Magic New Zealand® E-zine

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* Magic New Zealand®
* Proudly sponsored by International Entertainment Ltd (New Zealand)
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Issue Number: #1460
Date: Sunday 15th July 2018
Editor: Alan Watson QSM
www.watson.co.nz
E-mail: editor@magicnewzealand.com
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Hi here is the latest news
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1. Editor's Message
2. FISM 2021 Québec City, Canada - Registrations Are Now Open
3. 2018 Allan Slaight Awards Announced
4. The Magic Word Podcast - I.B.M. Convention Updates And Curt Miller
5. Daley Might Have - John Carey #8
6. Festivals - Terms and Conditions - #492 - Kyle Peron
7. Broken Wand Brian Gillis
8. Tony Clark Web Series On YouTube
9. Magicians Look Into Magic On YouTube
10. Masters of Illusion
11. E-zine Archives
12. Privacy Policy and Copyright Notice

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1. Editor's Message
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Congratulations to Renee-Claude Auclair and her team for winning the opportunity to stage the next FISM in Canada. Michele and I have registered to attend and for more information go to item 2. Renee-Claude tells us that more than 300 have already registered from all over the world and early bird registrations close on 31st July 2018!

If you would like to read the Magic New Zealand e-zine in a HTML format
go to: http://www.magicnewzealand.com/ezine-archive/2018-Jan-to-Dec-2018/1460-Jul15-2018.html

If you would like to write a regular column for Magic New Zealand or
have some magic news drop me a line:
Editor@MagicNewZealand.com

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2. FISM 2021 Canada - Registrations Are Now Open
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Message from Renee-Claude Auclair (Canada)

Early bird registrations are now open and they close on 31st July 2018.

You can now get your passport for FISM 2021, which will take place in Québec City, Canada from July 26 to 31, 2021.

Register as soon as possible to get the best seats in the house!

To register go to: www.fismquebec2021.com

Our website is in 4 languages.

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3. 2018 Allan Slaight Awards Announced
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The Allan Slaight Awards recognize outstanding contributions to the art of magic. The Slaight Family Foundation established the awards in 2015 and has pledged to give $50,000 a year, over five years, to celebrate exceptional work in five distinct categories.

Each recipient receives not only a cash prize, but also a specially engraved iPad to commemorate the award.

To this year's honourees: we congratulate you for your outstanding achievements. It was, indeed, our privilege to acknowledge and share with the world your considerable accomplishments.

These awards only exist because of the unwavering generosity of the Slaight Family Foundation and once again we express our deepest gratitude. The recognition and support that the Foundation fosters inspire us all to elevate our art and to truly share wonder.

Lifetime Achievement ($15,000)
Dr. Edwin Dawes

Sharing Wonder ($15,000)
Michael Carbonaro

Sharing Secrets ($10,000)
College of Magic

International Rising Star ($5,000)
Noah Levine

Canadian Rising Star ($5,000)
Nicholas Wallace

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4. The Magic Word Podcast - I.B.M. Convention Updates And Curt Miller
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Message by Scott Wells, M.I.M.C. with Gold Star

Hello, friends and listeners (well, you are one and the same, or should be). Last week I was unable to submit an update to the Magic New Zealand ezine because of my participation at the I.B.M. Convention in Grand Rapids, Michigan. I was recording conversations with talent, organizers, dealers and registrants for four days. I posted these updates each day so even if you could not be there, then you could get the next best thing by listening to the daily updates.

The convention was outstanding for the few who attended. I think there must have been about 300 magicians in attendance (plus some family members) which made it intimate, though probably not too profitable for the dealers, but that's another story...and perhaps fodder for a future podcast.

But the talent was unparalleled. International President Michael Finney called on his friends to help out and they came out in spades. Talent featured Jeff Hobson, The Amazing Jonathan, Pop Haydn, Nick Lewin, Larry Wilson, Lance Burton, Jeff McBride, Nick Defate, Patrick Martin, Larry Hass and more.

Many of these have rarely, if ever, performed nor lectured at a magic convention. The conversations I had with many of these guys made for interesting podcasts with many of them giving a recap of their lectures in a mini format for The Magic Word. Trust me, there is some solid gold material in these discussions.

