The Fierce and Fearless Lindsey Noel

[00:00:00] Speaker A: What makes you. What do you tell people to kind. [00:00:02] Speaker B: Of scare them off in order to strike fear into people's hearts? Because I think I come across as cute sometimes. I like to let them know. I love to go to the dentist. I love going to the dentist. It's my favorite. If you gave me the option of, like, roller coaster or dentist, I would do both, but I would do the dentist first. [00:00:24] Speaker A: Why? Why? I don't even want to be there. Welcome to the Magician's workshop. I am Dr. Todd, a lifelong magic enthusiast, and it is my mission to prove that the art of magic is for everyone. Whether you're a hobbyist, a collector, a performer, or simply someone who loves the wonder of a great illusion, this podcast is for you. Join me as we dive into the art, the craft and the mystery of magic, talking to creators, performers, and industry experts who bring the impossible to life. Because magic isn't just for magicians. It's for all of us. This glamorous and magical woman delights and astounds all she encounters coming to the Art of Magic. With a background in film and television as a costume designer and a stylist, and over a decade of producing and emceeing grand live events, Lindsey Noel brings production value to her performances with beautiful costumes. She has designed multiple costume changes and detailed, elaborate props. Each effect she performs is either completely original or tailored with custom props. To be unlike anything else out there in the world of professional whimsy, reading minds and crafting wild stories, which she invites her audience along for, this magical mentalist has taken the virtual world by storm. You can catch her at the hottest clubs, like Zoom. Hello, Lindsay Noel. [00:01:58] Speaker B: Hello, Dr. Todd. [00:02:02] Speaker A: That was. I hope that copy was okay. [00:02:04] Speaker B: That copy, you know, I. I wrote it, so it's great. [00:02:08] Speaker A: Yeah, I was about to say just. I think I just went to your website. Actually, I think I just went to your website and copy and pasted. I didn't. I didn't ask. I didn't ask AI to do that one because it was just so good intro. [00:02:17] Speaker B: It's very outdated. I need to change it. And it's on a part of my website. I am not sure exactly where it's hiding because I've updated my website, but that one still exists because you're the second per. I had it to me by someone I was trying to set up a gig with and they were like, I love your bio so much. It's so fun. Which. Thank you. But I clearly need to add things like I've been on Penn and Teller, Fool Us and I perform regularly at the Magic Castle and at this point when I go to the Chicago Magic Lounge headline, so. And I don't really do the virtual shows if I can help it. [00:02:54] Speaker A: I've noticed that. Yeah, we're, We're. We're. We're. We are tapering down the live. The online, but which is kind of, I think kind of a good thing because I'm noticing that live magic is back. So it's encouraging. I'd rather now that we can. I was glad for the zoom during COVID but now it's like, it feels like. Do you feel like we're kind of back to live shows pre Covid or are we still kind of recovering? [00:03:18] Speaker B: I think we're still recovering. I think. I mean, I would still do a virtual show and we do have. My husband's also a magician, so we have a virtual magic studio in the house in rooms upstairs so that we can do them because they occasionally come through. But I don't want it to be the main thing that people are like, yeah, virtually, I'm all over. We also. It's funny, it mentions Twitch as well. And one of the things I did with Francis Minati, my husband and production team is we made a 10 episode hour long television show that we put on Twitch called Magic Story Time. And we would read a short story, not for kids, which obviously this is very confusing because I read the short story to a puppet. [00:04:04] Speaker A: That sounds. I mean, I'd watch that. Yeah. [00:04:07] Speaker B: Thank you. I'll find episodes. I should do something with them. We made and literally made an entire television show. Three cameras, whole studio, my living room. We built the set every week and we'd film live and we combined it with pre recorded elements. But that's the only thing I ever did on Twitch. And then I stopped. So I made a whole television show. And then like every great artist, I said, cool, I did it. I'm going to do the next thing. And moved on. [00:04:33] Speaker A: Yeah, I feel like our. That matches my add frenetic energy. Like, okay, I did a thing, now I'm going to do something else. [00:04:40] Speaker B: Yeah, I did it already. [00:04:41] Speaker A: Yeah, I don't need. I don't need to paint Warhammer anymore. I already did that. That's. That's out now. Yeah. Magic the Gathering. I already played that game once. I want to start because your background in costume design and styling is actually really interesting to me as somebody who is completely inept at styling. So I'm. We're going to be. This is going to be a little bit of a coaching session, too, for magicians who maybe what we should wear. Because. Talk to Rachel Wax. She had a background in the industry, but I'm actually really fascinated about kind of what people should wear when they. Because it seems like magic. For a while, it started off as we're dressed like wizards, and then it was cocktail outfits and then black tie. Then it went to kind of just regular ties and dresses. And now it seems more like you have your Justin Woolman and more like Everyman. But now I'm seeing kind of you got people like Kirsten Hendricks do the whole. Like, it's really a costume is really part of their act. And you've got you who does a lot of. I feel like costumes are very much a part of your personality. Yes. [00:05:52] Speaker B: Well, what anyone wears is a very large part of their character. Right. It doesn't. You know, Carissa obviously has a hu. Like Lucy Darling is such a large character that it would be foolish to not have her in a costume. A very like. And it's. I think there's also a difference when you're talking about something like Carissa's character. For Lucy Darling and Rachel Wax as who she is as a character on stage, they're very, very different. One is very set in the now and being there. Kind of what I gather from Rachel is like a pumped up version of her authentic self. [00:06:27] Speaker A: That is exactly it. That's what she said verbatim, actually. [00:06:31] Speaker B: Yeah. I've seen her Rachel back. She's amazing, as is Lucy Darling. But it's entirely different. We have studied a certain style of speaking. We're going to adopt that style. We're going to adopt the aesthetic that goes with it, that, like, it's a costume more than a style. Whereas Rachel Wax has a style. Because you'll notice also Rachel Wax does not always wear the same thing. I don't always wear the same thing when I perform. Like, I have a style, but it's not going to. It'll change. And I kind of. I adjust every once in a while to be not out, to be not dated in what I'm wearing. But. Yeah. So Rachel Wax also has, I just want to say, fantastic style. Everything she wears is so cool. I feel like anytime she posts a new look on Instagram that I message her to be like, this is very cool. You always look so cool. Yeah, yeah. [00:07:25] Speaker A: We will get to that. But, like, I want to. I kind of like to establish your background. And so I'm going to. I