Latest / The Magic Guys / Las Vegas Magic Shows! #288

Transcript

Las Vegas Magic Shows! #288 · The Magic Guys

• 0:00
  They're guys. They do magic. They are the Magic Guys.
• 0:11
  Ladies and gentlemen, what's up? Welcome to episode 288 of the Magic Guys.
• 0:18
  Did you just eat a veggie straw? What are you eating?
• 0:23
  For those listening, yes, I did pull out a little banana stick.
• 0:30
  This is a sweet. This is not a plug, but this is the Big Boss Banana.
• 0:35
  It's like when you used to get those fake cigars, except now it's just like a banana flavor.
• 0:41
  And that's a little useless fact for you guys to know today.
• 0:44
  But we're glad you're here for episode 288.
• 0:47
  To my left, we've got big boy Nicholas Kais.
• 0:52
  That's right i'm an enormous child almost can be considered as an adult and i'm nick k,
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  and here the elder statesman of the group is i know i shock myself that i'm
• 1:02
  in my late 50s i still think i'm like 23 and then sometimes i hurt a lot but yeah i'm doug hi.
• 1:12
  Yeah. And we're here. We're here again, my friends, after a banger episode.
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  We've had two great back-to-back guest episodes, like having Stuart McDonald
• 1:22
  and then Hilda right after that.
• 1:25
  You guys have really enjoyed those episodes. Those two and Bizarro,
• 1:29
  all recent episodes have all like popped off. I've seen, like looking at the
• 1:33
  back end of the stats and everything.
• 1:36
  Rightfully so. They're bangers. Yeah. Yeah. Yeah. And Bizarro,
• 1:41
  Bizarro's had the most views within like the last month and I wasn't on that
• 1:46
  episode so I'm noticing a trend here. Yeah.
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  And I love it. It means I don't need to be here for it to be good.
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  Yeah, we've had a real good run of interviews and I think we've got another
• 1:59
  banger planned for next week which will keep us as a surprise for the listeners
• 2:03
  out there and still got a whole bunch more that I am working on.
• 2:07
  I've just got to constantly remind them because they are keen to come on board.
• 2:11
  But it's just like, don't forget about me. And I'm like, I'm going to keep hassling
• 2:15
  you because you're going to come on the show.
• 2:16
  So yeah, it's kind of cool. Like it's only taken us five and a half years,
• 2:22
  but now finally, like we have cool guests, you know, willing to be on the podcast.
• 2:27
  Like, for example, people might not know this, but Helder was such a great honor
• 2:31
  for us to have because we love him.
• 2:33
  But it was his publicist that reached out to the Magic guys.
• 2:37
  It's like we wouldn't otherwise have thought we could get him on because he's
• 2:41
  quite like secluded as an artist and he's not like hanging out at all the magic gatherings.
• 2:47
  But yeah, because of the pod, because of you guys listening and supporting,
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  like it showed up as a worthy place for him to come and promote a show. So we got to have him on.
• 2:59
  And thank you, Tim Askin. You're the Josh of the glue that keeps it all together.
• 3:02
  Well, yeah, you know, glue's like, you know, not sexy, but it is necessary,
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  I guess. So that is, that is a good point.
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  Josh, with that question, is the glue. And that's why he has so many horses.
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  Kudos to both of you guys for busting your hump to make this thing work.
• 3:17
  I just show up and be a goofball. So I know Nick's on the ball getting guests
• 3:22
  and writing episodes and Josh organizes everything. And lucky if I'm on here
• 3:26
  five minutes before the podcast. Yes. Thank you, John.
• 3:29
  You know what it is? It's like this. It's like if we were a race team,
• 3:32
  it'd be like Josh is like the pit crew who keeps all the cogs moving and changes
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  tires and make sure everything starts when it's supposed to.
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  And when the light goes green, everything works.
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  And then I would be kind of like the race engineer slash like,
• 3:46
  you know, planning things and like organizing the race. And then there's Doug.
• 3:51
  Yep. I'm the grizzled veteran driver who goes off track sometimes and tries
• 3:56
  to keep it in lane so that we can get to the finish line once a week.
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  Doug's like the- That's when I show up. Doug's the pit girl.
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  He like shows up right when we're about to start and he waves his flags in the
• 4:07
  bikini and he's like, go.
• 4:09
  Go boys. He's just all NASCAR. He's like, I'm gonna go real fast and turn to
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  the left sometimes. Yeah, buddy.
• 4:17
  So let's kick it off with our audience, with our listeners. We have two SpeakPipes,
• 4:21
  which we haven't really gone through for a while because we've had guests.
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  But as always, you can send in audio messages for us to play on the podcast
• 4:31
  using the link speakpipe.com forward slash themagicguys.
• 4:36
  You can ask a question, tell us something cool that happened,
• 4:40
  tell us your gig story, and we play it live and react to it.
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  So this one is from long-time listener, fellow friend of the podcast, Scotty P.
• 4:51
  And I believe this is a gig story. So we're going to sit back and listen to Scotty P.
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  What's going on, Magic guys? It's Scotty P here. Quick little story.
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  I did a gig for a 50th birthday party and there was a girl probably around eight years old.
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  And i've been trying to figure out how to work purse frame into my gigs so,
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  i did a spongebob production from the purse frame to get into a spongebob routine with the girl,
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  and all was good after i did the spongebob routine she said is there anything else in the purse,
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  so i had this sort of pre-prepared i produced a battery from the purse frame,
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  and explained that they also make batteries for children and use spellbound
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  to turn it into a lollipop.
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  And the lollipop was the battery for children, which got a bit of a giggle.
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  And the night went on. I went and performed for the rest of the adults.
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  Two more families arrived with a total of five kids. And what do you think the
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  first thing the little girl went and told her cousins was?
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  There's a magician over there handing out lollipops.
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  So I had to very quickly figure out five unique, ways of producing and handing
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  out lollipops not sure if there's a lesson in all that but just be prepared for kids to blub.
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  Absolutely love the idea of putting a battery on a stick and giving it to a
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  kid. I don't know, man. You're a kid.
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  For me, it was like, this just in, there's been a fatality of five children
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  that have swallowed battery believing they were lollipops. What the fuck?
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  Yeah, so good. Yeah, true. Wondering what the other kids got.
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  Did they get anything? Like, here's some razor blades from the stage act for
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  you. This is a fire wallet.
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  The Fantasio candle lights up. Yeah. let me let me put this uh yeah you hold
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  on to these sponge balls and just think of the one thing you want in life.
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  And you're going to jail yeah hell yeah it's funny the story they tell right
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  like you did this magic and
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  the thing that's the most surprising is that they got a lollipop like that's
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  the most joyful thing so that's the thing their kid brain,
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  will tell everyone else They didn't say, you transformed this thing into a lollipop.
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  They're like, you gave me a lollipop.
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  Kids don't care about magic. They want candy and, you know, they want to scream.
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  Yeah. That's what kids want. Screaming and candy. Yeah.
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  But in terms of, like, different ways you can produce a lollipop,
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  I mean, the classic, obviously, you could just pull them from behind their ear
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  and they're happy days. They're like, great, lollipop. What else do you think?
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  It's interesting how kids perceive magic. Firstly, I love the idea because I
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  would not have made that connection between like battery and like energy from
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  a lollipop to keep a kid going, you know, being full of beans.
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  So I kind of, I just want to commend you on that one, Scotty P.
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  That's actually quite a very interesting, creative, you know,
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  segue, if you will. But I will say this, I did a show yesterday.
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  It was a very last minute booking that I got a call around like two o'clock
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  being like, they want this show at seven.
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  Can you go do it? I was like, yes, super last minute. And I booked it in right
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  and it was an absolute like earner if you will nice it was two eight-year-olds
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  a five-year-old and a couple of grown-ups that's it,
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  interesting okay paying my full rate to just with them in in the lounge room,
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  for 45 minutes oh that's awesome wait it's a zoom show.
