Magic New Zealand® E-zine

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* Magic New Zealand®
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Issue Number: #1700
Date: Sunday 29th January 2023
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. The Magic Circle Annual Awards Results - UK
3. Genii Magazine - February Issue
4. MAGIC Live 2023
5. Magic Museum Bellachini - Episode 16
6. No Stone Unturned - Paul Stone - Article #92
7. Tales From The Fantastic Magic Center - #25
8. A Triple Prediction Piece - John Carey #184
9. Beneath The Trapdoor #8 With Bronson Chadwick
10. E-zine Archives
11. Privacy Policy And Copyright Notice

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1. Editor's Message
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If you would like to read the Magic New Zealand e-zine in HTML format go to: http://www.magicnewzealand.com/ezine-archive/2023-Jan-to-Dec-2023/1700-Jan29-2023.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. The Magic Circle Annual Awards Results - UK
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The David Devant Award for Services to International Magic - The Ehrlich Brothers

The Maskelyne Award for Services to British Magic - Bob and Sue Hamilton

The John Nevil Maskelyne Prize for Magic Literature - Kayla Drescher

The Carlton Award for Comedy - David Williamson

The Chapender Award for Magic in the Community - College of Magic, based in South Africa.

Silver Wand for Outstanding Service to the Society - Mandy Davis

The Cecil Lyle Award for the best contribution to The Magic Circular - Rob Earrey

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3. Genii Magazine - February Issue
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Message by Richard Kaufman - Editor Genii Magazine

$35 gets you digital access to a Gazillion Trillion pages of magic, with all back issues of Genii and MAGIC magazines free with your digital subscription to Genii, The Conjurors Magazine: www.geniimagazine.com

On our cover this month are Victor and Diamond, an institution in the world of magic, and we're proud to feature them during Black History Month. It's a pleasure to watch their stylish work with doves and rabbits when so many magicians have abandoned that part of the art. Paul Critelli, long absent from these pages, returns to tell us their story. * The German magician, historian, and collector Wittus Witt has opened an intimate magic museum named after the famous magician Bellachini in Hamburg, Germany. Learn more here.

In "Conjuring," words selected by spectators magically appear in your mind, courtesy of Jim Steinmeyer. One of John Bannon's old routines surprises even him in this month's "Dealing With It." David Regal teaches you how to make a Change Bag out of a brown paper lunch sack in "Material Concessions." Krystyn Lambert stresses the importance of journaling in "Stage as Studio." You will encounter an emu in "WWPD" courtesy of Jonathan Friedman. An amusing and diabolical trick is recalled by Jon Racherbaumer in "Exhumations."

In "Magicana" Chris Beason presents three different, difficult sleights, one each with coins, cards, and a pen that result in visual magic. Shawn McMaster writes about the void left by Max Maven's death in "Knights at The Magic Castle", along with reporting on recent sets by John Carney and Rafael Benatar. Vanessa Armstrong shocks you with recent news in "The Eye", and "Light from the Lamp" has Tom Frame's reviews of the latest books, Bill Wells reporting on recent videos, and our newest staff member, Tom Dobrowolski, tips you to some great tricks. Beloved Japanese magician, convention organizer, and magic dealer Yuji Yamamoto died at age 72 in December. He is remembered on the facing page by Yuki Kadoya.

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4. MAGIC Live 2023
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Message by Stan Allen, Las Vegas

August 6 - 9, 2023 | Las Vegas, Nevada

Just a quick reminder that Saturday, January 28th, is the last day to sign up for our convenient five-month payment plan, with each installment only $95. (After Saturday, we will have a three-month plan with $155 installments.)

As always, should you have a change of plans, your registration is 90% refundable through June 1st, 2023.

Take the first of five small steps today, and join your friends in August!

Stan
MagicConvention.com

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5. Magic Museum Bellachini - Episode 16
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Message by Wittus Witt (Germany)

Just last week I went to a locksmith's shop only 50 metres away from the museum to have a key made for one of my display cases. In the shop there was a beautiful display case that was completely empty. And since I could still use one for my museum, I asked if I could buy it. I was able to buy it for 50 euros and then transported it only a few metres further in the car to the museum. I just want to say that I am still busy setting up the museum. But now there is no more room for more showcases. Good thing, too, because I don't want to fill up the rooms with material. It's not about showing everything I have in my collection.

I would like to take this opportunity to thank Richard Kaufman for dedicating a total of 6 pages to me in his latest issue of Genii, in which he reports on the museum.

