Rodney James Piper

I have a big belief in a being a magician,

it's not something you just do when you go on stage,

it's something you live.

If you're really gonna be a proper magician,

you're a magician.

You're a magician when you go to the doctor,

you're a magician, when you go to supermarket,

you're a magician everywhere you go.

And it doesn't mean that you have to step on stage,

put your suit on, gel your hair, put your aftershave on

and go out there and do your illusion

or your manipulation act or whatever.

You live the life of a magician,

people expect that when they see you in the bar

and you meet them.

If you create a miracle, that's how you brand yourself.

And one thing I say quite a lot,

and it's something I really stand,

as our job as a magician now,

is probably more important than it's ever been.

The world is a crazy, crazy place.

And I think by taking people into that moment

of wonder that we can create and we bless

that we have that skill talent of magic and wonder,

is more important than ever.

And I think being a magician,

he's not something that I do, is something that I am.

And I think every magician should feel that way.

Khan Shrey

Hello and welcome to another episode of Desert Island Tricks.

I am very excited for today's guest.

It's another guest, I know we've said this

many times before, but it's very true.

We've been trying to get on here for a very long time.

and finally he is here. So I'm going to tell you a little bit about him to begin with.

Today's guest is British a born performer but now lives in Salud, Spain,

where he created the House of Illusions as well as founding the RJP group which produces

and manages live entertainment venues and helps develop the next generation of performers.

He trained at the prestigious Brit School of Performing Arts and honed his stage craft earlier in

his butlin's career as a red coat. He's a member of the inner magic circle with Gold Star

and the apple doesn't fall far from the tree as you may have seen his son Harry Merlin

Piper recently taking second spot in Netflix's star search talent competition.

With over 20 years of experience entertaining international audiences, Rodney James Piper is not

just a performer but he's a mentor to many performers and a major influence in modern live

magic and performer. So I know this is going to be a really fun and engaging episode. Let's welcome

on the wonderful Rodney James Piper. Hello. Hello, Jamie, how are you? Great to have you here now.

Good to know what? We spoke about this on me for a couple of years and we always go,

no, can you come on the podcast? You come on and I've never got round to it. I run for a meeting

today. We should have 11 o'clock. I got it at 20 past. We got on. We're going to do it. Let's

make it happen. What's it about today? What's the plan? Oh, we not. Okay. So the idea is we're going

to put you on a magical desert island. When you're there, you're only allowed to take eight tricks.

You're allowed to take one banishment, one book and one non-magic item that you use for magic.

Brilliant. Pete never told me nothing about this. I thought it was something like a

this is your life type moment. I was ready to go, oh, yeah, I did this and I'll back in the day.

There's an island. What's this about? I mean, it's your own island. It can be whatever you want it

to be. You can have the house of illusion there, if you want. I'm not being an island. Island is

dangerous nowadays. Just want to make it clear. I have never been on the island. This is the best,

making it very clear. I don't know what you're doing. How about, Jamie, inviting me to an island.

This is all a bit suspect. I'm not going on any island. Trust me. It's not going to happen.

Not going to happen. This is a nice island. This is a magic island. Okay. So it's not bad.

It's not a nice island. It's cold. Yeah. It's the nice Alakazam island. There you go.

Since you didn't know anything about this, I think that's going to make this one even more

interesting, I think. So what an eight tricks, you say, here's what I'm going to stop off. We've

and this will make Alakazam very, very happy. There is something that I carry with me always.

Whether I'm on a desert island or plane going to work, it's with me. Stealth assassin wallet.

I got my first one off of Pete when the dealers were just upstairs in the hall shoe at Blackpool.

And he came with his little table and I had a couple of things. I think I bought one of the first

ones, the only air 20 of them on him, the original Stealth it was. And I used, I must have bought

20 or 30 of them. I'm not joking. It's the most versatile prop that you can ever have. It

instantly gives you a show, instantly gives you miracles. We've all got impression pads and we've

all got all your different various companies and versions of them. But if you have a Stealth with

you, you're ready to perform no power, no charging, no secret work that needs to be done,

no bits of break, it is just you and it works. So if I'm on a desert island, yeah, I would be most

definitely taking myself because I know I can create miracles, real miracles, wherever I'm what I'm

doing. That'll be number one. And that would be generally number one. Okay. Now that's really

interesting because I've always seen you as kind of like a stage performer. Like when we spoke

earlier on, you started off as a red coat and you started off at the Brit school. So I'm guessing

that you've always been around stage illusion, stage trick, stage magic. So where would this fit in?

It is. I have a big belief in a being a magician is not something you just do when you go on stage,

it's something you live. If you're really going to be a proper magician, you're a magician.

You're a magician. When you go to the doctors, you're a magician. When you go to supermarket,

you're a magician, everywhere you go. And it doesn't mean you have to step on stage, put your suit on,

gel your hair, put your after shave on and go out there and do your illusion or your manipulation

act or whatever. You live the life of a magician. People expect that when they see you in the bar

and you meet them, if you create a miracle, that's how you brand yourself. If it's just something

that you do when you walk on, it's not goodness self is something that lets you be a magician,

constantly. It's something that you have, I mean, I use it in performance. I've used it in

luxury routines, but it's something that I have with me because then I can live my life as a magician.

And one thing I say quite a lot and it's something I really stand as our job as a magician now

is probably more important than it's ever been. The world is a crazy, crazy place.

And I think by taking people into that moment of wonder that we can create and we bless that we

have that skill talent of magic and wonder. It's more important than ever. And I think being a

magician, and I know I've got my entertainment businesses and I've got house of illusion and I've

got my other places, but magic is not something that I do is something I am. And I think every

magician feel that way and the stealth is something that lets you do that. A lot of the stuff I like

to have or what I'm probably going to list in the first four things is organic stuff. Stuff that

looks like every day, stuff that lets you live that life of a magician. Yeah, I 100% agree.

I think that some people have this thing where they say, you know, when I'm out and about,

if someone comes and asks me to do a trick, typically I say no because I'm not performing at that time.

You're not a magician then, you're not a real magician. You're a trickster. You're a person who

does it for money. Yeah, if you're going to, if you're going to, I want someone when they come

to see my show, to genuinely believe, even if you're going to money, it's second about magic.

And the way you do that is you don't bend over to pick something up because if you can make

someone float, why you bend into pick something up? That comes your hand. Yeah, it's really, I don't

know, let's pick a hoop up off the floor and put it over a person. I've just floated in the air.

Why the hell you're bending over to pick that hoop up? That's just completely killing it.

