Latest / The Magic Guys / Sam Osborne hangs out with the Magic Guys #189

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Sam Osborne hangs out with the Magic Guys #189 · The Magic Guys

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They're guys. They do magic. They are the Magic Guys.
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Ladies and gentlemen, welcome to episode 189 of the Magic Guys.
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We're here. We're here to have fun with you guys. To my left, we've got Nick K.
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Welcome to the show. And to the right, we have Josh Nobito. We've got this guy
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who's a magician and has guns. This guy right here.
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But in all seriousness, it's great to be here with you all.
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And so many people in the chat today, more than normal, because this guy is
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a sex icon in the UK, it seems, from the comments.
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I'm in love with this guy. This guy is so awesome. How do I become this guy?
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Look, the list goes on. So we're going to get to him in just a second.
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But it's great to be here. our our father uh
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douglius aridius is not here today because he
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is a little unwell just from being so awesome so send
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him some love but he'll be back no doubt soon nick how
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are you feeling on this fine day or should i say lumberjack nick yeah it's cold
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here and it's cold here in town guys it's like seven degrees here in melbourne
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so i had to rug up the heater is on but i'm doing my best to survive and so
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i was like i know like a lumberjack but it is cold so i'm just trying to.
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Want this actually wear this jacket in the snow more times than not that it's
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a good rig thank you thank
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you how is it in beautiful sunny bris vegas but it's
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so funny you have the heater on i have the air con
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on in my room right now because it's hot it's hot
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and to stay cool i've got my magic
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eyes t-shirt on you know what i'm saying well that's
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the wrong sound bell but you know what i'm saying and we just want to say hi
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to everyone in the chat as well who we got watching today well i was going to
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say it's a wonderfully sexy t-shirt you guys can buy at magicguyshow.com yeah
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that's it you nailed it the magicguyshow.com or it's literally below this video in youtube,
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you can find the button to just buy the shirt as well. You should test it out and let us know.
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And those pennies go towards us being able to put together a kick-ass show for
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our wonderful audience.
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Who is in the chat? Let's give them a shout-out. We have GP Magic,
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Thomas Conger, The Battle Jam. That's a cool name.
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Daniel Farmery. I wonder if he's a farmer. That's kind of cool.
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We have Jason Fergus. We have Caden H.
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We have M. Boo. That sounds like a street name to me.
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We have our good friend, The Chris Magician. We have my old friend, Gary Davis.
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We'll catch up with you soon in Sydney if you're around, Gary. So I'll hit you up.
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Josh Mundy. Geez, there's an abundance of here. It's going to take forever.
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Like there's a whole bunch here. And all you folks are here to see our guest today.
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But before we do, we do love it when you guys send through your speak pipes.
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Now you can do those. You can obviously send those through the website.
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We have any questions and so forth. And sometimes we have spitball sessions and whatever else.
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Else but we have one sent in right josh that's right you can go to the magic
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guy show.com leave us a speak pipe there or speakpipe.com forward slash the
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magic guys i'm pretty sure sure i remember which one this speak pipe is but
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i'm also not sure so we're going to play it now,
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let's see what is going on in the zeitgeist of the speak pipes hey guys it's
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just jimmy I wanted to ask you an ethical question.
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I technically have been doing magic since high school and now I turn 45 in a couple of days.
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Is it fine if I say that I've been a magician for 20 years, even though I've
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just really started honing in my skills in the last five with the help of Doug and you guys?
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And also, am I able to say that I'm a world traveling magician because Because
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I've done magic in the Philippines, in Korea, in India, Thailand,
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Cambodia, Mexico, Singapore. There's a couple others.
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Because I've always done magic for my whole life.
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But I don't know. I feel like it's kind of a questionable thing. And I don't want to like.
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But also, I mean, yeah, I need to sell my business, right? I don't know.
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Talk amongst yourself. Thanks, guys.
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Jimmy, great question. So let's touch upon a couple of things here.
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He's been doing it professionally or semi-professionally for the past five years is what I picked up.
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But he's been doing it ultimately for 20 years in the making sort of thing.
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And more importantly, happy birthday
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in a couple of weeks when you do turn 45. So power to you, friend.
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This is interesting. This is interesting. And firstly, I want to commend you
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on your ethics. A lot of folks don't have that. But here.
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That's the ethics. Yeah, probably the ethics.
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Here's what here's another way to word it now josh you're welcome to correct
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me about let me express my thoughts while they're clear in my head and i just
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think that you could say with 20 years of experience,
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I think that's a nice way to put it. So you can say you've had X amount of years of experience.
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A lot of people who are doing duo acts at a very young age will say with a combined
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20 years of experience, but they've only been doing 10 years of it.
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You know what I mean? So there's little things like that you can say.
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There's nothing dishonest about that either. But keeping in mind that what we
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do is dishonest, but we're honest in doing so.
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You know what I mean? We're not genuinely making coins vanish.
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We're just making it appear as if coins manage. So we're very honest in that sense.
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At least some ethics are in that place. So for example, ethically,
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we don't believe we have true magic powers.
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And if you're anything like the Australian Institute of Magic,
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if you do believe that, you can't kind of be in the club. So that's literal
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value. You tell your thoughts.
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That's your 10 pieces arriving. thriving.
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So I, I think personally, it's great that you're, you're questioning that.
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And it's something that magicians, we tend to embellish sometimes like we're
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award winning, we're the best ranked magician in our country.
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You know, there's quite a few handles on Instagram that all say the same thing,
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like, you know, America's best magician or Australia's best magician.
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And so at the end of the day it
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really doesn't equate to anything like you can
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say that or you cannot say that and you're probably going to get the
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same amount of work because it's really based on if you're doing
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a good job in shows and clients are talking about you and and recommending you
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and so it definitely doesn't hurt like you could literally say you won the magic
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olympics in your city if you you shouldn't ethically but if you did you could
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say that and you're probably going going to get the same amount of work.
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So it's not really going to change anything, but it's just you need to feel
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comfortable with what you're saying. So I agree with Nick.