Finally, a very funny incident: a few days ago a family came to the museum. It turned out that one of the boys lives in New Zealand and also belongs to a magic club there. Small world.

See you next time.

Wittus
www.hamburger-zaubermuseum.com

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6. No Stone Unturned - Paul Stone - Article #92
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Message by Paul Stone (US)

Last week, I mentioned a short movie that is being premiered in the UK at the Blackpool Magic Convention next month.

The movie is called 'Ball & Vase', and unsurprisingly it does have a magic theme …of sorts. I'm not going to give any more away except to say that it is a little longer than many short films, and it stars Austin Pendleton, an outstanding older American actor.

It is well worth seeing if you are going to be at the convention on the Friday, not least because it's writer, director and producer, Dave Baram, will be there to introduce it, and do a Q&A after it is shown.

Dave Baram is a name that is possibly not familiar to many people in the world of magic, but he is very active both as a performer and manager.

With an amazing CV that includes heading a company that managed several of the world's best known movie stars, Dave is also Criss Angel's Manager and has helped guide him to incredible success.

And then there's Dave Baram the performer, or to be more correct David Carlo, his alter ego.

'Modern Parlor Magic' in which he stars, is billed as a 'Night of Intimate Magic, Entertainment, Mystery & Fun', an immersive experience based on a true story told through magic and music.

It's an intimate evening of magic, mentalism and theatre, with the backdrop and set very cleverly dressed to be reminiscent of the Victorian era shows in homes in New York, London and Paris.

The show which seats approximate 100 people, is currently playing to sold out audiences at the iconic Millenium Biltmore Hotel in downtown Los Angeles, a venue that itself is historic, having played host to the Academy Awards, visiting U.S. Presidents, and celebrations with Hollywood Royalty on its hallowed grounds.

All in all, pretty impressive, and by the way, the show is great. I was fortunate enough to see it just before Christmas, and it was excellent, and very different from the usual magic fare!

Speaking of the Blackpool Convention, I'm really looking forward to seeing many old friends again, and in particular Gaetan Bloom, whom I have known for over forty years. We've shared some great times over the years and I remember fondly trips to Paris, and hanging out with Gaetan, Christian Fechner and Georges Proust.

It's funny how sometimes you hear from friends out of the blue, well, this week I heard from four old friends that I hadn't spoken to for ages.

Firstly, I got a call from veteran ventriloquist Mark Merchant, (he won't mind me calling him that as long as I spell his name right!). Mark was performing on a Silver Seas cruise ship somewhere in the Caribbean when he called.

Mark is 'old school', in some ways a throwback to the glorious days of Vaudeville. He's a pro's pro, and not only a talented ventriloquist, but clever too. He's always current and topical with his comedy material, which is why he is still at the top of his game.

Then I got a call from another 'special friend', 'IL Maestro' himself, SILVAN, who had just starred in a New Year's TV Spectacular in Italy. Not bad for an 86 year old! He's a true magic legend, and a lovely man.

And then another showbiz legend called me, the one and only Kris Kremo, who was on his way to Monte Carlo to appear in the world circus championships with his son Harrison. They perform their act in synchronised harmony, exactly as Kris used to perform it with his father Bela in Las Vegas. And its brilliant!

And to crown the week off, I was in a restaurant here in Vegas, and I bumped into Paolo Lorador, one half of the Alexis Brothers.

For me, one of the greatest Variety Acts in the business, Paolo and his brother Marco have been performing their balancing act together for over 40 years, including 25 years as the stand out act in Cirque du Soleil's 'Mystere' at Treasure Island Hotel & Casino. They had just come back from performing in Dubai.

One of the highlights of my life was when Paolo & Marco travelled from Las Vegas to London to appear at the Park Lane Hotel for my 50th Birthday.

In that cabaret they were joined by another of my very favourite Vegas Variety Acts, juggler and comedian Wally Eastwood, and winner of America's Got Talent, ventriloquist Paul Zerdin, who I first booked over 25 years ago!. It was quite a show!

The following night, I produced a big charity show starring these wonderful performers and a few others too, at Her Majesty's Theatre, the home of the Phantom of the Opera.

Wonderful memories! I'm blessed to call these guys my friends!

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7. Tales From The Fantastic Magic Center - #25
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Message by Kent Cummins, Director (US)

The Vanishing Elephant

Houdini may have been the first magician to make a live elephant disappear. When I toured Canada with the Mighty Thomas Shows carnival, we had an exhibit called, "The Secrets of Houdini Exposed!" The exhibit included a large photo promoting Houdini's vanish of the elephant on the stage of the Hippodrome Theatre in 1917.