And I have the same thing. If I meet someone outside or I have a drink after the show with

people on the terrace and I'll do a trick for them, I've still got to be able to do miracles

because that all, that will constage and I do something big or spectacular or I read some of

a smile or they drop back and sleep in front of an audience. Unless you demonstrate that power

before, afterwards and always, the impact is weaker. And if you really, if you really want to,

yeah, you want to take people out of that moment where they start, I mean, people say a magician

is a great magician who does great tricks or performs great magic. I think a really good magician

is a person who makes someone forget about how or why and just lives in that moment of going,

this is magic. That's the real skill of a great magician. When not you go, oh, they've done a great

second deal. Oh, they've got great mnemonics. They can remember this. Oh, they could do, no,

the audience forgets, doesn't care. You get transported back to that moment when you discover

a light switch as a kid and you flick it and a light comes on you go, oh, you're going to play

in for the first time at four or five years older, eight years old and you look at the wind

and realize you're flying. That moment of magic is what all of us magicians and everyone listening

now need to encapsulate and that's where everyone who's worked with me over the years,

everyone who's been part of what we do, I really try and say that to the holy grail of magic

is people forgetting it's a trick and just being even for a second of that. A good example,

and it might already be a second, but for a table, issues as an example, we all know that classic

that moment when the bottle goes through table, people don't care. They literally go, oh,

yeah, afterwards they might go, but that's moment, that's worth it, because that's a special moment

and there's lots of other moments in magic like it, talking about big illusions with double

expectation when the one person's in the air and the second person flies up to join them,

when they're flying up to join them, that's another one of their moments where you go,

don't care, I'm not bothered how, not bothered at why, and on these desert islands, if it's just me

and there's a, I meet this local tribe that lives there, yeah, the first thing I want to do is

them to go, I don't care about how or why, I just really love this magical moment I'm experiencing.

Yep, I absolutely agree, and you know, I mean, Stelvo Sassin is the perfect tool for that,

it's always on you, it's always a way to just present magic and mind reading wherever you are.

Anything you're doing, you can do so much with it, can't you?

So what's in your second position?

A set of forks, simple, easy metal bending, it's something I've done for 30 years,

it's something I love, placed to an individual group, plays to a stage of 4,000 people,

it works for anyone and everywhere, the only thing I probably wouldn't do a break if I'm

on a desert island because I wouldn't be getting more forks to use, you go, there's a one-room

team, see you later, goodbye. I will be honest with you, if I was at Sam's stagdo, if you don't

know Sam, great magician, deceptionist, head of magic, I think he calls himself now brilliant magician,

and he was at his stagdo in London and we was in, what's the chef's name?

He was a long hair, Marco Pierre White, and he was in, he was there, and I've got a thing

I always say, I can bend any metal, any fork, anywhere in the world, so give me any piece of cutlery,

yeah, I can bend it, that's my challenge, I know what's going to happen now,

anyone who listens is going to come up to me and go, yeah, look at this one, that's my challenge,

so we was in the restaurant and he was there and it was to come out and it was sort of like

a private diet run and I went, oh, Rodney, let's do the, do the full thing Rodney, and he brings

out the chef, the golden fork and I was like, oh my god, so I was like, it's like this, this is

worth a fortune, so they all laugh and don't bend it, this is worth a fortune, I bend it, I've got

I've got a real good little, well, couple of techniques, but one that's really nice, I'll say it on

here, it literally, as you stand up at the bottom of the table, so in a restaurant, you pick up

the table, you stand up and you're lagging lean forward, it literally is like putting it in the

vice, if you get really stuck, yeah, it's a real simple method, don't you want to glass the table

because it's down the middle, would be embarrassing, and he literally, he put it up in the restaurant

afterwards and kept it bent in a little shelf there for years, so it was there, I mean the restaurants

have gone bankrupt, I don't know where it is now, but it was there for years, and one thing I did

do, other places have done, I've done my metal bending, anywhere I do it, I'll always hide a fork

somewhere else, like behind a shelf, behind the plate, anywhere on the shelf, so if you go back to

that place, you've got one in a place that you can revert back to when it's already bent in a place

you've got, just leave it somewhere, no one takes them all the months off the shelf, so they're

up there, or a little break or anything like that at all, during the crazy pandemic time,

we were sort of doing our zoom shows, and I did a zoom show for Arge, off a towel,

eight, and Gemma Collins, they're two families, they was the house together, I used to do a routine

where I do my own metal bending, and then the metal bending, the fork would bend in their

drawer in their house, I used to get an incredible reaction, I used to get them to go down,

go into the kitchen, choose a drawer, open it up, and one of the folks would be bent,

did the show, brilliant, day after, newspaper, Gemma and Arge split up, front page of all the

newspapers here, the rumor is that they split up arguing over how my magic trick was done,

there's a little insight story for you now, so we're bending golden forks and splitting people

up with fork, yeah that's what we do, that's what we do, I'm like the opposite to Tinder,

I like print people up with magic, that's what it gave me, put me for a gig and your

divulge your wife, if you want to split up with Mrs, give us a gig and I'll make it happen,

don't worry, any time, there you go, that's a spin-off podcast and it's a it's own ride,

I think that's a great one, we are all fork benders, I think we all do a version of fork bending,

are you a fastbender or a slowbender? Am I a fastbender or a slowbender? My routine is would

open with a borrowed fork off of a table, no, forks that are out my, I've never got the idea

of a magician going and getting out three or four forks out of the pockets and do it, if I'm working

a gig and I don't want to use their forks and a top tip, if you don't use their forks, they get

annoyed if you bend their forks anywhere you're working, so my top tip is go there, put some forks

in their cutlery drawer, yeah, it might cost you a packet of forks, leave it in the cutlery drawer

or replace a couple of tables with forks on them and match them and then do your stuff with them or

put, so go around at the start of the event and put them on a table and borrow them if you want to

do that, but in my own venue I just literally use the forks that people use, I've got a custom

to them, I can do them, they're not like a liquid forks type thing, they're a strong good fork

that we use, and I literally go and I do it a bit where I say I want two forks, any two forks

you want, and I tell you what, I'm going to give you five seconds to swap them forks, so if anyone

wants to come up, just put them in my hand, swap them, change them, I do this on stage, if I do

it on the table, I do it, they swap them, change it as many times as you want, I do a simple bend,

up bend slowly, then turns and drops that way, I'll do one time bend with the display,

I will then get somebody on stage with me in the hand, they will feel the fork grow and their

hands will drive up, and then they normally drop back to the floor with the hands above the thing,

so it's gone, they're on the floor, it gets a lovely moment, little joke with it,

and then rise them back up again, they open the fork, they didn't even realise it's happened,

they've believed they've been hypnotised and I've twist it and they've broken up and I've done

dodgy, the audience all realise I haven't, yeah, they open up the fork completely twisted,

they're blown away, the audience is then doubly blown away, because they didn't think they've

been hypnotised and woke up and I've done it and put it back in the hand, the audience

got a different reaction, a different trick, so you play two things, I then send them back,

