Tuesday, November 23, 2010

Reality-Distortion Field

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This is another crosspost (it's not my fault that there are so many awesome blogs out there!!!) from The Four Hour Work Week.


Take a few minutes to read the post on The Four Hour Work Week about Bill Clinton. Done? Did you watch the video? Watch the video. Ok? Ok.

Did you notice the extreeme difference in George H.W. Bush and Bill Clinton? Did you notice that even though you're watching something that is over a decade old, that when he started talking to that woman that it felt as if he were talking to you?

I loved the line about Clinton not seducing women but seducing everyone. We could all learn something from watching Bill Clinton.

Think about it. If you have a performer who gets up there and does the show, and is wonderful, then good; fine. But what if you get up there and make an emotional and personal connection with the audience? Who do you think will be remembered as the better performer? That's the real trick.

So take a look at this very well thought out article and see if you can't apply some of the techniques therein to your own life and your own performances and watch the results.

~Cameron Rivers, Kings To You Magic

Monday, November 22, 2010

Crosspost

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Today's entry is a crosspost from Why Am I Stuck in Magician Hell. 


The sad thing is that I did this during the TAOM 2010 Close-up competition but my room moderator said it was too late to enter. The conversation went something like this:

Me: John. John! Can I enter? I can win with what's in my pockets right now!

John: No, unfortunately.

Me: But I have pocket lint!!!!

*Names may or may not have been changed.
**Me is meant to represent me, and not you.

Friday, November 19, 2010

Half Price Books

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I recently took a trip to Half Price Books, a used book store chain, where I found a copy of Harry Lorayne's Close Up Card Magic, a first edition none the less, for seven dollars. This comes after finding a complete set of Card College for under thirty dollars two years ago, as well as various other books (The Complete Course in Magic by Mark Wilson is always a popular find).

Thursday, October 21, 2010

Contact Juggling

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So this is an awesome contact juggling video that I saw a few years ago and just rediscovered.

http://www.break.com/index/contact-juggling.html

Check it out!

~Cameron Rivers, Kings To You Magic

Diversify

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One thing that is true in almost all aspects of life is the need to diversify. Your investment portfolios, your education, your life experiences, and yes, even your magic.

How many magicians do you know who only do cards or only do coins? BORING! To be a great magician, you need to diversify your skills. How do you go about doing that? Well, let me show you.

STEP ONE

The first step to diversifying is to identify what it is that you do already and what you'd like to move on to. For a large majority of us, cards is what we rely on. They are safe, easy, and have about ten million different things you can do with them, but hand us a coin and we're doing a David Blaine style shuttle pass. 

So what type of magic do you do now? For me, it's mainly cards.

So what type of magic do you move on to? That's a more difficult question. I'm moving in the direction of coins, because there is a feel that there is a coin/card dichotomy in magic, but the real reason I'm moving that way is to learn a new skill set that is completely different. 

So if you only do coins, move to cards; cards to coins. Mainly do mentalism? Try moving on to some card stuff. Impromptu magic your specialty? try coins. And everyone should try the cups.

STEP TWO

The next step is the hardest. You will be starting over almost as a complete beginner. Yes, you may know how something is done, but your fingers are going to be stupid and fumbly (yes I did just make that word up). Instead of getting frustrated and giving up, try to remember the hard work and wonder that you had when you first started learning magic. 

Try finding that one really impressive routine you've always wished you could perform and go at it!

STEP THREE

Now that you have a basis in your new area of magic, try finding ways to incorporate it into your old magic. Cards and coins make a wonderful matrix; mentalism and cards makes for some strange and eerie effects.

Now get out there and show off your new skills.

Tuesday, October 19, 2010

You're covered in Beeeeeeeees!

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http Check it out. Just a fun little clip from Penn and Teller.

http://www.youtube.com/watch?v=gysIuQRK7eA

~Cameron Rivers, Kings To You Magic

Thursday, October 14, 2010

Impromptu magic

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Something that I've always felt strongly about (though I haven't ever really pursued it to any extent) is that a magician is someone who can, at any moment, perform for someone.

Now when I say that, I don't mean that you should always have a deck of cards and a coin on you (you should though). No. What I'm saying is that at any point you should be able to take something that is laying around or that someone has given you and be able to perform with it. Not only that, but you should be setting up situations where you can perform impromptu effects.

One example is from Michael Ammar. He said that he used to go out with nothing but a pocket full of rubber bands. He'd drop them on the floor at the places that he and his group would be and wait until someone asks to see some magic. He would protest, saying that he didn't have anything on him, and then he would feign spontaneity and pick up the rubber bands and start performing.

Another example is from myself. One of my favorite impromptu effects is the paperclip bend. To make sure I can perform it, I'll sometimes carry a few paperclips and leave them laying around places. This ensures that there's always one available.

So I suppose what I'm saying is that not only should you be able to do something with anything someone hands you, but start setting yourself up for incredible moments of magic that seem completely un-prepped.

~Cameron Rivers, Kings To You Magic

Wednesday, October 13, 2010

Charlie Caper

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Check out this guy! One of the most entertaining performers I've seen in a long while.

http://www.youtube.com/watch?v=w4R_ub_cAGw

Daniel Chesterfield

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It looks like Blogger won't let me embed YouTube videos, so here's the link to one of the best David Copperfield spoofs ever.

http://www.youtube.com/watch?v=hqiNL4Hn04A

Wednesday, October 6, 2010

Card Collections

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One thing that many magicians do is start collecting cards. I know that I have and while it's not an extensive collection by any strech of the imagination, I love getting interesting playing cards.

So I figured that I'd go through and find a bunch of cool/interesting/odd playing cards that you could add to your collection and links to where to find them.

United States Playing Card Company on trick decks

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The United States Playing Card Company produces some of the best playing cards in the world. From Bicycle and Bee to Aviator and KEM, the one thing that everyone who knows anything about cards knows is that the USPCC produces great quality cards that are easily recognizable and are perfectly normal.

Now, it used to be (and has been on and off for a while) that you could order trick decks of cards from the USPCC, but most of the time nowadays, you can't. It seems that being the top card company in the world and selling gimmicked decks doesn't really mesh with corporate, and I can understand that. You don't want people thinking that the cards you provide to casino's could be marked.