You can view some original photos, read the blog, listen online and download each day's activities here:

Day One: https://www.themagicwordpodcast.com/scottwellsmagic/431-2018-ibm-convention-day-one

Day Two: https://www.themagicwordpodcast.com/scottwellsmagic/432-2018-ibm-convention-day-two

Day Three: https://www.themagicwordpodcast.com/scottwellsmagic/433-2018-ibm-convention-day-three

Day Four: https://www.themagicwordpodcast.com/scottwellsmagic/434-2018-ibm-convention-day-four

On the way to the convention, I visited the Chicago Magic Lounge and received a first class tour by John Sturk. This is a "must see" venue for any magic aficionado who visits the Chicago-Land area. You can hear more about this venue in our conversation at: https://www.themagicwordpodcast.com/scottwellsmagic/2018/5/3/422-magic-theaters-redux

After the convention I went on a driving expedition across the upper Midwest that included a visit with my friend, Rick Wilcox, and his wife, Suzan, in the Wisconsin Dells where I saw his theater and show for the first time. I highly recommend it to anyone who is anywhere near the area. It is worth the three hours drive from Chicago.

You can hear our conversation from August 2017 at: https://www.themagicwordpodcast.com/scottwellsmagic/372-rick-wilcox
While on the road, I was unable to post a podcast for this week; however, I prepared a podcast before I left so it went out during my absence. It is a great conversation with Curt Miller, a local illusionist in Houston, Texas whom I worked with at the Magic Island. In this conversation, I talk about the rebirth of Houston's home for magic, the Magic Island, plus Curt talks about how one should prepare well in advance for an illusion show. This is not restricted to just those who are or who want to be illusionists, but for any magician as we discuss the importance of planning, or "setting your battleground" as Slydidni would say.

You can hear that podcast at: https://www.themagicwordpodcast.com/scottwellsmagic/435-curt-miller

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5. Daley Might Have - John Carey #8
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Message by John Carey (UK)
https://carey-scene.com/jc-main

Liked This!

In this book are two versions of the last trick of Doctor Daley. This version takes full advantage of two identical Jokers to give one a very clear and deceptive piece.

Take out the two Jokers and the red Aces and discard the deck. Lay out the red Aces face-up and side-by-side on the table. Hold the Jokers face-down in right hand pinch grip and execute a fingertip flushtration count, displaying the Jokers. Even though you don't have to do that display, it establishes the move for when you will use it later.

Hold the Jokers face-down and slightly spread. Pick up either red Ace and place it in between the Jokers and slowly square up. Ask a spectator to hold out a palm-up hand. Make the moment over the packet and execute a double turnover showing the Ace has risen to the top. A moment later turn the double face-down and place the switched in Joker on her hand.

Now execute the fingertip flushtration count, showing both cards as Jokers. Place the actual Joker on top at the end of the display. This is a strong moment when you think about it. Pick up the remaining red Ace and insert it between the left hands cards. Execute a double turnover to show this Ace has risen to the summit too. Turn the double face-down and place the switched in Joker on top of the card on her hand.

Ask your spectator to cover what she believes to be Aces with her other hand. State that you will attempt to send your Jokers over to join them. Briefly cover your cards and then after a few moments lift your hand. Act confused and then make a magical gesture over your cards and then her hands. Ask the lady to open her hands and turn over her cards to reveal the Jokers. A few beats later show that you have the Aces and the transposition is complete.

Fingertip flushtration count
Have a small packet in your right hand with the bottom card the one you want to show all the cards as. Hold the cards on the long edge with your first two fingers below and the right-hand thumb above. Pivot this hand up to show the face of the bottom card to the audience, then lower it back down again, and with your left thumb slide off the top card of the packet. Then you pivot the packet up again, again showing the bottom card, then pivot down again and slide off the new top card.

Repeat for as many cards as there are in the packet, ostensibly showing the all as the face card. The motion shouldn't be a studied movement, it should be loose and free and, with the fingertip handling, very open.

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6. Festivals - Terms and Conditions - #492 - Kyle Peron
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Message by Kyle Peron (US)
magic4u02@aol.com
KyleKellyMagic@gmail.com
http://www.facebook.com/perondesign
http://www.kpmagicproducts.com

In this day and age, there are terms and conditions applied to most everything. You cannot buy anything or even take part in a raffle without some form of terms and conditions attached to it. It gets to a point where legality starts to bring fear to the consumer. We get to a point of being afraid to sign anything or agree to anything out of a nervous feeling of it coming back to harm us later on.

