Discourse in Magic

Lawrence Hass is the Associate Dean of the Magic and Mystery School in Las Vegas.  We wanted to invite him on to talk about the theory of magic at its deepest level.  Lawrence has a Ph.D. in philosophy and taught the subject for many years.  As he was finishing his Ph.D. he happened upon a David Copperfield performance on TV.  He immediately started thinking about what Copperfield was doing in a philosophical framework. He likes to explain his insights like this.  When you show tricks and toys to non-magicians they tend to be very cool to the performance.  As children, we tend to be attracted to magic because of its secret power.  The question is: how do we turn tricks into magic?  On one level Lawrence wants to educate the audience rather than fool them.  This comes down to the difference between a mean trick and something truly magical.  It’s all about how you present the trick.  For Lawrence transforming the performance space into a collaborative, playful place is the best way to engage the audience.  An audience can tell if the performer is into it just for themselves. One of the axioms he teaches his audience is that the fundamental business of any magic show is relationship building.  The audience has to trust you enough to lend you their disbelief.  A very common effect is borrowing a $1 bill to transform it into $100 bill and then back into a $1.  Lawrence created a routine where he takes a blank piece of paper, turns into a bill and then gives the money away. That trick turns the audience’s expectations on its head. It makes sure that the audience doesn’t feel like they are being taken advantage of.  Magic is the experience of something impossible.  That’s totally different than thinking magic is about tricking people.  We are not magical con artists.  Experiences of the impossible are about the wonder of making impossible things come to life. Lawrence believes that the audience has been trained to look for the secret methods that magicians use.  This has been going on for a very long time.  We are never going to be able to get the audience to suspend that train of thought.  But Lawrence’s goal is to get them to suspend that for the length the show.  “Bust the magician” isn’t the game we’re playing.  Magicians take our puzzling attitude and project it on our audiences.  That’s not the reason the audience is there. The idea that there is another level to magic than just puzzles and toys is upsetting too many magicians.  Lawrence tries to teach people to move from the trickster level to a more sophisticated and artistic way of presenting magic. People learn by copying things from other people as precisely as possible.  But it’s not very satisfying for very long.  People want to bring something original to what they are learning.  Bringing your originality to a bill change is hugely important.  Vision comes first.  Eugene Berger always asked a question that he would ask his students.  “What do you want your magic to be?” The first thing Lawrence would advise magicians to do is to take the best trick in their repertoire and ask a series of questions.  Is it original?  Does it have something of yourself in it?  People will usually find something original in it.  It’s already there.  You just have to recognize it. Lawrence befriended Eugene Burger over 25 years ago.  They were both Philosophy professors and became fast friends.  Eugene taught Lawrence that magic could be performed in an intelligent and accessible manner.  It was an art form that could be performed for adults.  Tricks are about props but magic is about our lives.  He left an incredible legacy of books which will help everyone to become more effective magicians.  A new book that Lawrence wrote with Eugene called Teaching Magic will be released in late October. What did you learn this episode? Jonah really loved the idea of changing from a lover of puzzles to a lover of performance. Tyler learned that avoiding the distractions and putting in the work is key to success. Lawrence says you don’t have to do anything new you just have to make your best material even better. Who should we have on the episode? Jeff McBride What do you want to tell our audience? Magic can be a great art. People need art and they need magic.  Keep reaching for better magic. What do you want to ask our audience? What is the primary thing in your life that is interfering with your ability to craft a great piece of magic? The post How to Create Magic Out of Tricks with Lawrence Hass appeared first on Discourse in Magic.

