Not long ago, I watched the 2007 J.J. Abram’s TED Talk about unseen mysteries and the potential that they represent. A centerpiece of the talk is a “mystery magic box” from Tannen’s Magic Shop, which Abrams bought as a young boy. Abrams still has it and shows it to the audience during his fascinating speech. The box was sold as a “grab bag”—the contents of the box were bought sight unseen, and promised a greater value in merchandise, $50 worth of magic tricks, than the $15 it sold for. Abrams, however, preferred the promise of what the box contained over its actual contents and has never opened it.

This started me thinking about the nature of mystery and how it relates to the performance of magic. The word “mystery” is high on the list of what most magicians would say their performances provide, but I think there’s an important aspect of this that is often overlooked.

An objective analysis of most magic shows would find that the experience of mystery is almost entirely one-sided. That is, all of the mystery is experienced by the audience, who are kept in the dark about certain details that the magician withholds and exploits.

This might be why many audience members slip into “analytical mode” when watching magic, and why some are so hungry to discover our secrets. Clearly, the mystery of the magic show is not unknowable; it is merely temporarily unknown.

But the Mystery Box is something entirely different, isn’t it? It is a shared mystery, that cannot be solved except by intentional action. The clerk at Tannen’s most likely didn’t know precisely what it contained, certainly Abrams’ Grandfather, who took young J.J. to Tannen’s didn’t know, and as we’ve established, neither does J.J. The simple fact is, nobody knows, and thus the box is a true mystery. Unlike the magic trick, we are all in the dark, and there exists no imbalance of knowledge, and thus power, in our relationship.

And I find that idea to be singularly delightful. So I was thrilled when I recently discovered an inexpensive and tangible way to share the idea of the mystery box with my friends and family.

Believe it or not, it’s all thanks to Mattel and their “Mystery Cars” line of Hot Wheels toys. Hot Wheels, of course, are the venerable metal toy cars that were incredibly popular when I was a kid, and continue to be big seller today.

Every season, Mattel comes out with whole new line of Hot Wheels cars, including a subset of cars they sell in “Mystery Cars” packaging. These special edition packages prevent you from seeing which car you’re buying; it could be any one of 24 different cars. The Mystery Car packages are easy to spot at your retailer, the car is hidden behind a black plastic bubble decorated with an embossed question mark. The package artwork features a car that is shrouded with a flame-covered tarp.

When I stumbled across the Mystery Car display in my local Target store, I knew immediately that I had found my own version of the mystery box.

The script I use when presenting one of these cars as a gift is a personal and sincere expression of the importance of mystery. It includes re-telling elements of Abram’s story, how Hot Wheels were a favorite toy of mine, and my belief that in today’s society where secrets are rare and virtually any answer is just a Google search away, choosing to intentionally not know something can be a beautiful reminder of life’s important, unanswerable, questions.

I also point out one modification that I’ve made to the car’s packaging. Mattel, while they have created a wonderful thing with the Mystery Cars, were apparently afraid to fully embrace their creation. On the back of the package there is a carefully placed hole, approximately the same diameter as a pencil. This allows the purchaser to see a tiny bit of the car inside. Mostly you see a wheel, but the color of the car is also clearly visible. While this may be a concession to the collector, or perhaps to parents who wish to protect their child from the disappointment of receiving a car that they already own, I find the hole misguided and, frankly, offensive. (Yes, I take mystery very seriously.)

So what I do is cover the hole with a small piece of opaque tape, as shown in the photo. When I present the gift to someone, I point this out and tell them “If the suspense is too much for you, you can remove this tape and get a tiny peek inside. You won’t see much, but when you realize how dirty this makes you feel, you’ll find the strength to resist opening the package.” This line always gets a laugh.

I suppose that some magicians will dismiss this as just a ninety-cent toy, given to adult, with a lot of made-up justification and no magic effect. But done in the right context, I’ve found it to be more powerful, because it’s more personal, than any trick. If the concept speaks to you, I hope that you will use it or find another way to share the gift of mutual mystery with the people in your life.

