Episode 3

00:00:33 Speaker: You're listening to another episode of 108.9 Trap Door Radio. I'm so happy and so thankful that if you're listening to this, it means you've tuned your radio frequency dials in to listen to the sawdust pour from out of the cavity inside my skull and find its way through the airwaves into your minds. My name is Lloyd Barnes. Thank you all so much for tuning in to another episode. This week we're going to cover some interesting things. We're going to start off like last week with the section that I'm renaming Magic Caviar. This is a little section where I want to talk about, um, not my own stuff, but other magic products or projects or interesting things to do with, uh, like consumerism in the magic world. Um, then we're going to talk about sort of, um, what what I've been up to this week and if, unless you've been not following me or Craig, which probably means that in at least in our little community, you've been living under a rock or on holiday. Uh, it's been everything to do with the servant deck. And I'm not going to talk about I'm not going to talk about the deck. If you want to go and learn about that, you can go and watch the trailer and things. But I thought I would share with you instead a routine that we didn't teach or I didn't teach on the project because we were trying to keep it tight. Um, so I thought I would actually just teach you what that routine is. You're just going to learn how that works, essentially not the full workings of the deck itself, but just the routine that wasn't included. Um, then in the Magic Music section of the episode this week, I want to talk to you about how to put together a lecture in a, in a in a way that, um, takes into consideration your audience, because I know a lot of people, when they try to put together a lecture, they just think about what are the best tricks they can teach. And they often don't think about literally what your audience, what their audience can, can see or perceive or be aware of. So we'll talk about that a little bit for the magic musings. And then I had four questions I think left over that I didn't quite get in time for last week's episode from listeners that have been tuning in, so I'll cover those really quickly. So that's the lineup for today's show. We're going to try and keep it to an hour. I'm going to start off with a magic caveat, the magic caveat section. Uh, some something new, 1 or 2 new things that I think that may interest a lot of you out there. And I'm going to start off with a little story. And, uh, we were my friend Harry Harrington. Lord Harry is his performing name. Uh, he's a he's another fellow Welsh magician. Well, we went we and me and him went along to the Michael Ammar lecture. And we were chatting away up in the car all the way from Wales into England, into Bristol. And as always, you know, we start showing off. Hey, I've been working on this and hey, I've been doing this. Oh hey, I picked this up the other day. I've been doing this. This is by so-and-so. And Harry was show was was like, oh, let me show you this thing. And, uh, he said, Lloyd, I'm going to ask you in a moment to, to name a playing card. So I was like, all right, cool. Uh, five of spades. And he was like, sweet, let me show you. And then as he did this, his phone goes off and it was his ring doorbell. Let me, let me let me answer this real quick. So he opens his ring doorbell and the postman's there, the delivery guy is there, and he's like, hey, mate, sorry. Uh, he's like, can you just sorry. Can you just like, leave it in the in the porch or, or whatever it is? And he's like, yeah, no worries. Like, what is it? And the delivery guy held up a five of spades and he was like, what now? Maybe it's me, right? And this is exactly what I'm thinking. Maybe it's me, but I have a ring doorbell and that, that, that that little jingle of ding ding ding going off in the middle of performance has happened to me for realsies. So I did not think, first of all, it lulled me into a false sense of security, because in my day to day life, that's a regular occurrence. So when that happened, I was like, oh, okay, shit, we better stop the trick. And then he's going to continue it. And then it was like an actual genuine kicker when the, uh, when when it was revealed as the card and I was like, what the hell, man? That was actually that was actually sick. So he did that. And then I was like, you know what? Anyone that's listened to me in the past would know that I generally don't like that type of magic, and I always try and find ways to pick it apart. That to say why it wouldn't suit me. For example, the classic card to phone app where you pull the folded card off your screen. For years I was like, oh, you know, I like my I like my magic apps. I like it where the vehicle, not the destination. You know, I've always said that. And then, you know, I hold my hands up and say I was wrong. Uh, like 6 or 7 years ago, I started. I was like, somebody was gonna shoot someone outside my house. Then it was a motorbike. Um, I had this app on my phone, and I did it because I had nothing else on me, and I produced. I produced a £5 note at a local bar and sure as shit it gets like the best reactions. It's so powerful. So I had to be like, look, I'm defeated. These apps do have a place. Well, anyway, Harry performs this to me and normally, you know, it's not the type of thing because when I talk about vehicle and destination, I don't like my reveal to be on the phone. So where people can attribute it to being some sort of a special thing with the phone. I like the phone normally to just to help you in some way, like by doing a mental calculation for you or something like that. Whatever. Right? But it completely got me. It caught me off guard. I didn't think it was an app and the reveal was fun. It was his delivery guy showing the the card. So that happened at the Michael lecture that I went to a couple of weeks back in Bristol. Fast forward to two weeks ago when I first did the first episode here, and I was heading out to the streets of Cardiff to go and shoot with Jake Keene and Harry Harrington, and Harry was performing Jake's Effect on the street because Harry's a really seasoned performer. Me and Jake are more of creators, a lot more comfortable performing. We don't do gigs, so we're not really in our element approaching strangers to show them what we can do. But you know, another discussion for another day. But Harry's dope buddy. So Harry goes up, starts warming up, warming up the crowd, and he does an effect. He asks the participant to name a card and just as he's about to start, like, you know, say, okay, watch this. His ring doorbell goes off on his phone. He's oh shit, sorry. And everyone at the table is like, oh, answers a ring doorbell and the delivery guy reveals the the named card and it got screams. It got people, like, freaking out. Uh, they didn't. You know, sometimes we think so deeply about our magic, like, oh, well, you know, they might just attribute it to being a magic app or, you know, it's got to be the. It has to be the vehicle. I'm paraphrasing myself. I'm imitating myself here saying this. But ultimately as well that it is just a fun fucking piece of magic. It's awesome. And, uh, so anyway, it's, uh, it's like a, it's a it's something you can buy. It's by a magician. I've met him briefly at Blackpool this year. I want to say I think it was this Blackpool, possibly the one before. They all kind of blend into one at some point. Blackpool's do um, but the the effect and I probably you're probably all going like Lloyd just tell us the effect. The effect is called and I have it here on my computer so you can see it. If you're watching on YouTube, then you can see on screen it's called The Unexpected Delivery by Gary Cross. You can go to magic X one word magic.com and pick it up. It is £60. So it is a little bit on the slightly higher side. But then I mean, compared to what there are, like the new iron lock, your mind is like £300 again. Um, there are other apps out there that are £1,000, you know, like those ones that use, like, AI overlays and stuff. So, I mean, £60 really isn't a lot. Um, but I gotta say that I've spent a lot more money on apps that get a lot worse reactions, even when they perform by brilliant performers. A lot of these apps out there are the ones that people like me go, oh, well, that's more like my type of thing. Um, this actually, it's loads of fun and from from what I've been shown and what I've looked into with it