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/
Tuesday, June 29, 2010
Creating Demand
0
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!
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
0
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
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
1
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
-------------------------
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
2
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!
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
0Thursday, June 17, 2010
So it's been over a week...
0
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 habit. The habit must become easy. The easy must become beautiful.
Think about it
Tuesday, June 8, 2010
Check this out
0
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
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
0
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
1
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
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
0
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:
Then I got back to the apartment and realized a few things:
- 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.
- 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
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