Latest / The Magic Guys / When Tricks Go Wrong: Surviving Stage Mishaps #218

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When Tricks Go Wrong: Surviving Stage Mishaps #218 · The Magic Guys

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Oh no, my button's not pressing. Guys, wait! Don't start the live yet!
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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 218 of the Magic Guys.
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I'm your boy, Josh Norvito, and to my left, I've got... Your girl, no, your other boy, Mr.
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Nick K, Professional Mindblower. Welcome to the show, friends.
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And how fitting is our opening in today's context, which we'll press on into very, very shortly?
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100% and we'll point a few things out.
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You know, we're a day early today and the reason for that is travel schedules
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conflicted with the pod.
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We didn't want to do what we did a few weeks back, which was just to skip that
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week because we realized how many people look forward to listening to our ep.
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So we're like, you know what? God damn it. We're going to do it a day early.
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And yeah, the other thing is I had my switchboard of sounds switched to a different category.
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So it did not play off Stinger, but that's okay because, you know,
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in magic, if anything, we learned to go with the flow in improv. So here we are.
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And the third thing I'll say is Nick said, I'm a girl. no, I'm a guy.
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Well, you know, let's see in five years. So how are you doing today, Nick?
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Doing well, man. And like I said, in the spirit of what's happening today,
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you know, this is a live show and we are live performers, which we do for a
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living and things like this are going to happen,
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which is why we thought we would make a list upon things that like have happened
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to us or could happen to us so that we could actually help you guys through
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any sort of scenario that might be thrown on you as we're sort of performing.
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But first we want to address a speakpipe which comes through because we love
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when you guys send us speakpipes. Is that one lined up and ready to go, Josh?
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100%. speakpipe.com forward slash themagicguys. Give us your questions.
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Let us know what you're up to. And of course, if you're new to listening to this podcast,
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this whole shtick is about professional magicians just sharing our advice,
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the weird stuff that happens to us so it doesn't happen to you,
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and then interviewing fun guests and building a community around magicians who
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can't speak properly, but do magic really well.
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So today's SpeakPipe comes from Jameson S.,
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Let's see what our buddy is up to today.
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And I just realized I didn't connect the Bluetooth yet to the system.
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Let me give you a minute to do that. And then while you're doing that,
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I'll shout out our friends in the chat. We have Scotty Link,
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our good friend, Scotty P.
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And of course, Tim Askin, them questions.
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Again, we are live and we do have a chat, which means that any questions you
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have throughout the show, you can reach out to us because not only do we always
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have these sort of Q&As, is we also interview very cool people every now and
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again if you are a first-time listener.
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So by all means, scope out the previous 200-odd episodes we have.
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We're actually trying to line up some really cool guys and girls,
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of course, to interview in the near future.
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And we'll be sure to let you guys know when that's all happening.
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So Josh, are we ready to roll now?
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Let's try take two.
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Jameson S. Hey, Magic Guys. Long-time listener.
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First-time speak piper here. I wanted to pick your magical brains about the
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idea of betting in effects.
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A lot of my favorite effects use a bet or a wager as a conceit,
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but I've noticed four problematic things coming up in my performances,
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and I'd like your thoughts on them.
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Number one, any trick where you offer your spectator a fantastic prize,
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and the trick is only the magician wins?
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I feel like that makes our spectator feel bad and we're supposed to make them
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feel good number two there are tricks like R.
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Paul Wilson's challenge coin where in the
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teaching he actually suggests you make a small wager for something real with
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your spectator for stakes I love that effect but is it ethical to make a wager
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with a spectator you know you're gonna win number three any effect where the
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magician is always going to have the winning hand or the winning ticket.
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I feel like there are people who just hate to lose. And even though they've
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seen magic, they just don't like that they've lost, even in a fake conceit.
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And four, one where you make the spectator win the bet, I feel like they feel
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talked down to or babied.
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I'm very interested in your responses on that. I've never seen what you guys
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look like, but I think you're all extremely handsome, especially Doug.
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Ah, beautiful. Jameson, how much does Jameson sound like John Armstrong, by the way?
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Yeah. His delivery and voice and cadence reminds me a lot like John Armstrong.
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Just want to put that out there, which is a great thing because he's a very
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successful magician himself.
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Yeah, great speaking voice, firstly. Nick, take it away. What are your thoughts, man?
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So there's four things we touched upon. It was basically like the good versus
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bad, you know, like is it good, is it bad?
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Let's sort of explore upon that. Now, anyone who's read Strong Magic by Darwin
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Ortiz, adding a wager to a routine is a very good way to get your audience invested.
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I think that's very important to sort of scope that out. I don't know which chapters that's in.
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I don't know it from the back of my hand, but if you do have that as a resource,
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please go through that section of the book that talks about wagers.
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The good and bad notion is interesting. Like we interviewed an amazing teller
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not too long ago by the name of Nicholas J.
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Johnson, affectionately known as Australia's honest con man.
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He does scams. And so you are going to be set up to lose all the time.
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And I'm not the biggest fan of sucker routines, but there's ways that I like
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to handle it that I think of might be of value to you.
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So it might not always be a wager with regards to doing something,
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but it should be something in which they give you a little something in promise for a big something.
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Okay. And what I mean by that That is, for example, when I do my ring flight,
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I will say, oh, I need to borrow something.
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That ring, does that come off easily? Great. I need to borrow a ring.
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It doesn't have to be like an expensive one. I tell you what,
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if anything happens to it, I'll give you the keys to my car.
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So in that moment, there's this beautiful callback and this thing where it's
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like, this is a $7 ring that I got from a market that cost me nothing.
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But there's not that there's a wager, but there's something at risk here in
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which that very small risk, massive rewards.
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That's one nice way to negate having a situation in which you have this good
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and bad sort of scenario. Yeah.
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Another thing, a second point I want to make is that, and I've seen this done
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before, where if you're going to be performing this, depending on what capacity,
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I've seen this performed in a parlor setting.
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It could be done in a roving setting, but you do a routine in which you physically
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give them a fistful of chips.
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Let's say that you're doing a routine and it's five phases. You just go,
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we're going to play a game. Here's your five chips.
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And every time we play, you win. and each one of those chips at the end of this
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game, like I'll pay you out two bucks a chip, which means you can stand to make
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10 bucks. Would you like that?
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So you can actually have the chips representative of something and then ask them to place a wager.
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But what's happening is you're giving them the money to wage and you're giving
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them the physical chips to wage.
