magicians Archives - Stone Cold Magic Magazine

The Art of Astonishment

Jeff Stone — Thu, 20 Nov 2014 07:03:55 +0000

A Letter to My Clients

As an event entertainer who uses magic as part of my act, I’m often asked the question, “What is Magic?” or “Is Magic Real?” The answer to the latter lies in the answer to the former.

One of the magicians I’ve studied is someone that most non-magicians have never heard of, Paul Harris. For magicians, he is one of the ultimate creators and teachers. His thinking on magic and what he calls The Art of Astonishment revolutionized my (and many other magician’s) thinking about what I do.

Simply put, the ultimate goal of a performance is to create moments of astonishment. Whether I’m on a stage in front of thousands of people or I’m at your table with 3 or 4 others at a banquet, my goal is to create a moment of astonishment.

Notice I didn’t say that my goal is to “Astonish You,” but rather, “Create Moments of Astonishment.” Those are moments that you (the audience) and I (the performer) should share. It’s a moment where you feel wonder and awe, where you feel like a child again, where you feel magic.

When I say “feel magic,” I don’t mean Harry Potter style magic as in magical powers. I mean magic as in the laughter of a child or the majesty of this beautiful planet we call home. It’s a feeling that makes us feel young again when life was much more mysterious to us.

By now, we’ve all pretty much figured it out and a lot of the “magic” is gone. So is magic real? Yes. To me, magic is a feeling that is created by many, many wonderful things in life. One of those wonderful things, if I do my job right, is my presentation; at least that’s what I hope. I approach astonishment, and occasionally I hit it. I should say we hit it.

If I’ve done my job right, you (the audience) are less interested in how the “trick” “works” and more interested in savoring the moment of astonishment. Once you (or I) start to focus on the “how” of a “trick” the “magic” is gone; the feeling of astonishment fades.

My job as a performer is to focus on you and my presentation more and the “trick” less. Your job as an audience is to focus on the presentation more and the “trick” less. Notice that both of us must focus on the “trick” less in order to create astonishment, but trust me; when it happens, it’s a thing of beauty.

So take this challenge as an audience. The next time you see a magician perform, try to connect with him/her. See if s/he is trying to connect with you. Look for the moment of astonishment; don’t kill the magical feeling by trying to “solve” it.

So “What is magic?” and “Is magic real?” Magic is Real. It’s a feeling, a feeling I often call astonishment. The “trick” as it is sometimes dismissively referred to is merely the vehicle. It is the vehicle on the road called “connection.” This road is where you (the audience) and I (the performer) connect with each other on our way to the destination . . . a place called Astonishment.

I hope to see you there soon!

Root:

Let’s Remember Our Roots. The Root: You are on the same team as your audience. When I was actively marketing myself as a performer, the above letter was sent out to my mailing list of potential clients. It was part of a bigger effort to keep the magical moments of life at the top of the mind of my potential clients. This particular letter is very much about teaching the audience to properly play their role.

Spectators don’t necessarily know this. We’ve all met the spectator who narrates the entire trick as he tells us how everything is done. It’s not entirely his fault. He believes that his job is that of debunker. He wants to disprove any claims (outrageous or otherwise) that we as magicians make. He’s just playing the wrong role and doesn’t know it.

Branch:

Let’s Build Our Branches. Your Challenge: Educate your audience. For the next 30 days, focus on making very clear what your audience’s job is. Do this politely, of course. You can do this by openly saying this directly, or you can show them by your actions, or a combination of both. I want you to stop and figure it out on your own, but your job is to make sure that the audience knows that their job is let the feeling of astonishment happen, and then after it happens, let it wash over themselves until they’re buried neck-deep, yet comfortably. Teach your audience and your world as a performer will change.

Now go study the classics and go discover your true magical self.

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Thoughts Govern Action

Jeff Stone — Mon, 20 Oct 2014 06:03:13 +0000

Suddenly, Max was aware of his surroundings; he was in a hospital. The last thing he could remember was a total stranger telling him that he didn’t look well. Slowly he began to remember that more than one person had told him that he didn’t look well. In fact, five total strangers, within one hour, had told him that he didn’t look well. After the fifth person, everything was a blur.

