* * * * * * * * * * * * * * * * * *
* 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
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Hi here is the latest news
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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

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1. Editor's Message
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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

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2. Support Original Magic Acts!
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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
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3. Post FISM Tour Of Quebec And S. Ontario
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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

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4. FISM North American Championship
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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

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5. The Magic Word Podcast - Tour Of A Houdini Collection
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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

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6. Academy of Magical Arts (AMA) - November Performing Schedule
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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

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7. Collective Thoughts - John Carey #58
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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.

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8. The Orchante Saga - Beginnings
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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

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9. 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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10. 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.


© Copyright 2019 Alan Watson QSM
www.magicnewzealand.com
http://twitter.com/#!/magicnewzealand
www.watson.co.nz
www.magician.co.nz
www.balloon-twister.co.nz


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 expressed therein are those of the individual contributors and not necessarily those of Magic New Zealand®. Neither Magic New Zealand® nor Alan Watson QSMvouch 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 expressed 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.

Copyright © 2019 Alan Watson QSM.


Magic New Zealand® E-zine