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  It was just it was just me at their house just oh at the house man i need that
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  i need a gig like that tomorrow,
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  yeah and the lady who booked it who told the agent said yo like she's very specific,
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  don't do kids stuff like these kids are really smart like you need to bring
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  your a game don't you bring balloons don't you bring this don't you bring that and i was like oh,
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  you know like thank you stupid kids stuff you know and be like,
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  where is it gone it's in your hand no it's not you know i was gonna do that
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  real fun call and response stuff they're just like don't don't bring that here
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  don't bring that here you bring your a game,
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  and it was just like stunned silence the whole time like it was just you know,
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  and they were good they were cute kids they were pretty wild.
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  Yeah it was for an eight-year-old and a five like it was,
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  yeah it was just it's so interesting wow it is so surprising sometimes where,
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  people will book you and you just like had you known about that,
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  it was like three kids and an adult in advance you'd you'd just know they were
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  going to say no to your feet like in your head you know and it's like sometimes
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  they like really surprise you.
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  Something something i'm really surprised i would love to know as well is there
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  there was this gig available it must have already happened it would have been
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  last weekend and some agents were trying to track down a magician,
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  did i talk about this already on the pod i don't know that so i got inquired
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  about it and i know two other people got this same inquiry and it was to fly
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  on a plane to entertain 14 kids from Sydney,
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  to Bangkok.
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  And it was a private chartered plane and they were looking for live entertainment
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  to keep the kids entertained for this eight-hour flight or 10-hour flight,
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  whatever it is. And so...
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  That blew my mind because now you're paying for an extra person on this charter,
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  to go from one place to another then you got to fly them back again obviously,
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  and an ipad just doesn't cut it where you actually want to send a human being,
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  on the kick as well but also like imagine trying to be responsible for entertaining
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  these kids on this 10-hour flight,
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  on a plane like this this the dynamic itself is not set up very well for like
• 11:03
  performing dude how good would card on window be on an airplane that yes,
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  you know what i mean like how that'd be a good one yes i was brainstorming with
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  with our friend duly and i think we were saying stuff like imagine if you make
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  a card vanish and then like the pilot comes back out he's like and he like coughs up the card.
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  Just like silly things like that,
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  anyway i charged an absorbent and i quoted like a large amount of money because
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  like yeah you know gate and bloom did an intercessor routine,
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  to the same effect where he he gave them a card and said like flush it down
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  the toilet and then when when they got to their room like the piece was there so you know,
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  okay that's funny yeah that's it like you know when you know people who know people,
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  yeah i low-key like it would have been a terrible gig but i really wish i had
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  gotten it just for the gig story like to tell you what happened being locked
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  in a sardine can for 10 hours with kids trying to do magic,
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  but i know a magician out there got it so if you're listening to this and it
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  is you tell me because i want to know how the hell it went that's right put
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  it on our speak pipe and let us know,
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  if you like jumped out of the plane before it ended like please you know you're
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  obviously a pro magician listening to the best magic podcast out there so don't
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  be shy say hi scotty p thanks for sending that in buddy and well done i commend
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  you on your creativity good job yes
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  next up we have a speak pipe from,
• 12:36
  patrick yeah,
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  so patrick we're going to play your speak pipe and it's a minute 20 so i'm going
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  to guess it's a geek story but let's see.
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  Hi guys it's patrick hope you are well,
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  i had a question about the guys who are doing stage shows parlor shows,
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  i've been really inspired recently by some of the more popular magicians and
• 13:04
  metalists out there darren brown i went to see piff the magic dragon and pen gillette very recently,
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  and while i'm a stage technician and have worked in theater and that kind of
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  space before behind the scenes,
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  i wonder what creative process you guys go through in order to storyboard or
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  to create the flow of a show,
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  often i would pick up halfway through after the creative process was already
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  done we'd add our technical cues to it and then run the tech rehearsal and then
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  show time but I've never been at the very beginning from an artist point of view.
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  I've got a very good idea of what I want my show to look like technically,
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  and I can do that stuff in my sleep.
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  But when it comes to being the guy that creates the very first seed of creativity,
• 13:58
  uh, from a performance point of view, I'm pretty stuck lads. Got any advice?
• 14:03
  Can I just take a moment to remind the folks that we did do an episode at the
• 14:07
  start of the year, I think it was where it was how to write a show and we shared
• 14:12
  the lecture notes in the discord as well.
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  So you will find some information in there on that episode.
• 14:21
  So first thing, scope that one out as a starting point. Obviously it's just easy thing to listen to.
• 14:26
  In fact, I'll let you guys speak to it while I dig up the episode number for our listener.
• 14:31
  Well i know for me like i actually do it probably not the right way but i kind
• 14:36
  of do it the way that like a stand-up comic would which is like.
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  I have the effect idea that i want to do whether it's just something i bought
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  an effect or i've like worked on if it's a sleight of hand thing and i just
• 14:48
  do it and it's like bare bones,
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  and it's only through doing it a hundred times at the theater of magic that
• 14:55
  i start to realize what to take out what little bits what bits people find funny,
• 15:00
  what things they think of that I didn't think of.
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  So I say it to make it more fooling, add extra bits in. That's when I start
• 15:06
  to realize what like filler moments of magic to add in between it to make more funny.
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  Like, you know, I used to do a Rubik's cube sequence that was literally just,
• 15:18
  here's a Rubik's cube, boom, now it's solved.
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  And now to get from here's a Rubik's cube to now it's solved is like five minutes
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  of laughter to get to that moment.
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  Cause I just realized things would happen that were funny from the audience
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  and then i realized i can make that happen every time and so it's only so basically yeah i like
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  my shows just happen because i like just do a bare knuckle version of it and
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  then i just like build it out after that,
• 15:44
  but if we look at helder last week helder said think of like,
• 15:49
  what the thing is you want to say or like who do you want your character to
• 15:53
  be perceived as on stage and then work out backwards like what effects would actually work in with,
• 16:00
  this character you're trying to portray to the audience or this thing you want
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  to say or this theme you want to have.
• 16:06
  What about you, Doug? Yeah, you know, I do what you do.
• 16:10
  You know, being a busker, I get to go out there and do reps and see what works
• 16:14
  and doesn't, you know, 10, 15 times a day sometimes. So that's kind of my recipe as well.
• 16:20
  I think there's, you know, for sure that's a great approach.
• 16:22
  If you can find somewhere to suck, you know, and do it over and over again and
• 16:25
  then listen to your audience and build a show that way, that's great.
• 16:29
  If you want to be a high artist like Helder, then yeah, you have a,
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  like he said, he's got a director. He's got a, not a linguist, but a dramature.
• 16:39
  You know, he's got other eyeballs on the show and you treat it like a true theatrical
• 16:43
  experience. You know, I was reflecting like even oddly on just a lesson that
• 16:48
  I learned from Jim Cialini. He was reflecting on the lesson he learned from Slydini.
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  And the first lesson he had with Slydini, he said, no tricks.
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  I just want to see how you walk onto the stage.
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  So, I mean, we could start there with the smallest of moments.
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  There's so much to write like how do you enter the room what do you want your
• 17:07
  audience to see feel is it a magic trick are you introducing yourself is there,
• 17:13
  you know there's a lot going on right so.
• 17:16
  I've noticed something with exactly what you're saying doug and it's taken me 10 years to notice it,
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  for the for like almost all my career i've done a bottle production because
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  it's one of the most magical things i ever saw,
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  yeah watching a stage magician so therefore i'm like let me give that feeling
• 17:34
  to other people so i've like anyone who's seen my magic enough has seen me do this production,
• 17:39
  and i love doing it however,
• 17:42
  it means every time i come on stage i'm walking very safely and slowly yeah
• 17:48
  to not knock this bottle out of my jacket,
• 17:51
  and recently at the theater magic.