You know him from his incredibly popular videos The BC Shuffle and The Instagram Sessions.  Jeremy Griffith has popularized social media magic in a way no one else has.  His start in magic was similar to many people – an uncle bought him a magic set when he was just a kid.  His dad had been a magician’s assistant when he was young and booked Jeremy into a magic class when he was in middle school.  In high school, he attended the West Coast Wizards magic camp for four years in a row.  From there he dropped out of magic.  But when he turned 30 he got back into it with Instagram providing a gateway.  Jeremy works very seldom as a professional magician.  He runs the family software company with his twin brother as his day job. Jeremy has developed a new way of performing magic online.  And along the way, he has devised a philosophy about how to become successful in the online world.  One of those is an emphasis on consistency. You can’t let up for a month and expect everyone to come back.  The other lesson is that you have to remain creative and not rest on your laurels.  Because Instagram video only allows 15-second uploads that don’t leave you with a lot of time.  Everything you do has to be flashy.  Instagram is a very cool and simple platform.  Jeremy chose to use Instagram only because it fit well into his busy life.  He doesn’t think that’s necessarily the best model for everyone. There is a misnomer about performing on the internet that it’s easier.  But that’s not the case.  Because the audience is so sophisticated about video editing it’s more difficult to create a believable effect online.  Jeremy ran into this problem right away when he was uploading pictures and videos of effects that could easily be explained with Photoshop.  It takes a while to build up the trust with your audience that your effects are real.  If your audience thinks that you are faking it you lose all sense of trust.  A perfect example of this is the Jibrizy controversy.  Jeremy thinks using technology to achieve an effect makes it much harder for other magicians to succeed online because the audience is becoming more cynical. He thinks that the magic community should be working to both maintain and raise the bar in terms of quality. Jeremy has had a number of opportunities to pursue endorsements.  He is totally independent.  But he has the luxury of having a whole separate career.  Because of that, he became a purist about sponsored content.  He has a clear conscience whenever he posts anything because he knows no one paid him to say it.  If you are going to promote something you should be using it.  If it’s not something you know and love,  you’re just selling out.  That said it is possible to do sponsored magic successfully and honesty.  Jeremy says if you are going to go down that road you have to find a way that doesn’t diminish your intrinsic value. Jeremy has designed several decks of cards.  Vitreous was a labor of love for Jeremy.  Recently, his father passed away and the deck is a way to honor his Dad.  The deck looks like a piece of stained glass.  Jeremy studied theology for many years and he based the deck on the stained glass he saw while visiting the Nantes Cathedral.  The other deck is the Royal Reserve which is based on the Republic No. 2 Deck. What do you want to ask our audience? Is there anything that still makes you feel that magical moment? What do you want to tell the audience? Don’t give up on that Ferrari!  We’re facing a lot of challenges.  Magic ebbs and flows but don’t give up on that moment. What was your favorite part of the episode? Jonah was really moved by Jeremey’s story of designing a deck of cards to honor his father. Tyler was inspired by the idea of shaping an Instagram presence by using the restrictions of the medium. Jeremy liked the idea of always interacting with the world you’re in.  You’re not alone or in a bubble. Who should we have on the show? Demian Aditya The 4 gigs in 4 days Challenge: If you haven’t signed up yet. Make sure to do it before October 3rd. You can head here to do that. It’s time for you to learn how to book 4 gigs in 4 days. Hundreds of magicians have already joined. Come be a part of it before it’s too late! Click here to take the challenge The post How to Grow Your Instagram Following for Magicians with Jeremy Griffith appeared first on Discourse in Magic.

Jeremy Hanrahan is renowned in the magic community for his secret identity as @GaffGuy52.  He started early and became completely obsessed.  At first, he was a sleight of hand expert before he moved into gaffing.  He started his career selling his gaff decks to Morrisey Magic in Toronto.  Then, his decks quickly became hugely in demand.  That lead to a 3000 deck order from Theory 11.  He likes to think of himself as the Henry Ford of gaff manufacturing.  That’s because he doesn’t just sit down and create one card – he’ll create a thousand in a regimented way.  That means he can split a thousand cards in about three or four hours. Jeremy’s early performance style was more confused than anything.   But he eventually became better and better.  The Invisible Deck is one of his favourite tricks, and he makes them FAST! He can create about 300 invisible decks in a single day, so trying to explain to people what he does for a living is difficult. When he tries to people that he splits cards in order to insert a piece of steel he gets blank looks.  He has settled on telling people that he is a “consultant”. Jeremy finds that keeping the tricks secret is not that difficult.  That said, he will talk about what he is working on with some fellow magicians.  But he never asks them about the actual tricks they will be performing. That’s because he wants plausible deniability.  Because of that, there is a close comradery among Jeremy and other gaffers. According to Jeremy, there is no competition in the gaffing market place.  It’s just a matter of finding people that can do what he does.  He can count on his hand the number of people that can make the gaffs he does.  But he really feels lucky to have stumbled into this business. It was a slow process.   He had to figure out how to build the gaffs and then figure out how to make thousands of them at a time. Jeremy is something like the Batman of the magic world.  “Gaff Guy” is Jeremy’s secret identity.  He has had people ask him if he knows Gaff Guy.  Jeremy always says no. He gets asked a lot by young magicians about how to create a gaff.  He has a number of videos on his Instagram that illustrate the process.  If you want to get good you will have to do it thousands of times.  The question is whether you actually want to devote that much time to the process. For me, buying them in bulk is much more worth my time. Considering there’s people like Jeremy who LOVE it! Jeremy left a pretty good field of work to do this.  If somebody had told him a few years ago that he would be doing this for a living he would have laughed.  But after a health scare, his wife told him to pursue gaffing full time.  The support of Penguin Magic and Theory 11 has been huge for him. He’s seen his cards on many platforms, from the Tonight Show to America’s Got Talent.  He gets a huge thrill from seeing his stuff used. Of course, he’s not allowed to tell anybody. What magician should we have on the podcast? Nicholas Lawerence Kevin Reylek Jeremy Griffith What do you want to tell other magicians? Stop disrespecting people in forums and on social media.  It’s a total waste of time. What question do you have for our audience? What type of gaffs would you like to see out there?   The post Everything You Need to Know about Gaffing Cards with @Gaffguy52 appeared first on Discourse in Magic.

