*
* * * * * * * * * * * * * * * * *
* Magic New Zealand®
* Proudly sponsored by International Entertainment Ltd (New
Zealand)
* * * * * * * * * * * * * * * * * *
Issue Number: #1541
Date: Sunday 3rd November 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. Support Original Magic Acts!
3. Post FISM Tour Of Quebec And S. Ontario
4. FISM North American Championship
5. The Magic Word Podcast - Tour Of A Houdini Collection
6. AMA - November Performing Schedule
7. Collective Thoughts - John Carey #58
8. The Orchante Saga - Beginnings
9. E-zine Archives
10. Privacy Policy and Copyright Notice
--------------------------------------------
1. Editor's Message
--------------------------------------------
CELEBRATION
TIME:
We wonder where all the time has vanished to ... on the
6th November this year Magic New Zealand e-zine will be
celebrating 20 years of publication! We would like to thank
you, our readers and many contributors over the years, from
all over the world, for your wonderful support in our art
of magic. Michele and I wish to acknowledge and give a very
special thanks to Rosemarie McCarthy and International Entertainment
Ltd (New Zealand) for continual sponsorship and support.
Without you all there would be no Magic New Zealand e-zine.
The
20 years of back issues of the Magic New Zealand e-zine
can be found by going 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)
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-2019/1541-Nov03-2019.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. Support Original Magic Acts!
--------------------------------------------
Message by Phillip Pearson (Australia)
Dom
Chambers act on America's Got Talent being rip off by a
Spanish magician on Spain's Got Talent!!!! Shame on you
.
https://www.youtube.com/watch?v=CvHZxdtvIrY
-------------------------------------------
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, winery tour, Elora Gorge, Mennonite farm tour
Friday,
August 6: Niagara Falls (B, D)
Breakfast in the hotel.
Free time in Niagara Falls until the afternoon. Return to
the hotel by 4:30 and then proceed to the Greg Frewin Theatre.
http://www.gregfrewintheatre.com/about.html
Have a behind the scenes tour of Greg's facilities, then
dinner and a performance.
Return to the hotel after the show. Hotel is located near
the Fallsview Casino and close to the Horseshoe Falls.
Saturday,
August 7: Niagara Falls, Toronto
Breakfast in the hotel.
Travel to Toronto for a morning city tour.
Lunch in downtown. Free time at the Eaton's Centre, Royal
Ontario Museum or Art Gallery of Ontario, both within walking
distance.
CN Tower visit after lunch
Visit to the new Museum of Illusions. http://museumorillusion.ca
Hotel near the airport with shuttle to airport.
Tour ends tonight
Cost:
Double Occupancy - 2 people sharing a room: $1795.00 USD
Single Occupancy - 1 person/room: $2495.00 USD
--------------------------------------------
4. FISM North American Championship
--------------------------------------------
Message by Joan Caesar (Canada)
FISM
North American Championship of Magic 2020 and FISM WCM 2021
Many
people are still confused by the difference between FISM
North American Championship of Magic and FISM World Championship
of Magic.
In
the past, FISM NACM was called FISM North America and was
a joint IBM-SAM convention. During that convention contestants
were also chosen to compete at FISM World Championship of
Magic (FISM) held in either Europe or Asia.
In
2020 FISM North American Championship of Magic will be held
in Quebec City, Canada. A first in Canada. During this convention
competitors from Canada and USA will be chosen to compete
at the FISM World Championship of Magic in 2021. It will
be held in conjunction with the Canadian Association of
Magicians convention.
This
convention takes the place of the past SAM/IBM joint conventions
held in previous years but has the same importance of choosing
the North Americans who will compete at FISM the following
year.
The
2021 FISM World Championship of Magic will also be held
in Quebec City rather than overseas. A first in FISM's history
to be held in America.
At
this convention contestants from all continents will compete
for prizes in various categories as well as for the Grand
Prix.
