An excellent method for detecting given cards is to have them pricked in the corners, very nearly through, with a needle. The hole, or, more properly speaking, the indentation, should be made on the back of the card, so that the face presents a little mound to the touch. The card should be marked in each corner, so that it will not matter which end of it comes to hand first. When it is desired to mark more than one card in the same pack by this method, one card should have one hole in each corner, another card two holes, another card three holes in a triangular form, another card a line of holes along each end, and so on. It will, however, be seldom necessary to mark many.Card cheating is to this day often practised by this means, cards of value of a certain suit being detected by the dealer as he deals them out.Originally published in "Magicians' Tricks"
Republished in the Magic Roadshow
http://streetmagic.info
So.. you want to be a street magic performer? Another Blaine, Nu, Benn, or Korn, perhaps?
Many of you have received 'The Calling'. You can't wait for the day when you can say that you're a 'professional magician'. You have your heroes, I do too, and you have your sights set on being a 'star'.
Let me say right now, not everyone wants to profit from magic. Many good magicians perform strictly for their love of magic, and they are more than content to keep their magic on a hobby level. They are not the reason for this article..
I'm focusing on the performer who wants to make magic a profession. In particular, I'm aiming at those of you who want to be another David Blaine - only better.
David Blaine has brought tremendous exposure to the art of magic. There are more performers now than at any time in magic's long and storied history.. thanks in part to David.
But....
Take my heartfelt advice and don't try to mold yourself after him. David's persona, and reality, are two very diverse personalities. Emulating David is comparable to dreaming of going to wizards school and becoming another Harry Potter.
Both are fictional characters..
David succeeded in creating the 'image' of a wandering stranger, going from town to town, performing magic for the masses - one dude at a time.
In any of the specials, did you ONCE see anyone who appeared to be on the verge of giving David money? Think about it... Can you imagine David doing a levitation, turning to the screaming ladies, and asking for a little spare change?
If you have hopes of being a professional, getting paid really needs to be near the top of your list of priorities.
David earned tens of thousands up front, before the first segment was filmed. That was the seed money that fueled his travels around the country. David was lucky in that he acquired a couple of contacts that enabled him to get his foot in the right door and present his magic to the right executive..
Chris Korn and CB Benn taped their Mondo Magic series while traveling to different parts of the country, and, although their shows were well received, I honestly don't remember seeing either of them passing the hat..
The same is true for Alain Nu. Great performer.. but he doesn't make a living performing on basketball courts and in parking lots.
Think about it...
David taped two street magic specials and then moved on to extreme acts of endurance. Good for him. Even David knew NOT to push a good thing too far.
Benn and Korn will continue to perform their brand of magic.. just not on TV. And probably not on the streets either. They are not street magicians in the classical sense, although their magic looks good on the streets when followed by a camera crew..
Hey... I'm not writing street magic's obiturary. I'm simply pointing you in the right direction. I know guys who make a good living as street magicians. But there's a technique and strategy they use to fill their hats with cash...
Wandering through the streets of any-city USA isn't part of that strategy.
If you dream of making a living in magic, then I hope you have realistic expectations and a business plan.. because without both you will find yourself broke and discouraged. Guys who make a living on the street's have really good locations, with lots of traffic, and they are able to attract a crowd and entice their audience to tip..
And most of those who perform in restaurants have day jobs. At least until they develop a large enough following, like our contributing editor, David Breth, that the restaurant will actually pay them to perform and free both the magician of needing to depend on tips, and the customer of feeling that (s)he has to tip..
I know magicians who have been 'in the business' for ten to twenty years who still don't have a clue how to make a living. Their lives are a mix of day jobs and low-paying performances, and the pain that comes from striving for recognition in a profession that won't give an inch... mainly because they have no goals and no sense of direction.
And then there are 'true' street performers, like James Cellini, who make more in a day on the streets than you and I make in a week.
So whats the purpose of this article? To encourage you to research your profession and discover HOW and WHY others succeed in the field you want to succeed in...
I'm sure if you could ask David Blaine right here, right now, how to make a living as a magician, he would tell you to seek out a professional magician, someone making a full-time living in the field of your choice, and learn everything you can from them...
Then, seek out another magician in the same field and learn all you can from them as well.
There are many excellent books, tapes, and DVD's available to you that can offer precise details about street magic, close-up magic, stage magic, mentalism, or whatever you choose.
I'm not trying to educate you... I'm trying to get you to take a long, hard look at your form of magic, and make some critical decisions about where you need to go from here..
Also, I'm not trying to discourage you from doing what you want to do. I just want you to make SURE that what you want to do is actually do-able.
Good magicians find ways to make a living; shows, lectures, corporate events, cruise ships, trade shows, Las Vegas venues, webmasters, parties, restaurants (table-hopping), producing video's, and a few other ways they keep secret.
So go ahead, pick your poison. But whatever you do;
(A) DON'T strive to be David Blaine. His persona is an illusion. (B) DON'T waste your talent on a path that leads nowhere. (C) DO make sure that what you want to do is both do-able and profitable.(D) DO seek out the advise of professionals in your speciality.(E) DO dream big... but have a plan!
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(You may reprint this article in your publication IF the following footer is included..)
Rick Carruth is the editor of "Magic Roadshow Journal of Magic", a bi-weekly newsletter for working magicians, and those who want to be. Each issue includes a combination of articles, interviews with internationally known magicians, resources gathered from across the web, and tips and tricks submitted by our readers. Subscribe and view past issues at http://streetmagic.info or visit our blog, "Magic Bullets".