About the Author: Gordon Meyer is a Chicago-based writer and magician. He frequently contributes to My Lovely Assistant and writes about magic about at Chicago Magic Studio.

Notes: Abram’s Mystery Box is also featured in the May 2009 issue of WIRED magazine. My thanks to David Parr, for alerting me to Abram’s TED Talk, and to Craig Conley and the participants of the July 2010 Chicago Magic Workshop for their helpful feedback about Wheels of Mystery.

HOW TO MARKET YOUR CHILD OR SELF AS A MAGICIAN

As a magician, especially a young magician, it is very hard to get magic gigs.  If you want to earn real money as a magician, you need to treat your magic as a business.  When marketing your child/self, don’t put all of your advertising dollars in one form of advertising.  The more places you have your message seen, the better the chances you have of getting more shows.  Below are some tips that may help you promote your child or yourself.

TARGET AREA

You need to decide what market area you want to target.  Do you want to perform for schools, libraries, fairs, festivals, scout troops, birthday parties, etc.?  Then the next step is to decide how far you want to travel.  After you have decided what type of venue you want to perform in and how far you are willing to travel, then that is the market you should advertise in.  There are many ways to market yourself and the more creative you are, the more bookings you will get.

HOW TO SELL YOUR SERVICES

1. Cold Calls
   1. You don’t want to be annoying or bothersome.  Maybe you already have a show at a school.  Call the other schools in the area and tell them that you are performing at a certain school and that you would love to perform at their school that day as well.
   2. If after making the call and they tell you that they are not interested at this time, ask them if you can still send them promotion material.  After sending the promotional material, give them about a week and follow up with another phone call.  This phone call will give you another excuse to be in contact with the potential client.
2. Leads
   1. One way to eliminate uncomfortable cold call is having a lead.  A lead can come from someone who knows another person who is having a special event or gathering.  Call the person and introduce yourself and your services.  Tell them that you were talking to “so-and-so” and they mentioned that you were having some type of event and that they might have a need for some entertainment.  Perhaps a magician!  Then explain the different types of magic you can do for them, i.e. walk-around magic, stage show, close-up, parlour, mentalism, etc.  Remember . . . let them know what you can do for  them!!!!
   2. If you get a lead from someone who knows that a company is having a big event, but doesn’t know the person in charge, call the company and let them know that you know the company is having a big event and you would like to speak to the person in charge of the event.  Make sure you get the event planner’s name and ask to be put through to their extension or ask for their phone number and call them directly.
3. Newspaper Advertising
   1. Advertise in local papers.  When putting in an ad in the paper, make sure it is easy to read.  Also, use tag lines so that people will associate you with the tag line and remember who you are.  Make the tag line memorable!  Print your phone number larger than the rest of your contact information.
   2. Classified Newspaper Ads.  This ad should have your picture and what type of magic services you can provide.  If the area where you live has a daily newspaper, possibly run the ad for an entire week.  Sometimes it is cheaper to run the ad for a whole week since the paper may give a discount for a full-week ad and it keeps your name in front of the public eye.  If your local newspaper only has a weekly edition, run an ad once a month for several months, if possible.  Run the ad under Entertainment headings or notices—do not put the notices in Help Wanted.
4. Mailing Lists
   1. School mailing lists—Do an Internet search and find a directory for your State Board of Education.  This directory lists all of the schools in your state and their contact information and the principal’s name.  Contact the principal of the school and give him/her your sales pitch.
   2. Library mailing lists—Do an Internet search for your State Library Directory.  Most libraries do children’s magic shows, so you want to market your show to the person in charge of the children’s services or the youth service director.
   3. Local Chamber of Commerce—Contact them and get a list of service organizations and churches in the area.  Some of the organizations that they should be able to give you information on would be the Lions Club, Rotary Club, Knights of Columbus, Masonic Temple, etc.
   4. Corporations or Businesses in Your Area—Call them directly or look on their website to see who may be in charge of entertainment for their company.  Get that person’s name so you can send out a mailing to them.  After sending out a mailing, follow up with a phone call and ask if they received your information and ask if there is any events coming up that you could perform at for them.
5. What to Do with the Mailing Lists
   1. Direct Mail—Put together fliers, brochures, letters, and/or postcards to mail to your potential clients.
      1. If you are not good at graphic design, go to a professional and have them design and print your mailings.
      2. Make it easy to read.
      3. Use bright colored paper or postcards.
      4. Put your name and phone number in big, bold type.  Also include other contact information such as fax, e-mail, or website.
      5. Make it attention-getting so it does not get tossed into the trash as junk mail.
      6. In your mailings you may want to include a return postcard with postage on it already to send back to you.  On this card, you may want to include check boxes or lines that can be checked off for the type of magic they may be interested in; name of contact and the best time to call; when they are interested in a show and, of course, name and address of the organization.
6. Promotional Packages
   1. What to Include in the Promotional Package (make sure that your package is put in a nice folder or presentation packet):
      1. Cover letter
      2. 8 x 10 picture
      3. Biography sheet
      4. Resume
      5. Letters of recommendation
      6. A business card
      7. DVDs (I would only send this if the potential client specifically asks for one).