will talk to you about your background in magic, how you Got into magic. Um, but I'm gonna start with, like, what you started off in costume design and styling for television? Yes. Right. Correct. [00:07:42] Speaker B: Film. More than television. [00:07:43] Speaker A: Film. Okay. What, commercials? [00:07:46] Speaker B: Tv. Not really. Live theater. [00:07:47] Speaker A: Okay. What drew you to that? To do that? Kind of. [00:07:53] Speaker B: So growing up, I knew I wanted to. I basically knew when I was very young that I didn't want to have a normal job. Just nothing about it. Like, I had a period around 12 where I thought to myself maybe that I would be a teacher. And I felt that way for a few years as a. As a kid. And then I just kind of. I thought that that's not really me. I played music. I didn't really want to be in a band. And then at 17 years old, I worked at a record and video store in New Jersey called Tunes, where you could buy and sell used stuff. And I worked with a bunch of film nerds. And one of these film nerds made these weird movies, including Night of the Porno, Vampires and Absolute Classic. [00:08:43] Speaker A: I have it on dvd, right? [00:08:45] Speaker B: Absolute Classic. I didn't know that filmmaking. I guess I hadn't thought about it yet, but I didn't realize filmmaking was the thing I could do. And I was always in love with horror movies. And so when I started working at this store and I met someone who made movies, I was like, that's what I want to do. I want to make weird movies. And so I told my parents I wanted to go to school for film, and they said, absolutely not. There's no way. We won't pay for that. And I was like, okay. I didn't really want to pay for film school. I didn't. I just didn't seem like a good use of my money. And so I went to school for English literature. [00:09:24] Speaker A: Oh, okay. That took a turn. [00:09:26] Speaker B: Yeah. And so. But it makes me great at the costume design, right? Because I'm not, you know, good. It makes me good at the costume design because I am able to look at context clues in a script. I can take things about assessing character and using symbolism with color and things like that, because I'm not formally trained as a costume designer. But I. All through school and, in fact, I didn't even know at first, I didn't even know that I wanted to be a costume designer. I just knew I wanted to be involved in making movies and at first thought I wanted to be an actor. I'm not good at it. It's not. That's not my job. Not my job at all. So I was like, okay. I learned I had A surprising amount of self awareness for a 20 year old and said, that's probably not what you're gonna do because that's very cringy to watch yourself do whatever is happening in this movie. Also, first movie I was in was also a not sexy, trying to be sexy vampire movie, like nice, called Les Pires. [00:10:27] Speaker A: Okay. Nice title. [00:10:30] Speaker B: Also nice title. Right. Like it implies, it would be a very sexy movie. [00:10:34] Speaker A: Yeah. [00:10:34] Speaker B: And there is no sex in this movie. I think I like missed opportunity, have like a kiss on the cheek with another girl. And that's like the level of sexuality that occurs in this film, which is super misleading. Yeah. So yeah, I was in that movie. I did a bad job. And then I. I went, no. I'm trying to think of what the first movie that I actually did. The first movie I actually did the costume design on, I was. It was earlier than that. So I kind of had an idea that I would like that. But I was 19. It was a short film called Ellie. It's part of a trilogy by the same guy who made Night of the porno. Vampires. [00:11:13] Speaker A: Love the title. So he really. That was his art house. That was his art house base. [00:11:19] Speaker B: Ellie is the. So it's Ellie. And then there's a middle one. And then there's Elmer and Iris. [00:11:25] Speaker A: So it's like, okay. [00:11:27] Speaker B: It was a series of shorts that were all about. They were like around the 20 minute mark and they were all about the different ways that love messes you up at different stages of your life. [00:11:38] Speaker A: Fair. [00:11:39] Speaker B: He was a sad man. I think he's married now and much happier. So that's good. [00:11:45] Speaker A: But you can only hope. [00:11:46] Speaker B: I, for la, did the costumes and so I started getting into working on horror movies. I was. I did a few in the beginning when I was in that period where I was like, still in denial that I shouldn't be in the movie. But I wanted to be in the movie where I would be like a cameo. But mainly I was there doing costume design or I did some special effects makeup. When the things are that low budget, there's no stakes. Right. So, like it. I just did what I was like, I think I could do that. [00:12:12] Speaker A: Why not? [00:12:13] Speaker B: Like, sure. Great, then do it. That sounds great. Are you free? Amazing. Because for me, I didn't go to film school. I went to school for English literature and interned on sets instead of paying for film school, which I think arguably gave me probably a better education. [00:12:30] Speaker A: That's not bad now. [00:12:33] Speaker B: But that was never what I was gonna do anyway. [00:12:36] Speaker A: Yeah. So it's kind of like, you can. You can go to Le Cordon Bleu or you can find a restaurant where you can work that they can help you. They teach you how to cook. Okay. [00:12:47] Speaker B: So that was how I got into it. And I did it for many years and I really loved it. I worked on lots of movies that I am not proud of, and then a few that I think are pretty decent, and I'm happy that I was part of them. One of the last things I did was in the summer of 2019, I worked on the recreation shoots for the new reboot of Unsolved Mysteries. [00:13:18] Speaker A: Oh, cool. [00:13:19] Speaker B: So the first season, I did like half the episodes I did the costume design for. [00:13:23] Speaker A: Oh, that's the first thing I did. [00:13:25] Speaker B: Because I got old. Er and 12, 14, 16 hour days are unattractive and not fun and tiring. And it just wasn't enjoying. Like, I liked it, but I care about everything I do way too much. And so it was really too stressful. So I just decided that I probably wanted to have more of a life and have a social life and see people more than I was. And so I just kind of faded out of that. And I, at that point had already started magic as my other job. [00:14:03] Speaker A: Okay. [00:14:04] Speaker B: So. And then I was always a performer too. So in the time when I was working in film a lot, I was also producing and hosting and performing in these big cabaret shows and festivals. And so I really. My days were insane. I think back to the hours I used to work in my 20s and 30s, and I'm just like, I don't. I have no idea how I did it. I have no idea. I never slept. I must have never slept. And you can look at pictures from when I was doing those sorts of days. And I look. I look younger now at 39 than I did at 31. [00:14:39] Speaker A: Like just the bags under your eyes and. [00:14:41] Speaker B: Yeah, and like, just my skin looks bad and I'm bloated, like, drinking a lot. Like, you know, so I was. It was fun. And I got a lot of information that carried, I think. I think all the things I learned in the time I was doing work in film and television and I was doing cabaret stuff, I was learning things that I use now in magic. [00:15:02] Speaker A: Oh, wow. [00:15:03] Speaker