If
you have any questions please contact: Renée-Claude
Auclair, President and co-organizer for both events at:
rca@fismquebec2021.com
You
can also visit both web sites:
FISM NACMm 2020: www.fismna2020.com
FISM WCM 2021: www. fismquebec2021.com
--------------------------------------------
5. The Magic Word Podcast - Tour Of A Houdini Collection
--------------------------------------------
Message by Scott Wells, M.I.M.C. with Gold Star
Three
Authors and a Tour of a Houdini Collection on the Magic
Word Podcast
Last
week's podcast featured not one but three authors of two
different books for Halloween reading. The first guest,
Joe Posnanski, authored "The Life and Afterlife of
Harry Houdini" which is a look into why Houdini's name
is still relevant nearly 100 years after his death. And
speaking of deaths, the next two authors, Jeff Abraham and
Burt Kearns wrote "The Show Won't Go On" which
is a respectful series of very short stories about performers
who died in front of their audience. The publishers of these
books also agreed to give away three copies of each to lucky
listeners of the podcast. Just fill out the form with your
name and email on the blog at: https://www.themagicwordpodcast.com/scottwellsmagic/527-october-reads
where you can also listen to the podcast.
This
week's episode features an audible tour of Roger Dreyer's
collection of Houdini memorabilia that you can see at the
world headquarters of Fantasma Magic in New York City. Roger
also takes us behind the scenes to see the inner sanctum
of their magic shop. You can watch a couple videos taken
in the shop, see photos that help accompany the podcast,
listen to the podcast and download the MP3 file at: https://www.themagicwordpodcast.com/scottwellsmagic/528-roger-dreyer-on-houdini
-------------------------------------------
6. Academy of Magical Arts (AMA) - November Performing Schedule
-------------------------------------------
November
1 - November 3, 2019
Close-Up
Gallery
Cocktail Hour Performer
Misty Mew
Early Performer
Paul Roffman
Late Performer
Brian Ochab
The
Parlour Of Prestidigitation
Early Performer
Pop Haydn
Late Performer
Phil Van Tee
Palace
Of Mystery
David Kovac
Mickey O'Connor
Stoil & Ekaterina
Library
Bar
Griffin Barry
Thursday - Sunday
Peller
Theatre
The New Bad Boys of Magic
Friday - Sunday
Friday
Lunch
Paul Roffman
Sat.
& Sun. Brunch
Parlour Kids' Shows
Steve Taylor
November
4 - November 10, 2019
Close-Up
Gallery
Cocktail Hour Performer
Robert Francis
Early Performer
Michael Ammar
Late Performer
Robb Weinstock
The
Parlour Of Prestidigitation
Early Performer
Bobby Torkova
Late Performer
Chris Capehart
Palace
Of Mystery
J. Neal & Liane
Kenji Minemura
David Sousa
Library
Bar
Jeff Black
Thursday - Sunday
Peller
Theatre
Joel Ward
Brent Geris
Friday - Sunday
Friday
Lunch
Michael Ammar
Sat.
& Sun. Brunch
Parlour Kids' Shows
Chris Capehart
November
11 - November 17, 2019
Close-Up Gallery
Cocktail Hour Performer
Jim Bentley
Early Performer
Alexander Boyce
Late Performer
Naathan Phan
The
Parlour Of Prestidigitation
Early Performer
Krystyn Lambert
Late Performer
Takamiz Usui
Palace
Of Mystery
Dana Daniels
Hans Davis
Victor & Diamond
Library
Bar
Mad Tad
Thursday - Sunday
Peller
Theatre
Chef Anton
Hannibal
Friday - Sunday
Friday
Lunch
Alexander Boyce
Sat.
