Sam Osborne hangs out with the Magic Guys #189

They're guys. They do magic. They are the Magic Guys. Ladies and gentlemen, welcome to episode 189 of the Magic Guys. We're here. We're here to have fun with you guys. To my left, we've got Nick K. Welcome to the show. And to the right, we have Josh Nobito. We've got this guy who's a magician and has guns. This guy right here. But in all seriousness, it's great to be here with you all.

And so many people in the chat today, more than normal, because this guy is a sex icon in the UK, it seems, from the comments. I'm in love with this guy. This guy is so awesome. How do I become this guy? Look, the list goes on. So we're going to get to him in just a second.

But it's great to be here. our our father uh douglius aridius is not here today because he is a little unwell just from being so awesome so send him some love but he'll be back no doubt soon nick how are you feeling on this fine day or should i say lumberjack nick yeah it's cold here and it's cold here in town guys it's like seven degrees here in melbourne so i had to rug up the heater is on but i'm doing my best to survive and so

i was like i know like a lumberjack but it is cold so i'm just trying to. Want this actually wear this jacket in the snow more times than not that it's a good rig thank you thank you how is it in beautiful sunny bris vegas but it's so funny you have the heater on i have the air con on in my room right now because it's hot it's hot and to stay cool i've got my magic eyes t-shirt on you know what i'm saying well that's the wrong sound bell but you know what i'm saying and we just want to say hi

to everyone in the chat as well who we got watching today well i was going to say it's a wonderfully sexy t-shirt you guys can buy at magicguyshow.com yeah that's it you nailed it the magicguyshow.com or it's literally below this video in youtube, you can find the button to just buy the shirt as well. You should test it out and let us know. And those pennies go towards us being able to put together a kick-ass show for our wonderful audience.

Who is in the chat? Let's give them a shout-out. We have GP Magic, Thomas Conger, The Battle Jam. That's a cool name. Daniel Farmery. I wonder if he's a farmer. That's kind of cool. We have Jason Fergus. We have Caden H. We have M. Boo. That sounds like a street name to me. We have our good friend, The Chris Magician. We have my old friend, Gary Davis. We'll catch up with you soon in Sydney if you're around, Gary. So I'll hit you up.

Josh Mundy. Geez, there's an abundance of here. It's going to take forever. Like there's a whole bunch here. And all you folks are here to see our guest today. But before we do, we do love it when you guys send through your speak pipes. Now you can do those. You can obviously send those through the website. We have any questions and so forth. And sometimes we have spitball sessions and whatever else.

Else but we have one sent in right josh that's right you can go to the magic guy show.com leave us a speak pipe there or speakpipe.com forward slash the magic guys i'm pretty sure sure i remember which one this speak pipe is but i'm also not sure so we're going to play it now, let's see what is going on in the zeitgeist of the speak pipes hey guys it's just jimmy I wanted to ask you an ethical question. I technically have been doing magic since high school and now I turn 45 in a couple of days.

Is it fine if I say that I've been a magician for 20 years, even though I've just really started honing in my skills in the last five with the help of Doug and you guys? And also, am I able to say that I'm a world traveling magician because Because I've done magic in the Philippines, in Korea, in India, Thailand, Cambodia, Mexico, Singapore. There's a couple others. Because I've always done magic for my whole life.

But I don't know. I feel like it's kind of a questionable thing. And I don't want to like. But also, I mean, yeah, I need to sell my business, right? I don't know. Talk amongst yourself. Thanks, guys. Jimmy, great question. So let's touch upon a couple of things here. He's been doing it professionally or semi-professionally for the past five years is what I picked up. But he's been doing it ultimately for 20 years in the making sort of thing. And more importantly, happy birthday

in a couple of weeks when you do turn 45. So power to you, friend. This is interesting. This is interesting. And firstly, I want to commend you on your ethics. A lot of folks don't have that. But here. That's the ethics. Yeah, probably the ethics. Here's what here's another way to word it now josh you're welcome to correct me about let me express my thoughts while they're clear in my head and i just think that you could say with 20 years of experience,

I think that's a nice way to put it. So you can say you've had X amount of years of experience. A lot of people who are doing duo acts at a very young age will say with a combined 20 years of experience, but they've only been doing 10 years of it. You know what I mean? So there's little things like that you can say. There's nothing dishonest about that either. But keeping in mind that what we do is dishonest, but we're honest in doing so.

You know what I mean? We're not genuinely making coins vanish. We're just making it appear as if coins manage. So we're very honest in that sense. At least some ethics are in that place. So for example, ethically, we don't believe we have true magic powers. And if you're anything like the Australian Institute of Magic, if you do believe that, you can't kind of be in the club. So that's literal value. You tell your thoughts. That's your 10 pieces arriving. thriving.

So I, I think personally, it's great that you're, you're questioning that. And it's something that magicians, we tend to embellish sometimes like we're award winning, we're the best ranked magician in our country. You know, there's quite a few handles on Instagram that all say the same thing, like, you know, America's best magician or Australia's best magician.