B: While I. I had to get over feeling like I wasted a lot of time by not starting magic sooner in life, I think I came with a skill set that most magicians don't have. And. And it's really hard to build up. [00:15:15] Speaker A: Yeah, yeah, absolutely. And, you know, also knowing how television works and knowing how films work and, you know, staging and, okay. How where to hit your marks is that they don't. That's not something they teach you in on their home video. That you get from illusionist, you know. [00:15:32] Speaker B: Yes, exactly. That's the hardest thing. And so I. That is the advantage I had coming into magic is that I had a decade of stage time. [00:15:42] Speaker A: How did you get into magic? Like, what was your. What's your earliest memory? [00:15:48] Speaker B: Okay, so. Well, the first time I liked magic, like, that, I was excited about. I was 7, and I saw David Copperfield and that touch the screen clock. [00:16:00] Speaker A: Thing that, like, got it. Yeah. [00:16:03] Speaker B: I used that a lot over the pandemic. Like, different versions of that touch the screen clock things on them. Oh, my God. I loved. I loved that. It blew. You know, now I know it's math, but at that age, I was like, this is the craziest thing I've ever seen. I just touched the screen and this man on the television told me what I did. That's wild. But then I didn't really care about it for many, many years at all. And even when I first met Francis, I was impressed by Francis Minati, and I thought he was really cool. And I immediately convinced him to work for, like, no money in the cabaret stuff. [00:16:40] Speaker A: Nice. [00:16:41] Speaker B: But I didn't learn magic right away. That was in 2014, and I probably should have started then, but I didn't because I was like, no, what I'm doing is. And it's great, and I don't want to do your thing. I'm doing my thing, and we'll just put you in my thing, which is stupid. I should have started magic then. But it wasn't until. Until, like, 2017. [00:17:02] Speaker A: Wow. [00:17:02] Speaker B: Really started. [00:17:04] Speaker A: So you. You. You rocketed onto the. The scene, really. I mean, you know, you think of people that are like, hey, I've been a magician since I'm five. I'm just finally finding out that I want to do this. [00:17:18] Speaker B: I had all the time building up being an entertainer. Right. So I knew I wanted to do that. [00:17:22] Speaker A: So, yeah, that's a great. That's a great way to do entertainment. And you've got all those skills already. What kind of events did you emcee? You talked about doing Burlesque. What other, like, is. Is. How did you get into that? [00:17:34] Speaker B: Oh, I just. I think emceeing is a very important job, and I think people don't do it well, and I have a lot of feelings on it. I actually wrote a lecture about it because it's an overlooked element of shows all the time. And it's the most important element of the show. And that doesn't mean that the MC is the star of the show. It means the emcee is. If they're doing their job correctly, they are simultaneously invisible. And the greatest part of the show, because it wasn't about them, it was about the show. A really good emcee knows that ego comes second when you're hosting because it's not about you, it is about the show being good. So that sometimes means, like, in the moment, killing your darlings, not doing the thing you wanted to do because you're going to go over time. And that if you've agreed to be the mc, you're not the act that's there. So they. It's your job to keep this show on time, right? Not constantly talking about yourself, but rather talking about the acts, Learning the information about your acts before you go out on stage. Not reading off of a note card. There's just so many things. And I started hosting before I was in magic because in the cabaret world, it's the same thing. People don't take it seriously. They put together this whole beautiful show, great job, and then they don't think about the host, and they put some schmuck that's gonna make bad jokes and read off paper, and it brings the quality of entertainment down, and that sucks. And I want people to see a good show. And so the best way I thought to do that was to start emceeing. So. So not just cabaret stuff. I host fundraisers, I host corporate events, variety shows. I've hosted music shows. I've hosted all sorts of stuff. I just. I like the job. I like building people up before they take the stage. I like saying nice things and giving people, like, getting a crowd ready and energized. I just. I enjoy it. I think it's important. And I think the thing is, again, I wish more people did it for the reason of making the show good, not to be the star of the show, because that's not what the MC is like. [00:19:40] Speaker A: They're auditioning for, you know, like, hey, come to me after the show. I'll give you my card. [00:19:46] Speaker B: Oh, right. I realized that's a weird magic thing where, like, the mc, also in magic, sometimes is just like, the guy who's not good enough to do an act in the show. [00:19:56] Speaker A: Oh, wow. Shots fired. [00:19:58] Speaker B: That happens at, like, magic clubs and sometimes at magic conventions. And I don't know why. I. [00:20:05] Speaker A: Well, I. I wish. Well, that that's. I. I Think that would probably be something I, I would end up doing in a magic convention because I, you know, I can talk, but my, you know, my, my Elmsley count is horrific. I do two, I do two card tricks in my show and they're both self working. I do one card slate and that's just like a double lift. And I'm like, that's good. I'm good on that. [00:20:29] Speaker B: You know, that's okay. I think some of the best magicians are really just great entertainers. And yeah, your magic has to work, but you have to be engaging and entertaining. And so who cares what your method is? Who cares if you only do X or Y or whatever? That's not what matters. That's not what laypeople care about. [00:20:49] Speaker A: No, I. Where do you get your material from? Books, websites? Where do you get your material? [00:21:00] Speaker B: I get my material from various places, but I don't do it like most magicians. I don't buy something and then try to figure out what it is. Okay, I have an idea and then I will try to find the tool or the method for the idea. Occasionally there's exceptions to that. Michel Wo just tends to, he's a guy out of Canada. He just tends to make pieces of magic that work perfectly for me. I have purchased two of his pieces. I like them and use them. They're two standards. It's a priceless and socks. And I do them in every show. I do them when I work in the show with Francis as couple of magicians and I do them in my solo show as Lindsey Noel and I. But I think I also gave them their own presentations. Like my version of socks is not how it's done. It's kind of sold as like a strolling trick. Are you familiar with this? [00:22:04] Speaker A: No. Remember, I'm a toddler when it comes to. So I don't tip it. But I would like to know, like the. [00:22:10] Speaker B: What's the plot, the plot of the trick? The basic thing that happens is you have two piles of socks. They're all mismatched. Somebody tells you when to stop. Suddenly all the socks are matched. And not only that, they stopped at a match pair and those are the pair that you're wearing. [00:22:29] Speaker A: Oh, wow, cool. [00:22:31] Speaker B: Now Nichelle's version says you should reveal the socks matching