TAOM 2010

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.

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One of the best tricks ever

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:

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Ponta the Smith

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:

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To fool magicians or laymen?

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.

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Professional vs Serious

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

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

Character Workshop

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!

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

The New Santa Monica Pier

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).

Sooo....

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

Organizing creativity

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

Never for cheap

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

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!

So far: A review

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

Late night magic rant

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

Sent off an article

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!

Misconceptions about Cheating

Pretty good article:

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

So it's been over a week...

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

Check this out

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

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