And so at the end of the day it really doesn't equate to anything like you can say that or you cannot say that and you're probably going to get the same amount of work because it's really based on if you're doing a good job in shows and clients are talking about you and and recommending you and so it definitely doesn't hurt like you could literally say you won the magic olympics in your city if you you shouldn't ethically but if you did you could

say that and you're probably going going to get the same amount of work. So it's not really going to change anything, but it's just you need to feel comfortable with what you're saying. So I agree with Nick. 20 years of experience is great, but at the end of the day, it doesn't really change a lot business-wise for you. It's not going to, Nick, we got a note. What turned up? A new segment. What was at the door? I hope it's naked pictures. I hope they're naked. No, I'm the jelly check.

Oh, it's a battery for my Milwaukee. Okay. Good stuff. Power drill. Power drill battery. So, Jimmy, thank you for sending that in. Please, guys, send more in. I think we enjoy kind of playing one to start the episode off. It starts the good vibes. But, alas, we have a wonderful guest to bring on. This guy I've been seeing. He comes up in my feed on social media quite a lot. I'm like, who is this young man with a full head of hair doing this knuckle-busting magic, but he's also busking?

And then I've seen my friends from Australia, Jason Maher and Mika Harris, venturing over to Edinburgh. And this guy's there. And so he's sort of getting in amongst the magic, the magic sphere, the magic world. And I thought, you know, there's only one place to go from there and that is the magic guys podcast. So he's officially made it, but it's such a pleasure to have him on ladies and gentlemen, please welcome Samuel Osborne. Music.

Let's go on. Samuel Oles. Thank you so much for being here. Please tell our friends, who are you and what do you do? I'm Samuel, a magician from the UK. I'm a buster and I'm 18. So it means I've got about three years of experience under my belt.

But I still get them. so that's me wow 18 oh my god man what i would give to have been already professionally working at 18 bloody hell that's exceptional man so i mean tell us okay so obviously this wasn't too long ago so tell us how did it begin let's go from the beginning chad what was it that'll be me being curious i bought during lockdown so i watched youtube and i learned how to vanish a coin i went down the rabbit hole that was us about it yeah found doug he

mentored me up and then said go to the street go forth and uh i bought a table within what within three years you went to street first year i started doing street do you understand the amount of bravery it takes to go straight into a street show i mean this would be clear one year have you done Any gigs prior, other than performances, not a single gig. So pure, like school helped me. I just, I'm sure my classmates loved me, but I just started doing stuff.

I ran the advice of, if you take the opportunity to perform, perform. And I just did that. And then I, yeah, bought a table, went to the street, bused my local town. Yeah. Rest is history. Bloody hell. Take note of that, fellow magicians. Just take action.

Just start doing it. and you know success is on the other side of you know being nervous to to try something bracing those fears right like i mean so many people are so scared to fail you obviously just went straight into it with total disregard that there could be a total failure like share how you were so brave just go out there don't be scared to look like a moron yell a bit you'll get destroyed with like not every day is going to play in your favor but if you do it enough it's not

too much of an issue so just that's great and what so what is what does your regime look like at the moment are you going out on saturday sunday what when you basically every opportunity i get now i'm shooting for five days a week yeah so that's weekends are good but i don't find the weekdays.

They're a little harder but if you play it small uh you can do it rain is a little bit of an issue but i'll deal with that later this month no yeah i was just thinking so there's a few things in between i'm curious about buddy so you were doing this during school so have you finished your education i have indeed yes i wrapped up levels for being the uk figured uni wasn't for me didn't, wasn't right yeah kind of last minute i just went you know what i can take this full time,

just did it so wonderful amazing so and so here's the thing right for you to be able to sustain yourself on the streets making a few dollars there's obviously a lot of things you learned along the way let's explore what the first couple of shows would have been like for yourself okay Okay, so if you're anything like me, I know I am, that first show you did, you kind of failed to hat the show and things like that. Yeah.

What are the sort of things that you're like, if you're going to tell people, I'm going to go do my first street show, you tell them to forgive themselves. Like, you're going to make this mistake, this mistake and this mistake. What do you think? First, you're going to be really nervous. It's always the case. It also happens not just in your first show, but your first show after a while. Like if you've taken a month off or something, you're going to get the same nerves.

I remember I sat at a coffee shop before I went out for this. I was shaking. It was just the prospect of just turning up and yelling on the street. It's a weird thing, right?

You're just going to do it just bring the material that you know who cares if it's right for the street who cares what they say it doesn't matter people say do cups and balls do all this it can be a card trick it can be a coin trick it can be a balloon swallow just do something, it could be 10 tricks in a row it doesn't matter, forget hatting an audience for a bit you don't need it But the important thing is you're getting the reps in and do three shows, go get food,

relax, call it a day. You don't need to do too much. Just bit by bit and you'll get there. Holy crap. You sound like you've had 20 years of experience. Yeah, you sound like a veteran. 20 years of experience and three years of kind of doing it professionally. So how long have you been a time traveler? Because that is what a real time traveler would do. they get all this experience and then go back to when they were 18 and pretend like i just started.

Well okay let me ask you this okay so when you do you do walk by or do you perform at the pitch is my first question so i do it's a it's kind of a circle show okay so do you go do you go to the pitch for that like do you have to are you amongst other buskers and so forth Yes. So we have here in the UK, we have the Magic Corner in Covent Garden. It's pretty much, well, it's the oldest, potentially most famous magic pitch, at least in the UK. It's a good view of us to perform there.