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So that is another way to combat that because it's very difficult to need someone
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to put hard money on the table if they're going to be reluctant.
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But if you give them the cash and say, if you lose, you get to keep it,
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you're taking all the risk.
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And when you take all the risk, it allows an opportunity for your spectators to have more fun.
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And I think that that is the key thing about being in a sucker routine.
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It's like you're already ahead, which means they already feel like they've won.
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Let's touch upon that real quick. What do you think, Josh?
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I'm trying to reflect if and when I
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do any of those types of routines you know i mean it
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is i don't think there's anything wrong with it it just
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has to fit i think the real question is
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does it fit into the context of your character or
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are you just throwing in a random betting routine because
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it's a different trick to the
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one you just did before and you have to do something different so
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in nicholas j johnson's case it's so
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perfect because that is his character he's
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the honest con man so it makes sense so the first thing i would ask is like
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does it make sense that your character is making a real wager with the audience
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or you know reeling them in to a thing they don't win or you help them win right
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like when i'm roving i openly say.
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If I bring out cards, I go, let me show you, this is not to fool you,
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but this is to show you how I would help you win if we were playing cards together.
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So I'm trying to say like, I'm not here to make you feel stupid and trick you.
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Let me just show you how I'd help you win. So there's like a positive to it.
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And so everything that I then do is showing them how as a team,
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we could use these skills i don't
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ever make wages for money but if
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i think of stuff like bank night or like
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darren brown opened one of his shows one
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of his through line effects is in one of his shows i remember do you remember
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he had like the two chests and one of them had money one didn't and he's like
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i'm gonna keep making you change your mind and stuff well he mentioned in an
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interview that like maybe two out of like the hundreds of times I did the show,
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like the audience guessed right.
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Which had the $10,000 in the chest and they, he gave it to them.
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Like he had, he had to, because he looked like a fool if he then said,
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oh, actually this is a trick and it just didn't work properly.
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And so you don't actually get, no, he gave them the money.
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So follow through with it, I guess is another thing, but, um, that's my thoughts.
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I don't think there's anything wrong with it. I just think like there has to
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be surprise to it. Like they can't always feel like they're going to win or not win.
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And this has to be a good reason for it. That's all I kind of feel like.
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Yeah. But off the back of that, I think it's great that if you're going to place
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a wager, that you take the risk and allow them to have this freedom to enjoy it.
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And you can, and it could be something as simple as, as this,
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I do this really dumb effect, right? I think it's, I think it's called the traveling mules.
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I'm not really sure, but you basically, you can just show the deck like this
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and say like you finger through the deck and you go just think of any playing card
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you like and you put two jokers in face up like like
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this right and i explained smiling the smiling mule
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smiling mules that's what it's called and i explained that like when you say
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the card i'll put it in between these two jokers in less than a second and they
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go okay you ready you go three two one go and they go four hearts are done and
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then i showed that as a joker on the top of the deck and a joker on the bottom
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of my deck and all the cards are in the middle and it's like haha.
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Now you can make that a wager by building it up and adding just a little bit
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of tension by saying something to the effect of like,
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I'll put your card in between those two jokers. I've never gotten this wrong.
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Never. In fact, I'm so sure I know what your card's going to be and I'll put
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it in between there that if I get it wrong, I'll buy the next round.
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I'll buy the next round of drinks. All of a sudden, everyone's like, yeah.
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And they're like, let's see this. And they cannot wait. They're like,
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this is going to be awesome if it works and it's going to be even better if it fails.
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So that's one of the ways I like to sort of do that. Now, the third thing we're
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sort of talking about as far as wages go, you said sucker.
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Well, effectively a sucker routine. I don't particularly enjoy sucker routines.
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Sometimes they work, sometimes they're great, but one where they're going to
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be constantly failing, it's okay.
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I guess you can kind of make maybe almost an ambitious card routine,
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a sucker routine, but it's not like they're losing. They just don't know how it's done.
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Yeah i think i think for adults like a sucker routine
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is only required when you have that heckler
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that is being so annoying so
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picky so watchy so mouthy that they're actually
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going to be fooled by the sucker routine because of the
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way they're acting like card to mouth or
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card to forehead whatever like or paper balls over
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the head like that's when it plays into it
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well but it sounds like jamison knows what he's doing but
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but we appreciate the question because is very thought-provoking and
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yeah it's a good question and we should make
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a note of it to ask doug that question next week too because
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yeah absolutely it's a good one yeah because the last thing that he mentions
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is like making them win is it pandering is it the type of thing where you know
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is it talking down to them i don't think it is if you make them win it's just
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you showing this book that you have and so for example i'll do a multiple card
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select and i in the third phase of it,
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I say to the person, it's not hard. You can do this.
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And like, no, I can't. And I go, no, no, you can. You just got to believe because
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you got the magic in you. And they're like, really? And I'm like,
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seriously, hold out one finger.
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And they hold out a finger. And I go, that's a good finger. The other guy was a dick.
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And then I spread to the pack and I just do a classic force.
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He hits it and it erupts and it gets the biggest applause out of my,
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all the four phases that I do because I'm celebrating that person.
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So it's the type of thing where like it's it's
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good to make people win because you think i'm like you're getting good at this
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and you celebrate that person so i don't i don't think it talks people down
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or panders them and i'm interesting in what scenario that would be pandering
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or what scenario that would be talking them down i don't know i can't think
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of a scenario in which that would be.
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I just got some dogs barking, so I'm just muting my mic for a second.
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But why don't you lead us into today's saucy ep?
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Indeed. Well, again, Jemisin, thank you so much for sending those questions through.
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And to everyone who sends through a SpeakPipes, we love being of service to
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you guys and helping you guys out as best we can.
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Now, given the nature of us obviously wanting to help you guys and to educate
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you guys as much as possible from our perspectives as professional magicians,
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I thought it would be very funny to make an entirely big list of some true and
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some false situations in which that you might be facing as a live match like
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we have in this show where things do go wrong.
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The opening sequence was a
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perfect example where things can happen to you and how to deal with them.
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So we basically called this section a whole new idea that we have,
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a new show in which we called What Would You Do?
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And we figured that it might be a fun way to go back and forth asking each other
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questions what would you do in a scenario,
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and how you would handle it and hope that could be of service to you starting
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with the first question Josh you ready for this I'm ready let's lock in what would you do,
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if you're in the middle of your best trick and someone loudly says oh I know
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this I know how this works I know how you do this and we've all been there I
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feel like I've been there a lot in roving just because they're trying to,
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get some kind of attention in the group.