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20 years of experience is great, but at the end of the day, it doesn't really
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change a lot business-wise for you. It's not going to,
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Nick, we got a note. What turned up? A new segment. What was at the door?
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I hope it's naked pictures. I hope they're naked. No, I'm the jelly check.
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Oh, it's a battery for my Milwaukee. Okay. Good stuff. Power drill. Power drill battery.
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So, Jimmy, thank you for sending that in. Please, guys, send more in.
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I think we enjoy kind of playing one to start the episode off.
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It starts the good vibes. But, alas, we have a wonderful guest to bring on.
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This guy I've been seeing.
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He comes up in my feed on social media quite a lot.
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I'm like, who is this young man with a full head of hair doing this knuckle-busting
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magic, but he's also busking?
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And then I've seen my friends from Australia, Jason Maher and Mika Harris,
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venturing over to Edinburgh.
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And this guy's there. And so he's sort of getting in amongst the magic,
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the magic sphere, the magic world.
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And I thought, you know, there's only one place to go from there and that is the magic guys podcast.
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So he's officially made it, but it's such a pleasure to have him on ladies and
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gentlemen, please welcome Samuel Osborne.
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Music.
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Let's go on.
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Samuel Oles. Thank you so much for being here. Please tell our friends,
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who are you and what do you do?
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I'm Samuel, a magician from the UK. I'm a buster and I'm 18.
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So it means I've got about three years of experience under my belt.
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But I still get them. so that's me
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wow 18 oh my god man
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what i would give to have been already professionally working
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at 18 bloody hell that's exceptional man so i mean tell us okay so obviously
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this wasn't too long ago so tell us how did it begin let's go from the beginning
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chad what was it that'll be me being curious i bought during lockdown so i watched
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youtube and i learned how to vanish a
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coin i went down the rabbit hole that was
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us about it yeah found doug he
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mentored me up and then said go to the
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street go forth and uh i bought a table within what within three years you went
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to street first year i started doing street do you understand the amount of
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bravery it takes to go straight into a street show i mean this would be clear
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one year have you done Any gigs prior,
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other than performances, not a single gig.
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So pure, like school helped me. I just, I'm sure my classmates loved me,
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but I just started doing stuff.
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I ran the advice of, if you take the opportunity to perform, perform.
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And I just did that. And then I, yeah, bought a table, went to the street,
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bused my local town. Yeah.
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Rest is history. Bloody hell. Take note of that, fellow magicians. Just take action.
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Just start doing it. and you know success
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is on the other side of you know being nervous
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to to try something bracing those fears right
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like i mean so many people are so scared to fail you
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obviously just went straight into it with total disregard
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that there could be a total failure like
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share how you were so brave just
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go out there don't be scared to look like a
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moron yell a bit you'll get
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destroyed with like not every day is going to play in
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your favor but if you do it enough it's not
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too much of an issue so just that's great
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and what so what is what does your regime look like at the moment are you going
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out on saturday sunday what when you basically every opportunity i get now i'm
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shooting for five days a week yeah so that's weekends are good but i don't find the weekdays.
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They're a little harder but if you play it small uh you
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can do it rain is a little bit of
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an issue but i'll deal with that later this month no yeah i was just thinking
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so there's a few things in between i'm curious about buddy so you were doing
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this during school so have you finished your education i have indeed yes i wrapped
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up levels for being the uk figured uni wasn't for me didn't,
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wasn't right yeah kind of last minute i just went you know what i can take this full time,
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just did it so wonderful amazing so and so here's the thing right for you to
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be able to sustain yourself on the streets making a few dollars there's obviously
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a lot of things you learned along the way let's explore what the first couple
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of shows would have been like for yourself okay Okay, so if you're anything like me,
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I know I am, that first show you did,
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you kind of failed to hat the show and things like that. Yeah.
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What are the sort of things that you're like, if you're going to tell people,
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I'm going to go do my first street show, you tell them to forgive themselves.
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Like, you're going to make this mistake, this mistake and this mistake. What do you think?
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First, you're going to be really nervous. It's always the case.
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It also happens not just in your first show, but your first show after a while.
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Like if you've taken a month off or something, you're going to get the same nerves.
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I remember I sat at a coffee shop before I went out for this. I was shaking.
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It was just the prospect of just turning up and yelling on the street.
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It's a weird thing, right?
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You're just going to do it just bring the material
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that you know who cares if it's right for the street who cares what they say
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it doesn't matter people say do cups and balls do all this it can be a card
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trick it can be a coin trick it can be a balloon swallow just do something,
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it could be 10 tricks in a row it doesn't matter,
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forget hatting an audience for a bit you don't need it But the important thing
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is you're getting the reps in and do three shows, go get food,
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relax, call it a day. You don't need to do too much.
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Just bit by bit and you'll get there.
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Holy crap. You sound like you've had 20 years of experience.
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Yeah, you sound like a veteran.
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20 years of experience and three years of kind of doing it professionally.
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So how long have you been a time traveler? Because that is what a real time
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traveler would do. they get all this experience and then go back to when they
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were 18 and pretend like i just started.
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Well okay let me ask you this okay so when you do you do walk by or do you perform
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at the pitch is my first question so i do it's a it's kind of a circle show
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okay so do you go do you go to the pitch for that like do you have to are you
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amongst other buskers and so forth Yes.
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So we have here in the UK, we have the Magic Corner in Covent Garden.
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It's pretty much, well, it's the oldest, potentially most famous magic pitch, at least in the UK.
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It's a good view of us to perform there.
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And it's the same pitch if you've watched Jason's stuff or Mika's stuff.
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That's where they've been.
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They travel and we all fall together. So it's kind of a rotation.
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I've seen it and it's a beautiful place to be performing as well.
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Like aesthetically, it's gorgeous.
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You know, like the way the shops are all sort of surround. There's that staircase
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that goes down and so forth.
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What I think that a lot of people who might be listening to this and aspiring
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to be much like yourself,
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what advice could you give them with
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regards to approaching the pitch like think about
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this is the first time you're rocking up to a show and you go hi there i'm
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samuel i'm gonna do a show i've got some cube on my i'm almost a man someday
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you'll be a real boy like there is etiquette to getting to these places and
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meeting these people yeah please like i don't know if it's It's the same as
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what's here in Australia,
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but maybe you should share what it's like for anybody looking to approach Covent Garden.