I go right into the middle of the audience, I stand on a chair and I tell everyone it's a good

moment, I say to everyone you can't do video throughout the show, but now I'm going to let you

take a little bit of video, so it's a good time to say to people, I don't want you recording my

act without saying, please do not make any video recording in the show, I don't like that,

so it's a good moment to say it, but then you sort of rewarding them, rather than telling them off,

you say, here's some of you, you can film this, I stand up, I get everyone to turn their

torches on, I'm on a chair, and there's a moment I do this for, and it's really important,

and then I do the break being being, normally I make sure there's a plate of glass or a nice

bucket on the table where I drop it to, so it splashes or makes a bang of one noise, which gets a

and then I finish in a pose. Why do I do that? And I think it's a little tip for everyone who's listening,

have a moment in your show, which is a photo moment, in today's

media world, social media world, people are going to take pictures, they are going to share pictures,

do you want a picture of you going in between an act when you're picking something out,

are you moving something or you're not aware of it, or do you want to give the audience the perfect

moment, they can take a video or snap that they will share. So as I get to that chair, I know it's

in the perfect position, with the perfect lights for me, I know, I get up, I check my shirt, it's

tucked in, I pull my shirt down, I straighten my jacket, I pull my tie up, and I quickly just look

to check, my hair is done on a mirror, we have on the DJB for the back, just to check myself,

yeah, every moment I get up there, I have a set pose, I go, I know, exactly that moment,

I know that every picture, most lights, I might make up some lights, but every picture is the

pitch that I want to be out there in the media, yeah, and then I finish in a pose which says,

take a picture of me, as I take that, sparks go off in the background, I mean that perfect pose,

and I say to everyone, if you want to share it on the internet, that's a joke to share, I make

a little joke about it, yeah, at which gets a laugh, but I'm more or less sad to people,

that's the picture you use, if you want to use a picture of me on your social side, you've had a

good night, or you enjoyed yourself, I think every magician should look in their show and go,

where do you want people to take a picture, because we all get bad pictures shared of us on stories

and internet, you should get a real moment, but let's look at Dynamo walking on the river terrors,

there was no coincidence, that was the house of the parliament in the background,

that was there because it was an iconic show, that was shared all over the road because it was an

iconic show, so thinking in your show, what do you want your moment to be, what do you want your

audience to remember, what do you want to be shared, what do you want people to go, that's good,

do you want them to be a guy who's putting a funny face, he's sweating, as he's jackets all over

the place, because you run around in the middle of an act, doing something really fast and pacing,

or do you want something that's perfect, it ain't going to be perfect every time, but you aim for it

and you try to get it done, I'm sure these pictures of me doing that trick on my shirt hanging out,

but I try to do it every time, yeah, that's that's the object I think so, so fork for me is

a go to, well that's great and the the whole hypnosis side of that is fascinating as well,

I think that's a great idea, I'll wait to make it play massive on stage, yeah, of course yeah,

yeah, I mean again, full things, one thing I do a lot on stage is, I don't know how many people,

I don't know a lot of people know, I had a hypnosis show for 20 years, nonstop in the same venue,

so I don't do it as much now, and the only reason I don't do, because the old classic hypnosis show

that I used to do, I think you get a little bit older, I think you've got to make sure you don't

look like creepy old man doing it, so I'm very aware of that and what I do with that, so I don't

do that show at the moment, just because probably since COVID I've probably not done it as much,

I might do one show, but it's, I don't think it also in today's video world and phone world,

it's not the same as what goes on tour stays on tour type mentality, so that's,

that's not happening, but I still use the skills and talent and put them in, the other

pieces of routine in that I do, still to give that moment of hypnosis, but without

going down the route of the classic hypnotist, I also think it's that moment of people believing

real magic, I think my I'm really mentalism hypnosis, still the audience believes, yeah,

they don't think oh he's good at handling them cards, he's good at juggling that ball,

they think for a second this is some esoteric or magical skill that this person might have,

which I think is a wonderful thing to still let people believe, amazing, well I think forks is

a great one in at number two, let's go to number three then, a borrowed watch, a borrowed watch,

is what I open every performance I do up with a borrowed watch trick, I'm probably not going to

go into the routine, I'd like people to watch it if you ever see it, but it's a routine of a borrowed

watch, it's any watch, not not not one of the Apple watches classic TikTok, when I mean TikTok

of the answer is watch, I don't mean like TikTok dancing all that, I mean like tick tick tick tick

that type of watch, so yeah what a borrowed watch is personal, it's something that belongs to

somebody else that is impossible for you to borrow, to copy, to have a dupe, to have a second one,

it's literally give me a watch and just then you do something that's really, really strong

and finishes with something really strong at the end, it is a thing, I've shared loads of magic

and I've never read books, I've never done videos, Pete's asked me, other people have asked me

loads of times to do stuff and I never thought it was right to do it, I share loads of stuff with

people one on one and one and in groups and people are mentor, maybe one day I'll do it, but

that watch trick is something that I've always kept as my little special treat,

and it's inspired by something else, and I like conversations with the guy and my version

very different and it's my little thing, and I had a guy come to the show once, he watched it and

he went, magician, can't tell me afterwards, he said, Rodney says, what's that treat that watch

trick? I said, I love this, he says, can you teach it to me? When I said, did you

only want a bit that I don't teach? He said, I was completely fooled. I said, I like to keep

that one as a thing, loads of things, loads of things, loads of things, loads of things, I love it,

no one's got an idea, it's dumb, I think it's, I mean, people will have some people who are

knowledgeable, we'll have an idea, but and he goes, oh no, let me pay you up under quit,

now wait, it's not about money, I said, it's just that, you know you got a little baby,

you like to keep to show people that, and I'm sure you have, Jamie, you've really slowed

the tricks, you've got little bits, it's just yours. So, and then about two weeks later,

I'm flicking on a magic forums, Facebook group, I went to the house, I was losing a couple

of weeks ago, and I see Rodney type of trick, does anyone know how he's done? And I was like, oh,

come on, no, no, no, no, so I replied back to him, but it was sad, but that's my, a borrowed

watch, I think it's probably the shortest one I'm going to say about, but a borrowed watch.

Well, I think it's really sad that, you know, he didn't just respect that, and sometimes I

actually really think it's important as a performer and a magician to sometimes see something

that you don't know how it's done, because I think that keeps the magical eye for us as well.

