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Topic: Dealing with the streets...
Message: Posted by: Kozmo (Jun 5, 2003 11:42AM)
Well, I'm off to work in the morning...travelling for just a few days.

Before I leave I thought I might offer this up for discussion.

One of the hardest things for me to deal with as a full-time street performer/magi. is rejection. Walkers, they watch, laugh and go what the *---! but they don't give. Why?And they walk away. Somtimes they wave at me as I bust then in front of everyone...cheap man!...cheap man!.

Why do they walk? no money? Was it me? My ego is broken and after a long day of working it gets harder to deal with this, harder and harder and harder. I have solved this in my mind, the rejection, lack of money. I just killed 25 people and I got $4, what the hell is that!!! Trying to resolve this in my mind that it was me or wasn't me that caused this, not connecting with this audience while the show just prior I did $50 with he same size crowd! What the heck.

I beleive that you can't let it get to you. And I also believe that we are responsible. So if you got a *** hat from 50 people it was likely you, or me, and it happens. What did I do wrong? Why did we not connect? Offer some stuff up here fellas.

Message: Posted by: m@t (Jun 5, 2003 12:07PM)
Koz- in reply to the money situation. The only piece of advice is not to walk around with the hat at the end because then once you have done one side of the crowd the other half will have vanished. Stand in the middle with your hat out and let them come to you.

M@t :)
Message: Posted by: Patrick McKeever (Jun 5, 2003 01:23PM)
Hi Koz,
Putting myself in the spectator's position: First, do I like this guy? was the magic good? Does the laughter that he generates come spontaneously or is it an uneasy reaction? Did I really enjoy the show?

Assuming all these elements are positive, each and every one of them owes you.

Do they like you? You have said that your act is somewhere between Gazzo and Cellini. How much Gazzo? Gazzo does stuff that I could never get away with. But a little Pommy with a funny accent and big cajones gets away with murder. If I did the things that he does, I would be offensive, yet when I watch him, I laugh like crazy. Yet, there are moments in Gazzo's act that create an uneasy laughter, not because of the humor but because of its shear brashness. The audience is asked to believe that it all is done for the comic moment, but many are saying to themselves: "I can't believe the little ***** did that." It works for Gazzo and they pay. If I did the same thing that Gazzo does out there they would chuck rocks at me. The point is, Koz, do you honestly think your character is likeable?

I am sure you have analized your act over and over so it still comes down to the deadbeats who don't pay. This is the time to get a little pushy. In my limited experience, I have said things to people who began to walk away after watching to the end of the show like:" Sir, did you enjoy the show?" if they say "yes", "Then how about telling my chapeau." Or "hey come back, I can change a hundred." Anything to give them a second chance to do the right thing. Always in a friendly manner, but incredulous that they would even think of not paying. It's a fine line.

Koz, this is really a tough question. What I have written here is just an analysis of years of watching other magicians and my reaction to their acts and their personalities. In Street Magic, if you have held up your end, I feel they owe you. There are always deadbeats but a little cajoling will bring some of them back.

I'll bet there are a lot of folks who would drop a one or a five but all they have is a twenty. So, instead of dropping in a $20, they walk. Hence, the offer to make change.

Since it is usually me asking advice from you, I hope something here is of value to you.

Good luck out there, Patrick
Message: Posted by: BroDavid (Jun 5, 2003 04:41PM)
As usual, Patrick has some great ideas.

I see it like a salesman who goes to door after door and gets nothing, and a baseball player who strikes out - time, and time again, you just have to have a short memory.

After you have analyzed the performance, and made appropriate adjustments, then you have to let it go. If you don't if will flat out wear you down.

I had an experience when I was a young 23 year old salesman: My boss and I went on a sales call on a big company. An we ended up getting thrown out! I mean escorted to the door by security, and told to never come back!

When we got outside, I was mortified. But my boss was laughing! I said what are you laughing about? He said, I am laughing because we got that out of the way. He said; I only sell to about 50% of the companies I call on. And now I can't wait to get to the next one, because since this one said no, we are due for a win. The lesson I learned was, there is always another door to knock on, and all you have to do; is to keep on knocking. The numbers are with you.