WHAT TO DO NOW THAT YOU BOOKED THE SHOW

1. Booking Sheets—This is very useful to have in front of you as you are booking the show with your client.  Customize your booking sheet to your needs.  This will also be your “notes” to filling out your contract.
   1. The booking sheet should include the following information:
      1. Name of the organization or client and phone number
      2. Name of the contact person that you have been working with
      3. Time you will arrive
      4. Time the show will begin
      5. Length of the show
      6. Type of show
      7. Fee
      8. Number of people expected at the show
      9. Did you send out the contract via mail or fax?
      10. Has the signed contract been returned?
      11. Reminder call a few days before the show to the client
      12. Directions to the show (this isn’t always necessary now since so many people have GPS Systems.
2. Print Up a Contract.  Send two copies of the contract (one for the client to keep and a signed copy for them to return to you).
   1. The contract should include the following information:
      1. Name of the organization or client
      2. Name of the contact person that you have been working with
      3. Time you will arrive
      4. Time the show will start
      5. Length of the show
      6. Type of show
      7. Fee
      8. Deposit amount, if any.  (You may want to put in a clause that says that if the show is cancelled by the client within a week of the performance time (or however many days you feel comfortable with), the performer gets to keep the deposit amount
      9. Any specific requests you have, such as lighting, sound or seating format requests
      10. A place for signature and date
      11. Whom to make the check  payable to

ONCE YOU HAVE PERFORMED YOUR SHOW FOR THE CLIENT

1.   Send a Thank You Letter—Thank the client for inviting you to perform.  Let them    know what a wonderful time you had and you are interested in working with them in the future.

2.  Ask the client if they would write a letter of recommendation for you on their company  letterhead.  You should include a self-addressed stamped envelope.

FOLLOW-UP DATES

1.  Now that you have a client list established, send out quarterly or semi-annual letters or postcards to remind your clients that you would like to do another show for them.  This gentle “prod” will remind them that you are available to work for them and you want their business.

These are just some ways to promote yourself.  I recommend trying some of these techniques and see if they work for you.  Experiment, but most of all, have fun!

To learn more about Bill Koch, visit his website at http://www.magicbillk.com.

Chalk and cheese, apples and oranges, magic and romance — all things that do not go together.

Or do they?

As someone who has used their magic successfully in the pursuit of love, I would argue they are not as alien as one would think.

In fact a massive part of how I met, connected and ultimately won the heart of the love of my life can be credited to our wonderful art.

My little tale hearkens back to last year’s Magic and Meaning Conference.

Hanging out with my fellow magicians at the aptly named Witches and Wizard’s ball, I was messing around with my pack of cards and trading tips with my fellow magi when an attractive girl caught my eye.

Rather than crudely march up to her with a tinned chat-up line I chose to stay with my friends and wait for a more opportune moment to communicate.

This duly came as I was leaving for the night, and I chose the rather unusual approach of showing her a magic effect.

I learned her name was Lara and, rather than use a cooker cutter presentation, I decided to use the presentation I had been inspired to formulate at the conference for the Roy Walton classic Pass At Red.