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Okay, my knee-jerk reaction is, it just so depends, like, what the effect is.
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Like, you can usually get a gauge on if they're wrong.
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Like, if they're just gonna say something stupid, like, it's,
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you know, a mechanical deck or the cube...
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There's a button on the cue, but like you can kind of tell sometimes when it,
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something, sometimes it's going to be funnier if you get them to say what the
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method is, you know? Yeah.
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Otherwise, if it's like a really crucial moment and I don't want them saying
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their piece to, to ruin the magic moment for the audience.
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So like a magic moment is about to happen and they yell at, I know how this works.
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I might just quickly say something like, so do I, shut up. and then let the
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audience laugh and then do the magic moment. Like you might just like quickly dismiss it.
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And I guess not so much, I know how this works, but sometimes if anything,
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I might hear someone like figure out or at least in their head,
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they figured out the ending of the routine.
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So you might hear them say like, oh, I know where it is or I just figured out
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what's about to happen or whatever.
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And that might happen with like, Coin under watch, for example,
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I've noticed, I've learned like which side of the hand or where the audience
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is will give me a better chance of no one noticing the coin under the guy's watch.
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But sometimes you might every now and then spot someone seeing it.
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It's never the person holding on to the cards, but you might hear them say, oh, I know where it is.
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And then I'll just look at them and say, yeah, but he doesn't yet. So hold on five seconds.
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And then boom, and it happens and then we move on.
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So yeah, it's other two things. One, I just, you always kind of address it.
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So I either address it and say, yeah, but just, you know, wait 20 seconds and everyone else will too.
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Or I really do drive home and go, oh yeah, well then show us,
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like give them the problem. All right, you know how it works. Please do it.
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They're my two like yeah utilities so yeah
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i've i take it a few different ways a lot of times like
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it's like i know you don't make everyone's quiet quiet quiet what's your name bud it's
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like i'm i'm gavin and i'm like gavin gavin got something to say everyone listen
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and gavin will go all right you are you you you put the and there's a length
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of chicken wire and you there's feathers and you have invisible gloves and and
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you just and he's like just digging a hole and you're going is is
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that i'm like are you asking me you're telling me he's like i'm telling
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and i always say i go and like they'll give you a method and they
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sort of have this tone like is that it and i go bro you're
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asking me you're telling me and he goes i'm telling you and i'm like
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what are you telling me for i know how it's done and then and then he goes oh
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yeah and ordinarily they shut up after that why are you telling me for i know
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how it's done like i don't need him to tell me how it's done i know how it's
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done dumbass right and then if he's asking me i go you know i can't tell you
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stupid. I'm going to kick me out of the magic club.
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I'm like, just simmer down. All right. And then I get into the routine.
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That's one fun way tonight. And it's, it's a, it's a very staged sort of scenario,
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but I walk them through that garden path of like, they just walk into my trap
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and I just, you know, they walk into the pit and I just hammer them from above.
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That's a really, really fun thing to do. And a lot of times,
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sometimes if they don't, if they keep going or more than once, if I do it more than once,
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I'll go, stop, stop guys, hang on wait gavin gavin
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the know-it-all okay because everyone loves a know-it-all gavin please tell
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everyone how it was done like and i'll just give him the floor again
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and let him say some more dumb shit like i
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just i'm like that's great and i'll and he would be
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something ridiculous like you're wearing gloves from nasa and when you squeeze
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the coin it goes from one hand to the other and you're like nothing gets past
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gavin guys he's absolutely brilliant give him a round of applause he nailed
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it jesus christ gavin and then you'll and then you'll get to a point where after
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like this say the third phase of a coins across you'll go gavin.
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Nothing. All right. We've stumped Gavin, everyone. Look at that.
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I win. So I'll make him part of the show, man.
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I'll do it. But that's the way I do it with my personality and I have the cojones to do that.
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So those are some of the ways that I handle it.
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You guys are welcome to play with those ideas too, but I think it's a really fun way to play with it.
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Again, you can't always hide things. If you can't hide it, highlight it. Yeah.
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Maybe another useful tip is if someone in the
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group of people you're doing roving magic for keeps trying to throw out that
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they know how it works or them guessing the ending or saying,
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I saw you do such and such.
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A useful line is to turn to them and say, so is your plan to narrate the whole show?
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Just so I know, are you going to narrate every single thing I do?
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Or are we letting the audience enjoy some of it as well?
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And then let them answer and then they'll realize oh okay i'll just
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stop being a dick so that can be a useful line to
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like highlight the fact that they just keep interrupting yeah
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is your plan are you are you going to narrate the entire
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performance tonight just i just want to know and then they'll quieten down it
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is very useful tip when when required yeah oh and one thing oh if oh if it is
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kid if it is kid and they're being dicks like a lot of times i'll just go why
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is no one correct in this behavior. Whose child is this?
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And I'll be like, you want to correct this behavior or what?
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You know, like I'll just straight up like, yeah. I'm like, do you want to know?
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All right, fine. You know?
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Yeah, yeah, yeah. Let's just look at what they want to do then,
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shall we? You know what I mean? You know what? Yeah, kids are a whole nother bag of.
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Kids i guess we need a yeah we should get some we should get a professional
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kids magician on here that would properly be able to identify how to these questions
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could all be asked again but from a kids show perspective i have a better idea
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let's move forward and anything to do with kids.
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It'll be kids slash drunks because they're basically the same people absolutely
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done absolutely both call out both shit their pants yeah all right number two
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all right number two All right.
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Now I can see number two, but I want to switch it up and ask you something that
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has happened to me still in this scenario.
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So the question is right before you go on stage, there's a, you're missing an
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important part of your show, like prop wise, what do you do?
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So there are two scenarios I've had that I want to ask Nick.
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So question number one, you are doing
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a bottle production routine okay okay
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but mid routine the
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bottle falls out onto the floor it doesn't
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break but it falls out so like you've pulled out the silk and as you put out
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the silk and you've started your patter the bottle falls out onto the floor
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what do you what do you do what do i okay that wouldn't happen to me only because
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of the way i produce a bottle but if it were to happen to me,
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I would probably just put the bottle aside and go into the next routine immediately,
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but use the silk in that routine. I would just have to jazz something through that.
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So for example, if I was going to do a bottle production and then do a coin thing.