This is a dramatization of a true story, or rather an experiment that was conducted by an early 20th century journalist named Napoleon Hill. The “strangers” were people who worked for Napoleon Hill. The goal of the experiment was to find out what would happen when a perfectly healthy person was told that he looked ill. The result? The “perfectly healthy” person passed out. This experiment demonstrates that the mind is extremely powerful and that if a thought-seed is planted, it will, most likely, become a reality.

Adolf Hitler demonstrated this powerful principle by actually taking someone’s life with a game of the mind. Hitler had one of his soldiers conduct an experiment on a prisoner. The victim was tied to a chair and blindfolded. Then the soldier used a piece of ice to “cut” the wrist of the prisoner. No cut was actually made, however the soldier held the melting ice on the wet wrist, allowing the dripping water to fall into a bucket. Next the mind game began; the prisoner was repeatedly told, “If you tell us what we want to know, we’ll stop the bleeding!” The feeling of a slice, the wet wrist, and the dripping sound along with Hitler’s words were enough to convince the prisoner that he was bleeding to death, so he did; he bled to death without actually bleeding.

These two stories are negative examples of how strong the mind is, but if the mind is powerful enough to kill, then it is also powerful enough to create happiness and success. A person is, literally, what he thinks. Our circumstances and surroundings are a product of our deepest thoughts and subconscious desires. Most of us have heard the old adage, “When life gives you lemons, make lemonade.” This is a true principle. However, the meaning of this cliché is not found in the physical act of making the lemonade (turning the bad to good), but rather in the attitude that leads one to discover that lemonade can be made in the first place. Even the character Doc Brown from the hit movie Back to the Future demonstrated his understanding that attitude and thoughts govern action when he said, “If you put your mind to it, you can accomplish anything.”

If a man can think he’s bleeding to death and die from the thought, then a person can think he’ll be successful and succeed from the thought. If we truly believe without a doubt that we can do it (‘it’ being whatever we want out of life), then we will do “it.” As Henry Ford said, “If you think you can do a thing or you think you cannot do a thing, you are right.”

Root:

Let’s Remember Our Roots. The Root: Your mind is your most valuable tool. The above essay was written for a college assignment years ago. I recently came across it and decided to add it to the magazine because it teaches a great lesson that we magicians can apply to our performances. First of all, if nothing else, it might make for an interesting premise for an effect.

Looking beyond that, I think the power of this is found in how we connect in our audience. When we perform, we connect with our audience via trickery, patter and costume. Why not other things? Why not with our mind? Or at the very least, why not use our mind to improve how we use trickery, patter and costume to connect with our audience.

Branch:

Let’s Build Our Branches. Your Challenge: Believe that you’re amazing. I know the world of magic is filled with enough ego already, and there’s a fine line between confidence and arrogance, especially in our industry. Try this, however: check your ego. Then believe that you have the most amazing performance, effect, show, etc. Don’t go around shoving it in people’s faces and rubbing their nose in it, just quietly believe it.

Don’t put yourself in denial either. In fact, you’ll want to do the exact opposite of denial. Take extra time to get feedback from filming yourself, or asking people, etc. Whatever criticism you get, DO NOT DISMISS IT. Just the opposite. Think about it. Ponder it. Really open your heart and mind to find the truth of critique that you receive.

That may sound like the opposite of “believing you’re amazing.” However, it’s not. When you tell yourself you’ve got a great show, and you really truly start to believe, your actions, subconsciously will try to play catch up with your brain. You will, on a very subconscious level start attracting things that will make your show better, so when you start believing in yourself, the doors will open and paths will clear and you will eventually catch up to where you think you are. Just remember step 1: check your ego before you do any of this.

Put this to the test in your next show. Tell yourself repeatedly that you will get a standing ovation. I’m not guaranteeing that you will. However, what will happen is that the more you tell yourself that, the more your mind will work on ways to head you down that path . . . just don’t forget step 1!

Now got study the classics and go discover your true magical self.

The post Thoughts Govern Action appeared first on Stone Cold Magic Magazine.

Free Your Mind

Jeff Stone — Wed, 20 Aug 2014 06:03:07 +0000

Remember the day when the world was all abuzz with murmurings of that David Copperfield guy making the Statue of Liberty vanish? I wonder how that brainstorming session went. Did his team think he was crazy? How did he come up with the idea? Did he have the method or the effect first? Was it inspired by another effect? So many questions come to mind when I think of something like this.

