Magic New Zealand® E-zine

* * * * * * * * * * * * * * * * * *
* Magic New Zealand®
* Proudly sponsored by International Entertainment Ltd (New Zealand)
* * * * * * * * * * * * * * * * * *
Issue Number: #1540
Date: Sunday 27th October 2019
Editor: Alan Watson QSM
www.watson.co.nz
E-mail: editor@magicnewzealand.com
================================
Hi here is the latest news
================================

1. Editor's Message
2. The Magician & The World's Greatest Performers
3. Post FISM Tour Of Quebec And S.
4. The First Showman
5. S.A.M. Preview Of November M-U-M
6. The Jackal - John Carey #58
7. The Orchante Saga - Beginnings
8. E-zine Archives
9. Privacy Policy and Copyright Notice

--------------------------------------------
1. Editor's Message
--------------------------------------------

Dirk Losander, master of object levitations, presented his first New Zealand lecture here in Auckland on Wednesday night which was a huge success. He's a creative genius and all our club members found his lecture very inspiring. He will continue through New Zealand lecturing in Wellington, Christchurch and Dunedin. We highly recommend his very informative and creative lecture!

If you would like to read the Magic New Zealand e-zine in HTML format
go to: http://www.magicnewzealand.com/ezine-archive/2019-Jan-to-Dec-2019/1540-Oct27-2019.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

--------------------------------------------
2. The Magician & The World's Greatest Performers
--------------------------------------------
Message by Norbert Ferré

I am glad to announce the creation of a new show, for which I will be the director:
"The Magician & The World's Greatest Performers".

The show will be performed on 13 and 14 December 2019 at "La Sucrerie - Wavre" in Belgium.

Please do not hesitate to pass on the message to your friends!

Thanks a lot and hope to see you there.
www.nuitsmagiques.be

-------------------------------------------
3. Post FISM Tour Of Quebec And S. Ontario
-------------------------------------------
Message by Joan Caesar (Canada)

Post FISM Tour of Quebec and S. Ontario August 1-7, 2021

Register for FISM WCM 2021 at www.FISMQuebec2021.com

For more information about the tour contact Joan Caesar: JCaesar@sentex.ca

Previous days described in last week's e-zine: Quebec City, bison farm tour Montreal, Ottawa, dinner cruise on St. Lawrence River,

Wednesday, August 4: Kingston, Kitchener/Waterloo (B,D)
Breakfast in the hotel
Travel to Waterloo via Prince Edward County where you will visit a local winery, Huff Estate Winery, in this micro-climate region
Continue to St. Jacobs/Elora stopping along the way for lunch on your own at a convenient rest stop area or Tour of St Jacobs (shops, Mennonite info centre) and/or Elora (gorge/shops) Stop in either place for lunch
Arrive in Kitchener/Waterloo and overnight at the Redisson Hotel
Dinner in Kitchener at the Charcoal Steak House.

Thursday, August 5: Waterloo, Niagara Falls (B. D)
Breakfast in the hotel.
Visit a Mennonite Farm via horse and wagon, departing from the St. Jacobs Farmers' Market. http://stjacobsmarket.com/ This farm is a mixed farm, also has a sugar bush but harvested in the old-fashioned way. This family is well-known for their quilting skills and have quilts for sale in a small on farm sales area.
Lunch on your own at the Farmers' Market
Travel to Niagara Falls, visiting the famous small English style town of Niagara-on-the-Lake.
Visit a large-scale winery located in the lower plains area. This region is at a latitude the same as Bordeaux France and Northern California, with perfect soil and climate to produce Ice Wine as well as some of the world's best red and white wine.
Visit Chateau des Charmes Winery at the edge of the escarpment.
Continue along the Niagara River and the Niagara Gorge, stopping at the precipice at the start of the Escarpment and location of the start of Niagara Falls. http://www.fromtheboscfamily.com/chateau-des-charmes
Check into your hotel after a drive by of the Falls
Dinner at the Elements Restaurant located within 30 metres of the Horseshoe Falls and with the best view in Niagara of these amazing waterfalls.
Free time at night to see the illumination of the Falls and Fireworks over the Falls.

