* * * * * * * * * * * * * * * * * * * Magic New Zealand * Proudly sponsored by International Entertainment * www.Alan-Watson.com * * * * * * * * * * * * * * * * * * Issue Number: #784 Date: Sunday 3rd September 2010 Editor: Alan Watson www.magicianz.com e-mail: AW@Alan-Watson.com ================================ Hi here is the latest news ================================ 1. Editor's Message 2. Blackpool Magic Convention 2011 3. Upcoming Book And DVD Set On David Berglas 4. McBride's Wonderground! 5. September 2010 Issue of the Linking Ring Magazine 6. Remarkable Magic #68 - Nick Lewin 7. The DVD and YouTube Syndrome - #178 - Kyle Peron 8. Tony Brook in Conversation with Tom Waldrop (Part 3) 9. Interview with Paul Daniels and the Lovely Debbie McGee 10. A Pre-Retirement Sale 11. Tony Wilson on the High Seas 12. Street Magic World Festival 13. Paul Vigil Will Blow You Away At IMX! 14. Devin Knight Available To Lecture in the Midwest 15. 80th Annual Columbus, Ohio MAGI-FEST 16. e-zine Archives 17. Privacy Policy and Copyright Notice -------------------------------------------- 1. Editor's Message -------------------------------------------- Hi everyone we are quite overwhelmed with many messages of concern about the 7.1 Richter scale earthquake which hit Christchurch in the South Island of New Zealand today, pleased to report there has been no loss of life thus far. New Zealand is made up of three islands we are located in Auckland in the North Island. Remember if you have any magic news drop me a line: AW@Alan-Watson.com -------------------------------------------- 2. Blackpool Magic Convention 2011 -------------------------------------------- Message by Derek Lever (UK) Time is running out if you want to be part of the world's greatest magic convention. There are now less than six months to go to the Blackpool Magic Convention on Friday, Saturday and Sunday 18th, 19th, & 20th February 2011. The Convention, organised by Derek Lever, will be bigger and better than ever for The Blackpool Magicians' Club are hosting the First FISM European Championships of Magic. The competitions will start on the Friday morning and will be split across two theatre venues. The Grand Theatre (100 yards away from the Winter Gardens) will host the close-up competitions and the Opera House (within the Winter Gardens complex) will be the venue for the stage competitions. Add to these competitions the usual exciting shows, lectures and enormous dealers' showcase and you are in for a never-to-be-forgotten three days of top quality magic - all for the amazing price of just £85 per person! Register before 31st December 2010 and you will receive a free book 'The World's Most Ingenious Magical Apparatus' by Derek Lever. To book your place for this fantastic event contact Arthur Casson, 44 Bryan Road, Blackpool, Lancashire, England FY3 9BE or telephone him on 44 (0) 1253 393688. A registration form is also available on the Blackpool Magicians' Club website www. blackpoolmagic.com. -------------------------------------------- 3. Upcoming Book and DVD Set on David Berglas -------------------------------------------- Message by Richard Kaufman - Editor Genii Magazine For an upcoming book and DVD set on David Berglas, I am looking for any privately shot film or video of David performing card magic. Please contact me if you have footage that you're willing to share: moobooks@verizon.net. -------------------------------------------- 4. McBride's Wonderground! -------------------------------------------- Message by Tobias Beckwith (US) It's been a busy week in the press for Jeff McBride's Wonderground! Early in the week, we were featured in Steve Dacri wrote about his recent trip to visit The Wonderground in his column for Inside Las Vegas, Rick Lax gave a mention (and photo) in his Las Vegas Weekly article (http://tinyurl.com/VegasWeeklyWonder) .and now Richard Abowitz had a full article in the L.A. Times! Abowitz apparently had a grand time, as you can read for yourself: http://tinyurl.com/LAtimesWonder (A quick paste-up attached, with photos) -------------------------------------------- 5. September 2010 Issue Of the Linking Ring Magazine -------------------------------------------- Message by Paul A. Lelekis The September 2010 issue of The Linking Ring magazine, Vol. 90, No. 9: The official publication of the I.B.M.! Editor: Samuel Patrick Smith Reviewed by Paul A. Lelekis The Linking Ring boasts the largest circulation of any printed magic magazine and now has launched a beautiful digital edition. I.B.M. membership is required to receive this monthly magazine. Members can access The Linking Ring at www.magician.org, allowing portal entry into the exciting world of magic! The cover of our September edition features YouTube sensation Giacomo Bertini of Italy who also wrote this month's One-Man Parade highlighting his amazing coin magic. Convention coverage continues this month with more candid reviews of the 82nd Annual I.B.M. Convention, including lectures, Order of Merlin events, and Linking Ring Awards. The coveted Howard Bamman Award went to Past International President Don Wiberg for best article - Remembering Jack Gwynne. "The Silent Magic of Sam Sandler" is an article written by Dr. Simon J. Carmel, honoring the indomitable spirit of Mr. Sandler who lost his hearing five years ago. Hearing loss hasn't slowed down this remarkable man's performances -- not one bit! Some of the articles in this issue of The Linking Ring include the continuing Youth Trivia Contest which always provides some excellent historical facts and gives youth members a chance to win terrific prizes. "Approachable" by Shawn Farquhar includes advice from Lance Burton about card magic. "Millennials Rising - Magic Stars of Tomorrow," is a terrific monthly youth column by Cliff Bumgardner. This month he features the stage magic of Megan Knowles-Bacon. MAGIC! This month's Parade features our cover magician, Giacomo Bertini, an Italian star magician. This man's coin magic is as original as it is amazing! His presentations for the classic "Portable Hole" is must reading for coin magicians! "Classics Revisited" by International President-Elect, Vanni Pulé, combines two classics of magic -- the Torn & Restored Card and Seven Keys to Baldpate! A multi-talented magician, Mr. Pulé even illustrates his own column. Mike Power's "Card Corner" presents a Stacked Do as I Do effect by the talented John Carey. This is an extremely deceptive routine. Tom Craven's "Havenly Close-Up" presents a very clever method for a "hold-out" for which magicians will find many uses. "Showtime" by Peter Marucci presents a very nifty gag item - a great presentation for the close-up performer! "Storytelling Magic" by Ed Solomon presents another wonderful escapade by Ed's alter-ego, DeNomolos. This one will freak out the spectators! "Hocus in Focus" presents many reviews of new magic that will help magicians determine the best buys! Space does not permit me to list all of the wonderful articles and magic in The Linking Ring, but each month you'll find over 160 pages of magic and the latest from dealers from around the world. ADVERTISERS! -- Your products will enjoy unsurpassed, worldwide promotion in The Linking Ring through a beautifully printed magazine, a