Discourse in Magic

This week, Jonah sits down with Ray Anderson to discuss putting on a show, developing a character, and keeping your material fresh. Ray has been a featured performer with the long-running variety show, Esther’s Follies, for 20+ years. By mixing parody with grand stage illusions in an intimate setting, Ray brings a unique approach to magic. Ray’s journey into magic began like most; he received a magic kit for Christmas when he was in the third grade. Growing up, his access to magic was primarily the books in his local library as, growing up where he was in Texas, there weren’t a lot of magicians around to learn from. The idea that he could be a professional magician didn’t even cross his mind until he saw Mark Wilson performing on television. From an early age, he knew that he wanted to be a magician. There was no fallback plan or even the idea that he could fail. Throughout his early years, Ray performed closeup magic in restaurants and stand up material for kids shows. Eventually, he moved into the corporate world which gave him the chance to perform the grand stage illusions he wanted to. Esther’s Follies Ray came across Esther’s Follies while pursuing his BFA in Theatre at the University of Texas. His friend, Mario Lorenz, was the variety performer in Esther’s, and invited Ray out to come see the show. Immediately, Ray knew he wanted to be apart of the show and Mario invited him to join. So what exactly is Esther’s Follies? Esther’s is a variety show that has been running in Austin, Texas for the past 40 years. Each week, the show features political satire, comedy sketches, magic and musical numbers put on by talented musicians, actors, dancers and writers. Ray explains that magic is the spine of the show and incorporates the other performers into it to create a more cohesive experience for the audience. Putting on a Show Putting on a show like Esther’s requires a team of dedicated individuals. Every Sunday, the team sits down to pitch ideas, discuss current events, and start the bare bones structure of that week’s show. On Monday, a group of five core writers sit down to decide which ideas are worth pursuing and begin to write the show. Tuesday they rehearse and choreograph the show. Wednesday they polish everything off. Thursday, just before the show, they rehearse. Friday, they take what they learned from the previous show and add another layer of polish. And then they do it all over again. But the effort is worth it as the show is often sold out and constantly sees returning audience members.  Esther’s also does very little if any advertising, relying on word of mouth to continue forward. It is a happening place in Austin, and if you know about it, you know about it.   Keeping it Fresh How do you keep a show running for 40 years? According to Ray, it’s about keeping up to date with and noticing the trends. Thankfully, the very nature of Esther’s material makes it easy for them to adapt to what will entertain their audience. However, Ray explains that the magic still needs to be on point and developing a strong magic act can take time, but you have to be willing to let go of old tricks. In terms of content, Ray explains that you need to be willing to let go of old jokes and  material that don’t get the same reactions they use to. While you may get a chuckle still with a joke you’ve been telling for years, you could probably write stronger, current material. Wrap-Up What do you like about current magic? What do you dislike? Ray likes that people, especially the younger generation, are doing and trying more stand up type magic. In terms of what he dislikes, Ray feels that magic could still be  little more open to change and welcoming in different views. Endless Chain Nick Lewin Take Home Point Jonah loves the amount of effort that goes into keeping the show fresh. Ray explains that even if something isn’t polished and still near the beginning stages, you should still put it out to the audience. It can be a huge benefit for the development of the trick. Plugs Esther’s Follies         

You had questions, Jonah has answers! Recently, Jonah asked listeners via social media and the mailing list to send in any questions they have regarding magic to be answered on this week’s episode. If you have a different take on the questions or if you didn’t get a chance to ask, please reach out to Jonah as he’d love to hear from you! Thank you to everyone who sent in questions!  