• 17:55
  Some people were like starting to come back a lot and i wanted to film my show
• 17:59
  but i didn't want to like reveal the splash bottle so i like i took it out of the act,
• 18:05
  and i noticed the show and i put a different opener in and the show went,
• 18:11
  just as great like it didn't feel like it was lacking because i didn't do this
• 18:14
  bloody ta-da moment but i was able to like run out with the enthusiasm and it
• 18:19
  made such a difference that now i'm like oh my god,
• 18:24
  this makes such a difference and so now like i've almost taken it out,
• 18:28
  so like in my corporate gigs now i can like run out with like energy rather
• 18:32
  than like you know really slowly in one slow motion as if i'm hovering come out,
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  it makes it such a big difference and it took me i just never noticed it until
• 18:43
  i tried it without the bottle and I could just like run out.
• 18:47
  Yeah. I think, I think what's going to happen for any new sort of performer,
• 18:53
  I think most people start off doing shows and there's a difference between it
• 18:56
  being a theatrical experience.
• 18:58
  And what I mean by theatrical is where there's themes and storytelling,
• 19:02
  or there's a bit of a emotional journey. One of the things we talk about in
• 19:06
  that episode is just so you're aware, if you want to go back can listen to it.
• 19:10
  The episode is 251 and it's writing your first magic show. So give that a listen.
• 19:14
  And one of the things I explain is that basically like draw a straight line,
• 19:18
  which is the timeline of your show, the routines that go in between it that
• 19:21
  you have, or that you're thinking of doing.
• 19:23
  And then what the emotional response is going to be above and below.
• 19:26
  So it could be happy, sad, scary, happy, happy, happy, and just draw like a
• 19:30
  line of what that emotional journey is going to look like if it's a positive
• 19:33
  or a negative and what that's going to look like.
• 19:35
  Cause you might want to have like a sad piece, which is still like an emotional
• 19:40
  experience, but you want to end it on something positive, you know?
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  So you have these like net positive emotions on a, on a line that's been plotted
• 19:46
  along. So that's one of the things you can think about when you're creating this type of thing.
• 19:51
  I think that the, the, the main thing you got to sort of think about is the
• 19:55
  way that we kind of perform in settings like corporates, like private shows and theater magic.
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  It's not always going to be this theatrical experience where you can have control
• 20:04
  of like all lights and this and that, and have vignettes playing in between.
• 20:08
  And so it'll rarely be that as a professional magician, it'll rarely be that
• 20:13
  it's, it's hard to get out of the trenches to do high theater.
• 20:17
  Correct so let's just like you got your own theater you're doing your own festival
• 20:20
  show your own thing at edinburgh magic festival there's a magic festival whatever
• 20:26
  it might be until you sort of enter that forum,
• 20:31
  you're doing what i kind of call concerts like you're just doing concert magic
• 20:37
  it's like yeah it's a performance not a show right like i heard helder say it
• 20:42
  he's like yeah at the castle i was doing a,
• 20:44
  performance and then the geffen playhouse brought me in to do a show yeah right.
• 20:52
  And that's the difference like i got a tech question something has been on my
• 20:55
  mind as i think about formulating a more formal show in a theatrical environment that's lighting like do,
• 21:01
  you guys have a specific lighting cues and things that you need to hit in actor
• 21:06
  that you look for when you're doing your show,
• 21:09
  i'm i'm not that cool so yeah i don't but nick may have more info than i yeah
• 21:15
  look in my shows i i have but i run everything off a q lab.
• 21:23
  Yeah i have this thing called an ntech dmx converter that goes out from the
• 21:27
  laptop and then executes my lighting cues from there,
• 21:30
  So the answer is yes. But when I'm doing... So you can show up to a theater
• 21:34
  that has this technology integrated into it and be like, here's my show, plug it in.
• 21:39
  Yeah, it's not even that easy, if I'm being honest. It's the type of thing that
• 21:42
  if I'm going to be doing a run of shows for five days in this theater,
• 21:46
  then I'm going to have to program these lights and then execute them from this software.
• 21:52
  Because it depends what lights they have, where they're situated already. Correct.
• 21:58
  So what the DMX plotting is, all the above. so unless you're entering the same
• 22:03
  environment with the same lx setup with the same lighting bars the same same
• 22:07
  same lighting fixtures because,
• 22:10
  we can do a whole episode on lighting or a quick like crash course on lighting but lighting
• 22:14
  like they're like little robots and they have multiple channels and let's just
• 22:17
  say that there's five channels real quick so one channel might just be how bright
• 22:22
  you want it to be so when you so when you have this volume go up to 100 and
• 22:26
  down it's like, I'm bright, I'm not bright.
• 22:28
  And then you've got like red, green, and blue.
• 22:31
  And so by adjusting each one of these volumes will give you a different color.
• 22:36
  So, you know, blue and red will make purple and so forth. All three of them will make white.
• 22:41
  And then you might have this one, this last channel, which is like your effects.
• 22:45
  So that might be like how fast you want it to strobe. The more,
• 22:49
  the more up you put this, right, is like,
• 22:53
  the faster it's going to strobe because you might want a strobe effect,
• 22:55
  for example. So that's like what a five-channel light could look like.
• 22:59
  That's a lot going on there.
• 23:02
  Right. But now we're talking about, when you want to talk about moving lights,
• 23:06
  it could be a lot of channels.
• 23:08
  So, because you've got a light that's moving up, down, left,
• 23:12
  right, brightness, gobos, things that spin.
• 23:17
  It makes boxes, you know? So you might set these lighting cues and then your
• 23:21
  QLab app would switch between the lights. That's the idea.
• 23:25
  Yeah, as opposed to having somebody go through each one. You have the control of it.
• 23:31
  Yeah, it's basically like when you go in and program it for the first time,
• 23:36
  you would have a trigger that like when I hit this button, it's going to play
• 23:39
  this track for my next routine. And it also knows to trigger the lighting to
• 23:44
  change to a spotlight, you know.
• 23:46
  But what i think i think the right way to do it is like you just hire a light
• 23:50
  engineer like there are people whose jobs it are to do that yeah a lighting
• 23:55
  designer and so like i i feel like every theater would probably have a lighting designer,
• 23:59
  and then you work with them i just happen to be.
• 24:04
  Yeah i was at the magician's room the other night i look over to the lighting
• 24:08
  guy's table i'm like holy cow there's a lot going on there i wonder what i need
• 24:11
  to know to get on that stage to make the lighting work it's like and I,
• 24:15
  I wonder now with AI how quickly you could make it all happen if you plugged in yeah everything that,
• 24:23
  It's available to you at the theater. If you were able to plug that in,
• 24:26
  I wonder if chat would understand it and then be like, okay, put this into QLAT.
• 24:32
  What you can do is there is lighting software out there that correlates with
• 24:36
  particular boards, right?
• 24:37
  But what it allows you to do is that you are able to see, for lack of a better
• 24:42
  word, a kind of 3D render of what it's going to look like on stage when the
• 24:47
  lights are doing their thing.
• 24:49
  So you can actually program your shows to the music, to the stuff,
• 24:51
  and actually see it happening in real time so you can plot your whole show from
• 24:55
  the comfort of your of your desk your office and then go great,
• 24:59
  here's the lighting plot you give it to the appropriate lighting guys they number
• 25:03
  it do what they're supposed to do you plug it in and away you go so like all
• 25:07
  these things are options and again like i've had an audio business for,
• 25:11
  you know a couple of decades so,
• 25:14
  yeah yeah so yeah i myself i still perform by candlelight i just upgraded to
• 25:20
  the bic lighter to get those things going. That's my current situation.
• 25:25
  I'll get to that other skit one day. You would have thought with all the lighting
• 25:28
  in my background that I would be the lighting guy. But...
• 25:32
  I bet it was a lot easier to be a magician when it was like,
• 25:36
  light the candles at showtime.
• 25:38
  You know, thread work was readily accessible.
• 25:41
  Yeah, you're not wrong. Black art was popular.
• 25:45
  But speaking of black art and lighting and fancy shows, Doug,
• 25:49
  you've recently been checking out every, you're like on a mission,
• 25:53
  right? To go and see every magic show in Vegas.