dazzling digital edition, and links on the I.B.M. Web Portal! For details about advertising in The Linking Ring, contact BJ Hickman, at advertising@magician.org. -------------------------------------------- 6. Remarkable Magic #68 - Nick Lewin -------------------------------------------- Message from Nick Lewin (US) The Art of Grace. My last two columns, one about Comedy and one about Magic contained a lot more information about performing than almost any other columns I have written in the last 4½ years in Magic New Zealand. For the most part I have tried to combine personal reminisces that each contained a hint or two about something that I may actually feel very passionate about. For two weeks I tried to pass on some very real information, even though it was a tiny tip of the icebergs I was addressing. I got three responses by e-mail. One was an email from Walter Blaney that I will treasure forever for his kind words and genuine understanding about what comedy is really all about and how long it takes to make it real. I also received an email about Magic from Dave Tenneboe that showed he had really read what I had said about Magic, thought about it and asked some very pertinent questions, which I will reply to in detail by email. The third email was from my dear friend and connoisseur of fine magic Martin Breese in England. Martin chided me about writing so many real secrets about performing Comedy Magic for free! He said (echoing the words of my first mentor, Ken Brooke) that if people don't pay for it they don't appreciate it. Martin suggested I write a book that really contains all the knowledge about booking, contracting, performing, cruising and sell it at a high price. He very sagely advised me to include some of the tricks and routines that have allowed me to make a very comfortable living for 40 years. It's not a bad idea. Information is thrown into a devalue situation when it is shared too easily. I am quietly collecting a group of interested performers who have expressed an interest in working with me on career development. Yea, that includes the signature pieces like my Linking Finger Rings that have taken me years to refine. I really appreciate those of you who have responded. I am particularly enjoying working with Jason Andrews who I truly believe will become a world famous magician. Jason already has a world-class 8-minute act but that really doesn't mean a lot in the real world anymore. Times have changed. Much as I love Jeff McBride and respect his handling of his 'Mystery School,' I have something very different in mind and want to individualize my future works in career development. I have no intention to turn out people who do my kind of magic the way I do it. In 18 months when I retire from having to perform and can live comfortably doing what I want to do, not what I have to do, I will actually be teaching in a very specific manner with every bit as spiritual a core as Jeff's 'Mystery School,' I have studied the work of GI Gurdjieff for thirty years and plan to apply his ideas to performance. Now I am sure 96% of my readers have never heard of Mr. Gurdjieff, well that is just fine. It isn't going to get in the way of practical study and improvement whether you know his views or not. He was a wonderfully practical man and many would say a master magician in his own right. Since I started writing about magic (Thanks again, Richard, Alan and Phil!) every one of my series of columns has born from a variation of its title from Mr. Gurdjieff's deceptively simple second book 'Meetings with Remarkable Men.' Enough about my ideas; the snippet of information I wanted to touch upon in this column is about Grace. What is Grace to a performer, what does it mean? It's not just the way he dresses or removes his white gloves before producing cards. That can be gracious, but that is a very small slice of the whole subject. To exhibit Grace you must think very carefully about the way you deal with people when you are working. I've seen magicians and mind readers treat people with a lack of physical and mental courtesy that would be stunning; even if the people they usually display this to be the very ones who are helping them achieve their goals. Along with this trait there is often an "I fooled you!" tone that is just plain rude. Politeness is a no option requirement for a magician; it doesn't come as an extra. Many jugglers have a ready-made attitude of making the audience laugh and applaud and then treating them disdainfully for doing it. I believe that this is due to the fact that so many jugglers began their performances on the street. You don't see the great jugglers do it-Michael Davis, Barnaby or Daniel Rosen. No, they have transcended the easy laugh and 'put down' and become fully-fledged entertainers and personalities. Look up the definition of the word grace and mull upon it. One perfect example I always think of was how Ken Brooke taught me to escort a female assistant back to their seat in the audience. That is good manners; but Ken always insisted that you acknowledge her escort with a quick smile of appreciation. THAT is grace. Well Martin, did I talk too much again about something other than tricks? Should I just shut up and work on a double lift that will make someone a star. LOL. Email me at nicklewin1@me.com -------------------------------------------- 7. The DVD And YouTube Syndrome - #178 - Kyle Peron -------------------------------------------- Message by Kyle Peron (US) magic4u02@aol.com http://www.kyleandkellymagic.com It used to be that if you wanted to learn the art of magic, you had to find good books or fine a mentor who would be willing to take you under their wings. The person was the master craftsman and you were their apprentice. You learned through watching and more by doing. They taught you right and wrong and guided you in performance. These were the days of how a lot of arts and crafts were learned and it served many well. As the years go by, life starts to change. New technology comes around and we are eager to grab a hold of it, embrace it and utilize it as fast as we can. However, one must be careful not to allow technological advancements to get in the way of proper learning. Just because some technology makes it easier for you to access information faster, does not mean that information is right for YOU. For example, I can easily go on google.com and do a search for the definition of magician. I will instantly have access to websites and photos and pages filled with possibilities. This is a wonderful tool. However, like any tool, you must learn how to use it properly. Just because there are these websites does not mean the information on them is always 100% correct. It also does not mean the information is right for you. One must learn to sort through the vast array of information and find out what makes most sense to who you are and where you are with your magic. Likewise, the advent of DVDs and YouTube make it so easy for anyone to get involved in magic. It brings magic to the masses in a way never seen before. More and more folks are seeing magic in new media formats and are getting excited about it. The more access to the magical arts brings about more interest in what we do. This is a good thing. But how