Over there! It’s happening here! — Just about to start!
Magic show, it’s good, I know I’ve seen it before!

These are just a couple of lines I have used to gain the attention of the passing public when I start a street show.

Street theatre is an art form I simply love — more so — Magical Street Theatre, changing people’s lives who simply had no plans at all to watch a show. Then, they find themselves unexpectedly watching my show. I have seen faces hardened by the worries of life soften and break into a smile and, if just for those moments, they forget the worries of their world. If I see that, then I know I am performing my art.

There are more privileges that come with Street Theatre; one of which is the ability to travel, from city to city, country to country, and be meeting people wherever you go. When folks walk through my show and are set on being a distraction, standing there, yelling something or other, I remind myself that no one invited me to be there. I am just exercising my right as a human being and expressing myself. I recognize that my heckler and I have this in common — no one invited us. You see — to smile, to aim to embrace even the harshest distractions; this is my art. I strive to win people over, to educate, and most importantly, leave my audiences with a positive magical experience that they won’t ever forget.

These precious privileges of a street performer create magical moments that continue to change my own life, and to bring life’s great surprises. Veronica is quite simply the best thing that has ever happened to me. In 2006, I met Veronica in her hometown of Edinburgh, Scotland. I knew then my life had just changed and a wonderful journey was about to begin. In 2009, we had a magical wedding on a beach in Vancouver in front of Inushuk (a North American Indian landmark). We incorporated Indian prayers together with our vows in the presence of fine company. For the last four years we have traveled throughout Europe, often living in an RV. Life is a magical adventure.

Each year we travel back to my home city, Cardiff (the capital of Wales), and run The School of Busking — a School I founded in 2006. I can safely say it is a privilege to be involved with students in this capacity. I never dreamt that the doors would open as they have for me to teach around the world as I do now.

Another great privilege is to teach alongside some of the best performers in the world. Recently, in 2010,as part of an international tour, I had the opportunity to work with Jeff McBride at McBride’s Magic and Mystery School in Las Vegas. The focus of the weekend was Street Magic and I was there to teach the art of Street Theatre. I was not prepared for how much I would learn by working alongside Jeff. The sincerity of Jeff and Abigail is wonderful. My whole outlook on Magic has never been the same since. In addition, the students were great; I feel I have made great friends. I am now part of the teaching faculty of McBride’s Magic and Mystery School, and am looking forward to returning to Las Vegas to teach and perform in 2011. I also look forward to spending time with friends.

A great privilege was given to me in March 2011. I was given a lifetime honorary membership by “Club Arte Magica” in Milano. It was given to me for services to Magic while on a lecture tour in Italy. I was then told that this was a rare honor, and I was deeply moved.

I want to leave you with what I consider a gem, a street performer’s secret weapon — Curiosity. As a street performer, I want to create curiosity in the passing public. If they are curious they are twice as likely to stop and watch my show. Here lies the gem  — In curiosity lies magical wonder. I often hear a child ask me “Mr., what are you doing?” I never answer with an explanation but rather a demonstration, perhaps I will say “WATCH…” and right there is the door hinged to a magical world! Their question is not born out of confusion, rather curiosity has got the better of them and now they cannot contain themselves any longer and break their silence to ask! My aim is to have my whole audience gripped with the power of curiosity. On the streets their eyes are wide open and they are leaning forward. The saying “sitting on the edge of their seat” stems from curiosity.

As Magicians, the art of creating curiosity should be our aim in all that we do and therefore create more magical moments in people’s lives and in our own.

Mario Morris
www.schoolofbusking.com

I published an article entitled Getting the Gigs in October of 2010.  The article was sent in by our dear friend, and “head mother” of the World Magic Seminar Teen Weekend, Chris Koch.  Shortly after it was published, I got a somewhat obscure email from Jeff asking me to take the article offline while we investigated a claim of plagiarism.

I’m pleased to say that the article is back online along with the following full story from both authors.

-Bryce

Jania’s Part of the Story…

On a late summer day I received a phone call from one of my Chicago magic friends. He exclaimed, “Have you seen the article by Chris Koch in “The Secret Arts Journal?” “No,” I said. He continued, “Oh my God, it’s your notes word for word. I thought I had heard this stuff before, I even got your notes off my shelf, and there it was page for page your lecture.”  All I could say at that moment was, “You’re kidding!”

I hung up stunned, and then went to see for myself at “The Secret Arts Journal” website.  My friend was right–there it was in black and white my work laid out before me with someone else’s name, with not one mentioned of credit to me!  How could this be?