Some will give. And some won't won't. Forget that some won't! And hold on to the knowledge that SOME WILL! Keep pitching!

Message: Posted by: Kozmo (Jun 5, 2003 05:59PM)
First of all, I wasn't really talking about me, I was more talking about new guys and some of the things that are going to bother them, watching people walk.

I get most of the people so it's ok for me. It's how I learned to deal with this,the walkers, and trying to not take it personally which I no longer do. Realizing all the while how important it is to analyze your show over and over, forever. Ever evolving. Some people just don't have any money, some people just don't want to give because they think everything should be free!. Hey, if you are out on the streets then it should be free...at least in their eyes.

One of the most difficult things for me to learn to deal with is the walkers. I used to take it personal,. I don't anymore, I just think its the way it is and if you can live with that then you, the new guy, will survive out there. So many street performers have become bitter...very bitter....because of this. Don't let it get to you.

As far as my cross between Gazzo and Cellini, well I have mellowed over the years...softer...I don't attack anymore although I used to a lot. No one can deliver Gazzo's lines, no one. And I don't care to try.

I get a high percentage of the hat thanksfully, and its improving.

What I'm trying to do here is get one of those great conversations going that we often have.

But for those who gave advice I appreciate it. You touch on a lot of good points.

Message: Posted by: kasper777 (Jun 5, 2003 09:28PM)
Koz, having just started my career as a full time street performer I know the feeling. It used to be when I hit the bricks on the weekends, if someone didn't pay, so what, I have a day job still. Now, I don't, it's just the street.

Today, after doing a show for about 10-15 people, and having this lady (about 43) laugh her butt off, she came up and proudly put in $1. She did it in a manner which she thought she was putting in a $10.

The sober parents today were worse than the drunks and little kids I've dealt with. e.g. "You're magic is good but work on your comedy." "You are so funny, but keep practicing you magic and it will come to you." "you need to get some shade"(then leaves).

a mother to a group of kids ages 2-7 she was with, "He's not good enough to keep you interested, is he?"

Just a !#$%*!& &#$%y day. I don't take it personal, but my "act" takes it personal. Was I in the wrong place, should I move locations, rethink my tricks, did I rush, did I appear tired, was I not focused enough with my audience, was I looking around too much trying to get a crowd, hhhmmmmm.. but...the guy from the show before dropped a $10...

Oh well, I didn't make enough that I wanted to today, but I made it through. I lived to tell about it and will hopefully be better tomorrow, I am hopeful.

Koz, thanks for bringing up this topic

Message: Posted by: Danny Hustle (Jun 6, 2003 07:55AM)
You know I think Pat hit the nail on the head.

Do they like me?

This was the biggest shock to me when Gazzo went over my show a few months ago. I grew up slinging slum and calling at the gyp joints at Salisbury Beach here in MA.

That kid/guy had been dead for years but when I went to the street he came back to life. Because of the rapid pace kept in Harvard Square I thought I needed to go 500 miles an hour to pull them in and GTFM.

I was making the same hats as everyone else and people were telling me I was great.

I had never seen my show. It turns out that the character was a jerk. I wasnít saying anything bad or anything like that it was just that you took one look at the guy and didnít like him. I was too wide, wild, and arrogant in my delivery.

I needed to slow it down, greatly.

I have another character based on my dad who was a club singer in the 40ís and 50ís. Kind of slow talking maybe even tipsy. Always amazed, ďwell, will you take a look at that.Ē Heís kind of like Dean Martin with a Boston accent.

I threw this at Gazzo in desperation and he said that was the guy. He even had me slow that down to the point of discomfort. It feels all wrong doing the act this way but when I tried it out, blammo, Fat hats.

To me the act seems worse. To my audience it is a 1000 times better than what I was doing. My first time out I did three 20-minute shows and made $240.00. it used to take me several hours of 10 minute shows to make that much cash.

The funny thing is the magic has been halved. I am doing much less magic but because the character has slowed way, way, down the show takes longer.