as well. Um, it's got some cool things. Like, for example, obviously we're magicians, we know what's happening, but, uh, so, so I don't think anyone's going to be annoyed by saying, obviously, like those like the, you know, the delivery guy is that not your house? Right? But it doesn't matter because people don't know which. Obviously, when I went and watched it on the streets and everything and I didn't, I know Harry. Harry go way back. I didn't know what his house looked like, so I just assumed it was that. And it's not your house. It is a pre-recorded set of videos. Right? But, um, proof's in the pudding. Completely free past me. I've known Harry for ten years. Same for all the people I performed for. Uh, also, don't overthink your magic too much. Uh, but the thing that I thought was really nice is that there was also there was a night time, so there was all the videos were night form. So if you perform it in the day, the delivery driver would be in the day outside your your house air quotes. But it is. And if it was night time and you're performing in a bar at night, it would be a night time video, which I thought was really, really, really clever. So, uh, yeah, there's also you can see Harry and Gary performing it on screen right here. Um, and, and yeah, I just think it's, I just think it's really good. It's also it was on the Wizard product review on the 4th of June as well. So I don't don't even know what the what the what the review was. I can imagine it got a really good review because, um, you know, I tend to think that the guys on the review have a good understanding and they tend to like pretty much the same stuff that I do. And to me, yeah. The unexpected Delivery by Gary Cross, uh, is, is is definitely part of this week's magic caviar section. I thought it was really good. I can't speak for whether the videos work for, uh, in American audiences because the delivery driver has a British. It is Gary actually in the videos, and he's British, so I don't know if they work for that, but I just wanted to highlight this. I thought it was really cool. First of all, I experienced it as a spectator and it was lovely because because I've spoken about this at length, but some of the most, um, deceptive methods are naturally built in. mistakes or awkward moments. I remember years ago when, um, me and Daniel Madison were working on a project called switch, and I can't remember. So somebody, somebody please leave a comment down below. But what it was all about switching playing cards. One of the methods that either made it into the public release and it either did or didn't. But there were two methods. One was to switch the deck. One was to switch a playing card. The method that I use and I've been doing it. God it was it was old back then that I, I created it when I was 16, 15 or 16 and it might have been done before me, but the method that I use for for switching a deck is to drop a card on the floor. So I pirouette a playing card. I do some sort of flourish with a single card. I drop the card to create a natural moment of, um, a really, really organic moment of misdirection that everybody forgets later on. And that's when I switch my decks and switch my playing cards. And and it's one of the most powerful tools. I can't remember if it's taught on the switch project. I know since then other people have come up with the technique or come up with it and have claimed it as their own and said, oh, I created this a year ago, blah blah. I, you know, it's it was there a long time before that, but it was probably there a long time before me, too. Uh, but this reminds me of those scenarios. The call came in. I thought it was an awkward moment in the middle of the trick. I thought it was trick being interrupted, and then it turned into that, um, really, really highest recommendation. Um, Gary has sent me a copy, actually, uh, in my emails, but I haven't gone through the process of setting it all up and stuff yet, so I can't speak to, uh, anything else about it. Um, but I've seen it being performed out in the real world, so I know it's good, I know it works. And this is this is a topic for another day. But just as a, like a side thing for me, like my, my, uh, I've always thought, like, as magicians, we need to embody everything to do with magic. We should make our own effects. We should repair our own effects. We should be able to improvise and write and, you know, do things on the fly. Um, I, I will often like I see a lot of reviews coming up about other people's material. I've I've been victim to it in the past as well. But but about other people's material where somebody will review a product and they will give it a bad review because they didn't get, uh, a good reaction with it or, or the quality wasn't exactly what they thought it was. I'm, I don't know whether I'm just old school or I just see things completely differently, like, for me, and I'm not talking about this app right, or anything, but I my only experience with this effect is that it was performed to me and it blew me away. I see it performed to other people and it blew them away. Nothing else really matters to me then. My review of that is that it's perfect or, you know, theoretically perfect if it can be performed and get good reactions. Nothing else really matters in terms of magic review. That's why I say, like a lot of magic reviewers out there, um, the only the ones that perform the effect in their review are the really the only ones that I can give any credence to whatsoever, because the the deciding factor for me, or the important factor in any magic product is can it be performed? Have you performed it and does it get good reactions? It's really the only thing that matters. I know some things are like if you're buying like a strictly like a utility device, and it's got to have like certain things that don't necessarily have a crossover with reactions. But yeah, by and large. So I can't speak too much to the app I do have Gary's very kindly off because I, I was like, Harry, this is amazing. He asked Gary to send me one over. I haven't gone through the whole process yet, so I can't speak to the build and everything. Um, but also, I'm not a match reviewer. All I'm telling you is that I've seen it out in the real world and it's dope. There you go. You're welcome. Next thing in the magic caviar section. And this is just basically, um, bringing up something which I've mentioned twice already in the past two episodes. But now I have the the website for it, which is, uh, Mark Elston's a metabolic fig, the website, because I know people were asking, where can we sign up? I said, this is the best newsletter in all of magic. Mark Elsenhans and metabolic fig.com a so I'll spell it out for you if you're listening on on Spotify or Apple Podcasts or wherever a m e t a b o l I c f I g.com a metabolic fig.com. I talked about it in the past previous episodes. I wasn't sure what the web address was. I should have done my research. Again, I keep saying this. I'm telling you, it's the best newsletter in all of magic. It's you. You've got to sign up for it. Um, and you do have to pay for it, right? The subscription is £20 a month or £5 a week, and you get one email a week. It tells you the best magic products out there. It tells you Mark's thinking behind them. It tells. It tells you. It also gives you a list of all these interesting things that are like quasi related to magic, things to do with science and arts, and links to documentaries that are just mysterious and all other things. I can't, I cannot recommend it enough. I know some people might go £20 a lot. It literally is is the best thing in magic. I have no affiliation with Mark. I'm not sponsored by Mark. I don't get anything for this, but I wanted to shout it out this time to tell you exactly where to go to get it. I have to stress, I have, aside from loving Marc and being literally in awe of his brilliance, this is I have no same with Gary Cross's unexpected delivery. I've met him once at Blackpool. He's kindly sent me a copy that I haven't even set up yet, because I've been crazy busy with the release of this deck, but I'm just. This is called the Magic Caviar section. This is unaffiliated magic reviews or or bringing to you what I think is dope in magic. I'm not deep dive in it. I just saw it and think it's cool. Same with the metabolic fig. It's great. So those are those are. That's the metabolic fig. The, uh, Gary Cross's unexpected delivery. And then one more thing, and I just want to have a quick look to