But apparently, the USPCC is teaming up with David Blaine and are releasing three specialty decks on October 31st.


Thursday, September 23, 2010

David Blaine and Criss Angel

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There has been a lot of controversy in the magic community over David Blaine and Criss Angel. The controversy spreads from which is a better magician, to how they have hurt the magic community at large.

Now, my opinion, and this is one that is shared by very few magicians, is that both Angel and Blaine have done amazing things for the magic community and that we wouldn't be where we are today without them.


Tuesday, September 21, 2010

Criss Angel being a dick?

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Criss Angel - Collectors Edition DVD SetI know that for many of you, the news that Criss Angel was being a dick recently isn't going to make you do a double-take. But someone forwarded me an article where it seems that Criss went off on two other magicians who happened to be at the Luxor, going so far as to have them removed from the property. Geeze, what a dick!

There is another side to the story, a side that the brief article I read didn't really cover, and I'd like to speculate on.

Monday, September 13, 2010

Sleep deprivation and magic

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Red Bull gives you...evil mustaches?
I've heard that that the average person sleeps almost a third of their lives. A full third!!! That means if you're thirty years old, you've spent ten of those years asleep! Think of everything you could accomplish in those ten years!

Last night I got four hours of sleep after staying up all night watching The Prestige and The Halloween Tree (both fantastic movies for those of you who haven't seen them) and hanging out with a good friend and this morning, despite battling bouts of horrible exhaustion, I've managed to put down on paper some fantastic new ideas and methods to create a really amazing routine.

Thursday, September 9, 2010

I can't even explain it

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Just got this link from Clay, the President for the Order of Aggie Illusionists. I can't explain what it is, but Whit Hadyn never looked so funky!

http://theuglydance.com/?v=bkdrepjkma

~Cameron Rivers, Kings To You Magic

Wednesday, September 8, 2010

Creativity 101

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Creativity is one of those things that is really easy for some of us, and really difficult for others. Sometimes it seems like the ideas won't ever stop, drowning you in a flood of thoughts that eventually cause your hands to cramp from trying to put them on paper; other times it seems like the next idea will never be there, that you've been abandoned by the Muses in some vast wasteland for has-been artists.

So how do you make sure that you always have a free flow of ideas? There are a few ways to do so, but overall, the best and most effective way to ensure creativity is to go out and do something creative. Now I know what you're thinking: who has time for arts and crafts? But creativity isn't just about arts and crafts. Expand your definition of what is creative from physically creating something to menatlly solving a problem or emotionally experiencing something.

Tuesday, September 7, 2010

Moments of Downtime or Why the Convention Was Funny

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Yesterday I mentioned that I would be sharing some of the funny/amazing moments that happened at TAOM 2010, and after a solid eight hours of sleep, I'm ready to get to it!

Monday, September 6, 2010

Broaden your horizons

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One of the things that I tried to instill in the members of the OAI is that magic is a performing art. What this means to me is that you, as the magician, are creating a world for the spectator where it is, in the words of the great Tommy Wonder "possible to pass a ball" through a solid object or hang a coin invisibly in mid air, not just performing a sleight.

One of the best ways to improve this world that you create for the spectator is to add some spectacle: color, movement, music, anything helps. But the way that you include things like that is to broaden your performance horizons to include things like:

By expanding your performance horizons, you allow yourself access to a new style of performance and performance philosophy  that will help you to create new, more exciting magic for yourself and others.

So take a look at taking on new skills and hobbies and see if just the act of learning something new doesn't spark the creativity inside you.

~Cameron Rivers, Kings To You Magic

After-Action Report: TAOM 2010

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"It's just your average convention," my friend said sarcastically as we stood there next to the like of Max Maven, Michael Weber, Shawn Greer, and Chad Long. 

"Let's hope that this becomes the average festival," I said.

I've had less than ten hours of sleep over the last four days. I've been running on mostly caffeine, excitement, and general insanity. I'm exhausted, burnt-out, and barely functioning. It was f*****g amazing.

An honest assesment of TAOM 2010 would be that it was a life-changing experience. With so many amazing performers crammed into one place bringing in various levels of experience and a wide variety of performance backgrounds and styles, you can hardly be surprised, but even knowing the lineup of performers and lecturers beforehand couldn't prepare me for the whirlwind of amazingness that was coming my way.

Wednesday, September 1, 2010

Try Out Toys vs Fushigi

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My first magic trick, my first *real* magic trick, was a floating dollar bill, and it ran me $60. Imagine my disappointment when I opened the case to find the secret was some wax and string. I got taken in by the advertising and the quick talking salesman who had way to much time to practice that effect. I wanted to believe so much, that I forked over my hard earned cash (and as a teenager, that money didn't come easy. It was days of putting together hamburgers).

Well something similar is happening with something I love, and I figured I'd warn you all.

Monday, August 30, 2010

TAOM 2010

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Well ladies and gents, this week kicks off the Texas Association of Magicians 2010 Conference, one of the best magic confrences avaliable! With a line up of Whit Hayden, Jeff McBride, Max Maven, Michael Weber, David DeCampos, and Doug Gorman, this is going to be a convention to remember!

Not only that, dear readers, but to kick start the entire convention there is the First Annual Austin Street Magic Festival! It's happening this Thursday, 2 September, on 6th Street at Red River as well as in and out of the bars around there. It's going to be a jam-packed night of magical insanity! So if you can make it down there between 5pm and 2am, you'll get to see some of the best performers you will ever witness!

Now down to the real work of TAOM.

Tuesday, August 17, 2010

One of the best tricks ever

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Now I figure that I'll probably catch some flack for this from some of you guys, but here goes:

A few years ago I saw an effect that really blew me away. It wasn't technically difficult or amazingly executed; it was beautiful, and a perfect example of giving someone a moment of magic that will last them a lifetime. The look on the man's face is pure, unadulterated magic. Check out the video:

Friday, August 13, 2010

Ponta the Smith

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Some of you may have been going back and forth on buying "SICK - by Ponta the Smith". It's a video that has a pretty slick promo trailer, but that's what we've all come to expect from Ellusionist (that and playing cards), so it's to be expected that you're not quite sure if you should drop some cash on this video. Well, today I'm here to help you out on that decision:

Thursday, August 12, 2010

To fool magicians or laymen?