the ones you're wearing first and then show all the socks match. And I don't agree. I do it differently, but I also don't do it like a normal trick. I do it like it's an infomercial for a product to Match your socks, because everybody hates matching socks. So it's. It is one of my first presentations that I came up with that I'm really proud of. I love it. I can do it in my sleep also. It's like the script for that is so in here. And then I also do. He has. Price list is basically someone has a price tag on a jacket. People yell out numbers. You open the jacket. Inside the jacket is a price tag, says everybody. [00:23:11] Speaker A: I've seen that one. That's. That's a. That's a very clever idea. There's also great. I think there's another one. It's a riff on that where it's on. It's attached to the back. And one of those. It's on one of the. Those things that go off if you go through the store. It's the same concept, right? It's like in it. But. But yours is on the inside. [00:23:32] Speaker B: Well, so I've done it both ways. When I used to do costume changes, I would have it on the back of my dress. And now that I wear a. I usually. Now, the way the bit works is that I put on a jacket to say, you've probably never seen a lady magician before. So I wanted to dress the part. I went out and got this nice blazer. I used to work in film and television as a costume designer, and I was known for never going over budget. I'm what's known as a cheap ideal queen. I'm. We're gonna go with deal queen. [00:24:00] Speaker A: Yeah. Nice. [00:24:02] Speaker B: But, yeah. So, like, tell them that I was really good at getting a deal. So then when they say this weird price, it makes sense that the jacket is a weird, cheap price because I only get three numbers. I don't get four or five. And so. And three numbers with a decimal point. Right? So, like, the number is always like 793 or something. But. So two pieces I bought. But then my signature piece is based. It's. It's a version of a trick Francis Minati created, like 25 years ago. [00:24:32] Speaker A: Oh, wow. [00:24:33] Speaker B: And so I do a solo version of that mixed with a trick called Premonition, which is basically someone names a card. You have that card in your hand because they went through the whole deck and they counted 51 cards and their card wasn't there, and you'd been holding it the whole time. They name any card. It's a completely free choice. It's not a force. It's really cool. But it's a piece using the guitar, which. So I play guitar as well. So the guitar, some of my magic. [00:25:01] Speaker A: Okay. [00:25:01] Speaker B: So that one's original. And then a lot of times it's like, also I take a piece that a tool that exists and create, you know, again, creating your own presentation for it. So I do as a drawing duplication, which is somebody thinks of a picture, and we both draw it simultaneously. [00:25:22] Speaker A: Love that. Yeah. [00:25:23] Speaker B: And that uses a tool that's very basic. That's definitely not. I didn't make up a drawing duplication, but I like my presentation of it. I think my presentation of it is original and fun. I've decided that the way that I do mind reading because. Right. Obviously, magic always has to have a reason. [00:25:38] Speaker A: Yes. [00:25:39] Speaker B: The way that I do mind reading is through dance, because dance is a universal language. [00:25:43] Speaker A: Oh, I love that. I love that riff on it. Because I feel like it doesn't make sense if somebody says, I can read your mind. I'm like, why? Why? You know what? Okay, so I don't get it. You know, but it's. I do like the fact that you're. You're making sense of it. I mean, I've gotten very interested in scripting magic lately, and I am interested in your experience with scripting your performances. For example, I read, I think on your website, where I read that you had help scripting your act for the Pen and Tellers fool us. Because television, with that show, you have to have, you know, it has to be. I don't think there's any riffing. So you had some help with the script. [00:26:26] Speaker B: I wrote a version, and it's completely changed. Originally it was about Christmas gifts and things like that. And then. Oh, the Polaroids trick is also original. [00:26:36] Speaker A: I like. I like that a lot. Yeah. [00:26:39] Speaker B: Thank you. It's. I don't do it anymore. I have to. I have to, like, re workshop it. Ever since I took. I had a really rough shoot, not doing anything that the production did wrong. It's just. It's too long of a story. It's for another time, but yeah. [00:26:55] Speaker A: Okay. [00:26:56] Speaker B: Yeah, so it is. When I started, I had a script that was about my favorite things and being born on Christmas and stuff like that. And then I sent it to Jonathan Burns on my own because I knew I was trying to take it on full list. And so Jonathan Burns, who is another magician slash contortionist, if you want to look him up, his cheese across that he does on Penn and Tellerful Us is hilarious. It's one of my favorite magic tricks. [00:27:21] Speaker A: Oh, it's with the cheese, right? Oh, that was so good. [00:27:26] Speaker B: And the little Bells that he rings every time. Oh, my God, it's so good. [00:27:29] Speaker A: That's one of my all time favorite acts on Penn and Teller. So good. [00:27:34] Speaker B: He's fantastic. And so I think he's very funny. And so I sent. I hired him to work with me on my script. I also hired a director. And you can't tell that I was freaking out. When I was filming, I had a really bad rehearsal and I went right into filming after the rehearsal and then during the actual shoot, while it was like the actual one for television, something went wrong eight times in a row. [00:28:01] Speaker A: Oh, you poor thing. Okay. [00:28:02] Speaker B: I could tell her it was the worst. And so you can't tell, though, because I worked with a director for months leading up to brilliant multiple times a week. Like that script, that whole thing was so locked in, there was. It was not going anywhere perfect. Why? You can't tell. I'm freaking out when that during I watch it sometimes and I'm like, that's crazy. This is good. It was such a nightmare happening. But it's so good. That show exists to make magicians look good. [00:28:32] Speaker A: Yeah. That's what. That's my takeaway from the way that they do the show is they do. And everyone that I've talked to on the show, that show really is there to lift up magicians. And I feel like, and you can correct me if I'm wrong, they've gotten a lot better at showcasing magic as opposed to aha, Gotcha, you know, because they used to give away a lot more of what they were doing right than they do now. [00:28:53] Speaker B: My understanding of the show is. So there's two. There's two sides to this answer. One is, I think our sensibilities as to what is acceptable and not too mean on television have gotten. We're softer now about those things. The style of television, I think that was popular when the show first came on in 2014, I would say it was a little bit more aggressive as far as how people interacted with, like, how popular reality television. I know it's still popular, but it was so popular at that time. I think. I think that might be why you would have that takeaway, because I know what I. My understanding of the show is that it exists because Pen felt really shitty about doing the Apprentice. [00:29:40] Speaker A: Oh, wow. [00:29:40] Speaker B: He felt