is this also very dangerous? How must each of us be very careful about too much of a good thing? The problem with any technology is knowing how to use it. DVDs and YouTube give us instant access to magic with a touch of a few buttons or a click of a mouse. Instantly we can watch stage magic acts or do research on a manipulation act we are working on. As an example, say you wanted to learn about doing Miser's Dream. A few keywords on YouTube or a selection of a few DVDs gives you access to Jeff McBride or even Chris Capehart. Both are great and wonderful performers of which we can all learn from and be influenced by. However, be careful that influence does NOT mean imitate or duplicate. Technology makes it so much easier these days for us to forget that we must learn to take the information and apply it to how WE do magic. If you try and duplicate and imitate exactly what Chris does and says, you may be in for a very rude awakening. His style is very unique and character developed over years of performing as a street performer. What may come across as rough and abrasive to some, really works for him. I have seen him do a kid show at a theater for hundreds of kids and not one single kid crying or frowning. Instead they are laughing hysterically and smiling ear to ear. They are totally into it and what he is doing. Chris pulls this off by HIS style, what he says and does and a very defined character that works for HIM. Now this does not mean it works for YOU. YOU must find your own way and develop your own character. You must learn to be unique and true to yourself. Stop buying DVDs just to watch someone and become that person. Stop going to YouTube and duplicating an act exactly and calling it YOURS. It drives me nuts cause it doesn't work for you and it certainly is not fair to the performers whose creation you flat out stole. Learn to spend the time to find out who you are on stage and how YOUR character would handle certain effects. Develop routines based on this character and learn to find out what works best for you. Utilize the technological tools as a means of learning. Use them as a stepping stone to get started and then head in a new direction with your magic. Your audiences can tell the difference between a character that they can relate to and one that is forced. As always, I encourage you the readers to let me know your thoughts. So if you have any thoughts on my articles or suggestions or comments, please feel free to e-mail me directly at magic4u02@aol.com. I would love to hear from you. - I would like to let everyone know that I just released a NEW book and E-Book to the magic community. "Blue and Gold! The Complete Guide to Working The Scout Market!" is now available as a soft cover printed book as well as an ebook download. http://www.magicenhancer.com/Blue/Gold.html - "Encore! Creativity in the Art of Magic" Ebook. Order online now at: http://www.magicenhancer.com/Encore.html - "Tips and Techniques on the Chair Suspension" Ebook. Order online now at: http://www.magicenhancer.com/ChairSuspension.html Kyle Peron Magician and Illusionist www.kyleandkellymagic.com -------------------------------------------- 8. Tony Brook in Conversation with Tom Waldrop (Part 3) ------------------------------------------ Message by Anthony Darkstone Brook - Europe/USA TB: That's exactly what I meant when I referred to you as highly experienced. You have had a lot of experience teaching at magic camps and workshops. You also develop magic curriculum and assist in coordinating public shows performed by the Young Magicians who span ages 7 through 17. Elaborate for us your involvement .. TW: Regarding the magic camps and workshops, that's where my relationship with the A.C. Gilbert organization got started. In 2007, I was hired to teach two 5-day Magic Camps at the Village. I did a 2-hour class each morning for the 6-8 year olds and a 3-hour class in the afternoon for the 9-12 year olds. At the end of each camp, the kids put on a 30-minute show for their family members and friends. I taught similar camps the following two years and am booked to do another one this July. I have also taught several one-day workshops over the same period. A little over a year ago I was contracted by an athletic club in Portland to teach magic to members' kids. TB: I heard that you are something of a collector in regards to your teaching of magic and that you have a vast store of material. TW: Well, Tony, I don't know if I'd call myself a collector. I currently have a personal magic library of close to 1,000 books, pamphlets, CDs, DVDs, VHS Videos, and other resources to continue building my personal performance material. Of course, the material is at my fingertips for putting together curricula to teach at SYM meetings and the other educational opportunities I'm engaged in. So, my collection doesn't just sit on a shelf and look pretty. I actually refer to the library as I just outlined. TB: Tell us a little more about this teaching .. TW: Basically, it all began when my involvement with SYM intensified. I wanted to do more than just show the kids an effect and tell them the secret. I also want to show them how to perform the effect. I wanted them to go home with a couple of trials under their belts, the props they need to perform the effect, and written instructions they can refer to later. I have developed almost 150 of these special instruction sheets and add to this collection on a monthly basis. At each of our SYM meetings, we try to present two or three new effects to the kids. The theme for each meeting will be different. For example, over the past few meetings, we taught magic with paper money, the next meeting was magic with balls, the next meeting was magic with rings, and this was followed two weeks later by magic with rubber bands. Of course, we work other topics into the fray such as presentation skills as we go along. My theory is that if a young person comes to a 90-minute magic club meeting and doesn't go home with at least one new piece of magic, the kid won't return for another meeting. TB: Digressing a moment.you were a Lieutenant Colonel in the United States Air Force. The Air Force was your life for some 22 years .tell us a bit about those days . or should I say decades .. TW: Sure Tony, be happy to. I earned my officer commission through the Air Force ROTC program while going to college. My career area was in operations. I was trained to use radar and communications equipment to control an American fighter plane to a position where it could shoot down a "bad guy." As my personal skills developed in this task, I eventually worked into positions where a large part of my time in the Air Force was spent in developing training programs and teaching others to successfully perform the combat mission. They always tell you to never volunteer for anything in the military. I was born with a flaw and usually put my hand up whenever new and unusual opportunities presented themselves. Some of these opportunities came in the guise of human resource-related assignments. These skills were a great help to me later when I returned to civilian life. During my 22 years of active duty, seven of those years were served in the Far East: Japan, Thailand, and Taiwan. I thoroughly enjoyed