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LEARN THE COIN ROLL FROM DE'VO, PICKPOCKETING, AND HOW TO CHOKE SOMEONE OUT!
MARCH/APRIL 2007

The Ultimate Magic Magazine

... or something like that!

p.84
vom Schattenreich COVER
Unmasking the Man Behind
The Cloak.

Why America Needs

Cyril
$6.95 USD / $8.00 CAN / £5.95 / €6.95 / ¥839.95

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 CONTENTS
The Ultimate Magic Magazine
... or something like that! What's in this thing?
10 OpEd By Jamie D. Grant HIGHLIGHTS
11 Editorial By James L. Clark
12 Hitting the Streets By Rory Raven
20 Pickpocketing By James Harrison 25 Sleepless
in Skopia
21 News & Culture By Justin Robert Young
22 Learning the Coin Roll By De'vo vom Schattenreich
30 Meaning of Magic By Richard Osterlind
31 SM Survival Guide: Choke Out
32 In a Magical Fashion: Danny Garcia
35 Six Degrees of Eugene Burger
36 Saying Goodbye to "Umm"
37 Acting the Part: Tie your Tie 66 Magic
Friday
39 Shaping Up By Grandpa Chet
40 Copyright By Spiro Zafiratos
42 A Conversation with Cyril
55 The Rant By Bizzaro
58 Pretty Damn Cool
59 Not So Much
60 Dear John
62 Get Stuff 84 De'vo
64 Be a Pro: Audio By Dan McLean, Jr. Unmasked
69 Magic Terrorister: Sinful
71 Personality Profile: Jon Dorenbos
72 Secrets: The Spirits of Diabolos By Diabolos
73 The Jinx Revisited: Twist Color Change
76 Product Reviews
92 Entertainment
93 Shop Showcase: Wolf's Magic / Top 10

GRACING US WITH THE COVER 42

CYRIL TAKAYAMA is one of the most talented magicians currently performing in the world
today, and it isn’t because he is plastered all over the internet, it is because he is one of
the hardest working, creative, and driven men in our field. And despite having reached
celebrity status, he remains humble and thoughtful of others to a degree seldom seen
anymore in our art. It is a gift for him to not only grace the cover of the inaugural issue
of Street Magic Magazine, but to also give so freely of his time to provide our readers with
one of the most intimate and revealing interviews ever printed. So, pull up a chair and
turn to page 42; you’ll not be disappointed! Oh yeah, Cyril also gave us a trick to teach
you in the next issue. So, aside from what you see on page 4 to your left, you've got
something else to look forward to that no other magic magazine will bring you.
Cover photo: Takeshi Hanzawa

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 Why America Ne
Cyr
Main Photo: Takeshi Hanzawa

42 STREET MAGIC MAGAZINE www.streetmagicmagazine.com

eeds
rilHumble, determined, talented, skilled, engaging, personable,
creative, motivated, and a thousand other favorable words can
be used to describe this incomparable magician. In an art too
often plagued by arrogance and conceit, deception and dep-
recation, envy and a self-induced sense of entitlement, Cyril
embodies all of the positive traits that makes him one of the
best diplomats America has ever had representing magic to
the masses. The only thing bad about Cyril is that he currently
lives and performs in Japan. Once you read this interview, we
know you’ll agree that we need him here in the US and on TV.
Because when that happens, magic will never be the same.

www.streetmagicmagazine.com STREET MAGIC MAGAZINE 43

 SM: Thanks for taking the time to meet figured out that it wasn’t real; I was devas- Hershey Kisses with a big kiss coming out
with me and share your life with our read- tated like when a child first finds out that at the end. They turned me down flat.
ers. Santa isn’t real. I saw magic in a new way
and not long after I started to just absorb SM: That must have been tough.
CYRIL: I am sorry I couldn’t get to it as much knowledge as I could. I started off
sooner; I am very busy. Thank you for un- by showing friends and family things; it CYRIL: Yes, it was. I was hungry for
knowledge and so when I was turned
derstanding and being patient with me. was a hobby that I loved. For me magic was
down, my world was shattered. But I come
something special that none of my friends from a background where my father was
SM: It’s my pleasure Cyril; I’m glad to have in school had. very hard on me; he is old school Japanese.
the opportunity and I don’t want to take He never complimented me and nothing
anymore of your time than necessary, so SM: How did your parents feel about you ever impressed him. Being turned down
let’s just jump right in if that’s okay. doing magic? at the Magic Castle was something that I
was sort of already acclimated to. But it
CYRIL: Sure. CYRIL: They just thought of it as a hobby. didn’t stop me. I loved magic too much to
They didn’t have a background in enter- let a bunch of people I didn’t even know of
tainment or anything. at the time to tell me that I was not good
SM: Like a lot of us, you were very young
when you became interested in magic; six enough to be part of the Jr. Program. I just
SM: I heard that the Magic Castle turned kept at it and came back with a new stage
I believe. When did you first know that you down when you were about twelve?
magic was what you wanted to do with routine which I involved cards, silks, and
How did that impact your desire to be doves, and that time they accepted me.
your life? more successful? Obviously, you didn’t give
up because you were accepted around six SM: Tell us a little more about that.
CYRIL: As a child, I was completely months later, right?
mesmerized by magic! Back then I didn’t CYRIL: I was first introduced to magic
see magic as being about tricks or trying to CYRIL: Yes. Back when I was a kid, finding seeing a stage magician. At the time there
figure out how it was done, for me, it was resources of magic effects and tricks was were mostly close up magicians at the
real magic… To this day, I still remember difficult. It wasn’t like it is now. Magic was Castle. So I was seeking people who were
trying to make random objects move or a well-kept secret to the public and for a interested in the art of magic the way that
float in my room. I also remember concen- child or adult wanting to learn how to do I perceived it. Unfortunately, there were
magic, resources were limited. For this only three other stage magicians includ-
trating really hard to make random objects
reason, being part of the Magic Castle pro- ing myself. But of course I was hungry for
transform and to morph into doves. Of gram meant a lot to me at the time. I did a
course, none of my imaginary childhood knowledge and was
matrix routine with accepting anything
spells worked! I think I was about ten years
that came my way. I
old when I learned a lot being
there. It was some of
ylist: Shinko
no Bekor. St the best times of my
Photo: Giulia
life. It was a great
program and I loved
every minute of it
until I got sent to
Japan.