Root:

Let’s Remember Our Roots. The Root: Any effect is possible. As magicians, we are creators. We create miracles, illusions, effects, moments, feelings, wonder, etc., etc. Even if we don’t literally “create” (i.e., design and build) an illusion, we still “create” illusion when we perform the effect. On top of all the things we “create” during a show, we also may create other things outside of our show.
We create relationships, customers, shows and maybe even products to sell. As a creator, we should insist that we do not limit ourselves. Don’t get stuck in your paradigms. Remember that with magic, anything is possible. I remember an old episode of Amazing Stories back in the day called Mr. Magic. The basic premise was that a washed up has-been magician was about to get kicked out of his venue when he comes across an old deck of cards that have magic powers.
The cards came to life and would animate, and fly around the room and all kinds of crazy stuff. When watching that as a kid, it was so magical and beautiful. Now as a grown adult, it’s even more beautiful and magical because the story’s beautiful, and the effects are beautiful. But most importantly, the effect is possible. Remember, anything is possible with magic. Any effect is possible. I have no clue what the method would be, but one exists.

Branch:

Let’s Build Our Branches. Your Challenge: Create an impossible effect. Take some time, even just 30 minutes and think up (and write down) as many crazy effects you can think of. Don’t think about stuff only in your genre. Don’t think about methods. Simply think about effect. You might be only a close up coin worker. But that doesn’t mean you can’t think of a crazy illusion.
Give yourself no limits. How ’bout “make the moon disappear.” Why not? How ’bout raising the dead in a cemetery? Sure it’s morbid, but it’s possible. The point of this exercise isn’t, necessarily, to come up with a method. It’s simply to come up with an effect. Think of the most outrageous and impossible effects you can imagine, and write them down.
Then, every so often, re-read the list. Think about the effects (not possible methods). Just continue doing this for the rest of your magic career. Every few months, read the list. As you do this, ideas (not necessarily methods for the list of effects) will come to you. Write them down. Write down everything. Let it soak into your subconscious. Force yourself to think outside of your boxes to free your mind. Remember Neo’s first jump across the building. Free your mind. Eventually, you will be almost completely free, and ideas will flow freely. You won’t be able to stop them.

Now got study the classics and go discover your true magical self.

The post Free Your Mind appeared first on Stone Cold Magic Magazine.

McBride Magic TV and More

Jeff Stone — Sun, 20 Jul 2014 06:08:38 +0000

McBride Magic TV

Who’s got two thumbs and has a monthly spot on Jeff McBride’s McBride Magic TV? This guy, that’s who! Every Monday, there is a new live episode of McBride Magic TV. The first Monday of each month is a free episode hosted by Jeff McBride. In the past, Bryce Kuhlman hosted a review segment on the show. He has officially retired, and I’ve taken over the spot. Once a month, I’ll be reviewing a product in my segment called “Gems and Rubble.” Check out past episodes at the link above.

793.8 The Paperback Edition

I finally finished the paperback edition of 793.8. This book is starting make some waves and has had nothing but positive praise from everyone who has read it. You can now get a print copy of it. If you’ve already purchased the PDF, you’ll be able to get the paperback edition at a discount equal to what you paid for the PDF. The details are on the website: 793.8: Where is The Magic?

793.8 is one of the freshest and most powerful books about presentation for magicians that I have read in a very long time. Your thoughts on connecting with an audience are so powerful that they literally woke me up to being a better performer. Thank you so much for this fantastic work.
— Richard Sanders

Jeff Stone has quietly published a series of excellent magic books that are well-worth your time and money. His latest one, 793.8, is all that again, but raised to another level. His deepest interest is to help you tap into the magic in your magic—those moments of deep, true astonishment. Between Jeff’s thoughtful essays and excellent routines, you will find yourself inspired to create more magical magic. Highly recommended.
— Lawrence Hass, Associate Dean of McBride’s Magic & Mystery School and author of Transformations: Creating Magic Out of Tricks.

