I love magic. I feel at home when I am on stage performing a magic trick.

Some might think that is an odd statement coming from a woman, but its true. I feel comfortable on stage. More to the point, I am happy when I am on stage. I enjoy the rush right before I step out in front of an audience and that silent moment during a steal when I know what is about to come. The gasp from the audience, the applause and the occasion outbursts if explicit language when the bird is suddenly revealed. All of it makes me feel complete and that I am right where I should be in life.

The creative process can sometimes take weeks or even years, but it brings me such satisfaction when I finally see new effects come to fruition on stage. The fact the I can come up with an idea, find the perfect song and costumes that carry through with the theme, decorate the props and get the lighting just right makes me feel proud, especially when my efforts are rewarded with applause. Bringing it all together through the editing process and creating a product that causes people to respond in a positive way is what drives me to perform magic. Who else but a magician has a job description that includes making the impossible into reality, live on stage?

As much as I love performing I hate auditions. They seem to have a way of sapping the joy I feel as a performer and turning it into nervousness, because often these auditions are for an audience of one, someone who has the ability to decide my fate. Ok! Maybe I’m giving up too much power in the situation, but I feel like I don't just want that person to like me, I want them to LOVE me. Love all my flaws and my quirks as well as my skills. I want them to see the joy I have for performing, yet that is often the first thing to leave me when I feel the scrutiny of judgement. If only I didn't care what that one person thought and only worried about being the entertainer I know I am, then maybe I wouldn't be so nervous. Magic is made for dreamers and being judged brings me back to reality.
Perhaps I need to change my focus and remember its the love and joy of magic that got me the audition.

Magic Outlaws

I am so happy to say I had something to do with this television show. No, I'm not on camera, but I did have a hand in casting it.

The Magic Outlaws

My friends at the production company called me last year with an urgent request. They only had a couple weeks to cast a television show for the Travel Channel and the only magician they knew was me. It was great timing, as I would be in LA soon and I know a lot of magicians. But I wanted to do this right so that everyone involved would be happy.

The production company had a list of specific requirements for the magicians they were looking to cast. Those requirements helped to narrow my own huge list down. They had checked out magic videos online and already knew the styles they liked and didn't like. That helped narrow my list even more. I wound up submitting a short list of 8 really great magicians, who would be perfect for any TV show. I believe that variety is the spice of life, and I wanted the production company to see they could have three completely different individuals. They made a wonderful decision with Chris Korn, Ben Seidman, and David Minkin. They are all so different in appearance, personal style and magic presentation.  Now I have to admit that I knew all three of these people, but not personally. Chris I knew would be savvy with presenting himself and his style on TV as he has done so many TV shows. He is inventive and entertaining comes easily to him. David while an engaging magician, did not meet the initial requirements from the production company. (David's website and videos have him very clean cut and not the street magic type at all.) Bruce Gold said "No, Minkin is perfect!" So I talked to the production company, had them meet David and once they met him they were sold too. Lastly there was Ben... We knew some of the same people but I did not actually know him personally. I was at a gathering of magicians for lunch at the farmers market in LA the week of casting. Ben was there with a couple other people I had suggested for the show. I called a friend to ask about him and quickly added him to my short list. Ben is funny, personable and a clever performer. If you Google them you will see they are all solid stars in their own right with amazing lists of credits. Together they make the "Magic Outlaws" and I am so happy that I could help make this happen... Even if it was just in the casting department.

The show airs March 10th at 9pm EST on the Travel Channel.
Here is a video link to the shows trailer:  http://m.youtube.com/watch?v=lC70Lf7PDis

The President's Inaugural Ball

The President's Inaugural Ball

Recently I was truly honored to have been invited to Washington DC to perform for the President’s 2013 Inaugural Ball. There I had the opportunity to meet and entertain several Recipients of the Medal of Honor. All of them had endured incredible hardships and triumphed over insurmountable odds, yet they were all remarkably humble and happy people with a profound sense of gratitude for life. It reminded me that the challenges we battle must never silence our prayers of thanks because real happiness is an expression of gratitude. -written by Bruce Gold for me-

It was an amazing three day whirlwind. Alan Nu called me up and asked if I would like to be apart of this auspicious event in November. How could I say NO? How often does a chance like this come along? Ok! For some, every 4 years. But for a performer like myself this was something I will be offered only once or twice. I booked a flight, packed three different outfits for the one event and was off.