like it was like that show existed to make people feel bad and look stupid on tv. Right. So they definitely tried to do this as a way to only make people look good. Because even if they're a little bit more harsh in the information. [00:29:55] Speaker A: Yeah. [00:29:56] Speaker B: They edit those acts so that the performance is good. Like, they really are the. That they want that to be a show that you walk away from feeling like you had a good experience and like, it served you to do it. Yeah, I don't think that even. I think that's been the sentiment the whole time. I think just people were harsher 10 years ago. [00:30:14] Speaker A: Yeah, that makes sense. I think they take it as their responsibility to bring in the next generation of performers. And, I mean, if you look at Piff, I mean, they, you know, talk about they. They really like. I don't. I don't think he would have a Vegas show if it wasn't for Penn and Teller. Well, he might, but, I mean, maybe I'm wrong, but, I mean, sure, AGT helps a lot. Yeah. Agc. [00:30:37] Speaker B: And that one's not nice. That one is not one that you're gonna get away from feeling like, oh, that was great for my career. I mean, you might. [00:30:44] Speaker A: But, like, I don't know. It's helped Brent Braun. I think almost all the magicians on there have. Brent has brought them on himself. [00:30:52] Speaker B: Yeah. Has Brent on your podcast? [00:30:55] Speaker A: Not yet, but he's one of. I'm working on him, but he is extremely busy. [00:31:01] Speaker B: He is extremely busy. But, yeah. So I. We got here about asking how I got. Oh, the material I do. [00:31:13] Speaker A: Yeah. The scripting. How do you. How do you go? How do you approach scripting? [00:31:23] Speaker B: I would like to tell you that I am super prepared and work on things way ahead of time, but that's a lie. Sometimes I do, but usually what happens is I have a piece and I have to work it out, and I start the process, and then I get frustrated by the process, and then I put it in my show a couple times, and I take it back out because I go, well, shit, I needed to work on that more. And then I do work on it, and I come up with some lines and some things that tie it together, and then I put it back in the show and do it a couple more times. I try to watch the video. Right. Like, so I do. It kind of, like, goes in a cycle. And sometimes. Sometimes they just pour out of me. The socks. One that poured out of me. My. The things. Sometimes things that I write with Frances come out really easily. Some stuff, it's easier than others, and I will just write it all at once. A lot of times, for driving to a gig in the car together, if I'm not driving and Francis is driving, I will write scripts in the car. Hopefully not for the show. We're driving to. But yeah, so I spend. I do write scripts for things because I feel like it doesn't work very well if you don't. Right. And so a lot of my scripts, I did a lot of script writing. I wanted to make a one woman magic show in 2022 for French, so I did. And so a lot of my scripting is pared down versions of what I wrote for that show. Because it's a lot of autobiographical stuff. And I think being magicians, it's important to be real in every way that we can. Nobody likes a fake person. And so I like sharing embarrassing, funny things about myself. So I. When I open the at the castle, my opening line, when I like do the parlor at the castle, my opening line is, every magician has an origin story. And most magicians origin stories are sort of like this. When I was five, my parents bought me a magic set and I never looked back. But my story's different. You see, when I was 30, I banged a magician and now I'm here for all of you. But that's real, right? Like, that's the actual real. That's the story, you know, like, how'd you get into magic? Well, I fell in love with this magician and I was like, this is better than what I'm doing. I'm gonna do the thing that you're doing. Cause it's still the same. We're still doing the same thing. I'm still entertaining people. Except now I can get paid a lot more for it and do it in earlier hours. This sounds so good. What was I waiting for? [00:34:11] Speaker A: That's the best origin story I've heard so far. [00:34:13] Speaker B: Thanks. Yeah, that's the very real answer. [00:34:16] Speaker A: That's the first one that didn't start with my aunt gave me a magic kit. But that's the. But that's mine is I stole my brother's magic kit. But that's, you know, so that's pretty great. [00:34:29] Speaker B: Yeah, yeah. And I used to be embarrassed about it, right. But then I was like, no, this is very funny. Actually it was something in Harrison's comedy lecture, Harrison Greenbaum was like, yeah, if it's embarrassing, do it. Tell people the embarrassing thing. Don't hold that back. That is funny. People like that, you know, and it's not necessarily self deprecating either. I also like that it really sets people up for the expert. They're like, oh, she's just some magician's girlfriend or whatever, right? And then I'm surprised. I'm actually also good. [00:35:03] Speaker A: That's awesome. [00:35:04] Speaker B: I'm letting you underestimate me because I know that you're going to do it because people are predictable. [00:35:09] Speaker A: It's the old. It's the old magicians in trouble plot where you're like, oh, no, I picked the wrong card. What am I going to do? [00:35:15] Speaker B: Which I never do. [00:35:16] Speaker A: Really? [00:35:17] Speaker B: Yeah. I don't. Well, I have one moment of it. I'm working on a new piece with Polaroids right now. There's. There's a trick where you throw out a deck of cards and you have people randomly look at it. [00:35:30] Speaker A: Yeah. [00:35:30] Speaker B: And then you call out the cards that they. [00:35:32] Speaker A: And I believe that's. That's called the tossed out deck. [00:35:35] Speaker B: Yeah. But we can't say it. [00:35:36] Speaker A: Okay, well, I mean, that's not. [00:35:38] Speaker B: Wait, our magicians list. Our only magicians. [00:35:40] Speaker A: It's literally. Okay. Anyone that's listening to this is going to. My. My approach is go to a magic website, look at all the free stuff, and then you're gonna. You're gonna see like, oh, Gazo's thrown out deck, and then this and that. Like, what I've noticed is thrown out deck doesn't tell you how it's done. It doesn't say how it's done. So I think it's fair to say, you know, a riff on the thrown out deck. It's not. You're not giving anything away. I love the idea of using Polaroids, though. [00:36:07] Speaker B: Yeah. So I use the Polaroids and then I get. I have four people and I get three of them. Correct. And I get one wrong. But I'm surprised. Like, wait, you're still. Because, you know, I do this thing where I call. I have a. You know, in order to make it bigger, they come up on stage, I have. I send them all back down. I say I name. I name four things and I say, if I said what you were thinking of, go sit down. And only three people go sit down. And I'm surprised that there's still a person there. Oh, my God. Why are you still here? This so crazy. I should have gotten it right. And I have her tell me what it is. And I say, okay, well, this. I have a deconstructed Polaroid camera. And I use a card fountain turn on its side, which looks like a Polaroid camera. It's pretty much the same shape. And I stick all the Polaroids in and then I kick the Polaroid that she was thinking about in the air. [00:36:51] Speaker A: Okay, that's