First, this post is not about magic, or how to perform magic. It's about getting a position in a restaurant performing your particular brand of magic.
Working as a close-up performer in a restaurant is probably the easiest way for the inexperienced magician to gain valuable 'face time'. It's also one of the best ways to develop your close-up skills and work on your confidence.
Working the same location, week after week, requires a different strategy and finesse from say - working birthday parties. Approaching friends, family, and co-workers to get a birthday gig is one thing - approaching the general manager of a national restaurant chain is something else.
Here is a list of tips I consider "essential ":
(1) Look for the proper type of Restaurant -
It will be your responsibility, among other things, to help the restaurant cover that period of time between ordering and receiving the order. Seek restaurants that meet the criteria of having a legitimate 'wait time'. TGI Fridays and Applebees aregood examples. Pizza restaurants that cook pizza on-demand are another good example. (Customers typically wait at least fifteen minutes on a fresh baked pizza)
There are always exceptions to this 'rule', but these type of restaurants are a good place to begin your search.
Since many restaurants hire magicians to work on typically slow days of the week in order to increase mid-week traffic, mention that you, for a fee of course, can just as easily perform for waiting customers on weekends. Not only will these customersappreciate the time-consuming entertainment, but it will help cut down on walk-offs that leave at the first sight of a long line.
This little-used technique will definitely bring more money into the restaurant and keep paying customers from going elsewhere. Plus, it gives YOU work both during the week and on weekends.
(2) Dress Appropriately
- To be taken seriously, dress seriously. I'm not suggesting you wear a tuxedo to an interview, but as Michael Finney is fond of saying.." dress like you have some place more important to go later."
(3) Leave the Case
- Don't walk in carrying your close-up case, but it certainly wouldn't hurt to have it in your car. Leaving it outside will give you a few moments to think about what strong magic you want to show the general manager/owner -IF- they insist on seeing a sample of your magic.
(4) Deal with the Decision-Maker Only -
You're not there to perform a free show for someone who can only refer you to someone else. Although some performers say call and set an appointment, I say go to the restaurant about one-thirty, eat lunch, and then ask to speak to the general manager/owner. Because you're there as a customer, it makes it more difficult for the manager to 'brush you off'.
The manager should respond to you as he would any other customer. Once at your table, ask him if he has a couple of minutes to 'talk'. Chances are, even after you disclose your reason for wanting to talk, he will still see you as a customer, and not an inconvenience.
Go on a Monday, Tuesday, or Wednesday, and try to talk to the manager around two-thirty - the slowest part of the day for most decision makers. Ask the manager to have a seat. It puts you both on an equal level. Be confident.
(5) Be Prepared -
Give the owner/manager a promo package of some sort. If you have to go to the mall and get a good photo of yourself at the glamour photo place - do it - and attach a business card to it. If you have a resume, take copies with you to give out, as well.
Some of the chain restaurants may want a contract. If you don't have one - I have a basic contract posted on my website at:
http://streetmagic.info/contracts.html
Print it out, modify it to suit your specific purpose, and run a few dozen copies off at Kinko's.
(6) Convince the Owner/manager -
The owner/manager must be convinced that you can increase their business on traditionally slow days. If you're working on salary (or by the hour), you need to show that you can increase traffic enough to cover your pay.
Don't wait until you're asked- to outline your plan. Have three or four good examples mentally ready, and look for an early opportunity to present them.
Tell the powers-that-be what YOU can do for THEM, and how you can make them look good in the eyes of their owner, regional manager, or spouse.
They aren't interested in how many awards you've won, or how many other restaurants you perform for. They're interested in THEIR bottom line.
Managers are in charge for a reason - they know how to separate profitable ideas from costly ones.
(7) Compromise-
Offer to work one night for free - if the management has reservations about your ability or usefullness. Give the a chance to see, first hand, the effectiveness of your magic.
If you're offered a tip, politely decline, and ask that, instead, they put in a good word with the manager. This is VERY Important.
(8) Pick your Poison -
If you're talented and personable, you can make more working for tips. Keep in mind that you will be competing against the wait staff, to a degree, for the customers money.
Think of creative ways to work WITH the wait staff instead. Consider offering them a tip if they refer tables to you. I wouldn't 'quote' them a dollar amount, instead, just tip them a percentage of your tips. If they can 'pre-qualify' the table, it will save you time and money in the long run anyway.
(9) Get Paid Accordingly -
If you decide to work on salary, or hourly, remember that you will perform a valuable service for the restaurant - one that no one but you can perform. You deserve to be paid according to your talents.
Good wait staffers can easily make a hundred dollars plus a night. Shouldn't you?
(10) Negotiate -
To make your job easier, negotiate the right to place card holders on the tables. This lets the customers know you're working, that you're working for tips or courtesy of the management, whatever the case, and to request a visit to their table through the wait staff.
Some of the biggest names in magic perform regularly in restaurants. Not so much because they need to - but because they want to. It's the perfect place to introduce new magic in your repertoire and make important contacts that may lead to very profitable performances.
Mastering the ability to be personable is equal to mastering your magic. Both work hand-in-hand to elevate your status as a performer. Restaurants are the perfect place to develop your craft, build your confidence, and gain invaluable contacts.
Good Luck!
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(This article may be republished IF the following footer is included..)
Rick Carruth is the editor of Magic Roadshow... magic's Premier Free newsletter. Articles, tips, tricks, and resources are included in each issue. Sign up at: http://StreetMagic.info
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