I met Chris and her son when they attended my lecture in Chicago. I instantly had a feeling of liking them both.  Her son was the kind of kid that you wanted to help, and see succeed. He also seemed like the kind of kid that got the basic ethics of magic.

I was even more disappointed when I realized he was a student of Jeff McBride’s. We have all seen Jeff’s act copied move for move, mask for mask. Anyone that has ever seen him lecture knows that he drives home the point of finding your own creativity, and you give credit when it’s needed to be given.  How could have Chris missed this lesson?

My work had never been stolen before. I then felt maybe I should take this as a compliment.  If someone felt my material was good enough to copy, maybe this was just a sign that I had made it! Still putting together “Getting A Gig Is A Full Time Job” was my work, my years of trial and error in the marketing of my magical services and self. I wanted the byline!

Then after all of this lamenting over feelings of hurt and disappointed it hit me! I was at fault, too! In my lecture I make the comment that “you can use ANY of my material, word for word, use my contracts, postcard, brochures, fliers, press releases ANYWAY you like. Drop in your logo and contact information, all the work has been done for you.”  Chris took the comment of using ANY of my material literally.  Even though I don’t say go and write your own lecture, she did use my material anyway she chose.  I had to bear some of the responsibility. I could no longer be hurt and disappointed for what Chris had done–my job was now to learn from the lesson, and be accountable.

I made a phone call to Jeff and explained my side of the story, and confessed my own revelation to him. I also wanted to have his support in my thinking that even though I knew what I said, it was still not good ethics to copy work without credit. He understood and supported my thinking, but agreed there were lessons to be learned by both parties.

When I phoned Chris, she was apologetic from the moment she answered the phone. She wanted to know how she could make this up to me; how could she give me credit? I explained I knew what happened and that I had to hold myself accountable, too.   That I was going to have to be clearer in my comment of “use my material ANYWAY you like.”  Chris also had a conversation with Eugene Burger and he reinforced what she already understood about copying another’s stagecraft, or magic effect without credit or permission, held true for the written word as well.

Chris and I were lucky enough to turn a negative into a positive and to work through this as responsible individuals. I know many other copying of work stories that have not turned out this well. There were many things working for us in this situation and not against us. I was not out to get Chris, and I know she was not out to get me. We were both willing to look at ourselves and find the role that each of us played in the situation. We were both willing to listen and learn from the other and, most of all, we were both willing to admit our individual mistakes.

Learn more about Jania or to buy her notes, visit www.magicbyjania.com.

Chris’s part of the story…

Okay, so maybe things you hear you should not automatically assume.  Or maybe if you are in a new learning environment, you should do more investigating before you leap into doing anything.  I did just that . . . I took a big leap and made a huge mistake.  Here is my side of the story  . . .

About a year ago, I attended a lecture by Jania Taylor.  Her lecture was quite amazing and I was inspired by her.  I am not a magician myself, but I am the mother of magician and many of the points of her lecture could be incorporated to help other magicians get gigs.  To my delight, she was selling her lecture package.  Jania went through all the items in her package and while doing so, she said, “Feel free to use this any way you want to.”  I was so impressed with what she had lectured about and knew that I wouldn’t retain everything she had discussed, I decided to purchase her lecture package.

A few months after Jania’s lecture, I was asked to speak to a parents group.  I wasn’t sure what I was going to speak about.  I remembered the lecture Jania gave about Getting the Gigs and recalled that I had purchased her lecture package.  I sat down and jotted down some notes.  Then I looked at Jania’s information and saw that she had some wonderful points that I could use and I remember that she said to “use them any way you want to.”  So, I used her printed information in my notes of the lecture.  I spoke to the parents, but really didn’t use my notes to lecture.  I just used them as a reference and the parents joined in on a general discussion on things that they have done to help their children get the gigs.   Eugene Burger asked me for a copy of my notes for himself and Jeff McBride.  I happily handed them to him.  A few weeks later, Jeff asked if it would be okay to publish my notes in The Secret Art Journal.  Of course, I was delighted and said yes, no problem.  However, there was a problem . . .

Jania Taylor read my article and was appalled.  She saw that I had used quite a bit of her information in my article.  I didn’t understand why she was upset.  Afterall, she said during her lecture that if we bought her lecture package, we could “use this any way you want to.”  Big mistake!  She meant that anyone who wanted to buy the package could use her handouts any way that we wanted to-NOT her lecture notes.