Steve Reynolds is a renowned New Orlean’s card magician who is obsessed with keeping the history of magic alive.  Steve first got into magic as a kid growing up outside of Philadelphia.  He was about seven years old when he wrote a book report on Houdini.  Later, someone gave him the book How to Do Tricks with Cards which fit perfectly for him because he was already fascinated by cards.  When he was 15, he got a subscription to Genii Magazine and through that he bought a Brother John Hamman tape.  From that moment on he became obsessed. It was when Steve performed “The Twins” trick for his father and grandfather that he understood the power of magic.  Because the reaction from his family was so powerful he began to dissect the psychology of that trick.  He couldn’t understand why people reacted the way they did. The phrase “the magic happens in minds of the observer” really hit home for him.  Eventually, he began to experiment with how far he could go with subtlety. It was then that he began to fuse together his ideas into what became The Monks Way.  Steve has managed to integrate the psychology of the audience into the methodology of his magic.  Moreover, Steve believes that a lot of magicians treat technique as the effect.  In Steve’s opinion, the technique is there to service the effect. Steve realized early that he wasn’t going to be able to learn everything. John Hamman became a mentor to him as a young person and Steve feels strongly that he wants to continue what his predecessors originated.  He wants to share that material with as many people as possible. Steve was once asked, “how long does it take you to learn a trick”.  He answered that it could take as much as ten years.  You have to be willing to put the time in. For example, look at Ed Marlo.  He had a full-time job, a wife, and kids and was still able to revolutionize 20th-century card magic.  But if you say you don’t have the time to learn, Steve isn’t buying it.  He adds that young magicians need to recognize that it’s going to take a long time.  You have to be happy doing it by yourself.  Don’t be so over eager to share it with other people.  Be happy learning it. But Steve doesn’t have a step-by-step advice about how to become a magician.  He just did it.  He was full of passion and obsessed with learning.  Steve remembers how difficult it was to find information when he was younger.  Steve finds that there are a lot of young magicians that have the right attitude about magic.  But many people are stuck in a bubble of performing only for their friends.  In fact, Steve thinks that if they step out of that bubble and perform for a real audience they are going to be in for a rude awakening. What did you learn this episode? Jonah learned that you have to pick something and really focus on something.  He really wants to focus on particular influences and to totally understand the magicians that really resonate with him. Tyler learned that he is thankful for the mentors that have shaped him.  You have to love every aspect of magic.  And you have to love the practice. Steve encourages everyone to remember that magic is about the audience and creating relationships. Who should we have on next? John Racherbaumer What do magicians need to know? This is about the audience. Moves are not tricks.  They are tools. Listen to your audience. Plugs Steve is beginning to compile Marlow material that was unpublished.  He is working on a book called Marlo Speaks.  The book will be based on audio tapes of Marlow explaining six tricks. SteveReynoldsMagic.com The post Standing on the Shoulders of Giants with Steve Reynolds appeared first on Discourse in Magic.