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I would like put the bottle down, but then
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use the silk to produce the coin or something like
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that but I would have to find a way to use that or I
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would probably like take the silk out then the bottle would come I
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would just probably wipe the bottle down and then put
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it aside like I would literally just do something as simple as
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that you know what I mean like if I wasn't able to produce it magically I would
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just like yeah like that would be possibly the two things off the top of my
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head what I would do this just happened to you yes yes this happened early in
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my career when I I was doing a Make-A-Wish Foundation night,
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like charity dinner,
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so I could just get some stage time doing a stage show unpaid.
23:51
I made the mistake. This was the first time I ever learned not to put,
23:55
because what I was doing was I was getting a wine bottle.
23:58
I would use a thin one and I would fill it up with water and I would put some
24:03
blue dye into the water and it would make it look like a fun drink.
24:08
So it would make it look blue, but you could see through it. It was like luminescent,
24:13
I made the mistake for the first time to use chilled water because at the bar,
24:18
they had like an actual proper cold water tap.
24:21
So they pumped cold water into it, which made condensation around it when it
24:26
was in my holder in my jacket and therefore, and it being a slim bottle.
24:31
So me, you know, whipping around on stage fell out. So I had my silk out. I had my coin.
24:39
I'm doing, I've done like two phases of this coin routine.
24:42
Boom bottle falls out and that's supposed to be like the big finale of that act that piece.
24:49
And so what I did do is thank
24:53
god I didn't freak out being so new to stage magic it
24:56
dropped on the floor and I just picked it up and
24:59
said ah that's just for when I get nervous and I set it on the
25:01
table and then kept going with the routine but knowing
25:04
that now I had no ending so all
25:09
I could do was make the coin disappear from the
25:11
silk and then luckily make-a-wish foundation
25:15
is all about kids so there was you know a sea
25:18
of kids sitting on the floor in this banquet room so i
25:22
just reached behind one of the kids ears and the ending was it plucked from
25:26
behind the kid's ear and thank god this kid freaked out hardcore and it made
25:32
it an ending but it could have just been terrible so Well, that's pretty good.
25:39
But with that knowledge now, like upon reflection, what do you wish you had
25:42
done something different?
25:44
I mean, other than obviously avoiding the bottle doing its thing.
25:47
Yeah, yeah. You know what I mean?
25:50
Yeah. Well, look, yeah, I think I do.
25:54
Going on stage at the Theatre of Magic, there was one time where the bottle
25:58
did fall out as I was like running on stage, like walking up to the stage and it fell out.
26:04
But I realized like probably not that many people realized what it was.
26:09
So it fell down. I grabbed it. And as I just spun and did a 360,
26:14
I reloaded it and then kept walking on stage.
26:18
Did my show and in the routine, I produced the bottle and it got the exact same reaction.
26:24
Wow. It always does. And it didn't matter that I just shown a bottle falling out of my jacket.
26:30
So I almost would have just said, oh, this is for when I get nervous and put
26:34
it back in my jacket. It's probably what I would have done now.
26:37
Okay. So that when they see it again, they still don't know how the hell it got there.
26:42
If anything. Yeah. All right. And then the second scenario, which happened in
26:47
the same show, by the way, you plan to do silk to egg in your show. Okay. Okay.
26:55
And when you reach into your pocket, so you're, you're doing a routine before
27:00
silk to egg right now. Okay.
27:03
You're 10 minutes into your 40 minute show because the bottle fell out,
27:08
your arm accidentally broke the egg that's in your pocket that you were going
27:12
to use in the show in five more minutes so when you reach in your pocket to
27:17
grab a sharpie for the trick you're doing before silk to egg you feel a hand
27:21
a pocket full of yolk and a million things run through your head now,
27:26
what do you do man you still have you still have 30 minutes of show to do yep and okay so,
27:35
i guess you're missing the final phase of your egg routine correct.
27:42
Yes you haven't started that routine so you can skip it obviously you have to
27:47
skip it now yeah but you've just realized now that your jacket is compromised
27:52
because you have a whole pocket full of yoke that eventually is going to seek
27:56
through and be noticeable oh crap yeah.
28:01
This happened to me in that same show jesus man that's nuts okay so what would
28:07
i do if that were to leak through my, and I wear black for this reason that
28:12
if you're going to have egg come through, it wouldn't be as noticeable.
28:14
But if I was going to wear a burgundy suit or green suit or one of my blue suits,
28:19
oh, that would be a situation.
28:21
So I would probably have to ditch my jacket and just continue the routines without
28:27
it, I think, you know, and just skip over that entirely and fall back.
28:32
Like if I have one pack of playing cards fall into something else,
28:35
like replace it that would be option number one but yeah obviously it's it's it's not,
28:43
I say this as a side note, it's not the easiest thing to answer when you don't
28:46
know the full context of a show and what starts and what ends.
28:49
But I will say that sometimes when things don't work, it just means you're missing a phase.
28:55
So for example, I have routines that rely on electronics and the electronic
29:00
is the kicker of the routine.
29:03
There's still many phases prior that kick you in the head and blow your mind,
29:08
but that last phase is what sets you into orbit. and sometimes they don't work very rarely.
29:16
And if they don't work, you still have an effect. I purposely structure my things that way.
29:21
So as far as the egg goes, I don't know how many phases your routine is,
29:26
but I'm going to ask you now, like, could you have done everything up into the
29:29
phase that you break the egg?
29:30
Could you have done everything up into that point and then just put the egg away?
29:33
You could have done that. Yeah. Yeah. Yeah.
29:39
You just have no real egg. That's all. Yeah.
29:42
But, so yeah, what I did do was, like you're saying, I quickly realized,
29:47
okay, the jacket, it's going to become a problem.
29:50
So I took it off and I also just took out anything that I'm going to need for
29:54
the show as well and put it into my case so I could just work from my case instead.
30:01
I remember it affecting the way I was going to do some of the routines because,
30:06
you know, we're so used to pocket management just reaching in to grab this and grab that.
30:10
I had to skip over I just skipped the entire egg routine And had to do the whole show Yeah,
30:19
just in my button-up dress shirt and pants And it did not help with the nerves
30:27
or sweating I just instantly broke into a sweat I was like,
30:30
oh my god There's 30 minutes of show still to do here And I can't wear a jacket
30:35
now Or do that routine But hence,
30:38
needless to say I no longer work with eggs.
30:41
And if I did, for some reason, the egg stays in the freaking briefcase.