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44 STREET MAGIC MAGAZINE www.streetmagicmagazine.com
SM: Before we talk about you getting sent used magic as an escape instead of turning SM: I didn’t take it that way at all; I think
to Japan, what led up to that? What kind of to drugs or whatever. you are being honest and respectful. So,
problems did you have when you were in was it around this time that they sent you
high school? I know you were suspended SM: The more magicians I get to know over?
and even began cutting school. Why did personally, the more I begin to find that
you do that? What do you think caused our art isn’t the only thing that many of us CYRIL: Yes. Aside from the problems, my
those problems? seem to have in common. Magic often was parents also wanted me to get my citizen-
what helped keep us sane. ship and you have to live in Japan to do
CYRIL: I’m not too keen on speaking about that. And since I was getting in trouble
my childhood. I don’t share much about CYRIL: Yes. I had a lot of hateful feeling for they sent me to my grandmother who lives
it publicly. I was troubled. I disobeyed my
my parents and life when I was a child, but in Okinawa with about $2000. When I got
parents and went through some pretty
now as an adult, I know that they love me; to Japan, I just left out on my own.
bad times. I cut school, began getting in
trouble. My home life was hard. My father as a child that was something I didn’t un-
derstand. Back then I hated and I had a lot Cyril gets a phone call on his cell phone…
is first generation Japanese and my mother
is French and I was born in Los Angeles. of negative feelings in my life, but that has
turned around now… and even to this day, CYRIL: Mushi Mushi. Hi hi. Domo. Okay.
They divorced when I was young. They
though my father still doesn’t compliment (Hangs up). Sorry.
fought all the time and talked bad about
each other and I had to go through that. In me or acknowledge my achievements, I
know he cares; it’s sad but it is just the way SM: Not at all. That was interesting. I have
my opinion, they were not ready to raise a
he is. My father’s never said “I love” you to watched your specials and, of course they
child.
are all in Japanese, so it is fun to see you
me. They just aren’t emotional or expres-
switch between Japanese and English so
SM: I know how difficult that can be. My sive about it.
easily.
mother has struggled with addictions
my entire life. We grew up very poor, on SM: I am glad you were able to reconcile
CYRIL: (Laughs). So, where were we?
welfare, and I didn’t even meet my father those feelings and learn to understand
Umm… so I was sent to Japan to get my
until I was twelve. When I did meet him he what was going on. It isn’t healthy to har-
wanted to change everything about me and bor resentment, pain, and hate. Good for citizenship. I was supposed to go stay with
he and my mother never really got along; you. Thanks for sharing that; I know a lot my grandmother in Okinawa, but when I
like you, I was caught in the middle. of our readers will relate to what you’ve just got to the airport in Tokyo, I just took the
shared. And I appreciate you giving us a $2000 my parents had given me and stayed
CYRIL: Exactly. I was going to Japanese more intimate picture into your life. there. I never went to my grandmother’s.
school in Japan and then Catholic School
in America, raised as a Buddhist while CYRIL: I just didn’t want to sound as if I SM: I bet that didn’t go over very well.
attending my mother’s side at Jewish holi- was bagging on my parents, because I’m
days, commuting between not. CYRIL: No, it didn’t. It seems like it would
Japan and America, and be a lot of money, but it isn’t—especially in
having parents going
through three marriages.
Both of my parents were
having tough times and
as a troubled child, I
ditched for like two
quarters, and I got sent
to dummy school. I