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A common fear among magicians, a fear that I share, is performing for other magicians. All sorts of anxieties pop up, and it's no surprise: magicians know the sleights you're using. Even if they don't see the sleights, most of the time it's easy to figure out which sleights had to have been used. So it's a stressful situation.

Sunday, August 1, 2010

Professional vs Serious

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Something that I've noticed about our community is the affinity for the term "professional." Effects are marketed as "professional", clothes and props are sold as "professional", and no one wants any advice from anyone but a "professional."

Well, I'm here to break the "professional" bubble, so to speak. A professional is someone who makes money at magic. That's it. The term doesn't speak to the level of skill, the quality of the act, or the depth of character development. It only denotes money.

I think that we should coin a new term to replace professional: serious.

A serious magician works hard; a serious magician strives to perfect routines and patter; A serious magician puts original thought into their effects; a serious magician works towards perfection.

Our history is littered with magicians who didn't make a living from magic but are considered top magicians, so out of respect for some of the most respected names in magic history: stop using the term professional.

~Cameron Rivers, Kings To You Magic

Practice, especially when you don't want to

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The last couple of days have had me running around Texas trying to say 'hi' to people and get the last of my stuff out of my apartment (which, as of today, is no longer mine). This has left very little time for me to do any practicing.

We all have days/weeks like that: we feel like were overworked, underslept, and we just don't have the motivation to do anything more than we're doing. But what we need to do is take a look at everyone around us. Everyday people get up and go to jobs that they don't want to go to. Some of them like their jobs, some of them don't, but in the end, everyone heads out.

Serious magicians need to start looking at magic as a job. It's a job we love, but it is a job nonetheless. Now those days where you just don't feel like doing magic? Do it anyway. It's your job. And on top of that, if you can practice for a small amount of time even when you don't want to, then you get yourself into a routine, and practice will come naturally.

~Cameron Rivers, Kings To You Magic

Thursday, July 22, 2010

Character Workshop

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How many of you use a different persona when you perform? Quite a few of you, I'd guess. I myself have a different persona, but the problem I have with this persona is not that he doesn't mesh well with my normal personality (in fact he works great with it!) but that he seems to be a bit...flat. 

The suggestion came down to me that perhaps creating a background for him would help, and so I'm working on writing up a narrative of this character's past to make him a bit more three dimensional. One of the things that is helping with this is fleshing out his personality as it stands now.

So here are some good starting questions to help you flesh out your persona:

  1. Name
  2. Age
  3. Clothing
  4. What does your character smell like?
  5. What are some of your character's mannerisms?
  6. Their strengths and weaknesses (three each)
  7. Favorite sayings?
  8. Interests (aside from magic, what does this character live for?)
  9. Favorite food, color, song, etc
  10. Education level?
  11. Favorite possessions?
  12. Why do they perform (motivations)?
  13. What is their philosophy?
  14. Are they very formal? Somewhat mischievous? 
Take these ideas and use them to flesh out your character. Remember, time spent doing this (as opposed to money spent buying tricks) will help you more in the long run.

Want to see some finished characters? Try Whit Hayden, Richard Turner, Derren Brown, Max Maven, or even (I'm sorry in advance) Criss Angel.

~Cameron Rivers, Kings To You Magic


It's all about YOU!

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One of the hardest lessons I'm learning (I won't say learned, because my ego is still bucking against it) is that, and I've said this before and even harped on it, your skill as a magician counts for next to nothing. That's right, it's insignificant. What is important is how entertaining you are.

That's one of the reasons that the story I'm about to give you is so important: it accurately demonstrates this idea. You don't need fancy props, you don't need expensive tricks, you just need to be fun, engaging, and entertaining.

Here's the article. 


Cameron Rivers, Kings To You Magic

Saturday, July 17, 2010

The New Santa Monica Pier

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So, as I've said, the busking rules at the Santa Monica Pier have changed (in no small part due to the fact that performers having a feud while the city is upset with you is never a good thing) so here are the updated rules:

Still need a permit and all the insanity that goes with that BUT now you have to show up at the gazebo (to the left of the walkway down to the pier behind the carousal) ten minutes before the shift begins, so no more waiting 5-8 hours a day (or 18-40 for a holiday) for a spot.

That's how it works. Unfortunately because of this, because the lottery takes away any need to get up and get out to the pier, we've started having characters out there (like the really creepy Elmo guy... seriously, this guy took a spot away from a real performer?).

In response to this, a few guys are getting together to try to re-negotiate the new rules and, if need be, sue the city of Santa Monica. Now I don't think that they want to get rid of the regulations all together (with how childish some of the buskers are, they need regulation. Not saying it makes it right, only necessary), just make sure that these half-assed "performers" have to put in some effort to be there and that they don't detract from everyone else.

So that's it! That's the new, easier Santa Monica Pier.

Oh, shifts are 1-4. 4-7, 7-10, and 10-1* (*only weekends).

Friday, July 9, 2010

Sooo....

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I was going to try to come up with some bs about watching this for creative purposes, but just watch it:

http://www.youtube.com/watch?v=VTO5yiN1b-I

Cameron Rivers, Kings To You Magic

Tuesday, July 6, 2010

Organizing creativity

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Something that I've always held to be true (and I think that most of us do) is the idea that creative people are scatterbrained and disorganized. It makes sense. Creativity doesn't come from rigid structure and organization, it comes from spontaneous bursts of amazing insight, right?

Well in some cases, yes. Ideas hit us all at random times, but that doesn't mean that the ideas themselves cannot be organized and structured. Think of how many wonderful, brilliant ideas have been lost because of the artist's forgetfulness. So here are some tips on organizing your creativity so you can make the most of it:

Make a note!

You never know when you'll see something or someone that sparks an idea, so carry a small, pocket sized notebook and a pen with you everywhere. Write down every idea you have. Think that juggling flamingos and turning them into cannibalistic sand worms sounds good? Write it down! And don't forget to add a bit of detail. You want to be able to remember later what you're talking about now.


File it away

When you get back home, file the ideas away. Get a filing cabinet and put together folders for each project that you're working on. Then drop the ideas into either one of the project files or into a file labeled "Random Ideas". This way, when you work on a project, you don't have to hunt for where all your ideas are!