In the realm of working festivals this is also clearly seen. It is a simple matter of fact that if you work with festivals, terms and conditions will be applied. You will be asked to review terms and conditions and to sign and abide by them.

This notion of having to sign and abide by a festival's terms and conditions often is a strong deterrent for entertainers. They fear having to be locked in and so tend to avoid the market all together. But one does not have to fear terms and conditions when working festivals.

It is a matter of understanding terms and conditions, why they are used for festivals and how best YOU can work with it. The first thing one should understand is what is the real underlying meaning of the phrase "Terms and Conditions"?

If I could boil it down to one simple word, terms and conditions would simply mean "protection". It really is as easy as that. Terms and conditions "protects" the seller of said product or service from damages or legal issues as a result of the consumer.

I bring this up because if you know this basic principle I just stated, it is often much easier to understand how to not fear it and how to work with festivals so that terms and conditions becomes a simple part of doing proper business.

One of the biggest issues that comes up with festivals concerning terms and conditions is the feeling of being locked in with no control. This is not always the case and it does not need to be.

One of the areas you need to understand is the difference between working a festival as a vendor vs working the festival as a paid entertainer. Here in lies a big difference in regards to how terms and conditions are applied.

Many associate terms and conditions as a one-way street. They fear that the festival is imposing it on them and they have no control over it. Well in the case of coming in as a vendor, this may be closer to the truth. The reason is that you must look at it as you paying the festival money to occupy a vendor space at their event. You are paying money for
a product or service THEY are providing directly to you. Because you are paying for the usage of their spot, then terms and conditions must be applied to protect the festival. You do not have much power in in regards to demanding your own terms simply because you are the one buying something from them.

However, festival terms and conditions does not have to be a one-way street if you work them as a paid entertainer. As a paid entertainer, the tables are turned a bit. The festival is coming to YOU and paying YOU for services and products You are supplying to them. See the difference?

Because they are paying you for your services and product, you have a right to be able to "protect" yourself just as much as they do. Think about it this way. If you go in and by a washer, don't terms and conditions protect the seller of the washer? Of course. So, you must
remember that you also are selling a product and service. Because the festival is buying your service, you have a right to terms and conditions applied to what you are giving to them and you should not fear it.

When you are hired to be a paid entertainer, you may in that the festival has their own terms and conditions and you have yours as well. That is fine and it is natural for this to happen. The problem lies in that entertainers often feel they must sign and abide by the festivals
terms 100%. They feel either the festivals or their own terms must be chosen but not both.

Remember that terms and conditions can and should protect both parties. When working with a festival, it is ok if the festival sends you their terms and conditions for you to look over and sign. However, this does not mean a one-way street.

What I will always do is be open and honest with every festival I work. I will talk about my own needs for the show and my own terms that ensures a smooth show for them and protects me from situations they may not have even considered. As a working professional who treats his magic business as a business, most festivals understand this.

So, what I do is to make an addendum to their terms they send to me. If a festival has a terms and conditions form that they send my way, I can read it over and attach an addendum to it. The addendum simply adds on my terms that should be followed and also mentions any changes that I feel should be made to theirs.

In this fashion, you are working with the festival to make sure that both parties are protected equally and all bases are covered. Once the terms have been adjusted, they can easily be signed by both parties.

As you can see, this is a fair way of working and it takes the fear out of working with festivals. The mindset should be that you are a business working with another business on a joint venture/agreement. If you understand this approach, then you can go about working with them so both parties are satisfied and covered.
***

I have a new book out I would like you to know about all about working the Festival market. If you would like additional and detailed information on this topic, please see my book/eBook at:
http://www.kpmagicproducts.com/Festival_Magic.html

As always, I encourage you the readers to let me know your thoughts. So, if you have any thoughts on my articles or suggestions or comments, please feel free to e-mail me directly at magic4u02@aol.com. I would love to hear from you.

Kyle Peron
Magician and Illusionist

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7. Broken Wand Brian Gillis
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Message by Jerry Litt (US)

Brian Gillis Magic castle performer passed away after complications of heart surgery.

This was posted by Rich Hurley on Face Book This morning my Facebook newsfeed was flooded with the sad news of the passing of magician Brian Gillis.

I admired him as a terrific performer. He left audiences awe struck and star struck. After his show, they knew they had just seen someone extraordinary. He was handsome, fit, confident and smooth. He always dressed like a star. He was Johnny Carson's favorite magician. I remember him most for his inexplicable and entertaining performances with Sisuepahn, with one of the most amazing and extraordinary mind reading acts in the business.