see if I can find a web page for it. Um, and let me just see if it's on here. Now, this one, This one is pricey, right? This is a really pricey effect. Um, but I saw it on magicians only, and I'd actually seen it performed live not long ago. So I'm going to try and bring up this screen here. It's on illusionary.com. So illusion A so spell the word illusion a r y at the end. Or actually it's dot co. It's dot co illusionary.co. And it's actually a protected web page. But the effect is called dictionary by Carl Foreman. It's a $300 effect. Um and you have to okay. So this page you have to enter your password I seen a performance of it, a really, really good performance of it on magicians only the Facebook page on magicians only. And, um, I actually saw Charlie Hewish do this some time ago. I think it was at the, I want to say, the London Magic Convention. The year before last. So 18 months ago. And, uh, the method has some loose crossover with something from JC, and I won't name that effect. Um, purely because if I don't want to spoil any methods. Um, just out of respect for both creators. Um, but it's the type of thinking and magic that I love. And the reason why Charlie was showing us this is because he's. Oh, because Jake showed him his. Jake's is brilliant. And he's. Oh, actually, I've been doing something which has a tie in method wise here. And they, you know, like, everyone's cool about it. There's no, uh, no, no ill will. And I thought it'd be cool to show, to sort of highlight to you what this is. Again, I know the creator. Um, I know Charlie, I think I think I know Carl Foreman. Um, but I have no affiliation. Don't get paid for this. I don't even have a copy. Um, but I've seen it live, so I can attest how good it is. I've seen it performed and the performance is a really good performance of it on the streets of New York. It seems like, um, and on magicians only. I wonder if I wonder, actually, I can pull that. Uh, if I can pull that performance up somewhere on here. Let me see. Can I search? Can I search is a really good street performance. And I'll tell you what the effect is. So. Nope. Turns out I can't try again. Research this again. Maybe the maybe within the Magic Apps group. Maybe it was in the Magic Apps group. I bet those of you listening on, uh, on Spotify are having a brilliant time listening to me bumble my way through this part of the magic caviar section, but. Oh, okay. Okay, here we go, here we go, here we go. Kevin Kline. Uh, Kevin, where did I say Kevin Kline? Kevin. In Hamden. So this is okay. So. All right, here we go. Um, uh, I'm gonna do this right now. I'm gonna move my video to the side on YouTube. This is Kevin, uh, Hamden on the streets of some American or Canadian city performing dictionary. Do you have your phone with you? Yes. I want to try to guess a word from you and kind of test conditions. Okay. Uh, take your phone out. Go to what's the dictionary site? Online. What's it called? Dictionary.com. Okay. Go to dictionary.com. Dictionary.com. Yeah. Cool. Right. Thank you. Yeah. Now I want to see how you think I'm gonna look something up. I want you to try to read me. Okay. Okay. We're going to see potentially if if you can guess it. If not, don't worry. Now I'm going to look something up. You're going to try to you're going to try to guess what it is. Okay. Okay. But if I were to type in and I'll show your friend. Okay. This is what I'm thinking of. We'll see if she can guess it. See that work? Yeah. Don't say it. Okay. If you have to. Shot in the dark, what word do you think I have in my head? Shot in the dark. Whatever. Okay, I'm gonna go wild. Like saying, like, reverse or something. No. Okay, I went library. Library? You know, because we're okay. It's fine, it's fine. We'll do this. I'll delete this. Okay. I want you to type in any word but a word that holds some value to you. A word that has some meaning. Okay. Type it in and then search it. Okay. Once you search it, give me a clear. Yes. No, not a cool guy. And hit search. Good. Yes. No. What happened? Let's see, let's see, let's see. Oh, okay. You know what? Um. It says not found. Okay, you know what? Swipe away. It's fine, it's fine. Swipe on. That's fine. Lock the phone. We'll do it a bit different. Yeah, you can put it away. That's fine. I guess maybe the internet cut out. Okay, I don't know. Okay, okay. You know what? I'll do it a bit different. I'm going to take you through a journey. I want you now to think of how that word relates to you. Okay. Okay. Now, see, the moment I said that, your eyes started to water. This is something that holds an emotional connection to you. I feel as though this is. This holds actually a lot of love in your heart. Okay. Almost like a person, but not really. Am I right in saying that? Yeah. Did you go for a pet? Yeah. Yeah. In your mind, say the name in your mind. Ella. What? What? What? I told you, that's crazy. What? That's my little girl. I know, yeah. So, as you can see there, um, uh, hopefully you all can kind of understand what happened. If you can't, I'll just very quickly explain. So, um, you ask someone to bring up their phone, you're going to search for a word in the dictionary. They're going to try to read your mind. First of all, you're going to gonna just get a stab in the dark to see if you're on the same thing, on the same wavelength. They either get it right or they don't. In this case, they didn't. Um, I don't know if you can force that to be right, but from what I know, I don't know. Right? But she didn't get it right. It doesn't matter. Okay, whatever. Then you say, no, I'm gonna try and read your mind. Go ahead and search for something they do. And in this performance, the phone didn't even work, right. Put the phone away, and he's like, okay, I'm just going to try and do this. Um, mentally, just try and, like, think about it. Send it to me and you nail it. This, to me, is magic caviar. This is magic caviar in every sense of the word. It's, uh. It's the reason why, um. I'm this. I'm so reluctant to to share the name of the thing Jake did because the crossover in methods. And I don't want to expose what's happening with this one, but this is this is the type of magic that uses a phone that I absolutely adore. And and it and it uses it in the best way possible. And the reason why this is so strong is because it's a non moment. And really these type of, uh phone effects can't go wrong. I absolutely 100%, on more than one occasion have had apps fail me when I've needed to pay or, um, sync my phone with the spectators secretly. So if I, you know, for other effects out there, there are many by many different careers. Um, and some of these methods, you need to have them go to a website, and you would then need to somehow sync your phone to this to in order to get the peak information. These two apps work nothing like that. They're, they're they're almost static apps. Whereas like the ones where you have to pay, they're like, I think of them. Think of them as like dynamic apps where they have to like sort of almost like you. There's there's a risk and I wish there wasn't. And I wish I could say those apps are the best, but. But they're a risk, and you always have to do an extra step to the process which which can be risky with these as long as they can open a website. That's it. That's all you need. You don't you don't need your phone. So so you don't peak with your phone or anything. It's completely self-contained with them. And they're much more streamlined, much more direct, much faster. And I think I can say that with experience, I think I think I'm qualified to say that I've been doing magic apps for it makes me old, right? Uh, I have my own magic apps. I've. I've got almost every magic app out there or, you know, the main ones. These are the if you're going to do like a word prediction. And the thing like, like Jake does, this is the type of method which is, in my opinion, superior to almost all others. It has that. It can't. This type of thing really, really has so little chance of going wrong. Comparatively, every trick can go wrong. Every single trick that you cross cut force. I've seen people fuck that up, right? Every single trick in the world can go wrong. So I'm talking about within. Within context. Within context. These versions, these effects or these these methods. The same that Jake uses, the same that's used in this have so little chance of going wrong that it makes you bulletproof. When you perform. It's always good, like they say, like when you warm your