Make a list

Sit down and write out a list of all the projects on your plate. Make sure to include the little, tiny projects as well as the overarching, life-goal projects. Now look at look at the list and mark each project for either short-term (the next few weeks/months), long-term (six months to several years), or someday (self-explanatory). Write out each of these lists on separate pieces of paper. Now you can focus on which projects you need to work on first, which ones need the most thought, and which ones you don't need to stress about.


Tack it up

Take these lists and pin them up on your bulletin board on your wall. That way each list is visible, and you can see what projects are lined up for you as opposed to building up this horrible, daunting list in your mind. Also on your bulletin board should be a large calendar showing the current month (if not a three month spread) so that you can keep up to date on your meetings, social outings, and other things.


So try to implement these little tips, and come up with some of your own! Just because creativity is a bit messy doesn't mean you have to be! 


Cameron Rivers, Kings To You Magic

Tuesday, June 29, 2010

Never for cheap

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Here's a great article. It's aimed at web designers, but it applies to anyone who works on their own, including MAGICIANS!!!

So take a read:

http://www.drawar.com/articles/two-choices-for-rates-and-cheap-isnt-one-of-them/242/

Creating Demand

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One of the biggest problems that we magicians face is trying to create demand for ourselves. How do you make those phones ring? How do you fill up your inbox? With a few simple changes to your attitude, you can create demand for yourself quickly and easily.


Be good


Seriously. Be good; be polished. Know what you're doing. If you're a horrible magician you're phones aren't going to ring...ever. You need to put practice into your magic and be constantly challenging yourself. Make sure you can do your routine blindfolded and in your sleep. Your hands should never hesitate; your sleights should be flawless.


Now that's a lot to demand huh? WRONG! It's the standard. You should get it into your mind that perfect is the average for magicians, even if it's not. Perfect is what you accept from yourself, and nothing less.


Get out there


No one knows how good you are better than, well, you. So start performing! Show a little something to people you meet. Go out! Carry cards with you. Be extroverted. 


Now I know that this one might be the hardest for a lot of you. It's not easy spontaneously introducing magic into everyday situations. But something as simple as intentionally dropping a coin or something and vanishing it when you pick it up does it just fine. Michael Ammar said he used to carry around rubber bands and would drop them at places he would be so that when someone asked him to do magic, it seemed spontaneous. That's what we're looking for: planned spontaneity. But it can't happen if you don't get out!


Get those business cards working


This goes along with the getting out there, because you can't hand out business cards at home! But try to get them to someone in a way that they're definitely going to look at it, remember you, and call you.


How? Try brushing up on effects and routines that use business cards. That's a pretty easy way to do things. Another option is to slip a business card on the person while you're performing. They reach into their pocket/purse/shoe/mouth later and pull out your card. They'll have no idea how it got there and they'll remember you.


Be professional


Finally, and this one should go without saying: be professional. When someone asks about Criss Angel or David Blaine or whomever, remember that what you say next reflects not on them, but on YOU! So when you bad mouth Criss Angel, all the potential client is seeing is unprofessionalism and anger. Instead say something like "He's an excellent entertainer" and move on to talking about something else.


Also, make sure your website doesn't look like you made it in the 90's. No bright blue background with red frames and yellow text (think the old TAOM site). No flashing banners, no animated gifs. Think professional and streamlined. This isn't to say that your site can't be unique or have a grunge feel or whatever. Just make it professional.


Another tip is to write out a phone script that you use every time a client calls. This way, you sound professional and you don't forget to ask anything.


Well, that about covers it for this go-round kiddies. So get out and go perform!

Thursday, June 24, 2010

So far: A review

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So here is my "official" review of Santa Monica and the busking scene:

Busking Regulations


So we've all seen the other posts I've made about the busking regulations in Santa Monica (here and here, for those of you who missed them) but I figured that an update on how I feel about them now would do some good.

They suck. Hardcore.

On any given weekend (Friday, Saturday, Sunday) you need to be at the Pier to sign up to be assigned a spot somewhere around...oh...6 to 10 hours in advance of the sign-up...which is two hours before you can start performing. That's right...on a weekend, you will spend a regular job's workshift waiting to start working. Oh, and don't leave the sign up spot for more than 10 minutes or you're off the list and all your waiting is in vain.

Weekdays are generally ok, with you showing up 2 hours before you are assigned a shift (once again, 2 hours before the shift starts.)

Also, once you're assigned a spot, they do a lotto for the empty spots from last shift. There are some on weekdays but don't count on any on weekends.

Holidays? On Memorial Day, people were lined up 17-20 hours beforehand, just waiting to be assigned a spot. That's right: 17-20 hours for a three hour gig.

Also, the City of Santa Monica is trying (against the wishes of all the buskers) to change from this sign-up, first come, first assigned system to a lottery. The lottery would mean that spots were drawn every week or two and you had a spot for that week (or two). What if you're a performing duo? Trio? One of your group may get a spot and another may not. So much for you musicians and dancers.

Of course the lottery system is illegal (as is the current system), but none of the buskers want to buck the system. They like what they have (for some god-forsaken reason) and don't want a standard first come, first served setting.

So what's the pay like?


For the artists that are out there, they make a pretty steady paycheck. People understand them: they give them a $20, they get a drawing or sculpture or whatever. It's a bit different for the performers.

For the performers, so far I haven't seen a performer walk away with much of anything. On the Promenade, a good (I mean good) singer can clean up, and a dance team can kill, but the Pier is different. No one cares. No one even notices you most of the time.

For me, it's easy to get people to stop most of the time, but as soon as you hint that you accept tips, they're gone. I've had crowds of thirty people and hatted them for $3. But say you manage $100 for your three hour shift. Sounds great, yeah?

 That breaks down to a half hour commute (for example), parking, four hours waiting (on a weekday) and three hours performing, then a half hour commute back. So add it all up, that's an eight hour day. That's 12.50 an hour minus parking. Not bad at all. But maybe it's a Saturday. That's an eight hour wait (average), hour commute, parking, and three hours performing. That's a 12 hour day. Now you're making 8.33 an hour. Yea for working at McDonalds without the food benefits.

So what then?


If you view busking on the Pier as exposure or practice or marketing, then you're fine, but if you're relying on it for a living (unless you're Kozmo or Jimmy Talksalot), it's not happening. You'll need a part-time job.