Yeah, we, it's difficult for us, isn't it? I appreciate quality now, and I get a massive

buzz off of that from seeing magic, rather than being fooled all the time, because I am

fooled sometimes, but not rarely now, rarely. I think that magic level is quite knowledgeable.

I think I probably see more live magic than most people. I've been to the world championships

probably for the last 10 of them. I see constantly accenting videos clips to go and see, go and do.

I call them what's loads and loads of magic, because I think it's important that you do.

Yeah, but I do think I love to be fooled, but it's less and less now, which is disappointing,

but I love seeing back. I will sometimes go for a show, and I'll watch the audience more

than the show, because I get massive joy of seeing them enjoy magic. That's what I do love.

And that's why I love working with my musicians, like our magicians, and Harry, and Matt, and all

the great magicians we've had over the house of illusion over the last 20 years. I mean,

over the last couple of years, we've had fission champions come in to make house losing their

home for a couple of months, mine to mine for over the last season, from Arton was over,

work on his act, Winston was over on his act, Mark Oberon, before we won fission, and before we

won his first competition, was over. Who else, James Moore spent time in, Matt Taylor Morgan,

Harry Moldin, I can list probably 100 magicians have spent time in it, and I get great joy.

Nowadays, seeing them going off and doing stuff, and seeing their journey of working on it,

and I'm not taking credit for it, I've found it's me or the house of illusion, but I love seeing

the journey of all of them on their road to success, and we've got this little house of illusion

family that's off all over the world, all doing incredible things, and it's a great little thing to say.

Well, anyone who wants to see that, that is your call to get out to salue to the house of

illusion, so that we can all see the borrowed watch, and then find a magic group that you like,

and ask them how it's done. So, let's go to number four, what would you put in your fourth spot?

He's here, I've got a treat that I've never done that I would like to take with me, so it's a

treat that we talk about and we want to do, and I'll talk about it now, because it might be

one of the tricks that we never do, so we had a concept of, we're house of illusion's right

opposite the harbor, so this would work on a desert island, where you talk to someone,

they tell you what they want to win if they won the lottery, and it would be a yacht.

You start asking the name of the yacht, the colour of the flags of the yacht, and you take them by

the hand, you walk outside the theatre, they're in the pool, is that boat? You then pull up a small

cloth, it vanishes, the boat vanishes, a big storm starts in the theatre, wind blows, and that

yacht is on the stage for the whole audience to see. I think that sounds phenomenal. Why have you

not done it? There's always something that comes in that we've actually gone and looked at boats

and all that type of stuff and gone to it. We might do it, you know what, you might have given me

the push to do it and get it in the show season, Jamie. There you go, so when we're out there watching

the borrowed watch trick, we're going to be looking for the boat appearance as well.

Yeah, do you know what? We have constant ideas, I change it when we're just like the most incredible

creative space, and we're literally constantly wanting to own ideas, we have a bald out,

we put in ideas, concepts down, and we constantly go, let's do that, let's do that, let's get that

done. No, no, no, no, no, never happen. Right, next trick I'm going to bring, it's a person.

Okay, we've not had this before, this is interesting.

I know, so I'm going to bring my woods, he's going to bring my trick. Okay, we've not had this

before, but I'm not stopping you from doing it. Well, one thing you should know about me,

I always blend and break not only forks, but the rules. Yeah, I'm going to bring my woods,

here's an encyclopedia of tricks, an incredible magical mind, full of energy, full of passion,

it's like having a trick that can do every trick. Imagine having the best magic box, you've got

on the best magic set, you've ever got, you open it up and you go, there's every trick, you

ever want to just be one trick. So, Matt is here. I think he's just gone outside for a walk, so

I'm going to get him to come back quickly, and I'm going to get him to pop on for a second for

you as well. If they can get him quickly, he was outside waiting for me, but I think he's popped

down through the road throughout our new venue we've got. So, I will come back to number five.

Okay, we're putting number five on hold, and we move on to number six. Number six,

let's jump up into the big stuff, fire spiker. It can finish any show anywhere in the world.

If you don't know the effect, the effect is a magician comes out, big box,

someone else comes out, goes into the box, they are shown in the box, they put the hand out

of front, load of spikes are set on fire, shove through the box, the hands still on display, touch

the box, hand gone, open it up, they're completely vanished, fire out, all flashing out, you pull it

out, close the box, you produce that person back, audience go wild, you produce a second person,

audience go doubly wild, you breathe, you let the audience think it's done, and then you go,

I'm now going to smack you around the face with someone you never expected because it's a third

person. That third person moment is something that real magic, they literally lose it, there's

nothing better. If you have never performed the fire spiker in your life, there is nothing better

than standing 12 foot up in the air on top of that box, going boom one person, boom two person

looking at all the audiences in the eye, and then when you put it away for the third person,

seeing their faces, it's like taking a snapshot of people just having the most incredible magical moment

ever, they literally go wild, and I would like it on this little desert island, meeting the tribe,

walking on, yeah, coming in, and seeing explode. Sorry, bear with me one second, there's someone

at the front door, bear with me one second. I'm going to someone at the door, sorry, sorry,

I was just knocking at your door, but no one answered, the dog was barking, so I left, sorry,

right? Is that what you went? Yeah, I was literally just, yeah, I was just at Jamie's then.

So just to let you know, Matt, my fifth trick, yeah, yeah, to take to my desert island would be you.

I tell you why, it's like a magic box, and it's full of magic, it's every treat you want,

you know, not one of them using a little tea, what do they call them, Swiss army knives,

Matt is a Swiss army type of trick, he's got everything in it, he does illusions, does the magic,

does the close-up, does the comedy, does the serious stuff, I would just say, if I've got Matt,

that's the best magic trick you can have, that's so lovely, thanks. I mean, say that, I mean,

you weren't here, and I said, oh, Matt, come in, and you've got knocking at Jamie's door, yeah, knocking on doors.

I also think that it's about the people that you have around you as important as it is about

their knowledge, and just seeing your interactions with each other, I know guys at home might not be

able to see, but the way you are together, you can tell that you're just really good friends and

that you can lean on each other and trust each other. We put our tops back on now. We are also

recording this for our only fans. So gone wrong, this is all, this is going to be played,

edited a few years time. Is the podcast now, we're on it now? Yes, it's on, it's on, it's on.

This is so unprofessional. I'm sorry. I do want to just notice, you haven't shaved, but the little

touch-up effect makes it look like you've got quite a trendy beard. It looks all right. Does that

seem right? I'm going out finally. Can you get, when you start shaving, last week?

Literally three days ago. That's fine, that's fine.

And Pete, I can see Matt on a certain TV show as well, and can see one of his performances.

When was that? I don't know. It was a long time ago, that was so long ago.

It's been a long time ago, it was 2017.

That was a lot. Wow.