Let me just say Washington is cold that time of year.

Alan picked me up at the airport and took me to a house where they were having a get together with some of the other performers. We were sideswiped on our way there. The car didn't stop so we pursued it on the freeway. The cars were moving so I could not get a clear photo of the bump and runner. Needless to say while pursuing Alan called the police and they didn't seem happy we were following the guy. I guess police cars are the only ones allowed to have high speed car chases.

After the Performers' After Party I so was exhausted that I made it all of the way to the house of Karen Beriss's parents before I realized I had left my iPhone at the party. Alan was still there and brought my phone to the Ball the next day (he even charged it for me). By the time I got up it was one o'clock in the afternoon (which in Vegas time is 10:00am PST), right on time! Karen and I went to lunch, then back to the Beriss house to get ready for the Inagural Ball. A short car ride, followed by a subway ride into town and a two block walk in 3-inch heels and we were there. They gathered up everyone for photos, then we went downstairs. I had the pleasure of two dignitaries stopping me to take a photo with me. They must have thought I was someone special.

Some of my fellow performers.

The event was filled with Medal of Honor recipients, a truly amazing crowd. I am so glad that Alan had arranged a photographer for his group, because the event photographer only took one photo of me. It was a group photo with the other performers. We were all squeezing in and he asked me what I did, I said magic. To which he replied, "Oh, you must be the girl who jumps out of the cake, because you look good enough to eat up!". There was an audible gasp from the other performers. He later apologized, but took no other photos of me.

The event itself was memorable, the people fascinating. To meet so many Metal of Honor recipients was a profound experience. My magic was a hit, and in the end that was the most important part of me being there. I love to entertain at parties, and this was the ultimate party... to be the entertainment.

Three amazing Metal of Honor recipients. 

It's a New Day in a New Year!

Well it is the start of a new year and I am ready for it. Or at least I think I am ready for it. I have some projects that I worked on last year that I am very proud of and some sitting on my butt I am not so proud of. This year has no resolutions, only decisions that needed to be made. And I have realized that matters really do need to be taken into one's hands if you want to see them done. I have been dealing with this one producer who keeps letting things slide. Well, no more, I called him up today, laid out a plan and what was required of him with a time frame. If he can't do it, then I will find someone else who can. Funny thing is he loved the idea, totally got the concept of what I was talking about and will be on board in two weeks. So, I will see what happens in two weeks. Either he will still be excited or he will drop the ball and I will have to move on.

I have several meetings coming up, but that's just what they are, meetings. I still get excited with the possibility those meetings bring, but it's the final outcome I have become more interested in. The meetings are fun, but they don't pay the bills. In fact most meetings send me on a roller coaster ride. I get a thrilling high of anticipation, filled with the what ifs and the low when the ride/meeting is over and the outcome is not what I expected. The truth is I am tired of the let downs, I'm tired of people waisting my time. I am sure if you are a performer, you know what I mean.

I actually had a great meeting a couple days prior to the New Year. The people were upfront and honest. They did not promise me the world. Instead they said, "we will see what we can do". What more can you ask of people than seeing what they can do. I enjoy helping other performers. When I am offered a gig I can't do, I always send it along to someone I know who can do it. Why? It makes that performer and myself look good. It also helps the client find an act that is perfect for them which encourages them to come back to me in the future with other work. I find a lot of acts will turn down a gig and leave the client wandering lost and alone in a sea of performers. It is good karma to help both sides and it makes me happy. A young magician friend of mine needed contacts when he first started out. I gave him my list. Why? Because I felt he was a good act who has only gotten better with time. These contacts are going to book someone, if it wasn't me then I would be thrilled to find out it was him. More people should learn to share information and others should learn to ask nicely. I believe the more we get together and help each other the more success we will all find in our future.

It's a new world if you want it to be and I'm making changes, are you?