Jonah is joined by Mario the Maker Magician this week to discuss bringing value to your show, learning to be a flexible performer, and instilling passion into your magic. Mario is a children’s show performer who uses D.I.Y robots, handmade props and a slapstick performance style to show that magic can be found in anything. At seventeen, Mario left him with his dog Cloudkicker to hitchhike across the country as a street performing magician. His decision was inspired by an encounter with a street performer who told him that this was how he lived, and that idea of a wanderer’s life appealed to him. During his travels, Mario happened across a magic store an was instantly hooked. He spent the days watching people perform and learning from the likes of Rick Merrill and Gene Anderson. Soon, he was performing in a Chinese restaurant alongside a friend he made at the store. At twenty-three, Mario returned home, still trying to figure out who he was and what he was meant to do in life. While his friends had all graduated college, he was in his parent’s house with a pack of cards and sponge-balls. After a dream one night, Mario realized that he shouldn’t be avoiding children’s shows. Doing magic for adults didn’t let him embrace the person he was like children shows would. Bringing in Your Interests If you ever watch Mario perform, you will see that he strays away from the traditional cards and rings and sponge-balls. Instead, you will see a myriad of props and robots that perform the magic alongside him. His creations stem from his love for old magic automatons, and he found a way to mix this with his love of magic. Mario recommends to performers that they should fnd what they’re truly passionate about and integrate that with your magic for a more genuine experience. Whether it’s Dungeons and Dragons or robots or film, you can find a way to bring the passion for that into your performance for a more authentic feel. People want to know who you are and they want to be able to feel the love you have for what you’re doing on stage. You have to be passionate and willing to share that passion with the audience. Learning & Teaching Mario explains that throughout his life people taught him to continue learning and to seek out the information you’ll need, and he wants to pass this on to the future generations. When he performs for kids, he will gladly show them how his rabbit or his case works in the hopes of inspiring them and helping them learn. Mario goes as far as using software designed for kids and points them to the resources if they’re interested:  Tinkercad Makerspace 3D Hub Arduino He wants to encourage kids to learn and experiment; if they understand how something works, they can understand how to fix it and make improvements. Mario applies the same ideas to helping newcomers in magic. He believes that there shouldn’t be a divide in the old and new generations of magicians; they should be working together to further magic by applying the lessons of the past with the new take on magic that the future magicians have to offer. Life on the Road When you leave your hometown, nobody cares about you. You have to make a name for yourself and that requires a lot of work. Mario reached out to a couple hundred theaters to see if they would have him on, sending each on a personalized email. Some replied back, and even fewer agreed to bring him in. Another year, Mario and his family decided they would save the money and rent out a theater space, sending targeted ads and reaching out to schools. Every year, Mario explains, bring something new to learn and overcome. Travelling in itself is difficult. He, alongside his family, travels across the country, going from gig to gig. After every performance, his kids want to do something while Mario is often spent from the shows. While it may be exhausting, Mario explains that it’s about finding a balance between work and family life. Creating Value in Your Show One of the biggest things for Mario is being flexible in you performance. While he believes heavily in scripting, he recognizes that you shouldn’t be held to your set list. Allowing the audience and environment to influence your act will allow for a more impactful show; you can better connect with your audience if you’re in the moment. Mario recognizes that it’s not about him, but the audience he is performing for and how they feel after the show is over. If you really want to improve your show, you should be seeking the advice of people you trust who want to help  you tell your stories. Don’t be afraid to take criticism and apply it to your show – it is the only way you can truly grow in your performance. Furthermore, Mario recommends actively trying out new things. Not everything will work, but it will eventually lead you to effects that do work. Wrap-Up What do you like about 2019 magic? What do you hate? Mario likes the way magic is evolving. Places like YouTube have allowed people of all levels in magic to have better access to content. He points to people like Xavior Spade who’s online presence has had a major impact on magicians from around the world. Mario doesn’t like the dwindling numbers of magic clubs. While he recognizes the world is moving to a more online place, he enjoys the personal feeling that magic clubs and conventions bring. Endless Chain Vinny DePonto Take Home Point Mario wants the listeners to remember that we cannot do great things, only small things with great love. When we’re on stage, we have a small job to do, that being to entertain the audience. If that job is done with a real authentic and great love, you have the chance to change a life. Last Thoughts Mario wants to draw attention to the juggler, Chris Ruggerio, who told a story of how he once looked out on the audience before his show and thanked each and everyone of the individually for attending his show. It was the only show that year that Chris received a standing ovation for. To Mario, that means something. That appreciation you extend to your audience will show through your performance because it is them that are allowing you to pursue the thing you love. Plugs Mario’s Instagram  Mario’s Facebook  Mario’s Website