Here's the important thing, Matt. This is what I said, it sees how it resonates with people.

For that moment, good moments of magic, good moments, I mean, we were speaking about it

earlier. Stay with me. Jamie's got no idea what's that long ago, and he remembers it like it could

have been yesterday or the year before. I've watched it so many times, though.

Do you know the funny thing is, though, like that, and I know this isn't my podcast,

but I just, I feel like it's important that I should say. It's all about me now,

is that that saltboard that I performed was my, I got that, Rodney bought me that trick in my

first year at House of Illusion, and I was performing that saltboard for like, almost for 12,

maybe 12 years before I took it on a talent, like, like, perfecting that routine,

you know, making sure the choreography was right, you know, and yeah, I remember the day you bought

me that, I remember. Long, long time ago, long time ago. Matt, yeah, should we do Jamie some

beatbox? I mean, we can try. One, two, three, go.

Buck, buck, buck, bam, bam, how'd it go, Sam? How'd it go, how'd it go, where'd it go?

Okay, love you, bye. Thanks for that. That's great. Brilliant. There's number five,

just swooped off there. Now, I think that's a great one in having Matt, and I think it's a really

important lesson in just surrounding yourself with good people. I think that's a really hard thing.

Who you are with, yeah, and it's so important to have that, that, that, that, that tribe,

that group of people, you can trust, if you're honest with, will tell you what's wrong, what's

right, and also you can share it and be, be great. Number seven. Well, let's quickly talk about

number six as well, fire spiker. If only people could see someone performing that from a recent

talent show on Netflix, it was Harry's second episode, which I think is episode three on the show.

So I've had three or four Harry, my son, if you don't know him, he, the costume is wearing,

the letters on the back of it was actually made by a Beyonce's personal designer. So Harry's got

on the Instagram page of Beyonce as a designer has got like all the Beyonce pictures and there's

a little picture. Harry was one of the posts as well, which we absolutely love. And you know what,

there's a lot of love in the magic world. So our, on a posted about yesterday, our fire spiker

here at the House of Illusion, we took over our essay, um, spin animation illusion, but our

fire spikers here and rich young and Sam Strange were touring and they kindly lent me theirs

while we were there. And so we used their prop there and so many other magicians

helped us out and came out with props just to make it easy and quick. So, and obviously,

was there. So big, big shout out to rich and Sam, rich and other podda. So yeah, there they

was lots of love and lots of great plays. I mean, actually did we, we borrowed it and we paid

him a little, I got the studio to pound a little bit of a rem for it, just something little.

And I made that to Sam that we bought it and rich, there was a misunderstanding and Sam's

saying, no, no, it was a rental. Just, I know you said, we just charged it like a normal,

and I went, no, no, Richard said it was by it. And he's going, oh, no. And then I put on the

invoice for the receipt. Thank you for the purchase. Thank you for the buying it. And Sam's

going, no, no, that's something to understand. We need it for the tour. And we've actually had both

of them on the pod. So if you want to go and check them out, it's Sam Strange and Richard Young.

Go check out their episodes. It's really together today. They did it separately, but they did

something interesting, which I'm going to do with you at the end of this podcast, which you don't

know about yet. Oh, I've done about anything. I've done about, no, I'm trying to jot stuff down

now to come up. Well, you're doing great so far. We've had a great array of different things. And

you've done, you've been the first person in nearly 150 episodes, who's put a person in one of

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But you've got two more choices. So you've got seven and eight. Let's start with seven.

I would take the double levitation that we did on star surgery, Harry, as well, because

what a lot of people don't realise, that prop, and when I mean prop, I just mean the table that

she lies on at the start, for those of you listening who are not musicians, was the original

prop that was performed by John Gabriel on the world's greatest magic.

And we managed to find out where it was. And we met John Gabriel and he came and spent a day with us.

It's not been in a warehouse for 20 years, unused, untouched, as far as we've concerned.

And we got it and he came and spent time with us, shared a lot of love with us. And for me,

out of everything I've done in magic, that was one of my proudest moments seeing that happen

on that show. I loved what we did with it. Rich Cadill, Jamie Allen came on the phone and

shouted out and gave Jamie, well, Jamie without that effect, Rich was something else, but gave

us advice and came on and said, the little bits that make it clean. But John Gabriel was just

an absolute superstar with a real gentleman. He's, do you know what? He's a lost guy magic.

That guy should be shouted out and spoke about. He did, he was the first guy to slice on the world's

greatest magic. He did the double levitation, the first person to ever do it on TV or do it

anywhere. He was, that's the original prop, the Rich and Willie Kennedy prop that was, that was,

we used beautiful masterpiece, loved it. John Gabriel, check him out, check him out on YouTube,

if you're here, check him out. It's such a wonderful trick. I know very little about stage illusions,

but this kind of illusion reminds me of like the golden age of magic. This feels like one of

the tricks where someone that made a woman levitate and another magician went, that was great,

but we need to, we need to one up it. What if I float up to her? And then the next person said,

that was brilliant, but what if she then vanished midair? I will tell you with that, we had to be

very careful with it. So from what I understand, Rick Thomas came up with the midair vanish,

or says he came up with the midair vanish, a lot of disagreements, agreements with it.

So actually floating up and making the person vanish, when the magician is in the air,

Rick is very protective of it. So I'd heard about this before. So what we made sure we did

is that Harry's feet helps to ground before we did the vanish. So we didn't infringe on Rick's

stuff or ideas. We wanted to really make sure that we did everything right with with that,

and made sure that it was the right thing. And it was a, I mean, there's a dad seeing his son

doing that, floating up. Oh, I was in tears. I mean, Harry's famous now for being on Starship

Netflix. I'm famous for crying mainly on TV. Everything I've done in my life and a lot of people

have gone to me. Oh, you're the dad who was crying. I'm going, yeah, I've done other stuff in

midair. I did the fairy liquid advert when I was about 12 years old, just so you know,

don't go on about me crying on TV, please. That's what I'm known as used to be. Oh, you're

Rodney Sun. Yeah, you're RGP Sun. Now it's your Harry's dad. That's all I get.

It's all changed. It's all changed. Unbelievable.

Well, I think it's a great one in and I think we actually mentioned it on one of our previous

episodes, the enjoyment doing that trick anyway, but especially when Harry's age. I bet that

was so fun for him. I've got a picture of the first time he did it in rehearsals. I can't

share it or put it anywhere because it's an expose. They picture and it just up in the air,

looking at me with the most biggest green on his face. Yeah, and I was that going,

oh, this is what it's about. I don't get whatever happens with the show. We've just had the best

time ever through and that. Yeah, that's great. Well, that's a great one in at number seven.

