of an effect like that, I'd like to see real people reacting to the prop to see if it justifies the price tag.

There are hybrids of all of these and some outliers obviously.  Just make sure you educate yourself.

Buyer beware.

Accidents happen...

Today I was driving and thinking about how some of the best art is not usually intentional. Those who set out to create something that is marketable and interesting usually comes off forced. A lot of brilliance just kind of... happens.

Totally intentional I am sure...

Of course one man's art is another man's dismissal but that is the beauty of it all. It's subjective. Mind you there is a lot of universally accepted great things that have been created but NOTHING has 100% mass appeal.

This applies to magic as well. You can set out to make a new routine or magic piece but by the end it has likely become something else than how it started. It evolves through performance and practice (or at the very least should). This is where sticking to a script someone else wrote can be the death of a magical effect. It needs to evolve naturally. If you do it like everyone else, it stagnates. You are quite literally killing it and yourself by not feeding it new random life. It's like a tamagotchi. It needs nourishment.

Clearly it was fed too many cups and balls

So remember that a lot of great art is unintentional and unplanned. Inspiration comes from everywhere and you never know when or where it will strike.


It's like being mugged by a muse.

Too much, too soon...

Today I was having a conversation about magic and why there is so much turmoil and infighting in the magic community at large. Be it the internet, conventions, or even your local magic club there is always people butting heads over this or that. The reason is an interesting one.

You see, the best thing about magic might also be the worst thing about magic... it's diversity.

There are so many options, so many ways to look at and perform magic. There are so many  branches magic can take and that means that many more opinions about it. Couple that with the damaged personalities that magic attracts and you end up with a lot of beef.

It's usually on the Magic Cafe

Vernon vs. Marlo, gimmicks vs. pure sleight of hand, stage vs parlour... it never ends. Add to that the fact that humans feel the need to have a winner in an argument and you get turmoil. Sometimes everyone just has an opinion and there is no winner. The problem is there are a lot of "experts" who would gladly tell you otherwise.

In the end we should celebrate our differences and diversity not punch down on it. Will it happen? Hell no. However, you can try to help not fan the flames if you can help it. Help others where you can but leave your bias and agenda at the door.

Good luck.

Sound Philes

Riding on the coat tails of yesterday's post about grumpy know-it-alls, let's talk about people who think there is only one path and that will be good enough to get them through life FOREVER.

I got into a... let's call it a discussion... on one of the FB magic groups about what's best to run your sound with and how. Some of you might recall my guide on running your own music for your shows. Well it seems some people would rather not have music at all if they don't have a sound man. This baffled me and I had to jump into the fray to understand where they were coming from.

There is a camp of people who (claim) to always work with a soundman and will pay for them to travel with them and run their music and say that is the ONLY way to go. These people have clearly not tried to make a living in the last decade or so as that is not always an option. What you pay out for a sound person could be almost the entire fee for a gig in some circumstances.

Obviously it's great if you work a venue that has someone else run your music for you. (Someone who is competent that is. You'd be surprised how many people don't understand the concept of "play" and "pause".) Sometimes it's just not feasible to have someone travel with you be it for lack of space or money.

What I told these "experts", who turned their nose up at the mere thought of running their own music from their pocket, was that they should learn to do it BOTH ways. If your sound guy/girl dies, gets sick, or just gets tired of your bullshit and quits, you are then left high and dry. If you have a solo system you have learned as a back-up you will never be in that position. It's similar to those who prefer to work only with a headset mic and get lost when forced to use a hand held. When you don't learn at least a little bit about the options you have to help run a smooth show, you will suffer and so will your audience.

So heed my advice people! Learn to run your own music but have a cue sheet in your bags for that lovely rare time you can bring along a sound person or the venue happens to have one that doesn't seem like they are from a work release mental patient program.

Like Scar said, "Be prepared!"

Flip it over...

So I was watching an episode of NCIS (don't judge me) and there was a great line that got me thinking and thought I would share.

"Nobody posts their B-sides"

This is in reference to the internet and it's very true. People only put their BEST online. They try 50 times and pick the best version. (especially when it comes to magic trailers but don't get me started on that)

It got me thinking about all of the footage I have. How much of it is only "ok" and how much is good. Sometimes it's fine to show off some of our flaws. (So long as it doesn't expose anything obviously) In my circle, we sometimes talk about the difference between professionals and amateurs. One that I always bring up is amateurs won't talk about their bad shows but the pros wear them as a badge of honor. Don't be afraid to fail. You might learn something. About your magic and yourself.

With that in mind, here is something from one of my recent performances.

Colorblind as a bat...

Can you remember a time before Sharpies? I mean, the company has existed since the 60s but they didn't really take off until the 90s for magic. I got my first (and only) Sharpie thru bill in 1997. It was basic black. However since then a myrid of basic and exotic colors have come out. Some guys have built an entire career using them...

Maybe these will distract you from my Ramsey Subtlety?

Color Match

If you have been performing for 20 years or 20 days, you have likely had someone sign something. If you are in the USA it was with a Sharpie. My questions is this: Was it the right color for the job?

Believe it or not, there are certain colors that you SHOULD be using when you have items signed. I'm not some marker racist, but color does matter.
 

• Blue: This color is our preferred go to for playing cards. Black and red just blend in and if it's a free choice it's a crap shoot. Blue will pop against any color, even court cards. 
• Red: Don't you EVER have an American bill signed with a black marker. It is impossible to see even from up close. Red is the way to go. It can be seen from a very far distance and gives you instant recognition.
• Black: For everything else. Black is good for things like balloons, coins, or other things with a good contrast.