It has made a difference in the hats. The stuff I am doing is simple, simple, stuff. I close with a two in the hand one in the pocket routine for crying out loud. I look at it from my perspective and it seems bad. I canít see it from the audienceís perspective but they seem to love it and reward me for it. It is weird.

Killing your darlings is a hard thing to do. Knowing which ones to kill makes it harder.

I was so lucky to have a guy so good I didnít dare question his advice tell me what to do. He ripped me down to nothing then built me back up.

So, If you are getting a lot of walk-a-ways, I guess my advice would be to anyone starting out is to get somebody good to look at your act and give them the freedom to be brutally honest with you about what is bad. Then be brutally honest with yourself in admitting they are right and fix it no matter how uncomfortable or wrong it may feel.

We should be in this to give the audience what they think is good not what we think is good.

Oh yeah, and SLOW DOWN! Gazzo says this is the biggest problem with most buskers. They go too fast and step on everything.

If the show and you is something they like they will pay.

I still get walk-a-ways but even when I do the others are now giving more because none of them think I am a jerk. All of them didnít think I was a jerk before, but enough of them did that it made a big difference.

It is a humbling process we go through in order to be good at anything. Admitting weakness is an awful thing but when done and done well, it can also be the most rewarding step forward toward your ultimate goal. This goes for anything in life me thinks. Iím still under the impression that humility and self honesty are virtues.

Okay, Iím off the soapbox. I need to go earn a buck or two. :)


Message: Posted by: Ignore me... (Jun 6, 2003 09:10AM)
I hate to be a me-too, but I think that Dan raises an excellent point.

It took me a while to slow things down. Even now, I consciously go to the bottom of my comfort zone, and then I have to slow things down to the point of discomfort.

Great posts, guys. I used to work the streets, and was planning on doing so this summer while in Europe (which will allow me to play the part of the foreigner with a bad accent, and give me more latitude in terms of how outrageous I can be).

Message: Posted by: Rover (Jun 6, 2003 10:00AM)
In Dan's post you'll notice he took some constructive criticism and came up with a more "likeable" character. Some performers would refuse to do that and continue doing routines that just don't seem to improve.
Message: Posted by: Patrick McKeever (Jun 6, 2003 10:26AM)
Dan, good to hear from you. I think it is interesting that Gazzo honed in on this Dean Martin character. Nothing could be further from Gazzo's style. Nobody was ever cooler than Dino, so if this charactor suits you, man, you've probably got a winner. It must have been a though revelation for you to realize that your previous character lacked appeal. One of the few advantages that comes with years is that we tend to BS ourselves a little less.

Koz has brought up a very valuable topic here, one that certainly is not new to this board but he made such a compelling appeal and I think it should be given serious thought. Maybe even some fresh ideas.

As I mentioned in my earlier post: give them a second chance to give. By gently coaxing. (i.e.), "Sir, I'll be glad to change that $20, $100 or whatever." "I know you enjoyed the show, I saw you laughing." Make eye contact. Bullying and insults will only turn people away and their money with them.

Most street performers tend to look a little run down at the heels and that's o.k. After all, it's a bit grubby out there. That doesn't mean you can't show a little class.

There some good lines on getting the money in last year's archives. I wuld like to expand on them in this thread.

Message: Posted by: Danny Hustle (Jun 6, 2003 12:32PM)
On 2003-06-06 11:26, Patrick McKeever wrote:
One of the few advantages that comes with years is that we tend to BS ourselves a little less.



We-Wowee. truer words were never spoken.

I also agree that gentler is better with the cash call backs. I used to be tough on them and lost money.

Gazzo does it and wins but he's well...Gazzo.

Gazzo is a very good teacher and he understands how important it is that the "voice" fit the individual.

He also says that people who steal his lines are usually shooting themselves in the foot because the voice doesn't fit their persona.

He wrote new material for me and re-wrote some of his stuff. For me he spent a lot of time taking the edge off my delivery and changing the cadence and timing.

Really subtle stuff but it changed the same joke from his brash style to my laid back (darn near asleep) style.

He really is a brilliant guy and understands performance in a much greater way than anyone would expect.


Message: Posted by: Pete Biro (Jun 6, 2003 12:56PM)
Great stuff... I still remember Dai Vernon's most important advice...