great. Yeah, I like that. I like that. [00:36:54] Speaker B: Well, I do a high kick and for a long time There has been a reason for the high kick and Chris Capehart and Pop Hayden gave me a hard time about it and I was like, okay, fine. [00:37:03] Speaker A: I feel like they give everybody a hard time, though, just knowing them. They seem like they're the. They're the ones that would. That would do that. That makes sense. [00:37:11] Speaker B: Chris K. Park. 100%. [00:37:12] Speaker A: Yeah. I've never met him, but I've seen a lot of his. I've seen his lectures and I'm like, he's. He. He would bust your balls. It would be. He said he seems like a good time. [00:37:22] Speaker B: He is one of the first magicians I saw live. Him and Randy Shine were some of the first people I watched. [00:37:29] Speaker A: Oh, wow. Yeah. [00:37:31] Speaker B: And that's because Randy is best friends with Francis. [00:37:35] Speaker A: Okay. [00:37:36] Speaker B: And Chris is just amazing. So Francis was like, I saw him at Monday Night Magic very early on, before I was doing magic. It's also why getting into magic was harder for me because all the people that I saw first, I didn't, like, go to magic conventions or go to magic clubs. The first people that I saw do magic were Harrison Greenbaum and Peter Samuelson and Randy Shine and Eric Jones and Chris Capehart and Tina Lenner and Rob Zabrecki. [00:38:01] Speaker A: Oh, God. That's. How do you follow any of them? Yeah, I can't do that. [00:38:05] Speaker B: They're all. So I'm not that good. And then I saw other magicians and I was like, never mind. [00:38:13] Speaker A: You, you just went to the perfect. You, you just went to the, you went to the, the, the big leagues to start. I can see why that would be very intimidating to see them as, as your. Oh, I'm not at that level. [00:38:25] Speaker B: Right. [00:38:26] Speaker A: You know. [00:38:26] Speaker B: Right. [00:38:29] Speaker A: But I mean, there's a little bit of always going to be a little bit of imposter syndrome. Right. [00:38:33] Speaker B: Yeah. Well, just practice. Right? [00:38:34] Speaker A: Yeah. [00:38:35] Speaker B: It's the reps, you know. Yeah, exactly. And so there's lots of, like, there's pieces I work on. Like, I don't do card magic in my set. Why would I, Why would I do sleight of hand card magic in my stand up parlor set? I'm not. I'm okay at it. I can do lots of. I want to do scrolling. I do lots of card magic, but it hasn't inspired me to be a part of my set. Mainly probably because I don't. I think a lot of card tricks are just like, boring as sin. And so I don't have a desire to add them to my show. But they're skills that I work on. Right. So, like, I am work and, like, working on the Lion King rings. I work on the Lion King rings all the time. I don't really do it that often in front of people, because it's still a skill I'm working on. There's sleight of hand stuff that just does take longer. And as someone who has a deep respect for magic and doing a good show of any. Any variety, I don't want to do something before I'm ready on stage. [00:39:37] Speaker A: Yeah. [00:39:37] Speaker B: Now, Francis will sometimes give me a hard time and say that I am waiting too long, and actually, probably I could be doing some of these things, but I just, you know, I don't. I don't want to rush into it, so. [00:39:50] Speaker A: I like that you're angry on the side of caution, because I think one of the big problems with YouTube magicians is the fact that they just learned it and then immediately put it on, looking for clout or content when you don't. You didn't need to do that. You know, it just doesn't. It doesn't help anybody. People just see it and go, oh, another bad magician. I don't like magic as a. You know. [00:40:11] Speaker B: Exactly. I'm with you. And I think that people are so about the. Now that magic is a really hard art to learn because it's not immediate gratification. You can't decide, oh, I want to do this trick and learn it and then go put in the show. That's not how it works. You can try, and you will regret it. You can be like, oh, I learned this. I can do it. That's fine. I'll just do it. That is not how it works. I. You know, I kind of. I even. Even little stuff like the disappearing bottle, right? That's such a. That's a quick gimmick. The new one that came out recently is really good. It's a very, very good. [00:40:58] Speaker A: It actually looks like a bottle this time. [00:41:00] Speaker B: It looks very, very good. [00:41:01] Speaker A: Whoa. Okay. [00:41:02] Speaker B: I love it. And so I do a piece with it where I have the fake bottle and the full bottle, and. Or I have. I have one bottle of Coke, and it's a perspective. And so when I turn it this way, the bag says full. There's a full bottle of Coke in there. And then I turn it this way, and the bag says, empty. Obviously, it's empty now, because it's all, you know, magic, the world, everything is about your perspective. [00:41:29] Speaker A: Looks like I lost the signals. [00:41:30] Speaker B: Oh, my God, the computer's dead. That's okay. I'll do it. That's in the kitchen. Hello. [00:41:38] Speaker A: You're back. [00:41:39] Speaker B: Hi. You know what? I don't know what it is. The first time I sign into the app, it doesn't work. [00:41:47] Speaker A: That's weird. I'm sorry about that. [00:41:49] Speaker B: That's okay. Do I sound really bad now? No, I'm not using a microphone at all. [00:41:55] Speaker A: No, Sounds fine. [00:41:56] Speaker B: That's crazy. It's the new iPhone, I think. I went to see this incredible psychedelic cumbia band from Mexico on Sunday. [00:42:04] Speaker A: Okay. [00:42:05] Speaker B: Oh, my God, they were so good. There was a theremin player in a Kumbia. [00:42:09] Speaker A: What? [00:42:10] Speaker B: It was so cool. I'll send you a video. [00:42:12] Speaker A: Yeah. [00:42:13] Speaker B: Shocked at the quality of. At the quality of the video that came from it. [00:42:18] Speaker A: Yeah. I'm gonna be honest. Yeah. This, that you sound just like you're on. That microphone is really good. And I don't actually. I don't usually get that. So you. Yeah, this sounds perfect. You don't. You don't need the mic. It's. It's great. And that'll. That. It keeps your hands to do jazz hands. [00:42:36] Speaker B: I was raised those. [00:42:37] Speaker A: Those aren't jazz hands. [00:42:38] Speaker B: I need them. [00:42:38] Speaker A: These are jazz hands. [00:42:40] Speaker B: Need to do this. I need to do this. I need to make these at you. [00:42:43] Speaker A: Oh, are you Italian? [00:42:45] Speaker B: No, I. No, I'm Polish, but my dad lied to me for, like, 35 years. My dad really liked making Polish jokes. That's why he had to lie to me about being Italian. [00:42:57] Speaker A: Oh, he lied to you about. [00:42:58] Speaker B: We're not like, we're like, a little bit Italian, but, like. [00:43:00] Speaker A: Yeah. Oh, okay. I loved pasta until I had to go gluten free. So it's the worst. I don't recommend. It's like the opposite of vegan, where people that are vegan want you to be vegan, where I don't want you to be gluten free because I need to live vicariously through you. [00:43:18] Speaker B: Please eat the breads. [00:43:20] Speaker A: Oh, my God. Eat all the breads and, like, look. [00:43:22] Speaker B: Me in the eyes, like, to it. [00:43:24] Speaker A: Yeah. I'm like, oh, eat that. Eat that bread like your French baguettes. Jack. Yes. [00:43:32] Speaker B: Oh, my gosh. Yeah. So sorry. We