And it's the same pitch if you've watched Jason's stuff or Mika's stuff. That's where they've been. They travel and we all fall together. So it's kind of a rotation. I've seen it and it's a beautiful place to be performing as well. Like aesthetically, it's gorgeous. You know, like the way the shops are all sort of surround. There's that staircase that goes down and so forth.

What I think that a lot of people who might be listening to this and aspiring to be much like yourself, what advice could you give them with regards to approaching the pitch like think about this is the first time you're rocking up to a show and you go hi there i'm samuel i'm gonna do a show i've got some cube on my i'm almost a man someday you'll be a real boy like there is etiquette to getting to these places and meeting these people yeah please like i don't know if it's It's the same as

what's here in Australia, but maybe you should share what it's like for anybody looking to approach Covent Garden. Could you please share what that etiquette is supposed to be like? By all means. Yeah. I mean, so for me, I got very lucky. It was kind of a chance thing because I didn't know Covent Garden was a place. I knew it was a place, but I didn't know how to picture it. I didn't know any of that. It was my dad recently.

Actually, he seemed to remember when I was a kid, there was a magician here. Here, I'll take you down and we'll see if there's someone. And there was someone. And it was pure luck that I could recognize them from the YouTube video I'd watched that morning. His name is Sergey Parol. He's amazing. And after his show, I watched it. It was a brilliant show, still one of the best street shows I've ever seen. And I spoke to him afterwards. Just to have a chat.

I just asked, how do you turn up here? What's going on? And he just asked. And he just said, yeah, turn up. Just bring your stuff one day, just rock out, do a show, doesn't matter if it's a total. So for, for cover garden itself, we're kind of free to do that. If you, if you ask, not from stopping you doing it. So if you're in the UK swing by say hi to me, I'll be there. Yeah. And you can just hop on and do a show. That's pretty much it. Just be nice. Yeah. Be a nice person.

I think that's a good style for anything actually do that. Yeah. Yeah. Holy moly. And then also, Jason Maher and Mika Harris, fellow friends of the pod, former, you know, co-beginner of the podcast. What was it like seeing, when you saw them come and busk in Edinburgh, was it a noticeable difference between how, like, buskers might approach things over there and then seeing these guys come in? Like, was there any difference of busking style that you particularly saw? Yes.

It's a subtle thing. so I don't have too much experience with it because of course I've only bussed in the UK rather than coming globally but they spoke about it like when Jason first arrived because he came here in 2023 as well, which he gave us a potluck thing like what is that Jason no what.

Yeah he spoke about it because he went out did his kind of same show he did in Australia you can use a bit more edgy humour, you can swear a bit if you wanted to in the uk no don't do that we don't like it here interesting so he found he had to change his show like kind of that fit and play it kind of more family friendly in that regard so there's bits like that crowd building i think it's a little bit different a more like a natural build is nicer than

force your way in but it depends on the performer there's a bit of the culture thing and then a bit of before the stuff that comes together. Yeah. And the other thing that people have noted about you, Sam, is that you have some influences in magic, one of them being Danny Diotis and if anyone who knows that man's work, it's quite intricate and like difficult magic. This is something you're doing on the street? Yes.

Yeah. It's, it's an interesting idea saying it's difficult magic because it's completely different to like knuckle busting sleight of hand, like knuckle busting sleight of hand. Like if you're doing intricate coin magic or palms or all that sort of stuff without getting too magicianic, that can be really tough to do on the street. Unless you're really like damn good at what you do.

With the day of tea stuff when you're first doing it's not going to work at all but i've been working on his stuff for probably about a year and a half now pretty much solely his stuff i've bought all of his borrowed debt miracles if you're a magician get it all of his work is for us act his that's what got me into his stuff that fooled the hell out of me when i first saw it it was like What's going on? None of it made any sense. So I just grinded working on that stuff and performed constantly.

Things like his forcing, that's the main thing I use on the street. And it's now natural. So it's not, I don't consider it me doing difficult stuff because it's completely natural. It's psychology-based rather than sleight of hand-based. It's all in your attitude. And if you're relaxed doing it, It just happens. I don't know how. That's also the same advice with trying to pick up women as well. Yeah, well, I haven't found out how it works. So that's that much.

If you're just natural, it'll happen. So with regards to building your show, buddy, I mean, like, having material is one thing. And Danny's stuff is fantastic in every capacity, no doubt. What advice do you have for folks who are starting up and trying to build their show? Because ordinarily, you've got sort of like a way to get people to stop, your crowd builder, and then your big finish, and your hats. What advice do you have in that realm? Like, what's your insist of?

Yeah, so you've nailed the core components of a show. You need to essentially boils down to get people to stop, stay and pay. That's, that is busking. That is it. The stopping bit. It's the hardest bit of the show. Maybe second hardest. I get to that. It's always the bit that hurts to do. And there's loads of different ways of doing it. You can do a kind of trick build, you know, promise you could do music. You can do whatever. So for me, I open on the linking rings.