30:46
Okay. It does not go into your pocket where your arms are swinging around or
30:50
someone might come up to hug you or whatever.
30:53
Yeah. Yeah. Yeah. Well, remarkably, we actually, in this one scenario,
30:59
literally answered like the next five questions of what would happen if you
31:02
had something break or fail and you had 20 minutes left in your routine.
31:05
So I'm going to jump straight to number seven which i wrote down and let's start
31:09
with this one because this is this is kind of happening well kind of we're not
31:14
quite so here's the thing what would you do if you were booked to do a close-up
31:19
magic show at a party and then you discover your ex is there.
31:23
Oh, and then what would you do if they started heckling?
31:29
And they started heckling? Yeah. What the actual, that's, that's,
31:34
that's twice as bad. I mean, what would I do? I'm trying to think.
31:40
God, it would be, your ex is there.
31:44
Well, I guess, you know, as a performer being, you know, as a performer being a professional,
31:52
i would say hello you know just like
31:55
just very surface level oh i hope
31:57
you're doing well great oh you're here great great and then i would just
32:00
you know try and just do my gig but if
32:03
they're also heckling that's a
32:06
really tough one because obviously you have so much backlog of
32:09
burns you could throw at them but like that's not going
32:11
to lead to anywhere good like the obvious line
32:15
would be like well you can see why we don't date anymore my
32:18
god so good there'd be so much comedy if you bumped it
32:21
i'd once did a show where i like i did a show it
32:24
was like 110 seater three of
32:27
my exes were in the in the audience three of
32:30
them whoa yeah nick gets nick gets around ladies and gentlemen i was like what's
32:35
the hell all three at once i'm like what are they doing here that's rough yeah
32:41
and did they heckle no no no no no but um that's that's the thing i feel like they,
32:49
wouldn't heckle because they're already feeling awkward that you know you're
32:53
there or if they've come to see your show it's because they you know they just
32:57
want to see what you're up to and.
33:00
Who you're dating now and all that weird stuff that an ex might do,
33:04
yeah they are heckling that's you just kick him out I guess well here's the
33:09
thing like it's going to be very evident that you can address I think what you
33:12
would do is I would address the elephant in the room that'd be mad like we dated,
33:16
that's okay let's get it out in the clear we did date didn't
33:19
work out she's lovely i'm you know
33:22
and you could just go like it just wasn't whatever and then if she's being a
33:24
dick to you could just be like yeah and everyone's like yeah that makes you
33:27
wonder how we didn't work out huh like you can just bounce off that and
33:30
i once said the line where i was just like oh for god she's
33:34
just mad because i've seen her naked that's her problem like i don't know where
33:36
she went let up like she's just i actually said that one time at a
33:39
show and then everyone was like that's true and it's funny so you
33:42
couldn't really push back on it but yeah look
33:45
it does happen but i always think just treat
33:48
and i stand by this like the same person you are for
33:51
someone who isn't your ex you should
33:54
treat them with the same kindness right and just super polite because if their
34:00
true colors are to be mean to you and to be awful that's the reason why they
34:03
are your ex so i just say like hold your flag up high stay true to yourself
34:07
be kind you never know what people are going through and i would rather walk
34:11
away from a situation where it's just like.
34:14
I'm really sorry that your ex was such a, such a bitch. And it's just like,
34:17
yeah, and look, I mean, that's why we didn't work out, but I'm sorry if she
34:20
ruined your day, but never be the reason why I ruined their party because at
34:26
a private function, like you're there for whoever's hired you.
34:29
So that's my advice on that one.
34:32
Yeah. I feel like, and especially with magicians, you know, that's not going
34:35
to be a problem they run into often, you know, running into another person they've dated, let alone one.
34:41
Am I right? Magicians. All right, we'll move on.
34:44
That's just a little dig that, you know, we don't get many girls. Unless you're Nick K.
34:50
All right. Number eight.
34:55
Your microphone dies mid-show and you're in a large echoey room.
35:00
What do you do? This happens.
35:04
This always happens. When you were in a band.
35:08
Oi! I didn't prepare any shots. I've only got this. That'll take.
35:13
That'll work. Okay. It does happen.
35:16
Headset microphones, we'll cark it. Remarkably, never when I bring my own.
35:20
I always bring my backup one. It's a Sennheiser EW100.
35:24
I love it because it runs purely on batteries, which means you don't ever have
35:28
to worry about getting it test and tagged.
35:30
I don't know, do they do test and tags in the US?
35:33
Surely they must, but maybe. Basically, there's this thing that we do called
35:38
test and tagging just to ensure that none of the stuff that you have is going
35:40
to glitch out or be faulty and ruin like the entire or take out an entire grid sort of thing.
35:46
So we do these little test and tag things to make sure that all your stuff is compliant.
35:49
So I use those, which is great. And also there's the road goes,
35:52
whatever else. But look, my gear has never let me down. Love it.
35:56
But there's been times where it's like, no, no, no, we have mics here.
35:59
And I'm like, okay, cool. So if it's the in-house stuff, they've already taken
36:02
it, tuned it, done whatever it's supposed to do.
36:04
The most recent example I could think of was I was doing a talk show thing in
36:09
Brunswick. And there was probably about 200, 300 people in the room.
36:12
And big thing. And so the mic just cocked it mid, I had no fallback, so I couldn't tell.
36:19
Thankfully, because they had a band on stage as well. I just walked over to
36:23
the microphone and just performed in front of the mic and it,
36:28
you just, you pivot people, you pivot. If you, if you, if there's no band microphone,
36:34
seldom is there ever going to be a, what do you call it?
36:36
A lectern walk over to the lectern. Okay.
36:39
I know some people use that. Remember those things that Dave Lord makes like
36:42
a hook that goes around your neck and you put the handheld microphone here.
36:46
Well, you look at what Josh Nibito is showing for the listeners of the pod.
36:51
It's interesting. It's imagine a question mark hook type thing that you put around your neck.
36:56
And then the tip of the question mark hangs down the center of your chest.
37:01
And then from there pops up a microphone clip in which you can actually clip
37:08
a handheld microphone, wired or unwired, which points directly at your face
37:13
and you can address your audience.
37:15
100%. This is a lifesaver or to have something like this.
37:20
The benefit of this is once the microphone is locked in, this can be swiveled out.
37:27
So if you need to ask the spectator something and they have to answer the question,
37:31
you just lean forward, you move it forward, they can answer the question and you bring it back.