She loved the trick, we swapped details, kissed for the first time and it was the beginning of a fantastic relationship.

Of course that was far from the last time magic would influence our relationship.

We have since enjoyed shows in Vegas, wondered at the genius of Tamariz at the Magic Castle and of course I have showed her my own pieces old and new alike.

I even chose to ask for Lara’s hand in marriage using less than conventional means.

On this occasion I used my teacher Jeff McBride’s favourite Magic Wishing Rainbow effect, with a bit of a difference – the appearance of an engagement ring was the climax.

Luckily everything went well and the magic was a success beyond my wildest dreams, with many tears of joy, and it made the story of our engagement an even more special memory.

One interesting point is that a few of the guys I have told the story think it is cheesy, the women all seem to find it very romantic.

I guess it may be an idea to do an ace assembly or oil and water if the target of your affections happens to be a man.

Broadening out, I think my example shows there is definitely a place for magic in the pantheon of romance.

I believe the key is I used conjuring in an organic way, as a way of communicating and enhancing a genuine interest in another person.

If I had been conceited enough to formulate a series of pick-up tricks and corny presentations as a tool for picking up women I have no doubt the experiment would be a spectacular failure.

Instead the magic was used in a spontaneous way to add to what was already a genuine attraction.

Using tricks that fit your personality, and that communicate more than a pointless effect, is also important.

In effect, and to refer to the classic Eugene Burger and Robert Neale book, I used magic with meaning, and what followed was true astonishment.

Additionally, the pivotal pieces of magic that I have used went beyond effect, and communicated something about myself.

I do not claim to be a great magician or any sort of authority on the subject. In fact I would say that I have more than a small way to go before I am anywhere near achieving my goals in this regard.

However I cannot overemphasize the joy that being able to fuse my love for magic and the love for the most special person in my life has given me.

A common stereotype of a magician is a geeky, awkward character with poor social skills.

In fact I fit very much into this tradition, with a love of sleights, secret methods and hidden knowledge one of the key reasons for my love of the art.

And despite all my achievements in life to date, at heart I am still the uncool kid who loves heavy metal, comic book characters, obtuse philosophical ideas and science fiction.

Additionally, as I become more integrated into the magic subculture, I encounter many kindred spirits in the world of geekdom, certainly far more than I do in other aspects of my life.

However one of the great things about magic is it can bring one out of one’s shell because of it is at its heart a performing art.

It is truly a way to meet and communicate with people in a fun and engaging fashion.

I can truly say that magic has given me more than I have ever been able to contribute to it.

And if you follow my example perhaps you can find something truly meaningful thanks to your passion for magic.

Lara’s perspective

I would not be fulfilling my journalistic duty if I did ask Lara her thoughts on the subject. Here is what she had to say:

“Magic has always been a curious thing, and magicians, apart from the silly tricksters, carry an air of mystery around them.

“That night at the Witch and Wizard’s ball, it was easy to pick out the magic school boys, because they were all carrying around a deck of cards, and talking amongst themselves.

“I’ve never been approached by way of magic trick, so when Mike chose to break the ice using a card trick that was laced with an interesting story, my interest was piqued. Who was this guy? I’d soon find out.
“Magic has been an integral part of our budding relationship. Even in his marriage proposal, Mike used a magic trick. I can tell you, it’s very important to have a cool engagement story, and now I have mine.

“Magic was the catalyst and the caveat Mike used to bring us together, and I very much love that. It was amazing to see that rainbow ribbon turn into an engagement ring!

“Of course there has to be an attraction there to begin with, but magic could definitely make someone stand out from the crowd.

“Funny thing is, we are to be married and he still hasn’t told me any of his magician secrets!

“I’m still always wowed and amazed at the things he’s able to do and the hard work and practice he puts into his passion. I’m proud to have a magician by my side.”

As a college professor and magician, I have spent a long time thinking about this profound question.

One reason for my focused attention is fairly obvious: I am in the “education business” and an “educator” so it seems pretty important to get clear about what I should be doing. But another reason is that “education” seems to have become a problem in the subculture of magic.