This was a learning experience on both of our parts.  I learned that you have to find out exactly what the person means when they say use it any way you want and not to copy someone else’s material.  Jania learned to be more specific when she says, “feel free to use this any way you want to.”

I totally understand now that Jania was very upset with me and I didn’t understand why.  I know now and have learned from my mistake.  Jania has learned from hers as well.  Jania and I talked and decided to take a negative experience and turn it  into a positive experience for both of us.  We have decided to collaborate an article about our experience and hopefully others will learn by our mistakes.

I have an interesting position at the Magic & Mystery School. I’m technically faculty, but I have asked not to be paid (other than a small travel stipend which I usually spend on dinners with the gang). In addition to all of the web and technical work, I donate about six weeks of my time every year to teach at the Extended Master Classes.

Why, you may ask, would I do this? Those of you with two or three weeks of vacation a year probably think I’m completely out of my mind!

I do it because I have never found a better source of support and inspiration. If you could spend this much time with Jeff and Eugene, the rest of the faculty, and all of the amazing students, wouldn’t you do it? As it turns out, the reason I can spend this much time is due, in large part, to these same people. They’re the ones that have constantly inspired, motivated and supported me over the two decades that I’ve known them.

I also have an interesting position at the Extended Master Classes. Even though I’m there for almost every moment of every day, I don’t have much to do. I give a talk on websites and internet marketing, perform in the shows and try to help the students with anything they need. I play the role of “observer” more often than “teacher.”

I’d like to share some of my more common observations with you.

First, I’m constantly surprised by how freaked out some of the first-timers are at the night-before party (held at Jeff and Abbi’s home). When I think back to the first time I met Jeff and Eugene, I completely understand. The good news is that by the end of the second or third day, everyone feels like we’ve known each other forever. It’s the same every time.

If I wanted to have a fool-proof prediction, I would seal the following statement into an envelope and put it in full view at the night-before party:

On the morning of the second day of class, at least one student will state, “I’m so overwhelmed. I’ve already gotten my money’s worth… and we still have the rest of the week to go.”

Whoever is the first to say it is greeted with a room full of nodding heads and people whispering “yeah, no kidding.” It’s the same every time.

Works In Progress. Three words that strike fear into the hearts of most students. That’s where you get to stand up in front of the whole group and perform. Luckily, there’s always one brave soul that wants to go first. They perform. Jeff and Eugene take the stage with them and polish their act (and their character, movement, props, etc.) into something truly amazing. From that moment on, you realize that there’s nothing to fear. Jeff and Eugene are here to help you become the best magician you can be. The only problem now is that everyone wants to be next in line to perform. It’s the same every time.

I could go on, and maybe I will some day in the future. For now, I hope you’re beginning to understand why I make the trip to Las Vegas every couple of months. I hope to see you there some day soon. Trust me, it’ll be worth it.

Get a short, silent, parlor/standup act that doesn’t use a lot of props or specifically require the knowledge of one language. Learn it. Know it. Repeat it in front of live audiences.

Not just paying shows where everyone expects a magician there. Do it out of your pockets, in bars, at festivals, anywhere people gather. Talk with the owner of a bar or club, and ask them if you can come in and present your bit. Try to get a few drinks or some food in trade. But, get out there and do it. See if they’ll play your music, but be prepared to have to work with the dj’s music that is already playing. Try to get an announcement from the dj, but do whatever it takes to create an act that:

A. Gets immediate attention from the audience.

B. Holds their attention and creates expectation.

C. Establishes expertise and dexterity. You say that you’re not a juggler? You could only aspire to be a juggler. Don’t be afraid to be perceived as someone who has put in some time. Or as someone who HAS put in the time. Watch Viktor Kee’s performance, and then come back and tell me that you’ve made ANY sacrifice for your art.

D. makes you a time machine. When you are done, they look at their watch, and realize that the last 10 minutes (or whatever amount of time that you do) went by in what seemed like seconds. The greatest thing to happen is for someone to miss their appointment, because they caught caught up in your act.

E. is silent and leaves the audience wanting to get to know more of you.

F. Establishes your character and your character.

G. Starts with something that is so unique and and original, that when the audience talks to other performance artists in your market hear about what was done at the beginning of your act, they immediately know that it was your act.

H. has so much consistent conditioning to make the audience watch that you will catch their attention, no matter how preoccupied they are, and no matter when they get a glimpse of you on the stage, they will start watching.