got. [00:43:36] Speaker A: We were talking about scripting, but I was curious how much of your. When you're on stage, how much of your routine is the script and how often do you go off script and improv? [00:43:53] Speaker B: How often do I go off script? Probably it's like 70 script, 30 off. [00:44:01] Speaker A: Okay. [00:44:02] Speaker B: Because there's always going to be the parts that you're interacting with people and they change their variable. You can Kind of control it a little bit, but, like, you don't definitely know what's going to happen, so that part always changes it. But, yeah, I definitely try to have stuff scripted and have an outline of what I want to say. Even if the script is really just like, these are the points I have to hit. But there's certain pieces that you can't help it. Like, once you've done them, a lot of times they just are. They are scripted. That's just how you do that piece. [00:44:30] Speaker A: Wow. What advice would you give to a new magician when it comes to starting out? Like, if you're a brand new, hey, I want to do magic thing, my. [00:44:42] Speaker B: Advice for new magicians starting out would be to not buy the expensive thing. You probably don't need it. You think you do, but you don't. You could just use something in your toolbox already. And don't try to be funny if you're not. [00:45:03] Speaker A: So. Okay. Yeah. So maybe. Maybe see if you actually get anyone to laugh. And then if that's not working out for you, do do, like, a silent act. [00:45:15] Speaker B: Well, not even that. Like, you can talk. But, like, not everybody is a comedy magician. And most comedy magicians are usually not very funny or all that magical. They kind of just. It's that weird thing where you're like, I've taken this and this and I put them together, and I'm not that good at either one of them. Or neither one of them is shining, you know? [00:45:40] Speaker A: Yeah. It's not always peanut butter and chocolate. [00:45:42] Speaker B: No. And not. And not everybody. You know, there is lots of room in magic for all different styles. Being a comedy magician is one style, and it maybe is the thing that's popular right now, but it shouldn't be. I don't think it. It's not every. It shouldn't be everybody's goal, and it seems to be kind of everybody's goal right now because it seems to be what's popular. [00:46:08] Speaker A: I got it. Okay. [00:46:09] Speaker B: You can force it into yourself. [00:46:12] Speaker A: Got it. What advice would you give them about costuming? How do we decide what we wear? [00:46:17] Speaker B: Please don't just wear a vest and a dress shirt. Don't wear a vest and a dress shirt. [00:46:21] Speaker A: Okay. [00:46:22] Speaker B: Every magician. Okay. [00:46:25] Speaker A: That's a start. [00:46:26] Speaker B: There's a reason for you to wear a vest and a. And a shirt. [00:46:33] Speaker A: What? Would you tell me why? [00:46:35] Speaker B: If you've got a reason for why and it fits your character, then fine. But if you're just doing it because that's what magicians wear, it's not a Good outfit for you. Also, don't be afraid of texture. I know magicians love to wear all black, and some people can wear all black and look really cool and pull it off and it's still got style. That's. I would say that applies to definitely both Rachel Wax and Jeanette Andrews. They both always wear black and always look very cool. [00:47:01] Speaker A: Yeah, they can. Yeah. [00:47:03] Speaker B: Rachel knows what she's doing, so she can do whatever she wants to look good because she understands fashion and style. But, yeah, if you're going to wear all black, think of ways to make yourself stand off of your backdrop, because black disappears on stage. So. [00:47:19] Speaker A: Okay. Um, what is the most memorable or strange audience interaction that you've had? [00:47:29] Speaker B: Most memorable or strange? [00:47:32] Speaker A: The ones that don't involve lewd, like, lewd comments. It's a family show. [00:47:37] Speaker B: Yeah, family show. Sorry for the cursing. I am from Philadelphia, though. [00:47:42] Speaker A: Oh, no, that. That's. That. I bleep that out. You can curse all you want. Yeah, yeah, yeah. Yes. Those people who don't like to swear. [00:47:51] Speaker B: Let's see. Weirdest thing that's happened on stage. Oh, I know. One time I was working the Chicago Magic Lounge, and I handed someone, I did the Polaroid trick, and it didn't work because when I asked the person what it was a picture of, they said, a shadow. I was like, what are they? Did I call up a blind person? And then I looked over and they showed me the back of the Polaroid. [00:48:30] Speaker A: Oh, God. [00:48:31] Speaker B: They had only looked at the back of the Polaroid. So it then taught me that I have to tell people what is the front of a Polaroid? And now I say that, and I tell that little quick thing about some people have never seen a Polaroid. I don't know if you have seen a Polaroid, but just in case you have not seen a Polaroid. And then. Oh, Francis just reminded me of probably a very, very good one. So there was one time, one of the way I closed my set is with that guitar piece. But the ultimate payoff of the piece is that the person who's been called up to help a watch came out in the beginning of my set, and it's just been sitting there, and it didn't belong to the person I made it look like I stole it from, which made. You know, it seems like it's just kind of like a gag throwaway. Like, this isn't your watch. Oh, okay. Your name's not Chekhov. Cool. [00:49:25] Speaker A: Oh. Oh. You literally call it Chekhov's watch. [00:49:28] Speaker B: I say your name's not Chekhov, but yeah. [00:49:30] Speaker A: Oh, that is so good. You. That's. Oh, that's Chef's Kiss. That's probably. That's the best thing. Oh, my God, I love that so much. [00:49:42] Speaker B: I did it at the castle, and I. I say it's not. Wait, wait. You came up here? But I didn't call you up here to do this trick with me. I called you up here because you know your exact time of birth. So do me a favor. Write it down on that board over here. Do I need to. I need someone who knows how to read an analog watch. Someone comes up, I say, what time does that watch say? They say the tie, and the person flips the board around, Everyone freaks out. [00:50:07] Speaker A: Awesome. Yeah. [00:50:08] Speaker B: Thank you. But in this, one of my shows, this was probably three times ago at the Castle, one of the shows, I got it wrong, and I was like, ah, you know, it's a. I kind of. When it happens, I do just blow it off. I'm like, whatever. It was an amazing night. You guys are great. Thanks so much. It's mind reading, not. Not science or something, right? Like, I don't. [00:50:34] Speaker A: I like that. That's a good. That's a good line. [00:50:36] Speaker B: Thank you. But it usually doesn't go. I mean, that's very rare that this happens. So, anyway, this woman called me a couple weeks later, and she was like, I thought that you got it wrong, but I called my mom and told her this story, and she sent me a picture of my birth certificate with the exact time on it that you said. And I was like, yeah, I'm going to take this as, like, I'm real magic, but clearly it's just a completely. A fluke. [00:51:08] Speaker A: But it's so good, though. Well, that's actually where me and my wife, we have this thing called. Have you ever heard of string theory? [00:51:15] Speaker B: Yeah. [00:51:15] Speaker A: So everything is. Everything