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Japan. It ran out very quickly and I ended I did, but most people join at 18. Yet, even CYRIL: Yes, the sponsor that I told you
up on the streets having to busk for money though you can fight for your country, it is about was Mr. Ito—a fantastic gentle-
just so I could eat. My parents were not illegal to drink. man—who wanted to help me. He was the
financially well off so I ended up going to chairman of a foundation that owned a
clubs and seeking out the night life at the CYRIL: I really don’t know, but I think it is number of businesses. But he put me under
age of 16 and working for tips. It was very, 18 years old here. the care of his colleges. Of course, they
very hard. I offered to entertain for free in had no experience in the field of entertain-
exchange to keep any tips I made, so people SM: I guess my curiosity is that at 16 most ment so they didn’t know how to handle
didn’t think I worked at the establishments people would consider you just a kid try- my situation. That’s why I was put into a lot
I went to. ing to be an adult, even if you are hanging of wedding parties and asked to do magic
around nightclubs. I mean, that gives you, in places that I was not very happy with.
SM: How long did the $2000 last when you like, four years of roaming around doing I felt very lucky at the time because I was
got there? busking before you’d even be considered starving and was hungry. Before I met Mr.
an adult. Did you find that to be a problem Ito I had spent many months essentially
CYRIL: A few weeks! I did the only thing at all? I guess what I am asking is, how homeless. I was poor, I had no money. I
I knew what to do after that to survive— did you find that transition between being remember going from friend’s house to
magic. I went into clubs and bars and it 15-16 years old on the street and seeking to friend’s house. People I had just met, even.
lead to tips. It soon became a regular thing make a legitimate career out of this? I remember going through a period of
for me. several months where I was weak—I was
CYRIL: Well, I had a puppy face when I only eating one meal a day.
SM: Where did you stay? was 16 and I was very young. Legally, you
have to be over 20 years old to work in SM: Goodness. That’s harsh.
CYRIL: At first I stayed with one of my clubs in Japan. But I was able to get in and
father’s acquaintances. But soon I was to purchase alcohol or cigarettes if I wanted CYRIL: My friends were also poor. They
sleeping on the couches of friends I would to, even though it wasn’t the legal age—I were artists too; artists hang out with
make over night. At the time I was kind of was a bit of a bad boy (laughs). It didn’t other artists. I can remember buying lunch
digging being a young adult and not hav- stop me. boxes they sell at the convenience store
ing parents tell me what to do—just living and sharing it with three people just to
life the way I wanted to live, and busking SM: I wouldn’t take it that way. Personally, feed ourselves. So I was really struggling
for money. I would take the train in and I don’t really drink and I’m not a smoker as a teenager at that period in my life and
mostly busk around high-class places either, but each person must make those when this opportunity came along I was
where the mafia would frequent. kinds of choices for themselves. So I didn’t hungry and wanted to be helped, which
take that in a negative way, I was just won- is why I signed a three-year contract. It
SM: Yakuza? dering how it all impacted you. was all in Japanese and I didn’t even know
what it said. But I signed it anyway. I didn’t
CYRIL: Yes. Let’s put it this way, in Japan CYRIL: In a way, I was in heaven. I was in really comprehend what I’d be doing or
the Yakuza never tip less than $100. When charge of my life for the first time and got dealing with in the next three years, which
they tip they tip. It is part of the image. But to do what I wanted when I wanted. I was brings me to finally answer your question:
if you’re no good, you don’t get anything. in heaven in the sense that I was being ac- for three years I felt stifled. I felt like I was
The best tippers were the mafia, they had cepted into the adult world and wasn’t be- just stuck in this system, where I had a
tons of cash to spend, and they loved show- ing treated like a kid—like how my parents roof over my head and a basic income that
ing it off to the people they were with. At saw me. In a way I felt powerful, but for the barely got me through each month, and I
times, and it was rare, but I would get up to wrong reasons. wasn’t growing. I was eager for growth, so
$1000 tip. But about a year later somebody I spoke with Mr. Ito directly and told him
introduced me to a wealthy gentleman, SM: You know, many psychologists would about this big international conference
a businessman, who ended up taking me say that the degree to which you feel in called FISM that it was coming to Japan in
under his wing and gave me a three-year charge of your life is the degree in which six or seven months, and I want to compete
contract to work for him. He ended up you will feel happiness. In some respects, in it.
housing me with a small apartment and control can be equated with freedom—one
giving me a monthly wage and in return I of the things every human cherishes. So, SM: How responsive was he?
entertained at one of the hotels he owned. it isn’t surprising that you’d go to clubs,
I was doing wedding parties, small events, smoke, or drink alcohol because these are CYRIL: He gave me a budget that was, I
and that kind of thing. things that most parents frown upon and can’t really tell you the exact amount in
want their kids to stay away from. You US dollars, but it was around $100,000.
SM: Just out of curiosity, what is the legal mentioned your relationship with Ito. You And I was 18, almost 19 years of age, and
age of an adult in Japan? were pretty successful not long after your I went out to America to get the props
contract with Ito in those early years of because I thought that if I could show the
CYRIL: You are allowed to drink at twenty your career—winning some pretty presti- magic community at FISM what I was
years of age, so I think twenty would be the gious awards between 1991 and 1994, put- capable of, that I would get more work and
number. ting together great shows, and so on—but acknowledgement; it was more about being
then walked away from all of it because you accepted.
SM: Okay, what about military service? As felt stifled; then you ended up broke and
you know, here in the US you can join the back on the streets busking? Why did you SM: Right. I think that’s a common mis-
service at 17 with a parent’s signature like walk away from that life? conception; you don’t need the accolades

