Naquada

There are many places and things in the world that leave you awe inspired and humbled in their presence, and I think Emperor Qin Shin Huangdi’s Terracotta Army is one of them.

The Terracotta Army was buried with the Emperor of Qin around 209-210 BC. They were constructed to help Qin rule his empire in the afterlife. Consequently, they are also sometimes referred to as “Qin’s Armies”. People also believe that the army was built to help protect the tomb of emperor Qin from looters and robbers.

The Terracotta Army itself was discovered in March 1974 by local farmers drilling a water well to the east of Mount Li. Mount Li was also where the material to make the terracotta warriors originated from, and in addition to the warriors, an entire man-made necropolis for the emperor has also found at the site and excavated.

According to the historian Sima Qian construction of this mausoleum began in 246 BC and involved 700,000 workers. Sima Qian, wrote an account almost a century after its completion, saying that the First Emperor was buried with palaces, scenic towers, officials, valuable utensils and ‘wonderful objects’, wtih 100 rivers fashioned in mercury and above this heavenly bodies. The site has actually been shown to contain high levels of mercury in the soil of Mount Lishan, appearing to add truth to the belief that this wondrous tomb is in fact as Sima Qian describes.

The tomb itself of Qin Shi Huangdi is near an earthen pyramid 76 meters tall and nearly 350 square meters. However until modern archeology can reach the point where no damage can come to possibly one of the most important historical sites in the world, the tomb remains unopened, with hopes that it remains intact.

Although only part of the site’s been currently is excavated, it points to how Qin Shi Huangdi’s necropolis complex was constructed to serve as an imperial compound or palace. It comprises several offices, halls and other structures and is surrounded by a wall with gateway entrances. The craftsmen that worked on the soldiers and items found inside are believed to have ben buried alive in the underground complex, as many human remains have so far been found, it is believed they were sealed inside alive to keep them from divulging any secrets about its riches or entrances.

I have always wanted to see the complete Terracotta Army in China, so when it was announced some of the artifacts would be coming to the UK to the British Museum, I was quite excited. Obtaining tickets however proved to be very hard work. We eventually decided to become members of the british museum (which cost £60 in all for the year for both of us), this meant that no only did we support the museum, we also gained free entry into any exhibition at the museum for one year, including the First Emperor. As an added advantage, members are allowed out of hours visits to the museum galleries and exhibitions, so our tour started at 9:15pm last night, ironically after a lovely Chinese meal in China Town.

It was quite eerie and in some ways romantic heading into the museum in the dark and rain, most visitors were heading out, the last few lingering tourists heading home. The museum was quiet compared to the day, and the Museums Reading room lay straight ahead. The Reading Room, where the exhibition is held, like the rest of the museum is a Grade 1 listed building. This meant that nothing in the Reading Room could be disturbed or moved, which does beg the question, Where do you put a bunch of Terracotta Solders?

They certainly couldn’t wander around the reading desks. The solution was to build a special raised exhibition space above the desks and floor of the normal room, whilst maintaining the required temperature for the exhibition space, and allowing air to flow to the desks below. Like Qin’s soldiers before, the desks lay silent and dark almost 1.8 metres below you as you explore the exhibition above.

As you enter the exhibition you walk up into the circular Reading Room through a dark tunnel which you follow round to steps up to the start of the exhibition. There are no atmospheric sounds, and no noise, and although the exhibition is clearly documented through display case notes, I’d wholly recommend paying the £3.50 for the audio guide. The exhibition is also very dark to preserve the exhibits, it fitted in well given the time of night for us, but I’d say that it wasn’t as well presented visually as the Tutankhamun exhibition at the O2.

There is a large video screen near the start that explains about the First Emperor’s life, as well as projections later in the exhibition that show the pits in China and why the tomb at the heart of the complex that hasn’t been excavated, again there is no sound on these projections, only subtitles, which I found a little off putting. At the very start of the exhibition you’ll come face to face with the archer figure shown here. The attention to detail on the figure is amazing, each section of the armor painstakingly over lapped on the one beneath, his hair, and even hobnail boots almost perfect in detail.