Size DOES Matter

When you work anything other than close-up (and even then) you need the markings to be visible. By using the larger "Chisel tip" style markers, you increase the readability of the markings your helpers leave. Mac King has people sign a card with a HUGE marker.

This came with my Bowl-A-Rama but &$%# that trick!

It's the small details like this that come with performing, experimenting and caring about your audience and what they see/perceive.

Who are we to argue with Mac King?

The king's throne...

Here is a random idea I just thought of....

Put a mirror across from your toilet.

Not a full length one. There is no need to get that intimate while doing "paperwork". However something that sits about shoulder height and up can be beneficial. It's like having sex in a public place. You'll get used to it. (and there is less of a chance you'll get arrested)

This will help you in two ways:
I. you can work on your facial expressions which are very important when it comes to performing and conveying emotions. Far too many performers don't know what to do with their face. This will give you the chance to work on it.

II. It will get you more comfortable in awkward situations. If you can maintain eye and make faces at yourself with defecating, you can do most anything. Getting over those feelings of embarrassment are part and partial to being a good entertainer.

Besides, it's not like you're going anywhere...

The struggle is real....

Normally on this journal I try to give performing advice or rant about various things that make me mad. However, from time to time I like to offer up tips on things like music or promo photos.

The longer you perform, the more things you pick up. Some of them are noticeable, while others remain hidden in the shadows.. and by shadows I mean your pants.

If you perform in a dress shirt and at any time put your hands up over your head (or anything even close to it) your shirt can come a tad untucked and stay that way.

 Exhibit A

At the very least, it can make you look disheveled. At the worst, it looks like hell in still photos. If you ever get the chance, (and I suggest you make the time when you can), talk to some of the old school pros we still have left. They all have their little tips and tricks for keeping yourself looking top notch on stage. 

It's a little thing called "Shirt Stays" and they totally do what they say on the package. When you first put them on, it might feel a little goofy at first but it's worth it. Not only does it keep your shirt tucked in, but it also keeps it from wrinkling up from normal wear.

Nice and straight. The shirt at least...

So if this kind of stuff is important to you, then you should look into it. You'll be glad you did.

 If not...

 

This could be you.

Lo-Vision...

Have you ever seen a performer on stage doing a card trick and had trouble seeing the selected card? Perhaps in a photo or video of your own performance? Well if you can’t see it, then neither can anyone else.

Even Zombies know the importance of Jumbo Index

I have no idea why some magicians have such a disdain for jumbo index playing cards. Actually that’s not true. I know some think they look “tricky” or unfamiliar. However if you happen to use any kind of vanity deck that argument goes right out the window.

It’s fine if you don’t want to use them for close-up. However, have you ever tried to identify a court card from a distance? It’s damn near impossible. 

When you are onstage it’s very important for things to be clear, especially if you are doing card tricks. There are simple things that may seem small but make a HUGE difference. Having the card signed with a red chisel tip marker, the way you force the card (if you do that), and having a deck of cards that is visible to everyone in the room. Some of your audience will likely need glasses or have them.It's your job to make sure that these tiny but important details are thought of and implemented for the sake of your audience.

Don't fear the reaper Ted...

The little easy...

Sorry for my absence as of late. I haven't really been that angry at anything in the magic scene.... at least not enough to write about. There is plenty of regular asshattery but I have just grown numb to it.

 This is what everyday on the Cafe looks like

So in lieu of angst I will offer up some advice. As someone who has been doing stage magic since before some of you were born, let me dole out this brain dripping: Make Things Easy On Yourself! I have learned the hard way that if it happens once it can and WILL happen again. Fix it before the next show or it might bite you in the... well... you know ^...

Everything needs to flow as seamlessly as it can. This way you don't have to worry about something falling, not being in the right spot, or moving from it's (possibly secret) location. When you know you don't have to worry about things falling to pieces you can focus on your performance which is the more important part.

So if it needs a magnet, hook, velcro, ring of hot glue to keep it from rolling off the table, felt, fishing hooks, snap gums, broken popsicle stick, tampon applicator, whatever... then make it happen.

You'll be glad you did.

Battle Damage...

I want to share something with you guys that I have been telling others about for a while now. Usually I spill this news to the younger generation when one of the old guard does something so profoundly and unfathomably stupid or asshole-o-rific(tm), that the aforementioned youngster just cant wrap their head around it all.  

The entertainment business is populated with damaged people.

Now I am sure a handful of you reading this will be like "Well duh Bizzaro. You haven't written anything in a long time and THIS is what you come back at us with?"

This nugget of wisdom is not for you smart ass. It's for the beginners and youngsters who might stumble upon my words and have not experienced this oh so joyous part of our business.

The rest of you meet me at camera 3.... 

Ok guys look. For some reason people with some major deep seated issues are drawn to the ascertainment business. (Mind you they are different issues than the ones that draw damaged people to become cops but that is besides the point.) They either weren't hugged enough as a child... or hugged TOO much. They seek power, fame, money, and many other forms of acceptance or adoration they never had in their life before. Whatever the reason, if they do or say something crazy to/at you, it's not your fault. Just take a deep breath and repeat after me...

"They're just a magician. They can't help that they're damaged." (This also tends to work in relationships too but there is a litany of other factors to that one.)

So chin up young bucks and buckettes. If some 50 year old finger flinger you once respected has cock blocked you from releasing a DVD because they think they own snack food, it's on them. If they make a YouTube video about something you posted and it sounds insane, chances are it is and you should just repeat our above mantra.

For every batshit entertainer out there, there is another one who is cool and fun to hang out with. Seek those people out instead and you will be much happier.

 Just remember to keep the popcorn handy