"They have to like you. An audience knows within 30 seconds if they are going to like you."

I know when I work as a judge in competitions, for example, I can tell almost immediately if the act is going to be good or not. I don't have to see the entire act... just the first few impressions and I know what the whole will be like. :eek:
Message: Posted by: kid iowa (Jun 6, 2003 01:20PM)
On 2003-06-06 08:55, Danny Hustle wrote:

So, If you are getting a lot of walk a ways, I guess my advice would be to anyone starting out is to get somebody good to look at your act and give them the freedom to be brutally honest with you about what is bad. Then be brutally honest with yourself in admitting they are right and fix it no matter how uncomfortable or wrong it may feel.


I totally agree (as usual) with Danny. As for a lot of us who don't have access to the greats (Gazzo, Cellini, Danny, Kozmo etc) what do you all think of doing a compilation video of your act and send it to others to critique? We could have a video of 10-15 people, depending on the length of the act, and whoever sends in a vid gets a vid of everyone in return. Personally I would love to see you guys in action, it would be nice to see the act with everyones personality. If anyone is seriously interested lets work something out. I could do the editing (far from professional, just a double deck vcr) and compile the acts together. Just a thought. Jim
Message: Posted by: cfrye (Jun 6, 2003 01:57PM)
On 2003-06-06 13:56, Pete Biro wrote:

I know when I work as a judge in competitions, for example, I can tell almost immediately if the act is going to be good or not. I don't have to see the entire act... just the first few impressions and I know what the whole will be like. :eek:
I do a lot of work for Microsoft Press, so I picked up a copy of How Would You Move Mount Fuji?, a book about puzzle interviews, which have been taken to a new height at Microsoft. Why did Microsoft and other companies go to puzzle interviews? Because first impressions skew the results of interviews drastically.

Starting on page 14, the author cites a study by two Harvard psychologists (Ambady and Rosenthal), who found that "complete strangers' opinions of a teacher, based on a silent two-second video, were nearly the same as those of students who had sat through a semester of classes."
Message: Posted by: BroDavid (Jun 6, 2003 04:42PM)
You only get one chance to make a first impression.

And if you are asking people to respond to you in a good way. They must like you enough to do it.

All excellent advice here. And Koz, I really didn't think you the one who was "down" about the walk-a-ways... You skin is probably as thick as a Rhino from all the rocks thrown at you over the years. I agree with the others here. Man you really did bring up a great topic for discussion here.

Danny, you continue to make the sharing of your experience, one of the most practical and useful contributions in this forum! Thanks friend.

Message: Posted by: kasper777 (Jun 7, 2003 11:38AM)
This topic has started to make me look at me and my performing style. Do I slow down or stay the same? What character could I most likely pull off? Robin Williams, Jerry Lewis are very fast paced comedians. They didn't slow down, if they did, people would think something wrong happened. Bill Cosby is a slow performer, telling his jokes with exactness. Where do I fit in. I believe I could pull off both. I believe I have the charm and carisma to pull of a carney type persona as well as a more laid back character. Who am I really?

You might just say go out and be yourself. In that case, I see myself going out there doing physical comedy skits and goofing off as I go along, but then would it be too fast? Do we have to go slow? I'll admit my speech needs to slow down, but do the movements? Do I need to walk almost with a drunks pace?

Sunny Holiday goes at a pretty steady fast paced and is done in about 15 mins, as well as Cellini. Should we forget what we saw in the Cellini DVD and go slow and go for a longer show? Sunny and Cellini never made the hats the Gazzo does. If our goal is to make the fat hats, do we then dismiss the Cellini material and study Gazzo? Even in my few conversations with Gazzo he has said not to do what is on the Cellini DVD.

Which way do I go, who do I perform as, now what? All this thinking is making me drink. One day I'll figure it all out.