& Sun. Brunch
Parlour Kids' Shows
Jeanine Anderson
November
18 - November 24, 2019
Close-Up Gallery
Cocktail Hour Performer
Siegfried Tieber
Early Performer
Anna DeGuzman
Late Performer
Paul Vigil
The
Parlour Of Prestidigitation
Early Performer
Mark Clearview
Late Performer
Robert Ramirez
Palace
Of Mystery
Michael Rayner
Oscar Munoz
Mondre
Library
Bar
Terry Lunceford
Thursday - Sunday
Peller
Theatre
Funny Eddie
Anthony the Magic
Friday - Sunday
Friday
Lunch
Paul Vigil
Sat.
& Sun. Brunch
Parlour Kids' Shows
Funny Eddie
November
25 - December 1, 2019
Close-Up Gallery
Cocktail Hour Performer
Mark Furey
Early Performer
Ines La Maga
Late Performer
Rafael Benatar
The
Parlour Of Prestidigitation
Early Performer
Steven Brundage
Late Performer
Blake Vogt
Palace Of Mystery
Miguel Angel Gea
Luis Manuel Salmeron
Miguel Munoz
Library
Bar
Tom Frank
Thursday - Sunday
Peller
Theatre
Migz
Raven
Friday - Sunday
Friday
Lunch
Ines La Maga
Sat.
& Sun. Brunch
Parlour Kids' Shows
Frank Thurston
-------------------------------------------
7. Collective Thoughts - John Carey #58
-------------------------------------------
Message by John Carey (UK)
https://carey-scene.com/jc-main
Shannon
Clark
What
you will need:
1.
A business card with the number 3 written on it with a line
drawn through it, and then the number 7 written larger on
it as well - to give the impression that you changed your
mind in the process of writing it.
2.
A business card with a large triangle on it, with a circle
drawn inside of the triangle.
3.
A small stack of business cards and a sharpie
Place
the card with the numbers written on it in a separate pocket
than the others, maybe in your wallet.
The
card with the shapes on it is face-down on top of the stack
of face-down cards.
Open
your wallet and remove the card, handing it to someone to
hold between their fingertips (in Mystery Card type fashion).
Announce that you're going to try something quite different
than what they have seen before - you will actually try
and send them a thought. In essence you are going to try
and have them read you mind, rather than you read theirs.
Remove
the stack of cards and a pen from your pocket (keep in mind
the 'shapes' card is on top of the stack).
"Ava,
I'm going to try and send you a thought
but first I'd
like to establish what I need you to do in order for this
to have any chance of actually working. One of the most
important things is for you to genuinely name the FIRST
thing that pops into your mind each I ask you something,
and we also need to keep your thoughts as simple as possible.
In other words we'll use very simple words, shapes, etc.
For instance, Ava, what's the first simple word that pops
into your mind as we speak?"
We'll
assume the person responds with the word "flower."
You'll treat the response as if the whole bit is just to
establish the process you'll both be using, place no importance
on the actual answer and you respond:
"Perfect!
That's precisely what I'm talking about! Now that we are
on the same page, let's get started."
Perform
a casual double turnover to expose the blank side of a business
card. Wrist kill the cards to you - you'll seemingly draw
a quick picture of the impending question. In reality you
will write the word 'flower' or draw a simple line drawing
of a flower, whatever suits your style. As soon as you are
done, address the spectator.
"Ok
Ava, it's time to try and make our first connection together
and when I say 'together' I mean all of us will try - everyone
here.
I've
drawn a very simple drawing on this card and we are going
to try and send this image directly into your mind
you
know what they say, there's strength in numbers."
Turn
the double down and push the card to your extreme right
fingertips. At this point no one can see the face of the
card, so the card to your fingertips to the point where
everyone but the spectator can clearly see it. Make mention
to the audience that you want everyone in the room to think
about what they see and without saying a word, to try and
send that thought to Ava.
"Ava,
make your mind blank for a moment, please. Next I want you
to imagine a very simple geometric shape, the first one
that pops in your mind. Next - I'd like to think of a second
simple shape and place it inside the first. Make that picture
as clear as possible in your mind's eye. We've committed
to what we're trying to send you already
you'll get
to see it at the end as well.