My Lovely Assistant

At this point, this one’s somewhat old news, but just in case you haven’t heard, I’ve officially taken over the daily operations of My Lovely Assistant. I approve the reviews, products and reviewers. So if you’d like to become an official reviewer and get free product, I’m the gatekeeper. The process is simple:

Go to My Lovely Assistant
Create an account
Start writing reviews of products you already own
After you’ve written 5 or 6 reviews, email me (jeff@magicreviewed.com) expressing interest in becoming an official reviewer
We review your account, and approve (or not) you.

That’s it. We’re just looking for quality reviews and regularly posted reviews. Good luck!

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Everybody Likes Magic

Jeff Stone — Sun, 20 Jul 2014 06:03:33 +0000

Wanna See a Magic Trick?

We’ve all done it. You walk up to a table or someone in the “streets” or your friends/family and asked the . . . ahem . . . magic question, “Do you wanna see a magic trick?” Somewhere along the way, it’s changed from us asking to others asking. You’ve heard it: “You’re a magician; show me a trick.” Eventually, many of us have become annoyed by such a question. What happened? What changed? Why did we stop asking the question? Why do we hate being asked the question?

If you’re like most people – and most people are – you, very likely have been rejected with your humble question. It goes something like this:

Magician: Do you wanna see a magic trick?

Spectator: No. I don’t like magic.

Or maybe, “I hate magic”, “magic annoys me”, “magic frustrates me”, “it makes me feel stupid.”

They may not say these things out loud, but they think them, and their face, demeanor and response speak them loud and clear. Maybe their last encounter with a magician was crap. Maybe they got insulted by the magician who thinks of himself of clever and witty, when in reality he’s just an insulting idiot with a deck of cards.

Root:

Let’s Remember Our Roots. The Root: Everybody loves magic. It’s usually the magician they hate, or the trick, but not magic. A trick is a means to an end. The “end” is magic . . . a feeling. It’s a feeling that everyone loves. The problem is that most people don’t allow themselves to get there. They never make it to the moment. The reason they don’t make it to the moment is because of decades of bad magicians, stock patter lines, and insults.

I say the root is “Everybody loves magic,” but I should say, “Respect your audience.” We’ll save that for the branch, here in a moment. Believe me, when people are caught off guard and feel that moment, they really feel it, and they love it. Magic feels good. A beach sunset feels good. Love at first sight feels good. Being a parent feels good. These things are all magical things. Granted, they’re not the same level of magic, but they’re all magic nonetheless. The only one we really have control over is the “trick” that we do.

The only way that “trick” matters is if we give it meaning.

Branch:

Let’s Build Our Branches. Your Challenge: Respect your audience. Respect them enough to have practiced your material before you show it. Respect them enough to not insult them. Respect them enough to put effort into your presentation. More magic is lost (i.e., the feeling of magic is lost) due to mediocre magicians, poorly performed presentations and stock patter lines than all the Masked Magicians in the world.

Take the time to really focus on every effect in your repertoire. Does it have context, meaning, feeling, purpose, etc.? Or is it just you mumbling your way through the mechanics of a “trick” like a trained monkey? Yes, folks, these are harsh words, but they apply to all of us, including me. Take the time to examine your magic and give it some meaning. When you do, you will have shown your audience that you truly respect them and care about them, and you will allow them to feel a feeling that they’ve not let themselves feel in a long time: magic. Everybody loves magic.

Now go study the classics and go discover your true magical self.

Footnote:

Here’s a list of recommended reading to get you thinking about your magic:

Transformations: Creating Magic Out of Tricks by Lawrence Hass, Ph.D
Magic and Meaning by Robert E. Neale and Eugene Burger
Magic Matters by Robert E. Neale

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Mysteries are Mysterious

Jeff Stone — Fri, 20 Jun 2014 00:03:15 +0000

The clear star that is yesterday shoots pineapples with a machine gun. Significant understanding is often one floor above you. What is Jeff talking about? Take a minute and try to solve that riddle. Post your comments below. It’s a riddle. I will not reveal the answer. To paraphrase Max Maven, some things are unknowable. True mystery is alive and well. We as magic folk are the keepers and perpetuators (I made up that word) of many forms of mystery.