It's dead simple. It's a classic. It's nothing super special. I even open saying, you've probably seen this on TV, but you've never seen it in person. So that's why it's cool. That's a great trick, by the way, because it's good. It's noisy. There's a lot of shiny things. You can get a lot of chink noise and generate some noise. That's the reason I do it. It's loud. Personally, I use the small rings. I use little small ones that fit in my pocket. That's a personal preference.

Arguably bigger rings make more noise and you can play bigger but that's preference so it's noisy that's always a good start you can make noise that's good that's why people open on music, i know one of the guys i perform with opens on we will rock you every show i don't know how he's not yet to be honest but it works so something noisy something visual always good alternatively play it small.

Jason Marho, for instance, he'll open on little coin work or ring, the ring trick or something like a card trick, masterful. You want to basically get your core audience. You want to get someone to stop. Once one person stops, everyone stops. It's just, again, that first person. That's what matters. It's her and it's ours. Once you've got that first few people, give them something good, something lengthy. It's like your build. So for me, I use the coin matrix.

Cassius.com. I saw his matrix and I ran with it. That thing is brilliant. No one else does it on the street. I've only seen Doug and I do it. I don't know why I know. It's good. It's really good. That's what I use. It's a lengthy routine. It's visual. You can talk about it. You can do stupid bits where you say, oh, the coin's getting smaller. You just walk backwards. Not a trick. It's a joke.

And yeah, then you want your finale. finale, and you want your finale to be the most impressive, or at least perceived most impressive thing in your show. It doesn't need to necessarily be the biggest, but it needs to feel the biggest. So for me, I do a cards across. It's nothing massive. It's a very, it's a simple, bare bones card trick, but you play it big. I'm doing 10 minutes of this, of like, do you see the invisible card?

No, it's kind of a point, but that sort of stuff, you just toy with it, play with them. And then you give them the big hit. Something a kicker is always good. I am playing around with hacker, which I won't get into because it's magic. But if you know it, it's good. I'm toying around with that at the end of the show. It's new though. So it's not perfect yet. Yeah. And the final key to the show is the hat pitch. You mentioned it. This thing is what gets you paid.

If you do the whole show and you don't mention money, turns out no one's going to pay. So it's the tough bit to get right. It's arguably the hardest bit of the show. And it's taken me a long time to even have the guts to ask because it feels that bit wrong. Like when you're saying like, hey, you turned up for free. Now it's time for you to pay me. No one expects that instantly. There's always that underlying expectation, but you still, you're going to ask.

And sometimes you have to ask for more than most people expect. That's probably different for all around the world, different cultures, different pricing, all that sort of stuff. But that's, it's tough. So, my advice there, copy someone else for a bit, it's kind of what I did. That can kind of go for the whole show if you wanted to. Just kind of run with, learn from something, take something and use it.

I did that with Jason Shudder for a bit, which I only realized until he turned up. But yeah, you can kind of learn how to do it from other people and then put your own twist on it. Well, let me ask you this regarding your hat line. Okay. So there's a couple of ways you can go about it, most typically. I'm sure there's many ways, but here's one or two ways. Some folks will finish their show, then do their hat line. So show's over. Thank you very much. Oh, great. We'll leave.

And then show's over, but before you go, can I have some money? That's not how the hat line goes, but you know what I mean. You can do it that way. Or you can say the big like just before the big finish just before the big finish you then do your hat line then finish your show and say thank you very much drop the hat and then just wait that's the two most common ways which do you prefer and why i will always choose the latter better. Saying it before you end the show is key.

I've also found that the more you mention it during the show, the better it works. So I have one extra line, which is actually well earlier in the show, at around the beginning of the finale, which sounds late, but it's not. It's kind of just past the midpoint. And that's where I say, round Round of applause if you think I can do it. Round of applause if you don't think I can do it. Round of applause, grab the hat, if you're going to give me lots of money at the end of the show.

Now, when I get a clap, it might not. It's kind of a classic line, but it doesn't matter. All that matters is that you've mentioned it. Now people kind of know, right, he's going to ask at the end. Then, for me, right before I do the count of the cards, so this is like the cards of travel, I've done my job, Here is, in theory, seven cards. Here is, in theory, thirteen. And then you turn and go, but before we check, I'll say one last thing.

You guys have been a fabulous audience. You do the hat pitch. So then the end, it's just, guys, you guys know what to do. The hat is here. It's the exit to the show. Come forward. Support the R. Yeah, the R. That and that one. And I think that's the best way. That's it. Yeah. And, you know, with your charming persona and accent, obviously, I can just see it. and also useful youthfulness as well.

I do think that is something people pay more for is seeing the youth, you know, getting out there to build their career. So you use that as long as you can, son. But was there a point, because I know, like, I love busking. Like I love going out and doing street magic. I love the rawness and no one knowing who I am and just trying stuff.

And, but busking was never made for me. Like Jason and I were, we met at the same point in our careers and we just went different directions because he just, you know, needs to work on his own time. Not when a gig is wanting him to start, he needs to do his own thing. And I don't have the voice and bravado to go out and command a street to get an audience like he does us so well. So we sort of went different directions, but watching it.