• 25:57
  I came to Las Vegas to do the thing. And the first year I was here,
• 26:02
  the only thing I did was work at a magic shop for the most part.
• 26:05
  I did get out and see a lot of cool stuff. Don't get me wrong.
• 26:08
  But now I'm doing the thing. So yeah, I'm getting around town,
• 26:11
  seeing all the shows I've missed over the last year, and starting the process
• 26:15
  of vlogging. So I'm documenting my trips out to the Las Vegas.
• 26:20
  Not just the shows, but the magic community, because it runs deep here.
• 26:24
  There's a lot of weird magic stuff to go to in Las Vegas. So anyone who's interested in that.
• 26:29
  I'm going to Enlighten Universe YouTube, Doug.
• 26:34
  Are there many people doing regular vlogs in Vegas? I feel like it's such an
• 26:38
  opportunity, but I don't see any. You know, I see a lot of short form, like vertical.
• 26:43
  I think that's just what people do now with it. My dumb ass showed up to the
• 26:47
  party a couple of years late, but I think it's the way to showcase these arenas.
• 26:50
  And I do think also tying in a little short form reel, I've been doing that,
• 26:54
  throwing a little quickie up and saying if you want to learn more,
• 26:57
  you know, you can get a five or 10 minute longer video on YouTube.
• 27:02
  Yeah. Are you still doing vlogs? What is it? Vlogs? Someone yelled at me for calling it a vlog.
• 27:08
  Vlogs? Vlogs. Yeah. All right, Douglas Connors. Yeah, vlogs are a funny one.
• 27:15
  I, you know, back in the day, I did a challenge to film 100 vlogs documenting my magic.
• 27:23
  And it took me three years. And I blamed Gary Vaynerchuk for it. And I made 100 vlogs.
• 27:29
  And at the end of that I realized not that many people were watching so I was
• 27:34
  like all right let me try something else and then,
• 27:37
  you know started hanging out with you and Jason and you guys are doing short
• 27:41
  form and I'm like this is good I like this I can show off my magic
• 27:45
  and then now like whenever I did a vlog I just noticed that the thing people
• 27:50
  really wanted to see is the actual magic within the vlog,
• 27:53
  right so i guess for now that's why i've just been putting out clips that are
• 28:00
  magic like clips that i'm proud of they get a good reaction something different
• 28:04
  that happened and i put that out and i tag it to like the longer version of,
• 28:09
  that set rather than a vlog but also it's because like vlogging is so hard like
• 28:14
  it takes so much more time right because you can testify when i decided to do
• 28:18
  this i didn't realize you know,
• 28:20
  the next day is 10 hours of editing if you're doing you know doing it on any level but.
• 28:25
  Like the artistry of making it entertaining is fucking a process.
• 28:30
  So I think also for time, it's way easier to put out, you know,
• 28:35
  a seven minute uncut clip of me doing magic than it is to like snip it and cut
• 28:40
  and, and yeah, even yeah.
• 28:43
  And just watching other, so I, but I think what you're doing is great because
• 28:47
  people do want to see what's happening in Vegas.
• 28:49
  Like it being in yeah i think there's a need different but yeah.
• 28:54
  I think for you like if i know i can see what the latest thing is happening
• 28:58
  on doug's channel like that's what i'm going to do you know and if you get access eventually
• 29:04
  if you're not already you'll get access to like premieres of new shows and and that's like an,
• 29:09
  ongoing very popular thing and so i think the vlogs in vegas is like a cool thing,
• 29:15
  and will probably help with tourism as well like if you know you already have
• 29:18
  a popular channel but if people are now,
• 29:21
  tuning in to live vicariously through you living this vegas life there's like
• 29:25
  a really good opportunity for it but yeah long story short haven't done vlogs for the moment but i,
• 29:31
  am very curious to get that,
• 29:34
  vlogging camera you've been using because it does appeal to me it's badass if
• 29:39
  you watch my uh the vlog i posted today it's all from the dgi osmos camera wow,
• 29:45
  so it's a really good piece of gear and i still am new at it so i don't know
• 29:48
  everything it does you know getting dialed in still it looks it looks great
• 29:53
  because i normally would carry around my big zve1 full-frame camera to vlog because it just,
• 29:59
  yeah it looks way better than a gopro but that looks really good so yeah it's good enough for sure,
• 30:05
  if anyone would like to send me a thousand australian dollars i would love to
• 30:09
  buy one and vlog and i'll i'll write your name on my forehead when i do it,
• 30:14
  but yeah it was a big gulp, but when I decided to do this, I knew it was the
• 30:18
  right tool for the project. Right, right, right.
• 30:22
  So yeah, Magician's Room was yesterday. I went out to see the Levitate Lounge
• 30:25
  over there. They got a new formal close-up experience they're developing.
• 30:30
  I'm assuming we're kind of segwaying into talking about Vegas shows.
• 30:33
  And do you know about the Magician's Room? What's going on over there?
• 30:36
  First of all, I couldn't believe you put out a list of all the magic shows,
• 30:39
  and there was 25 magic shows existing in Vegas right now.
• 30:44
  Yeah, and those are the shows you can buy a ticket to online.
• 30:48
  You know there's other shows that are niche and sub rosa and weird shit you
• 30:53
  know but like shin them chris angel matt franco matt king david copperfield
• 30:58
  he's not here now anymore but you know all the main ones,
• 31:02
  yeah and what what the hell is copperfield doing right now is he just on his island,
• 31:07
  i mean i've heard rumors that you know he's planning to come back but you know
• 31:11
  who am i to talk about copperfield rumors now that i'm in vegas i gotta be careful
• 31:15
  about my copperfield rumors because he's got guys he's,
• 31:18
  gonna knock on my door and be like what'd you just say.
• 31:22
  That's true mr con come with us okay copperfield is so chill now that he just
• 31:30
  hangs out at magic live convention in a in a hoodie,
• 31:34
  just walking about him and his little his chill ass posse He walks two meters.
• 31:39
  I bet he's not chill at all. I can't see him as being the guy who's doing nothing.
• 31:45
  Why not, man? I mean, what's he pushing now? 70?
• 31:48
  I mean, he's still got the moon to vanish, and my guess is that he wants to
• 31:52
  die on the stage because that's where he lived his life. I don't think he'll
• 31:55
  be happy anywhere else. I don't know.
• 31:57
  But we have lots of things to talk about besides David Catterfield tonight, so.
• 32:01
  Yeah, so tell us about The Magician's Room. Tell us.
• 32:05
  All right, so it's a venue that is home to multiple shows. There's a couple
• 32:09
  of really strong core shows there. Last week, I saw Feral Dillon's sleight-of-hand comedy show.
• 32:15
  This show is great. it's a matinee show and if you're looking like to see some
• 32:21
  great sleight of hand magic and laugh your butt off go see feral dylan that's
• 32:25
  not what you told us backstage just kidding.
• 32:31
  A couple of the other shows that are holding down the fort right now,
• 32:34
  The Conjurers are back in town.
• 32:36
  They were in Australia not too long ago. It's the duo at The Conjurers,
• 32:40
  and they found a home in the room. I haven't seen their show yet,
• 32:43
  but I have seen Late Night Magic, which is a hilarious show.
• 32:48
  That's the one Bizarro's in.
• 32:51
  And it's an ensemble cast with the Shocker, Holly England, and Lefty.
• 32:56
  And sometimes guest performers. It's one of my favorite shows over there.
• 32:59
  And then, like I mentioned, they also have the Levitate Lounge.
• 33:02
  That's the close-up venue. There's a bar. They serve food.
• 33:06
  And, yeah, it's a cool spot. You know, it's an immersive joint.
• 33:10
  You enter through a game room, and then you go upstairs where the magic experience happens.
• 33:15
  It's a reasonably priced experience, and I highly recommend it.
• 33:19
  Go see one of the shows I just mentioned. You won't be sad.