Other artifacts from the site are also shown, large Bo bells, cast iron religious ceremonial bells that are again detailed perfectly, weaponry and even the original cross bow releases found with the terracotta archers. The exhibitions winds around the raised floor of the reading room until you come to the main space that houses the larger collection of terracotta soldiers. In this section bronze chariots show just how detailed and how much work was put into Qin’s frozen army. However he was not only accompanied by warriors, the 12 army members and 3 horses are accompanied by acrobats and musicians to entertain in the afterlife, civil officers needed in the afterlife as palace administrators, and even bronze birds who were found feeding on fish from the rivers that were diverted to flow through the underground complex. One nice thing about this space is that the carriages, standing solders, archers, clerical staff and acrobats are all standing open, and not behind glass. There does seem to be very high security around them, with motion wire and proximity alarms, as well as the four very large security staff that patrol no mans land between you and the soldiers.

It is also not widely known to most that the figures were originally all coated and painted (the process of plating invented by the Americans, was actually invented by Qin’s workers thousands of years before), some of the figure heads in the exhibition can be seen to see have some colour on them, as well as there being a reconstruction of what it is believed the archers would have looked like in full-color.

The Reading Room was actually quite hot, and a little crowded, even for this time of night, and we found ourselves double backing on ourselves to see parts we some how missed, again unlike the Tutankhamun one, the exhibition lacked a little in the directional aspects that flowed through it. However it was a privilege to be able to see some of the army in person, and they are unlike anything you could ever imagine seeing. Possibly only by going to China itself, this is probably the best experience of the Terracotta Army, Qin’s rise to power and the creation of modern China that you will find. I would very much advise you to try and get down to The British Museum and see it before it closes on the 6th April 2008. Tickets are available on each day, however you need to be in line and lucky as only 500 are released each morning, or, think about joining the Museum.

In answer to a question that I was wondering about, there is no photography allowed in the exhibition.

Photo credit: Dan Morelle (to whom I’m glad you ignored the no photography signs.. great photo!)

I’m slightly confused about what’s actually happening at Covent Garden now, and what the real agenda is. Beverly Churchill sent me (and everyone who’s emailed her) the same email. Which makes it sound like it’s a simple situation where sound clashes and movement of the public is the problem, she also states that “We believe that street entertainment is a significant part of Covent Garden’s rich heritage“.

However I’m confused by an article in Property Week, that one of the commenters (thanks Lee!!) pointed me towards that states:

Brand and marketing guru Churchill, who has worked at Tesco and with Vittorio Radice at Selfridges, has been taken on by Liberty International-owned Capital & Counties to turn Covent Garden from a tourist trap with tatty market stalls and buskers into a world-class retail and leisure destination with a top-end designer boutique hotel, designer retailers and restaurants. Her most recent job was with retail billionaire Sir Philip Green.

Which is a stark contrast to what we’re being lead to believe in the emails..

PLEASE make sure you join the myspace group that has been set up to show support for the performers. You can take a few moments to sign the online petitions, so please sign both the North Hall petition and the South Courtyard petition. Its very important to sign BOTH!!! You can also voice your disagreement of this by joining the mass email campaign. Just cut and paste the below sentences and send them to beverley-churchill@capcount.com.

I am writing to express my opposition to the reducing of the street theatre performance times by 50% in The North Hall, and South Hall areas in Covent Garden.I urge you to reconsider this direct attack on the livelihood of the famous Covent Garden Street Performers and Classical Musicians. Specifically I’m concerned about the comments made in Property Week regarding “Brand and marketing guru Churchill, who has worked at Tesco and with Vittorio Radice at Selfridges, has been taken on by Liberty International-owned Capital & Counties to turn Covent Garden from a tourist trap with tatty market stalls and buskers into a world-class retail and leisure destination with a top-end designer boutique hotel, designer retailers and restaurants. Her most recent job was with retail billionaire Sir Philip Green.”

Please link to this article, email it on, and spread the word…

Following on from sending an email to Beverley Churchill regarding the proposed changes at Covent Garden I got the following reply from her today:

Dear Andrew

Thank you for your email.

To clarify, we are working on a revised schedule of performances within only one of Covent Gardens performance spaces, the North Halls and Lower Courtyards of the Market Building. This is to overcome the issue of excessive sound levels from clashing performances and the lack of breaks between the shows that has been raised as an issue by other people who live and work in the area.

The schedule will not cut shows by the suggested 50%, but will introduce short breaks between shows to limit the competing noise levels within the two performance areas, while maintaining performance throughout the day for visitors to the area.

We are in ongoing discussions with the street performers on this matter and will continue to work with them to reach a satisfactory conclusion.

We believe that street entertainment is a significant part of Covent Garden’s rich heritage but we need to ensure this works for the whole community.

Kind regards

Bev Churchill

The Magic Castle, Hollywood, is the private clubhouse for the Academy of Magical Arts, a very special organization devoted to the advancement of the ancient art of magic. It’s purpose is to encourage and promote public interest in the art of magic with particular emphasis on preserving its history as an art form, entertainment medium, and hobby.