my time in the USAF and the chance I had to see a lot of the world and learn some very unique skills. While I found many opportunities to perform magic during that career, I had limited chances to belong to magic clubs or take part in conventions and other related activities. (Hidden in this article are deliberate grammatical & spelling mistakes. After much hard work, my proofreader & I have included these to please those who enjoy finding them.) Send comments & corrections to:- tbrook47@gmail.com -------------------------------------------- 9. Interview with Paul Daniels and the Lovely Debbie McGee -------------------------------------------- Message by Paul Long An exclusive interview (conversation) with Paul Daniels and the lovely Debbie McGee The Magic Annexe Club, Malaysia would like to thank Paul Daniels and Debbie McGee for graciously agreeing to do this exclusive interview with Paul Long for their many fans in the club and in Malaysia. This interview took place on 6th June 2010 in Auckland, New Zealand during the 30th New Zealand International Magicians Convention. After a few minutes of Paul Daniels' fooling around and messing with my mind and confidence, using just his body language, we finally settle down. All my prepared questions looked pretty ridiculous in my eyes, especially since my private space had been compromised. I was unsure what to ask and how to begin. So Paul Daniels graciously steps in and leads the way. --- Paul Daniels: It's all right. No problem. I tell you what. You just ask a question and relax. You are feeling very relaxed . (playfully pretending to hypnotize me) Debbie McGee: It's all right. Forget that there's anyone around. Just ask. Paul Daniels: Just ask. TMA : OK. When I first met you both, I was in awe because of your reputations. I was tongue tied and did not know how to even address you. But you (Debbie McGee) actually came up to me and spoke to me even though you did not know who I was. Paul Daniels: She talks to everybody. TMA: That made a huge impression on me. You obviously saw me feeling awkward and put me at ease. I was amazed at how down to earth to you both are. Personal note: At our first meeting, which was at a local magic club meeting in Auckland, Debbie even sat next to me throughout the meeting - somewhere in the middle row. Paul Daniels later gave me a personal extended lesson on his use of a magic prop in response to a question I had. Some people wanted to cut in and speak to him but he would not let them until he confirmed with me that I understood his lesson and had no more questions on the lesson. Paul Daniels: Oh, yes, you got to be. TMA: I was wondering if there is a connection between your success in magic and your personality. For a superstar in magic, I find you naturally down to earth. You don't seem to have any airs at all. Paul Daniels: I come from what is called in England a working class family. We were not rich. I guess you could say just below middle class. Debbie's family is the same. We are both are from good happy families and we don't try to act anything more than we are. Sometimes when people become famous, they begin to believe the publicity. They start to think of themselves as extra special. We're just having fun. We are playing with our toys and we are getting paid for it. That's what we are and that's what we do. TMA: Do you think this attitude has contributed in making you so successful? Paul Daniels: Oh Yes. Everybody can relate to what we do. Everybody can understand us and know we are not being rude to them, not poking fun, not taking the mickey. They know we like to have fun. TMA: I have watched your stage show twice. You seem to be able to relate to people from all ages - from the elderly to the very young. When you did the gag you did with the spoon, you had both the children and adults giggling. I am trying to understand how you were able to do this so successfully. It seems to me that when some others do something like this, it is almost condescending . Note: The gag is hard to describe. It had to do with Paul Daniels telling a story in which part of it had him making baby noises while staring at one's reflection in the bowl of a spoon. Unfortunately, it has to be seen live to fully understand. Paul Daniels: Ah. You should never talk down to children. Children are only little adults. So when I have to do shows for children, I do quite adult material. In that particular joke, which is very old, before my time, both adults and children can relate as they both watch you change into a child. That's because I am an actor. Debbie is an actor. When we are on stage we are acting and therefore at the moment in the show, I am a child. I am not talking down to the children. I am a child. It's the same when I am doing the linking rings with the girl. I don't talk down to her. I'm at her level. Debbie McGee: And Darren said exactly the same thing in his lecture. Paul Daniels: Oh, he did? Debbie McGee: Yes. He said exactly what you just said. He thinks the same way as you. He said, "Talk to them at their level." Note: Debbie was talking about Darren Carr's lecture (ventriloquism and puppetry) which Debbie attended but Paul missed. TMA: You mentioned in one of your classes, "If you believe it, it is." So in that actual situation, you become a child? Paul Daniels: Yes. I am. She (Debbie) still thinks I am (poker faced). Debbie McGee: Yes. A lot of the time! (laughs) TMA: Could you tell us how did you got started in magic? Paul Daniels: Oh, I just read a book and it was good for me because the first trick I learned worked. It's an old book by .. John Carney. (Everyone laughs as while I was doing this part of the interview, a few people silently sat nearby to listen in and John Carney happened to pass by) No. No. It was a book from the time of Queen Victoria and the trick worked. I think it is very important for children that magic sets and tricks sold for children should work. And they should work the first time the child tries it. And even if the child doesn't become a magician, the child will have a respect for magic. They will think, "Oh, magic is good!" So I just read a book and then I went and read more books and more books. And the library was very good. If you say you have a particular hobby, they will find books from that hobby for you. And it's free. It's great. TMA: Can you tell us about the first trick you learned? Paul Daniels: It was the age cards. It was a trick with six cards with numbers from 1 to 63 on them. The top left corner are the basic numbers, 1, 2, 4, 8, 16, 32 and from those numbers you can make all 63. TMA: You mentioned this trick in one of your lectures. Do you still do it? Paul Daniels: Yes. It's in a box. I just packed it away. Oh and by the way, on that trick I just packed away, I changed the method. (Laughs). TMA: You mentioned that unlike some magicians who focus on one branch of magic, you do everything. From what I understand, you do everything from stage to close up, adult to children, walkabout, mentalism and the list goes on. You seem to do everything. Why? Paul Daniels: Because I like it all. I like all kinds of magic. I don't think there is such a thing as a bad trick. I think there are just bad presenters. You can pick up any trick and make people