The world record for solving a Rubik’s Cube is 5.55 seconds (held by Mats Valk). Is it a mystery that a human being can solve the cube that fast? Maybe. In reality, it comes down to years of practice, pattern recognition and the memorization of a butt-load of algorithms. I can solve it in about 35 seconds. There was a time where I thought it was impossible to get below 2 minutes. Then after years of practice I got down to an average of 1.5 minutes.

Years later, I got to about a minute average. Then 45 seconds, now 35 as of June, 2014. I’m not sure if I’ll ever get down to the single digits, but I do see a future where my average is under 20 seconds. Is it a mystery? It feels like it to those who can’t solve it. The fact is, it’s not a mystery. It’s a puzzle. It’s a puzzle that many have obsessed over and spent way too many hours with, but still a puzzle nonetheless.

I can also show you a Queen of Hearts and place it in your hand face down. Then a second later when you turn it over, it’s an Ace of Spades. Is that a mystery? Yes. Ironically, your spectator will often think, however, that it’s a puzzle and the Rubik’s Cube is a mystery.

Root:

Let’s Remember Our Roots. The Root: Perform mysteries, not puzzles. Right off the bat, I’m sure that some of you are thinking that puzzles have a place in a magic show, and you’d be right. As part of my close up show, I solve the Rubik’s Cube. No trickery, just a demonstration of skill that leads into a trick/mystery with the Rubik’s Cube. So, I’m not saying that you can’t have puzzles in your repertoire.

What I am saying is that magic done poorly comes across as a puzzle rather than a mystery. By poorly, I mean many things: poor presentation skills, poor use of a gimmick, fumbling, etc. For example, take the old classic drawer box prop. You open the drawer; it’s empty. You place some object in it; close it; reopen it; the object is gone. Then you close it again, reopen it and the object is back. It’s there; it’s gone; it’s there; it’s gone; open; close; open; close, etc., etc.

Presenting as I just did above is not magic. It’s not mystery. It becomes a puzzle for the audience to figure out. Here is the puzzle: How does this box hide stuff that he puts in it? That’s a puzzle folks, not a mystery. The drawer box may be too far gone to ever be more than a puzzle. Or not. I leave that to you. I use it only because it clearly demonstrates the point.

What kind of connection are you making with your audience. Are they too busy trying to figure out (i.e., solve the puzzle) of what you just did, or are they trying to enjoy the moment of astonishment as it attempts to wash over them? Though you don’t have 100% control of that, you do have a huge influence on it.

Branch:

Let’s Build Our Branches. Your Challenge: To quote the greatest metal band ever, “Seek and Destroy.” Examine your presentation, demeanor, verbiage, material, props, dress, etc. Seek for anything that leads the spectator to think that you’ve just given them a puzzle to solve and destroy it. If they think that they’re supposed to solve the puzzle, it’s partly your fault. Granted we’ve got a long history of crappy “magicians” who’ve made the beds we lie in. We need to wake up, and get some new sheets.

Rewrite your scripts. Restructure your tricks, Rethink your patter, Rework your wardrobe. Do what ever is necessary to communicate (both verbally and non-verbally) that you are offering something mysterious, not a puzzle to be solved. Like the meaning of that clear star that is yesterday that shoots pineapples with a machine gun, and the true location of significant understanding, some things are simply unknowable, and it’s your job to educate your audience and open their minds to this critical role that they play in the world of magic.

Now go study the classics and go discover your true magical self.

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Mouse Trap Vanish

Jeff Stone — Thu, 20 Mar 2014 00:07:38 +0000

“The early bird gets the worm, but the second mouse gets the cheese.” – Ancient Proverb.

Effect:

A face up (or face down) card vanishes into the thin air.

Method:

This is a very visual vanish when done properly. You’ll need a duplicate card. I recommend a notable card like a red court card. You’ll need one on top and one on the bottom. Spread the deck for a selection. There’s no need for a force.

While they look at the card, turn the deck face up and get a thumb break above the card at the back of the deck (the top card before you turned the deck face up). You now have a break above one of your duplicates (we’ll use the King of Diamonds).

The other one is staring you in the face at the face of the deck. Using your right index finger, swing cut about half of the face up deck into your left hand dealing grip. Now the face up duplicate King is in your left hand.