This week, Jonah sits down with Stuart MacDonald to discuss storytelling, effective methods for practicing, and what to consider when changing your act. In 2017, Stuart made history at the IBM-SAM Combined Convention where he claimed all 5 top awards with his unique performance. If you haven’t seen the performance, we highly recommend watching it before listening to the episode: https://www.youtube.com/watch?time_continue=1&v=lnObtoan-0g Stuart’s love of magic started in grade three when he received a magic kit. As he grew up in Michigan, he eventually learned that he was only 75 miles from the Magic Capital of the World, Colon, Michigan, where the Abbott’s Convention is held. It was here that Stuart learned magicians came together to share their ideas and love for magic. It wouldst’ be until college that Stuart started going full time. Each time a performer would come to his school, Stuart would interview them to learn how they were touring. Through these interviews, Stuart was inspired to go full time and sent out brochures to the booking group MACA. They signed him on for five years, but it quickly turned into a fifteen year contract. At the end of his initial magic career, he and his wife had grown dead tired of driving around. They had grown so tired of it, they decided to build a haunted house which accidentally became the largest haunted house in Michigan. This project took them out of magic completely, causing them to vanish from the a scene they were fairly hot in during the 90s. Stuart proceeded to work a number of jobs over the years, primarily producing and working in advertising. When he eventually was just selling ads, he realized how depressed he had become and worked backwards to where he was most happiest: performing magic.  Knowing that if he wanted to make a splash, he would need to go the FISM route once more. How Competitions Changed Stuart had competed on the FISM circuit before when he entered into the 1985 competition in Madrid. However, his understanding of the competition circuit was immediately shattered when he discovered that there had been in a steep rise in the level of skill and talent being showcased. His act flopped. However, he had expected this to happen; his competitors had spent years on their acts and he had only put in six months. Competing gave him an idea of where he stood in relation to them though. After the competition he met with Gene Anderson who told him that the mirror was simply a concept. He wanted it to be a story. Bringing in a new take on his act with the advice of Gene, Stuart swept the competition. He was flabbergasted that one simple change to his act could have a whole new impact on the audience. Since then, he has constantly been improving and reinvent the routine. Intertwining Story with Magic When Stuart was changing his act, he realized that he needed to complete change his understanding of magic. By bringing in his background in theater and script writing, Stuart was able to take a more story driven approach to his magic. Stuart explains that he views each of the individual props in his routine as suitcases. He is constantly asking questions about the objects which allow him to branch down new avenues with his routine. These questions has brought his act to such a defined point that one change has the potential to change every other aspect of the overall routine. To actually develop storytelling skills, Stuart recommends learning how to write scripts and follow proper story structure. You need to understand how to write conflict and how to justify the choices you’re making in your magic. You also can’t be afraid to “kill your darlings.” Being able to edit out parts and recognize where aspects of the routine need to be changed is a large part in developing a stronger routine. Getting Feedback Stuart is constantly putting his work into the world for feedback. There have been a number of people who have had input into the routine and have driven him towards improving his act. However, the person who set him on the right track was Tobin Ost, a Tony nominated production designer, who sat down with Stuart and questioned every little aspect of the act. These questions were what set him on the path he is currently taking with his routine. One innovative method Stuart uses to receive feedback is Facebook Live; he tells people when he’ll be going live and proceeds to perform for whoever has tuned in, requesting advice from his viewers. However, it ca be difficult to get feedback. Most people don’t want to hurt or embarrass you, so Stuart recommends the changing the question you ask to: What bothered you? People are more inclined to tell you what aspects of the routine they felt stood out and could use work rather than the usual “it was all good.” Practice, Practice, Practice After winning the Combined Competition, Lance Burton told Stuart “Good luck at FISM. All you have to do is perform it in front o people on thousand times.” But, Stuart didn’t have a thousand times to perform it in front of people between then and the time of FISM. So, he decided to rehearse it 1000 times and make 1000 changes. To keep track of his 1000 rehearsals, Stuart had a jar of 1000 pennies. Each time he rehearsed, he would move one penny from the jar to a similar jar. He could see the jar filling up; he could hear a penny going in; he could feel the weight of the jar. It gave him a motivation to keep pushing for the 1000 rehearsal goal. Wrap-Up Endless Chain Voronin Take Home Point Jonah liked the idea of constantly asking “What if?” and going deeper when considering the choices you’re making in your act. Stuart reminds the listeners to continually improve. Plugs The Road to FISM Stuart’s Website  Stuart’s YouTube Stuart’s Facebook