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Could you please share what that etiquette is supposed to be like?
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By all means. Yeah. I mean, so for me, I got very lucky.
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It was kind of a chance thing because I didn't know Covent Garden was a place.
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I knew it was a place, but I didn't know how to picture it. I didn't know any
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of that. It was my dad recently.
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Actually, he seemed to remember when I was a kid, there was a magician here.
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Here, I'll take you down and we'll see if there's someone. And there was someone.
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And it was pure luck that I could recognize them from the YouTube video I'd watched that morning.
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His name is Sergey Parol. He's amazing.
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And after his show, I watched it. It was a brilliant show, still one of the
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best street shows I've ever seen.
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And I spoke to him afterwards. Just to have a chat.
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I just asked, how do you turn up here? What's going on? And he just asked.
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And he just said, yeah, turn up. Just bring your stuff one day,
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just rock out, do a show, doesn't matter if it's a total.
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So for, for cover garden itself, we're kind of free to do that.
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If you, if you ask, not from stopping you doing it.
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So if you're in the UK swing by say hi to me, I'll be there.
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Yeah. And you can just hop on and do a show.
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That's pretty much it. Just be nice. Yeah. Be a nice person.
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I think that's a good style for anything actually do that.
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Yeah. Yeah. Holy moly. And then also, Jason Maher and Mika Harris,
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fellow friends of the pod, former, you know, co-beginner of the podcast.
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What was it like seeing, when you saw them come and busk in Edinburgh,
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was it a noticeable difference between how, like, buskers might approach things
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over there and then seeing these guys come in?
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Like, was there any difference of busking style that you particularly saw? Yes.
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It's a subtle thing. so I don't have too much experience with it because of
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course I've only bussed in the UK rather than coming globally but they spoke
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about it like when Jason first arrived because he came here in 2023 as well,
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which he gave us a potluck thing like what is that Jason no what.
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Yeah he spoke about it because he went out did his kind of same show he did
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in Australia you can use a bit more edgy humour,
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you can swear a bit if you
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wanted to in the uk no don't do
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that we don't like it here interesting so
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he found he had to change his show like kind
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of that fit and play it kind
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of more family friendly in that regard so there's bits like that crowd building
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i think it's a little bit different a more like a natural build is nicer than
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force your way in but it depends on the performer there's a bit of the culture
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thing and then a bit of before the stuff that comes together.
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Yeah. And the other thing that people have noted about you, Sam,
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is that you have some influences in magic, one of them being Danny Diotis and
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if anyone who knows that man's work,
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it's quite intricate and like difficult magic.
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This is something you're doing on the street? Yes.
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Yeah. It's, it's an interesting idea saying it's difficult magic because it's
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completely different to like knuckle busting sleight of hand,
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like knuckle busting sleight of hand.
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Like if you're doing intricate coin magic or palms or all that sort of stuff
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without getting too magicianic, that can be really tough to do on the street.
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Unless you're really like damn good at what you do.
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With the day of tea stuff when you're
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first doing it's not going to work at all but i've
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been working on his stuff for probably about a year and a half now pretty much
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solely his stuff i've bought all of his borrowed debt miracles if you're a magician
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get it all of his work is for us act his that's what got me into his stuff that
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fooled the hell out of me when i first saw it it was like What's going on?
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None of it made any sense.
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So I just grinded working on that stuff and performed constantly.
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Things like his forcing, that's the main thing I use on the street. And it's now natural.
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So it's not, I don't consider it me doing difficult stuff because it's completely natural.
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It's psychology-based rather than sleight of hand-based.
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It's all in your attitude. And if you're relaxed doing it, It just happens. I don't know how.
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That's also the same advice with trying to pick up women as well.
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Yeah, well, I haven't found out how it works. So that's that much.
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If you're just natural, it'll happen.
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So with regards to building your show, buddy, I mean, like, having material
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is one thing. And Danny's stuff is fantastic in every capacity, no doubt.
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What advice do you have for folks who are starting up and trying to build their show?
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Because ordinarily, you've got sort of like a way to get people to stop,
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your crowd builder, and then your big finish, and your hats.
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What advice do you have in that realm? Like, what's your insist of?
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Yeah, so you've nailed the core components of a show. You need to essentially
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boils down to get people to stop, stay and pay. That's, that is busking. That is it.
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The stopping bit. It's the hardest bit of the show. Maybe second hardest. I get to that.
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It's always the bit that hurts to do. And there's loads of different ways of doing it.
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You can do a kind of trick build, you know, promise you could do music. You can do whatever.
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So for me, I open on the linking rings.
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It's dead simple. It's a classic. It's nothing super special.
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I even open saying, you've probably seen this on TV, but you've never seen it
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in person. So that's why it's cool.
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That's a great trick, by the way, because it's good. It's noisy.
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There's a lot of shiny things. You can get a lot of chink noise and generate some noise.
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That's the reason I do it. It's loud.
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Personally, I use the small rings. I use little small ones that fit in my pocket.
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That's a personal preference.
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Arguably bigger rings make more noise and you can play bigger but that's preference
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so it's noisy that's always a
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good start you can make noise that's good that's why people open on music,
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i know one of the guys i perform with opens on we will rock you every show i
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don't know how he's not yet to be honest but it works so something noisy something
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visual always good alternatively play it small.
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Jason Marho, for instance, he'll open on little coin work or ring,
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the ring trick or something like a card trick, masterful.
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You want to basically get your core audience. You want to get someone to stop.
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Once one person stops, everyone stops.
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It's just, again, that first person. That's what matters. It's her and it's ours.
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Once you've got that first few people, give them something good, something lengthy.
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It's like your build. So for me, I use the coin matrix.
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Cassius.com. I saw his matrix and I ran with it. That thing is brilliant.
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No one else does it on the street. I've only seen Doug and I do it.
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I don't know why I know. It's good. It's really good.