The Magic Castle began its life as a private home built in 1908 by banker and real estate magnate Rollin B. Lane. Mr. Lane owned much of what is now Hollywood, dreaming of turning his land into orange groves, farms and ranches. Severe drought brought his dreams to an abrupt end and orange blossoms never filled the valley.

The Lane family moved away in the 1940s, and the mansion was divided into a multi-family home, then became a home for the elderly, and was finally transformed into a maze of small apartments. By 1960, the fate of the Mansion was uncertain. Then Milt Larsen met the owner, Thomas O. Glover.

Milt was a writer on the NBC TV show Truth or Consequences. His office was on the ninth floor of a Hollywood office building that overlooked the Lane mansion. Milt’s late father, William W. Larsen, Sr., was a renonwed magician and had long dreamed of building an elegant private club for magicians.

In September of 1961, Milt and a crew of eternally generous friends and volunteers began the extraordinary task of returning this run-down apartment building to its glorious past. After months of scraping and sanding, the rich Victorian elegance began to resurface, and at 5 p.m. on January 2, 1963 The Magic Castle opened its doors.

To gain access to the inner secrets of the Castle you need to whisper the password to the Owl, after which and a short pause the bookcase will slide aside to reveal a dark, low-ceilinged corridor, beyond which is a chintzy bar area where a nude portrait of a boy hang over a piano. Irma, the pianist has been dead for over 72 years, but ask her nicely, and she’ll play any tune are ask for from beyond her ghostly grave.

The Castles recent past though has been more and more uncertain as times gone on, the entire ten-acre Magic Castle site is now again up for sale. The sale has been on and off the table for as long as I can remember, rumors of deals and negotiations flying around the magical fraternity. It now seems though again, according to speculation, that the 11 descendants of the landowner who bought the place for $150,000 in 1948 are said to be considering offers of $70 million. Naturally, apparently promises have been made to preserve the existing structures on the site, including the Castle, but I have a horrible feeling they will go the same way as so much of LA’s instantly disposable history.

Covent Garden has always been the place in London to go if you’ve wanted to see street performers at their best, dating back to the 1600’s covent garden has always had performers, but the current performance areas and agreements still date from the late 1970’s. Covent Garden even has ‘Magicians Corner’ pictured here, frequented by some of the biggest magical names in street performing, including the legendary Bob Read.

However all this could change going forward. Performance has always been a hot potatoes as far as westminster council, and the owners of Covent Garden are concerned. The present owners of the market are Capital and Counties, a member of The Liberty International Group, (http://www.liberty-international.co.uk/). During a key meeting in the Westminster Council Chamber they unsuccessfully opposed the street performers having any involvement in the running of the performance spaces, and are looking to change the way performance is run there. Their main aim is to impose two things that would drastically effect street artistes of all types who work in the market.

1) A 50% reduction in the total time that performers can use the spaces
2) A reduction in the length of each individual show from 40 mins to 30 mins.

The idea of a street show, as veterans like Gazzo and others know, is that the true street performer does not perform to passing trade, they gather an audience, produce a show and collect or ‘hat’ at the end, implementing these changes could cost the performers between 25% and 50% of their total average income, making the venue unviable for performers, which will undoubtedly lead to street performing in Convent Garden to die out.

I feel very strongly about this, and a myspace group has been set up to show support for the performers. You can take a few moments to sign the online petitions, so please sign both the North Hall petition and the South Courtyard petition.

You can also voice your disagreement of this by joining the mass email campaign. Just cut and paste the below sentences and send them to beverley-churchill@capcount.com.

I am writing to express my opposition to the reducing of the street theatre performance times by 50% in The North Hall, and South Hall areas in Covent Garden.I urge you to reconsider this direct attack on the livelihood of the famous Covent Garden Street Performers and Classical Musicians.

Please link to this article, email it on, and spread the word…

photo credit: alextakesphotos

It was my nephews fifth birthday today, and as well as spending a few hours building various lego and playmobil sets, I spied something on the side that caught my eye..

Optimash Prime.. The wacky Mr Potato Head is up to his usual antics, not satified with Darth Tater, and Spud trooper, this time he’s disguised as the fearless AUTOBOT leader!

He and his faction of taters are battling the evil DECEPTISPUDS. Those starchy situations call for a quick change, from truck to robot, or other spud like origin! These are no ordinary fries, these are POTATOES IN DISGUISE!