Jonah is joined by Jamy Ian Swiss this week to discuss persona, creativity and the importance of learning the classics. Alongside being a dedicated, lifelong student of magic, Jamy is a prolific writer, sleight of hand artist, and magic historian.  Growing up as a shy, introverted child, Jamy was often introduced to new hobbies by his parents in an attempt to bring him out of his shell. His first introduction to magic came at the age of seven when his father purchased a colour vision box from Tannen’s and performed it for Jamy at dinner. From that moment, Jamy’s passion for magic began and he quickly became a lifelong student dedicated to mastering the art.  At first, Jamy’s father would go to Tannen’s to purchase magic every time Jamy mastered a trick. When he was 11, Jamy started attending the store himself to watch and learn from the magicians who attended the store. Louis Tannen, Presto, Al Koran, all became important mentors in Jamy’s initial years of learning magic, and they continue to influence him.  Magic, however, was just a passion. A hobby. He didn’t want to be a kid’s performer like his friends because he dislikes performing for kids. Additionally, while he had grown up recognizing the importance of the arts, he had been instilled with the bias that no sane person would consider pursuing an artistic career. Magic simply remained a hobby for him while he pursued a more traditional career. Jamy would proceed to lock himself in a room for a year to practice before emerging a year later, booking two corporate gigs, and never looking back.  Mentors  Jamy recognizes that he had the privilege of being surrounded by great mentors throughout his career in magic. Now, as his mentors slowly leave him, Jamy recognizes more than ever the impact his mentors had on his life. In turn, he has tried to pay it forward to help the newer generation.  When looking for a mentor, it’s not enough to just find someone with more experience than you.  Not only should they be more intelligent and skilled than you, they need to jive with your magic interests without being afraid to give you honest critiques; you shouldn’t be taking advice from somebody who is going to impose their thoughts on you. However, you shouldn’t try to learn in a vacuum which is why it’s important to surround yourself with people who scare the living hell out of you.  Confronting Discomfort  Magic, at its core, is a disconcerting experience. A cognitive dissonance for the spectator is created as their understanding of the world is challenged which can result in an uncomfortable situation for the audience and the magician. However, rather than avoid this feeling, Jamy believes magicians should embrace it.  Jamy isn’t interested in upholding the status quo; he’s interested in experiences and art that provoke thought and feeling. He doesn’t seek to please or be pleased with his art because, at the end of the day, if you’re trying to please everyone, no one will ever be passionate about what you’re doing. If you are setting out to create “childlike wonder” in adults, you’re taking the wrong approach to magic. Children believe anything is possible which is why it isn’t fun doing magic for younger people. If your audience can’t tell the difference between fantasy and reality, what impact does magic have? Referencing Max Maven, Jamy explains that this is why magic has been rendered trivial as the performer is making fun of magic rather than embracing the provocative nature of the art.  Learning the Classics  Just because it’s new, doesn’t mean it’s good, Jamy explains.  The classics are classics for a reason. If you want to gain a fundamental understanding of magic, he recommends learning the classics like Vernon’s cups and balls. It is only after you have a thorough understanding of the classic routines that you should consider branching out to your own unique takes on magic. When you do decide to branch out, Jamy believes that you should research every iteration of an effect you can find to understand the work that has gone into the effects before you. With Dennis Behr’s Conjuring Archive, researching effects is easier than ever.  Jamy notes that there is an issue with the onslaught of products that are released everyday. Primarily, products that have been developed by magic newcomers who believe that they’ve either created a new miracle or are releasing an older effect under the impression that they are the first to discover it. Often, these effects aren’t very good or somebody has developed it before, demonstrating that the person didn’t conduct their research before releasing the product. Jamy explains that good magic is hard to find, let alone create, and that the overwhelming amount of material on the market is difficult for newcomers to comprehend.  The Importance of a Message Don Allen. Eugene Burger. Penn & Teller.  All of their effects were informed by their personalities and the messages they wanted to convey to their audience. The effects these performers chose are not new, revolutionary tricks. What makes their presentations memorable is the original presentations they brought to their routines.  At the end of the day, it is how you present a trick that makes it magical. You cannot simply rely on a method to fool the audience, and you cannot recite somebody else’s script as it won’t be genuine. You need to put the work into finding what you want to say and creating a routine around this message if you ever want to do impactful performances. Wrap-Up  What do you like about magic in 2019? What do you dislike?  Jamy likes what the Spanish are doing for magic. They are focused on creating an experience of mystery, and they have a deep appreciation for what they’re communicating; they’re not trivializing the experience. Jamy dislikes the overwhelming onslaught of magic that is released on a daily basis. Anybody coming into magic has to sift through material in an attempt to find something good. Endless Chain  Eric Mead  Take Home Point  Don’t get distracted by material on YouTube or the fancy new product on the market. Becoming a great magician requires hard work, study, and finding a mentor who is willing to critique you.  Plugs Take Two  Lyons Den Preserving Mystery  Shattering Illusions  Devious Standards  Cups & Balls Masterclass  Card on Ceiling Penguin Lecture  Jamy’s Website  

Jonah serves up another bite-sized episode this week, giving you the motivation you might just need to hear.  