37:37
Or if you have to say something to the audience, to the person on stage that
37:44
you don't want the audience to hear, or you're just trying to assure them like,
37:46
oh, don't be nervous, you'll be okay, whatever.
37:49
You can just turn this to the side, point it away, and then talk to the spectator, come back.
37:55
This goes with me to every show, even though, you know, we specify we need a
38:00
headset, all that good stuff.
38:02
My show writer always says I need a thin flesh colored wireless headset mic
38:08
and one wireless handheld microphone.
38:12
And that's because, yeah, sometimes they have shitty mics or just the cable.
38:17
It's always like the little connector piece where the headset meets the battery pack. It's like dodgy.
38:23
So if it breaks, this comes out. boom we
38:26
keep doing the show sometimes in showman because
38:29
there's five of us or four of us on stage
38:33
one of our mics at some point one
38:36
day somehow will stuff up so we
38:38
always have one of these like side stage so one
38:41
of us will notice their microphone stuffing up we'll come
38:45
out with a handheld on this and put around around their
38:49
neck and this fits under
38:52
your jacket so it's only this black part that's
38:55
popping out it looks a bit ugly right
38:58
like it does but it saves it saves
39:01
the show so like yeah i've just learned to always keep
39:04
that with me what do you get it what do you get it josh
39:07
that's a great question i know you can contact dave lord directly and i think
39:14
he has a website for buying these but i think maybe piper magic also might list
39:20
a couple of these as well on his site on behalf of him.
39:24
But if you just type in microphone holder or microphone lanyard,
39:29
there are other variations. But this has been a tried and true good alternative always for me.
39:37
I have seen a makeshift one like that where if you are someone who does rope
39:42
magic, you just literally tie off the rope, put a couple of knots in it,
39:45
and then you can just hang a white rope off your rope.
39:49
For yourself and then oh yeah it's tied to there and you can just sort of pick
39:52
it up and drop it to your chest and talk into it like this that is another proper
39:57
makeshift way of doing it which.
39:59
I like i i don't know what customer experience that would
40:02
be but i think it's a lot better than not having a microphone at all
40:04
and i hope that when if somebody were
40:07
to see that that would be like guys are pro we're in
40:10
safe hands this is awesome you know what i mean yeah yeah
40:14
i'm trying to think at a pinch like yeah if
40:16
you get like if you're really really stuck like
40:20
if you get a wire coat hanger and you
40:23
get like a shoelace like you can make a
40:25
microphone holder out of that by using the
40:28
metal of the wire to create like a
40:32
circle that will hold the microphone and you just tie the
40:34
shoelace to either end that goes around your neck make it
40:37
the right length yeah aesthetically it looks a bit dodged
40:41
but it is much better than not doing a show yeah
40:45
always be prepared my friends i think so that's
40:48
the motto your choice buddy i think i just
40:54
said that last question but i can ask the next one as well oh i got it i'd love
40:58
to okay okay so i'm gonna skip to some more ethical dilemmas because i think
41:02
that's the type of thing where as opposed to prop management what would you
41:06
do let's talk about some ethical situations so So when you are performing on
41:10
a bill with multiple magicians,
41:13
it might be at a gala, it might be something of that nature.
41:15
You will come into these sorts of scenarios. And so I've experienced these in
41:18
the past and wrote a few down. So I thought I would fire off with this one.
41:23
What would you do if a fellow magician performs your signature routine at a
41:28
gig that you're both booked for? Okay.
41:31
What would you do? And there's been, let's say, for example,
41:36
you both do a bill to impossible location, right?
41:41
And you both want to perform, even though they're slightly different,
41:43
one goes to a lemon, one goes to a ball of yarn, all of yarn,
41:48
it's the same effect in a sense
41:51
yeah what do you do in that scenario that's
41:55
a tricky one man i know at the assembly convention
41:58
we just had the amazing nigel had to
42:01
check in with every performer who was going on before him because
42:04
you know depending on how much stuff people do
42:07
will dictate whether he can do his routine and yes
42:11
someone else was doing a build to impossible location so
42:14
he had to take out his version of it someone was
42:18
doing like a book test kind of thing so he's like all right i can't do my version
42:22
of that yeah so let me just think yeah i mean look i have a story about nick
42:28
doing his set right before me and i'm watching nick and so i do like a sharpie routine,
42:36
and i see nick doing his own version of a sharpie routine right the lids vanishing
42:41
the pens vanishing I'm like, okay, I won't do that in my show.
42:45
Then I saw Nick do a multiple card find with four spectators cards.
42:49
I was like, okay, question whether I do a multiple select now.
42:53
And then you also did your version of Box Clever by James Brown, card under box.
42:59
I'm like, okay, we'll not do that tonight. And Nigel's looking at me going,
43:03
do you need some of my stuff to do your set in a second?
43:08
You also did like some muscle passes with a coin. I'm like, okay, no coin magic.
43:14
And these are not all things I was going to do in my set, but it's a lot of stuff that I do.
43:19
Exactly. And here's what I did. It doesn't matter. I love doing lots of magic
43:24
and I just made a note, okay, not going to do that.
43:27
Some things were like different enough that I could still do it.
43:31
Or I just highlighted the fact that something I just did, Nick also does really
43:37
well. So I was like, you know, with the coin...
43:42
Yeah, unless you have, you know, unless you're like Nick and I who can make
43:45
our coins levitate, you're out of luck. So this is what you do, blah, blah, blah.
43:49
I just highlight the fact that, you know, Nick can also do this power.
43:55
But yeah, you definitely got to check in that you're not all doing Rubik's Cubes
44:01
or you're not all doing book tests or you're, yeah.
44:04
So normally in real life scenario, I just make sure I have that conversation with the performer.
44:11
Like what are just the give me the you know the title like what are the props
44:16
you're using and i'll just not do that that's all and uh yeah but yeah if they do it you gotta pivot.
44:24
That's pivot that's it yeah so i mean same thing happened when we were doing
44:28
a very large scale event at crown casino i think it was like a thousand people
44:32
in this very large banquet and it was four or five of us roaming and it's like
44:37
okay what routines are we going to do you know And it's,
44:40
so the couple of ways we handled it in this scenario was you focus on these
44:45
tables, these tables, these tables don't cross over.
44:49
Okay. Then that way you can do whatever you want. So if we're not going to be
44:53
crossing over, not a problem, but if we are going to end up crossing paths in
44:57
this roving set, I won't do what you do. I'm going to do triumph, this, that.