Next week: Part 3 of the tour, including a visit to Greg Frewin's theatre in Niagara Falls

--------------------------------------------
4. The First Showman
--------------------------------------------
Message by Andrew Van Buren

The First Showman - a new book written by New York Times Best Selling author Karl Shaw comes out in November. It tells the story of Philip Astley, who was the Original Ringmaster, Military Hero and Creator of the modern-Day Circus who just so happened to also have published books on & performed magic, even in the mid-1700s performing trickery with guns & bullets.

A fascinating read with never before published information about this amazing lost in history creative legend. There are pre order discounts for this amazing new Hardback book.
Release date 15th Nov. Available from UK shops WH Smith, Amazon, Waterstones, Bookdepository, Amberley, or online:

https://www.whsmith.co.uk/products/the-first-showman-the-extraordinary-mr-astley-the-englishman-who-invented-the-modern-circus/karl-shaw/hardback/9781445695495.html
or
https://www.amberley-books.com/community-main-page/s/community-karl-shaw/the-first-showman.html
or
https://www.bookdepository.com/First-Showman-Karl-Shaw/9781445695495
or
https://www.waterstones.com/book/the-first-showman/karl-shaw/9781445695495

-------------------------------------------
5. S.A.M. Preview Of November M-U-M
-------------------------------------------
Message by Lindsay Smith (US)

You may have trouble keeping up with M-U-M columnist and PNP Dal Sanders cover feature article "Magic and Shabum" - not with Dal's writing, but with the energy, accomplishments, and activities of Emanuel Soltero, better known as Shabum. He's a national figure (national treasure among kids) in his native Puerto Rico, combining magic, puppets, and education in a television show that's been running for 21 years, and is now a regular feature on the Puerto Rican network, Telemundo. That's just the beginning. But has he performed at The Magic Castle? Yes. The White House? Yes again. Read more about this enthusiastic, entertaining educator beginning on page 34.

In "Magia con Shabum," Emanuel Soltero details two routines that he uses in his kids' shows. The Vanishing Ketchup Bottle and My New Living Magic Table both use onstage volunteers and get the audience involved and laughing.

"FISM Winner Bill Cheung" who was crowned the World Champion of Card Magic at the 2018 FISM convention is Busan, Korea, is interviewed by Kien Meng Wee. Cheung describes his award-winning act, explains how the act developed, how he brainstorms and practices, and shares his emotions about competing at FISM.

SAM National President Steve Spence notes that "…the strength of our society has always been its members." That's one reason he enjoys traveling to visit Assemblies and meeting members. He recounts recent trips to Louisville, Vancouver, and Seattle. Steve highlights two young magicians from Louisville who performed on the 76th anniversary of It's Magic, the annual magic show produced by the Louisville Magic Club.

SAM's esteemed Dean George Schindler takes us back 80 years to the beginning of The Clinic, an informal Parent Assembly #1 group session that became a regular after-meeting event. In "The Dean's Diary," George explains the simple rules and how it evolved into The Open House. After 80 years, the original idea is still alive and viable.

Malinda R. Lodge tackles the topic of magic and gender in this month's "Guest Editorial." She begins with the early history of magic, its fall into negativity (ritualized magic and occultism), and its emergence onto mainstream stages as a form of entertainment. Malinda notes that this is a time of transition, and offers suggestions on how we can drive the success of our art.

"Illusions of Grandeur" columnist David Seebach opens with his observations on directions - printed instructions, DVDs, and the (dreaded) digital downloads via a supplied code. Often, experience from someone who has performed the trick numerous times is the best teacher, as David explains using the Broom Suspension and the Dollhouse illusion as examples.

After 36 months, "No Smoke, No Mirrors" is David Corsaro's penultimate marketing column for M-U-M. For his final column in the December issue, he promises an offer for an exciting, free book and another surprise. One of David's collaborators on marketing projects is Susan Spaulding who agreed to share her thoughts on mistakes that start-up companies make. David closes with thoughts on social media posts.

Kien Meng Wee, a.k.a. Mr. Bottle, discusses photography and videoing of your show and offers plenty of ideas, gags, and photo opportunities to help get your name in front of as many people as possible through today's many social media outlets. Basically, our "Magic in a Bottle" columnist is talking about free publicity.

It being the Halloween season, "On Second Thought…" columnist Paul Draper was in the thick of performing haunted magic shows in October. Accordingly, he offers a wonderful Living and Dead Test for your consideration. It's too late for your use this year, but Paul suggests several variations to use throughout next year. Definitely for Halloween 2020.