46 STREET MAGIC MAGAZINE www.streetmagicmagazine.com

or direct support of the “magic community” Cyril and I then talk about his perfor-
to succeed in life. What you really have to mance and I watched a video of the routine
know is what you want to accomplish and that earned him “second” place. It was
then start working towards that. Winning astounding and, with the spontaneous erup-
competitions, while possibly personally tion of applause and a standing ovation, I
gratifying, doesn’t put food on your table. simply can’t understand why the judges felt
It pads your resume a little, but that’s it. second place was the right choice.
Cyril tells me that The Dream of Crystal
CYRIL: Right. This was the inexperienced (the name of his pet parrot) was partly in-
kid speaking. I created this 10-minute act spired because of his relationship with Luna,
and about six months later I competed at who at the time was living in Japan with
FISM. So, here’s this now 19-year-old kid her father. She encouraged him to develop a
at FISM to show what he is capable of in theme and a story line with the routine.
front of all of his peers and I got there and I It starts out with Cyril coming home,
had the most elaborate production; I think hanging up his jacket and scarf, checking his
I had like 30 people there setting things up. answering machine, and then walking be-
It became very political. At the time there hind a changing screen with a quick-change
was another magician who had won the into his PJs, to which the crowd bursts into
World Magic Seminar in Las Vegas, and applause.
the prize for him, the award, was that he He walks over to his pet parrot, spends
was going to be sponsored at FISM—to fly a moment cradling it like a baby eliciting
out to Yokohama to compete. But his props laughter from the audience, and then puts
were too large and he ended up not getting it back into the cage. Picking up a poster off
that award. The prop that he performed the floor, Cyril hangs it up on the wall; it is
with was an appearance levitation of a Fantasy Island. The coo-coo clock sounds an
girl that, at the time, I was told was his alarm and the lights dim; it is bedtime. Cyril
original act. I, six months beforehand, had pulls the covers up to his chest and with a
purchased an appearance levitation with clap of thunder, over his head, the spotlight
water from a manufacturer in America and instantly moves from Cyril and centers on
all the judges who were politically involved the poster as the stage opens up with music,
tried to get me disqualified for copying this
and he is magically transported to a land of
other magician. But the fact was I had no
enchantment.
idea that we had similar illusions because
The scene is beautiful and Cyril has again
I knew nothing about him. I didn’t know
changed clothes to a costume more fitting for
what was going on in the magic com-
the new paradise of his dreams; adorned in
munity, the opportunities he had to go to
black trousers, a while ruffled shirt, and a
FISM, or anything. Since I had never seen
blue sash—Cyril looks the part.
this other magician perform, I purchased
His pet parrot sits perched and silhouetted
it from the manufacturer without thinking
about it. But with the support and friend- against a mountain backdrop with a tropi-
ship of Luna Shimada—I had a very close cal forest in the background. He runs up
relationship with her—she explained to the the mountain to the parrot and after some
panel of judges what the situation was and engaging choreography levitates it in front of
my score for FISM was first place, but they him. He then places it behind a curtain and
decided to not disqualify me and just gave in a blink of the eye a woman is revealed
me second place prize. No first place win- clad in clothing that matches the bird’s
ner was awarded. natural coloring.
The woman is levitated around him on
SM: I don’t even know what to say. To be a bed of water and is eventually brought to
honest Cyril, that disappoints me on a level rest on his shoulder; he carries her off the
I can’t even articulate properly. It speaks mountain and they dance together on the
volumes by itself. stage and he gives her a rose. She appears
cold so he wraps her in a blanket and she
CYRIL: I was devastated. Here I was think- vanishes right in front of everyone. It is flaw-
ing I was going to become friends with less magic.
everyone in the magic community, and The stage darkens again and he is back
get their support; that I was going to prove in his bedroom as dawn breaks through the
myself and be accepted. That was my whole window. Cyril emerges from his bed, back in
purpose for going to FISM and I felt nailed his PJs, and rubs his eyes as if he has awak-
to the F%$*#ng floor with a jackhammer. ened from a dream. Appearing confused, he
Like I tried to come out and do something rushes to his parrot’s cage; she is in there safe
good and they nailed me down to the floor and sound along with a rose.
so bad; I was totally devastated! Cyril sits on his bed, the rose in hand…
maybe it wasn’t a dream.
Photo: Giuliano Bekor. Stylist: Shinko