Does the blank page scare you? Do you constantly find yourself deleting and retyping the same thing, only to repeat the process? Do you wish the computer could just read your mind and write the script you want for you? In this bite-sized episode, Jonah addresses writer’s block and offers an easy strategy to start writing your magic script.

Jonah sits down with Adam Rubin this week to discuss creativity, writing, and applying magic to other aspects of your life. Alongside being a magician, Adam is the Director of Puzzles for Art of Play, a #1 New York Times best selling picture book author, and an ex-creative director in advertising. Adam’s journey into magic started  when his friend repeatedly fooled him with a trick involving buttons jumping from hand to hand. As the trick burned a hole in his head, Adam found himself needing to know the secret, leading him to read the entirety of Mark Wilson’s Encyclopedia of Magic. Soon, magic became a central part of his life. While Adam embraced his magical identity in highschool, moving away from his small town in New York to attend university in St. Louis gave him the opportunity to step away from the magician label. Although he didn’t actively let people know he was into magic, Adam continued to perform magic in secret. After graduating a fine arts program with a discipline in advertising, Adam began a a successful career path in advertising. An Accidental Picture Book Author Out of university, Adam began a job working for Leo Burnett – a famous advertising firm in Chicago. When he initially began, it was a fun and cool experience that let him travel and create compelling marketing campaigns, but he soon found it to be repetitive and his creativity was focused on capturing what the client wanted. Adam’s career as a picture book author began when a friend put him in contact with Adam’s illustrator, Daniel Salmieri. Intrigued by how words and images could operate together, Adam wrote Those Darn Squirrels. Soon, Adam was able to leave his job and pursue writing picture books full time. He, so far, has published ten books including Dragons Love Tacos, Robosauce, Secret Pizza Party and, his latest book, High Five. Art of Play When Adam quit his day job, he found himself with a lot of time on his hands and a desire to start a company that would allow him to  create magical objects and puzzles. Adam approached Dan and Dave to propose his idea as it just seemed right to collaborate with them; they had created a company that sold astonishing objects with a timeless quality. Currently, as Adam puts it, everything in the shop is designed to delight, do something amazing, or create an unexpected moment. Whether it be an unexpected solution or a physics principle, Art of Play wants to leave their customers with a truly astonishing experience and a timeless object. Magical Thinking & Creativity Adam sets out to create magic tricks that don’t require a magician. By taking the performer away from the magic, you are leaving a person with a wonderful emotion that they can just take in. Whether it’s bowls that change size or cigars that disappear in an ash tray, Adam designs his magical objects with the intention of creating astonishment in his audience. When it comes to actually being creative, you just have to start, Adam says. If you are stumped on where to begin, he recommends writing down the worst possible version of your concept;  you’ll begin to see the route it’s going to take and it takes away the judgement. The worst thing you can do is give into fear because fear is the biggest enemy of creativity. Wrap-Up What do you love about 2019 magic? What do you hate about it? Adam likes that the magic scene in New York City is rich and energetic thanks to the many public shows, performers, and the collaboration. He does not like screen magic. It bums him out to see people trying to pass off video tricks as sleight-of hand. Adam also isn’t a fan of the oversaturation of people trying to sell tricks. To him, it seems inward facing; he would like to see magicians actively sharing their creations with the public. Endless Chain Noah Levine Mark Setteducati Kostya Kimlat Take Home Point Fuck Fear. Plugs Adam’s Author Website Adam’s Other Website  Adam’s Instagram  Adam’s Twitter Art of Play 

This episode Jonah sits down with Julie Eng to discuss Magicana, the community within magic, and elevating the perception of magic. Julie is an award-winning performer and the executive director of Magicana. Growing up with a magician as a father meant that magic was always a part of her life. She, alongside her sister, would perform in and help with the behind the scenes of her father’s shows. Eventually, Julie began to perform her own shows for children’s birthdays and started to work restaurants. Having grown up with a non-conventional life, Julie wanted to rebel against her unusual upbringing by choosing a more normal career path, leading her to take business in university. As she pursued her degree, she began to see the overlap in the skills she has developed thanks to magic and the demands of the business field. Magic became fun again for her. Instead of being something she was doing, it assisted the things she wanted to do. Magicana For those unfamiliar with the organization, Magicana is an “arts organization dedicated to the exploration and advancement of magic as a performing art.”  