If you have questions about social media video programming, as one reader did, "TV or Not TV" columnists Cinde and Dal Sanders deviate from their regular column on traditional television programming to explain many of the ins and outs in this emerging field.

Brian T. Lees offer the opinion in this month's "Taking the Stage" that most magicians cannot get to the next level (the best magic performance possible) on their own. It involves recording your act, reviewing it, and rehearsing it again. Then add a support team: neighbors, family, friends, and other magicians to critique your work. Finally, add a local expert, like a local drama coach.

This month, our well-posted reviewers evaluate five tricks, two books, and one miscellaneous item in "Shop Talk," one of the magazine's popular go-to features. Two of the items in November's lineup received lavish praise from our reviewers. We suggest you turn to this column to see if one or both are something you need. Christmas is coming.

"Tech Tricks" columnist Bruce Kalver suggests three diverse tech products and an idea to consider, and offers a tribute to the late magic app developer Max Krause who was killed in a tragic bicycle accident.

In "The S.A.M. History Project," David Goodsell follows up with more information about W.D. LeRoy, thanks to some extensive research by Brent Morris who saw the photo in the July 2019 M-U-M. David follows that with information from an article by G.G. Laureyns in the July 1916 Sphinx about an early SAM emblem, or amulet.

Norman Beck, who knows a thing or two about pot odds, pays an undeserved $87 speed trap ticket and walks away smiling. He explains it all in this month's "Thoughts on Thinking" column. Follow his thinking as he takes you through the math.

As always, other go-to favorites are here, including 20 idea-filled pages of "Assembly Reports" to consider for your Assembly, Editor Alan Howard's "Preshow" column, Alan Wassilak's colorized "Basil the Baffling and Chloe," and PNP Dick Bowman's "Magic IQ." There's also "Broken Wands," "SAM News," and "Diversions." Our valued advertisers always appreciate knowing that you saw their ad in M-U-M.

-------------------------------------------
6. The Jackal - John Carey #58
-------------------------------------------
Message by John Carey (UK)
https://carey-scene.com/jc-main

The Jackal

Ben Blau

Basic Handling

What follows is a structural description of an effective and fooling mental routine using playing cards. I have deliberately left out specific details of my personal script and presentational approach, in favor of a more functional explanation. I encourage you to learn the technical aspects of this effect, and then craft a presentational framework suitable to your own personality and sense of aesthetics. Although this routine can be performed impromptu with a very small amount of memorization, it is made slightly easier by preparing a deck of cards in advance of the performance.

Remove any three cards you can easily remember. It doesn't matter what they are, but I recommend using three cards that have nothing in particular in common. (I always use the three of clubs, the six of hearts, and the king of diamonds.) Place these three cards on top of the deck, and you're ready to go. (Should you choose to go the impromptu route, simply glimpse and memorize the top three cards at any opportune moment. It is not necessary to remember their order - only their identities.)

When ready to perform, remove the deck of cards from the case, and spread through them, face up, to show the random distribution of cards. Turn the deck face down, and give it an in the hands riffle shuffle, retaining the slug of three cards on top. When I do this, I usually say something like, "Now, I'm not great at shuffling, but you can see that they really are well mixed." I then follow with a standard Ose false triple cut, while saying, "And we'll give them a cut as well."

Explain to the participant that you will turn your back, and that he is to deal the cards face down into three piles. Gesture for him to pick up the deck, turn your back, and wait for him to start dealing. When you're sure he has dealt at least the first three cards, tell him (almost as an afterthought) that he doesn't have to deal the cards rotationally, but he should instead deal them haphazardly. It is not important for the piles to be perfectly even. The point of this is that by dealing the cards in a haphazard fashion, it further randomizes their distribution.

When the participant has finished dealing, comment that there is no possible way that you could know exactly what cards are in any particular pile. (This is essentially true, with the exception of the bottom cards of each packet - your original three key cards.)

Tell him that he can even switch the packets around on the table. (Technically, this accomplishes nothing, although it appears to add one more layer of fairness to the procedure.)

Now, ask him to mentally select any one of the three packets. When he has made up his mind, ask him to pick it up, and shuffle them some more. Make the comment that you couldn't possibly know which packet he has chosen, much less the cards it contains. He will have to agree. Remind him that the cards were not only shuffled before we started, but due to the random dealing, and the fact that he shuffled again prevents you from knowing anything at all about their order. Tell him that we need to have a card chosen totally at random, in a manner that is completely free of influence. To this end, instruct him to give the packet a complete cut, and to peek at the card he has cut to (the top card of his packet). Stress that it is imperative for him to remember this card.