Message: Posted by: Peter Marucci (Jun 7, 2003 04:40PM)
Why on earth would you ever notice who pays and who doesn't?
Only if you are TOTALLY insecure!
I don't and it doesn't bother me in the slightest!
Do your show.
Do it to the best of your ability.
If you don't make enough money to live on, after many jobs, GET ANOTHER JOB!
It's that simple!
Message: Posted by: Shorty (Jun 8, 2003 07:00AM)
Hi Dudes, I think the important point on the story is to be natural. If they like you, they pay. If they believe, you like what you do, they like it too. Another point that I don`t like is: Talk too much about the money during the show. I mean the People are not stupid (most) they know you like their money. So say something in the middle of your show, you are a pro bla bla and a good Hatline and that's fine. If you are good, that's all you need. And the lines for walk- away should not be Bad, just funny. People don`t like agressive Dudes. That how I am thinking, but I never performed in U.S, always Europe, and Europe is great!!! I think is the same in the USA.

Greetings from Switzerland
Message: Posted by: Kozmo (Jun 8, 2003 11:12PM)
I'm back and so glad you guys noticed this topic. Strangely enough I was just at a place that I had never had so many walk- aways. Now understand,I do pretty well when it comes to hat,as well as Cellini.

I'm changing my show a lot right now...making it better, I hope, and so I left some stuff out that I used to do. Mainly Cellini's rope routine. When I added it back in my hats got better. Not because its a great rope routine, which it is, but because it softens my personality...makes me more likeable. Cellini has told me a ton of times, make them like you. period.It's the only thing that's important. You can be the worst magi on the planet...but if they like you they will give...well most of them anyways. Listen to me now, they are going to walk away, and most of the time, it has nothing to do with you. They have lives. They may have things they need to do. They likely didn't plan to see some guy on the streets doing magic. They might not like magic, they may hate magic. Be nice, be good, do the best you can, and you will be ok. And Pete, he's right. Who gives a **** about who pays and who doesn't?...who cares? As long as you can make what you need its ok. Always look at your show, make it better and make it friendly. Have fun with them and they mght stay.

I'm glad I started this one...its good stuff...keep it coming.

Message: Posted by: kasper777 (Jun 9, 2003 01:27AM)
Pete, you said "Do your show.
Do it to the best of your ability.
If you don't make enough money to live on, after many jobs, GET ANOTHER JOB!
It's that simple!" But, herein lies the problem, this job chose me. I didn't choose it. There is no other choice for me in my short existence on this earth. This is not a choice for me, it is something I have to do. I constantly sit and think about magic, performing, my character, etc. This hobby of ours has me so passionately obsessed that my fiance has to remind me that she is here.

Oh well..
Message: Posted by: Kozmo (Jun 9, 2003 09:49AM)
kasper, Pete just told told you the most important thing that can be said here! Just do your show. Don't think about money until you are home counting it! Then see what you have and ask your self is it enough? Then re-evaulate what you are doing and work on it the next time out! Try new things, don't be afraid of failing with those new things. There is an art to the hat line, the money pitch. If you focus on your show and being magical, it will improve and you will too. You will make more money. That's the secret. Don't worry about who gives or who doesn't.

Message: Posted by: Mark Rough (Jun 9, 2003 09:56AM)
Eugene Burger once said the key to getting bigger tips (or hats) is to act as if you don't need them.


Message: Posted by: Kozmo (Jun 9, 2003 10:14AM)
Well, Eugene would starve on the streets bud!

The street is a different place! PERIOD!You'd better talk about money during your show, and you'd better explain to your audience how it works, because many people don't know - they don't! Eugene would starve on the streets and looking at him he might want to consider the streets He could use a little starvation! Eugene is terrific but the streets? Only a few can make it there ...only a few.
Message: Posted by: Mark Rough (Jun 9, 2003 10:49AM)

I agree with you completely, but. . .I wouldn't spend the majority of my time asking for money either. All I was saying to Kasper was do your show. . . worry about the money later. If your dedicated you'll make it.

Message: Posted by: Kozmo (Jun 9, 2003 11:50AM)
Talk about how much money is appropriate. Make suggestions and educate your audience, but don't beg and don't get upset. People walk away from Gazzo and they walk away from Cellini and they are going to walk away from you!...it happens. Nothing you are going to do about it!