Brian often shared table with us pedestrian performers in the Magic Castle cellar. He instantly took command of the room and had audiences eating out of his hand. I will miss him. His passing was a huge shock, and another reminder that every day on this planet is a gift.

He's another magician I regret that I never reached out to, due to my intimidation factor What could I have learned from the man? Lots of people I know and respect said he was a nice guy. RIP Brian... maybe I'll get to know you better on the other side. from Jerry's iPhone 6 plus Cell number 323 839 6374 "The greatness of a nation and its moral progress can be judged by the way its animals are treated." ~ Mahatma Gandhi

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8. Tony Clark Web Series On YouTube
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Message by Tony Clark (US)

I just started a fun new Web Series on YouTube. I teach people how to makeover tricks and turn them into new effects. It's fun free and also helps a good cause as each item will be auctioned off or sold to help a good cause.

Here's the link:
https://www.youtube.com/watch?v=so8Ncp-kfF8

With respect and gratitude,
Tony

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818-422-8708
Tony Clark Productions

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9. Magicians Look Into Magic On YouTube
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Message by Edward Yoo (New Zealand)

Pulling a rabbit out of a screen (?): A look into the viewing of magic on YouTube by magicians as audiences and users by
Edward Yoo
University of Auckland

Author Note
Edward Yoo, Department of Communications, University of Auckland

This research was supervised by Dr. Ethan Plaut and recognized by Dr. Neal Curtis

Correspondence concerning this research should be addressed to Edward Yoo, Department of Communications, University of Auckland, Auckland.

Contact: eyoo791@aucklanduni.ac.nz

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Abstract

This research paper investigates magicians, as both audiences and users to the magic content readily available on the digital platform, YouTube. The effects of the change from traditional, to new media platforms for studies with specific regards to the art of magic were correspondingly examined.

Participants were interviewed and cross-examined with answers provided by other applicants partaking in the research. The answers presented were sorted into explicit categories, and further analysed with regards to the impact of digitalization on the participants' perspectives and user experience of the platform. The results of the research outlined an adaptive mind set and a constructive outlook from participants, on the current state of magic in correspondence to the progressive digital era. The relationship between magicians and magic on YouTube was found to be favourable and encouraging.

Keywords: magicians, YouTube, digitalization, digital era, print media

Pulling a rabbit out of a screen (?): A look into the viewing of magic on YouTube by magicians as audiences and users

While the secrets of magic have perpetually been stored within print, the rapid transition into the digital era during the latter half of the 21st century have pushed print media close to obsolete. Consequently, it has been the common conception within the wider magic community, digital planes such as YouTube, have become the replacement platforms in which the secrets have been inadequately exposed; without the respect and proper consideration of artistic creativity.

With limited studies having been conducted with specific regards to magicians as audiences and users, the purpose of this study was to critically review and understand the way in which magicians interacted with YouTube in light of the recent changes. This research paper begins by assessing evaluations of similar niche audiences with specific focus on the interactions with, and through changes in media platforms. In further detail, the perspectives of the interviewed magicians are discussed through varied categories which examines different aspects of the topic. The paper concludes with some thoughts for the future of magic as an art form, and possible directions for future investigation with regards to this research.

Literature Review

Technological advancements within the digital era have exceedingly renovated the
complexion of media and its audiences, and especially the enduring formats of traditional media (Kaul, 2012). This idea can be exemplified through the modern transformation of physical books, as they increasingly appear as e-books on such devices as kindles. As the prime audience for the classic paper back novels, avid readers and enthusiasts are simply left to adapt, as media platforms which were innately relied on are transformed (Bagdikian, 2004).

Similarly, magicians face a comparable position, as they adapt an altered form of media, contrasting the conventional platform used. Subsequently, e-books are a prime demonstration of progress resurrecting traditional forms of media and assisting in its survival (Campbell, Martin, & B, 2014). In essence, the modification is said to act as a catalyst, to continue its life in adapting to the ever changing media environment. Concurring with this idea, YouTube plays the same role for magicians. YouTube allows for valuable discussion, demonstrations and lessons, similar to the print. However, the difference lies within the viability of the two platforms in the modern day era.