I. expresses a unique part of your soul in some way.

J. breaks through the glass wall between you and the audience. Have some kind of audience participation that lets them know that they are NOT watching TV.

K. leaves them wanting more. Not unsatisfied, just wanting more.

L. makes people say that they saw the greatest live solo performer that they’ve ever seen

M. travels small, legally (see ‘no fire, no birds’)

N. makes ex-performer/critics look for ‘excuses’ to dislike your act that have nothing to do with what you are doing on stage, because they feel helpless to ever have that level of appeal.

O. makes you AND the audience have fun.

P. Puts you and your audience in the present, in the now.

Q. makes everyone in the audience wish that they knew you.

R. makes everyone in the audience feel that they know you.

S. is timeless. No matter when they see this, whether it’s 2000 years ago, or 2000 years from now, they will relate and feel that it is happening in the current time and space. On video it would appear that it was filmed yesterday, no matter how many years ago it actually was filmed.

T. leaves them laughing, if possible, that makes their day, either way.

U. isn’t offensive, if possible. However, some performers are just more offensive, by nature, than others. Know yourself, know what you can get away with in ALL situations, because, remember, this will be your intro for EVERY show. If possible, just make it universally presentable… that is the major constraint of this proposal.

V. establishes a repoire between yourself and the audience.

W. makes other performers hate you, just because you own them

X. uses props that need no explanation, universally recognizable.

Y. uses elements of mimes, European clowns, Keaton (both), and Chaplin. Study and feel them.

Z. makes you smile, even if your character is an angry French mime clown, at least inside.

“Style is a magic wand, and turns everything to gold that it touches.” – Logan Pearsall Smith, author, essayist and critic

If you have attended a class at McBride’s Magic & Mystery School, you have likely heard Jeff break down the word “image” as “I, Mage,” meaning “I, the Magician.” As performers, our image is crucial. And whether you are doing it consciously or unconsciously, you are presenting an image to the world.

There are already icons and imagery associated with magic: Top hats, rabbits and wands come immediately to mind. How can you make yourself stand out? What is unique about your magic? What is the image that you convey to your potential clients? What do your marketing materials (or lack thereof) say about you? At the risk of offending some of you, does your business card feature a photo of you in a tuxedo, displaying a card fan? Who are you beyond the generic concept of a magician?

There are many examples of successful branding in magic. It is difficult to hear the name Jeff McBride without thinking of a mask, or imagine Mac King wearing anything but a plaid suit. Dan Sperry has branded himself as the “anti-conjurer.” One look at his website and you know what you’re in for! These performers have created and established a unique, recognizable image that clearly expresses their stage persona.

Who is your target audience, and what are you trying to say to them? Do your business card, website and other marketing materials reflect your skill, quality and style? Are you trying to sell a $10,000 illusion show with your MySpace page? Quality marketing materials give your clients the message that you are serious about your business and your art. Consider how much you have spent on magic props, illusions, conventions and lectures. Reflect on how much time and effort you have put into practicing and perfecting your act. Now, how much money and energy have you spent on marketing yourself? Quality marketing materials do not have to break your budget, but they are important. A professional designer can work with you and your budget.

My goal is to provide each of my clients with an image that is both professional and unique, and to integrate this image throughout their marketing materials in a creative way. Each performer’s style and personality serves as inspiration for their corporate image. A logo, for example, is not just a pretty picture, but an iconic representation of you. I enjoy conversing with my clients to find out who they are and what they bring to their audiences, and translating that into something tangible that helps them succeed in their business and art.

I created Jordan Wright’s logo in 2007, and to this day it remains one of my favorite projects. Jordan is an artistic performer, and he needed a logo that reflected his unique style and distinguished him from more traditional magicians. I created eleven versions of his logo before we settled on the final version. You can see the case study of the logo as it developed online. The final logo was the result of our continuing discussions, and became the cornerstone of Jordan’s branding, tying together all of his marketing materials. Jordan takes his branding a step further by incorporating his physical appearance into his brand; he literally matches his logo.

I have the benefit of being a performer as well as a designer. Although I do work for clients in many different industries, I particularly enjoy working for magicians and other entertainers because I have a strong connection to and understanding of other performers.

From my own participation in classes at the Magic & Mystery School, I have noticed that many students, upon completing a course, embark on inventing or reinventing their public image. If you feel so inspired, please email me. I look forward to working with you on your I, Mage!