Childish I know.. but you can’t help loving a super hero Autobot with his spares in a flap in his arse..

I’m struggling at the moment to get myself kicked into seriously doing some magic.. I’m not sure why.. I have my first effect now in the process of being published, a potential second one in the workings, and even getting close to working of the kinks in possibly the ultimate signed card routine thats currently going under the simple name of ‘Michelle’..

Yet I’ve sat here struggling to work out how to make the next leap.. My now good friend Brendon have been assisting with some Three Fly practice over skype today, but I guess my real issue, as it’s always been.. has been practice..

I remember asking Jeff McBride about ‘Practicing‘ and ‘Playing with new material‘ (I have taken out some aspects of this quote due to description of methods);

As for ‘Playing” with new material. If you use this word “playing” with material, you are not taking your practice or rehearsal sessions seriously. this term is one that slips into our vocabulary when we are afraid to commit to WORK!

If you want to play..no good! If you want to work…here is how I work on new pieces.

I set time aside each morning for mirror practice. Yes I know some things can’t be rehearsed. The camera does not blink. It can see you peek, and is a harsh but loyal helper in refining secret techniques.

Here is what I do to WORK on new pieces.

When I break in mentalism pieces, it is usually for small groups here at my home. I have a camera set up at all times with a fresh tape, ready to go. If I have the pleasure of having guests drop over. .. I will ask them if they worked like to see something new that I am working on. (most often they suffer through the work session with a smile) I sit them down with a cup of tea, and get the camera rolling.

During performance, I can watch their eyes. Over the years I can tell when they are looking where they are directed of NOT!

After I watch the tape back I can script the words spoken, quips from the audience, and add any of my ad-libs or improvisations that may have occurred during the session. Often time the best material comes from the audience during these sessions. I can then start to work on memorizing the script and get ready to refine the piece on the next rehearsal.

Yes, it is a challenge to rehearse some mental effects with no one to help; impossible in some situations. I am presently working on a crystal gazing act and have to continually invite friends over to my home theater to watch my performances. It will take many years of this work to get this piece polished, because it require so much” on the fly” feedback with the answering of the questions. I perform it at every social function and charity event I can do! I have been working 2 years on this act. Only a few weeks ago I placed a small portion of this “loose material .”( the hammock) between two of my strong pieces in my show. This technique is called “hammocking”. You put a new piece of “loose” material between two pillars of strong , solid material.

This “hammocking” process has worked well for me. I suggest you try it!

Video all of your shows!

Last week Eugene and the faculty of THE MAGIC AND MYSTERY SCHOOL where invited by David Copperfield, to visit his museum here in Las Vegas. David showed us his video archive. David has video taped EVERY show he has ever done. Not only that, but he has reviewed EVERY tape and marked it for spontaneous remarks and adlibs that HE made. AND he marks down adlibs that the audience makes during the show. The good stuff he adds to the show. the mistakes he revise so he will know how to handle the situation better the next show.

David shared a real inside secret with us… VIDEO EVERY SHOW! …now we pass this example of his commitment to excellence on to you! Hey, he does over 500 shows a year and videos and reviews all of them, and sells more tickets than any solo performer, including Madonna and Michael Jackson!

My camera is loaded and ready to go! All the best to you Andrew and see you in Cornwall next year! Kenny form Kernow will have the info in a few months about the timing of the classes.

Your friend in the mystery, Jeff McBride

This helps me some, but I really have still a huge problem with the whole idea of HOW to practice and work material…

The Ellusionist Blog has some interesting news about a potential new UK Magic show coming up this year

Magic on UK TV seems to be taking an upturn as of lately with a number of specials and shows having aired. These shows have subsequently spread across the shores to the US; the trend seems to be continuing. We’ve heard of a new magic show will be shooting this summer at bars around the UK.

The show that has yet to be named is being produced for a new UK channel launching this year. The difference—they are working with a little known magician who’ll be performing his own material alongside the cream of effects from the magic community in a ‘new and unique way’.

Having spoken to the magician at the center of the show, we’re sure that UK viewers are in for a treat, and a refreshing change in magic shows. “Everything I’m performing in the show, from my own material to the already released material, will be very unique in its presentation.

As to what the unique slant is and who the mystery newcomer is—stay tuned, and don’t touch that dial—we’ll be right back!

It all sounds very interesting, and a bit cryptic, but I’m hoping to do some more digging to find out what’s going on..