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CYRIL: After being sponsored with so lation between your story and that of many CYRIL: So I ended up, like I said, leaving
much money, I felt I owed my life to Mr. of the other successful artists that I’ve met. everything behind and for a year and a half
Ito. I ended up having a heart-to-heart You’ve all been attacked and treated pretty I lived with a friend in this little cramped
discussion with him and asked to be let poorly by other artists, yet you’ve fought apartment sharing meals and just trying
out of the contract. He agreed, but I had to for what you believed in and continued to to survive. It was very hard—a very tough
give up everything. All of the props I had go after what was important to you and time.
acquired, the place I stayed—everything. I now you are at the top of the game, while
ended up broke again on the streets busk- the people who loath you so much are still SM: It’s sort of ironic, that the people who
ing. in the same place they were a decade ago. try to control you and keep you down end
There is certainly some poetic justice to up doing nothing more than lighting a
SM: Do you still have your parrot? that. fire within you to succeed even more than
before. I love that.
CYRIL: My father takes care of her. CYRIL: Yes, there is. So you asked me how
I felt about the magic community now— CYRIL: Yeah, I continued to develop my
SM: How would you characterize your re- well, I’m overwhelmed. After all of these magic. I kept working at clubs and busking
lationship with the magic community now? years just doing what I love, it has finally and building up clientele through word of
How are they receiving you? come full circle. It’s very… what’s the right mouth. And one thing led to another and
word? It’s an honour. an agent contacted me and started getting
CYRIL: I’d say now they are receiving me me more shows—some in the weirdest
pretty well. Everything in life happens for SM: I’m glad of that. And I’m impressed places in Japan. I did magic anywhere I
a reason. At the time it was good for me with your attitude. If anyone might have could do magic; I performed at birthday
to see things like that. It allowed me to go the right to say, “I told you so” it would be parties, clubs, or wherever an opportunity
off and be my own person. I just worried you, yet you are humble and appreciative. I came up. I even did stage magic in a close-
about myself and nobody else; I became can’t imagine any real professional with any up environment. In other words, I would
an outcast on my own. I didn’t hang out real level of integrity not truly appreciating do dove productions in a restaurant, for
with other magicians anymore. I was really your work, what you’ve accomplished, and example. I did whatever it took.
in my own world for many years. That more importantly, what you’ve overcome in
has forced me to create my own style and life to reach the level you have. Even at 19 SM: I’m fascinated that you’ve managed to
become the magician I wanted to be. when you performed at FISM, your act was hit rock bottom twice and then pick your-
very polished. self back up again and still reach the top.
SM: I think there is a wonderful lesson You’ve managed to reach a level in only a
there that you will find with all successful CYRIL: That was the first time I performed matter of years that most magicians will
people; they do what is best for them and it. never reach even if they spent a lifetime
ignore the idiots who try to keep them trying to accomplish it.
down. At least that would be the lesson I SM: Really?
would take from this aspect of your story CYRIL: For me it was about survival; I had
so far: just be yourself and continue to go CYRIL: Yes. The first and last time. to succeed. It is that simple. Magic was the
after your goals. only thing I knew how to do and if I didn’t
SM: No kidding. do magic, I didn’t eat. There was no being
CYRIL: Yes. I remember performing at wish-washy about it. It wasn’t about “I can’t
the Magic Castle about five years ago and CYRIL: Obviously it went very well. But do my show at this place or that…” If I didn’t
having all of these professional magicians I was very nervous. That whole experi- perform, I didn’t make any money.
I used to look up to coming up to me and ence to me was a lot like, well, you’ve seen
saying, “Wow! You’re fantastic.” Spider-Man right? SM: That’s interesting. Again, I see a strik-
ing parallel here. I know several artists who
SM: That is quite a contrast from what hap- SM: Sure. won’t perform unless a certain dollar figure
pened to you at FISM. threshold is met. They snub their noses
CYRIL: There is a time where things at certain kinds of opportunities. While I
CYRIL: I feel very lucky that these things change for him. You know, he is young, he understand to a degree, I also know that
have happened to me in life. At first, it was is wild. He goes to fight clubs and that kind they struggle financially because of it. To
very hard, but now I see that good things of stuff. Then, when his uncle dies, there is a certain extent, I think that is a revealing
came out of it. At the time I didn’t under- a moment of clarity where he figures out picture of our society in general; many
stand why these things had to happen, but what is important to him and what his life people would rather go on welfare than
they became very clear later. is going to be about; he makes that change. take a job that they consider beneath them.
That was that moment for me.
SM: There is definitely an interesting corre- CYRIL: I had to do it to make a living. I

"It is also flattering to see young artists copying what I do a

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48 STREET MAGIC MAGAZINE www.streetmagicmagazine.com
 didn’t have that option. In a way, it is like a fact that companies provide opportunities
little bird being pushed away from the nest. for young artists to have access to magic.
Either it survives or it doesn’t. You know, Let’s be honest here. Most towns across
one of the questions I get asked a lot is how America don’t even have magic shops in
I do something new or how do I create them. When I was growing up I had to
something different. I think people have go into a pretty bad area of town. In fact,
this impression that I take lots of risks with while I was on one street corner at the shop
my magic, and in a way I do, but that goes getting my magic “fix” there were people
as far back as when I was a child. There are across the street getting their drug fix.
two ways of thinking on this matter: there
are those who say you should never do CYRIL: (Laughs)
material unless it is complete polished; and
then there is the view that I have, which is SM: Too many shops barely eek out a liv-
“just do it” because there is no better way to ing. If we don’t support them by making
get polished except for doing it. magic products exciting, and more impor-
tantly, economical… shops will continue
SM: There is a trend in street magic, so to close or be relegated to the more seedy
this is a good place for a segue to address parts of towns because they cannot afford
it, where kids will download tricks from to compete in retail districts. Magic shops
magic sites, watch it once, and then run out and companies that sell magic products
and “just do it” in front of people, perhaps keep our art alive; they usher in the next
screw it up, and so on. What are your generation of artist. Without them, there
thoughts on that? wouldn’t be a Cyril and there certainly
wouldn’t be a Street Magic Magazine.
CYRIL: That’s a touchy subject. I think
that—hmmm, I’m not going to comment CYRIL: I think it is fantastic that people are
on that except to say that we’ve all done it. going out and buying magic and learning
And you can quote me on that. We all have how to perform. There is so much magic
to start somewhere. I started doing exactly available in this day and age. It is a luxury
that. that I certainly didn’t have when I was
younger. We all have to start somewhere
SM: I totally agree with you. In my youth and I think it is okay to go out there and do
I did the very same thing. And truth be magic for friends that you quickly obtain
told, I still do it on occasion when I see and on the internet or buy in a shop, but I also
effect that excites me, I may only practice think you have to learn to respect the art
it once before I show someone to see what as you become a better magician and other
their thoughts are. And that is something artists.
I take issue with: many of the magicians
out there that cast stones do the exact SM: It is nice to see an informed view from
same thing. Even if it is to just show their a working professional who is at the top of
girlfriend, wife, or roommate; they all have his game doing television specials and live
done the very thing that they complain shows seen by millions of people.
about. I have associates that I’ve caught
doing this. They are the first to preach, but CYRIL: It is also flattering to see young
seem to think that they don’t have to live artists copying what I do and what I have
by the same rules they say everyone else come up with. It comes to the point where
should. The fact is that when I was a child people contact me saying, “Cyril, there’s this
I was most likely destined to drug abuse, person doing your effect and this and that.”
alcoholism, and prison given my family And it’s basically the same issue. And for
history. But magic gave me something to me, for myself, I’m not going to go after
focus on that kept me away from those these people because it’s a journey they
things. It wouldn’t have happened if people have to take, it’s a path they have to decide
weren’t willing to “expose” me to magic. to take on their own. They have to discover
who they are and find their own style, just
CYRIL: Same story here. like we do. I am also too busy creating
what’s next to worry about what other
SM: That’s important. I personally love the people are doing and what has happened

and what I have come up with."