It is advised to welcome and simply adapt to the changes, focalising around the notion of progression and continuous advancements in the new era (Gladwin, 2017). A factor of communication which had not been available through print media, furthers this notion for magicians. More specifically, magicians, as users especially, face a new element of connection and instant gratification through such platforms as YouTube. It is the result of the new generation of users and audiences of digital media that the world is increasingly perceived and acknowledged through a process of visualisation (Kachkaeva, 2012).

In principle, a voyeuristic element is legitimized within the way of modern communications. An element unsurprisingly, absent from the traditional magic format in print media. As a result, while an unconventional configuration, the YouTube platform, to a degree, has supposedly become the ideal medium for magicians to refer to, especially as a tool for learning and experiencing magic.

Methods

For this research project, a total of five Auckland based magicians were interviewed.
The magicians were recruited through advertising online within specific magic discussion forums and Facebook pages. All five magicians ranged from being a professional in the field, to those who pursued magic as a simple hobby. The skill levels were varied and the amount of time devoted in to studying the art from each participant was of wide range. As such, a diverse collection of answers were provided to the questions asked during the interview.

With regards to the types of questions asked, I began with a series of short and simple establishing questions focalising around their backgrounds, the state of magic, print media, and their use of YouTube. Broader questions were further asked in reference to YouTube, the state of magic, and their interactions with YouTube as audiences and users. To conclude, final thoughts of the topics discussed were asked. All answers were noted down by myself during the interview.

Discussion

The death of magic

The epigram "Magic is Dead" is disheartening yet a common phrase echoed
throughout magic communities all around the world, as an indirect result of an era of digitalization and especially, YouTube. Through this research, I uncovered while common, the epigram was not believed by all. Particularly as an audience and user of the platform, all participants stated, the rising of YouTube magic had not deterred them away from their passions. Further to this, they had said their interactions with the platform also did not majorly change their existing beliefs and philosophy to their art.

One participant stated YouTube assisted heavily in establishing the foundations of discussion through visual aide and almost real time interaction. A feature the participant could not find during their engagements with other platforms. As an audience, this notion of participation and interaction was a crucial factor that had been missing from traditional platforms for most of the participants.

Their engagements found YouTube, had changed the way in which magic was previously learnt, and provided a contemporary 'twist' to an outdated process and platform of learning an old art. In saying this, a majority of the participants went further to acknowledge, while perhaps not the value of knowledge stored within the magic books, that there was and is a gradual death in the value of books as a learning tool. The participants believed this was especially true amongst the rising magicians of the digital generation. As users themselves, all magicians interviewed simply saw a shift in the learning platform, and did not believe magic was 'dead' or even on the brink of 'death'.

A Moral Standpoint

In addition to their thoughts with regards to the influence of YouTube, ideas
in relation to particular ethical concerns were also discussed. Through their engagements, all participants had come across material uploaded on YouTube that had not belonged to the uploader. Two separate problems were raised and addressed by the participants. Three of the five magicians, believed there was a clear attack against the creativity and creative process of the original creator that had produced the specific trick or effect.

The rest of the magicians outlined a clear infringement against monetary principles. As YouTube is an open source for free entertainment and education, tutorials of magic effects that had been available to purchase elsewhere had been uploaded on the platform for free. One participant highlighted potential harm to the original creators' source of income as a result of the open uploads.

Ultimately, while the core problems differed amongst the magicians, a topic of moral subjectivity echoed throughout all the answers provided by the participants. They all acknowledged the presence of a problem with magic on YouTube, but did not believe it was significant enough to deter them greatly away from using the platform as a learning tool of some degree. Several participants also pointed to some solutions to the said issues. The solutions included, not watching the video to generate the view count and even simply reporting the video for copyright infringement.

The Future

As society progresses through the era of digitalization, it is apparent that digital
platforms such as YouTube pave the way for contemporary forms of communication. All the participants recognised this notion and additionally expressed ideas of adaptation. They found the relationship between magic and YouTube to be beneficial in keeping the art expressively alive for the future. More specifically, they discussed their personal interactions with YouTube as being, to a certain degree, simply a process of adaptation.

However, this did not mean they were undoubtedly happy with the change in platforms. While all the participants agreed this may be a way to preserve the art of magic for future digital generations, they were not 100% aboard with the idea. This was because they believed books held the 'hidden jewels', which simply could not be translated by lines of code on a screen. Two of the five magicians interviewed outlined heavy discontent, as they believed the constant uploads and usage of the platform as a learning tool, would limit any forms of creativity among by magicians as they would simply be imitating what was being shown on the screen.