But
for now, no one here knows if we've succeeded to connect
no
pressure
."
Now
drop the hand with the card and place it with the card the
person is already holding at their fingertips. The card
is slid flush under the card they hold.
Instruct
everyone not to react to whatever answers the person gives
until the very end. You now ask the person answers as to
what two shapes popped in their mind, and also in what specific
configuration. Comment on their answer without confirming
if they got it correct or not.
Perform
another double with the business cards; again a blank card
comes into view.
This
time you'll lift the cards up to you view to write on just
as before, but this time you will include a member of the
audience in on it while you write on the card. You are going
to duplicate the numbers that you had previously written
on the first card you handed the spectator, but in a very
specific way.
Stand
shoulder to shoulder with someone from the audience as they
watch you write the 3 on the card.
"This
is the number I have in mind at the moment
but you
known what? To be honest, this isn't the first number I
thought of
"
Allow
the audience to see you draw a line through it and write
the number 7 on it. "This is the first number I thought
of
so we'll commit to it
hopefully I don't regret
this
"
As
the person you are speaking to reacts to you, simply turn
the double down and place it above the other two cards.
This is actually the card with "flower" written
on it.
"Ok
- we're committed again, Ava. This time we're going to try
our best to send you a number. But it's going to be a small
number because between one and one million wouldn't be very
likely at all. I'd like you to think of the very first number
that pops into you head, say, between 1 and 10. Got it?
Great!"
Place
the remainder of the cards and the pen into your pocket,
and now for a little time misdirection and a bit of reframing.
"Ava
we've been trying my best to send you a few thoughts today
- to influence you, if you will. There's one thought in
particular which I'm most interested in and you've had that
one from the start of this experiment, but we also decided
to try a warm up or two and everyone else here was included
to keep us both honest
me, more than you
"
One
thing to keep in mind here is that the audience has seemingly
seen everything you have handed her as you handed them to
her, and in their minds, prior to the questions that was
asked.
In
reality they have only seen you write one of the predictions
in real time, but you have managed this in a very specific
way.
Even
though they didn't actually see you write the shapes, they
physically saw the drawing of the shapes at your fingertips
as it was fed into her hands.
They
actually watched you write the numbers, so the fact that
they didn't physically see the numbers just prior to being
handed to her doesn't register. The feeling that they have
seen you actually write both predictions is very strong.
"Ava,
in our first warm- up you tried to read our minds and come
up with two shapes, one inside the other. What shapes did
you receive? "
Whatever
their answer you will play on it as you reach to pinch the
three cards they are holding at your fingertips in preparation
for a Bro. Hamman style switch. Just before you touch the
cards you will look to the audience to get them to name
the shapes that 'everyone' tried to send her. Have them
name the shapes they saw and perform only half of the Hamman
switch. Several actions will happen simultaneously:
With
your left fingers slide the bottom card out to the left
from underneath and turn it over end for end, back end dipping
toward the floor toward you first, as the card revolves
face-up it is placed on top of, and slightly to the left
of, the new middle card of the spread.
During
said card's revolution the right thumb which is contacting
the back of the now middle card, pushes it slightly to the
left as well. While the right fingers from underneath will
pull the new bottom card to the right just a bit.
This
sequence centralizes the "flower" card between
one face-up card to the left, and one card, which is still
face-down to the right. All that seemingly happened is turning
one card face-up to display it.
The
small displacement is well covered between Ava first confirming
her success or failure to herself as well as the audience
announcing what they tried to send her in their thoughts.
"Great
job, Ava and the rest of you as well! We also tried to send
you a number
what number did you receive Ava?"
Again,
right or wrong you acknowledge the audience to tell Ava
what they all tried to send her. In this action you can
very cleanly revolve the bottom card face-up and place it
back where it was.