Who IS Ariann Black, or... When People Talk Out of Their Colon

Who IS Ariann Black, or...

When People Talk Out of Their Colon

A new business associate of mine was inquiring about me with some magicians from Colon, Michigan. These magicians, though they know nothing about me, took it upon themselves to lie about me. I know that false accusations come from a negative place, so I am going to use this blog in a positive manner, to clear up some misconceived notions about myself, Ariann Black the Magician.

I am not a "created" female magician. My show is not fabricated by some Svengali. I understand that there might be a lot of women who got into performing magic because someone threw money at illusion builders, costumers, choreographers and consultants for them, but I am not one of those.

I am my own creation.

I have been fascinated by magic from a very early age and have never wanted to do, or be, anything other than a magician.  Any allowance or birthday money I got went to buying magic books and tricks. My whole life has revolved around becoming a great magician. I have designed and built my own magic props. And when I say built, I mean built. With my own two hands. When I was young my father taught me how to use power tools and to fiberglass. So yes, I use more than duck tape to fix my props! I am also the person who paid for each and every prop sitting in my house. I went to Chavez with Dale Salwack when I was 19 and still perform parts of the manipulation I learned in my bird act. When I am not in a show, I make money performing close-up magic for corporate events and conventions. So if "created" magicians can design/build magic props, do back-palming, dove steals, and perform miracles with a deck of cards, then an awful lot of professional magicians must be "created".

My magic show is one that I have developed and built for myself over time. It is a show that I have had envisioned for over 20 years. But doing it all yourself takes time, which I am sure that folks living in Colon, Michigan know all about. The costumes are costumes I have collected over the years. I was one of the magicians who worked in the Las Vegas show Splash at The Rivera, and when they made changes to some of the production numbers and decided to get rid of costumes, I was there to make a fortuitous acquisition. Other outfits I have paid seamstresses to sew for me. There are no magic elves leaving fabulous show garments at the foot of my bed. The music for my show is all hand-picked by me to fit each and every routine. The theme and definition of the show SECRETS was entirely my idea. The show has gone through many transitions and I am the one who instigates those changes in order to perfect my show.

I was not born with a silver spoon in my mouth. My father became a teacher when I was a toddler, my mother a teacher's aide. Teachers are not well-paid(though they should be!), which means they could not buy my show for me, and are not bankrolling me. I have no wealthy relatives, no sugar daddy paying my way, which is why it has taken me so long to get to where I am today. I have done this by myself. It has been my blood, sweat, and tears that I have poured into my magic over all these years, like most (male)magicians.

Now don't get me wrong. I, like many others, have said the wrong thing about someone in the past because I had been led to believe it to be the truth. I believe that most of us have been guilty of something like that at one time or another in our lives. But the difference is that as soon as I found out the truth I owned up to my mistake and went about correcting it. I doubt that same courtesy will ever be afforded to me.

Especially when someone's talking out of their Colon.

How The Demise Of One Ticket Broker Can Spell Disaster For Las Vegas Shows.

How The Demise Of One Ticket Broker Can Spell Disaster For Las Vegas Shows.

Three days ago Prestige Travel filed for bankruptcy. This might not mean anything to people outside of Vegas, but to casinos, producers, and ticket holders this means a full on panic.

Prestige Travel was one of the main ticket brokers for shows in Las Vegas. They sold a lot of show tickets and took a very high commission from those tickets. Most producers relied on the check they received every week from Prestige for tickets already sold to pay for the shows, cast, crew, advertising and theater rental. Large show producers like Cirque du Soleil will be hurt yet not truly affected by this sudden turn of events. But smaller shows will be soon be forced to close or declare bankruptcy themselves because of this one company's bankruptcy debacle.

Most of the smaller shows rely heavily on the weekly check they receive from Prestige for ticket sales and are surviving from check to check. Without this money, producers suddenly find themselves in the position of paying everyone and everything out of their own pockets. The theater rentals that these producers pay dearly for don't care about a ticket company not paying the producers. The theater expects the check every week or they pull that show and bring in the next show that is waiting in the wings. The ad agencies expect the producer's weekly check as well, or advertising gets pulled. Dancers, acts, and stage crew who work so hard to put on a show every night will wonder if they will get paid this week. Most of these performers also live pay check to pay check, which will leave them unable to pay their bills. This sudden disastrous circumstance has shows and performers wondering how they will recover from the financial setback.