Once this has been acknowledged, tell the participant to reassemble the deck by "sandwiching" his packet in between the other two, and to square them up well after doing so. (Since both of the two tabled groups possess potential key cards on the bottom, it is not necessary to specify which packet goes on top, and which goes on the bottom. This further throws the participant "off the trail".)

Only once the deck has been reassembled and squared do you turn around to face him. (Note that the process by which the deck has been reassembled guarantees that the thought-of selection rests directly below one of the three possible key cards. Another of them will lie somewhere beneath the selection, and the third will be on the very bottom of the assembled deck.)

Recap the fairness of the procedure, and explain that your task will be to determine exactly what card the participant is thinking of. "But first," you say, "let's give these another shuffle."

At this point, you have the option of false shuffling the deck. If you can do a very convincing false shuffle that mirrors the genuine shuffling technique you used at the beginning of the routine, by all means use it. This has the advantage of maintaining certainty that the thought-of card lies directly next to the topmost key card in the deck.

However, if you like to live on the edge (as I do), you can take the deck, and give it a genuine riffle shuffle. Though it is genuine, there are certain special criteria to which you must adhere. The selection and its corresponding key card lie approximately one third of the way down from the top of the deck. In dividing it to perform the shuffle, you need to make sure that you do so near the midpoint - maybe even slightly lower (by a card or two).

Next, when you riffle shuffle the portions together, endeavor to make it as even a shuffle as possible. It is not necessary to do this with the precision of a faro, but the closer you get to that "ideal" the better. (With practice, you'll discover that it is quite possible to riffle shuffle a deck in such a way that cards from the opposing halves fall either alternately, or in clusters no greater than "twos".)

After riffle shuffling the deck, execute an additional Ose false cut, to give false continuity to the "mixing" process.

At this point, the selection will be found via estimation and subtlety. Before actively through the deck to locate the selected card, you must spend some time engaging in an apparent "process" of reading the participant's mind. (This is true whether or not you've opted to use a false or genuine shuffle, of course.)

Ask the participant to concentrate on his card, and pretend to be receiving an impression of what it might be. Here, you must act as if you're somewhat uncertain, in order to set up a framework for how to handle certain variables that can occur when you attempt to locate his card. After a moment of contemplation, hesitatingly say, "You know, I think I'm just going to go with my first impression."

You then pick up the deck, and begin to run through the cards, apparently looking for the card you were "receiving". Here, there are two issues that must be resolved; namely, (1) how to identify which of the three possible key cards is the correct one, and (2), due to the nature of the shuffle, the thought-of selection can be any of the three cards that are immediately to the right of the correctly identified key card in the spread, but you will not immediately know which one.

Let's begin by taking up issue #1:

To identify the correct key card, simply observe the following rules:
1. After the riffle shuffle and Ose cut, there will be one key card that is either on or very near the face of the deck. This will never be the correct key card.
2. If another key card appears very close to the face, it isn't that one either.
3. If the two key cards are close to each other (in the same area of the deck, but well past the face), the correct one will be the leftmost of the two.
4. If the third key card appears near the top of the deck, it can also be ruled out.

The correct key card will be the one that is somewhere within the deck, not too close to the top or bottom. (Note that it is not necessary to check to see if there is a key card near the top. If by the time you've looked up to about 1/3 of the way into the deck from the face, and have only seen two key cards, you can be assured that the third has to be near the top and can be disregarded.) In most cases, there will be one key card on or near the face (disregarded), another
single key card about a third of the way in (the "correct" key card), and the last somewhere near the top (disregarded). We have now identified the correct key card, and can proceed with Issue #2:

Once you have identified the correct key card, remove the card that is immediately to its right in the spread, and hold it with its back to the participant. Say, "I just want to see if I'm close." In the action of removing this card, secretly glimpse and memorize the next two cards to the right of the one you removed. You may or may not need to make use of this knowledge, depending on what happens next. Continuing to hold the single removed card with its back to the participant, table the rest of the deck. Acting as if you're unsure, reiterate the fact that you'll be happy if this card is even close to the one the participant is thinking of. Turn the card around, while saying "Am I even close?"