 That's not to say that it can't be done, it's just saying that it's amazingly hard and all sorts of problems pop up (like not getting a spot one day, or props blowing into the ocean, or people just not showing up.)

I actually had a guy sit there and talk to me, taking up my time for a half hour. Finally I used him to draw a crowd and did a great show (about 25-30 people) and I wound up with $4.86, including the $1 that the guy (who had now taken up the better part of an hour talking to me and watching my show) tipped me.

People think you're a beggar. They don't see you as a skilled performer. Case in point:

I showed up for my shift and the guy was five minutes late tearing down when a young family ran up and begged him to do on last characiture. I didn't have the heart to say no. So another seven minutes go by and the drawing is done. The family thank me and apologize for taking up my time, give the guy his $20 and walk off. The guy, who is cutting into my time, tips me $0.50. That's right. Fifty cents. He just made $20 off of being 5 minutes late and another $20 on me letting him do one last drawing. That's $40 and the guy tips me fifty cents.

But it's not all bad, right?


No, it's not all bad, in fact most of it is great. It's a lot of fun and you meet some incredible people. I met a beautiful young woman who was traveling the country talking to people who were doing amazing and interesting things, and she was putting together a documentary of sorts. She was a great person, amazingly positive and energetic, and it really made my day meeting her.

I also have run into people who are amazingly kind and truly do appreciate what you're doing and understand how long it takes to develop these skills and they just don't have cash. I've also had parents who insisted that their kids take pictures with me because I "made their vacation."

Conclusion?


Busking on the Pier (and the Promenade) is a series of ups and downs, very much like Los Angeles itself. This city is packed full of amazing, beautiful people who exude awesomeness and at the same time there are horrible, disgusting people. Busking is kind of like that. Sometimes it's beautiful, and sometimes it's a thankless job.

Would I trade the experience of going out there? Would I give up the frustrations of a $5 day? Would I give up meeting all of these people, the pricks and the noble? No. No I wouldn't give any of it back. It's an incredible thing, and I think that if you're thinking about doing it, go for it. Just remember, it's twice as hard as you think it is...at least.

Magically yours,

Cameron Rivers, Kings To You

Tuesday, June 22, 2010

Late night magic rant

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So any of you from the Order of Aggie Illusionists have heard this rant (or one similar to it) before, but that doesn't mean that you shouldn't read it anyway. I'm sure I'll make some good points at some point.
-------------------------

One of the things that bothers me most about the magic community is that almost every magician I run across wants to think of magic as a form of art, not as the novelty entertainment that it has become. I admit, I'm one of those people. I believe that what I do should be considered art and I am entitled to the honorific "artist". Unfortunately, not everyone is.

Magic is art. Get that through your head now. The way that most of us present magic isn't. Most magicians are actually just people who do magic tricks (I have an entire other article on that topic). So you want magic to be taken seriously as an art?

Then stop screwing around and get serious!

It takes quite a bit of practice and performance time to make a routine art. So for all of you bemoaning the state of magic today: get off your lazy posterior and go out and do some performing! You don't get the honorific "artist" or even the title of "magician" if you don't actually perform magic! And it's this lack of performing skills that keeps magic as a novelty act, a peripheral entertainment and not at it's rightful place of art.

Magic is a performing art, and without going and performing it. You can't just sit in your studio (ok..living room) and practice a pass or a double lift (something more of you need to work on anyway) and then think you're a magician. You're not. You're a technician perhaps, but not a magician. A magician needs to not only practice routines, but has the performing chops as well. That's what it takes to be a real magician.

Think about it. Think about your favorite magician. I bet I know people who are better at technical sleights than Michael Ammar and Lance Burton, but those two know how to perform, how to put on a show, how to take that hokey hobby that Uncle Joe does and turn it into art. The reason they are the best is not their technicals; it's their performance! Look at how they can improve (ask Michael about the mashed potatoes next time you see him, or ask Lance about the time his theater caught fire and he had to entertain out front), look at how smooth they are. Take a look at Whit Hayden and see how he banters with the audience. It's not the trick, it's the magician they've come to see!

So get out there and fumble a trick, screw up a production, and make a fool of yourself. If you don't, then you'll never make it as one of the great names of your time and really, who strives to be mediocre?

Everybody's human-everybody makes mistakes. If you laugh it off and keep going and try to give it your best the next time around, people respect that.




Cameron Rivers, Kings To You Magic

Monday, June 21, 2010

Sent off an article

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So I've just sent off an article to MAGIC Magazine. The article is called "Exposure and the Real World" and is over my view of exposure and how it affects the magic community. I'm also writing another article called "Magic vs. Tricks" which discusses the difference between being a magician and being someone who does magic tricks.

So wish me luck on those.

I'll be putting up more discussions soon, I just haven't had a tremendous ammount of time, so thanks for sticking with me.

~Cameron Rivers, Kings To You Magic

EDIT: Got the second article sent off as well. Keep your fingers crossed!

Saturday, June 19, 2010

Misconceptions about Cheating

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Pretty good article:

http://www.associatedcontent.com/article/929495/misconceptions_about_cheating_at_poker.html?cat=61

Thursday, June 17, 2010

So it's been over a week...

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Wow...eight days since I've written anything. Here's a quick little something to keep you going:


  • An amateur practices until he can get it right; a professional practices until he can't get it wrong.
  • The hard must become habitThe habit must become easyThe easy must become beautiful.
Think about it

Tuesday, June 8, 2010

Check this out

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A good bit of thinking here.

http://turnermagic.wordpress.com/2010/06/01/3-ways-that-strolling-magic-enhances-corporate-events-and-group-receptions/

That is all.

~Cameron Rivers, Kings To You Magic

The Juncture of the Arts Misdirection dfdfadfa

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I just want to talk a moment about misdirection skills. 

They're important. More important than your sleight of hand skills.

Remember that.

~Cameron Rivers, Kings To You Magic

Sunday, June 6, 2010

Tom Frank or Grobard the Great

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This is an account of my having run across this particular magician at Universal City's CityWalk yesterday evening.

I saw a man setting up and getting ready to perform a magic show. He pulled out a few things and started building his crowd (which at this venue consists of "Hey!" and you've got fifty people). My friend and I stopped to watch and he began his show.

He started by changing a penny into a dime off of a kid's hand via touching it with a box. The patter was shit; the execution, decent. But a decent execution doesn't make a shit trick decent. He then told everyone he was selling that trick for $10.