45:02
Okay, great. I won't do triumph. I'll do this, this, this, you know,
45:05
that's a nice way to get around those sort of scenarios.
45:08
What about tell them the constantino thing like
45:11
you're all doing roving magic and constantino is going to do the stage show
45:16
yeah uh yes i was booked for a private event along constantino who is australia
45:21
is probably leading one of you know the grand illusionists and and the annoying
45:27
thing was they wanted me to dress in character and i agreed so i dressed like the riddler annoyingly,
45:32
which had no pockets or anything and i thought okay that's fine i just need
45:36
a pack of cards and a fistful of coins. I got this.
45:40
Constantino's agent comes over to me and says, don't do card tricks because it's doing card tricks.
45:45
And I was like, all right, fine.
45:50
Like, fine, fine. I did the whole gig, three hours with just three coins.
45:58
That was it. I think that's so unreasonable to ask on the night,
46:02
oh, by the way, for this three hours of roving, don't use cards.
46:06
Like that has to be a prerequisite before agreeing to the booking so that you
46:12
can at least plan the stuff that's not cards.
46:15
And also like that's crazy yeah
46:18
i look i did it because i knew i could do it and also
46:22
the client's son had a rubik's cube with him and so
46:25
he would follow me around and i would be give me
46:28
give me a cube kid and i would like just do the whole cube routine you
46:31
know jazzing i was jazzing hard through all of that yeah
46:35
and it was just so weird because even though this was a private event that
46:38
was booked he had like a camera crew filming him doing
46:42
stuff at this private event you know and he was doing
46:45
stuff like stage stuff like you
46:47
know that that routine where it's like oh i've got a jug and watch
46:50
i'm gonna break the jug this guy was breaking glass at
46:53
this private event you know which was
46:56
which was a high end i wouldn't even stay just in
46:59
case but look it's yeah like it does happen pivot and there's also another option
47:05
which a friend of mine did all they will remain nameless but the scenario was
47:14
they're doing a bill in something i'm doing a bill in something.
47:18
And neither one of them wanted to wave on it and he just went screw him i'm gonna do it anyway.
47:24
Because he went first i'm guessing yeah i think that the the lesser of the talents
47:30
went first and the better of the talents went second and so he just did it regardless
47:34
and richie did yeah Yeah.
47:37
I mean, to be honest, if you were still to do card magic during that Cosentino
47:41
event, like what's the likelihood anyone would actually notice?
47:45
Like, it sounds like it was a big room if you're roving for three hours.
47:48
It was, it was a lot of people there. There's a lot of money in the room,
47:51
but I just think the fact that my reactions were phenomenal and everyone was losing their minds.
47:56
And I think that a comment might've gotten back to them being like,
47:58
his stuff is better than his.
47:59
I think that's what I think might've happened because there was a,
48:03
that was that notion where it was just like, you're so much better than that guy.
48:06
Like it was said to me that look,
48:10
Right, yeah. Let's not make this a hearsay. Yeah.
48:14
Okay. Yeah, because we might hope that he comes on the show one day. All right.
48:21
Oh, I didn't see this one. That's funny. Your assistant cues the wrong music.
48:26
Hardcore dubstep instead of your dramatic soundtrack comes on. What do you do?
48:32
Roll with it, baby. Drunk tech.
48:35
Drunk tech, yes. There was a game that we play in the Magic Sports.
48:40
This is based on a real-life situation involving Raymond Crowe,
48:43
an amazing talent known for his shadow routines that he's done.
48:47
He's known all over the world for this routine.
48:49
He was performing back in the day where they had cassette tapes, not CDs.
48:54
And in the cassette tape, they did a rehearsal, and he played the song on the cassette tape.
48:59
And then rather than rewinding it for when the show actually started,
49:04
the tech had pressed play and had gone into track number two of that cassette.
49:09
He just did the routine regardless and rolled with it that's awesome every now and then.
49:18
Yeah your sound cues will just not work properly or you'll hit the wrong thing
49:21
oh yeah and yeah as long as you just don't freak out too much it's okay like
49:26
a million times like i've hit the cue for my sound and it's not hit and not
49:32
come on so i just i'm in a bit of a pickle But yeah,
49:35
as long as you relax, like the audience won't freak out too much, eh? Yep.
49:40
I got to ask you this one. Sure. Your pants rip mid-show and you're on stage
49:46
and it's loud. What do you do, Nick?
49:51
You highlight it, buddy. If you can't hide it, highlight it.
49:54
You know what I mean? Yeah. Like you do the torn and restored pants.
49:58
You get a length full of gaffer tape and you just put it straight in your gooch
50:01
like this in front of everyone. Yeah.
50:03
I thankfully have never had that happen. And I, I check my pants quite regularly
50:09
for this reason that it won't split.
50:11
And if the pants look a bit tired, I always like have a second pair.
50:15
Like I bought an extra vest yesterday, just in case, because I only had one.
50:20
I had two ones looking really tired and needs to be like retired.
50:23
So I decided to go buy another one.
50:25
That was a $260 vest, but I was just like, I don't even need it.
50:29
I don't even need it, but I had it there just in case it tore or something.
50:33
You know what i mean so yeah but prevention
50:36
is key in this scenario has this happened to you where you've ripped the
50:39
pants you know the escaping suit
50:43
jacket the suit jacket escape by anthony linden so it's
50:46
a very if you don't know it's a very physical routine if you don't know it guys
50:49
it's you literally have you're wearing a suit you have your handcuffs
50:52
on and you were trying to remove your your jacket
50:55
while being handcuffed because obviously you
50:58
need that gap in between your hands to do that so yeah for
51:02
some reason my belt broke while the
51:05
curtains were up oh and so the
51:08
where the belt buckle joins the belt that actually snapped so i could still
51:13
get through the routine but now my pants weren't being supported by my belt
51:17
and the belt buckle it looked a bit weird luckily it was the last thing in the
51:20
show but it's the only thing that comes to mind that actually broke in my clothing mid-stage.
51:27
That was a bit of a case. But because I do backflips in my show on stage,
51:32
it is a thing I need to be concerned about.
51:35
Pants splitting because you're bending your legs quite a
51:38
lot and then there's a lot of impact when you land yeah so
51:41
luckily i wear stretchy pants that
51:45
look like suit pants but are made of there's a lot of elastic in them so you
51:49
can literally do the splits in these pants they're that good so yeah i just
51:54
made a choice to switch to that to prevent any split pants yeah but if it did
52:01
happen if my pants did split,
52:03
I would just hope to God I was filming that show because it will make a great piece of content.