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That's what I use. It's a lengthy routine. It's visual.
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You can talk about it. You can do stupid bits where you say,
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oh, the coin's getting smaller. You just walk backwards. Not a trick. It's a joke.
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And yeah, then you want your finale. finale, and you want your finale to be
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the most impressive, or at least perceived most impressive thing in your show.
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It doesn't need to necessarily be the biggest, but it needs to feel the biggest.
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So for me, I do a cards across.
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It's nothing massive. It's a very, it's a simple, bare bones card trick, but you play it big.
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I'm doing 10 minutes of this, of like, do you see the invisible card?
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No, it's kind of a point, but that sort of stuff, you just toy with it, play with them.
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And then you give them the big hit.
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Something a kicker is always good. I am playing around with hacker,
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which I won't get into because it's magic.
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But if you know it, it's good. I'm toying around with that at the end of the
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show. It's new though. So it's not perfect yet. Yeah.
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And the final key to the show is the hat pitch.
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You mentioned it. This thing is what gets you paid.
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If you do the whole show and you don't mention money, turns out no one's going to pay.
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So it's the tough bit to get right. It's arguably the hardest bit of the show.
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And it's taken me a long time to even have the guts to ask because it feels that bit wrong.
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Like when you're saying like, hey, you turned up for free. Now it's time for you to pay me.
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No one expects that instantly. There's always that underlying expectation,
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but you still, you're going to ask.
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And sometimes you have to ask for more than most people expect.
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That's probably different for all around the world, different cultures,
25:03
different pricing, all that sort of stuff. But that's, it's tough.
25:08
So, my advice there, copy someone else for a bit, it's kind of what I did.
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That can kind of go for the whole show if you wanted to.
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Just kind of run with, learn from something, take something and use it.
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I did that with Jason Shudder for a bit, which I only realized until he turned up.
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But yeah, you can kind of learn how to do it from other people and then put your own twist on it.
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Well, let me ask you this regarding your hat line. Okay. So there's a couple
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of ways you can go about it, most typically. I'm sure there's many ways,
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but here's one or two ways.
25:48
Some folks will finish their show, then do their hat line. So show's over.
25:54
Thank you very much. Oh, great. We'll leave.
25:56
And then show's over, but before you go, can I have some money?
26:01
That's not how the hat line goes, but you know what I mean. You can do it that way.
26:05
Or you can say the big
26:08
like just before the big finish just before the big finish you then do your
26:13
hat line then finish your show and say thank you very much drop the hat and
26:18
then just wait that's the two most common ways which do you prefer and why i
26:25
will always choose the latter better.
26:27
Saying it before you end the show is key.
26:31
I've also found that the more you mention it during the show, the better it works.
26:38
So I have one extra line, which is actually well earlier in the show,
26:43
at around the beginning of the finale, which sounds late, but it's not.
26:51
It's kind of just past the midpoint.
26:54
And that's where I say, round Round of applause if you think I can do it.
26:57
Round of applause if you don't think I can do it.
26:59
Round of applause, grab the hat, if you're going to give me lots of money at the end of the show.
27:05
Now, when I get a clap, it might not. It's kind of a classic line,
27:10
but it doesn't matter. All that matters is that you've mentioned it.
27:12
Now people kind of know, right, he's going to ask at the end.
27:17
Then, for me, right before I do the count of the cards, so this is like the
27:22
cards of travel, I've done my job, Here is, in theory, seven cards.
27:27
Here is, in theory, thirteen.
27:30
And then you turn and go, but before we check, I'll say one last thing.
27:36
You guys have been a fabulous audience. You do the hat pitch.
27:39
So then the end, it's just, guys, you guys know what to do.
27:44
The hat is here. It's the exit to the show. Come forward. Support the R. Yeah, the R.
27:49
That and that one. And I think that's the best way.
27:53
That's it. Yeah. And, you know, with your charming persona and accent,
27:57
obviously, I can just see it. and also useful youthfulness as well.
28:02
I do think that is something people pay more for is seeing the youth,
28:08
you know, getting out there to build their career.
28:12
So you use that as long as you can, son.
28:15
But was there a point, because I know, like, I love busking.
28:20
Like I love going out and doing street magic. I love the rawness and no one
28:25
knowing who I am and just trying stuff.
28:27
And, but busking was never made for me. Like Jason and I were,
28:32
we met at the same point in our careers and we just went different directions
28:37
because he just, you know, needs to work on his own time.
28:41
Not when a gig is wanting him to start, he needs to do his own thing.
28:45
And I don't have the voice and bravado to go out and command a street to get
28:52
an audience like he does us so well. So we sort of went different directions, but watching it.
28:58
I would see Jason tinker and Jason did the same thing you're doing,
29:01
by the way, the way that you're saying you use some of his show,
29:03
he was mentored by James Hessler, which in the beginning,
29:07
like I would watch James's show and then would watch Jason's show and it'd be
29:12
like, oh, you're doing his show.
29:14
But it's, I understand it's the way that that's the life cycle of how you become a busker.
29:19
Now Jason's show is much different, but like you're doing, you're on the right.
29:24
That's exactly what you meant to be doing.
29:26
Was there a point, because I know with busking, like there's such a range of
29:30
how well people can do within busking.
29:32
And I know it's kind of like a secret thing where you don't actually say how
29:36
much a busker makes, unless you're Jason and you make vlogs about it very specifically.
29:40
But I wonder, was there ever a point where you tweaked something?
29:44
Maybe it's a hat line or it's something that quite dramatically changed what
29:51
people would pay at the end of a show? Yeah.
29:54
There's a small thing. It's a weird phenomenon I've found with busking,
30:01
is that there's kind of barriers that you don't quite know how you get there.
30:08
It's like you're going to be stuck for a bit for your first 200 shows at this value.
30:14
It doesn't matter what the value is. It's like you're stuck here.
30:17
And then suddenly, bam, your show is now here.