Ok. A demo show. He could probably make more money doing a decent show, but whatever.

He then pulls out a mental photography deck and does a shitty routine with it and tells everyone it's on sale for $20.

Next was the stripper deck. He announced what it was and that it could do over 100 tricks. He fanned them out and asked me to pick a card. Naturally I took one and was extremely careful not to turn it around, making sure that his trick worked. He then found the card and moved on to a four ace bit with them winding up on the top of a shuffled deck. Great. Whatever.

Then, he explained in detail how each trick worked and how the deck worked. Explained it. To everyone there. Over 30 people, closer to 45 or 50.

I was amazingly upset. I get it. He makes a living selling magic gimmicks. But at what point is deliberately exposing how a gimmicked deck works, a deck you're selling, become okay? What the hell? I was most upset because I was so careful to make sure his trick worked, upholding my end of the Magician's Oath and then he blatantly and intentionally exposed how it worked to everyone within earshot.

His website is www.industrialstrengthmagic.com.

~Cameron Rivers, Kings To You Magic

Wednesday, June 2, 2010

A small pep-talk for all of my friends out there

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Yesterday I was out busking and managed to have a pretty bad day. I was upset the entire bus ride home.


Then I got back to the apartment and realized a few things:



  1. A day performing magic is better than a day in the real world.
    • This bit of wisdom actually comes from my friend Hawke. Think about it, going out and doing something you love beats a desk job any day of the week.
  2. I'm having fun
    • When I head out to perform I'm always nervous, but that is always replaced by enjoyment. I love what I'm doing out there and I'm having a blast doing it, so who cares what else happens? I'm lucky to be out there sharing my love with the world, spreading joy and magic, so I need to start acting like it.
So there it is guys. If magic is what you love doing, then do it and screw the rest of the world. It doesn't matter what happens out there, just have a blast doing it and the rest will follow. And remember, we are the lucky ones.

~Cameron Rivers, Kings To You Magic

Saturday, May 29, 2010

How Has Magic Changed Your Life?

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I had a man walk up to me yesterday after I finished a set and introduced himself and then said, without warning:

"So, how has magic changed your life?" 

I was taken aback. I really hadn't expected to trade philosophies on life with some random spectator on the streets of Santa Monica. It took me a moment to form a response, and the only words I could come up with were:

"Well, I went to school to be a lawyer and now I'm here."
"I guess that says it all then," he replied.

But it got me thinking: how has magic changed my life? Really, how has it? It's true that I did enter college expecting to continue to law school before discovering magic, but that's really kind of a cop-out isn't it? I suppose there are a ton of ways my life has been changed, I've been changed.

To start with, I never look at things the way other people do. I see containers and fabrics and knick-knacks and random things and my immediate thought is "How can I use that?" or "That would be perfect for...". I also glean things from movies. If something fantastic happens I always wonder "Can I recreate that?" So in a way, magic has changed how I precieve the world, changed the way I experience it.

But how else? Magic has given me an entirely different mindset on things. When I go thinking about magic, I almost never think of it as a hobby or a fun thing to do. To me, it is an art. I think of the ways that a show can influence people, how the beauty of a show can inspire people, how magic can show fundimental truths about our lives.

So how has magic changed me? How has it shaped me and my way through life? These are all the wrong questions. The right question is:

How has it not?


Cameron Rivers, Kings To You

Thursday, May 20, 2010

Gaffed vs. UnGaffed

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There was a post on The Cafe today that made me start thinking about something that I've said before. The post can be found here.

The post starts with someone discussing how they used to use tons of gaffed decks and then moved on to using completely ungimmicked decks. I for one have always found using ungimmicked decks a bit more rewarding than playing up a gimmick; you put time and effort, blood and sweat, and in the end a bit of yourself into an effect and it can be done by someone with a trick deck and no training. It's more than a little aggravating.

However, I'd like everyone to consider the following:

Person A is a purist. He trains with cards and coins and is an expert at sleight of hand. Every one of his peers knows that he'd never use a gaffed anything, and he often speaks out against gaffs saying that they are like training wheels: something to start with but to be shed ASAP.

Person B is also a purist...mostly. He trains with cards and coins and is an expert in sleight of hand. Every one of his peers knows that he'd never use a gaffed anything. But the dirty little secret is that occasionally, every now and again, he finds a trick that blows him away. Now he knows it's gaffed, but he gets it anyway and uses his purist reputation to introduce the trick into "polite society" as it were. Surrounded by magician friends, he does a few tricks and then pulls out his gaff. He executes the trick and gets rid of the gaff, and nobody suspects a thing. After all, he would never use a gimmicked deck, right?

The point of the above scenes is to show that while it is often rewarding to yourself to never use gaffed anything (it's certainly cheaper), sometimes throwing in a gaffed routine can cement your reputation.

As a magician you are to use every tool at your disposal to create illusion and entertainment. So don't throw away a tool for no reason; keep that tool for the one day when it will prove most useful.

~Cameron Rivers, Kings To You Magic

Perfect Practice

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Yesterday I mentioned an idea called perfect practice, and I used that to talk about routining, an important part of perfect practice. Today I'd like to go a little more in depth on the idea.

Perfect Practice is the idea that when you practice, you do so as flawlessly as possible. So how do you go about doing this? It's fairly simple.


  • Get a Video Camera - This prevents you from doing the famous "magician's blink" where you blink at the moment the "move" is done, thus preventing you from seeing the flaws in the mirror. A camera doesn't blink
  • Slow Down - Recently when I practice my cups routine I have decided that I need to do so in front of a mirror, and I do it as slow as I can. That's right. AS SLOW AS POSSIBLE. This helps you justify every single movement, every single twitch of the hand, and helps you see where it is that your routine has flaws.
  • Start Over - Every time you screw up, every time you flash or miss a load or get your hand stuck or draw attention somewhere it shouldn't be (and you know when you do that), START OVER. Yes, it's annoying, but it'll give you lots of practice and focus you on areas you need to improve.
  •  Learn To Take Criticism - If you get someone to watch something, allow them to be completely honest with you. Yes it sucks when they see something, and yes it's a blow to the pride, but don't get angry or frustrated. Just remember: it's better to have screwed up in front of them where you have time to fix it, than out in the real world.
  • Same Time Every Day - This one relates to an earlier post about creating a time/place to practice. If you practice at the same time every day, your mind gets into the habit of practicing, and it focuses on it, thus making your practice sessions better.
So that's it, a run down of perfect practice and some tips to achieve it. So go forth and practice perfectly!