Each year Feed The Children run a variety show in Wokingham at the Bearwood College Theatre. To be honest I’ve always seen it advertised but never actually managed to go, which is a bit pathetic really given the line up each year is particularly excellent. So we managed on Saturday to just get back in time for the show..

This years show was hosted by Ali Bongo, and as he said;

It’s not often you can see this amount of talent in one room - and Feed The Children’s Variety Show has brought some of my most talented friend and colleagues together. I’m delighted to be introducing such a wonderful range of traditional and new feats of magic and illusion, on stage and close-up in the intermission, you’ll be entertained and amazed. Best of all, the price of your ticket is putting food onto hungry children’s plates.

He was certainly right, as the evening started off with David Ball, Michael Carr and Rob Page doing close-up in the foyer before the show. The show started with the Performers Dance Company, a troupe of dance students from the Performers College, which has had many West End names pass through it’s doors, before the evenings host, Ali Bongo took to the stage.

First up was a traditional stage and dove act, Brian Miller and Audrey, their act was a good start to the evening, having performed at the London Palladium and Caesar’s Place in Las Vegas, it was a great mix of magic and dove work, cleanly executed and a good traditional class act.

Next was a bit of a surprise, lan Rowland (the real Ian Rowland and not the guy that looks like him!) took to the stage to present his magic and illusions of the mind. I’ve never seen Ian perform, and he did some wonderful effects around spoon bending, a card in impossible location and finished with a nail in the nose effect, with a lighter funnier side to it than others.

The magic took a break with the next act, Nicola Bentley, a very talented singer, at only 20 she held the stage well, and had a powerful voice. She did a number of songs assisted by the Performers Dance Company .

Jonathan Shotton brought the magic back, assisted by Kayleigh Buckland. Jonathan is only 19 and has just left the Magic Circles Young Magicians club to join the full ranks of the Magic Circle. Jonathan did a great set, ‘Lost in the Snow’ took us through appearing and repeating roses, colour changing roses, linking rings, and Snow Storm in China, again wonderfully presented, ending with the traditional snow filling the theatre.

The second half saw Ali Bongo having a set of his own, unfortunately not doing his ‘The Shriek of Araby’ act, which I miss seeing, before he introduced what turned out to be the funniest parts of the show. Mark Shortland, British magical comedy champion really brought the house down with laughter. He did a great set with two children from the audience, a bill to apple, scissors through jacket and had us all in tears of laughter.

Hans Davis, who I think I saw at FISM, did his shadowgraphy act, a simple but wonderful act, where he used purely his hands to cast shadows on a large screen, human faces, birds, animals, fish, even the devil popped up, and it was hard to imagine he was just using his hands to cast the shadows.

Duncan Trillo closed the show with his expert card manipulations, and his dancing hank. Again like every performer during the evening, providing an excellent and polished performance.

The evening was a fantastic event, and it was definitely worth the very low ticket price, and considering that all the money helps feed, cloth and shelter homeless and abandoned children, it’s nice to have a great evening out, and help a worthwhile charity.

The event was run by Feed The Children, and you can obtain more information about the event, and plans for the future shows directly from them at: info@feedthechildren.org.uk or telephone 0118 932 0095.

I’ll post details on next years show as soon as I get details.

Yesterday we headed up to Hatton Garden in London to get our wedding rings. A little before the event I know, given we’re not getting married until October, but given that the price of platinum seems to be rising on a daily basis, we thought we’d try and save a little but getting them now.

For me choosing the rings was based around a few simple requirements.Firstly, it was very important for me that the rings matched, I’m not sure really why, but I think I felt that matching rings meant a bit more of a connection, especially if I’m away from home or something, I’ll know the rings mate is sat on Michelles finger back home..

Secondly, I preferred plain rings, and although Michelle had taken a shine to a number of Diamond studded numbers, to me, the ring is a sign of unbroken, unending love, symbolised by the plain, smooth, unbroken band.

Thirdly, Michelle and I had to love them and feel comfortable with them, they are something that we will have and wear until we’re old, we want to look at them and think of what they mean, not that they might not quite be right…

Lastly, they had to go with Michelle’s engagement ring, this is not as strange as it sounds, a lot of rings cause a gap between the engagement ring and the wedding ring, and although many women apparently don’t wear the engagement ring once they have a wedding ring, Michelle wanted to wear both, so they had to fit.

We spent pretty much most of the day up in Hatton Garden looking at rings. I didn’t realise the number of different sizes, shapes, quality, prices an variants there are.We finally managed to decide on two, that match, and were court bands.

They will be made over the next 10-12 days, and we’ll be able to pick them up after that..