Message: Posted by: Ojasa (Jun 10, 2003 12:13AM)
I agree the streets are totally different...

Having worked as a tour guide... That is the closest thing I have found. We both do a closing pitch for entertaining someone, and live off of what someone gives us as a thankyou for making them laugh.

I totally agree with Eugene at a more formal setting... The difference is clientel.. A magician in a rolex and a Vercaci (sp?) suit is going to get more for a fee, and therefore a tip from the business world than the one who wears a suit from the Men's Wearhouse.

In the business world Image is everything...

That is where Eugene makes his hat.

Message: Posted by: Jesse Dains (Jun 15, 2003 10:47PM)
I agree with tedb, you have to educate the audience, one line I like is to tell them, anything you put in the hat is welcome. Oh and donít worry If you put in to much I will tell you.(if delivered right always gets a laugh)
Message: Posted by: Kozmo (Jun 16, 2003 10:08AM)
Jessie, that's a really good line, I just stole it. Naw...kidding.

Message: Posted by: Jesse Dains (Jun 17, 2003 10:49PM)
If you really like it please use it, have fun with it.
Message: Posted by: markkwan (Jun 17, 2003 11:59PM)
I guess don't let it get to you. If you're interested in magic just for the money, I think it's time to look elsewhere. I personally do magic for the memories and the smiles. good luck to you.
Message: Posted by: Steve Hart (Jun 25, 2003 08:26PM)
Wow the material here in this post is valuable stuff for the street performer.

I am willing to throw one of my ideas into the discussion.

First, let me say that street performing is one of the best places to learn our craft.
So count everyday as school. Learn, experiment, and be self-aware of how and why you do what you do. Once you learn how to work the streets, you can work anywhere.

I know when you are working for the hat; it is all about the money. Applause is nice, compliments are better, but the money at the end of the day is what makes it worth it.

Finding the right place to work is very important when you are working the streets.

Yes you may have to educate your audience when you are busking. You do have to sell the pitch. How? That is the secret. Find what works for you. This is so important.
It took me years to figure what worked for me.

Now in closing, I offer my idea. I would close the show with a little girl as my assistant. I would make my closing comments, and then I would say, "Watch this amazing trick, as my assistant 'Jennifer' holds my hat and people will throw money into it!"

I would then instruct her to pick my hat and hold it, as everyone would joyfully put the money in and smile for little 'Jennifer' telling her what a great job she did in the show.

This may not work for you, for me it did.
Naturally there were times when I would take a dollar out of the hat and give one for her to keep.

Steve Hart
Cape Canaveral, FL USA
Message: Posted by: Kozmo (Jun 25, 2003 08:50PM)
You do magic for memories and smiles. :)

I do magic for a living. I better make money. When I started doing magic it was about the magic, but when I left my real work job to do what I loved for a living, I knew it was now about money! Money, money, money! PERIOD. I love to go to work, but at the end of the day if I don't make money, I'm gonna be unhappy.
Message: Posted by: JesseMagic (Jul 2, 2003 01:05AM)
If your in it for the money that maybe your approaching it the wrong way...Lance Burton-a stage magician...he's making money because of advertisment...maybe you should invest in a agent or something, someone to set you up with gigs and promotions.
Message: Posted by: Ojasa (Jul 2, 2003 01:24AM)
People who perform on the streets are doing it as a labor of love. Working the streets is not the best way to earn money, but it is a way to earn a living bringing joy to other peoples lives.

That doesn't mean That at the end of the day they don't want to go home to a nice place and afford more than tuna helper with spam for dinner.

At the end of the month they must pay their bills and put away for retirement the same as everyone else, so they must worry about the money.

I would dare say no street performers (at least none I know) are "in it for the money"
As ted said above He loves the work, but if at the end of the day he can't pay his bills or get a meal he is gonna be unhappy. Who here would not be?

And it is always nice to be able to afford steak instead of ramen...

Ojasa :dance:
Message: Posted by: Kozmo (Jul 6, 2003 10:40PM)
I love working the streets...but there is no art wthout money!!! FACT!

If you are working a real job you are not putting all you effort into your art...understood...so money matters...FACT!