Resulting in lacks of character and individual finesse amongst magicians. One participant went on to explain, while books only teach the sleights and leave the performance to the individual, videos illustrate a character and supposed 'performance ideals' that are "9 times out of 10 just horrible". Consequently, with regards to this issue, the participants denoted, "this is the future". In essence, the continuous engagement and relentless reliance on YouTube as a learning tool was unanimously believed to, simply take away any forms of individuality and transform the magician into a "card-trick robot".

Conclusions and Future Study

The road to technological advancements and progress is undeniable. The road
paves to satisfying, and newly founded senses of gratifications through establishing modern formats of media and communication for its users and audiences. For magicians, this newly established format was YouTube. Through this investigation, it was discovered that magicians had turned to YouTube for two primary reasons. The first being the notion of adaptation to the technological advancements in media in present day.

The second was that the platform had provided an environment of discourse and exposure for magicians that had not been provided before. Ultimately, the participants found through their personal engagements, that the pros by far outweighed the cons. As a result, leading to their perspectives of a valuable relationship between the art of magic and YouTube, especially for the far future.

For future studies, it is necessary to conduct a study that examines a wider scope of
magicians. This is to ensure a deeper understanding of the effects and engagements being made between magicians and YouTube. In addition to this, perhaps an investigation into differing media platforms may be beneficial, in order to ensure an extensive understanding of magicians as users and audience.

Personally, I believe the survivability of such a beautiful and traditional art depends
on the adaptability of current day magicians to current day advancements. However, this does not signify the means of abandoning magic books entirely. Books of this nature do not simply hold the secrets of sleight of hand, they entail lessons. They are created to be read in between the lines, as opposed to word for word. I believe are harmonic relationship between the values of books, and the progress of media and technology will without a doubt, solidify the future for such an art.

Word Count: 1902
References

Bagdikian, B. (2004). The Internet. In B. H. Bagdikian, The New Media Monopoly (pp. 56-58). Boston: Beacon Press.

Campbell, R., Martin, C., & B, F. (2014). Books and the Power of Print . In R. Campbell, C. R. Martin, & F. B, Media & Culture: Mass Communicaiton In a Digital Age (pp. 362-363). Boston: Bedford-St. Martin's.

Gladwin, A. (2017). Bootstrap. In A. Gladwin, Going Pro (pp. 54-56). Vanishing Inc.
Kachkaeva, A. (2012). Digital media and the Internet market: Audiences, multi-media content and business models. Traditional to online media: Best practices and perspectives, 45-51.

Kaul, V. (2012). Changing Paradigms of Media Landscape in the Digital Age. Journal of Mass Communication & Journalism , 2-4.

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11. Masters Of Illusion
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Message by Steve Moyer (US)

Week three of season five on the CW Network Hosted by Dean Cain, the series returns Friday, July 13 with two 30-minute episodes airing back to back, starting at 8/7C

Hollywood, CA (July 5, 2018) - Masters Of Illusion, produced by Associated Television International and hosted by Dean Cain, now celebrating its fifth anniversary The CW returns for Week Three with two 30-minute episodes airing back to back on Friday, July 13, 2018 at 8:00 p.m./7:00 p.m. Central.

Masters of Illusion features amazing magic performed by 42 cutting-edge illusionists, escape artists and performers displaying skills ranging from perplexing interactive mind magic to hilarious comedy routines - all in front of a studio audience.

This week's episodes will include:
"Masters Of Illusion" - (8:00-8:30 p.m. ET)
"The Fastest Illusion in the World…and More!" (Content Rating TBD) (HDTV)
Metamorphosis - Hosted by Dean Cain, "Masters Of Illusion" features amazing magic performed by cutting-edge illusionists, escape artists and performers displaying skills ranging from perplexing interactive mind magic to hilarious comedy routines - all in front of a studio audience. Magicians featured in this episode include Titou (Puncture Press), Greg Frewin (Geo - 4 Girls), Spidey (Little Door), Billy Kidd (Libations), Jibrizy (What's Your Phone Number?), Chris Randall (Miser's Dream), George Iglesias (Popcorn) and Murray SawChuck (Metamorphosis & Transport) (#503). Original airdate 7/13/2018.