It's
very likely you will hit the number dead on, and even likelier
that at least one of the numbers will correlate to the one
they thought of, giving you an even wider possibility of
success.
All
that is left it to reiterate the apparent situation...
"Reading
someone's mind is a very difficult thing to do, especially
if it's the first time you've tried to do such a thing!
I enlisted the help of everyone here to try and send you
a thought, we all decided on two different thoughts and
sent them to you
and everyone did a great job.
But
I'll have to admit I was trying to send you a thought I've
had in my head since the very first second I met you today.
These two cards (pointing at the face-up cards) you have
held for the last few minutes, but you've had that facedown
card in your hands before anyone else here tried to influence
your thoughts.
That
card has a word on it that I've been thinking about since
yesterday
let's see if you got it."
Credits:
The
psychological forces applied here can be found in Banacheck's,
Psychological Subtleties Vol I.
-------------------------------------
8. The Orchante Saga - Beginnings
-------------------------------------
Written by the late Tommy Orchard (The Amazing Orchante)
MAGIC
- MOVIE MAGIC - The Spine Tingling Conclusion!
Harry
Roycroft - Fire Chief, and Movie Theatre Projectionist,
taught me how to 'thread up' the film on the Cine-Projectors.
This HAS to be done with absolute precision. Briefly, the
spool of film is loaded and locked into the top holder of
the projector, then the film is threaded down into the 'gate',
where a very bright light shines through onto the frame,
and MUST be perfectly lined up. The film is then brought
down through a series of sprockets, and spring loaded clamps
are snapped closed to hold the film against each sprocket.
There are little pins around the sprockets, which go through
the perforated sprocket holes that run along each side of
the entire length of film. A half loop of film of exactly
the right size is made at each sprocket, otherwise the film
will become taut, and snap. Both projectors are loaded up,
ready for the start-up.
As
the spool of film on projector number one nears the end,
the light source in projector number two is fired up; then,
standing between the two projectors, a hand on the shutter
levers of each projector, you look out of one of those little
windows, intently watching the top right hand
corner of the screen, where a special mark will flash momentarily
(it's printed onto the film). That's the cue to flick a
switch on the right hand side of projector number two. This
starts the motor, and the film starts running. Then a second
mark flashes on the screen - at that precise moment, you
close the shutter on projector number one, and open the
shutter on number two - a seamless switch!
Spool
of film number three is then loaded onto projector number
one, and the reel of film which has just been shown, is
re-wound, ready for the next session. Threading up a projector
takes about 2 minutes, but initially, it's more like an
hour. It's quite a finicky process until you've acquired
the knack of holding the film in place with the fingers
of one hand, while the other forms the half-loops and then
snaps shut the clamps - everything has to be totally accurate,
and in perfect alignment. If not, the film will jump out
of frame, the sprockets will rip the film, which then snaps,
and oh horror, the screen goes blank - that's when the howls
of derision and foot-stamping on floor-boards starts, growing
in intensity the longer the wait, until the film restarts.
Up
in the projection box, you are both frantic, and calm, as
you unlock the clamps, pull the film through past the break,
and then re-thread the machine - the faster you can do it,
the better - one minute equates to one hour to a 'rioting'
audience!!! Later, when you're re-winding that spool of
film, it pays not to forget that it's broken somewhere along
its length - otherwise you'll have thousands of feet of
film spilling all over the floor, thus adding to your woes.
Because
you know the running time of a particular film, you therefore
know how much is on a spool - e.g. 90 minutes = 3 reels
of film = 30 minutes per reel - so, after 25 minutes, you
have 5 minutes left to thread up the 2nd projector (if you
haven't already done it earlier). As I mentioned before,
it takes on average, 2 minutes to thread up. I got it down
to less than a minute; having the very supple and skilled
fingers of a sleight of hand artist was a big advantage.
Threading a Cine projector with total accuracy was a 'piece
of cake' compared with some of the intricacies of sleight
of hand magic.