Now we've got one more spot. Right. So we've got number eight. You do know I'm going to

completely come out the ballpark here with something completely different, don't you?

Oh, we like that. That's good. That's really good. Yeah, that's good. So I'm the first person to

ever bring a person. You are. Yeah. I'm also going to be the first person to ever bring a venue.

So I'm bringing the house of illusion. For me, it's not a venue. It's a concept. It's a place. It's

an idea. It's a feeling. The house illusions move to various places and grown and bringing that

sensation. I think it's the biggest trick or the biggest piece of magic in the world.

Having control of environment, whether it's from the first point of contact to the moment,

they leave everything from the foodie, the drink, the the temperature, the lighting, the stage,

in the time in the welcome. That is the biggest piece of magic. A lot of people think with magic

or a trick. It's get it out. Here we go. Let's make a pain vanish. There we go. Brilliant.

It looks lovely. Yeah. That's not that's not magic. That's that's rubbish. But it's the setup.

And you create the reason we have audiences that love what we do and literally go wild with what

we do is literally because it's from point of first contact when they inquire about a ticket to

the moment they leave us and what they have left as we follow up. That's how you create a real trick.

It's not about what you do in your three minutes, two minutes, five minutes. It's about what you do

before and afterwards. It's about, I mean, I think, Luke Jumei, who spoke one time, we did a thing

with the David here at the House of Illusion. And he took his watch off at the start of his act

and put it down. And even all of us at the time are thinking that it's just taking the watch off

just to take a watch off. But it's not easy. It's about building that process. I'm going to do

something serious. I'm getting down to work now. I'm eliminating anything that could be strange

or dodgy or whatever. And I think the House of Illusion is that it's the biggest trick we've

got. Everything we set up from the moment they're in there. Even, I can't say it because it's not

a magician's only thing, but things that happen before they're even there are all part of the show.

So we're working for the moment. They have first point of things, contacts until the moment they leave.

So for me, the trick is the House of Illusion. It's the biggest trick in the best trick we've ever done.

Well, I think that's a brilliant choice. No one's ever done it before, but I actually think it

it would it would have been sad if the House of Illusion wasn't in there somewhere because I mean,

I've heard so much about the House of Illusion over the years. It had to come, Jamie. You need to

come. Yeah, I would love to come down. Pete's been. Pete's been. He came at the old House

of Illusion. House of Illusion won the first one and then asked him if he had a good night after

the show. Jenny had it to help him up the stairs. That was a waste of that. We sat drinking

late at night talking about magic and he stood up and he went, oh, I'm a bit late. I'm afraid he didn't

realize. But so many people have gone through the House of Illusion as well. You've had some

big names and people that have gone on to do some incredible, incredible thing. I would say a

majority of magicians from the UK that are doing incredible things have had some type of

contact with the House of Illusion at one point. Pete, we've got a culture of caring, loving,

wanting to do more about magic. Yeah, we're just literally finalizing the performance for this year

and everyone comes in. Even if they've been in the business for 30 years, we're starting to fresh

and we're all coming in again with blank canvas. Let's build. That's what Matt's waiting for to

me to start creating for this year's stuff, new stuff and ideas. So it's all good. Each year,

do you do a different show each year? Yes, but no, do you know when you go and see a pop artist,

say you were, I don't know, we were talking about Beyonce. So you're going to see Beyonce. You

want to see the big hits, don't you? You want to see the best stuff. You went there and you

did a little new material. You'd be a bit upset. So you have to make sure you tick the boxes by doing

a couple of the big hits and you can't just completely fresh start because people will go,

oh, we did not have Glenn do the floating table, which he did for 20 years, this routine with that,

which the best floating table I've seen, he did it for 20 years, he retired last year.

But we took it out on you and then we got loads of people going, oh, come on, we obviously

Glenn do that. And literally, they want to see their big hits. So yes, we have a different

thread. We have some new stuff, always the performers that are constantly changing. We have a lot of

guest acts who come throughout the season. So we constantly have them that bring freshness,

but we do have to include some of the big hits in it. People want to see it. People want to see

the fires back up. They want to see it. We might change the music, we might change the routine,

we might change the costumes, but certain bits in the show, I think it's very difficult to remove.

You want to go and see it to you. If you're going to go and see David Bowie, you want to go and see

hero. You're going to see Michael Jackson back in the day. You want to see Billy Jane and

thriller. If you go there and they don't do it, we've all been to a concert. I went to see the beach

boys and all of them was gospel and they didn't do none of the beach boys. It came out thinking

it was the worst concert ever. It was probably brilliant, but I wanted to go surf in USA and California

girls, all of that, you want to do all that type of stuff. I've just realized someone's going to

make a meme now of me saying California girls and just put it on the boat. But yeah, you want to see

the hit. We're very aware of that when building magic shows. I think you have to be aware of your

audiences, what you're doing for your audience and what will make them happy, as well as being

artistically creative yourself. You put some bits in that are important that you're developing,

you're working on that. I mean, that's card trick, which is wonderful. You've never got a chance

to see it. It's a beautiful piece of magic. It goes down a storm and you probably wouldn't think

of that being something there. Some of Harry's stuff that he does that he's worked on. He's

manipulation app that all came from nothing. Only one young magician in the year. It's just the

average audiences have never probably seen anything like that in their life. They probably some of

the people who come to the show have not been north. Don't regularly go to the theatre and their

house will lose to their moment of wonder every year. You balance your show. Building a show should

always build like a mountain. You can't drop and go. You have to build and you'll start at

moments in it where you breathe. Shadows is a good example. If you have an incredible mind,

blowing pieces of mentalism. You can't follow it with another mind blowing trick. The audience has

to have a breather. Shadows is a good example. That is beautiful. It's nice to see. It's wonderful.

But it lets the audience reset their brain so they ready to have them mind blown again. You've got

a really balancing show how you build it and what you do with it and how some illusion. I hope

the magicians have been with us. Not only I hope that me and all the team and everyone who's been

together has collaborated to create some wonderful pieces of magic. But we all learn about how it's

about your audience and not just about you. We've given you eight tricks but you only get one

each of these. We're going to start with your banishment. I want you to imagine that you're about

to dig a big sandy hole. You're going to throw something inside and we're going to bury it

never to be seen again. If you were to banish something from our industry, what would you banish?

I would banish the world jealousy. I think it's bad to be jealous for you, for the community,

and for everyone else. A certain individual and others hounds you, harasses you,

puts stuff up, tries to blackmail you, and it's jealousy and if they spend as much time worrying

about other people as they did working on their own life, material work. I think there'll be

a lot more happier, content and stable. I think there is an area in this world of jealousy. I'm

not bothered about other people. I'll have a low laugh and a joke but I'm very happy for other people's

success. I don't need to be told how good I am. I'm a great, I've got a wonderful family,

what for business. I love what I do. I'm not jealous of other people. In completely opposite.