30:20
It and then no matter what you do it's that
30:23
you'll get the old one that's different but
30:27
the averages come out weirdly the same and
30:30
then it's the next bit in the next bit and you can just keep pushing and there
30:35
are a few things i found that have changed it the obvious one is i bought a
30:40
card reader yes yeah actually before you jump into that there's a question here
30:46
saying that like Like, do people carry cash?
30:49
And so how are you sort of taking these payments with regard,
30:53
whether it be cash in this sort of cashless society that we're slowly moving towards?
30:57
It's interesting, actually, because you'd expect there to be a lot less cash.
31:02
There's still almost more cash than card, which is weird.
31:09
But it really depends on what you push.
31:12
So I don't find there's an issue too much. but when i didn't offer an alternative
31:18
payment though of course you're limiting yourself,
31:22
i got myself one card reader that was yeah i didn't love it i switched to a qr code,
31:29
that's good i think that's that's a nice option i've still got that but recently
31:34
i've got a new you saw a card reader and that thing cracked it, that's good.
31:42
So yeah, that's the first key I found.
31:46
Give options. More options there are, the more chance you have.
31:52
Then there's small things that that's, that's the pain aspect,
31:54
but if you want to like get the show better, more original, I think is good,
32:02
but when I say more original, it's more you, so you can do someone else's stuff,
32:07
but it's gotta be you like when I, I did cups and walls for a bit mass,
32:12
not me, I was doing it cuz everyone else was doing it.
32:15
Cut that from the show entirely show got better.
32:18
I did the balloon swallow for a long period of time now there's various reasons
32:23
for reasons why i shouldn't have done that i'm sure some people can come up
32:29
with their own reasons why ma'am explain what are they oh it's 15.
32:39
Me right so that again wasn't me doesn't work cut that from the show show got
32:47
better But when I started doing the DMT stuff, it felt more me because it felt
32:52
natural, which I got better.
32:55
So it's just toying around with what's new. There are small things I've heard,
33:00
like some people use rope to mark a crowd.
33:03
So apparently that can help. I've never used it myself. I prefer a more natural thing.
33:09
Yeah, can we talk about that real quick with regards to how to edge your audience?
33:14
I used to use just a bottle of water. I used to bring a bottle of water with a pop cap.
33:18
And then I would just spray a line of water. And I would explain to everyone,
33:21
please come a step forward to the line just to make sure the sidewalk's clear.
33:26
And then the council doesn't shut down my show.
33:28
And people go, no, I'm not going to move. They're going to shut down my show.
33:30
You need to keep walking.
33:31
I'll just get, if you're not going to play, you know. So, yeah.
33:34
So when it comes to creating an edge, and the edge is important because let's
33:38
just say that there's a situation.
33:39
Where they got to catch a bus and they go we have to
33:42
go you got to close that gap and create that edge
33:45
and as you have that edge you'll end up having four or five
33:47
people deep and be able to hack your show more appropriately so that's
33:51
for the folks who are unaware of what we're talking about what edge
33:54
do you use what are your thoughts so i like
33:57
kind of incremental thing so i find if
34:00
you can lock in that front few people then
34:04
you can yank your table back and you'll notice if you watch performers they
34:08
do this all the time where they're busting they pull their table back one step
34:13
and throughout the show they're moving back quite a long way they'll end up
34:17
at the start of the front of the pitch and they'll end up like five meters back
34:20
and it's just very substantial.
34:22
What that does is it locks in your front edge and then
34:25
you start building around the sides as you need to move your table back and
34:30
then you end up with that semi-circle that's what i use if people are watching
34:33
really far away there's some lines you can use that you've got have you ever
34:38
seen close-up magic before no not from that far away come on in you might as well.
34:45
More thank you yeah i know it's world class i'm here all night there's coming
34:52
close it's not like tv there's no radiation let's don't worry if people watch them out the back,
34:58
There's a few lines for that. You have backstage passes, all that sort of stuff.
35:01
Get people in front of your show to fill in that front and then the sides.
35:06
That's the important bit.
35:09
So I don't use any water or rope or anything like that. It's just a matter of
35:13
pulling people in, getting close.
35:16
I don't mind a small show. I'm not fast. I don't need a thousand people.
35:22
So yeah, for me, pulling close and it'll build naturally.
35:26
Yeah. Yeah. And how do you go about closing those gaps if anybody walks away?
35:31
Closing the gaps, it's again, kind of use of lines.
35:35
I'm not that fussed because I think if you get too worked up about it,
35:39
people go like, no, we should try and build more.
35:42
We're not that valued. He's just trying to build more people. No, no, no, no.
35:46
But if you just like pass in comment, like guys, I'm in London.
35:49
I don't like gaps. The tube tells me all the time.
35:51
So that sort of thing, that probably, or it looks like he's farted moving guys, seriously.
35:58
Stuff like that just know the lines and just run off and on the whole it will
36:04
work and if it doesn't work yes there is there is one golden line that i'd like
36:08
to share if you if it if it's going to be of any benefit to you if i may it's
36:11
actually going to be published in a something,
36:13
hoonish i think it's in it's like editing stage or whatever but what i used to do
36:18
when i came to doing my show is before i did my my finale
36:22
i would do one more card trick one more little
36:24
thing and i would ask people i'd say like have i'm in a good time you
36:27
guys have a good time and they would say yay and then in return
36:30
i would say can i do like the finale's about
36:33
to start but can i do one more before we get into that like is anybody in a
36:36
rush does anyone have a train to catch like can you stick around and they go
36:41
yeah we can stick around and i go great they're not going to walk away in your
36:44
hat line now because they said they got to stick around but that's stops a little
36:49
bit of gold for you. Yeah.
36:53
Now we've got a guy that's doing so many shows. What I'm really curious is,
36:57
is, uh, the crazy stories that sometimes happen.
37:00
So I was thinking, Nick, maybe we should do a gig story segment.
37:04
That's a great idea. Let's roll into a gig story.
37:11
So, Gig Stories is a segment of the show where we talk about wonderful moments
37:14
of magic, whether we're performing for our friends, family, or even on the street.
37:18
And who better than to tell us an awesome gig story than our guest, Samuel Osborne.
37:23
Son of Ogby. No, I'm kidding. Or if you need a second, we can jump in, but you let us know.