I would see Jason tinker and Jason did the same thing you're doing, by the way, the way that you're saying you use some of his show, he was mentored by James Hessler, which in the beginning, like I would watch James's show and then would watch Jason's show and it'd be like, oh, you're doing his show. But it's, I understand it's the way that that's the life cycle of how you become a busker. Now Jason's show is much different, but like you're doing, you're on the right.

That's exactly what you meant to be doing. Was there a point, because I know with busking, like there's such a range of how well people can do within busking. And I know it's kind of like a secret thing where you don't actually say how much a busker makes, unless you're Jason and you make vlogs about it very specifically. But I wonder, was there ever a point where you tweaked something? Maybe it's a hat line or it's something that quite dramatically changed what

people would pay at the end of a show? Yeah. There's a small thing. It's a weird phenomenon I've found with busking, is that there's kind of barriers that you don't quite know how you get there. It's like you're going to be stuck for a bit for your first 200 shows at this value. It doesn't matter what the value is. It's like you're stuck here. And then suddenly, bam, your show is now here.

It and then no matter what you do it's that you'll get the old one that's different but the averages come out weirdly the same and then it's the next bit in the next bit and you can just keep pushing and there are a few things i found that have changed it the obvious one is i bought a card reader yes yeah actually before you jump into that there's a question here saying that like Like, do people carry cash?

And so how are you sort of taking these payments with regard, whether it be cash in this sort of cashless society that we're slowly moving towards? It's interesting, actually, because you'd expect there to be a lot less cash. There's still almost more cash than card, which is weird. But it really depends on what you push.

So I don't find there's an issue too much. but when i didn't offer an alternative payment though of course you're limiting yourself, i got myself one card reader that was yeah i didn't love it i switched to a qr code, that's good i think that's that's a nice option i've still got that but recently i've got a new you saw a card reader and that thing cracked it, that's good. So yeah, that's the first key I found. Give options. More options there are, the more chance you have.

Then there's small things that that's, that's the pain aspect, but if you want to like get the show better, more original, I think is good, but when I say more original, it's more you, so you can do someone else's stuff, but it's gotta be you like when I, I did cups and walls for a bit mass, not me, I was doing it cuz everyone else was doing it. Cut that from the show entirely show got better.

I did the balloon swallow for a long period of time now there's various reasons for reasons why i shouldn't have done that i'm sure some people can come up with their own reasons why ma'am explain what are they oh it's 15. Me right so that again wasn't me doesn't work cut that from the show show got better But when I started doing the DMT stuff, it felt more me because it felt natural, which I got better.

So it's just toying around with what's new. There are small things I've heard, like some people use rope to mark a crowd. So apparently that can help. I've never used it myself. I prefer a more natural thing. Yeah, can we talk about that real quick with regards to how to edge your audience? I used to use just a bottle of water. I used to bring a bottle of water with a pop cap.

And then I would just spray a line of water. And I would explain to everyone, please come a step forward to the line just to make sure the sidewalk's clear. And then the council doesn't shut down my show. And people go, no, I'm not going to move. They're going to shut down my show. You need to keep walking. I'll just get, if you're not going to play, you know. So, yeah. So when it comes to creating an edge, and the edge is important because let's just say that there's a situation.

Where they got to catch a bus and they go we have to go you got to close that gap and create that edge and as you have that edge you'll end up having four or five people deep and be able to hack your show more appropriately so that's for the folks who are unaware of what we're talking about what edge do you use what are your thoughts so i like kind of incremental thing so i find if you can lock in that front few people then

you can yank your table back and you'll notice if you watch performers they do this all the time where they're busting they pull their table back one step and throughout the show they're moving back quite a long way they'll end up at the start of the front of the pitch and they'll end up like five meters back and it's just very substantial.

What that does is it locks in your front edge and then you start building around the sides as you need to move your table back and then you end up with that semi-circle that's what i use if people are watching really far away there's some lines you can use that you've got have you ever seen close-up magic before no not from that far away come on in you might as well.

More thank you yeah i know it's world class i'm here all night there's coming close it's not like tv there's no radiation let's don't worry if people watch them out the back, There's a few lines for that. You have backstage passes, all that sort of stuff. Get people in front of your show to fill in that front and then the sides. That's the important bit. So I don't use any water or rope or anything like that. It's just a matter of pulling people in, getting close.

I don't mind a small show. I'm not fast. I don't need a thousand people. So yeah, for me, pulling close and it'll build naturally. Yeah. Yeah. And how do you go about closing those gaps if anybody walks away? Closing the gaps, it's again, kind of use of lines. I'm not that fussed because I think if you get too worked up about it, people go like, no, we should try and build more.

We're not that valued. He's just trying to build more people. No, no, no, no. But if you just like pass in comment, like guys, I'm in London. I don't like gaps. The tube tells me all the time. So that sort of thing, that probably, or it looks like he's farted moving guys, seriously.