When I see someone who's worked for me, or not even worked for me, someone I know,

I'm over the moon for them. Absolutely over the moon for them. And jealousy is something that

can eat you up from the inside out. You can be upset about things, that's fair enough,

but don't be jealous. Take people and be inspired by their success.

Take people and see people doing great things and say, I can do it as well.

You are who you are, you are what you will be, but it's up to you what you are,

and what you will be. No one else does it for you. The only person you can blame for not being good

or not being successful is you. Get up, roll your sleeves up, get busy.

People say to them, I've not had a big break, we'll go out and get your big break. When

Harry won the younger just in the year and we got him on Sky News, we walked up to the BBC,

we went up to the BBC, no interview, no thing, we walked up to the gave the walk scene for the

trophy, walked past the curator, he said, we're here for the interview with the show, the trophy

walked in, went to reception, we just sat in reception for about three hours, doing magic

to people and sofas, met a couple of researchers and one of them said, I can get you on this show

if you want, and then got us on Sky. That wouldn't happen. Do you have to go and make it?

People say to me, oh, how solusional you're lucky, you've done it, no, I'm not lucky, I've

came to sleep with not a penny, I was sleeping on a sofa, I'd nothing, nothing, nothing, nothing,

it's not about, it literally is up to you, you might be born with a load of money, no money,

we can all access with the internet information, AI, you can also, if you're not great at tech,

you can help with that, you can get people to help you, it's not the world where you are, you can

work and get stuff done, and people say, oh, I live in a bad area, oh, I've not got the contacts,

well, it's like a game of cards, isn't it? We can all get dealt about a hand, better bad hand,

but it's not about a hand, you get dealt, it's about how you play it, and there's nothing better

than winning on a bad hand, so don't be jealous if you're listening to this, this is not from

magic, because if there is anyone who's a mark always they would say a late person, yeah,

don't waste time being jealous, don't waste time being angry or upset other people,

you can be frustrated sometimes if the dice don't fall in the numbers you need it or the cards

don't land how you want it, but get busy, if it doesn't work, get up, try again, and you're full,

you're failed, House of Illusion, I lost 50,000 euros in the first year that House of Illusion

opened, it was the biggest star of my life, but I didn't give up because it was my dream,

we were walking illusions down to the roundabout in town trying to get people in, it was a disaster,

three people, four people, but we worked hard out, we changed our mindset, we made it happen,

now we sell out two shows a night, every night at the week, we have 50,000 people see our show last

summer, it's up to you, money comes and goes, because it just numbers on a spreadsheet, as long as

you can eat, as long as you can look after your family, that's all that matters, because designer

clothes don't mean nothing to me, what it means is getting busy, getting hard work and getting

incredible joy from making things happen for you and for others, I absolutely love it, I love

seeing all of our magician and House of Illusion family going off and doing incredible things,

and my work with the magic circle is all been about improving what we can do and getting things

happening and doing it, I'm very determined, I want to get stuff done, the only thing we lose

in life is time, I don't care how good you are, whatever you are, the clock is ticking, so get busy,

make stuff happen, and don't be jealous, maybe you look at someone else and get annoyed about it,

or slag them off on the internet, or send a message, or send them a dodgy picture, or send them

an email, or wait in your time, that could have been time you're winning, so change jealousy into

winning, word or person, or thing I banish, jealousy, it's important easy.

I think that's 100% right, yeah I think that's 100% right, I always remember one of the best

pieces of advice I got was from Anthony Owen when I came out of uni, and my ambition was to be

in the West End, I just done all my training, and I came out and he said to what's next, and I said

well you know my thing is to get into a show, but I'm not really having much luck, and he said

well you make your own luck, if they can't put you in a show, write a show, and then you're in a show

straight away, you make it happen. Yeah just go and knock on doors, knock on doors, knock on doors,

any people go out, I can't do that, I look a fold, well the only fold is you at 65 years old

retiring going, I wish, yeah clock is ticking, go for it now, whatever you're doing, go for it,

and don't take no for an answer, just keep knocking on doors, in the end someone will be

bought, if you're knocking on the door and say go then let's go for it. 100% well I think that's a

great banishment, it leaves us with two more things, so your book, if you could only take one book,

what would you take? The Tommy Wonder books are incredible, I bet they've been mentioned loads,

clear to the mind is incredible, but I think the book that I cherish most is the David Berglast book,

I think it says everything about being a magician, and living as a magician, being a magician,

and I agree with so many concepts and ideas in that book, forget the tricks, just read it and

don't even think of the tricks, just read that book through and got it. There's many things

that I'd said in my life, but my books wouldn't be one of them, and I definitely will be keeping the

Berglast book all my life as a special moment. I actually got it off David himself, it was the

magic circle centenary, and I'd arrange and we had a converse with email, and he says I'd like

you to come, I'd like to come and give it to you personally, so I met in a lift with him, and he

stopped, and he said oh hold on a second, I look through to my friend, this is Peter Reef, and

he's a hypnotist, and Lance Burton's manager, and we had a little conversation, a chat about it

and stuff like that, and he showed me some stuff, and he was talking about the books and stuff like that.

There's a great section in that book, which I think is something everyone should learn about

being a magician, well we all know the in the news trick with a wine newspaper or a watering newspaper,

and David used to go into a hotel before we had a meeting and get the newspapers going to the

toilet, put the gimmick in the news paper three or four, then leave them around the hotel,

and then when he had his meeting, he could before he'd tell, pass me a newspaper or whatever,

and do it, and I think that's what we should all aspire to be.

Well, that kind of is reflected on something that you said earlier, when you mentioned with the

forks, you place forks around different venues. Yeah, I think I'm doing that even before the book,

but before I even read the book, I think I've done that for years, but I do think it's the same mindset,

I think when I've read that book I've just gone, I've just clicked and gone yes, that's how it should

be, that's how it should be, that you create the myth, you create the legend, that's part of what

we should all do. I think that's a great one in your book position, we've got the item,

now we've worked out that you could have put forks, you could have put a borrowed watch,

you could have even put my Edward's in this position, so we'll find out what you took as your item.