audience up, right? When you first open up a set, do the tricks that you know you can't fuck up, right? Do the tricks that you've done your 10,000 hours with. I also believe it's the same for magic apps too. I want all apps, right? But when you're gonna if you're gonna hinge the the big part of your performance or, or a key crescendo to your stage routine on a magic app, which is okay to do. I know some people say, oh, they never rely on electronics in any way, shape or form, blah blah blah. I'm the opposite. I'm fine with it. But you do need to pick and choose which electronics, which apps you're going to use, which are the ones which are almost guaranteed not to fail. For example, with this one, they qualify not just themselves, but they qualify. The fact that the app is almost 100% going to work. The moment they open up, uh, the dictionary website in this one. Right. That's it. As long as they can do that, they find to come up on stage and it can be built into a giant thing. Whatever. See the reactions against for me again, like I just said, I know, I know magicians, I know some magicians stooge their audiences for trailers. I'd never do that. I think it's disgusting. Uh, you don't need to. If the trick isn't good, don't release it. You can see these performance reactions. They. They're real. You can always tell an actor compared to someone who's real. These are real reactions. For me, I don't have it. I've seen it. I know how it works. I don't have it. I don't really need to know the quality of it because I can see the quality of the reactions. But again, with the price tag being at $300, was it? Also being on illusionary by Mustafa. Mustafa does the best the best product he does. He does the glyphs machines. His Rain Man app is fucking phenomenal. I mean, I even did a full episode on that when I back when I first started my channel and everything. Uh, Mustafa does is is is top quality. So this comes with a heavy price tag. And this is the interesting thing about price tags, right? I know the method Jake's effect is, uh, one, I don't know what. Let me see what that works out. Jake's effect is like 12 times cheaper. And. Without, you know, 12. It's 12 times cheaper. Very similar in effect, but it does sort of one thing where this reveals a word. Jake's reveals something else. Um, however, I, I think price tag is largely irrelevant because unless it's like ten grand or £3,000 or whatever, this is the type of trick that I that I would perform every single day. It it it's you're revealing a thought of word. And as far as they're concerned, they didn't even search it. Right. So this is this is the beauty of of a method like this. They don't associate it with the phone. The phone is completely removed from their mind because it didn't even work when they searched it. Right. So to the audience, that's why the reaction is so good. The audience, they thought of a word, you revealed it. and it's the type of trick that is almost, almost guaranteed to never fail. The only way it fails if suddenly the phone networks went out at that moment in time and they couldn't do something. But even then, I know it's just not going to fail to have a ultra clean word thought of word revelation. What's that in pounds? A £200. You're probably going to do this trick if you're buying this with the intention of actually doing it. You're going to love the method. It gets great reactions. It's pretty much fail safe. What's that, £200. It's less than. Less than a quid a day or less than a dollar a year. And this is you're probably going to perform this for. I mean, it's only, you know, you're probably going to if they keep it up because, you know, apps sometimes I doubt it. With Mustafa, I very highly doubt he would let this, uh, go out of a date. You're probably going to do this for ten years. I don't see phones going out of people's possessions. Um, the type of effect is a time tested effect. Think of a word. I'm going to reveal it. It doesn't go wrong. You probably are going to do this for the next at least 5 to 10 years. I know that, I know that one of Jake's, um. I've been doing that every single chance I get because I because it's a mentalism trick. So I pick when I do mentalism, I pick when I do magic. If I'm doing mentalism, I absolutely do Jake's every single time without fail. Um, so that's like three years already. 2 or 3 years for whatever. For Jake's there with me. You're going to be doing this for a long time. $300 is a drop in the ocean. Um, so I would I this again, it goes in my magic caveat section of today's episode, and I have no affiliations with this. I have absolutely no affiliations with this it whatsoever. Um, I so so that's magic caviar. I figured this is kind of, like, self-serving, and I don't like to, um. I don't think I should be talking about my own stuff here, but I do, if you may or may not know. Uh, I have my own Patreon. And if you follow my YouTube channel, I give away basically 95% of all my creations completely for free. So every magic trick I think up, and I think it's every magic idea I have, which is my own idea, not anyone else's. And it forms together into a into a piece of magic. I teach it for free on YouTube. It's a way of me being philanthropic. From back a couple of years ago, I had a really bad toxic job, and I was forced to basically monetize every idea I had, and I felt like all my artistic integrity had been flushed down the drain. I then decided to start a YouTube channel and try and give back, to try and go some way towards redeeming myself just for my soul. So 95% of my material I give away completely for free on my YouTube channel. And some of it is, you know, some of it's pretty cool. I think the best material, though, the stuff like those secrets are okay to teach, I think. Right? But there's some things that I create which are just in my head. They're my own magic caviar. They are my gold standard material. I just don't want to give away for free, or they've cost me money to make. Well, I'm obsessed with any card, any number. When we were creating the Atomic Deck, there was a we came up with this idea for the website and I said, guys, it'd be so cool, um, to do a this is like 3 or 4 years ago or whatever it was, it'd be so cool to do a version of the Atomic Deck with this special site that uses a regular deck. And, uh, and so that that's basically something that I've been working on behind the scenes chipping away at. And I have this what I believe because it's mine. So I'm backing myself. Um, but I think it's a it's a, it's a, it's a fucking awesome version of the a can. You can use you can use one of four stacks if you want. And essentially it's this I'll talk about it super briefly and then I'm going to shut up. Um, and if you want to just skip to the next section where I'm going to teach you a cool thing which was not taught on the Sabbath Deck project, but just to keep it brief and everything has to make sense, right? So it's really important that this effect, this account, all the accounts that I do have to be real world and they have to make sense. They're not just arbitrary. So I'll explain to you the performance. And I think there's going to be a fuller episode going up with Kaylee seeing it. And we filmed it yesterday for the Patreon tutorial, but I'll probably put the performance on my channel. So if you want to see what it looks like being performed, then you'll see Kaylee's genuine, honest reaction to it. But this is essentially say, look to a person. If I was to ask you to name a number of 252, what would it be? And they say, whatever. Uh, then I say, okay, let's say it's like I think in Caylee's case she said 14, right. I'd say 14. Now, look, I have no idea why you picked 14. And do you have any idea why they picked it? Caylee's case. She had no idea. She was like, actually, no. I'm trying to make it random because the reality is this is genuine. People can be influenced by numbers all around them, every moment of every day. It could be the last house door number that they walked past and looked at. So I'll say 14. It could be the bus number they saw recently. It could be the day of the month they were born. It could be the age of their kid. It could be literally a trillion different pieces of information they've seen throughout their entire lifetime that brought them to that moment to spout out. 14. So you say that, you say, now look, that was a random number. If I was to ask you to name a random one of the random 52 playing cards, it's the same choice you think. But the