Zack Mirza has created a remarkable career both as a professional animator and a magician.  He has animated a variety of children’s programs and his magic career was featured in the OLN series Illusion of Grandeur.  He has combined both those passions in a Kickstarter campaign to create his own unique deck of cards featuring characters based on Arabic folklore.  In this episode we discussed Zack’s unique creative process and his love of the art of magic. Zack first got into magic when he was a young child.  He saw a magician perform at a carnival in London, Ontario and he quickly became obsessed.  It was his grandfather was someone that loved magic and pranks.  That attitude to life became deeply ingrained in Zack.  Zack is a natural introvert and he kept his magic practice mostly to himself.  His coming out began when famous football player Pinball Clemmons saw him performing some tricks on a basketball court.  Pinball took Zack with him to a variety of school presentations and that was the start of his career. Magic is always at the forefront of Zack’s life.  Zack has spent much of the last year performing as much as possible.  He was the resident magician at The Drake Hotel.  He has taken some time off to get back to the nitty gritty of learning and mastering new tricks.  For Zack magic is not just magic, there’s an art to it.  He works as a professional animator and he finds that there is a lot of overlap between the two fields.  Animation is the illusion of life and magic is almost exactly the same thing.  It’s a natural parallel because you’re crafting your own reality. His TV show Illusions of Grandeur was a perfect example of right place and right time.  He had met a few people in the television industry that liked his online videos.  Zack emphasized that his success didn’t happen overnight.  There were many years of working on his material and being very proactive.  Once you’re doing something that you feel very strongly about the right pathways are going to open up for you.  Illusions of Grandeur is a very real magic reality show.  The show went to the core of someone trying to achieve a goal.  What drives a person to master their craft? Zack has just Kickstarted his deck, The Jinni Deck.  Zack got the idea for the deck because he wanted to translate his love of art into a deck.  He wanted to create something that had a demonic bent to it.  But Zack loves the film Aladdin and was inspired to model his deck on the folklore of the traditional Jinn.  He took the Arabian folklore and turned it into a whole fictional world. Zack thinks the exposure of magic right now has made magic trendy once again.  But he thinks that being passionate about the art is what makes it appealing to people.  He also thinks that being honest and authentic is the only way to be successful. Zack’s advice to younger magicians is that you have to be in love with what you do in order for it be successful.  He thinks a lot of people have a convoluted idea about what they want to accomplish.  And a great work ethic is hugely importantly.  Zack believes you have to be OK with baby steps.  Setting yourself realistic goals is also very important. What do you want to tell the magic world? Be authentic.  That’s the name of the game.  Be you. What’s the one question you have for the audience? Do you prefer the TV magician or the social media magician? What did you learn? Jonah liked was how chill Zack was about his failures. Tyler really appreciated hearing about the design and creation about the Jinni deck. Zack loves the creative process and where it can take you. Recommended guest Dan White Plugs Jinni Deck ZackMirza.com @ZackMirza Snapchat and Instagram The post he Artist’s Journey with Zack Mirza appeared first on Discourse in Magic.

Harrison Greenbaum is the hardest working man in comedy and magic.  His unique act has landed him slots on Last Comic Standing and America’s Got Talent.  His career started early first as a stand-up comic who occasionally used magic in his sets when the jokes weren’t landing.  He was encouraged to focus just on the comedy but by the time he graduated college he decided that he wanted to combine the two.  Harrison just completed his first tour with The Illusionists one of the largest magic promotions in the world.  That success coincided with his appearance in the current season of AGT.  He is also obsessed with getting a Netflix special which he is relentlessly promoting with his I Want a Netflix Special website. Harrison is now performing as many as 700 shows a years, which is an astonishing number.  He admits to us that many of those shows are sometimes just fifteen minute sets at a comedy club – which allows him to do three or four shows a night.  Harrison also does a large number of shows in the independent circuit including a recent show that took place in the middle of Central Park in New York.  He is a firm believe that young comedians and magicians should do as many shows as possible.  Failing is the most important part of getting good.  He has been lucky enough to work with some of his comedic heroes like Louis C.K.  He was particularly inspired when he watched Louis work out his latest MSG special night after night at the Comedy Cellar. America’s Got Talent is a huge platform and Harrison found the experience extremely difficult.  