Is he cheating slightly? We've had lots of people bend the rules, but it's still within the rules,

as long as it's within the rules. Okay, so my item would be my family, I am a man who is there,

but I can only do what I can do with my family behind me and supporting me, my wife is actually

over there, so she can hear this, is a wonderful me and my son have the most incredible

relationship, my daughter I cherish and has the biggest smile, the rest of my family work with us

in the office next door, lace and rust, and everyone else is wonderful, so my family are

part of me, we are a jigsaw, this thing of our JP group is something that I stand forward,

but everyone else is there making it happen in the background, and like we spoke about earlier,

without all the parts of the jigsaw, there's no picture, so my family are vital to me what I do,

my wife and my crazy ideas joins me on them and supports me and has faith in what I'm going to do,

sometimes puts the brakes on, says let's hold up for a second, I think on that desert island,

I think I'd be lost without them. Yeah, I think that's a great one, and you know, we've had a

few people mention family before, but I think you've got a house of illusion there, you've got

my Edwards there, now you've got your family there, I think that your island in particular,

sounds like it's going to be a very fun, very engaging, very supportive place to be.

A place to be is what you want, isn't it? It's what you sit your life up as, it's not down to

luck, you build the life or your island out, how you want it, we'd have a hot tub, we'll have a pool,

we'll have a disco, we'll have a couple of nice restaurants on the island, the family would be there,

yeah, we'll have a house of illusion, we're putting on shows, we're going to be

boats, we're going to be pulling in, people are coming in and what's the magic, we're turning

into a tiny little business in no time, trust me, that island to be rocking and rolling before,

you know it, I know there's an island, we'll put it on the map, we'll tell people it's the place to be,

no missing about, come to RGB's island, it's going to be a dynasty, trust me.

Well, I think it's a great list, just even though it was off the top of your head, I think it's

full of such interesting insight and stories and ideas, but you started off with the

Stealth Assassin, went into Forks, then you had a borrowed watch for your watch routine that we

all need to come and see, you had your boat appearance that you said, maybe you're going to work on,

you took Matt Edwards because he's an encyclopedia of magic, you took Firespiker, you took double

levitation, you're going to take the house of illusion and be the first person to take a place,

your banishment is jealousy, your book is the mind and magic of David Burglarse and your cheeky

little item, which is more than one, but we can let you take it anyway, is your family. I think

that's a pretty darn good list. I just, just, you know, this is how I work, I'm

commonly looking at islands for sale, this is a good little business mate, we could get this

going, we're not doing this part of it, RGB Island, I think it could work, we've got it all set.

I think Pete's going to have to be the benefactor though, I think, yeah, I'm not, I'm not going

to, no, I'm not going into business with Pete, no way, no way, me and even, me and even business

together would be an absolute nightmare, we're both competing, who's in charge, who's going to

get the biggest car. Well, here's, here's a nice little twist to this podcast. So normally we have,

if we have like two people who work together or a family unit or something like that,

we like to play a little game. So we are hoping very much to have Harry join us, Harry Merlin

Piper on one of these podcasts as well. So, I'm his dad, that's what I'm known as now,

how he's dad. Harry's dad. So here's the deal. The first thing is, I don't want you to tell Harry

your list. Okay. But I also want you now to have a guess as to just a few, even if it's one or two

items that might be on his list. And then when we record with him, we'll get him to guess what

was on your list and we'll get you to guess what's on his list. And we'll see you. Do I get,

I've seen family fortune, right? Do I get a prize? If it is one, tell Pete, right? Tell Pete

and Harry. Yeah. So everyone I get right, I want a prize. There's the deal.

Deal. Like family fortune. Yeah. We've got it. We've got it. We'll do it. Yeah, you've got this.

Right. Okay. Harry will choose. I'm just going to go back and say, Harry, choose those ones.

I've got eight prizes. Harry will go for double levitation. He will go for fire spiker. He will

go for spin animation. He will go for his monkey. He will go for manipulation cards. He will

go for motorbike vanish and tennis ball. Okay. That's a pretty good guess and list there. I don't

want to know anything about any of them because we'll find out from Harry. And then we'll also

get him to guess to see how many of your ones he thinks you you go and give him no prizes.

He's has enough. He won money on that show. He ain't getting no prizes.

He ain't got to give him no prizes. I'll tell you what, if you give him prizes,

no, don't give him prizes. Don't give him prizes. He can have prizes from another dealer.

That's what he can have. Bad, bad magic. Not like the quality from Alec Azam.

Good save. Okay. Cool. So when we have him on, we'll put that to him. We'll see how many he gets

right and we'll find out how many you got right. Last thing for me to say is if people want to

find out more about you and the House of Illusions and everything that you're doing, where can they

go to? Minimates only found a count. It's $5.95. No, just go to, do not follow me on Instagram.

Follow me on Roger James Piper. Look at the House of Illusion website. Give me a call,

shout me a message. Yeah, always willing to talk, always willing to help, always loving magic,

reach out. My email is rodneyargepinatainment.com. If I don't reply quickly, don't think I'm ignoring

you. I'm just busy and I will get back to you. It will happen. It just might take a time.

Amazing. And of course, do go check out Harry's performances on Star Search because genuinely,

they were all phenomenal. They were absolutely brilliant.

Just say no. If you don't want to watch Harry, the Gordon Dan Gramsey documentary is really good

as well. So if you're bored of watching Harry on Fini Bob, I mean, we've not watched it. We

watched the Gordon Ramsay one. He's opening a restaurant on top of the building. That's a lot

better. That's a lot better than Harry's spots. Forget watching Harry on Star Search.

Watch Gordon Ramsay. That's a great show. Also, a blacklist. If you haven't seen an episode 12,

fantastic. They're things to watch on Netflix. Not Harry.

What was that? And the only fans accounts were all going to be very busy, I think, over the next week.

Amazing. So, lasting for me to say, thank you so much for your time, Rodney.

You're welcome, mate. Lots of love. If anyone's in slow, always come and check us out,

pop us out. We always look after any magicians or friends. We've got not only House Volusion,

Chaplin's, who's in his attic, Amazon's secret restaurant. We also open a brand new venue

in the middle of May called Piper's Social Club, which is three venues in one. So we keep busy,

we keep fun. 2027, give it the island. Let's make it happen. See you later, mate. Lots of love. Take

care everyone. Thank you so much. And of course, thank you all for listening. Do go check out

everything to do with the House of Illusions. Despite what Rodney just said, do go check out Harry's

performances. They were brilliant. We're going to try our very hardest to get Harry on here in a

future episode. And then we can find out how well Rodney just guessed his items. I'm sure they

were absolutely brilliant. And we will also try and get Matt on as well, because I think Matt

would be an absolute bubble of joy to have on this podcast. I think it'd be a great episode.

I've just not met in the cupboard. He won't be allowed out until he's showed on there. So he's

covered out the back here. So Matt and Harry, they're both in cupboard. They're not allowed out.

Only for show time now. Right, I'm going to go mate. Take care. Lots of love.

And thank you all for listening. Of course, we're going to be back next week with another

episode. But for now, have a great week. Goodbye.

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