37:30
Oh, yeah. Awesome. I'll go, I'll go, I'll go quickly. I'll give Sam a second.
37:36
Just a little, a little detail that I didn't expect.
37:39
I did an event in Airlie beach last week, which is just like a two hour flight
37:44
to like a touristy destination area in Queensland and doing this event for 50 people.
37:50
But I'm there for three hours, which is a weird, normally you wouldn't be there
37:55
for that long, but they sort of flown me there. So I'm like,
37:58
Hey, I'm there for your event.
37:59
And it just sort of worked out that, that I end up staying the whole time.
38:03
So you're getting through a lot of material and there's a routine.
38:06
There's a, we all know the effect double cross and we've talked about it at
38:11
lengths on this podcast before.
38:13
I always have it on me, but I never use it because I like knowing I have this
38:17
thing on me, but I prefer to not have to bring it out.
38:20
Like, you know, the other 150 magicians that will use it that night.
38:25
The condom of magic tricks. You want to have it on you just in case you need it.
38:30
That's, That's a nice way of thinking of it. So I'm getting,
38:33
you know, I'm sort of, I'm getting through a lot of material now,
38:37
but also the women at this event are also, you know, starting to get drunker.
38:43
So there's like a line here now where double cross is sort of needed because,
38:47
you know, anytime you perform to the same group again, you kind of want to top
38:51
what you just done in levels of like entertainment or amazement anyway.
38:56
It's finally time to bring out this double cross. So I, I, I dust it off out
38:59
of my pocket, get off the cobwebs.
39:01
And I use the version that has a love heart stamp on it.
39:05
Cause I'm original like everyone else is. And so love heart,
39:10
right? So do the thing. Love heart disappears.
39:13
She opens her hand and she completely screams in utter disbelief,
39:18
like proper screaming, like the party stops.
39:21
Like she's lost her mind. I did put this up on my Facebook. book.
39:25
It was on my stories a little while ago on Instagram.
39:27
And then what I didn't know, and I didn't show this in the recording,
39:31
but after she had been screaming for a while,
39:33
she then pulls up her sleeve and she has a matching heart, actual tattoo on her bicep right here.
39:43
Like the exact type of just a black outline, almost the exact same shape that this was.
39:49
And that's why she lost her mind so hard. And so she's like,
39:53
looked at this, freaked out, freaked out with her friends, pulled this up,
39:57
seen that now I'm freaking out now we're all crying. Now we're all having this. No, I'm not.
40:02
But it was just a mental moment that like, you know, I didn't know what happened.
40:06
And then once I saw that, I was like, this is the best thing ever.
40:09
And no doubt I'll be booked to go back there next year because it was just like, it was insanity.
40:15
So that's my little gig story. did something and then they already had that
40:19
just to blow their minds it was if that could happen in every gig that would
40:26
be great yeah yeah you just got to bring that person to every single gig or
40:30
just like make friends with the tattooist and be like who did you tap this week that.
40:36
Where do they go out what do they drink it's not
40:38
a bad idea there's got to be there's got to be a a thousand
40:42
there's got to be a thousand people who get like an
40:44
awful butterfly at the lower of their back
40:47
and you just sort of go like look a butterfly and they turn
40:50
around and show their butt crack and be like oh my god josh i
40:55
love the comment josh equals voldemort i could you know that i was called voldemort
41:00
at that party too so it's kind of funny you know what i get a lot i get i get
41:04
either hey agent 47 i'm like i got a beard go away and then i get oh johnny sins and And I'm like,
41:11
if you don't know who that person is, then you are not an adult,
41:14
but I'm glad you get that as well.
41:17
Yeah. It could have been anything. Could have been a magician.
41:19
Could have been an astronaut.
41:20
Yeah. Do you have a gig? Do you have a gig story from the gig that you did after
41:25
we were chatting last week?
41:26
The one that made you wait like an extra hour to start because of the speeches? Yeah.
41:31
Crap. Which one was that? You were backstage and, uh, yes, that was like the rooftop.
41:39
Yeah. So, so what had happened was I get this phone call and they're like,
41:44
Oh, look, you know, we, we, we just want to get you in there for like the hour
41:47
and a half that we got you booked.
41:48
We had you booked for four 30 originally come earlier.
41:51
Cause I reckon at the moment those speeches are done, you're good to go. And I'm like, cool.
41:55
So I go there a full hour earlier in the expectation that like,
41:59
I'll be ready in five, 10 minutes and ready to rock.
42:02
And I rock up and then she's like, yeah, now we're actually going to start late.
42:06
And so I was like, just stuck backstage for a full hour.
42:09
But thankfully my good friend, Josh gave me a call whilst he was in transit
42:12
on the way to this lovely gig we just heard about.
42:14
And we got to talk about all cool ideas and it's always nice to chat with Josh.
42:18
And we're just planning some cool things for you guys to enjoy in the podcast.
42:21
But these things happen. Sometimes you want to actually pay for that privilege
42:26
when you're doing these things. The lesson learned is this, that sometimes you
42:29
want people to pay for that privilege and sometimes you want to be cool about
42:32
it, you know, to maintain a relationship with these people.
42:35
So sometimes let's say people go, oh, we're going to book you for an hour.
42:38
I go, great. You do 30 minutes at the start of the night, 30 minutes in the
42:41
night. I'm like, what? Over a four hour period.
42:43
You're nuts. Like, no, you don't pay for the time I'm performing.
42:47
You pay for the time I'm there.
42:48
If you want, if your speeches want to go 30 minutes into my set, that's on you, not on me.
42:53
There's those little things like that that you sort of need to take from.
42:56
And that's the lesson to be learned from my gig story.
42:59
Although we're super excited to hear about Sammy's one. Samuel, are you ready?
43:04
Yeah, I can make it up. Yes. I don't know. I think I had this a couple of weeks ago.
43:12
I did a gig rather than straight.
43:16
I'm not super, I don't do too many gigs. I want more gigs. Gigs are fun.