• 33:23
  It's interesting how the bigger the world gets with technology and and connectivity
• 33:28
  that the thing that's starting to do well and pop up are these more intimate,
• 33:33
  style yeah all my favorite shows in vegas have been the smaller shows i mean
• 33:37
  there's some i've seen some great big shows but man when you know when i think
• 33:41
  about a show like kent axel doing ghost stories,
• 33:44
  that's one of my favorite shows in town over at the mandalay bay prohibition
• 33:49
  bar that's so interesting.
• 33:52
  And like still to this day, Steve Cohen's Chamber Magic show is,
• 33:55
  is one of the most fooling shows I'd, I'd seen. And that's, that's a hotel suite
• 34:00
  with 60 chairs in it. You know what I think it is, man?
• 34:04
  You know what I think it is? It's so difficult to achieve a large scale show.
• 34:09
  You just quite literally need millions of dollars backing you.
• 34:13
  And it's just not accessible for the percentile of magicians who love the art form.
• 34:20
  I mean, you can build your, I mean, even just having access to the knowledge
• 34:24
  of how to build illusions, there's
• 34:27
  not a great deal of books out there explaining all that by comparison.
• 34:31
  You know, is it JC Sum who does all those really awesome volumes of illusions?
• 34:37
  Is it him? Yeah. Asian cat who does that beautiful thing with the blade that
• 34:40
  you go through, you know, all those illusions. Franz Harari. He's another one. Yeah.
• 34:47
  Yeah, but it's literally down to like a dozen people at most.
• 34:50
  And even then it's so difficult because you can purchase an illusion, right?
• 34:56
  You could spend the tens of thousands of dollars to do that.
• 34:58
  Right. But then you perform that illusion for what it is. It is a soaring in
• 35:02
  half. It is a penetration. It is a, I appear elsewhere. Yeah.
• 35:08
  But to make your own, right, is staggering.
• 35:13
  And what I mean by that, by comparison, you as a close-up performer,
• 35:17
  my version of Coins of Cross will look different to your versions of Coins of
• 35:20
  Cross. There's still Coins of Cross, but you can proudly say it's mine.
• 35:24
  But when you're going to do something like a table of death,
• 35:27
  everybody wants to do Clidius one because that is the bomb and it looks the
• 35:31
  best. Like it is the most beautifully made one out there.
• 35:34
  So that's the thing where like illusions and large-scale stuff can almost be like,
• 35:40
  are you doing the one that that guy did oh you guys just all buy the same tricks
• 35:43
  and just do them i feel like you're at risk of doing that so unless you're like
• 35:47
  a france harari unless you're a copperfield
• 35:49
  yeah unless you're that amazing duo those two dudes i forget their names but
• 35:53
  let's go the ehrlich brothers i saw them here at the orleans that was one of
• 35:57
  it's really one of my all-time favorite magic shows great show
• 36:00
  but those guys are doing like full og crazy super it's in sand It is truly insane. That shit was crazy.
• 36:07
  Yeah. But like before, before the type of person who doesn't have the budget
• 36:11
  to create their own magic. And the reason why it's hard to create is that like
• 36:14
  to buy an illusion, right? I think like to buy, uh.
• 36:18
  Something like the appearing chopper motorcycle made by mike michaels you know
• 36:24
  i think that's like a 30 40 000 illusion,
• 36:26
  right and it is perfect it is made amazingly it is beautiful right well the
• 36:32
  early the early brothers said in an interview their monster truck that appears
• 36:38
  in their arena shows cost them a million dollars what,
• 36:41
  to make the truck the monster truck,
• 36:45
  so that's definitely true that sounds a million dollars to build a trick,
• 36:50
  like to make a monster truck a physical size driving monster truck and then
• 36:56
  to make it appear yeah man.
• 36:59
  And then but then also like the clips in my head that i remember seeing show
• 37:04
  up online of the early brothers are not their big illusions it's like them walking
• 37:09
  in the audience with the three leg or the four legs or whatever,
• 37:12
  and like the audience is reacting or one of their best segments actually is
• 37:16
  their bill change routine you know one of the brothers commanded the audience
• 37:19
  for 10 minutes with a thumbtip and a bill you know the 5 000 people in the orleans theater so,
• 37:24
  when i went to see copperfield you know what the most so first of all the thing
• 37:29
  that sandy liked the most was the floating rose routine,
• 37:33
  yeah baby and then seeing copperfield do the floating rose that's the thing
• 37:37
  out of the whole show, the whole million dollar show she remembered.
• 37:41
  And the thing that I enjoyed so much because I'd never seen it before was him,
• 37:47
  popping the balloon that's inside another balloon that's inside a Perspect case
• 37:51
  that's fooling the crap out of me.
• 37:54
  Amongst this million dollar show yeah right it's like not an illusion that was
• 37:57
  the most memorable thing yeah and then I think of like yeah Dynamo when he did
• 38:03
  an arena tour in Australia,
• 38:06
  he did you know disappearing on the stage appearing at the back of the audience
• 38:12
  he like levitated in the air he like made a car appear
• 38:16
  but the thing that I enjoyed the most was just watching him do his phone in
• 38:20
  bottle routine but a live practical version that he could do in the,
• 38:25
  like in front of everyone in real time not on a camera and that's a close-up trick so like,
• 38:30
  what the hell do we need illusions for is what i'm getting at,
• 38:33
  i think we're in a time like the audiences don't need the boxes anymore they
• 38:37
  i think it's hackneyed almost to be wheeling out boxes and scantily clad ladies
• 38:42
  getting in them you know a question to the group right
• 38:46
  do you think that the experience is something that,
• 38:49
  you can have entirely different because of the audience.
• 38:55
  What's the word i'm looking for the audience dynamic hear me out when you're at a,
• 39:01
  arena show whatever you're watching you could be watching pink or madonna doesn't
• 39:07
  matter you're just like one what about what about guns and roses is,
• 39:11
  that it can i watch guns and roses i i did their vip party i saw them they are
• 39:15
  amazing right but you're like this one little entity that's like lost in a sea
• 39:20
  of people but when you have this small scale thing and there's only 50 folks and you have this,
• 39:26
  this ability i think we just take a second to just identify this the smaller
• 39:30
  the group the easier it is to create intimacy agreed,
• 39:34
  yeah you're immersed in it way easier right yeah so copperfield does it very
• 39:39
  well with his show not that it's an enormous show like his theater is i would
• 39:43
  say with smaller than chris angel's one right,
• 39:46
  chris angel's one was like two or three times bigger when i when i saw it last.
• 39:51
  Yeah. Depends. Right. Yeah. But the intimacy in order to create it is like,
• 39:57
  we've got to make everything pitch black and we've got to let people like,
• 40:00
  and then, and not so that don't engage with everyone.
• 40:02
  So it's just like, it's just you, everyone be quiet. But if you're in an environment
• 40:05
  where it's loud and it's noisy and there's lights everywhere,
• 40:07
  and you've got like just people on their phones the whole time and they're talking
• 40:10
  and this and that, like that,
• 40:12
  that dynamic is so different to a, like a 20 seat theater where you can make
• 40:18
  eye contact with every single person.
• 40:21
  You know at least once a minute and you know like it's the dynamic that allows
• 40:27
  you to have this level of show that's like so cool and so personal,
• 40:31
  i think that's why i like kent's show so much kent xl it's so tight man he's
• 40:36
  he's right there in your face the whole time,
• 40:39
  yeah yeah or even.
• 40:42
  One of my favorite things to do is when i'm doing the show right and some chick
• 40:46
  is having a great time and having a laugh and some egotistical
• 40:49
  dude next to her is like leaning into her trying to explain how it's done he's
• 40:52
  like oh there's mirrors and there's this and there's that and there's blah blah
• 40:55
  and he's just talking she's like trying to watch the show and he's just going
• 40:58
  like oh i bet he's got like nine strings and i just literally go to the guy
• 41:01
  i go hey man stop talking to her just trying to watch my show,
• 41:04
  stop talking to her i just tell him stop talking to her she's trying to watch my show,
• 41:08
  and he goes and then she and then this is and you know what my favorite moment
• 41:11
  about that is when she does this,
• 41:14
  when she whispers to me she leans forward and she whispers thank you and i'm
• 41:19
  like you're welcome lady don't date that guy he's a douche yeah yeah.