Photos: Takeshi Hanzawa

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www.streetmagicmagazine.com STREET MAGIC MAGAZINE 49
 in the past. I think sometimes people This is a great place to break in and tell
take it too far. I once got a phone you a little taste of what you’ll see in his
call from another performer. 11th special.
He tracked me down, got In one scene Cyril goes out onto the green
my phone number, and and plays some golf and performs some
called me up yelling at me pretty spectacular magic. It starts out with
for supposedly “copying” him on the putting green where he instructs
him and his act. He even his putter to stand up and stay; it does. He
complained about the fact then gets the group to walk with him past
that once I had my finger the putter to the cup. He kneels down, puts
nails painted black as if I his hands over the cup, and next thing you
got that idea from him—I know… it is gone and he carries it hidden
got the idea from Depeche in his hands over to his putter, kneels down
Mode and people like that. again, and puts it back into the ground. A
But this artist ended up simple shot at that point and he knocks the
attacking me over things like ball in without effort. I could use that in my
that and telling me off. games!
But my favorite effect in this special was
SM: That’s too bad. performed with a pet goldfish. It is absolute-
ly fantastic! One of the ladies in the studio
CYRIL: It really frustrated the audience is asked to name a goldfish swim-
F&^# out of me at the time, but ming around in a bowl that Cyril is carry-
the truth is that I immediately ing. She picks the name “Vanilla”. As he be-
got over it and I just feel sorry for gins to talk he slips and drops the bowl and
the guy, and the only reason I can it shatters all over the floor. He scrambles to
feel sorry for the guy is because pick up the fish and then gets an idea; run-
I’ve been through all of those ning over to a bar he grabs a sealed bottle
emotions myself. The special I of water and with just a brushing glance of
just finished is my 11th two- his hand, the goldfish penetrates the plastic
hour television special. I have bottle and is saved. Incredible!
been through so many things
and been to the point where SM: Obviously, you are doing well now, so
I thought I had nothing left how did you go from being poor again to
in me to give. Where you are landing television shows?
so hungry for material that
you just say “F*&@!” and CYRIL: I think it was just because I was
you wish you could just do maturing more. If you go back to my Magic
this trick or that trick. I am Castle junior days, a few minutes seemed
sure this other artist feels like an eternity to me. Then at 19 I was
similar things and there is doing 20 to 40 minute shows. Because I
a lot of pressure on him. did magic in every conceivable situation,
But I’ve never copied any of my ability to perform grew. I think this
his effects—not even once. is something magicians ask me a lot; it is
It is insulting and small something they want to know about me. I
minded to suggest such a just performed a lot. I was gaining knowl-
thing. In fact, I was fine edge and experience by doing my magic all
with him on the phone the time and in every situation, and every
until he started accusing situation was different. Sometimes I had
me of doing things I didn’t to do a show completely surrounded and
do and saying that I owed I had to adjust to that and still make the
my success to him. Please. magic look good. Sometimes there was
I made the effort to explain really bad lighting, so I learned how to deal
to him that, believe it or with that. Other places would not let me
not, magicians do come up use live animals like my doves and I had to
with similar ideas quite in- force myself to learn how to handle every
dependently; that I didn’t single situation accordingly. And I think
need him in the slightest that is one of my main things that I can
bit. He wasn’t convinced. say truly was my training to be who I am
It is really sad to act like today; to be able to go into any situation or
that; I don’t take any- venue and know how to handle myself.
thing for granted. But
I wish him and other SM: There is a great lesson there for our
artists luck, because readers; if you want to be successful as a
there is enough magic magician, you really need to push your-
out there for every- self—to study, train, learn, grow, and get
body. out there and just do it. You have to take
Photo: Takeshi Hanzawa