Message: Posted by: Scott Xavier (Jul 7, 2003 01:53AM)
I agree money is the key. Use some cold reading and see who's going to tip. Why perform for those who are cheap?
Message: Posted by: Kozmo (Jul 9, 2003 02:27PM)
You cant tell by any reading who's gonna tip.

Those who give, give.

Message: Posted by: Eddini_81976 (Jul 17, 2003 07:32AM)
I've never really "asked for money". I have a little tip box taped to the side of my stand. When I first set up I put two one dollar bills of my own money in my box folded over the edge, that way people will see it and know what to do or what its there for.

I do wear a top hat but maybe because of my own ego (I don't want to appear as begging), or fear of rejection I've just never passed the hat. Very rarely after doing a set I may say your tips are greatly appreciated, but even with that I may have only said that maybe a dozen times in 6 years. People just see my box, and they normally just tip me.

Not to brag but I've gotten a couple of 20 dollar bills in the past but I usually get a lot of ones, a few fives, and a ten here and there. The money part doesn't bother me as much as the smart *** comments do. I've always been very sensitive and thinned-skinned by nature and there have been a couple of times where at the end of the night I've sworn off street performing, BUT I've always went back to it, because I do TRULY enjoy it, and meeting new people.

I've made wonderful friends through it too I must say, and there are people expecting me there every weekend (as long as the weather is good). But I know what your saying as far as people making fun of you. Myself, I just try to smile and hold my tongue.

Ocassionally I'll give it right back to them. What's better is if you're in the middle of doing a set, and people walking by make bad jokes to you, is when your audience jumps up in your defense. I love my audience and they love me I find, because after six years in the same exact place you get sort of a bond with people. To make a long story short, really enjoy what you're doing (yes you will have bad days but don't we all), and let the smart mouth comments go in one ear and out the other (I still need to work onthat one myself still).

As far as money, when doing a set, get as many people to help you with tricks as you can, and as people are coming up, get them as close to you as you can, because I find that when someone helps out in a trick and the closer to you they are, that they feel more obligated to you to tip. When they do tip, smile and say thank you I really appreciate that.

Another joke you might want to use in a funny light-hearted manner, is this, when someone tips you, you can say wow or cool it looks like I can pay my rent this month. This way you are acknowledging them tipping you while subtly making it known that tipping is a GOOD thing. I also have a sticker on my tip box that someone gave me that reads "There's No Nation Like Donation".

I'm not assuming you don't do that stuff already, all I'm doing is giving you some tips you may not have heard before. Good Luck, Ed, (Eddini). :) ;) :bluebikes:
Message: Posted by: Kozmo (Jul 17, 2003 01:20PM)
Eddini, I don't know if you are addressing this to me, but I do all the lines and I make great money. And do this for a living. God has blessed me and i'm grateful. The intention of this post was to help new guys with dealing with walk-aways. So many with so much potential have stopped because of this issue. You need thick skin to deal with the rejection.

Message: Posted by: Eddini_81976 (Jul 17, 2003 04:10PM)
That's cool. I'm glad you do very well for yourself. I guess this was directed to new people or whoever needed it. Thanks, Ed, (Eddini). :) :bluebikes:
Message: Posted by: bwarren3 (Jan 27, 2006 08:34AM)
I trained sales people for 10 years because I had done it all, won every award possible except maybe one. For me, it is really easy to teach. SOmebody earlier said it best, when it comes to the hats, "Some will, Some won't, who cares, Next???"
I do know this for a FACT though, there will always be pushy salespeople that most of the time get the money but the ones that people like will be comeback customers and don't mind paying several times.
When I watch a fellow magician, I'm looking for a couple of things, does the audience like him?? Also, how good is his magic and hopefully comedy lines??
The applause and money at the end of his set tells me how he went over, sometimes I agree with the crowd sometimes I don't.
If your main focus in your act is money, money, money then you are definitely going to lose a lot of people that might have stayed and put bucks in your hat.
Focus on your act and the rest will follow.
Tape yourself for the next 30 days and watch the shows yourself as an audience member, would you have put anything in the hat?? How much and why??
Just some food for thought.