For the last eighteen years, Magicana has produced shows, archived footage, and recognized the innovators of magic all in the pursuit of showing the public why magic is so fantastic. Recently, they were awarded by the Academy of Magical Arts with the Literary and Media Fellowship Award. The Screening Room is one of Magicana’s ongoing projects with the goal of curating and capturing fantastic acts at the height of their careers. The project started with Gary Slaight and David Ben deciding they wanted to make a magic archive that was available to the public, but the question became “How?” It was through people’s magic collections that Magicana was able to find VHS tapes, 8mm film, and other archaic forms of media for shows like the Magic Palace and Luna De Verano. With the help of James Allan, Magicana has digitized, tagged and cross referenced these recordings for your viewing pleasure. The Allan Slaight Award is an annual award that recognizes individuals who are championing magic as an art form. Thanks to the generosity of the Allan Slaight family, the award carries a real weight behind it by rewarding the recipients with a cash prize. Individuals can be recognized in fuve categories: Canadian Rising Star International Rising Star Sharing Secrets Sharing Wonder Lifetime Achievement My Magic Hands is Magicana’s learning program which seeks to help children build self-confidence, learn communication skills, and develop their critical thinking abilities. For 6-8 weeks, students work with a magic coach to learn a trick they must present at the end of the course. For Julie, she enjoys watching the journey the kids take, describing it almost as a recreational therapy. Perception of Magic Julie often floats back and forth on whether or not we can classify magic as an art form. There’s a massive range to what the subsets in magic are with each having its own way to define magic. For her, it comes down to how we participate in it and what we want to see in magic. Magic to Julie should move her and make her feel something. As for the public’s perception, that’s where Magicana steps in to show that magic is more than a clown performing at  a kid’s birthday. Magicana shows that there is a wide range of what magic can accomplish. Additionally, between Fool Us and America’s Got Talent, we are beginning to see a shift in how the public consumes magic. Community in Magic The community in magic is one of the things Julie loves about the art. The community around her helped her flourish and has supported her throughout various moments in her life. A majority of the people who attend the 31 Faces North Conference with her are people she sees as her brothers. One of the best times in her life was creating The Magic of Johnny Thompson. After being approached by him at 31 Faces, Julie helped Johnny layout the book and take photos. She would fly down to Vegas to spend their short time together taking hundreds of photos. While it was hard work, it was always a good time with him; Johnny always lived in the moment and never complained about the work. Growing Up Strong Julie’s father always instilled her with the idea that she is the magician. When she walked into a gig she was performing at with her father, he would always state that she would be the performer, not him. Now, it’s not so novel to be a female magician to lay people, and Julie loves that. Growing up surrounded by magicians, Julie had men who she saw as uncles at the magic club and men who she sees as her brothers now. They all actively supported her presence in magic and this helped her flourish. However, Julie recognizes that there is still a glass ceiling even after people like Celeste Evans championing the way for female performers. But, thankfully, Julie reminds that audience that there are a number of strong voices in the community who champion for a better balance in general. Wrap-Up Endless Chain Patrick Drake Eric Bedard Murray Hatfield Greg Frewin What do you like about 2019 magic? What don’t you like? Julie doesn’t like the density of sound bite magic. She is not  blaming social media, but magic has become too fast paced for her liking. Julie likes seeing new people come into the field and challenging what magic is and how it interacts with other art forms. Take Home Point Julie wants people to remember that magic has endured because it has a way of enchanting people in real life. It’s not on a screen, it’s with you. Plugs Julie’s Website My Magic Hands Magicana Magicana Instagram Science of Magic

This week Jonah is the one being interviewed as he joins Sammy Younan on his podcast, My Summer Lair, to discuss the perception of magic and developing in your craft. My Summer Lair is a podcast that explores the fringes of pop culture in Toronto by bringing on local artists to discuss their craft. Make sure you listen until the end of the episode to hear Jonah perform a trick that you can follow along with at home. If you enjoyed the episode, you should check out more episodes from My Summer Lair: My Summer Lair Site Girth Radio Instagram