The audition process included waiting for up to twelve hours before performing.  In subsequent rounds the wait was just as long with the added stress of having cameras constantly filming.  The one frustrating thing is having your performance heavily edited before it made it to air. The old joke is that if you do comedy magic you’re probably not that good at either.  Harrison totally recognises that a huge amount of comedy magic is brutal.  Harrison has some pretty firm ideas about how to perform magic.  Most people go to the magic store, buy a trick and then figure out some way to jam it into an act.  Harrison does it exactly the opposite.  He comes up with an idea first then develops a trick. There are certain rote jokes that every magician does in every set.  We discuss the problem of people following tends or even stealing material form one another.  Harrison recognizes that people can come up with the same idea independently.  Nevertheless, he is a firm believer that performers should focus on material that is truly surprising and original. We love to discuss the creative process. Harrison’s process is all about output.  He tries to come up with as many crazy ideas as possible and then follows through on them.  Sometimes that doesn’t work but when they do click it becomes a truly original idea.  Over time the audience is always going to tell what is working and what isn’t.  If your joke isn’t working it’s because the comparison isn’t right.  Comparing apples to apples isn’t funny but comparing apples to pirates is. Recommendations When Harrison was in collegein Boston he loved to attend the Mystery Lounge.  One of the performers there is Mike Bent who is also a professor of comedy at Emerson.  Bent famously had a prop-off between himself and Carrot Top. Lessons My big takeaway is Harrison’s advice to develop material premise first.  Tyler loved Harrison’s focus and drive.  Harrison’s main takeaway is that he needs a Netflix special.  Harrison says it’s hugely important to go break stuff – be willing to fail. Plugs http://HarrisonGreenbaum.com http://www.harrisonmagic.com/ http://iwantanetflixspecial.com/ The post A Masterclass in Comedy Magic with Harrison Greenbaum appeared first on Discourse in Magic.

Our guest this week is Glenn West.  Glenn is a fantastic magician who started his love affair with magic after being introduced to the craft by his father.  Magic is constant presence in his life though he is not a working magician. Instead, he works as an animator in film and television.  Glenn’s magic is very visual and in your face and has a huge ‘wow’ factor.  His love of magic is directly related to his passion for film. In this episode Glenn, Tyler and I talk about the morality of magic. Specifically, whether its right to lie to a crowd.  Glenn alludes to the Penn and Teller school of thought on this question.  The audience should never leave a show believing in something about the world that isn’t true.  The difference between creating illusions on screen and illusions in a magic performance is that there is a willing suspension of disbelief in the cinema that may not exist in a magic show.   Glenn believes that magic occurs in the mind of the audience. Glenn thinks that magic is a free market and protecting tricks is difficult when it takes tons of money to protect your intellectual property.  That impulse to protect our IP contrasts markedly with cardistry which is very open source. Our chat shifted to a conversation about how the coming automation revolution is going to wipe out large sectors of the economy.  I talked about the example of Wolfram Alpha, a computational search engine that has become so good it has rendered computational mathematicians largely obsolete.  Glenn believes that careers based on artistry and creativity will be among the few that will survive in the future.  Magic being one of them. (So long as society doesn’t collapse) Technology has also changed the way young people are learning magic.  Most of us saw a trick when we were young and then went out and bought a magic book.  Now younger magicians go straight to YouTube.  This has presented a huge opportunity for magicians.  I think there is a new land grab underway in spaces like Instagram Stories and Snapchat.  Whoever gets there first is going to create an entirely new and very different career.   But does that mean you have to focus more on quantity over quality? Recommendations We have had most of Glenn’s friends on the podcast already but after pressing him he suggested we reach out Xavier Spade who we all agree has been doing some really interesting stuff. Lessons I continue to rant about the importance of creating as much content on as many platforms as possible.  Tyler thinks the conversation about the suspension of disbelief in film as compared to stage magic was particularly compelling.  Glenn, meanwhile, found the conversation about Instagram Stories and other social media inspiring Plugs Glenn’s passion project A Series of Unfortunate Effects combined his love of filmmaking and magic.  He demands that you all watch it immediately. facebook.com/MagicByWest twitter.com/MagicByWest The post Crafting Incredible Visuals with Glenn West appeared first on Discourse in Magic.