is. There's a possibility that all matters is tied to. Everything's held up by these invisible microscopic strings that we can't see. But it also. I feel like that that's what I call it when there's coincidences that are more than coincidence, where you're. You're thinking of something and then it appears. It's like one of those. Why is it happening? Because technically, we're all connected. The cells. I touch this. My cells are part of that. And it's. It's like there is this thing. Like, one day I was thinking to myself, I'm like, oh, I wonder if there's any new south park episodes I haven't thought about. This in years. Get home, turn Netflix on. It's like new season of South Park. And I didn't even say it out loud. I said it internally and that day. And it's the same thing when you think about a movie. And it's the same movie on. It's like, there's definitely something that connects us all that doesn't call it whatever you want, but there is something. And that's just one of those weird, like, things where when that happens, I go, that's just a science we don't understand yet. [00:52:10] Speaker B: So there's actually an amazing quote from Movie Repo man about this exact thing. And I say it in my show, and I'm gonna say it to you right now. [00:52:19] Speaker A: Say it. [00:52:19] Speaker B: I'm so excited. A lot of people don't know what's really going on. They think life is like this series of unconnected incidents and things. They don't realize there's this, like, lattice of coincidence that just lays on top of everything. [00:52:33] Speaker A: Oh, wow. [00:52:34] Speaker B: I'll give you an example, show you what I'm talking about. Say you're thinking about a plate of shrimp, when suddenly, out of nowhere, someone will just say, shrimp. Or you'll see a plate, and there's no explanation. And there's no use looking for one either, because it's all a part of the cosmic unconsciousness. [00:52:58] Speaker A: It doesn't get to come up so good. [00:53:00] Speaker B: But you. I was like, I'm so excited I get to say this quote. [00:53:03] Speaker A: That's so good. And it's. It's true. But, I mean, I think that that's the perfect. Honestly, I think that's the perfect hook for a magic act. If you just wanted to. You know what? If you're not using that one, I'm gonna. I'm gonna use. I'm gonna use string theory as mine. [00:53:16] Speaker B: I mean, I. I use the quote for when we do the Rubik's Cube. [00:53:20] Speaker A: Oh, I won't use that quote. Don't worry. [00:53:22] Speaker B: Because I think the strength. And also, I'm not the first person to use it. Albert Kadabra. Hilariously, there's a magician out of New York called Albert Kadabra. I like him a lot. He's a friend of mine. Good guy. But he does a Rubik's Cube thing where he also quotes the. I think it's just. Well, especially because when you're using the Rubik's Cube, it kind of has a lattice look to it. Anyway. So, like, it's not. [00:53:42] Speaker A: And it. And it makes sense out of a Rubik's Cube. Because a lot of. A lot. I'll go. I'll see a lot of magicians, like, especially in cruise ships where there is no point. It's just trick, trick, trick, trick. [00:53:52] Speaker B: 43 quintillion combinations of the Rubik's Cube. [00:53:56] Speaker A: If I have to hear that one more time, I swear to God. Or a deck has 52 to the exponential. You know this. But I like it for, like, the first time I heard, I thought it was hilarious. Like, I was like, oh, that's a great. And then I was like, oh, everyone uses it. I don't like it anymore. I don't. I. The reason I don't do anything that anybody else does, because, like, I don't. I won't pick a hobby that everybody else does. I won't. Because I just don't like to be banal, you know, I don't. I do have. I have one more question and then. And then a bonus question about something. Okay. If you could give a younger Lindsay Noel advice, what would it be? [00:54:41] Speaker B: Learn magic earlier. Let me be nice. Let me be nice. Hold on. I'm gonna try it again. I'm trying again. [00:54:47] Speaker A: This is usually a very heartfelt moment. [00:54:49] Speaker B: Yeah, yeah. [00:54:50] Speaker A: This gets a. [00:54:50] Speaker B: Hey, if you started magic now, Lindsay, you would be really good. When you're my age, you should work hard at it now so you don't have to work hard at it when you're 39. [00:55:04] Speaker A: Nice. Fantastic. So here's. Here's the bonus question. What is your race and class in Dungeons and Dragons? [00:55:17] Speaker B: Oh, well, I am a heron God. Because I love being a little bunny. [00:55:27] Speaker A: Oh, those are great. Hair and gone. [00:55:30] Speaker B: Hair and gone. And I am sort of. Oh, okay. I just. It's okay. All right, well, I'm not gonna send this to my DND party because they don't know. I have, like, a secret. [00:55:46] Speaker A: What if they watch this? Oh, do you have a secret class? [00:55:49] Speaker B: Kind of. I am like, oh, sick. But also, I have the College of Shadows, too. [00:55:55] Speaker A: Oh, okay. [00:55:56] Speaker B: Yeah. [00:55:56] Speaker A: You don't. [00:55:57] Speaker B: Yeah, yeah. So I have, like. I'm doing two things also. My current character's bit is that I am running an MLM scheme for Hag Oil. [00:56:08] Speaker A: Oh, my God. [00:56:09] Speaker B: I love that everybody on Hag Oil that we run into. But honestly, my DM right now, we fight so many things. Like, there's actually not a lot of. We don't have a lot of, like, moseying through the woods and BSing with the townspeople. We are really mostly just in dungeons kicking ass, taking names. [00:56:26] Speaker A: Okay, fantastic. That was. That's my favorite question. You don't. You don't meet a lot as many D and D people. You meet more than used to. [00:56:34] Speaker B: Doesn't Karissa play? [00:56:36] Speaker A: I don't know. Now I need to find out. I don't know. [00:56:41] Speaker B: I thought they did. I think Michael Feldman definitely plays. I know he game and has had one forever. Also, if you need other magicians, I can tell Francis about you. He's been listening to this. [00:56:53] Speaker A: Another Lindsay Noel, thank you so much for your time. I really appreciate you taking the time to sit with us and tell us your story. Lindsay, where can the people find you performing? [00:57:03] Speaker B: The people can find me performing. Oh, I'm producing a bunch of shows this month. [00:57:11] Speaker A: Oh, great. Okay. [00:57:12] Speaker B: Self produced for Walling at a place called Velvet Whip. Also at a plate at some in Philadelphia. I'll be in Lancaster at a place called Zoetropolis. And I will be at the Gem in spring City on May 1st. [00:57:26] Speaker A: Fantastic. [00:57:27] Speaker B: Lots of cruises and then, you know, hey, lots of private things. So if anybody needs. Wait, what is happening? What's that say? Oh, I'm going to be at the Chicago Magic Lounge. [00:57:37] Speaker A: Oh, when are you going to be at the Chicago Magic Lounge? [00:57:40] Speaker B: September 25th, the 28th. [00:57:42] Speaker A: Fantastic. That's the spot. I love that spot so much. Yeah, that's awesome. So you can get her, you can find her through her socials. And if you like what we're doing here, please like and subscribe on YouTube so you can watch this in glorious video. And trust me, you want to watch this in glorious video. And then follow and rate the podcast so we can spread the word that magic is for everyone. I am Dr. Todd and this is Magicians Workshop and we will see you next time.