Stuff like that just know the lines and just run off and on the whole it will work and if it doesn't work yes there is there is one golden line that i'd like to share if you if it if it's going to be of any benefit to you if i may it's actually going to be published in a something, hoonish i think it's in it's like editing stage or whatever but what i used to do when i came to doing my show is before i did my my finale i would do one more card trick one more little

thing and i would ask people i'd say like have i'm in a good time you guys have a good time and they would say yay and then in return i would say can i do like the finale's about to start but can i do one more before we get into that like is anybody in a rush does anyone have a train to catch like can you stick around and they go yeah we can stick around and i go great they're not going to walk away in your hat line now because they said they got to stick around but that's stops a little

bit of gold for you. Yeah. Now we've got a guy that's doing so many shows. What I'm really curious is, is, uh, the crazy stories that sometimes happen. So I was thinking, Nick, maybe we should do a gig story segment.

That's a great idea. Let's roll into a gig story. So, Gig Stories is a segment of the show where we talk about wonderful moments of magic, whether we're performing for our friends, family, or even on the street. And who better than to tell us an awesome gig story than our guest, Samuel Osborne. Son of Ogby. No, I'm kidding. Or if you need a second, we can jump in, but you let us know. Oh, yeah. Awesome. I'll go, I'll go, I'll go quickly. I'll give Sam a second.

Just a little, a little detail that I didn't expect. I did an event in Airlie beach last week, which is just like a two hour flight to like a touristy destination area in Queensland and doing this event for 50 people. But I'm there for three hours, which is a weird, normally you wouldn't be there for that long, but they sort of flown me there. So I'm like, Hey, I'm there for your event. And it just sort of worked out that, that I end up staying the whole time.

So you're getting through a lot of material and there's a routine. There's a, we all know the effect double cross and we've talked about it at lengths on this podcast before. I always have it on me, but I never use it because I like knowing I have this thing on me, but I prefer to not have to bring it out. Like, you know, the other 150 magicians that will use it that night. The condom of magic tricks. You want to have it on you just in case you need it.

That's, That's a nice way of thinking of it. So I'm getting, you know, I'm sort of, I'm getting through a lot of material now, but also the women at this event are also, you know, starting to get drunker. So there's like a line here now where double cross is sort of needed because, you know, anytime you perform to the same group again, you kind of want to top what you just done in levels of like entertainment or amazement anyway.

It's finally time to bring out this double cross. So I, I, I dust it off out of my pocket, get off the cobwebs. And I use the version that has a love heart stamp on it. Cause I'm original like everyone else is. And so love heart, right? So do the thing. Love heart disappears. She opens her hand and she completely screams in utter disbelief, like proper screaming, like the party stops. Like she's lost her mind. I did put this up on my Facebook. book.

It was on my stories a little while ago on Instagram. And then what I didn't know, and I didn't show this in the recording, but after she had been screaming for a while, she then pulls up her sleeve and she has a matching heart, actual tattoo on her bicep right here. Like the exact type of just a black outline, almost the exact same shape that this was. And that's why she lost her mind so hard. And so she's like, looked at this, freaked out, freaked out with her friends, pulled this up,

seen that now I'm freaking out now we're all crying. Now we're all having this. No, I'm not. But it was just a mental moment that like, you know, I didn't know what happened. And then once I saw that, I was like, this is the best thing ever. And no doubt I'll be booked to go back there next year because it was just like, it was insanity.

So that's my little gig story. did something and then they already had that just to blow their minds it was if that could happen in every gig that would be great yeah yeah you just got to bring that person to every single gig or just like make friends with the tattooist and be like who did you tap this week that.

Where do they go out what do they drink it's not a bad idea there's got to be there's got to be a a thousand there's got to be a thousand people who get like an awful butterfly at the lower of their back and you just sort of go like look a butterfly and they turn around and show their butt crack and be like oh my god josh i love the comment josh equals voldemort i could you know that i was called voldemort at that party too so it's kind of funny you know what i get a lot i get i get

either hey agent 47 i'm like i got a beard go away and then i get oh johnny sins and And I'm like, if you don't know who that person is, then you are not an adult, but I'm glad you get that as well. Yeah. It could have been anything. Could have been a magician. Could have been an astronaut. Yeah. Do you have a gig? Do you have a gig story from the gig that you did after we were chatting last week? The one that made you wait like an extra hour to start because of the speeches? Yeah.

Crap. Which one was that? You were backstage and, uh, yes, that was like the rooftop. Yeah. So, so what had happened was I get this phone call and they're like, Oh, look, you know, we, we, we just want to get you in there for like the hour and a half that we got you booked. We had you booked for four 30 originally come earlier. Cause I reckon at the moment those speeches are done, you're good to go. And I'm like, cool.

So I go there a full hour earlier in the expectation that like, I'll be ready in five, 10 minutes and ready to rock. And I rock up and then she's like, yeah, now we're actually going to start late. And so I was like, just stuck backstage for a full hour. But thankfully my good friend, Josh gave me a call whilst he was in transit on the way to this lovely gig we just heard about. And we got to talk about all cool ideas and it's always nice to chat with Josh.

And we're just planning some cool things for you guys to enjoy in the podcast. But these things happen. Sometimes you want to actually pay for that privilege when you're doing these things. The lesson learned is this, that sometimes you want people to pay for that privilege and sometimes you want to be cool about it, you know, to maintain a relationship with these people. So sometimes let's say people go, oh, we're going to book you for an hour.