laugh with it. You can make people have a good time with it. And sometimes you can make people go "WOW!" And also, it is better marketing. In terms of life, I was not famous until I was around 42. I am still very well known in Britain but if I were not, then I would be able to perform any kind of show and make money. I could go and do close up shows, do children's shows. I could do illusion shows, indoors, outdoors, cabaret .. Now I can take all the jobs. You know, I make a good living while still enjoying my hobby. TMA: Could you tell us more about the magicians that had a strong impact on your life? Paul Daniels: Nobody really influenced me. My style was developed outside magic. I had no mentor. I went into the army at 18 and then I met a magician on a shop when we were going out to Hong Kong. But it wasn't until I got back to the UK, I would have been 21, 22 when I joined the Middlesbrough circle of magicians and met the community of magic. And I think that the independent ten years was good for me because I did not become one of them. I was me. TMA: Nowadays some people look for mentors in magic. Is that a good idea? Paul Daniels: I don't think so. I think it is best to study on your own. Terrible isn't it? (laughs) Debbie McGee: My opinion of it would be to not so much look for a mentor but go for some lessons in theatre craft to learn movement because lots of magicians don't move very well,. They move on the stage with a very bad posture. I think they should go for some drama classes and maybe some dance classes to learn about how to conduct themselves on the stage or in front of a television camera. But I don't think having another magician as a mentor may be such a good thing. Note: I was helping backstage for two public performances. I noted that Debbie McGee stood in high heels for over four hours (pre-show till end of each show) with perfect posture, movement and composure on whether on stage or backstage. She would not sit down to ensure her evening gown remained in perfect condition. TMA: How about magic clubs. How do you feel about them? Paul Daniels: Okay. If you just want to stay an amateur magician, fine. Join a club and have fun. But if you want to make it a business, I don't think magic clubs are not good for you. I really don't. I would rather young people went to business classes and learn how to market themselves. The magic tricks themselves are easy. You can learn them any time, any place, anywhere. But you need more wisdom than that. You need more as Debbie said theatre craft. Some people may say, "Ah yes, but I am only going to be a close up magician." Trust me. If you know about theatre, your close up magic will be better. Your miniature theatre will be an area which you could improve enormously. Debbie McGee: Just your walking into the room. You are making an appearance as a close up magician. You need to make an entrance just walking into a room. Paul Daniels: Somebody said to me in one magic convention that he noticed that when I walk into a room, everybody sees me. And I said. "Yes I know". (Everyone laughs). I know because I know. On the other hand, I can walk into a room and be invisible because I know about theatre. I can walk into a room and instantly attract all attention to me without speaking. It's theatrical tricks. TMA: Could I ask how Debbie became known as "the lovely Debbie McGee"? How did she get this term affixed to her name? Paul Daniels: Ah, if you say anything on television often enough, it becomes what we call a "catch phrase". So for example I used to say "You'd like it. Not a lot. But you'd like it." And the nation adopted that. Now everybody says it. And by the same token, I would say for example. "Let's welcome our two guests who are going to come on stage here brought on by the lovely Debbie McGee." She is lovely you know and I just said it. I never realized that I said it every time till I watched the shows. I never used to watch the shows. So the lovely Debbie McGee just stuck. Even my boat is called the "lovely Debbie McGee". And it's great. Debbie became a personality rather than just a prop in the show. TMA: Do you think a good assistant needs to be a magician? Paul Daniels: It helps but it doesn't have to be. But I think she needs to be a good dancer. I have seen some assistants clump on and clump off. I think a good assistant needs to be a good dancer. Models, photographic models are not good assistants. I know from experience. I used a couple of those. Also she should be intelligent. She should not be a bimbo. TMA: Watching your performances, it seems to me that Debbie is more your partner than just an assistant whose role is to look beautiful on stage. For some magic acts, it seems the assistants are merely there as "eye candy". Debbie, could you share your thoughts on what makes you a good assistant? Debbie McGee: I think it is to do with learning a lot about theatre craft. It is knowing what makes the magician look as good as possible. It's knowing when to move and when not to move so you do not kill his applause. It's also about thinking about what you are doing. You are dressing the act. But like you were saying about "eye candy", it's a lot more than that. You have to think about what they are doing and what you are doing. When is the right time to walk in? Don't be too early, don't be too late. It's very important. There's a lot more to it than just walking in and standing there. TMA: I was watching you back stage and was wondering how you prepare yourself mentally for your role. I noted that for the hour long show, you only come in a few times. How do you keep your focus? Debbie McGee: I don't know (laughs) Paul Daniels: Instinct. Instinct! Experience! Debbie McGee: Yes. Paul Daniels: You got to just keep doing it. But when you're doing it, you keep thinking every time you walk on and off. Was that okay? Was it no okay? What was wrong with that? Debbie McGee: That's right. It's a lot to do with that. Every time even though it looks as if you just walked on and off stage, there are certain things I think about every single performance we do. "I shouldn't have done that" or "I should have waited a bit", and you learn a little bit every time. TMA: I started late in magic. I have limited skills and time, so I am realistic and have no aspirations to be a professional magician. But I love magic. What kind of advice can you give people like me as to how to find the area of magic that I can grow in? Paul Daniels: Do it all and one of them will pick you, You do every kind of magic possible. You will find that you will like something and for others you will feel, "this is not right for me" and the magic will pick you. Debbie McGee: And I would say, when you do something you feel you are good at - that particular trick. Then work on that one thing. Spend a lot of time to perfect it before you move on to something else. Paul Daniels: I agree. TMA: Can you tell us something about magic today compared to magic during your early years as it seems to have changed a lot. Paul Daniels: No it has not. That's the myth of youth. You are a nice young man but magic doesn't change. Only clothing style changes and rhythm changes a timing changes but the magic is the same. The girl appears. You put the girl in