In most cases, this will be the selected card, and the participant will react appropriately (hopefully with amazement and disbelief). In the event that you are wrong, the participant's response to the question "Am I even close?" will provide you with all the information you need to deduce which of the two other possible cards is the correct one. (Some improvisation is necessary when this occurs, but I will provide some examples of how it can play out.)

The most common scenario is that one of the other two cards will possess a characteristic that can be interpreted as being in some way "similar" to the first one you removed. For example, it could be close in value, be of the same suit, be the same color, etc. Perhaps one is a picture card, and the other a number card. If the two remaining cards are substantially different from one another, this puts you in the most advantageous position (and occurs the majority of the time.)

For example, suppose the card you removed is the five of hearts, and is "wrong". Let's also assume that the other two possible cards are the seven of diamonds, and queen of clubs. When you ask the participant if you are "close" (with the five of hearts), his response will tell you which of the two remaining cards can be ruled out.

For example, if he gives you a prompt and unambiguous "no", you can easily rule out the seven of diamonds, and therefore be sure that the thought-of selection is the queen of clubs. If the participant is really thinking of the seven of diamonds, he will have to consider his answer when deciding whether or not the card you removed is "close". (After all, it's the correct color, and not too far off in value.). Obviously, this can be easily observed, and you can therefore eliminate the queen. You now know that he is thinking of the seven.

Another possibility is that one of the two remaining cards is genuinely close to the first one you remove. For example, imagine that one of the two is only one off in value, or even of matching value but in a different suit. This, in and of itself, is noteworthy to the participant, as it seems to provide credibility to being so close on your first attempt.

To illustrate how this might play out, suppose that one of the two remaining cards is the six of hearts (which is legitimately close to the five of hearts you removed first). If the participant promptly indicates that you are close, simply toss the five onto the table, and say something along the lines of, "I knew it! It was the SIX, wasn't it?"

Note that you have not even looked through the deck a second time, or even looked through the whole thing when retrieving the first card. It will feel to the participant as though you've extracted the thought from his mind.

In the event that you are not "close" with the five of hearts (and thus know that the card being thought of is the queen of clubs), proceed in a similar fashion. Toss the single removed card aside, and say something along the lines of "Yeah, my first impression is sometimes way off. Never mind, let's try this a different way. Think of the color of your card... It's black, isn't it? I'm getting a spade... No, a club! Number or picture. Number or picture... It's a picture card. A queen. Queen of clubs?"

At this point, you will appear to have read his mind without the assistance of the deck of cards. Having been wrong with your first attempt, the physical deck of cards becomes inconsequential, and the effect takes on the appearance of direct mind reading. The deck of cards, of course, bears no evidence of how you may have accomplished this feat, and can be left with the participant if you wish.

This same routine could be performed with a symbol deck, as long as every card is different. Imagine, for example, an ESP deck in which each of the five symbols is represented in five different colors. In such a deck, every card would be unique. You could preselect any three symbols in any choice of color to function as your key cards, and transform the routine into a believable "experiment" in ESP.

-------------------------------------
7. The Orchante Saga - Beginnings
-------------------------------------
Written by the late Tommy Orchard (The Amazing Orchante)

So, what do you want to be when you grow up? A Magician - Fakir - Projectionist? Well, yes - all of that - this episode is about MOVIE Magic!

How's this for NOT QUITE following in Dad's footsteps! I have two sons - one's a fire-fighter. I'm a fire-eater. The other lays carpets - I lay on nails. What is that - an alternative parallel - the same difference - dunno! I used to have nightmares about this - imagine the scenario! I'm doing my show, and about to drop onto the bed of nails - then, to my horror, it has suddenly become beautifully carpeted, and standing there is my son, hammer in one hand, the other full of tacks, looking very pleased with himself, at a job well done.

The other 'night-fright', I'm in the middle of the fire-eating act - a door bursts open and there is my other son, in full fire-fighter's regalia, gripping a writhing fire-hose by the nozzle, blasting a
mountain of water straight at me! (This scenario almost happened at a Hotel in Napier, which was built on a hill, circular in shape, with huge windows around the entire circumference, giving panoramic views people looking up from their homes saw the flames of my fire-eating, and assumed the hotel was on fire. The next thing I knew, Fire fighters were thundering up the stairs ready to give me a good soaking. They were not amused!)