Why do I say that? Well, for many years I have been bombarded by questions, calls, and e-mails from magicians—young and old, amateurs and pros—who are hungry for education in magic. They seem to sense that, despite all the instructional DVDs and so-called “lectures,” they are not really becoming “educated” in their art and craft. They are frustrated and want something more, but don’t know how and where to go.

I understand this frustration and try to offer my best support and advice. I think they are right that “education” in the best, full sense is lacking in the usual patterns of magic conventions, club meetings, and DVDs. So first, I want to say a few words about why that seems true and then point you in a couple directions to get more and better magical education.

Let’s start with the word itself: “Education” is rooted in the Latin word and concept “educare.” This concept was a central one in Roman life and civic culture. In short, it means to “bring up,” “bring out,” and “bring forth” a hidden potential in someone. To educate then, is to work carefully to bring out the very best that is inside a student; to be educated is to have undergone that process so your own best potentials are shining forth.

Pretty cool, isn’t it? Once we see this, I suspect that each of you will remember a teacher, professor, or classroom in which this discovery of your own potentials happened. To experience this is an amazing and literally transformational thing. And when we don’t get much of it, or we are fed substitutes that have other goals (like getting you to buy something or “buy in” to something), then we start to wilt a little bit, starved for sun, feeling stuck and stunted rather than on the path of growth and development.

So what can we magicians do to get educated? The very first step, I think, is simply to recognize, with great clarity, that a lot of things going on in the magical subculture have other goals than uncovering your best potentials. That doesn’t mean those things are “bad” things. Not at all; they just aren’t “educational.”

OK, then, what kinds of things are educational for us magicians? My first answer is as ancient as those Romans: reading and writing. Not just any old books (the Romans used scrolls), but excellent books that challenge our static patterns of thought and seek to help us find our potentials. My own view is that these kinds of writings are fairly uncommon in magic magazines and online. Most magic writing is descriptive (like news-reporting), reviews, or explanations of tricks. Again, these are fine and sometimes important, but not in themselves educational. However, educational magic books and essays do exist, and I am sure you can all think of some of them.  (In a future “Museletter” I will share some of my favorites with you.)

But reading and writing is almost never sufficient for the best education. That’s because virtually everybody needs some person, some “teacher” to inspire, challenge, and encourage growth. The basic truth, long recognized among educators, is that you cannot really “educate yourself” because you are the one hiding your best potentials!

So we need teachers. We need guidance, advice, and insight, not from “screaming heads” on TV, critics, or from people trying to sell stuff, but rather from educators, directors, magic coaches. Where can we find them? Well, you probably already know some of them. They are those rare people in your Ring or Assembly who have that special way of helping you see something new in your work. Or they are those people you know with theatrical or directing experience who can help you develop those skills.

But there is another important resource to which I have always directed my magic students: Jeff’s Magic & Mystery School.

Many of you know that in recent years I have partnered with Jeff on several projects related to the School. For example, I have worked closely on the program for the Magic and Meaning Conference (which is deeply “educational” in its focus). And this past January, I co-taught a weeklong Master Class in Las Vegas.

After these first-hand experiences, I want to tell you that Jeff’s School is genuinely and deeply educational. I have seen it time and again: magicians and magic enthusiasts who come to the School—to its programs and classes—have transformational experiences in which their own hidden potentials and best selves come to light.

I invite you to read that last sentence again. The programs and classes are not about “indoctrinating” people and they are not about turning people into “clones.” On the contrary: they provide content-rich experiences in which a person’s own inner hidden potentials are brought to light. Simply put: people go home from these experiences positively glowing.

As far as I know, there is no other organization or program in magic that is offering this kind of on-going, intensely educational experience for its participants. This is why I have committed my work and talents in the service of the School: because it really is a school. And it is why I am deeply pleased and honored to have been recently named “Associate Dean.”

I believe in education. I think it is one important part of feeling happy and fulfilled in life. We do not have to starve for it in our magical pursuits, and once we clearly see the goal, we can take conscious, strategic steps to experience more education in our magic.

The good news is that your magical education is the explicit mission of Jeff’s Magic & Mystery School. I sincerely hope you will join us some time in 2010 to experience that in yourself.