Have the spectator place their card (Four of Spades) face down on top of the King. So their cards is facing backwards, face to face with the King. Using your right fingertips (still holding half the deck with a thumb break above the back card), slide their selection forward about a fourth of the length of the card.

Place your left finger tip at the outer end of the selection in preparation to push it flush with the deck in a moment. Now place your right hand’s half of the deck square with the left hand’s packet, leaving the selection out-jogged.

Release the thumb break dropping off the duplicate King on top of the out jogged selection but flush with the rest of the deck. Don’t let go of the right hand’s packet. In one smooth simple gesture, swipe the right hand’s packet across the face of the left hand’s packet and to the right. This action is very much like the “paint brush” move. At the same time you swipe the right hand’s packet, your left finger pushes the selection flush with the deck.

The illusion is that the King just stayed where it’s at and the selection just vanished. This is a very deceptive vanish. Give it a try.

Face Up:

You can also do this face up. As I mentioned, there’s no need for a force. However the effect will look better if they chose a black spot card to contrast the red court card. In my opinion, doing it face down has several advantages. First you don’t need to orchestrate a black spot card as a choice. Second, the contrast of a fully red back is much better than any playing card face. Third, people may think that you simply picked up the selection underneath the right hand’s packet. If the card is face up, that’s actually a reasonable method.

However, if it’s face down, then they wouldn’t be able to accuse you of that method because if you had done it that way, their selection would be staring at them if you tilted your right hand to show the underside of the packet. However, since you didn’t pick it up, you can flash the underside of the right hand packet after you effect the vanish, and they’ll be even more fooled because their card isn’t there.

Even though I prefer not to do it face up, I thought I’d mention it in case it appeals to your style.

Usage:

I’ll leave it up to you how you use it. One of my favorite uses is simply to fool magicians. Every magician I’ve shown it to has been fooled by it. However, because the card is upside down in the deck, it’s in perfect position to do a Triumph style effect. If you do that, however, make sure you spread the deck face down to reveal the selection face up. If you spread face up to reveal the selection face down, you’ll expose the duplicate Kings because there will be one on each side of the selection.

This can also be used as a card control if you do it with the selection face up. After causing the selection to vanish, it’s second from the face in the left hand’s packet. Simply drop the right hand’s packet face up onto the table. Then drop the left hand’s packet face up on top of that. Pick up the deck and turn it over (face down) and you now have the selected card second from the bottom. Shuffle and control it as needed.

Once you’ve reproduced it, you’re in a good place to do a two card transpo using their card and the duplicates. Look at your current repertoire and see where it can fit. Enjoy.

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Interviews For Magicians

Jeff Stone — Thu, 20 Mar 2014 00:04:24 +0000

Meeting the Client

Whether you work restaurants, corporate gigs, children’s shows, stage, parlor, etc., somebody hired you. That means that likely you met someone representing the venue ahead of time. The question is, what did they think of you? Did they give you the best fee you could have gotten? Did they like you? Did they hire you? Obviously at various times in your career and at various venues, the answer will differ. But one thing is for sure. If they think your magic is weak they won’t hire you.

So the question is, should you do magic in an interview. Generally my answer is yes. However, there are exceptions. It depends on how things go and what the interview “vibe” is like.

What Should You Perform?

The last thing you want to do is “turn on” some “character mode” during the interview. They should be meeting the same person they’re going to see on stage. The tricks may be different, but the “guy” should be the same. An interview for any job is all about being prepared. You need to be prepared with a few things. First, have something handy that’s quick, surprising and magical looking. For example, something as simple as an easily reachable cigarette pull for vanishing a pen or a rolled up dollar bill.

Also, be prepared for something with a little more meat that can showcase your showmanship. Maybe a simple coin routine or a simple card trick. Nothing too elaborate. Three coins across, not 5. A signed card to impossible location, not a 7 phase four Ace routine. Finally, have a couple of other well rehearsed powerful effects ready to go in case you need them.

When Should You Perform?

As I mentioned earlier, the interview may be such that you don’t necessarily have an opportunity to perform. This is why you have prepared the way suggested above. The quickie effect is perfect for the beginning and/or the end of the interview. Produce your business card from thin air. You can do this at the beginning or end of the interview. That way, if the opportunity to do an effect during the interview doesn’t present itself, you can still leave the client with a memorable moment.