• 41:26
  Yeah, so I think we're all on the same page here. I mean,
• 41:30
  yeah, the best illusion I've seen, the best box illusion performance I've ever
• 41:34
  seen was Kaelin and Ginger in The Illusionist because they had actual showmanship
• 41:39
  throughout the routine where there's funny stuff happening.
• 41:42
  She's hitting on the guys that are like strapping her up. It's like a whole
• 41:45
  show. And then she disappears and it ends up behind the stage.
• 41:48
  And you're like, that kicked me because I was just enjoying the routine so much.
• 41:53
  So I like an illusion. that's not an illusion like the like matt franco does
• 41:59
  the decolta chair but you know the guys is i'm not gonna watch cover me up i'm
• 42:04
  just gonna use my hands you know so you don't see it coming doesn't look like a box,
• 42:09
  yeah nice so we yeah i mean so we're talking about vegas shows and i guess what
• 42:14
  we're really asking is doug when can people come and see you at a vegas show
• 42:19
  that's what we're really getting to here,
• 42:21
  i've just started knocking on doors now so we'll see you I'd love to weasel
• 42:24
  my way into the magician's room and work that Levitate Lounge.
• 42:27
  They got 25 seats. I would crush it there. So, you know, I had a meeting with
• 42:32
  the owner last week. Maybe I'll have another one this week. And maybe sooner
• 42:35
  than later, I'm working there.
• 42:37
  And if not, maybe my theater is Fremont Street. We're getting there soon.
• 42:40
  I might just be out there throwing down with the locals on the cobblestones
• 42:45
  of Las Vegas. I'm fine with that as well.
• 42:49
  What's the show going to be about? Is it going to be about, like,
• 42:52
  your life story that led you to Vegas?
• 42:53
  And that you're able to, and you can thank them for it.
• 42:56
  Like that would be kind of my. Kind of that actually.
• 43:00
  It's, it'll be a story of life lessons I've learned as a magician,
• 43:03
  you know, a little bit of knowledge about how to have a good life with magic in it.
• 43:08
  And so on some level, it'll be inspirational. It'll be deeply fooling.
• 43:12
  Of course, it'll be fun and funny and maybe, maybe moving as well, you know.
• 43:18
  Yeah you know what if the show opens and it says you know when i was 16 years
• 43:22
  old i ran away from home to be a magician that's why i'm here with you today
• 43:26
  like that's a pretty good start to to a show yeah,
• 43:31
  my advice is don't run away from home but we won't learn that right away well
• 43:35
  it depends what you're running from that's different you're running,
• 43:39
  you know you're either running from something or running towards something and
• 43:41
  i think that that is a nice but you ask like what the show would be about like,
• 43:46
  that's maybe a moment, you know,
• 43:48
  maybe my first magic moment and why that, why that first moment of magic can
• 43:53
  be so powerful and why everyone should know a little magic.
• 43:56
  Certainly every grandpa should know a little magic. I'll talk about that.
• 43:59
  You know, I'll talk about my mentors that taught me and why those could be great.
• 44:04
  We could talk about my whole theoretical performance or we can go back to Las
• 44:08
  Vegas. No, we're writing your show. We're doing it live.
• 44:13
  Yeah, I think, like the people are saying in the comments right now,
• 44:16
  it's only a matter of time. Like, if you're putting this energy out there,
• 44:19
  it's only a matter of time, and I can't wait.
• 44:24
  Yeah, I'm buckled up. I mean, I came here to do stuff. I'm doing stuff.
• 44:28
  So, and I just, I'll keep doing stuff.
• 44:32
  Do you want to write your show right now, Doug? Do you want to write it to your
• 44:34
  live? You know what would be kind of interesting is if the show... Let's do it.
• 44:41
  What would be interesting if the set design for doug's one-man show is literally
• 44:45
  like what we're looking at right now like it looks like you're in your studio
• 44:50
  at home yeah as you're telling the story and like so your props are kind of already there so
• 44:55
  it looks like a home but it's like,
• 44:57
  you know the audience is in front of you seated yeah be kind of cool,
• 45:01
  kind of that's kind of what sean farquhar is doing up there the hidden wonders experience.
• 45:06
  Yeah and that's doing pretty well that's a that that,
• 45:11
  sean is for sure a role model for all magicians and what they can do build your
• 45:15
  own jam work hard do good magic invite people to your party and they'll show
• 45:20
  up now it's yeah it's crazy yeah so yeah i mean,
• 45:25
  hear me out doug what if we did an episode where we wrote your show like we
• 45:28
  just jammed your show live i'm like live in the air,
• 45:31
  i mean i'm down for that it's it's a lot let me get let me let you talk to my
• 45:36
  people i'll have to get back to your people it would be an Aaron,
• 45:39
  I have to talk to you later.
• 45:41
  Yeah. It would be an interesting episode, I think, to see the,
• 45:46
  how, like, what our thoughts start like and how they end like,
• 45:49
  like, the procedure of it and brainstorming, I think, because people could use
• 45:53
  the same kind of thinking with their own shows.
• 45:57
  And then if they want to see the final product, they got to come and see it live, you know? Yeah.
• 46:03
  I reckon there's a world where we can do that episode and then find a temporary,
• 46:09
  space for Doug to hire and put on that show.
• 46:13
  That show just, you know, we brute force it on our own. Let's do this.
• 46:17
  Let's write the show live.
• 46:20
  We're going to do it on the air. Okay. We're going to like, we're going to have
• 46:23
  one, we're going to, we're going to share one session, one creative session.
• 46:27
  So you get to see what it looks like. You're working with, with a director and a lighting guy.
• 46:31
  And we'll just, it'll be like a one hour session because it takes more than
• 46:35
  one session to write a show. And then what we'll do is this.
• 46:38
  We're going to work on it behind the scenes from then on.
• 46:41
  And then at Magic Live, we're going to do it at one of the suites.
• 46:46
  At magic live if they're lucky enough to see it,
• 46:50
  yeah no no it's gonna be a private it's gonna be a private show in one of the oh that,
• 46:54
  and here's what we do it'll be in the magic guy suite right yeah,
• 46:58
  and here's here's how i think we make enough money to afford that private plane
• 47:03
  nick for to fly us to vegas we make it the entry to see the show is a lottery,
• 47:09
  so you pay fifty dollars to enter the lottery and as many thousands of people
• 47:15
  can enter that as they want cha-ching but we pick,
• 47:19
  you know 20 of those people at random to come and see it in the suite you know,
• 47:25
  but in the meantime we've all made bank and we can fly and um well if we make
• 47:31
  enough money we can hire a magician to work the air flight the plane ride over
• 47:36
  for the show to entertain everyone on the flight over.
• 47:39
  I love that. He's so cool. Hiring. I love the idea that we're hiring a magician
• 47:44
  to entertain a whole plane full of magicians. Man.
• 47:49
  You know who we hire? We hire the guy who I'm not remembering his name now. God damn it.
• 47:56
  Never mind. It's too early for Albert. I'd want someone like Jack Grady doing
• 47:59
  ass magic or some shit like that. You know, something that's out of the box.
• 48:03
  I don't know. By the way, he's at the magician's table. I'm real happy to see him.
• 48:06
  He's working the magician's table show with my buddy tom frank up in cleveland
• 48:11
  right now if you're in cleveland go see the magician's table watch jack and tom.
• 48:18
  Do you think he needs to prepare it like he needs to prepare his butthole to
• 48:21
  do ass magic so that like he doesn't get that swamp no jack he probably needs needs to but doesn't,
• 48:29
  He's probably, you know, he's at least doing butt clenches every day because
• 48:33
  he's got to be able to hold the bottle with the cheeks, you know?