I have a lovely little theatre in my home and I really appreciate the luxury of having a permanent theatrical space to rehearse! The project was inspired by Jeff McBride who has his own home theatre and who teaches his Masterclass students that this is a sure-fire method to improve one’s magic performance. It’s the easiest way to try out new stage material to a friendly audience and the best way to avoid rehearsal procrastination caused by HATING the idea of having to find and set up your props and costume from scratch each time — you too?

My theatre is set up with the video camera in place; costumes and props ready to put on/load and music system ready to go.  It’s warm, cosy and beautiful and a pleasure to work in.  Before I bought this house and created the theatre, I had to rehearse in my one room, in a tiny space behind the bed with a video camera precariously placed in the doorway…no wonder I never got round to it!  So if you’d like to create your own luxury rehearsal/theatre space, this is how you do it!

Firstly, I accept no responsibility for the scorn and wrath you’re going to get from your wife / significant other the moment you mention that you’d erm… quite like to create a magic theatre in your living room!  We might as well assume right now that she who must be obeyed might not explode with joy at the concept of velvet drapes and silver spotlights… But in a magical fantasy world, let’s imagine that she warbles, “Oh darling, how marvellous, do whatever you like, here’s all the housekeeping cash, I can’t wait to see what you create!!”

First, I had to search for the right house. I told the estate agent that I would need a huge living room that I could turn into a theatre.  He obviously thought I was either eccentric or deluded but nevertheless showed me lots of houses with massive living rooms and I bought the Sequin Starship.   You can see from the rather blurry picture that the original house had a classic family living room with a Horrendous (capital H!) flowery wallpaper and a nasty, nasty green carpet. Decorators came the day I moved in and painted every wall white; the hideous purple flowers had to go! I tore up the vile green carpet and stripped and varnished the floor to make a beautiful pine floor for the auditorium and hard wood base for the stage.

Vile green carpet

Hard wood floor underneath

Moi sanding said floor!

Fabulous friend Dawn vanishing floor.

Nearly finished on the varnish!

Auditorium floor stripped and varnished.

Mirrored wall going in

Drilling holes for the Theatre curtain pole

The room is L-shaped so the long part is the half stage/half auditorium and the side part a workshop/mirrored practice space.  I ordered full-length mirrors for the far wall and had a large workbench built with lots of storage space underneath for tools, sewing machine and storage boxes of material. Shelves on the opposite side hold props, tricks in the making and smaller boxes of screws etc.  I have a large wardrobe rack for costumes and a cups/balls table that I used to keep my current act on, ready to rehearse, again one of Jeff’s teachings.

The walls of the theatre are hung with good quality black velvet. Simple to do, we made wooden brackets on the walls that hold 2 x 4 lengths of wood. The velvet is staple gunned to the wood and the whole panel can be easily taken down if not needed.  The back and sidewalls are solid velvet panels with the side opening on to ‘backstage’ having 2 panels for easy access.

Cutting the 2 x 4s ready to staple the velvet

The naked brackets and 2 x 4s on the wall

JF hard at work in the finished studio.

I bought the new LED types of spotlight because they have the advantage of keeping cool.  They hang on a simple curtain pole put up in the inside of the theatre wall and plug straight into the standard electrical sockets on the wall.  The final touch was some vintage ruby red theatre curtains with a touch of gold fringing with I found on e-bay and altered to fit.

Dave putting up the Spotlights

Spotlights, Black Drapes, Burger, Maven & Tamariz!

Corner of Theatre Curtains

Theatre

Theatre Curtains

Auditorium

Studio with Work Bench

Studio shelves with Act ready on table

Auditorium viewed from stage

That’s it! Very simple! How you design the auditorium is up to you.  Mine is rather like an old fashioned parlour with a Chesterfield sofa, antiques, Moroccan lights and cushions.  You can bring as many chairs in as necessary but I usually keep the room quite empty so that I can leave the video camera ready to record my rehearsals.

So there you are, home theatre, a great pleasure and a really valuable performance tool.  Hoorah!!!