I go, great. You do 30 minutes at the start of the night, 30 minutes in the night. I'm like, what? Over a four hour period. You're nuts. Like, no, you don't pay for the time I'm performing. You pay for the time I'm there. If you want, if your speeches want to go 30 minutes into my set, that's on you, not on me. There's those little things like that that you sort of need to take from. And that's the lesson to be learned from my gig story.

Although we're super excited to hear about Sammy's one. Samuel, are you ready? Yeah, I can make it up. Yes. I don't know. I think I had this a couple of weeks ago. I did a gig rather than straight. I'm not super, I don't do too many gigs. I want more gigs. Gigs are fun. No, no. I think the busking stories probably are the more crazy ones, to be honest. Like the things I've heard, you know, people flipping your table, like all sorts of weird things like that do happen on occasion.

It's not as often as you might think I've had, I think it was like the first, like two weeks into me doing it. Some drunk guy came in like really rowdy, lobbed an entire bottle of water on me.

Like one go. I was drenched I just went alright man finish the show, there's a boom in the cloud and it's like what the hell you wanna back off man tell me about it I finished that show and then shook the guy's hand and we all went off and we were all good, that doesn't happen very often good I'm glad that's I don't need that happening I don't need But yeah, I'll distinctly remember that, because that was early. It was really early.

But yeah, no, stupid things do happen all the time. You always get the old spectator who's just fun to work with and will just go off script and you just kind of go with it. I did that yesterday on a show. Just a poor spectator on stage. Can I do it for my finale? I said, who likes helping out? Two people, usually it's the younger ones, sometimes it's the older.

So I got one young kid came up and a girl came up and she was like really energetic love the show and i asked like do you guys know how to teleport cards and then he said no she said yeah all right i gave the deck of cards i joined the audience, that's when the show is yours she just started doing stuff.

Round with it and um really built the show so yeah it was that was fun just kind of play around with the audience and make it up as you go along how funny would it be if you just like all right you take over ladies there's no worries and she just like finished her show and had it for you and she was like you're welcome and walks off that'd be like that'd be like cape crusader stuff i love it yeah if i can do that every time that'd be nice and the audience is ready to play like that's

the best like when they're there to go for it yeah well the thing There's going to be so many more stories to come. Obviously, you're very early in your busking career. Do you foresee yourself traveling to locations and what locations would you like to attempt to perform in? Non-English speaking? Would you like to come to Australia? What do you have on your bucket list of places to travel to for performing busking?

Yeah next year is my my like what i'm eyeing up right now since i'm now like kind of taking it full time i've got a bit more like i want to toy with it more and make the most of, being my own boss going around so next year end of reference i want to do the whole month, haven't done it there's a load of people i've been told it's really good you have to do it so that i will be doing so that's all of august and then at some point next year potentially early on i'm not quite sure yet i want

to do australia giletta said and jason and mika they said both come down do it so that's kind of number one i really want to do that i've never been to australia so that's a bonus as well gets usually general traveling you're going to be so mad when you come here you're gonna be so mad when you get here because you're gonna be like crap we sent our convicts here this place is freaking awesome.

Oh man but yeah no my bad i don't i don't think you had anything to do with it i think you're right yeah i don't think at 18 years of old you're responsible for sending folks down here i think I think you're, you're cool. You, you are a time traveler. Well, that's right. He's a time traveler. Yeah. Yeah. It's still on my mind.

The, the, the, the wisdom you have in there and knowledge that, that, the thing we haven't touched on yet as well is you're 18, you've, you've, you got into magic during COVID and somehow you have a social following already larger than the both of Nick and I, so what is your journey into the social media realm? It's quite different to performing in real life. So how did that kind of kick off? Yeah. So I did that straight off the bat.

I was doing, the moment I got into magic, I just started posting it, which arguably was a mistake because they're unlisted now, but the videos were terrible. But I just started rolling out videos and eventually I started putting myself in the video rather than just like hands and stuff. And for a while, I enjoyed it. It was all right. You start rolling stuff out and it didn't get too much traction. And then I kind of stopped for a bit. Or at least slowed down.

And it was when I met Jason in 2023. He just said, post-mortem. Do it. And I did it for like a solid month. I think I posted once every day or two. Just constantly rolled them out. And at the end of that month, one of the videos just went ridiculous. It was, bam, right to a couple million views. Just from nowhere. Don't know why. And yeah, since then, my stuff's been alright. I tried to make it a little bit more quality.

I've slowed down for now, that's because I'm so heavy on the street, it's a lot of stuff. But yeah, I think it was partially luck, also a lot of postman, you just got to do it quite. So, I mean, I know you guys have been doing that. Josh, I see you finally kind of cracking big pieces. I must spend. No, no, I love it. And, you know, you say it's luck, but, you know, you posted every day for a month. You know, that's not luck.

That's just constant, as Jason calls it, constant buying a ticket to the lottery. You know, you need more tickets for one of them to go off and win.

And I've seen the video that you're referencing and what it, it suddenly has such a good hook and it looks so organic and not overproduced that obviously hindsight, it seems obvious, but you know, just looking at it, I can, it makes sense why it's done well, but you know, you're a young guy, you've got this good persona, it gets into it straight away and you want to see what happens.