I once rode on top of an elephant in a circus parade to promote National Magic Week for Austin SAM Assembly 206, but I never performed the Vanishing Elephant.

Or did I?

One evening at a variety show at the Austin Opera House, all of the lights suddenly went out as I was performing. Inspiration struck, and I proceeded to describe how I was performing the Vanishing Elephant! I described how my assistants were bringing out the elephant, said some magic words, and then asked if anyone could see the elephant. They could Not! The lights came back on and there was no elephant anywhere to be seen. Tah Dah!

I also once performed the Vanishing Elephant on a radio talk show. The host described how I was bringing an elephant into the studio and then assured his listeners that it had disappeared! What he failed to tell listeners was that it was a small ceramic elephant from my wife's collection, and I vanished it by using the French Drop.

Another personal experience with the Vanishing Elephant has been with my granddaughter, "The Amazing Adele," who performs a tabletop version of the backstage vanish using a picture of an elephant.

The photo of my riding an elephant to promote National Magic Week, as well as newly-discovered poster artwork for Houdini's Vanishing Elephant are on display at my Fantastic Magic Center in Georgetown, Texas.

The Fantastic Magic Center is dedicated to preserving and sharing the art of magic. Check out my free weekly podcast at:
www.FantasticMagicCenter.com
kent@magichotline.com

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8. A Triple Prediction Piece - John Carey #184
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Message by John Carey (UK)
http://www.johncareymagic.co.uk/

Essentially this effect is a triple prediction piece. But the move used has far wider utility. Take out the Ace of Clubs, Four of Hearts and Seven of Spades from a red deck and seal them in an envelope. In a blue deck set the top six cards in the following order: x AC x 4H x 7S (x = indifferent cards).

Bring out the deck and the envelope and set the envelope aside. False shuffle the deck retaining your set up on top. Table the deck. State that you want a spectator to cut off cards from three different parts of the deck. Firstly ask your helper to cut off about a quarter of the deck and hand them to you. Point to the top card of the tabled deck and comment on how nobody could know what card she cut to? Flip the top card of the packet you are holding face-up, at the same time getting a left little-finger break beneath the second card (1, 2, 3).

As soon as the card lands face-up (4) pick up both cards below the break from above with the right hand (5) and place this back-to-back double card on top of the cards on the table (6).
This is the Al Leech Steal. "We will mark exactly where you cut to for future reference." Place the packet you are holding on top of the tabled deck. Now repeat exactly the above same cutting and marking procedure twice more, your spectator cutting off about half the deck and you marking the cut and finally they cut off around three quarters of the deck and you, one last time, marking off that position and secretly setting your force card below each face-up marker card.

Recap what has happened and ribbon spread the deck face-down across the table, clearly showing three face-up cards marking the exact locations they cut to. Remove each card that is below/to the left of each marker card and turn them face-up, exhibiting the AC, 4H and 7S. Ask your helper to open up the sealed envelope and remove the contents. Of course a perfect triple match will be revealed and your work is done.

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9. Beneath The Trapdoor #8 With Bronson Chadwick
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Message by Bronson Chadwick (US)

Commercial Magic

What does the phrase "amateur magician" bring to your mind? It probably makes you think of the poorly executed 21 Card Trick you've had the misfortune of seeing, yet again. Or perhaps you think of the magic enthusiast who unboxes a new magic prop in the morning only to attempt a performance of that same effect at night. Or my personal favorite, the magician who volunteers a performance at the local club meeting and execute a magic effect with music or costume that don't suit the personality of the magician. (And when I say "execute" a trick, I do mean it in every sense of the word.)

The phrase "amateur magician" has changed over the years. To call a magic presentation "amateur" now refers to an effect performed poorly. To refer to a performer as an "amateur" carries the risk of sounding demeaning. But long before the days of the eternal amateur magic hub of YouTube, there was a time that the word "amateur" might simply mean that a performer is a hobbyist with no intent on receiving money for their performance, regardless of skill level. In fact, some of the greatest magic in the world has been done by "amateurs".

Alternatively, there is the "professional". I'm frequently amazed at what magicians call "professional magic". Strictly speaking, "professional magic" is simply magic which is done for pay. Unfortunately, when audiences are told they are about to see a "professional magician" the bar is suddenly raised and if that performance is anything less than stellar, the audience realizes the performance they are receiving is comparable to the services of Spirit Airlines. These audiences realize they have been abandoned to an over-promised and turbulent performance.