To view performance highlights of the July 13th episode from 8:00 - 8:30 p.m., please visit: https://vimeo.com/user4830612/review/278029413/105268f944

"Masters Of Illusion" - (8:30-9:00 p.m. ET)
"It's All in the Cards" (Content Rating TBD) (HDTV)
Challenging Perception - Hosted by Dean Cain, "Masters Of Illusion" features amazing magic performed by cutting-edge illusionists, escape artists and performers displaying skills ranging from perplexing interactive mind magic to hilarious comedy routines - all in front of a studio audience. Magicians featured in this episode include Rick Smith Jr. (Full Body Card Throw), Ed Alonzo and Samantha Bell (Driving Duck), Joel Meyers (Torn Card Restored), Keelan Leyser & Matt Daniel-Baker (iPad Magic), Shoot Ogawa (Card Numbers) and Andi Gladwin (Giant Balloon Impression) (#501). (Encore Presentation) Original airdate 6/29/2018.

To view performance highlights of the July 13th episode from 8:30 - 9:00 p.m., please visit: https://vimeo.com/user4830612/review/274593401/870e315cf7

Please note, the television show, "Masters Of Illusion" will be preempted on Friday, July 13, 2018 from 8:00 - 10:00 p.m. in several U.S. cities due to sporting events. As a result, "Masters Of Illusion" will be broadcast instead in Harrisburg, PA on WHP-D3 on Friday, July 13, 2018 from 10:30 p.m. - 12:30 a.m., and in Dayton, OH on Sunday, July 15, 2018 from 8:00 - 10:00 p.m.

Dean Cain, host of Masters of Illusion, is an actor, producer and writer. Cain also appears in the hit CW series, "Supergirl," in which he plays the role of Supergirl's adoptive father, Jeremiah Danvers. Other upcoming projects include the documentary film, "Hate Among Us" (Executive Producer), and as an actor, "Gosnell," "2050" and "Angry Men." Most recently he executive produced, along with Montel Williams, the critically acclaimed documentary film, "Architects of Denial." His breakthrough performance as an actor was in the dual roles of Superman/Clark Kent in the television series "Lois & Clark: The New Adventures of Superman."

The roster of award-winning magicians from around the world appearing in Season Five of Masters of Illusion is a virtual who's who in the field of magic.
Adam Wilber (New Durham, NH), www.adamwilber.com, .@AdamWilber
Andi Gladwin (Gloucester, UK), www.illusionist.co.uk, .@WhoIsAndi
Bill Cook (Chicago, IL), www.billcookmagic.com, .@billcookmagic
Billy Kidd (London, UK), www.billykiddshow.com, .@billykiddshow
Chipper Lowell (Fullerton, CA), www.chipperlowellexperience.com, .@chipperlowell
Chris Funk (The Wonderist) (Winnipeg, Canada), www.chrisfunkmagic.com, .@chrisfunkmagic, https://plus.google.com/+chrisfunkmagician-thewonderist
Chris Korn (Los Angeles, CA), www.chriskorn.com, .@kornkeezie
Chris Randall (Las Vegas, NV), https://www.facebook.com/ChrisRandallMagician/
Ed Alonzo (The Misfit of Magic) (Toluca Lake, CA), www.edalonzo.com, .@edalonzomagic
Eric Jones (Philadelphia, PA), www.ericjonesmagic.com, https://www.facebook.com/ericjonesprestidigitator
Farrell Dillon (Las Vegas, NV and Boise, ID), www.farrelldillon.com, .@FarrellfarrellX
George Iglesias (Lima, Peru), www.MagoGeorge.com, .@MagoGeorgeOf
Greg Frewin (Niagara Falls, Ontario, Canada), www.gregfrewintheatre.com, .@GF_Theatre
Greg Gleason (Las Vegas, NV), www.gleasonmagic.com, #GregGleason
Henok Negash (Hollywood, CA), www.bowtiemagician.com, http://www.facebook.com/bowtiemagician/
Jarrett & Raja (Jarrett Parker and Raja Rahman from Las Vegas, NV), www.jarrettandraja.com, .@jarrettandraja
Jason Bird (Las Vegas, NV), www.magicofjasonbird.com, .@jasonbirdmagic
Jason Bishop (Philadelphia, PA), www.thejasonbishopshow.com, .@JasonBishop
Jeki Yoo (South Korea and North Hollywood, CA), www.jekiyoo.com, http://www.instgram.com/jekiyoo, http://www.facebook.com/jekiyoomagic
Jibrizy (West Hollywood, CA), www.jibrizy.com, .@jibrizy
Joel Meyers (Los Angeles, CA), www.meyersmagic.com, .@joelmeyersmagic
Joseph Gabriel (Las Vegas, NV), www.gabrielmagic.com
Joseph Réohm (Los Angeles, CA), www.josephreohm.com, .@josephreohm
Joshua Jay (New York, NY), www.joshuajay.com, .@joshuajaymagic
Keelan Leyser & Matt Daniel-Baker (London, UK), www.keelanleyser.co.uk
Les Arnold & Dazzle (Les Arnold and Alex Arnold, Long Beach, CA), www.lesarnoldanddazzle.com, #LesArnoldAndDazzle
Michael Grandinetti (Los Angeles, CA), www.michaelgrandinetti.com, .@GrandinettiMG, #michelgrandinetti, .@michaelgrandinetti, www.facebook.com/Grandinetti.Michael
Murray SawChuck (Las Vegas, NV), www.murraymagic.com, .@MurraySawChuck, www.facebook.com/MurrayFanPage
Naathan Phan (Las Vegas, NV and Orange, CA), www.magicasianman.com, .@naathanphan
Nathan Burton (Las Vegas, NV), www.nathanburton.com, .@NathanBurtonCM
Noora Karma (Helsinki, Finland), http://www.noorakarma.fi
Rick Smith Jr. (Cleveland, OH), https://www.facebook.com/RickSmithJrpage/, .@RickSmithJr1
R.J. Cantu (Las Vegas, NV), www.rjcantu.com, .@cantumagic, .@rjcan2
Shoot Ogawa (Tokyo, Japan and Simi Valley, CA), http://www.holyshoot.com
Spidey (Montreal, Canada), www.spideymagic.com, .@spideyhypnosis
Titou (Baptiste Molard) (Paris, France and Las Vegas, NV), http://titoumagic.com, https://www.facebook.com/TheMagicOfTitou, .@MagicianTitou, https://www.instgram.com/titoumagician/
Tommy Wind (Las Vegas, NV), www.tommywindmagic.com, .@tommywind
Xavier Mortimer (Las Vegas, NV), http://xaviermortimer.com/blog, .@xaviermortimer
Young-Min Kim (Alchemist) (South Korea)