So has that, like, people have this perception that, because a lot of magicians are trying to post very often and it's, the content is questionable sometimes and sometimes it's good. But at the end of this rat race, like, I guess where I'm going with this is like, does it change anything? Like where you're following is now, does that affect your performing in any way or any advantages that you found? The eventual production, which is a weird thing.

Now I'm treated as a more credible performer. My skills got better, even if it hasn't. People just treat you as like, all right, this guy has to be somewhat decent, right? He got a good video.

Because if I didn't get that video, if I didn't get that, yes, my follower count would have gone and up but nowhere near as rapidly i i down i get that same kind of perception i have it where because my social was on my sign on my street it's for my street show people like follow that and go like whoa this guy's got a lot of followers it's like oh now i'm good okay it's it's cool but it It seems like a perception thing, but in terms of actually my performance style, not so much.

I prefer performing in person than I do on social media. I just prefer the interaction with people more so than I do straight to the camera after far too many takes of me butchering a sentence over and over and over again. If I do that on the street, no one cares. So, yeah. And now I think I've seen you adapting the hybrid of that, which is to film your busking shows, right?

To find those moments that are one-offs that you can post about, which I think is the best format because now you're not spending extra time to film stuff. You're just documenting. But how has that experience been? Because it's different. It's an interesting one. I bought myself the 360 camera to have on my table so I could record the shows. I think it isn't as good as it should be. A cat i was gonna say he's a tiger of run.

But yeah no so those videos annoyingly i i i did my big video and i switched style and then none of them did as good so that i put down to the fact it's it doesn't feel as natural as such, i'm pulling bits essentially scripted bits from the showroom bits that happen all the time The best bits that work like that when it's front street is the impromptu moments. When I was running such a scripted show for that bit, they didn't pop up very often.

So for now, I'm not bringing my camera, I'm just nailing the set. If I get the show right, then that can come. But yeah, it's a nice way of uploading. I think it's the content is there. You can upload it, but it gets arguably repetitive.

I'm trying to avoid that. That's something that's a hundred percent. And, and for anyone listening in that same boat for content creation, that's something that I've been trying to tackle as well, which is how do you find something in your show that, that can be repeatedly posted and seems different. So, and that has to come from the audience's side. Like what can you do that the audience will give you a different thing each time?

Like for me, it's the name of card and tell me how you'd like me to find it. But, and you know, so that way I can post that same segment and it's always different. But I wonder if you could literally say, like point to someone and be like, what is the most impressive magic trick I could do for you right now? I wonder if you were to say that, what people would say to you.

And if there's a chance that it is a thing you could improv off and do even in the funniest, slightest way of it, you know, and then if it is too far fetched, yeah, like I, I would love to see it if I was a busker, that's what I would try because imagine, imagine it's something that, that you can do And within your toolkit, well, now you've just done the most impressive thing that they could possibly think of. Yeah. And if they say, I imagine if they.

And I imagine if they say something that that's too crazy, like make a car appear or whatever, you could just, you know, be like, well, what about a country, you know, and just make it humor and then go into the rest of your show. Or, or like, yeah, or, or you can do is you can actually like start taking inventory of all the things they say. They might say, make a lion appear, make a disappear. You can just like in your closeup bag or in your pockets, have these things. Great.

At the end of this, here's the deal. i will make your dreams come true i'll give you the show you've exactly asked for and in return you will put a nice crisp 20 pound note in this you know or there about i'll take, i'll take two 10 pound notes whatever it might be but if i make a car up here, that's what's up and then you just go like you know get a silk and mini matchbox car thank you 20 pounds you know yeah they could that could even be a line like

what what is the most impressive magic trick i could do for you right now they say it and then you could be like and how much would you pay to see that most impressive magic trick.

No no yeah i would love to see it man feel free to run with it, that's a good means for a headline you go great so something like mike copperfield would do and what would you pay to see that privilege to see him make a giant vanish a ship or whatever else yeah great that costs you hundreds of dollars guys at the end of this show i only want a fiver or a 10 or a 20. And you can actually weave that into your stuff. And if there's an opportunity to make a car appear or whatever it might be,

Yeah, that could be fun. But by all means, take inventory. That could be funny. Now I'm just getting into it. Imagine you just have in your case just a bunch of stuff that people could name to like miniature versions, like an elephant. Oh, my God. Because now obviously you can use it as a hat line. But for me, in my head, it's the content idea. Like now it's the video. That's cool. Yeah. Yeah. Hell yeah. I love it. I love it. Well, bloody hell. Hell, we want to chat to you more, Sam, but yeah.

There's so many ideas. That's right. So many ideas in such little time. We're going to have to do this again. And if you guys have more ideas, you know, feel free to reach out to Sam, reach out to me, jump in the Discord, follow us there, chat to us all. But we're going to end today's episode. And also you can follow Sam. His Instagram is in the description of wherever you are watching slash listening to this.

We want to thank you for coming on my friend it's very eye-opening to to listen to your wise words at such a young age and to end the episode we're going to end it in the way that we always do which is giving our guests the final word so we're going to give samuel osborne the final word, all right well i'll say it if you're given the opportunity to perform go out there to start in magic go out and do it go out day in day out never stop that's it,

thanks for listening it's time for us to disappear now disappear now but we'll see you again on the next episode of the magic guys.