the box, she vanishes. That will always be the same. Card magic - pick a card! That was the same 200 years ago and it will be the same 200 year from now. The only thing that changes is the rhythm, the body language to fit today's theatre. But the magic doesn't change. The play is the same. TMA: Is there any specific magic project you are working on that you could share with us? Paul Daniels: No. I don't work on magic projects do I? (looks at Debbie) Debbie McGee: You work on new tricks all the time. Paul Daniels: Yeah I do. But that's just me or I would get stale. Debbie McGee: He learns new tricks all the time. He won't necessarily ever perform them. He just shows them to me at home. It's just to keep his brain going and his blood pumping isn't it? (looks at Paul) Paul Daniels: I work on new magic all the time as it might fit in somewhere one day. Adapting magic is important. I use my knowledge to adapt the magic to fit a given situation. TMA: You are probably most famous for your long running Magic TV series. Could you tell us a bit about the experience? How did you manage to keep up the hectic pace and yet remain magically creative? Note: The Paul Daniels Magic show was shown on the BBC from 1979 until 1994. It is still the longest TV series on magic ever made. Paul Daniels: For 365 days of the year I was constantly looking at the magic scene, the magic world. If you are going to do a series of ten shows, you can only do one levitation. You can only do one, maybe two of producing the girl. But it's got to be a completely different method. It's not easy and there's no trick to it. It's just plain hard work and thinking all the time Debbie McGee: I think what kept Paul going is that he's got an incredible drive and passion for life as well as magic. During those nearly twenty years of working seven days a week it was the love for what he was doing that made the work easier. TMA: One final question. Have you been to Malaysia and what would it take to get you to come to Malaysia to lecture or do a show? Paul Daniels: Malaysia, have we been to Malaysia? (discusses with Debbie) We've been to Singapore. No, we have not been to Malaysia. What would it take? I don't know? Money! (Laughs) We can always contact us. We are all over the internet. Easy to get us and find us. TMA: Thank you so much for you time. Paul Daniels: No problem. -------------------------------------------- 10. A Pre-Retirement Sale ------------------------------------------ Message by Steve Varro Steve Varro Retires (Not Really!) But after 50 years of performing & collecting magic, I've decided to have a "pre-retirement sale" This sale will include: NEW and Used items Gospel and Secular Effects Close-up, Parlour and stage effects and an illusion or two There will also be antiques, books, magazines, videos and more The physical sale will take place in Nashville Tennessee. The date & time will be announced later. The sale will most likely be the first Sunday of November 2010. If you are interested in attending this sale or interested in being informed of more details, please E-mail me at: stevevarro@gospelmagic.com FYI: Steve Varro is the past International president of the Fellowship of Christian Magicians and the owner of Dock Haley Gospel Magic Co. -------------------------------------------- 11. Tony Wilson on the High Seas -------------------------------------------- Message by Tony Wilson (NZ) Mary and I have just returned to New Zealand from a 101 night world cruise on the "Dawn Princess". This has meant we have been unable to attend any magic conventions anywhere in the world this year. We have, however, been able to enjoy on board numerous variety acts including six magicians and one mentalist. They were Brad Manuel (Australia), Phil Cass (Australia), David Copperfield (UK), Neal Austin (UK), Mel Mellers (UK), Wayne Hoffman (USA) Mentalist and Tony Laffan and Casey Laura (Australia). The long period at sea away from home has given me a good chance to catch up on magic reading and magic DVD viewing and keep in touch with magical news per our laptop. To those magical friends we have not been able to catch up with personally at a convention this year our apologies. From all accounts you have all had a good time and, so have we, on the high seas. -------------------------------------------- 12. Street Magic World Festival -------------------------------------------- Message by Nick Nickolas Lisbon, Aug 2010. After 30 hours of mini meals, mini wines, mini TV and mini sleeps I arrived in Lisbon Portugal. The heat slayed me, vaporising my eyes. "Hola Nickolas" It was Alex, a cog in the Luis De Matos wheel, organisers of the 5th Annual Lisboa Street Magic World Festival. Luggage loaded, bodies belted, Alex drove weaving at poo popping speeds, explaining that Portugal is the second most dangerous place to drive in the world next to Colombia. "Why Columbia?" I ask. "They have guns!" was the reply. I let my eyes and body focus; we arrived at Hotel Tejo, base camp for the next 7 days. A small bearded ferret like face appeared with greetings and hugs, it was John Fealey a street performer/magician of many years past. Originally from Liverpool, John's frequented bags, bus stops, hotels and couches globally, for decades. An old acquaintance I was happy to see. Hotel Tejo was a corner plot, derelict apartments across the road and a genuine Portuguese Chinese supermarket next door. A fine hotel none the less, a multilingual porter handed me key to room 306. Air Conditioning; clean sheets, two beds, T.V, two baths; one for the body and a smaller one for the feet! Showered, jetlagged, I joined a shuffle of magicians in the lobby being escorted to a very fine restaurant by Fatima, Mr Matos and crew. This exquisite dining establishment occupied the 20 or so of us deep in their stern. Multitudes of languages filled the air. I was flanked by Steve Trash, a bearded resident of Frog Pond Alabama and Moska, distiller of the finest dente vino, (Portuguese firewater I had sampled a few years earlier) The food was superb as was the wine. More than midnight came and went, we walked back to Tejo. I took up conversation with Ben Woodwood and Nigel Mead, both Londoners, refreshing sarcasm and irony exchanged, comprehending without thinking I pass out in 306. After waking up, digesting, coffee, croissants and yogurt in the Tejo basement restaurant. I scored some agua from China shop next door. Props and magicians in the van, we head up to Largo Camoes. 