50 STREET MAGIC MAGAZINE www.streetmagicmagazine.com

things seriously; you have to learn how to David had created this fad worldwide and SM: Take your time man.
perform right from the start. It is as if too it had reached Japan and Japan wanted to
many artists think they can just jump into do something similar. I admit that I owe CYRIL: David and I are friends now. Last
something and the flood gates open right my success to David because of what he year he contacted me and I was a guest
up for them. I don’t know how many times created. My opportunity to do this show at his home in New York and we really
I’ve heard people say, “Heck, if I had that was because of his shows in America. That bonded, so I don’t want this to come across
kind of money I could do it too.” But it isn’t was my transition into television. It just in a bad way or betray his friendship.
all about the money, in fact, that is way came at the right time.
down on the list compared to all the other SM: I didn’t take it that way at all and I
things you mentioned. SM: How long have you and Jane been know our readers won’t either.
together?
CYRIL: That was me. I thought money CYRIL: I was a stage magician, so it was
was the answer too. Trust me; I was exactly CYRIL: (Looking towards Jane who is in a difficult transition to doing television. I
where most are. I was that young kid who the background busy with something) How love all kinds of magic and I had tried to
said, “If I had the money I’d be right where long have we been together? Eight years? make a living in Japan doing magic, and
they are!” but that isn’t the case. And then right when I thought we’d have to give up
I got the F&%^*#$ money, and what hap- JANE: No, ten. and move on to other countries because
pened (laughter)? You can print this too… CYRIL: No, it has to have been about eight Japan just wasn’t seeing our vision, this
I used to say if I had the money I could years. opportunity happened so I was eager to do
do the same things until I got the money something with it. But the terms were I had
to do it and I realized how much hard JANE: You were twenty-three when we to do street magic. I was working with a
work it takes; I realized how much is really started working together. You’re now producer who had a vision of his own and
involved. Since that day at FISM I never thirty-three. Ten years.
he wanted to create exactly what David had
said the same thing ever again. I had never
done. So the materials I had to work with
realized what it took to make magic look so CYRIL: (Laughs) Ten years.
simple—how much hard work, dedication, were pretty much the same thing. I had to
and effort it took to do it. And later on, I SM: (Laughing) Thanks. I’m a little do some things like David did it. My first
said the same thing about television. I said, confused though. How did it come about? special was a tremendous challenge for
“I can do a TV special; I can do what David Sorry. The call… I mean, how did they end me. Out of the chaos of making that show
Blaine does.” Until I had the opportunity up contacting you? I was able to take my previous years of
myself and I found out how much it took. I experience of doing stage magic in close up
never say things like that anymore. I have a CYRIL: It was a television producer that I situations and sort of blend it into my own
lot of respect for anyone who is trying to or had met before. At the time he didn’t know style of magic. So to finally answer your
successfully creates a special or a show. Just how to sell me, and what I did, on televi- question about the coins in the cup effect,
be careful what you ask for. sion. But when David’s first special aired that is something I am not proud of—it
and that made it over to Japan, it just fell was something I didn’t want to do. But in
SM: This is a good place to ask you then: into place. Because David became popular, the end I gave into the producers and did it
how did you eventually hit the television the networks wanted something similar and that’s why, in the end, I can understand
scene? and I got the call. the pressures people have when they are
trying to create a show; there is a lot more
CYRIL: Okay, yes. Well before I go into SM: Some magicians feel that they live in to it behind the scenes. Not everything is
that, I know that I am giving you a lot of David Blaine’s shadow. For example, in simple.
the history, but there is a little piece miss- your second special you were urged by
ing about my stage work and live perfor- your producers to, in effect, use a simi- SM: Thanks for sharing that. I think most
mances in Japan; let me tell you about lar version of David’s coffee to coins and intelligent people know that life isn’t black
my partner that I’ve had for many years, you’ve also done the bitten off and restored and white. There’s always more to it than
because she plays a significant roll in my coin. Do you ever feel like you are forced to that. But you mentioned just how much
success. I met Jane many years ago, hired compete with his celebrity? material has to go into making a show;
her as an assistant dancer, we bonded very
how much work there is, so where do you
well, and since then she has been a big part CYRIL: I’m not into competing with get most of your inspiration for effects?
of my life on and off stage. She is one of the anybody. I just do what works best for me.
Do you have a team? Do you go to books,
best dancers I have ever met in my life and I have the biggest respect for David Blaine,
is a fantastic choreographer, who continues videos, and other resources? What’s your
like I said, I wouldn’t be here if it weren’t
to choreograph and perform in the live for him, but at the same time I was creating secret?
shows I do. She is fantastic. In my opinion, my own special that would be seen world-
we make a great team and I hope your wide so I didn’t want to be just like him. CYRIL: You know that’s a really good
readers get to see us someday. We work Yet it was the kind of magic he did that the question. After my first special I thought
very well together. But we were getting producers wanted to see, so I had to find a there is no way I could possibly do that
fed up with the market here in Japan and way to create my character and style while again—that there was no way that I could
didn’t feel we were going to be able to grow still providing the network with what it find more material to do another show.
anymore than what Japan was able to offer. wanted. I’m not really sure how to answer I was completely dry. But somehow they
Right when Jane and I decided to move out this question. keep popping out of nowhere. As far as
of Japan to America, was when I all of a inspiration is concerned, it just appears; we
sudden got a telephone saying, “Cyril. Can At this point the expression on Cyril’s face have brainstorming sessions and things just
there is a two hour slot for television; can changed; I could tell he was truly contem- happen. I have a very good friend of mine
you create a special like David Blaine did?” plating the best way to answer this question. named Enrico de la Vega…