In episode 69 we sit down with cardist Anna DeGuzman to talk magic, cardistry, content creation and much much more! Anna knows a TON about cardsitry and it’s place online. Cardistry seems to have grown alongside the growth of social media in the past few years. It was massive on Youtube (it still is), but then with the eruption of Instagram, that’s where many cardists live in a 2017 space. Cardistry is visual, short, doesn’t requite audio, looks just as good for a camera as it does live (if not better. I think the growth of cardsitry is very tightly linked with how we consume on social media.) Of course when we chat about magicians and social media the obvious topic of theft and crediting comes up. In this episode Anna walks us through what crediting is like in cardistry, and why it’s not frowned upon to do someones move before they released it Cardistry is an open source art form, which allows it to grow much faster than magic. In magic there are secrets, so it grows slowly, in the backs of magic stores and pizza places. Which is what led us to talk about content creation. Today it’s a MUST! Especially if you want to amass a following, or reap benefits in the online world. Right now, so many people have sharability and virality to thank for their success. If you want to jump into the world of cardistry check out Annas Page Do yourself a favour and START MAKING CONTENT Contact Instagram Youtube Twitter The post Cardistry, Community, and Content Creation with Anna DeGuzman appeared first on Discourse in Magic.

In episode 68 we sit down with long time friend Jason Dean. We’ve known Jason since back in the Sorcerers Safari days, and have been pumped to get him on the show. Jason is a rockstar magician. He is a rockstar – The drummer for Sidewise; a crazy metal band, as well as an accomplished and creative magician. Jason dives in with us to ways that you can benefit as a magician even if it isn’t your career. It’s so important that we get value out of magic, instead of magic getting the value out of us (being exploited by the magic retailers of the world). In this episode Jason walks us through some stories from the road, and how he’s used magic to his benefit. You can use it to meet important people, get invited to high profile events, and eventually work with your heros. One of the major themes in the episode is to remember how amazing what we do is, and to not forget that what we do is a real gift We also talk about the value of failure, the overlap of being in a band and being a working magician, and the question: is it harder to make it as a band or as a magician. Jason seems to think that it’s a band, and I totally agree. My reasoning was the volume of the competition out there. His argument was it’s 6x as hard to work with a team of 6 than a team of 1. Then we get really deep. Have you ever struggled with multiple passions? Jason walks us through what it’s like to pick one passion over another. Sometimes it’s difficult when other people identify you as something that you stop identifying with. “Jason the Magician” was gone, but “Jason the Drummer” was here to stay. It was nice to talk to someone who still benefits from magic without being a full time performer. Jason Dean is someone who makes magic cool, he makes it accessible, and he wants to make a massive impact with his work. If you haven’t yet check out his penguin Live Lecture Or feel free to reach out on social media. Leave a comment with what you thought (especially of the Juan Tamariz story at the end) Contact Website – Sidewise Facebook – Jason Dean Twitter – Jason Dean Instagram The post How to Benefit From Magic When it’s Not Your Career with Jason Dean appeared first on Discourse in Magic.

In episode 67 we sat down with the very brilliant Michael Feldman. Michael is a full time Lawyer as well as a recognized magician. He performs and creates fantastic magic that’s as knuckle-busting as it is baffling. We spoke to Michael about his journey in magic, specifically his unlikely path the Lawyer/ magician. With a love for creating and being on stage, and a slow reduction of free time. He decided that the best most enjoyable way to spend his few non law focused hours on magic. First we spoke about giving and taking advice. Michael like many magicians believes it is our duty to help bad performers become better performers. It is however important that we make sure they want our feedback and criticism before we give it to them. The more bad magic we remove from this world the better all of magic becomes. Sometimes, there are sensitive topics for magicians that might be hard to help them get better. A fun example is magicians shuffling cards during a magic show. A BIG HUGE NO-NO No shuffling, no holding, no anything. You’re an audience member, we get that it’s your fidget spinner, but it’s just not the time. Then we dove into the land of magic law. [cue the Law and Order music] To make a long story short: magic may very well be copywritable…. but you wouldn’t want to be in court trying to prove it. Which means it’s up to us magicians to self police theft at our discretion (You can go as crazy as the Jerx protecting his book) Finally we spoke about Michaels New book: “A New Angle” It’s available, its beautiful, and I’m going to get one. For more info about Michael hit up his website or Social Below Contact Website Facebook Twitter Instagram The post The Laws of Magic and How to Give and Take Criticism with Michael Feldman appeared first on Discourse in Magic.