If, however, during the interview you are able discuss the show and talk about why your magic is different from most magicians, etc. (whatever your selling points are), you’re able to show them what you mean. This is the place for the quick coin routine. Of course, if that goes well and things feel right, you can perform one or two other effects as mentioned above.

You’re Not “Other” Magicians

Oftentimes, people have misconceived notions of what a magician is. There is, of course, the stereotype of the top hat and tails. Then there’s the other extreme: birthday clown. You need to show them with your speech, mannerisms, dress and of course, magic that you are different. This is your competitive edge. This is how you set yourself apart and get a phone call back from the client. It also makes it easier for them to swallow your fee if they might have thought it was a bit high for a birthday clown.

Be prepared to prove you’re better than any other magician they’ve ever seen, but say it with actions, not words.

Until Next Month . . .

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Don’t Be a Magician

Jeff Stone — Sat, 01 Feb 2014 00:03:00 +0000

Can you do that one trick where I pick a card and you find it? Have you ever been asked that question? Typically when a layperson asks that questions it’s a with a bit of enthusiasm and high hopes that you’ll “know that one.”

Of course, we as magicians know that if you compiled every version of that trick into one book, the book would be thicker than planet Earth. It’s the same mentality when the spectator says, “I know this trick” the moment you pull out a deck of cards. They’re not stupid. They’re naive, maybe even ignorant, but they’re not stupid. The simple truth is that magicians and laypersons look at the world differently. They see things we don’t, and we see things they don’t.

Don’t fight it; embrace it.

Root:

Let’s Remember Our Roots. The Root: Lay people don’t think like us. They don’t know it’s possible to turn over two cards at the same time and make it look like only one. They don’t know that you can spray some stuff on two cards and they’ll stick together creating one of the greatest gimmicked decks in the world. They don’t know that you’ve spent hours alone with a deck of cards perfecting your perfect Faro.

They don’t know it’s possible to fold a signed card into quarters instantly and load it into a secret place . . . they don’t know . . . they don’t know. The problem is, you don’t either. You don’t know that most lay people only own one deck of cards their entire life. You don’t know that lay people would never write on their playing cards or rip them.

You don’t know that most lay people think that there’s only one card trick (maybe two). You don’t know that most lay people have never seen a good close up magician. You don’t know . . . you don’t know . . . It’s time to start knowing folks.

Branch:

Let’s Build Our Branches. Your Challenge: Don’t Be a Magician. Think like a lay person. In many ways, this article is an extension of a section in my book, 793.8 called Self-Working Lay Person. The idea is that you need to remember that you and non-magicians think nothing like each other.

Start thinking like a lay person. Watch them. See how they react to different things you say an do. Ask them why they liked the trick you just did. I’ll bet the answer will have nothing to do with how clever the secret move was.

Take some time to get into the heads of the people you perform for. You’ll be enlightened and a better magician for it.

Now go study the classics and go discover your true magical self.

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What Do You Think of David Blaine?

Jeff Stone — Fri, 20 Dec 2013 00:04:14 +0000

Bus Stop Magician’s Have all The Fun

So you’re hanging at the bus stop finger flinging the cards, and someone says, “Are you a magician?” You say that you are. She then says, “What do you think of David Blaine?” How do you respond? Do you criticize? Do you edify? Do you ignore? What do you do?

Keepin’ it Professional

Love ’em or hate ’em, you cannot criticize Angel, Blaine, Dynamo, Darren Brown, etc. Remember, you are representing your brand: you. Is your brand someone who is petty and rude about other magicians? Or is your brand someone who is courteous and professional? Most non-magicians love these guys. If you insult them (the magicians), then you’re insulting the audience member (fellow bus goer) who asked about them. Everyone is a potential client. Don’t forget that.

Answering the Question

So what is the correct way to answer that question? In my opinion, you need to compliment them. Regardless of how you feel about them, there’s got to be at least one good thing to say. Pick one good show, trick, episode that you liked and just talk about that. Don’t be afraid to ask the spectator what they think about Blaine (or whoever). Turn it into a conversation and an opportunity to get to know the person. Just remember that small minds talk [negatively] about people.

Until Next Month . . .

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