In the next week the fall out from this one company's bankruptcy filing will have a huge impact on the smaller-scaled shows providing entertainment in Las Vegas. There will be many shows closing as others scramble to find new backers to carry them over this hardship. Some shows will be forced to cut costs, firing performers and keeping stage crews to a minimum until they can get back on their feet, if they can get back on their feet. And when Prestige Travel has debts that add up to over $10 million, I don't see the little guys getting their money anytime soon. It has left producers with very little recourse.

Even though there are other ticket brokers in Vegas, and Prestige is restructuring under Chapter 11, the damage to small Vegas shows is as yet unfathomable. Revenues from prior ticket sales will never been seen by producers, as funds from those tickets sales are swallowed up in the bankruptcy. The money owed these producers ranges from $20,000 to $500,000, enough to send even a well-established show into a tail spin.

The snowball has started and unfortunately over the next month it will be rolling down a very steep and slippery slope, picking up speed as it get bigger and bigger, clearing a path that leaves me wondering who will survive.

The Real Cost of Las Vegas Show Business.

While working a guest spot in a show on the Las Vegas strip last week, I got to thinking about shows in Las Vegas and what the producers have to deal with.

20 years ago casinos used to have a big production show as well as a lounge show to entertainment their patrons. This meant the producers were paid to supply a casino with lavish shows featuring beautiful costumes, stunning dancers, amazing choreography, plus unique variety acts. There would be a cast of 50 or 60 performers that filled the stage every night to the delight of the casinos' gamblers. These shows were considered a loss leader because the casino used them as a marketing tool. They would advertising the dancers in their skimpy showgirl costumes and give tickets away to guests as a perk for coming to that casino and gambling. The lounge shows would be used in the same way because a good lounge show would keep gamblers around to spend a little more. The casino owners understood the value of these shows, they knew that shows had the ability to not just entertain but to also create a form of good will. Casinos only wanted the best shows at their casino because ultimately it meant more people through their doors. But all that has changed.

Today shows compete for space on a casino stage. Meaning the casinos have become landlord renting out the theatre to whom ever has the most money, not the person with the best show. There is no quality control and ticket brokers will push only the shows which pay them the most to sell their tickets. What does this mean? A lot!

•   The casino no longer cares how good the show is, only how much money they are making from the rental of the theatre, not realizing that this backfires on them. Casino patrons don't know the casino has nothing to do with the show, but they assume it does, so people walk out of a bad show thinking it was a casino show and leave the casino resentful that they wasted time and money watching a terrible show.
•   Shows now have to make money when they never use to. So there are no lavish productions numbers with beautiful sets, because that takes time, money and space. When a show shares the theatre with 3-4 other shows backstage space is at a premium. These shows not only have to pay rent but also pay for music rights, dancers, singers, speciality acts, stage crews, advertising, pre-production, etc. All this leaves producers scrambling to fill seats as soon as possible spending valuable dollars on advertising.
•   Anyone with money can rent a room and because there are so many rooms with so many shows, some amazing little jewels get lost in a sea of mediocrity. There are hundreds of shows to chose from, how do you know if you are getting the diamond or the coal.
•   Ticket brokers used to be paid a couple dollars for every ticket they sold, now they are making $35 dollars or more per ticket for some shows. For most shows that means the broker is making more off of the ticket than the actual show. It also means that the broker is not selling you the best show but the show they will make the most money from. When you as a ticket buyer walk up to a ticket booth and they start telling you about the different shows, generally brokers will only tell you about the show tickets they want you to buy, skipping over the shows they still only make $5 dollars from.

I know that this current trend with shows and show business will change, but will that change come soon enough? Will casinos realize that a good show is worth its weight in gold, and a bad show is not worth the rent? Yes! I know it will change, I just hope it doesn't take another 20 years to make that change.