Talking
about Magic, here are some technical details regards Cine
film, and Illusions. The Film is projected onto the screen
by the Cine projector at 24 frames per second. Each frame
is held stationary 'in the gate' for a split second It is
persistence of vision - the ability of the Human eye to
retain an image for a fraction of a second -which merges
the advancing frames, creating the illusion of continuous
movement. (The sound track is printed along one side of
the film). Knowledge of this little known persistence of
vision is used in many sleight of hand moves - spectators
will swear that a ball, or whatever, when apparently thrown
up in the air, actually went up and then, vanished in mid
flight.
The
speed at which I could thread up a projector fascinated
Harry, and at the same time, frustrated the 'hell' out of
him. "Tom - will you sort out the projector" "Okay,
Harry - in a minute". "Tom, you've got 2 bloody
minutes - thread up the @$^%$&* NOW" "In a
minute, Harry" "God-DAMMIT!" screams Harry,
having a mild 'heart attack' at the thought of a blank screen
and a rioting audience. "JEEEESUS KAAARIST, TOM"
"Okay, Harry" - and, 50 seconds later "It's
done, Harry" "You *%&£"* M AD BASTARD!!"
roars Harry "ONE OF THESE BLOODY DAYS, YOU'RE GONNA
BLOW IT!!" (He 'loved' me really!)
I
FIRST WENT 'SOLO' when Harry phoned one Saturday morning,
in a panic. Out fishing the night before, he'd ripped his
fingers badly, on fish-hooks. With bandaged fingers looking
like sausages, no way was HE going to be operating the projectors,
for quite a while. Although by
then I knew my way around a projection box - backwards,
and with my eyes shut, the thought of being totally on my
own, and in charge, was still a little nerve-racking. There
was a matinee at 2pm, then a showing of the major attraction
at 8pm. I was in the 'box' at 10am, sorting out all the
films, checking and double-checking that everything was
right - reels of films all in order, and wound correctly,
and the slides (for adverts.) in correct sequence. To cut
a long story short, I went solo for 2 weeks, without a hitch
(not quite true - I've just remembered the 'Ma and Pa Kettle
fiasco)
Up
to that time, I was doing all this for the sheer enjoyment
and love of it. Then Harry suggested to the Theatre manager
that I should get paid for my 'work', so I was put on the
payroll. All was fine for 3 - 4 months, then the proverbial
hit the fan (seems like an awful lot of this proverbial
came my way over the years). Two officious, well-suited
blokes turned up at the Theatre, wanting to know who this
Tommy Orchard was, how come he was on the company's payroll,
and where was his licence as a projectionist, and why wasn't
he in the Union!
THAT
WAS THAT!!!
POST-SCRIPT Because it was quite obvious that I knew what
I was doing, it was suggested I sit the official exams and
gain my Theatre Projectionist licence - but, when I saw
what was required, that you practically had to a master
electrician, mathematician, and know everything there is
to know about light-waves, refraction, and God knows what
else - WELL, TO HELL WITH THAT!
When
I showed them to Harry, he couldn't believe it. Quote "I
don't know half of this crap. In my day, I learned the same
way I taught you - if you could do the job properly, good
enough. You got a license on the 'teacher's' say-so. If
I, or most of the projectionists I know, had to 'sit' this
load of bollocks, we'd all be out of a job!!". Unquote.
I
could and did do the 'job' as well as, if not better, that
all those 'clever dicks', with their official stamps on
bits of official paper.
BLOODY OFFICIALS - IT'S A WORLD WIDE CONSPIRACY! OBJECTIVE
- TAKE THE
FUN OUT OF EVERYTHING!!!
LONG
LIVE MAGIC!!!
----
NEXT WEEK ----
Johnny Cooper - Noumea - Tahiti - Peter Taylor
--------------------------------------------
9. 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)
--------------------------------------------
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