reality is, as a magician, especially, uh, it's. I could actually take a much more of an educated guess as to what you would pick, mainly because of some basic psychology and pop culture. And although it seems like equally as equally equal as a fair choice of numbers, it's actually dramatically reduced a lot less. Because if there's a crowd of you here and you all asked to just think of a playing card in your mind or let a few different cards go through your mind, if I if I stop you now and say, who here? Least out of all of you, at least at some point, either thought of it or it went through your mind to think of an ace of spades, Queen of hearts, seven of hearts, ace of hearts, or like a jack of spades. You will if you've got a big crowd of people, there are a few of them will put their hands up normally, like about two thirds will have either landed on one of those cards or it would have crossed their mind. You say, isn't that bizarre? Because with numbers, all of you would have had a completely different number and I wouldn't have been able to. I would not have guessed at least two thirds of you. But we're playing cards. Look at the results. And that's because we don't think of random cards In our day to day life, we don't see a random two of diamonds on the street. We don't see a random ten of spades on the street corner on the back of a car. We tend to just see the same ones. Queen of Hearts in Alice in Wonderland or in books. We see Ace of Spades in songs or on tattoos. We we. There are favorable numbers like sevens. People tend to think of the heart suits, but they don't think of the clubs because hearts are recognizable symbol. But what the hell is a club symbol about? And because of that, it helps me make an informed, educated guess as to what playing cards most people would think of. Makes sense. Everyone says yeah, actually makes perfect sense. You say, look, I want to show you something, but I don't want you to think when you go home now that you understand this. Well, yeah, there was only actually even though he said any card, it was only really 1 in 5. So go to this website. And all this website is used for is brain training. It spits out cards randomly and people use it like like if they want to get better at card counting or just better brain training, they try and memorize as many cards in order as they can, and then they can test themselves. We're not going to do that. We're just going to use it to show you random cards that you wouldn't have thought of, of your own volition. And I want you to settle on one that you like, that you're confident that I wouldn't have just been able to take an educated guess that you would have thought of. So they do. They go through all these random playing cards? Uh, they don't put in a random number. They just literally cycle through random playing cards. And this is the interesting part. Once they found one they like, this is the bit that gets magicians. I showed it to Craig Petty the other day in Cardiff and he was like, and he tried to fuck me on it. And this is the this is the this is for me, the magic caviar part of it. This is the part that he was like, God damn. When they get a card in mind, you then say, all right, cool. Now the annoying thing is lay people don't tend to. They think that when you ask them to change their mind, they think that you want them to. So they try to push against it. But for magicians or people that have an understanding of magic, they tend to do the opposite. But it's kind of annoying because the coolest feature of this is that they can actually go ham and go and change it as many times as they want, but the most, for the most part, they don't. Anyway, so like I said to Craig, I'm with Kaylee. Do you like that card? Both of them were like, nope. And with most things that exist out there like this, you kind of, you know, maybe they can change their mind one more time on the card or not. I say, do you like that card? No. Okay. Change your mind. Okay. And then with this, I call it the infinite a can I say. And you can change it again and again and again and again and again and again and again. And they can you just get like this, what feels like infinite freedom to change their mind over and over and over and over and over and over and over again until they settle on a card that they are like, right, okay. Yeah, I literally, literally this is what they're thinking. Their thought process. Their thought process is like literally, I genuinely could have thought of any of these cards, the whole deck, this is in their mind and that's it. And then, uh, and then in, in Katie's case, she pulls the cards out. I also give her another choice, whether I said, do you wanna go from top to bottom? Uh, she ended up, uh, you know, seeing the video. But anyway, she ended up, uh, dealing with 14 cards. The ten of hearts was exactly the way I will say it's, you know, there is a method to this, and sometimes the the performance isn't identical, but the the times when it's not identical to what happened with Kaylie, it's. I've put the stronger, um, performances later on. So your future proof by being better. And also you could just default to the better version anyway. But because we're Occam connoisseurs, I do this one thing first. Kind of cryptic if you like performance. Uh, again, as I've been saying, if you like what you see, the way it is, it works perfectly. You can use, um, Monica Aronson's, Eight Kings or Stebbins. It's all self-contained on this participants phone. You don't need to know a stack. You don't need to do any. You don't even touch the deck. You don't even touch. You could. There's two different ways you can handle it. You can either type the URL into the participants phone or they can type it. Um, but it's entirely hands off. If you want it to be entirely hands off. You don't need to know stack. You don't need to do any memory work. It's just about you being able to perform it. And you get this infinite feeling of freedom. Uh, I'm biased. I love it because it's my thing, but it's on my Patreon, so if you're a full paying member, it's already up there for free. It went up yesterday. You can go and learn it and start doing it right now. Um, for Craig like this so much that he wanted to do a review show special on it. So, um, so I gave him. I've only ever done this once before, so there's a discount code, so it means you can go and sign up to my Patreon, take all 50. I think it's just under or just over 50 tutorials that are the the stuff that is way too good to go on YouTube. Like, for example, this infinite can way too good to be taught on YouTube. Uh, you can go and just binge them all and then dip or stay signed up to the membership, but it's a it's 50% off. Use the discount code Craig Petty all caps, no spaces. And you can just go and do this infinite Aiken and learn it right now alongside everything else. So that's this week's Magic Caveat section. I know it sounds a little self-serving and egotistical to talk about that. I'm really hyped on it. I tend not to show too much of what's on my Patreon online. I just think it should be its own thing in the background. Uh, but I did want to point that out, and I know that a lot of people that watch my material or. Like watch my, my, my web shows are also like, interested in the same style of magic I am. So I think it would be a bit weird if I didn't tell you about the the newest magic idea that I've been that I've put out there and shared. Um, okay, so let's talk about, um, let's talk about what's been happening this week in magic. And mainly for me, I've just been fully absorbed in the servant deck, the world servant deck. You can go and watch the tutorial. You can go watch the trailer, go watch the. Craig put up a cool video last night on his YouTube channel, which is he put up, um, without asking, he put up, uh, a video of the of the live performances. So he puts up all the uncut live performances on his, on his YouTube channel. I'm playing them silently in the background here. He, he uses the servant deck to do a 20 minute set. Every trick seems completely different from the other. They're not just all counting tricks or accounting tricks. They're ones that reveal with UV lights ones, shuffle tracking ones, this mental calculations ones, a blank deck AC arc finisher. And then he shows some more performances with like Magic Square and other bits and pieces. Um, and then um, so that's 50 minutes of uncut live performances. Craig's put on his YouTube channel, and then he goes back over