The art of magic, the English language, and the entertainment standards of modern society are constantly changing. Let's embrace some of that change right now. My purpose in writing today is to suggest more appropriate terminology than "amateur" or "professional" when we refer to the quality of magic performances. I also encourage readers to label themselves appropriately and exceed the standards which we set for ourselves.

Rather than suggesting that an act is "amateur", it may be prudent to use the term "hobbyist". This prevents the audience from drawing negative conclusions about an act before they see it. Besides, no performer in their right mind, regardless of quality, is going to refer to themselves as an "amateur" in the 2020s. The word "hobbyist" allows for a wide range of skill and quality. After the performance, the audience can then decide what grade to issue the magician after the performance.

Likewise, I encourage the professional entertainer to consider using the term "commercial performer" or "commercial magician". Even if a performer chooses not to use these phrases in publicity materials or otherwise in public, a performer would do well to keep these phrases in mind.

If you have ever done magic for pay, you are, by technicality, a professional magician. But being able to take money in exchange for magical services is no indicator of consistent quality. If your primary goal is only to be a professional magician, meaning you are in the business of doing magic for pay, then you've set the bar too low for yourself and for your audience. Remember, what energy and resources you choose not to put forth in your rehearsal and development will be charged to the account of the audience.

To be a commercial performer indicates a certain level of entertainment quality comparable to the entertainment standards of modern audiences. Being a commercial act means being refined, polished, recognizable in theme or persona, and consistently exceeding the expectations of the audience through dynamic performance thus raising the overall public perception of magic. A commercial act also pays close attention to details. Props are neatly cleaned, the set is color-coordinated, costumes are neatly pressed, hair styled appropriately, and a host of other checkboxes that should be ticked.

It is crucial that we be extra careful how we describe ourselves in front of audiences and potential clients. Whether we call ourselves "professional magicians" or "commercial magicians" or something else, we have to remember that it's our audience that has the final say in whether or not we are a good act.

It is for this same reason that I hesitate to sample a dish called "seafood delight" at my local Chinese buffet. Let your audience decide what is "professional" or "delightful" after they see your performance. If you tell them, you are a "professional" or "delight" but afterwards the audience requires a dose of Pepto Bismol, you've inappropriately titled yourself. The audience may then wish that you don't call yourself a "professional". The magic community may then wish that you don't call yourself a "magician".

Words are cheaper than a bean burrito. It is for this reason that we should always be ready to prove to strangers that we can actually live up to the title of our profession. You cannot call yourself a "magician", let alone a "professional magician", in front of people you meet without being ready to demonstrate some kind of magic.

This problem is unique to our industry. I have never met a mechanical engineer and then said "Prove it! Build me something!" And yet people we meet will always say or think "oh! do a trick!" Magicians have much to prove to audiences, especially when meeting first-time acquaintances outside of show venues. We must prove that we're not crazy, that we can do the "miracles" that we claim we can do, and then do them well. If we can do that, then we are of commercial quality.

I do not expect all magicians to adopt my vernacular, but I do hope that magicians catch my meaning. The words "amateur", "professional", and "expert" have been bastardized over the years and don't carry the same weight they once did. These words have the same negative connotation as phrases like "fact checkers" these days. For us to label ourselves with any of these three titles in magic carry certain connotations that the synonymous phrases of "commercial performer" or "hobbyist" do not. Furthermore, when we label ourselves with these buzzwords, it reminds us to work fervently for growth in magic and keep our work fresh.

I should add that I, by no means, am I suggesting that all of my work in magic has been top-notch, five-star work. Those closest to me have seen some rather excellent and also some very… well, "amateur" performances by yours truly. I do not write this piece in an effort to claim that I've reached some sort of pinnacle in magic.

I encourage all my friends in the magic world to aspire to be "commercial" in quality whether working as a paid professional or entertaining as a hobbyist. I encourage you to keep these buzzwords in mind and let them be guidelines when honing your work. The only way to truly have our craft recognized consistently as an art is to raise the quality of our own work and have, as Harlan Tarbell once wrote, that "Mazda glow".

If we as magicians invested as much effort into our nouns and adjectives as some people seem to panic over pronouns, we'd all have a happy New Year.

Send me your thoughts! Write to me at bronsonchadwick@gmail.com and be sure to visit www.bronsonchadwick.com/trapdoor for other ramblings.

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10. 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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11. Privacy Policy And Copyright Notice
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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.

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

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