www.streetmagicmagazine.com STREET MAGIC MAGAZINE 51

SM: Yes, from T.H.E.M. He seems like a ate spectators are just normal people that pressed with some of the other guys.
fantastic guy. aren’t apart of the effect itself. I hope others
follow your lead on that. Let me ask you a CYRIL: Yeah, he dressed up like an old
CYRIL: Right. He is a very good friend of few more questions. man and I thought it was so funny.
mine from the Castle days. He is a very
clever thinker. He thinks on the edge. He CYRIL: Sure. SM: How long does it take to put the
thinks unlike most magicians. He has really SM: How many hours do you have to film makeup on?
wacky concepts. He was on my team for to get a one to two hour special?
my third special. CYRIL: Hours! It’s very uncomfortable too.
CYRIL: Umm. About four hours. We shoot
SM: Does he still work with you? double what we need because not every- SM: I’ve heard that you tend to feel stifled
thing looks good once it is filmed and then with projects you get involved in. Is that
CYRIL: Yes, he does. But he didn’t work on we cut it to make the show. true?
this last special because he is working on
something else; something big that I can’t SM: Do you prefer doing TV or stage CYRIL: Yes. Definitely! I am constantly
talk about. But yes, he still works with me shows? trying to do new things and push myself
all the time. Have you seen my specials? and that’s how I’ve been able to accomplish
CYRIL: Stage! But I love all magic. all that I have.
SM: Yes, a number of them. They aren’t
that easy to get a hold of, but I have a few SM: You are both prolific and varied in SM: Do you have a signature trick?
DVDs. They’re excellent; I really enjoyed your performances; why did you decide to
them. be an artist that changes rather than build- CYRIL: You want to see one?
ing a specific character or look.
If you’ve not seen Cyril in action, you SM: Sure.
should run right out and get one of his CYRIL: I prefer to just be myself. My magic
DVDs of the net. I found copies at Amazon. represents my emotions, what I feel, who I Cyril stands up and begins a really cool
jp and it only took about a week to get them am, and what I want to do with my art. I’m cigarette routine where he makes it vanish,
to the US. not a character, I’m a real person and my reappear and then, break and restore; it’s
art reflects that. pretty solid. Damn man, that almost makes
CYRIL: Fuji TV took down a lot of the me want to take up smoking just so I can do
clips off the Internet because of copyright SM: What is it like being a “celebrity” in cool effects like that!
issues. Japan?
SM: Who are your favorite magicians?
SM: There are still quite a few up. I remem- CYRIL: Crazy. I can’t go anywhere without Who has most influenced or inspired you?
ber one of the first clips I saw of you was being noticed anymore. There are good
you doing a coin through glass. Then you things and bad things to having everyone CYRIL: I can’t answer that—there are too
put the saltshaker through, which I have to recognize you. For example, I was at Uni- many people to name. I’d like to finish
say, looked amazing. versal Studios in Osaka, and I couldn’t walk answering you though about inspira-
around because people just started follow- tion because that is a very good question.
CYRIL: Thanks. Yes, I am very proud of ing me everywhere I went. I just wanted to Inspiration happens everywhere—just
that one. see the park. Eventually, security just took living life. It happens all around you. Going
me in all the back exits, but it would have to concerts. Eating dinner. Seeing shows.
SM: You know, I looked—I examined—and been nice to have been able to just be like Traveling. Sitting on an airplane talking to
I couldn’t catch you. I know how it is everyone else. Tokyo is a little different. It is people. An artist portrays his life; magic is
essentially done, but you performed it so like LA, you see a lot of celebrities just go- just the tools the artist uses. Magic is just
well that I couldn’t verify my beliefs. There ing out to lunch or shopping. It’s not so bad the paintbrush and the paint. Just like in
is another magician who is currently on where I live as it is in other places. music. A guitar is just the tool the artist
television in the US and I know for a fact uses to express himself. When I was going
that he uses stooges a lot. I have to ask you, SM: How did you come up with the Sero- through my dark time my performances
did you use a stooge for this effect? jiisan character? It truly is one of the most reflected it. My emotions come out in my
entertaining and unique things I’ve seen in art.
CYRIL: (Laughs) No. No stooges at all. I a long time.
really try not to do that. I really try to do SM: Tell me about your recent trip to
magic that I can do on my own without CYRIL: (Laughs) Oh, I saw it on Jack Ass. Thailand.
help of someone in the audience to make it I loved it and thought that it was a great
look real. idea. CYRIL: Sure. That was part of this last
TV special too. A woman sent a letter to
SM: I really admire that. It is great to know SM: That’s great; that show is funny. Some- the network and told us about an orphan-
that what you see is what you get with your times over the top, but Johnny Knoxville age she had started in a little village for
shows; that the audience and the immedi- really makes it what it is. I’m not as im- children who are infected with HIV. When

"I can’t go anywhere without being noticed. There are good things and bad things to havin

52 STREET MAGIC MAGAZINE www.streetmagicmagazine.com

 she had found these kids on a trip, they
were living alone because they had been
abandoned or their parents had died.
SM: That’s horrible. She started the orphan-
age on her own?

CYRIL: Yes. She is about 60 and just de-

cided to go there and do it. She has about
thirty kids now. It just so happens one
of the children has a dream of becoming
a magician. His name is Gurai and he is
fourteen. I took a crew over there about a
week and a half ago and stayed there for
about three days; it was one of the best
experiences of my life. They are absolutely
beautiful. She wants to give them a way to
survive after they grow up. We got there
and found that the villagers would never
come around the kids because of their lack
of knowledge about HIV. They couldn’t
go to school because schools turned them
down. I did magic around the village and
over 80 kids came out and watched. Really
simple things and it went over great. All of
the kids bonded together. I taught Gurai
the first trick I ever learned, rolling up
newspaper and making it turn into a tree,
and then he debuted as a magician for
the first time. Magic truly communicates
across all cultures and languages. I don’t
speak Thai, and they don’t speak English
or Japanese, yet we were able to share with
each other and get to know each other. I
was able to experience the lifestyle they go
through. In the end, the children I spent
time with… I was gaining much more from
the entire experience than they did. But
we really bonded. Doing things like this is
worth more than money ever will be; it is
the reason I do magic.

SM: I think I’ll end on that positive note

with just one more question. If you could
give young performers any advice on how
to be successful, what would it be?

CYRIL: Follow your dreams and don’t

listen to people who try to keep you from
being successful. You have to be true to
yourself.

SM: You’re an amazing man and I respect

what you are doing. Thank you for sharing
with us; it’s real honour and a gift that you’d
take the time to give us all a view into your
life.

CYRIL: Thank you; it's my pleasure. SM

ng everyone recognize you."

Photo: Giuliano Bekor. Styalist: Shinko

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