and plays them all with a commentary track. So he talks to you about everything. I haven't even listened to it yet, but, um, it's got a thousand views in 15 hours, which is, which is above average for Craig's channel, and people seem to be raving about it. So, um, so yeah, good job Craig. There's so much out there. There's loads and loads of reviews dropping for the savant deck already. Um, but so yeah, you can go and look that up, but I thought I would just talk to you really quickly about, uh, a cool thing, which I didn't teach on the project. And, uh, and it's this, so. And let me come back to my face on the screen? And the idea, the idea is this. And I don't think it's on the project, but I was thinking to myself, the the trick of the trailer. Very first opening trick in the trailer is this you hand the participant a deck to shuffle. They shuffle it until they're happy, and your back is turned the entire time, and they cut off a pile of cards from the top of the deck. They spread them face up on the table, and you apparently have the power of Rain Man to be able to turn around for one second and instantly calculate what all those values total up to. That's the basic effect, shortened just to be concise. And the only problem I have personally with this effect, because I performed it like sort of as direct as possible for the trailer so that it didn't go on for like ten minutes. So I tried to do the most direct performance of it as possible, but the only problem with that is, um, is, is that It it. You kind of have to be the star of the show. And often for my magic, I like either it to be in the audience's hands or for the magic to take place without my doing so. It's like, oh, I'm not. I'm just, I'm, I'm I'm not the reason for this. I'm not the talent. I'm just showing you something amazing that happens if you do this, if these two things are put together, this strange thing happens. I don't know, like it's nothing to do with me. The problem with the the the the the Rain Man routine is that you? It's ultimately you are showing off your abilities, which is okay for most performers. Not really my style, but it's okay. Uh, for example, Derren Brown does it with buttons. He gets slapped. He then counts buttons really quick. I was gonna say something disgusting and dirty then, but I'm not gonna. And then you can do it right. And then obviously it shows off his abilities. So I was thinking to myself, what would be a cool way of presenting this, which doesn't really so much put the focus on me. Uh, and, so here's the interesting thing about it, which is that because of the method, the way this event deck works is that I'm not actually calculating those cards as soon as when the person cuts that pile of cards in the performance, it's like, okay, do you want how many cards do you think you could estimate? And they say, I think I could cut. I think I could cut ten cards or whatever, any amount they want to take a stab at. I think I could cut 11 cards and they count. They say, oh, I did not, I didn't, I counted, I cut 14. As soon as you know that, you know the total of all the cards in the pile that they've cut, right? It's a really clever method. Um, and again, that's this is after they've shuffled really fooling if they want to. You don't have to make them shuffle. It doesn't really matter. But you instantly know it's the moment. I can't even remember in the trailer what the guy cut, but let's just say 14, right? So the moment I'm with my back turned, the moment they say 14, I now know the total of all the face values of those cards instantly. Well, this is interesting information because you can use it for one ahead. So now you could if you wanted to, uh, say, I'm going to show you the difference between skill and mind reading. So what you could do is that you could say, um, I want you to cut, you know, or skill B in estimating cards or mind reading and essentially just by boiling it down into its most basic form, you know, it's like when you do any standard one ahead, as long as you know one of the pieces of information ahead of time, then you can write that one down on the piece of paper as they tell you what they were thinking. So if I was to say, for example, um, and this is not fully, fully fleshed out, but it's what you can do with it, if I say, I'm going to show you the difference between skill and mind reading, you're going to read my mind and I'm going to show you some skill or something. So now you can make them the focus, which is more impressive than you doing your bit later on. So you say, first of all, I'm going to think of, uh, a word, first of all, before you do anything. Um, well, I will come back to it later. Cut off some cards. They cut off 14 cards. And don't do anything with those cards yet. We'll come back to it later. Okay. So they've got those sat on or hidden away. So you say. Now, um, now we'll come back to those cards using skill in a moment. But, but but first of all, we're going to try a piece of mind reading. You're going to read my mind, actually. So take a piece of paper. I'm going to think of a word. Uh. What word? Actually, I'm going to write it down. And you write down now the total of all the cards on the table. Right. So let's just say the total is 100 just to keep it simple. One. But they don't know this. So you say I'm thinking of a word. I'm going to write it down. I now write down the total of the cards 100, and I fold it up into a square, place it on the table. Okay. So I'm going to now you say I'm going to send you that word. Okay. What do you think it is. And then they send, they say out loud the word is elephant. Say and you make this face. What? All right. Okay. I think you might be better at this than I thought. Um. And now. And now. Oh, no. Maybe. Maybe they say the word uh, uh, spaceship. Right. Let's just go for this. Just to give you an example, they say the word spaceship, you're like, oh, okay, interesting. And you're like. Now I want to show you the, the part, uh, this, this thing using scale. And you say what I want you to do. You take those cards that you've cut, shuffle them up. I'm going to turn my back, spread them all face up on the table. Hand me the pen and paper. I'm going to turn around and quickly write down what I think the total is. Okay, so you go one, two, three. Tell me when to turn around. They do. You look at it and you write down apparently the total folded up. And then you say, so let's see how how each of us did. You tried to read my mind. I tried to show you some skill or something in this vein. You hand them the two pieces of folded paper. They unfold. Either one first. Doesn't matter. Wink. And let's say they unfold the total first. The total says 100. They now go back to the car, say, look, I guessed 100. Let's count them up. They go through boom, boom, boom, boom, boom, bang on 100. And uh, that's pretty. That's as you can see, that trick on its own is pretty fucking impressive. And now you're saying this is the crazy thing. I wrote down a word at the very start before you tried to read my mind. Boyd, you said that I was thinking of a spaceship, and I was close, but wasn't exact. But I wrote down the word rocket or rocket ship. And now you've got this amazingly powerful routine where the ending of the routine isn't about your. Isn't so much about your skill as a performer. It's about their skill. It's about them doing something they didn't believe could be done. They read your mind, and then that little throw to be just off by a little bit. So like by by saying when they say spaceship, you write rocket ship. I'm trying to think if they wrote, uh, if it was if they said elephant, for example, you could say you could, you could write when you, when you're writing down, uh, the total apparently you could write down elephant, cross it out and put giraffe or elephant cross lion, you know. So let's see like, oh like I was close. I actually went for lion. But I did start. Oh, you could write l p and then cross it out and then write lion. So then at the end you go, oh my God, I was I wrote down lion, but my gut was to write down elephant and I just overthought it, which is more impressive at times because oh my God, you actually did this for real, you know? Um, so yeah, that's a routine that I didn't share on the Servant Deck project, but, um, you can use this in any context. You can use it for a million different things. It's basically just one ahead and then miss just being off by a little bit with your reveal. Um, but the beautiful thing is the