• 48:37
  Yeah, like imagine having to do it in Vegas on a really, really hot day and
• 48:41
  like the air con broke and it's like, all right, I'm going to do ass magic and
• 48:43
  it's like, this is, this is going to, you're going to notice this.
• 48:48
  This is one of my Vegas prize possessions. The Jack Grady ass magic,
• 48:52
  but it's signed. What the hell? That's actually a thing?
• 48:56
  Signed by Jack Grady. He was in this room.
• 48:59
  Wow. that's amazing we went we went running around fremont street together for
• 49:03
  a little bit wow he got recognized on the street on fremont someone's like jack
• 49:09
  grady that's magic what a guy what a great guy,
• 49:14
  wow and congrats he got engaged recently so congrats to you jack grady so cool yeah okay,
• 49:20
  all right how do you think you propose jack jack's doing shows he used a change
• 49:25
  bag like like he just used a change bag yeah well he is young right he probably
• 49:31
  just learned about it but um.
• 49:35
  No, I mean. But it's not about the prop. It's how you use it,
• 49:38
  right? I guess. That's what we're learning.
• 49:42
  Okay, what about this? What about the set design for Doug's show?
• 49:45
  So one option is it could be the set design you're literally seeing behind him now.
• 49:49
  Or it could be that it's a busking setup. So he's got his table.
• 49:53
  But the audience is seated in a semi-circle around him.
• 49:58
  So it's almost like a busking set. But you're immersed and actually sitting down and relaxed.
• 50:04
  And you know they're not going to walk away because they're already seated gut
• 50:07
  buster mike typed out my vision a little bit you know there's videos you know
• 50:11
  behind me that kind of you know pictures and stuff that shows the locale and
• 50:15
  that scenery changes as i tell different stories,
• 50:19
  and at the end of it i fall and break my ribs doing the invisible deck,
• 50:23
  which is a story that actually happened yeah that's the the lesson there is
• 50:28
  don't climb on high stuff after age of 50 while you're doing magic tricks,
• 50:34
  okay this is good oddly enough i have enough crazy stories that one probably
• 50:38
  doesn't make the list but whatever hmm.
• 50:42
  That reminds me i have to i i have a question to ask you off air about i have
• 50:47
  an idea for an invisible deck not using an invisible deck and i feel like doug
• 50:51
  would know the answer to the last piece of it i'm thinking about,
• 50:55
  Anyway, that's going to annoy some people because I'm not talking about it here.
• 50:58
  I was just thinking how clever it would be to be an expert pinky counter.
• 51:02
  And if you have the memorized deck, and then all you would have to do is do
• 51:05
  Marlow's future reverse from the middle.
• 51:08
  And then so now you could just pinky count and reverse in position.
• 51:12
  That's your invisible deck with the memorized back. I don't know if I've read
• 51:15
  that in print anywhere, but.
• 51:17
  I feel like that would be something that our friend who's been on the pod,
• 51:22
  Blaze can do, right? With one hand.
• 51:24
  Do you pinky count? are you doing this oh yeah that's right blaze sarah's already
• 51:28
  bypassed that idea yeah but i think with two cards even that's right your ladies
• 51:33
  can do it but and then he'll take it out and then he'll reverse it like this
• 51:36
  and then like put it in yeah
• 51:38
  no one does that except him do you do it,
• 51:42
  erica sai might do it have you seen i've seen him do it with two cards like
• 51:46
  any named two cards it's just not fair it's not crazy yeah,
• 51:53
  have you seen erica sigh are you familiar with this young female card worker
• 51:57
  yes yes i think she does his stuff like but maybe that's,
• 52:03
  her card work is maybe some of the best going right now it's great yeah i can
• 52:08
  tell she is another student of uh,
• 52:11
  ben earl's the family oh i've seen her uh commenting on stuff and i can tell
• 52:16
  some of the subtlety she does is like stuff that he teaches like this little
• 52:21
  like convince her. And so I'm like, okay, I see what's going on here.
• 52:25
  She does everything. She's doing everything. It's fucking unreal. Anyway, moving on.
• 52:30
  I wanted to ask you guys, you've been to Vegas. You've seen some shows here.
• 52:32
  What do you guys like in Las Vegas?
• 52:35
  I mean, what have you seen that you like in this city, the time you've been here?
• 52:40
  Right. So, you know, there is, like you said, there's a whole series of stuff
• 52:45
  like, you know, let's call it like the strip shows.
• 52:48
  The stuff on the main strip, the stuff that you'll see, you know,
• 52:51
  at Harrah's and so forth, you know.
• 52:54
  You know, I think the weirdest one for me was like, not the weirdest one,
• 52:57
  but as far as the staging went, like the room, Colin McCloud's room was a very, it was a great show.
• 53:06
  And the room was so interesting. It was so long and ordinarily would be like
• 53:11
  a nightmare of a room, but it's perfect in one breath as well,
• 53:15
  because you've got the volume and you've got the line of sight because it is so long.
• 53:19
  Like it's not as if like you're so far back that you can't you know do what
• 53:23
  you need to do and uh josh and i with a bunch of others when i saw it was bo
• 53:27
  kramer and a whole bunch of others we had a great time.
• 53:30
  This is a good example of how to add production value to a mentalism show which
• 53:34
  is often missing i think sometimes the mentalists don't put the work in to make those things happen,
• 53:39
  and wow that show is just firing on all the cylinders yeah yeah it's really
• 53:44
  good really strong, no doubt.
• 53:46
  And then you've got, so the thing is when I, when I first saw like shows,
• 53:50
  the very first time I went to Vegas, I kind of did it progressively going up.
• 53:53
  So I think I started with Matt King's show.
• 53:57
  I thought, let's go. That's a great place to start. So I started with Matt King's
• 54:00
  show and I saw it and it was funny and I enjoyed it. Right.
• 54:04
  And then I went and saw Matt Franco's show next.
• 54:08
  I saw it and it was, it was cool. And the room was gorgeous.
• 54:13
  I had all these beautiful like floating candle light sort of thing that looks
• 54:16
  a bit like hogwarts in the place where you you know um and and it was good and,
• 54:22
  it was very cool original effects and the story was very simple and not you know like,
• 54:29
  the show was great for like, you know, like it was interesting.
• 54:32
  Like, I think it was great at the time that I saw it some many,
• 54:36
  many years ago, probably over a decade.
• 54:38
  I imagine it's changed immensely since then, but I will say this,
• 54:40
  it's like, like for what it was, it could have worked anywhere.
• 54:45
  That makes sense. It didn't have to be one room in Vegas.
• 54:49
  When Matt won AGT, he showed us that we could take close up magic,
• 54:53
  bring it to the stage, absolutely crushed with it and then after winning that
• 54:57
  competition 10 years ago or whatever it was he brought that concept to vegas and
• 55:02
  yeah that's what he does he does close-up magic on the stage you know and then
• 55:05
  the culture chair it might be his only reason exactly
• 55:08
  yeah and then in between that we had a night,
• 55:11
  at mcbride's place wonder.
• 55:14
  Ground wonder ground baby that's one of my favorites,
• 55:19
  and was there front and center had a great time visited a couple of acts and
• 55:23
  everyone was there that night as well yeah that's the thing it's a community
• 55:26
  experience it's the it's a monthly magic party,
• 55:30
  it's great yeah yeah and it was just a bunch of different acts you know and
• 55:34
  lots of like belly dancing and other weird stuff and you know in like and it
• 55:38
  was and that was so that was a cool experience you know but like what for me
• 55:41
  made it cool was that like you're hanging out with like rudy kobe and,
• 55:46
  you know every other hero last month mind to mind did an impromptu set at the
• 55:51
  close-up table after, you know, we did a set there.
• 55:53
  And they're like, by the way, Mind of Mind's here. They're going to do a set
• 55:55
  for y'all. Let me tell you. Holy shit.
• 55:58
  They are so good. Yeah. Even unprepared, they just crush so hard.
• 56:04
  Yeah. And that's the cool thing about like, oh, so there's this different little
• 56:08
  niche thing, which is like almost like in a parking lot slash strip mall type
• 56:11
  vibe. Yeah. It's out there.