15 magicians from 7 countries invited to play the streets of Lisbon for 5 days. 12 shows each, 180 shows in all. I was on in the noonday sun on day one. Largo Camoes was the top pitch, up a hill, under a statue in a tiled square. The pavements and squares of Lisbon are all surfaced with tiled cobbles, mosaic patterns every step, quite wonderful really, other cities should take note. We were to play 4 to a set roughly 20 mins each. Estiban Quito and Cindy Entes, magic with pithe helmets, an invisible dog, balloons and whips, I had met them last year in Germany. I wish I could understand the Spanish. Malo El Mallissimo AKA Donald from The Bronx, spoke also in rapido Spanish, sponge ball magic combined with hat juggling, fire eating and clown. I was later to find out he teaches at a circus school in Madrid. Steve Trash performed silent, decked out in black trousers, black jacket and a giant black top hat, he dripped, it was 35 degrees. He ended up talking; English (American), and the people totally got him, lapping him up, coke can routine killing. During my set of broken Porto English and sweaty shifts a local drunk emitting porto, grime and decay decided it was his turn. He wandered in for a chat; I treated him with grace and courtesy before pulling a silver dollar from his butt. Audience, watched, laughed and applauded as he waddled away fingering his hole for more. Glorious c: We autographed programmes, the crew packed our kits into the van and took them back to Tejo. Oh what luxury, no dragging cases and tables for street scum this week. A litre of agua was consumed then vaporised, it was hot, and it was time for coffee and beer. Largos de Chiado; A pitch next to a statue of an old man pointing to an empty table at a terraced bar, I took the seat ordered my refreshments. The crew set a large table under the statue. Bebel from Paris took a seat, crowd gathered to watch a master of the pasteboards perform his magic. Fantastic work, his French I could understand slightly. What he was doing with the cards not so much. I was later to find out he has played the same corner in Paris for over a decade sitting performing card miracles, hatting crowds. Andrely from Brazil came on and the crowd got big, I couldn't see what was going on but he had them all aghast and laughing, orating in the native tongue. It was getting late in the afternoon, siesta was calling, one thing I like about these cultures, three hours every afternoon, shops, restaurants and people all shutter up to sleep. Other countries should take note, we were born to siesta, siesta is healthy! We had been given 80 Euros of tickets to use at different eating and drinking establishments over the week by Fatima. Fatima was the boss, she said we go and we go, she said we stay and we stayed. Mista Salad, Spaghetti, beer, 10 tickets, siesta. Every morning I'd be woken up with a phone call at 9am from Ulla and our two and a half year old daughter Rubyanna, 30.000 kms away, animal noises and emotions down the phone, it pleased me. Then elevator to floor -1, for coffee, croissants, bacon and yogurt. The shower, the shave, the agua, the van, the people, the shows, the porto, everything merging, 3 days becoming 4, 5 nights becoming 3. The evening shows started about 7ish, I'd spend 50c at China Crisis for a litre of agua, I was on 4/ 5 bottles a day it was to become a comfort blanket for us all, those 50c aguas. Rua Augusta was a wide tourist street. restaurants, terraces, shops and grifters, designed to extract Euros from tourists. Bowls, bags, coffee, postcards, pasta, roosters. Every 10 meters you'd hear "Hashish, Grassis, Coca". "Nada, Nada, Nada" was a phrase I perfected very quickly. I wondered why the multitude of police parading the strip never stopped, hassled or arrested them. Later I was to find out that everything they sold was fake; in fact there was more contraband in an aspirin than in their glad wrapped packets. "Nenhuma droga aproxima o oficial ". The top of Rua Augusta had an archway eroded by years of pigeon fowl, graffiti and history. I watched as Ben Woodward began to get flustered and confused when a woman wanted to think of a card in Flemish and a child couldn't find his balls, the crowd howled and applauded in amazement when the egg whisk solved all problems he'd created, great work, great whisk, great balls. We'd all eat as a group around 11 every night, suburb food, fine vino and grande beers were consumed amongst laughter, card tricks and linguistics. Shows were fantastic, blinding heat during the day, bodies emitting tears of sweat, glistening with magic and laughter. Cool evening crowds joined together in applause and gratitude. Oh joy what fun we had. Magica came and went, slept and played. Nigel Mead from London first time on the street had put together a needle through tongue, and card in crash helmet, nicely parodied as a bullet catch. John Fealey a veteran of concrete and cobbles, decided to do a clever rope/ scissors/ needle/ card/ balloon trick on day one, ending up with a bit of rope and a spinning ball by day 5. In fact the longer the days went on the classier his suit got and the less tricks he'd do. Truly a master of the nothing. We'd have bets on the temperature by the local Farmaca clock, It hit 42d, I lost $2.50. Florette, French lass with amazing eyes and poise, left them enchanted and confused, with roses, fire and garters. Jose De Lemos who fooled me with card in banana, and confused me with language represented Portugal. Gaeton Bloom from Paris, a man of high standing indeed. 4000+ shows at the Crazy Horse and numerous inventions to his name held his own out there on the streets, blowing them away with his salad trick. Amazing presentation, very funny and brilliant magic, fooled the shit out of me. Chris Powers and Carlo Ramirez from London popped in for a few days. Two truly great cardsmiths. Chris and I first met when I was about 15 at an IBM. I'll always hold true the pointers he gave me then, simplicity and situation. On the last night I was sitting with them both, also with Dani Daortiz from Spain. I saw stuff, got fooled, baffled and spun, like never in years! First Chris tripped me with a shiner, Carlo got the card under my glass, and then it was upside down in Danis' pack, which was in his pocket. I witnessed The greatest triumph effect ever, vanishing decks, invisible, visables, steps ahead, whoa those boys were good! Carlo as a topper, later nailed me to the cross at Tejo with a coin routine. Masterful, thank you boys! Also from Spain was Luis Manuel, he did a great ring routine. and card effects and Pablo Clabo who'd finish with clever rope magic to music. I don't understand a word of Spanish but the audience did, applauding and squealing gleefully. Methinks we have to thank Tamariz for the amount of fine Spanish magicians out there, also to Luis De Matos for the blooming of the magical artes throughout Portugal. Paulino and Luis from Zamora Spain, great act and great people, I'd met a couple of years ago appeared and added again to the magica family that week. Mighty fine photographer and good friend, Paula Abrantes documented the event. http://pauloabrantes.wordpress.com/2010/08/25/lisboa-magica-2010/ In fact the whole team are good friends as is our extensive magica family. Fatima 'The Boss'. Luis 'The Creator'. Vanessa 'Designer/Carer'. Joking 'Security/ Information'. Alexander 'The Driver'. Muska 'Mr Firewater'. I thank you all, the people of Lisbon, our magica family, the Indian/Italian restaurant and the agua from China Crisis, for the good times we all had the last week. After 30 hours of mini meals, mini wines, mini TV and mini sleeps I arrive in Melbourne, the morning chilled fog hits my lungs, steam I exhale. -------------------------------------------- 13. Paul Vigil Will Blow You Away At IMX! -------------------------------------------- "When Vigil appears, magical things really do begin to happen in his wake. Mysterious things capture the imagination and rupture the skeptical adult heart. The astonishment he