43:20
No, no. I think the busking stories probably are the more crazy ones,
43:24
to be honest. Like the things I've heard, you know, people flipping your table,
43:28
like all sorts of weird things like that do happen on occasion.
43:35
It's not as often as you might think I've had, I think it was like the first,
43:41
like two weeks into me doing it.
43:43
Some drunk guy came in like really rowdy, lobbed an entire bottle of water on me.
43:50
Like one go. I was drenched I just went alright man finish the show,
44:00
there's a boom in the cloud and it's like what the hell you wanna back off man
44:06
tell me about it I finished that show and then shook the guy's hand and we all
44:11
went off and we were all good,
44:14
that doesn't happen very often good I'm glad that's I don't need that happening
44:19
I don't need But yeah, I'll distinctly remember that, because that was early. It was really early.
44:26
But yeah, no, stupid things do happen all the time. You always get the old spectator
44:31
who's just fun to work with and will just go off script and you just kind of go with it.
44:38
I did that yesterday on a show.
44:41
Just a poor spectator on stage. Can I do it for my finale? I said, who likes helping out?
44:46
Two people, usually it's the younger ones, sometimes it's the older.
44:50
So I got one young kid came up and a girl came up
44:56
and she was like really energetic love the show and i asked like do you guys
45:01
know how to teleport cards and then he said no she said yeah all right i gave
45:08
the deck of cards i joined the audience,
45:10
that's when the show is yours she just started doing stuff.
45:16
Round with it and um really built the
45:19
show so yeah it
45:22
was that was fun just kind of play around
45:25
with the audience and make it up as you go along
45:28
how funny would it be if you just like all
45:31
right you take over ladies there's no worries and she just like
45:33
finished her show and had it for you and she was like you're welcome and walks off
45:36
that'd be like that'd be like cape crusader stuff i love it yeah if i can do
45:43
that every time that'd be nice and the audience is ready to play like that's
45:47
the best like when they're there to go for it yeah well the thing There's going
45:52
to be so many more stories to come. Obviously, you're very early in your busking career.
45:56
Do you foresee yourself traveling to locations and what locations would you
46:00
like to attempt to perform in? Non-English speaking?
46:04
Would you like to come to Australia? What do you have on your bucket list of
46:08
places to travel to for performing busking?
46:12
Yeah next year is my my like what i'm eyeing up right now since i'm now like
46:18
kind of taking it full time i've got a bit more like i want to toy with it more and make the most of,
46:24
being my own boss going around so next year end of reference i want to do the whole month,
46:30
haven't done it there's a load of people i've been told it's really good you have to do it so that
46:37
i will be doing so that's all of
46:39
august and then at some point next year potentially
46:43
early on i'm not quite sure yet i want
46:46
to do australia giletta said and jason and mika they said both come down do
46:52
it so that's kind of number one i really want to do that i've never been to
46:58
australia so that's a bonus as well gets usually general traveling you're going to be so mad when
47:04
you come here you're gonna be so mad when you get here because you're gonna
47:07
be like crap we sent our convicts here this place is freaking awesome.
47:18
Oh man but yeah no my bad i don't i don't think you had anything to do with
47:27
it i think you're right yeah i don't think at 18 years of old you're responsible
47:30
for sending folks down here i think I think you're, you're cool.
47:33
You, you are a time traveler.
47:35
Well, that's right. He's a time traveler. Yeah. Yeah. It's still on my mind.
47:39
The, the, the, the wisdom you have in there and knowledge that,
47:42
that, the thing we haven't touched on yet as well is you're 18,
47:46
you've, you've, you got into magic during COVID and somehow you have a social
47:50
following already larger than the both of Nick and I, so what is your journey
47:55
into the social media realm?
47:58
It's quite different to performing in real life. So how did that kind of kick off?
48:03
Yeah. So I did that straight off the bat.
48:06
I was doing, the moment I got into magic, I just started posting it,
48:09
which arguably was a mistake because they're unlisted now, but the videos were terrible.
48:16
But I just started rolling out videos and eventually I started putting myself
48:20
in the video rather than just like hands and stuff.
48:23
And for a while, I enjoyed it. It was all right. You start rolling stuff out
48:28
and it didn't get too much traction.
48:30
And then I kind of stopped for a bit. Or at least slowed down.
48:34
And it was when I met Jason in 2023.
48:37
He just said, post-mortem. Do it.
48:41
And I did it for like a solid month. I think I posted once every day or two.
48:47
Just constantly rolled them out. And at the end of that month,
48:49
one of the videos just went ridiculous.
48:53
It was, bam, right to a couple million views.
48:58
Just from nowhere. Don't know why. And yeah, since then, my stuff's been alright.
49:04
I tried to make it a little bit more quality.
49:08
I've slowed down for now, that's because I'm so heavy on the street, it's a lot of stuff.
49:15
But yeah, I think it was partially luck, also a lot of postman,
49:22
you just got to do it quite.
49:25
So, I mean, I know you guys have been doing that.
49:29
Josh, I see you finally kind of cracking big pieces.
49:34
I must spend. No, no, I love it.
49:37
And, you know, you say it's luck, but, you know, you posted every day for a
49:42
month. You know, that's not luck.
49:44
That's just constant, as Jason calls it, constant buying a ticket to the lottery.
49:50
You know, you need more tickets for one of them to go off and win.
49:54
And I've seen the video that you're referencing and what it,
49:58
it suddenly has such a good hook and it looks so organic and not overproduced
50:03
that obviously hindsight, it seems obvious,
50:08
but you know, just looking at it, I can, it makes sense why it's done well,
50:11
but you know, you're a young guy,
50:13
you've got this good persona, it gets into it straight away and you want to see what happens.
50:19
So has that, like, people have this perception that, because a lot of magicians
50:26
are trying to post very often and it's, the content is questionable sometimes
50:31
and sometimes it's good.
50:32
But at the end of this rat race, like, I guess where I'm going with this is
50:37
like, does it change anything?
50:39
Like where you're following is now, does that affect your performing in any
50:44
way or any advantages that you found? The eventual production, which is a weird thing.
50:51
Now I'm treated as a more credible performer. My skills got better, even if it hasn't.