~Cameron Rivers, Kings To You Magic

Wednesday, May 19, 2010

Routining

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An important part of performing is having a perfected routine. To accomplish this, it takes hours of practice, but not just practice, perfect practice. So how does one go about achieving perfect practice?

Routining.

That's right kiddos, your show starts at the concept phase. When you start planning a show, you typically start off with a theme. The theme for the show I'm putting together right now is "Beauty". Another theme I'm working on is "Spectacle". So I have to ask myself, what is my goal with this show, what is my theme?

Moving on from that, you have to find your signature piece, the one trick that you really want to do. Sometimes this piece of magic dictates your theme. The next thought is to placement. If this is your key piece of magic, then it will likely fall at the end of your show, so how do you get to it?

To create a great show, you have to answer this question. How do you get to the end? A truly great show will have a justification for not just every trick, but every transition, every body movement, the music, the lighting, everything! And that is what you are working towards by asking the question how?

A great way to do a transition is to utilize the main prop in the preceeding trick, that way there is an obvious reason to start with the prop. An example: your finale routine is card manipulations. Do a card trick in the trick before. Another way to do a great transition is to, at the end of your trick, turn a prop into the next prop. Remember, something unexpected is almost always a great crowd pleaser. Example: Your finale routine is a dove manipulation routine and the trick before is a card trick. At the end, take the deck, wrap in in a silk and produce a dove, leading directly into the finale routine.

So you're starting to get the idea. Every transition needs to make sense; the show needs to have a natural flow (unless your theme is "chaos" or something).

So to sum it up: Have a theme. Justify your transitions. Have a smooth flow. Put some thought into it.

~Cameron Rivers, www.KingsToYou.com

Tuesday, May 18, 2010

Burnout

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So the other day another magician gave me an effect and I took a look at it and decided to share what I thought with y'all.

The effect is called "Burnout", and it is a vanishing ink type trick. I did a bit of research and cannot find the creator of the effect, though it did become apparent that this effect is about three years old.

The effect is that you write something on a piece of paper, take a lighter to the paper and the words disappear (so will the paper if you're not careful!!!) You can also force words to appear by putting it in the freezer.

Now, the effect comes with three pages of instructions which have three separate effects on them, none of them providing any sort of performance tips or patter so I can only imagine that most people are out there saying "Hey watch this!" If you worked in a decent presentation, as well as changing up the trick entirely, then these tricks might be passable.

The first one is really my favorite and only needs a few minor tweaks. The spectator chooses a card and you reveal a prediction. The prediction is incorrect, then by applying heat, some of the letters disappear revealing the actual chosen card.

Now I like the premise of this, but the execution is sloppy. With just a little imagination we could have come up with a routine where you have them choose a card and the prediction is shown to be wrong. Upon discovering the prediction is incorrect, a burst of flame occurs and the prediction now reads the correct card. Amazing what a bit of flash paper can do to help an effect.

Enough of the effects. How is the actual prop? Well to be honest it is a commercially available pen (I don't know if it is anymore, but it was not produced just for this effect) and the ink in it is much lighter than other, normal pens. Comparing it to other pens, it is apparent that the inks are different. All in all though, it does work as advertised. You can make the ink vanish with a flame and reappear by chilling it.

Overall I think there is great potential in this idea, but until I have a creative breakthrough it will remain in my case.

~Cameron Rivers, www.kingstoyou.com

Saturday, May 15, 2010

Update: Santa Monica Pier

1
Something they won't tell you when you get your permit, or in any printed material:

You must sign up each day to perform on Santa Monica Pier. That's right. Every morning you must be there at 11am to sign up for the 1-4 slot, 2pm to sign up for the 4-7 slot and I have no idea when for the 7-untilweclose slot.

I only found this out because a friend found out...from the cops.

Yeah, so apparently the city that thinks we're good for it also believe in secret rules.

Friday, May 14, 2010

On The Road: Busking Santa Monica

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As many of you know, I am in Los Angeles busking for the summer (escapades can be seen here). I decided that since the busking laws here are a bit strange at best, that I would take some time to go through the pertinent parts with you. You may find the law, in it's entirety, here.

The first part of the law is it's purpose and the first law reads:


The City Council finds that the existence in the City of street performers provides a public amenity that enhances the character of the City...

Now, I don't know about y'all, but that gives me the warm fuzzies. In law it states that they like us. A step in the right direction.

The first real section you need to look at is 6.112.030 Rules and Regulations. In this part it states that you may NOT perform 

  • Within ten (10) feet of any bus stop
  • Within ten (10) feet of any street corner  or marked crosswalk
  • Within ten (10) feet of any entrance to a business (including outdoor dining areas)
  • Without a permit (Pier, Promenade, Tranist Mall) after 12:00pm (if it's not a holiday)
  • Oh, and don't block the flow of traffic
Those are the simplified and self-explanatory rules. Here are some slightly more complicated or strange things:

  • You many not construct a platform unless it has beveled edges [I know...what the hell]
  • No knives, swords, torch, flame, axe, saw, or other object that can cause serious bodily harm
  • No tumbling
  • No blocking curb-cuts [I assume those are the wheelchair ramps onto the sidewalks...]
Now we get into the really fun bit...Holidays:

  • If the holiday follows a weekend and the next day is a workday, then the holiday shall be treated as if it were Sunday and the day preceding the holiday shall be treated as if it were Saturday. 
  • If the holiday precedes a weekend, then the holiday shall be treated as if it were Saturday and the preceding day shall be treated as if it were Friday.
  • If the holiday occurs during midweek, and is surrounded by workdays, then the holiday shall be treated as if it were Sunday and the day preceding the holiday shall be treated as if it were Friday.
  • The following is a list of holidays which trigger the application of this subsection: New Year’s Day, President’s Day, Memorial Day, Independence Day, Columbus Day, Labor Day, Veterans Day, Thanksgiving Day, and Christmas Day. The City Council may by resolution add to this list of holidays.
Now that that madness is past, time for some more random goodness...Times you may perform.