the instant fast calculations with those cards, it just seems utterly, utterly impossible on its own. Then you factor in the spectator's mind reader on top of it with the Convincer. And it's a really, really, really, really strong routine. So, um, yeah, I if you like this, um, on deck or if you just like that routine and you've got another way of forcing the total of cards or anything, Forcing a card. Go, go forth and and have fun with it. So that was that. Um, we're coming up to nearly a full hour. Um, I was going to do here how to piece together a magic lecture. I think, though, what I'll do is I'll quickly do the last four questions and I'll leave this to next week. Um, if that's all right with everyone at home. Again, please feel free to send in, uh, to my email address. Or to my Instagram inbox. Any questions that you have for next week's episode, or leave them in the comments section of this video on YouTube. Uh, any questions, listeners, questions that you have for next week. If you want to send in a voice note through email or a voice note through Instagram, then do that and I'll play a little a caller's question, which will be really cool to do. Um, but for now, let's do some readers Reader's questions to round out the show. I think it's been a pretty fun, jam packed show this week, and we'll finish off with a couple of little quick bits and pieces before before rounding it out. So, uh, on Instagram, magic and Cars.com, uh, asked me the question, what are your thoughts on edge marked cards and what tricks would you perform with them? Great question. I love edge marked cards. Obviously, there's the butterfly playing cards. I've previously tried to design my own edge marked cards. Um, I think they're a fascinating concept, and they allow you to do some absolutely phenomenal tricks with them. My my thoughts on them are a, I think some of the most fooling card tricks I've ever seen in person are from, uh, Andre with his friends, with Andre. Andre. I always say his name. I really apologize, but I'm friends with him. I've seen him all over the world. Bump them all over the world. Every time I see him, he shows me something that fries me. Using his butterfly playing cards. And I think he. He's the master of them. And when using the correct way like he does, the things you can do are unobtainable by any other methods, so they're phenomenal. Um, what trick would I do with them? For me, my favorite thing that's done with them, and I think this is possible with them, is to have a deck shuffled, a card taken out by the audience, card taken out, and then you can know what that card is. And I like that. I think you can do that with like multiple cards possibly as well. But for me, that's what I like to boil things down to their most basic but most powerful form to get like the, um, concentrated, like concentrated synergy from something. For me, that's one of the most powerful things to do is to is to have a card taken from a shuffled deck and know what it is. Uh, in that, in that context. So that's the type of thing that I would personally do with it. I would also use an edge mark deck for, um, estimation work. So I like a lot of estimation work. I like to have a card selected, put back in shuffle by the audience, and just be able to take an estimated guess, an educated guess at where it is from, how I could see it, and then sort of riff on it from there. So that's the kind of stuff I would do with it. The only, the only, um, issues I have with with edge mark decks is just the same. And I say this in the loosest terms, but it's just the same issues I have with with Mark decks, which is the hardest thing about performing with a marked deck, is remembering to bring it with you. Because realistically, I'm only I only really like red bike cards. That's just a personal preference thing. So, um, so and I only ever tend to just use like, just a standard brick from from, um, Costco. So the only. Yeah, the only thing that holds back any cards for me that are marked is just having that deck on me at all times. I have seen now that they've done the edge marked bicycle cards by butterfly, which which is sick. So they're like they look like a marble sort of vintage card design, which is using the rider back, but the edge of it is white and they're marked. So that's that's phenomenal. I definitely will pick up a pack of those up. Um, but yeah, that's my thoughts on edge marked cards. They are a powerful tool. Um, it's just like. The thing I like about them is that we all have these tools. There are things like invisible decks, stripper decks, Svengali decks, edge mark decks, mark decks, decks that are in stacked decks that are in semi stack. Um, and it's just about picking what tool you want to use for that day. And uh, but yeah, ultimately I think they're a fascinating, fascinating device. And it just there's miracles you can do with them. And. Yeah, absolutely. I genuinely love edge cards. There are certain decks out there that I don't like at all, and these are not one of them. I love edge Mark playing cards. Um, and I should probably pick some up. Probably. I probably should pick some up right now. Next question is, uh, and this is kind of in line with, uh, the topic of the day, which was or one of the topics of the magic musings. The question is from King BK underscore 11, which was how do you go about planning a first time magic show? And, uh, I haven't done a magic show I've seen a lot like and it's so much easier to critique than it is to create. But there are some fundamental things which have an overlap with magic lectures as well, which I think you can immediately start doing for a magic show to think about. Um, I think it's always good to have an overarching theme, and I always think it's good to have callbacks. So you should potentially have a theme for your show or a through thread. I think it's important to start the show with something like this, not this. Or it could be. But like this is a this is an envelope. This is a briefcase. Inside it is something important. We're going to come back to this at the end and you put at the end. So you set. You set the big finish up far in advance in some way, shape or form. Doesn't have to be a master production thing. I know that's the most common thing people go for. Get creative with it. But I think it's always good to start the show with a like, this is going to happen later. Um, I think a lot of, uh, issues with people, with their magic shows and their lectures as well, is that they will not consider where they are. So I see lecturers come in and they will do their entire magic lecture not knowing about the venue, and they'll do all of it as has card stuff on the table where the audience are all sat at the same level as them and can't see the cards. So I think it's really important to think about your framing. So for my lecture at Blackpool, for example, I opened up, I mean, the whole thing, I asked ahead of time, where would I be if I was going to be sat down at a table? Then I would have done a completely different lecture. Um, but it turns out I was on a stage in the arena. So all of my material was head height, and all of it was done in this frame of my head, like a snapshot. So nothing was done on the tabletop unless there was one part I had an overhead camera for, but I planned it in advance, I believe. Um, it's gone back like 2 or 3 years now. But the same goes for a magic show. You know, you can like, for example, I know certain magicians will go on stage on a magic show and do two card monte, and they don't. And I've seen this happen. I've literally seen this happen. They'll do two card monte on stage where they're positioned higher up than the audience, so the audience can see under the cards. So I think things like that are important to take into consideration. I think so. Like open the show like very basic stuff. Open the show with like we're going to come back to this at the end. So set them up. Start off with 1 or 2 quick pieces that are that are going to a allow people to shuffle to their seats, get into their seats, and make a bit of noise as they settle into the show. So stuff that's not that doesn't need people's full concentration. So maybe some visual pieces. Then you want to hold people's attention for something impossible. Maybe start a bit of a story, a slower piece. And for that I would encourage, um, it doesn't have to be that they can see the table, but just encourage sitting down to differentiate that imagery on stage. You don't want to be stood