Back in Manurewa (Auckland, New Zealand) (1960 something) my best mate was John Hickey. He was a Firefighter (in those days they were called Firemen) He lived with his wife (or girlfriend - can't remember which) in the Flat above the Fire Station. I have no idea how we met, but remember marathon sessions playing Ping-Pong in the recreation room at the Fire Station, and listening to Elvis Presley records - John was a fanatical Presley fan, and had every L.P. Elvis had recorded. Somewhere along the line, he persuaded me to 'join up' and become a volunteer
fireman.

Funny how some things from the past are clear as a bell, and others just a vague memory - being a 'fireman' is one of the latter. I have fleeting glimpses of rolling out 'miles' of fire hoses to dry, and rolling them up again - the thick clothes which were as hot as hell in the summer time, and racing like mad to the Fire Station when the alarm went off.

Thank God, the Police Station where I lived and the Fire Station were only 100 or so yards apart. I do remember the running joke/threat of having a fire nozzle shoved up my backside and turned on full blast to 'extinguish all the fire I ate'. HARRY ROYCROFT was the Officer in Charge of the Fire Station, and also the Projectionist at the local Picture Theatre in Manurewa (now long gone). If, for any reason Harry was unable to 'show' the movies, a temporary replacement Projectionist would come in from Auckland City. I've always been fascinated with the hows and whys of 'what went on' in the 'mysterious' projection box, with all those little glass windows you can see when you look up, and where the man who showed the films disappeared into. Guess it was the Magician and the 'how is it done' factor in me.

Harry revealed all the 'secrets' of that 'little room' that few Picture Theatre patrons get to see - he taught me how to be a projectionist, thus, another string was added to my bow- sleight of hand Magician, Ventriloquist, Fire-eater, Fakir, Bed of nails, Sword swallowing, Mime artist, Hypnotist, Volunteer fireman, and now, a Projectionist! All that, plus doing shows, and to top it off, mowing 'acres' of Government owned lawn for gratis (see Page 10 of Saga).

Harry introduced me to his 'little room' - the Projection box. Inside, two identical Cine projectors, standing 4 feet apart, each facing out through a little window, angled down towards the screen. To one side was a Slide projector to show all those 'ads' before the start, and during
the interval. A long bench was fixed to the back wall - two spindles were screwed to the front edge, their function - to re-wind the film, the spools, one obviously empty, were locked on with special nuts. That was my first 'job' - learning how to rewind, making sure it was on the right way round - not back to front or upside down. Also, as the film rewinds, you held it lightly by the edges, feeling for any splits or breaks in the film.

I remember one Saturday morning, rewinding film ready for the 2 o'clock matinee. I hadn't locked the spool of film on properly. The nut came loose, the spool flew off, spinning as it hit the deck, and thousands of feet of 'Ma and Pa Kettle' became a twisted, curled up mess, on the
floor. Oh, Christ! It took two hours to sort that mess out, ready for the Matinee showing.

LESSON! LOCK THE NUTS ONTO SPINDLES, PROPERLY!!! That's it - don't miss next week's 'SPINE TINGLING CONCLUSION OF MOVIE MAGIC!'

--------------------------------------------
8. E-zine Archives
---------------------------------------------
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)

--------------------------------------------
9. Privacy Policy and Copyright Notice
--------------------------------------------
Our subscriber list is NOT made available to any other companies or individuals. We value every subscriber and respect your privacy.

You can subscribe to or unsubscribe from the Magic New Zealand® E- zine at: www.magicnewzealand.com

Magic New Zealand® E-zine is published each Sunday.

The opinions and statements expressed therein are those of the individual contributors and not necessarily those of Magic New Zealand®. Neither Magic New Zealand® nor Alan Watson QSM vouch for the accuracy or reliability of any opinion, message, statement, or other information reported via Magic New Zealand® E- zine.

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.

Magic New Zealand® reserves the right to alter, correct or disregard any articles submitted.

Readers are encouraged to submit timely articles or news items which may be of interest to subscribers. By submitting articles to this e- zine, the authors grant Magic New Zealand® the right to publish such articles and such authors confirm their copyright of the material submitted.

All works published by Magic New Zealand® are protected by international copyright legislation and articles must not be published for profit by anyone other than the individual authors without the written permission of Magic New Zealand®.

Notwithstanding the foregoing, this publication may be freely redistributed, but not sold, to other magicians if copied in its entirety, including the copyright notice below and the above disclaimer.