No performer shall perform except during the following time periods:
  • 9 am to 11 pm daily
  • 11 pm to 1:30 am on Friday and Saturday
Now the real question becomes what do they mean by that. The law states that everyday you may perform from 9-11, but the more specific law states you may only perform 11-1:30 Friday and Saturday.

I spoke with a person at the permit office and they said, as I suspected, it should be interpreted as extending the performing hours on Friday and Saturday.

Now for the really fun stuff. To be space conservative I have merged laws for different locations, evident by the place (place) denotation. So, for you slow people, if there is a place and then a place in parentheses, you may substitute everything in parentheses for the law regarding that location.

No performer shall [ever!]:
  • perform on the promenade (transit mall) in any specific location or within one hundred and twenty (120) feet of that loaction as measured in a north/south (east/west) direction for more than 2 hours in a six hour period. 
  • perform on the promenade (transit mall) on an even hour at the same location that he/she was performing on the preceding hour or w/in 120 feet measured North/South (east/west).
Now in my twisted little mind, this tells me that if I were to perform and then move five steps East (for the promenade) to the letter of the law I am correct. I don't believe I will try it out though. To best the above law, perform at the far side of the street (N/S) then the middle, then the other far side. Then move to your original spot and repeat.

For the even hour rule, simply start performing on an even hour, b/c even if you get there and set up at 1:50, you WILL be moving at 2:00.

***The pier has similar rules except the hours are from 8am and you may perform extended hours on Sunday as well. Extended hours go to 1am***

The Pier does away with the even hour rule and instead says you have to move at 1 pm, 4 pm, and 7 pm to a different spot 150 feet away. Their time limitation is 3 hours at one location in every 6 hours.

Also for the pier, you will not perform at a distance of more than 10 feet from the railing (north railing in the Center Performance Area, either railing in the Breezeway performance area.

You may also not perform further than 7.5 feet from a star painted on the ground. It's to maintain the minimum "stay away from other performers" rule (which I didn't go into...you should know how far to be away from another person for your show to work)

Penalties for disregarding these rules are as follows:

  •  a fine of not less than one hundred dollars, but not exceeding two hundred fifty dollars per violation.
  • Any person violating Sections 6.112.030(c), 6.112.030(f), 6.112.030(g), 6.112.030(l), 6.112.030(q), 6.112.050(a), 6.112.050(c)(5), 6.112.060(a), 6.112.060(c)(5), or 6.112.060(d) shall be guilty of an infraction which shall be punishable by a fine not exceeding two hundred fifty dollars, or a misdemeanor, which shall be punishable by a fine not exceeding one thousand dollars per violation, or by imprisonment in the County Jail for a period not exceeding six months, or by both such fine and imprisonment


  •  Any person performing without a performance permit as required by Section 6.112.030(b) shall be guilty of a misdemeanor, which shall be punishable by a fine not exceeding one thousand dollars per violation, or by imprisonment in the County Jail for a period not exceeding six months, or by both such fine and imprisonment. 


So... have fun with the insanity that is Santa Monica. Permits are less than $40 (can't remember exactly...$37 maybe?)

Saturday, May 8, 2010

Criss Angel Spoof

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http://www.youtube.com/watch?v=Ltpr4xGXgAU

Creator: http://www.timothydrake.ca/

Magic Talk is back!!!

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So the Magic Talk forum is back online at a new website: www.magictalkforum.com

This is a great forum, so check it out!

Wednesday, May 5, 2010

Last day in Ft. Worth

2
Cross-posted from BuskingProject:

So here I am, getting prepped for my flight tomorrow and there is a show about cheating in Vegas on TV. It's actually really funny because the people who are talking seem to know what they're talking about, but it still doesn't seem to have any sort of deterrent on people who use sophisticated sleight of hand or other sophisticated scams. It appears that the "eye in the sky" only takes action if something looks suspicious, which for sophisticated methods are never.

For most of us, myself included, cheating at Vegas is never something that you want to try. Vegas is highly sophisticated and quick reacting, so unless you're Richard Turner, don't try cheating!

EDIT: Spelling

Tuesday, May 4, 2010

A Little Psychology: Practice

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Psychology penetrates our craft to the deepest levels: from how we construct illusions, the clothes we wear, the words we choose, and how we structure our shows. It surrounds us every step of the way, but many of us don't really understand what that means, let alone how to harness it.

Has this ever happened to you: You wake up and decide to practice your show so you get out all of your gear and start practicing...until that show you wanted to see was on TV. So what happened?

What happened is that your brain, while you were sitting in your living room, took a look around and thought to itself "This is where we watch TV!" So it shifted from wanting to practice to wanting to watch television. So what can you do?

Have you ever wondered why people have home offices? It's a space that they can focus on their work. That's all that happens there: work. So for the brain, when you walk into your office, starts thinking "work". It's a function of conditioning: every day you work there, so every time you go in it must be time for work. That's why after twenty minutes of practicing in your living room you move on to something else.

So, once again, what can we do?
  1. Set up a home studio: Take a room and turn it into your home studio. Put in all of your gear, hang up some magic posters, set up a video camera and practice there. Don't do anything else in your studio. No watching TV, no surfing the internet, no sleeping! Only practicing! Don't have enough space to dedicate an enitre room to a studio? Set up a corner of a room!
  2. Find a coffee shop: Or a library, or a park. Anywhere that is outside of your house as long the only time you go there is to practice. Try to find a place that stimulates you creatively. There is one coffee shop in College Station, TX (Sweet Eugene's if you get a chance) that when I go in, I get hit with about a thousand ideas. Find a place like that for yourself.
     
  3. Set up a block of time: Can't create a studio space and can't find a place in town? Use your own living room. What? Didn't I just tell you not to do that? Yes, but this time what you're going to do is spend an hour a day practicing. Start at the same time every day. Start at the same time every day!!! Then after a few days gear up to an hour and a half, then to two hours. Then after a week or two it'll be a piece of cake to practice for an hour or two a day. 
 So there you go. No more excuses! Get out and get practicing!

Monday, May 3, 2010

Motorcycle Magician: part the last

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So as it turns out, my motorcycle won't actually make it out to Los Angeles, so I'm having to fly out there. So I'll have to postpone the idea of writing about the experience of traveling across country with the magic stuff.

Sorry to disappoint.