50:59
People just treat you as like, all right, this guy has to be somewhat decent,
51:04
right? He got a good video.
51:10
Because if I didn't get that video, if I didn't get that, yes,
51:15
my follower count would have gone and up but nowhere near as rapidly i
51:20
i down i get that same kind of perception i have it where because my social
51:24
was on my sign on my street it's for my street show people like follow that
51:28
and go like whoa this guy's got a lot of followers it's like oh now i'm good
51:33
okay it's it's cool but it It seems like a perception thing,
51:40
but in terms of actually my performance style,
51:44
not so much.
51:46
I prefer performing in person than I do on social media.
51:50
I just prefer the interaction with people more so than I do straight to the
51:55
camera after far too many takes of me butchering a sentence over and over and over again.
52:01
If I do that on the street, no one cares.
52:05
So, yeah. And now I think I've seen you adapting the hybrid of that,
52:11
which is to film your busking shows, right?
52:14
To find those moments that are one-offs that you can post about,
52:18
which I think is the best format because now you're not spending extra time
52:23
to film stuff. You're just documenting.
52:27
But how has that experience been? Because it's different.
52:31
It's an interesting one. I bought myself the 360 camera to have on my table
52:37
so I could record the shows.
52:39
I think it isn't as good as it should be.
52:44
A cat i was gonna say he's a tiger of run.
52:51
But yeah no so those videos annoyingly i i i did my big video and i switched
52:58
style and then none of them did as good so that i put down to the fact it's
53:05
it doesn't feel as natural as such,
53:10
i'm pulling bits essentially scripted bits from the showroom bits that happen
53:13
all the time The best bits that work like that when it's front street is the impromptu moments.
53:19
When I was running such a scripted show for that bit, they didn't pop up very often.
53:27
So for now, I'm not bringing my camera, I'm just nailing the set.
53:31
If I get the show right, then that can come.
53:35
But yeah, it's a nice way of uploading. I think it's the content is there.
53:39
You can upload it, but it gets arguably repetitive.
53:43
I'm trying to avoid that.
53:47
That's something that's a hundred percent. And, and for anyone listening in
53:51
that same boat for content creation,
53:54
that's something that I've been trying to tackle as well, which is how do you
53:59
find something in your show that, that can be repeatedly posted and seems different.
54:06
So, and that has to come from the audience's side. Like what can you do that
54:09
the audience will give you a different thing each time?
54:12
Like for me, it's the name of card and tell me how you'd like me to find it.
54:17
But, and you know, so that way I can post that same segment and it's always different.
54:23
But I wonder if you could literally say, like point to someone and be like,
54:27
what is the most impressive magic trick I could do for you right now?
54:30
I wonder if you were to say that, what people would say to you.
54:35
And if there's a chance that it is a thing you could improv off and do even
54:41
in the funniest, slightest way of it, you know, and then if it is too far fetched,
54:47
yeah, like I, I would love to see it if I was a busker, that's what I would
54:51
try because imagine, imagine it's something that, that you can do And within your toolkit,
54:58
well, now you've just done the most impressive thing that they could possibly think of. Yeah.
55:03
And if they say, I imagine if they.
55:07
And I imagine if they say something that that's too crazy, like make a car appear
55:11
or whatever, you could just, you know, be like, well, what about a country,
55:15
you know, and just make it humor and then go into the rest of your show.
55:18
Or, or like, yeah, or, or you can do is you can actually like start taking inventory
55:25
of all the things they say.
55:27
They might say, make a lion appear, make a disappear.
55:30
You can just like in your closeup bag or in your pockets, have these things. Great.
55:34
At the end of this, here's the deal. i will make your dreams come true i'll
55:38
give you the show you've exactly asked for and in return you will put a nice
55:43
crisp 20 pound note in this you know or there about i'll take,
55:49
i'll take two 10 pound notes whatever it might be but if i make a car up here,
55:53
that's what's up and then you just go like you know get a silk and mini matchbox
55:57
car thank you 20 pounds you know yeah they could that could even be a line like
56:02
what what is the most impressive magic trick i could do for you right now they
56:05
say it and then you could be like and how much would you pay to see that most impressive magic trick.
56:12
No no yeah i would love to see it man feel free to run with it,
56:18
that's a good means for a headline you go great so something like mike copperfield
56:22
would do and what would you pay to see that privilege to see him make a giant
56:25
vanish a ship or whatever else yeah great that costs you hundreds of dollars
56:30
guys at the end of this show i only want a fiver or a 10 or a 20.
56:34
And you can actually weave that into your stuff.
56:36
And if there's an opportunity to make a car appear or whatever it might be,
56:40
Yeah, that could be fun. But by all means, take inventory. That could be funny.
56:45
Now I'm just getting into it. Imagine you just have in your case just a bunch
56:49
of stuff that people could name to like miniature versions, like an elephant.
56:53
Oh, my God. Because now obviously you can use it as a hat line.
56:57
But for me, in my head, it's the content idea. Like now it's the video.
57:03
That's cool. Yeah. Yeah. Hell yeah. I love it.
57:07
I love it. Well, bloody hell. Hell, we want to chat to you more, Sam, but yeah.
57:12
There's so many ideas. That's right. So many ideas in such little time.
57:16
We're going to have to do this again.
57:17
And if you guys have more ideas, you know, feel free to reach out to Sam,
57:21
reach out to me, jump in the Discord, follow us there, chat to us all.
57:26
But we're going to end today's episode. And also you can follow Sam.
57:30
His Instagram is in the description of wherever you are watching slash listening to this.
57:36
We want to thank you for coming on my friend it's very eye-opening to to listen
57:42
to your wise words at such a young age and to end the episode we're going to
57:46
end it in the way that we always do which is giving our guests the final word
57:50
so we're going to give samuel osborne the final word,
57:58
all right well i'll say it if you're given the opportunity to perform go out
58:05
there to start in magic go out and do it go out day in day out never stop that's it,
58:15
thanks for listening it's time for us to disappear now disappear now but we'll
58:21
see you again on the next episode of the magic guys.