creates feels as wordless and giddy and excitingly foreign as a feeling of first love. This is magic in lavish abundance. This is the world of Paul Vigil. His magical artistry is raw and potent - elegantly constructed, perfectly scripted and flawlessly executed. You will be fooled, badly, even when you know what's coming next. More than that, Paul's magic leaves you open and wounded, but in a good way - like you're better for having experienced what many swear to be "real magic." Vigil is a rare breed of magician. He's a true believer in magic - as an art form, poetic device and creative living exercise. Magic isn't just a career or a calling for him. It is nothing less than a way of life whose fruits can be shared and enjoyed with others. In his hands, magic sleights are heavenly meditations. They are joyous ceremonies of creation. To Paul and those who deeply feel the effects of his work, magic is not a puzzle to solve. It is a state of being to embrace. Vigil adheres to the idea of creating magical moments that last for years or even a lifetime. The result is something elegant and sophisticated - a script peppered with vicious linguistic ploys, intuitive gambits and invisible knuckle-busting sleights which separate the men from the boys. These seeds of wonder - these beginnings or a miracle - are coddled, cradled and nurtured by a man whom many consider to be magic's best-kept secret. By blending past and present, chemistry and psychology, linguistics and sleight of hand, Vigil has assembled a profoundly powerful toolkit for producing magical experiences for others, experiences that wildly transcend simple card and coin tricks. Paul Vigil's magical art form originates from the soul, and that is where it is felt ..." - Jay Fenster Paul Vigil will present his full evening show at IMX in what is guaranteed to be a truly unmissable experience. And with over 20+ of the finest performers from across the world joining Paul for 3 days of nothing but magic - IMX is going to be a feast for the senses. *An Experience Centered Around You IMX is different. IMX provides you with an unparalleled amount of choice. You get to choose your own sessions and create your own unique experience. Gone are the days of being forced to sit through a mass lecture that doesn't interest you in the slightest. Choose your lectures, choose which workshops to attend & choose the things which interest YOU. *The Very Best of Magic - from Across the Globe We've scoured the globe & brought together some of the biggest names in magic - to create a truly International Magic Experience - Wayne Houchin, Banachek, Ellis & Webster, Boris Wild, Morgan Strebler, Luke Jermay, Richard Sanders, Pit Hartling, Oz Pearlman, Shoot Ogawa, Michael Ammar, David Acer, Juliana Chen, Simon Coronel, Chris Capehart, Paul Vigil, Ponta the Smith plus many more still to come! *A true teaching environment IMX 2011 offers you an unparalled opportunity to learn from the most gifted, accomplished, recognized and respected names in the world of magic - LIVE - in a true teaching environment. Forget about trying to learn magic in a room with a 1000 other people. Our intensive classes are in small groups ensuring you the best possible training experience. See every move, experience every detail and learn firsthand from magic's very best instructors. *A Time to Socialise IMX offers you incredible access to some of magic's very best minds - it's a time to relax, learn and enjoy the company of those that are shaping our art. When last did you dine with a world champion? *Best value for money. Period IMX 2011 offers the best value for money. PERIOD. 20+ headliners. The Close-up Encounter. International stage gala shows. Small group training sessions. Unique special events. Surprise guests. Exclusive performances. Session with the Pros. Individual scheduling. Dealers expo and so much more! Do the comparison - and you'll quickly discover that nothing else comes close. Register now from just $149 at http://www.imx2011.com and if you're looking for a chance of winning an all-expenses paid trip to Vegas in May 2011 - visit www.facebook.com/IMXLASVEGAS -------------------------------------------- 14. Devin Knight Available to Lecture in the Midwest -------------------------------------------- Message by Tom Craven I have Devin Knight available to lecture in the Midwest and far West in October and November. If your club would like to host this unique lecture (out of the box thinking), please contact me ASAP! I have fabulous reviews and an overview of the lecture content available to any interested parties! His fee is still only $250 and hotel/motel overnight. Tom Craven vipmagic@aol.com 330-673-6678 -------------------------------------------- 15. 80th Annual Columbus, Ohio MAGI-FEST -------------------------------------------- Message by Jep Hostetler The celebration of the 80th Annual Columbus, Ohio MAGI-FEST, January 27-29, 2011 The stars are aligned. Three nifty "Howard Thurston" events are coming together at the 80th Annual Columbus MAGI-FEST. 1. It looks more and more likely that the Thurston exhibit, being brought from New York by its owner (including memorabilia, original posters, etc.) will be at the FEST. 2. Tarcher/Penquin will be supplying some pre-publication copies of Jim Steinmeyer's new hardcover book on Howard Thurston, The Last Greatest Magician: Howard Thurston Vs Houdini & The Battles Of The American Wizards which will be released on Feb 3, right after the convention. 3. The Greenlawn Abby Preservation group, in Columbus, Ohio, where Thurston was born and laid to rest, (restorers of the Mausoleum where Howard Thurston's remains are located) will be having a presence at the convention and an early Sunday morning brunch, at the crypt. And of course, a new location, a stellar line-up, an expanded dealer group, terrific contests, and a family-friendly atmosphere all contribute to a "not-to-be-missed convention. See www.magifest.org for details regarding the convention. On another note, we were greatly saddened by the death of one of our long-time redcoats. Jeffrey U. Gould, who died on Monday August 19, of a heart attack. He was 52 years old. Jeff was a wonderful, quiet presence at the MAGI-FEST, working very hard behind the scenes, taking care of scheduling, and the ballroom events. He will be greatly missed by all of us redcoats, Jimmy King, Mindy Burden, Ron Spangler, Herman Carr, John Macko, Bill Krech, Paul Boaz and Jep Hostetler. International Brotherhood of Magicians broken wand ceremony was performed by his fellow magicians. -------------------------------------------- 16. Magic New Zealand e-zine Archives -------------------------------------------- Back issues of the Magic New Zealand e-zine go to: www.watson.co.nz/fezine.html When you enter the archive the e-zines are in issue order and are coded. Eg 001 Nov06 1999.txt first three numbers (001) denote issue number, then the date (Nov06) and the last figures the year (1999) -------------------------------------------- 17. 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.Alan-Watson.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 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, 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 2010 Alan Watson