• 56:13
  It's weird. And then from that, went and saw Chris Angel and...
• 56:21
  Epic show. Epic show. The one I saw. All right.
• 56:24
  It was, he was at the Lux at the time. And it was, it was epic.
• 56:30
  Like, you know, he, he did a dove act, which effectively was a ripoff of Lance
• 56:35
  Burton's as far as everyone else is concerned, you know, but,
• 56:38
  you know, but when he made.
• 56:40
  We made, he made like a hundred birds appear out of nowhere and fly over the
• 56:43
  audience and then back into a little pigeon hole at the back of the room.
• 56:46
  Like, like he does this thing like this, and then all these birds fly out over
• 56:51
  your head and they're all trained to go over the audience and into the back
• 56:55
  corner. To be clear, that's also someone else's moment. That's Douglas Levkovich's finale.
• 57:00
  And that's the, I mean, so everyone's got beef with him because he's doing this type of thing, right?
• 57:05
  But for the punter, yeah, for the punter that comes all the way from whatever
• 57:10
  and wants to see him because you've seen him on the TV or whatever else, like it's a sick show.
• 57:14
  It's a sick show, right? I talked to a lot of people who saw the Criss Angel
• 57:18
  show Cause they come in the magic shop when I was working at that.
• 57:20
  Yeah. We just saw Chris Angel last night. It was great. I never really heard
• 57:23
  anyone bad mouth the show.
• 57:24
  Maybe a magician, but not the lady.
• 57:27
  Here's what I will say. Magicians will bad mouth him, but they won't bad mouth
• 57:31
  his show. Cause his show is dope. It is. Cool. It is. Cool.
• 57:35
  So let's. I haven't seen it yet. I'm looking forward to like checking it out, but. Yeah.
• 57:40
  I don't know how different it is. Like his levitation act, you know,
• 57:43
  other, you know, sort of Copperfield flying around, you know,
• 57:46
  that $200,000 flying rig.
• 57:48
  It's so good, man. It's so pretty. And he does it exceptionally well.
• 57:54
  He does an upside down escape, you know, spinning around the whole time.
• 57:58
  Like it is visually unbelievable. It is like a proper rock show.
• 58:01
  And he screams and yells and everything else. Like it's, it's dope,
• 58:04
  man. He's like, he's like a, he's like a rock star in the show and having like
• 58:07
  guitars on stage as they cut people in half. It's nuts.
• 58:11
  Good show. Then I finished with seeing Copperfield.
• 58:16
  And I went, and it's funny, because I have a buddy of mine who reminds me of
• 58:20
  this all the time. He goes, my favorite moment in magic was Copperfield doing his thing.
• 58:25
  And he just turned to me and was hitting the table like, this, this is magic.
• 58:31
  This, this, this is magic, this, you know what I mean?
• 58:36
  And as far as my emotional journey, going through all this was really inspiring.
• 58:42
  You saw and then and then you see copyfield do his thing and you think to yourself,
• 58:47
  i need to get out of this this it doesn't get any better than this is you can't
• 58:52
  beat this you can't beat this i should just quit,
• 58:56
  And that was like, you know, you see all these acts, you're like, I could do this.
• 58:59
  I could aspire to be like this. Then you see Copperfield and go,
• 59:02
  I have no business even thinking about that. There's a large gap between,
• 59:06
  say, Matt Franco and David Copperfield, that's for sure.
• 59:09
  And there is galaxies between them.
• 59:12
  There's, you know, there is. Well, you know, fucker's older than me and he's
• 59:16
  been working stages his whole life. He better be good at this point. Yeah.
• 59:20
  Maybe a little weathered. You know, credit when credit's due is my point, you know?
• 59:24
  And so to answer your question, it's like when you experience this journey and
• 59:29
  you look at what you go through, when you see the goat, he's quite literally
• 59:34
  that. It is Copperfield. He wrote the book.
• 59:39
  Let me tell you my favorite goat because we're already over time.
• 59:41
  And there's one guy I want to mention, my favorite show I've seen in Las Vegas.
• 59:45
  There's a couple of shows at the Planet Hollywood over there.
• 59:48
  Jerry McCambridge does The Mentalist. The All Stars of Magic show is really
• 59:53
  good. This is a five magician ensemble cast matinee experience three days a week.
• 59:58
  Jason Burns in that show and he also does the V show, but the show that's over
• 1:00:02
  there, if you don't mind a dirty joke or 20 dirty jokes, go see Grant Freeman's rated R magic show.
• 1:00:10
  It's the most original magic experience I've seen ever. And it's freaking hilarious.
• 1:00:15
  I was crying in that audience.
• 1:00:18
  If you're in Vegas tonight, he's performing with the late night magic crew.
• 1:00:21
  So if you could run over, if you're listening in Vegas, go to late night magic
• 1:00:25
  tonight. He's one of their guest stars, but great show, funny guy, young talent.
• 1:00:31
  He's a rock star. Grant Freeman.
• 1:00:33
  You heard it here, folks. You heard it here first. Thank me later. Go see it.
• 1:00:39
  That's nice. All right. We only talked about 10 shows out of 400 or whatever
• 1:00:44
  my list was, but that's fine. Yeah.
• 1:00:47
  And we look forward to seeing you explore all of them in your vlogs.
• 1:00:50
  In your vlogs, Doug. It's going to take a while.
• 1:00:53
  Yeah. So for future episodes, let's definitely explore the shows that you see.
• 1:00:57
  Let's work on your show and be sure to tune in. We've got a good interview lined
• 1:01:03
  up for next week. if all goes well. So stay tuned. Also scope out our merchandise, Josh.
• 1:01:08
  Yeah. Don't forget to review us.
• 1:01:11
  Oh yeah, I haven't checked. I don't think we've had a review yet.
• 1:01:14
  Someone said they were going to review.
• 1:01:16
  Yeah, I think people asked, how do you do that? And I think what you do is you
• 1:01:20
  go to Spotify or Apple Podcasts and there should be like a review the show section.
• 1:01:25
  If you click on the page. We're doing our part. Y'all do your part.
• 1:01:28
  You can find the review. We don't have to tell you where it's at.
• 1:01:31
  You can do it. You're the listener. Do the listener thing.
• 1:01:35
  And we'll do this thing. Yeah, yeah. Obviously, yeah, you can scope out the
• 1:01:38
  merch, themagiguysshow.com. You can. And we don't mention this very much,
• 1:01:43
  but you can book one hour Zoom sessions with us, with each individual of us.
• 1:01:49
  If you want to work on your act or learn slides that you've seen us do,
• 1:01:54
  but don't know how to do it, whatever.
• 1:01:56
  We've been doing a couple of those lately. Or if you want to just talk about
• 1:01:59
  like dinner, we could talk about, you know, what's for dinner. That's cool too.
• 1:02:03
  Yes. It doesn't have to be magic.
• 1:02:06
  Nick's, you know, moisturizing regime, whatever you want.
• 1:02:10
  It's all possible at themagiceyshow.com. This is a weird ending.
• 1:02:17
  But we're going to come back to you next week with a guest, so stay tuned.
• 1:02:21
  Or more Vegas Magic Part 2. It depends on the guests.
• 1:02:25
  That's right. Depending on their actual ability to turn up, it may be Vegas Part 2.
• 1:02:32
  Only that mystery. Another impromptu banger. Yes, absolutely.
• 1:02:38
  All right. And also the discord and all that good stuff. And we're just going
• 1:02:43
  to see how long we can keep Nick from peeing.
• 1:02:46
  So let me just end with this very long story. You know, 10 years ago.
• 1:02:51
  This amazing magic guys, coffee cup. You can purchase from magic guys, show.com. Hell yeah.
• 1:02:57
  And tell your mom, we said hi. Hi.
• 1:03:01
  Thanks for listening. It's time for us to disappear now. Disappear now.
• 1:03:06
  But we'll see you again on the next episode of The Magic Guys.