Masters of Illusion is produced by Associated Television International with returning Executive Producers David McKenzie ("The 38th Annual Daytime Emmy Awards," "Marie"), Gay Blackstone ("The World Magic Awards" 2007-2009), David Martin ("The World Magic Awards" 2007-2009, "Marie"), and Al Schwartz ("The 38th Annual Daytime Emmy Awards," "The Golden Globe Awards" 2013 and 2014), along with Co-Executive Producer Jim Romanovich ("From Rocky To Creed," "The 38th Annual Daytime Emmy Awards").

Associated Television International (ATI) is an Emmy Award-winning company that has been the world's largest producer of magic for both stage and screen for over three decades. ATI's television series, specials and feature films have aired on all U.S. broadcast networks, major cable channels and with television partners all over the world. Current series in production include: "The Hollywood Christmas Parade," "Masters of Illusion," and the Emmy Award-nominated "Laura McKenzie'sTraveler."

ATI has also been Emmy Award-nominated for its various television specials and series. For more information, please visit www.associatedtelevision.com

To view a Sizzle Reel of Season Five of Masters of Illusion on The CW, please visit: https://vimeo.com/user4830612/review/274173555/0699e86ee2

To learn more about Masters of Illusion, please visit http://www.cwtv.com/shows/masters-of-illusion/
Network with us at https://www.facebook.com/cwmastersofillusion
https://twitter.com/cw_illusion
https://www.facebook.com/MastersofIllusion
https://twitter.com/Mastersofillus

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11. E-zine Archives
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Back issues of the Magic New Zealand e- zine go to:
www.magicnewzealand.com click on the red button centre right "Archives"

When you enter the archive the e- zines are in issue order in folders for each year and are Coded, e.g. 001 Nov06 1999.txt first three numbers (001) denote issue number, then the date (Nov06) and the last figures the year (1999)

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12. Privacy Policy and Copyright Notice
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Subscribers to this publication and authors who contribute to it by doing so agree they will not hold Magic New Zealand® or Alan Watson QSM, jointly or individually liable or responsible in any way for the opinions or statements contained therein.

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