in the same place at all times. You want to use that stage in different ways so that they're seeing different visual snapshots. Maybe you're standing over here with rope and a of scissors. Then another time you're doing something completely different over here with a balloon and a knife, and you're creating little imagery snapshots. Then for a slower part of the show, you want to be seated and create a mystery. And this is a moment for everyone to take a breath so they're not constantly being overwhelmed. And then if you had other people, I think it's like Jeff McBride or this like a sonic boom halfway three quarters into your show, do something loud and get everyone's attention and snap them back in the room because people will drift off. You want to set up some gags that call back so. Or moments, maybe not necessarily gags, but something happens at the start of the show visually and call back to it later on. I think I helped Harry Harrington with, uh, with his upcoming thing that he's doing. I nearly slipped up there. Um, and then and then finish by calling back to your big finish at the end. But I think it's really important to think about think about a long time in advance. Where are you going to be? How many people, how many rows back do these people go? Can they hear you? Can they see you? Are they. Are they looking down at you? Are they looking up at you? Those are some of the things that people, most magicians, for example, when they do magic lectures, even magic shows. The average magician that doesn't do this very often will just think, what are the best tricks I can show? And I think, for me at least, anyway, that really was one of the last questions when I was when I was constructing my Blackpool lecture, which was considered a bit of a show. I had a little like screens and projectors and everything. For me, it wasn't really about the tricks were one of the last things I put in. I thought about like, where am I? How will they hear me? How will they perceive me? How much time do I have? And then it was like, okay, now what can I do here? How what what part am I going to? Is the audience going to come to a natural lull? How can I snap them out of that natural lull? How can I have a big ending this, that and the other? And then the tricks were sprinkled in between it. So when it comes to a magic show and a magic lecture, it's kind of the same thing. We spend so much time hyper focusing on the tricks that we forget about the important stuff. I've been to many good magic lecturers that I've got some great tricks, but I've completely forgotten them because I couldn't see them do the tricks. I couldn't hear them do the tricks. They did the best trick at the moment, where there's a natural lull or they didn't have all the audience's attention. So it fell flat and it was bypassed. This is the stuff that is so often overlooked. And I think this actually the stuff you put first on your list and then you fill it with the tricks afterwards. So hopefully that answered the question, at least from my point of view. Uh, CJ Penders asks, has there ever been a trick you just could not do? Yes, the clip shift. I have wanted to be able to do the clip shift since the day I first saw it. I think it was like Jordan Lapin did it 2 or 3 years before it was ever released as a project. I know it was created by Chad Long, but underground, like all the Buck twins and everyone was was able to do it. I just think it's one of the most powerful utilities for a card move. And I have practiced. I have the DVD, I have practiced that move more than any other movie magic, and there is a short circuit in both my brain and my and my hand muscles, for whatever reason that I will never, ever, ever, ever be able to do it. And I've literally sat down with some of the best practitioners of the clip shift in the world apart from Chad Long, Chad Nelson, sorry, Chad Long apart from Chad Nelson, and they have talked me through it a thousand times. I cannot do it devastates me that I can't do it. And uh, yeah, that's it. I'm gutted. I'm trying to think if there's another trick that I could not do that's like the big one that is. Oh, the other one, I'll tell you, is the muscle pass. I cannot muscle pass straight up. Cannot muscle pass. And I and I absolutely love it. Can't muscle pass a coin. And I've tried 20 odd years and then the last one is from Corey Sakura who asks, um, do. My question is, do you want to come on the podcast, brother? And he has the podcast. Let me just double check the name here. He has the podcast and I have been speaking back and forth and it is the. Podcast at the card table that. Yeah, the magic podcast. Podcast at the card table. He's the host of the podcast at the card table. And Corey asked me what I like to be a guest on it. I've come back and said, yes, I would absolutely love to come on that podcast with you. And, uh, so that was the final question. Probably I should have recorded the questions and put that at the, at the beginning. Um, but yeah. So we're going to make that happen. So go. And actually, if you haven't, if you're not listening to the podcast at the card table, now's a perfect time to go. and follow it because it is on Instagram. Go to at. T underscore UK. So that stands for podcast at the card table underscore UK. So pet CT underscore UK. And uh it looks like having some great companies got um. Oh my God he's got Jeremy Griffith Los Angeles, one of my dear friends, Jamie Dawes Alexander Marsh on there. Uh, Michael Murray. Uh oh. Um, Mark James is on there. Who else? James Wendt, fellow Welshman James Wendt is on here. Harry Lucas. Uh, and. Oh, my God, I'm like one of the first people on here with these guys. I instantly feel inferior. So unless I unless my anxiety gets the better of me, I won't be on that Podcast ASAP. Oh, what a jam packed episode of 108.9 Trapdoor Radio. Thank you all for tuning in. I, uh, this was cathartic. Thanks for doing it. I, um, I've been thinking. I kind of want a cool hat that says 108.9 on. There. There. I don't know, maybe I'll make one. Maybe I'll make a cool bit of 108.9 merch, um, for non-profit as well. These, these websites like what are they called? Printful, I think where they just handle everything. So I don't know, just for the sake of having a cool hat and maybe a cool t shirt. Let me know if you guys would be interested in having A10 8.9 hat or A10 8.9 trapdoor radio kind of cool hat or a t shirt. I think I think one would look pretty badass. Um, if you would, I'll. I'll put a design together and then upload it to a site that we can all just get it from. Um, it wouldn't be for any monetary gain, but it would be cool to kind of rep one if you're if you're one of the listeners so far. But let me know. Please let me know if you'd be interested in doing that. Kind of feel like this black hat has been more in has nothing on it. Ah, guys, girls, dolls, dogs, cats, annoyed partners all over the world that have been forced to listen to this on their commutes to work, or their commutes home from work or in the background of your kitchen, wherever you are. Late night radio streaming to you through your ears. The sawdust from my brains being scraped into your skull cavities by Edwin Lloyd Barnes. This has been a great week. It's been a fun week. Uh, if you have any questions for next week, I would love to hear them drop them down in the comments or Instagram me or email them to me. I'll be. One thing is that if you think there's any content you want me to feature in next week's episode, either it be in the Magic Caviar section of the show, or if there's some magic news happening, whether it's new magic TV show or some magic drama you want to hear my insights on, then please feel free to bring that to my attention in some way, shape or form. The the most guaranteed way to get it in front of me is through my email. Hello, Lloyd. Hello. Oh, I've just put the, uh, the subject line, uh, trap door radio, and then I'll know it's just specifically for this, for this show. And you might want to share a new product with me. You might want to share a new, uh, interesting piece of media quasi relative to magic. You want to get my thoughts on if it's a listener's question, that'd be dope. You can send voice notes, whatever you want to do, send it through to me, and, uh, and we'll do it in the next week's episode. But until next week, folks. I've been Lloyd Barnes. This has been 108.9 Trapdoor Radio, and I can't wait to be beamed into your eardrums. Same time, same place next week. Peace.