52:10
I honestly think that if you did do it, that would be so funny that you would
52:14
try and emulate it every show.
52:17
Yeah. Yeah. Yeah. That's a great point because it's just funny.
52:21
It's never not funny. Someone splitting their pants.
52:24
Okay. Here's a tough one. Here's a tough one okay okay and this happened to
52:28
me not too long ago it was handballed to me this gig it was so what would you
52:33
do if you were hired to perform at a party but you find out it's for a group
52:37
that you disagree with like you strongly disagree with for political and ethical reasons,
52:42
i'm not saying that like it wasn't extreme like my head jumps to like a nazi
52:47
group or yeah something exactly the kkk want to book you for an event what do
52:50
you do you know like do you not,
52:54
let's say that you were a I don't know maybe you were against animal testing
52:58
and so you don't want to perform for a particular makeup brand or something
53:01
like that you know what I mean so yeah okay look if I first of all if you're
53:07
in a position where you can afford to turn away gigs good for you.
53:12
My fiance being in the horse world is very against horse racing like not against
53:19
it where she'll go protest but she's not,
53:22
she she's not supportive of horse racing because of how horses
53:25
are treated and how they you know they just get
53:28
shot if they if they break a leg and the
53:31
stuff they put through stuff they're given to enhance
53:34
their adrenaline to make the run faster all that stuff but then
53:37
i every year i'll do a gig for for
53:41
like harness racing australia or
53:44
whatever and it's like doing roving magic for a
53:47
company that's like a sponsor of the race course i'm not
53:50
gonna not do it i'm just not supportive of
53:54
it in my head but i'm still there doing the gig i guess
53:57
the closest i can equivalent this to
54:00
is is hens nights not that i'm against hens
54:03
nights of course but for the first like good portion of my career i just wasn't
54:09
comfortable with doing a hens gig because i didn't want to while having a girlfriend
54:14
and go into an environment where
54:16
there are 20 thirsty women watching me do magic and wanting, you know,
54:21
wanting to flirt and be playful and feel you up and all that kind of stuff in a fun, joking way.
54:28
That was a conscious decision I made, which was I just would not agree to do any.
54:34
And I would just gracefully say, look, that's not part of my services I offer,
54:38
but let me recommend someone who does.
54:41
These days, what I've realized is hens parties never have a budget.
54:46
So if you just send them your full roving corporate fee, they will decline it themselves.
54:51
And if they do pay it, I will gracefully do it. But I have not yet had to do
54:56
one because they've never had the budget.
54:58
Yeah. You know, I want to say something off the back of what our good friend
55:03
Gutbuster Mike said, where he says, get the money, nobody agrees with everything.
55:07
Let me second the two different scenarios.
55:10
So I was handballed a gig by actually Nick Johnson. And he just said,
55:15
these guys are a bunch of rich assholes. I don't want to deal with them.
55:19
Go do the gig. And I said, sure. Right. And I thought, I don't know,
55:22
maybe it just doesn't like their temperament or whatever it might be. I thought nothing of it.
55:25
And then I get to the gig and I'm going to share this because it disgusted me. Right.
55:30
And, and I want to be very clear. Like I have, I, I have no racial issues with
55:35
anyone. I would never, my best friend is Muslim.
55:37
It doesn't bother me one bit. But when this guy came to me and said,
55:40
when you do your show, if you want to make fun of the Muzis,
55:42
go for it. And I said, what's a Muzi?
55:45
And he went, oh, the Muslims, if you want to make fun of them,
55:47
go for it. And I was like, yeah, no, I'm good. Thank you.
55:50
And I performed the set, but I had no idea that this, this private group of
55:56
very, very wealthy people were like, oh, we thought you were going to make fun of a bunch of muzzy.
56:01
And I was just like, who the, who, who does that?
56:04
Right. That was so messed up. But I tell you what, I love that I took their money. Okay.
56:12
Like when straight up, man, like these people
56:16
right like if they're gonna have this sort
56:18
of notion like it's so funny i
56:21
remember this this lady saying to me like i don't want their money like and
56:24
i was just like why wouldn't you take money from bad people as opposed
56:27
to taking it from the good people that you're surrounding take it from the bad perspective to
56:30
have that straight up man you're taking the bad people's money yeah robin hood
56:34
so to speak robin hood take the money from the rich give it to yourself we're
56:39
poor you know what i mean but like i that's what i kind of think it's like if
56:43
if you were against the group let's say that like i don't know man like he just said like okay,
56:49
it was it was a horse group or something like that and you'd be like we want
56:52
you to just do an hour of roving you go great the price is 20 grand because
56:55
i hate what you do and they go you say that it's 20 grand because i hate what
57:00
you do no problem here's 22 grand.
57:03
And you're doing it with a smile and you're doing it and you're going,
57:06
good, I'll take a 20 grand, you know, and I'll do something good with that money.
57:10
That is one way to look at it. I don't really, and this could be,
57:13
this could be very dividing for those out there. You know what I mean?
57:17
But there's two ways you can look at it.
57:19
You know, you'd be the change that you want to see. Like when I approached these
57:21
people, I had no idea that they were like racist for lack of a better word,
57:25
but you know, I was there and I was already performing and it was like, oh my goodness.
57:29
And I just thought like, no, I don't have to go down to their level.
57:31
I can still be my bright light in that environment, you know?
57:36
And again, take their money, man. Take it. Like, take it from the bad.
57:42
Yeah. I think, look, and that caps us at an hour for today's podcast.
57:48
And I think if we have learned anything today, oh, by the way,
57:51
before we end, I will not be here next week, but Doug Kahn will be.
57:56
So get ready for some Nick and Doug special debates On whatever our next topic
58:02
is And what day are we doing that on, Josh?
58:05
And that is going to be So today was a day earlier than usual But next week
58:10
it's going to be one day later than usual So it'll be a Wednesday in Australia
58:14
Or a Tuesday in the US So look forward to that I'll still be listening But I'll be listening as a viewer,
58:22
Chimming in And I think the last final word, I think, for today,
58:29
beautifully put by Nick, is always take their money.
58:34
Thanks for listening. It's time for us to disappear now. Disappear now.
58:40
But we'll see you again on the next episode of The Magic Guys.