mr-gadfly-journal-for-card-magician-vol-1-1

EDITOR
Aaron Smith
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Phone: 918-270-2207
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COLUMNISTS
Aaron Shields, Aaron Smith, Andi
Gladwin, Bill White, Jamie
Badman, Steve Reynolds, & Trini
Montes.
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Copyright © 2001 by Aaron Smith.
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P
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CREATIVE PRIORITY
Editorial by Aaron Smith
Mr. Gadfly has three missions; to teach new card tricks, give fair reviews, and
make you question what you know to be true about card magic. The latter point
is the basis for Mr. Gadfly.
Socrates was known as “the Gadfly of Athens,” because he forced people to
question their beliefs through a series of interrogation. In the end, they would
arrive at conclusions that they found had a stronger foundation. He became
such a nuisance and a threat that he was condemned.
The magic community has grown… What it has grown into is not certain. I think
that our magic ‘fore-fathers’ would be shocked with the amount [and type] of
growth over the last 10 years. TV has increasingly been a forum for magicians,
with shows airing weekly on various channels. The world is opening up to
magicians and providing the venues for more hobbyists to think about going full
time.
I have met many fellow magicians… and a larger number of them are turning to
“card tricks,” only. There is advantage in being exclusive to just one medium,
the ability to concentrate on a different scale and to narrow the classification of
your art.
There are of course drawbacks to concentrating on one medium. It might be
considered a limitation to reserve your creative potential to one venue.
Arguably, an exclusive medium gives no balance or variety.
magician only does magic… Is there a difference?
However, a
What does it mean to be a “card magician?” Do you learn to apply more of your
general thinking to a specific order and concentrate the effort and thus produce
more ideals? Should card magicians attempt to separate themselves from other
orders of magic, perhaps even dropping the title “magician” completely?
L E T T E R
TO
T H E
E D I T O R
If you have an opinion regarding what was discussed on this page, send a letter
to the editor, and we might use it for the next issue. Every letter is answered
and posted on the web site.
Frog Hair
By Diamond Jim Tyler
“I see nobody on the road,” said Alice.
“I only wish I had such eyes,” the King remarked in a fretful tone. “To be
able to see nobody! And at that distance too! Why, it’s as much as I can
do to see real people, by this light!”
- Lewis Carroll
Through the Looking-Glass
E F F E C T
The magician displays a frog hair, which to the audience seems invisible. The
magician ties the hair to a playing card and lays the card flat in his left hand.
Shockingly, as he pulls the frog hair from the opposite end, the card stands up
and flips over in his hand. The card is passed out to the audience for
examination.
M E T H O D
Sorry, no invisible threads are used here. This is a genuine sleight-of-hand
trick. Your left hand does the dirty work while your right hand misdirects the
audience. Secretly, your left hand scrunches its outstretched fingers inward
toward your palm. This action will make the card flip over if the card is positioned
in the hand correctly; I will refer to this action as the Scrunch Move.
S C R U N C H
M O V E
Place one of the corners of the card into the natural bend in the hand, just below
your pinkie finger (FIGS. 1 & 2). Keep the fingers of your left hand straight;
move them inward slightly, and the groove in your hand will grab the card. If you
continue to pull your fingers inward, the middle of your left hand will bend
downward. This action will bring the fleshy padded area beside the base of your
thumb upward. Believe it or not, the momentum from this action will cause the
card to stand up (FIG. 3).
Figure One
Figure Two
Figure Three
Once the card is vertical, give it a little kick, with the same squeezing motion,
and allow the card to topple over (picture at left).
P O I N T E R S
The Scrunch Move should be done in one fluid motion rather than as a series of
movements. The left hand should appear flat before and after the card flips
completely over. As you execute the Scrunch Move, keep your left fingers
straight as you bend them upward. Do not curl your fingers. Remember that
this should be done with the audience looking down at the card so that, as you
execute the Scrunch Move, the hand appears flat.
P R E S E N T A T I O N
First, introduce the frog hair by removing it from your pocket. The audience
should comment, “Frogs don’t have any hair!” Yet you insist they do, but you
add, “You just can’t see it; it’s invisible.” Proclaim this to be one of the
magician’s best-kept secrets and that it is used to accomplish many effects.
Demonstrating the hair’s usefulness, pretend to attach it to a playing card by
wrapping the hair around it, tying a knot. Place the card into your left hand,
positioning it correctly, as shown in FIG. 2. As you do this, pretend to be holding
on to the opposite end of the hair with your right hand. Now pretend to pull the
card to a standing position and then flip it over, executing the Scrunch Move
(FIGS. 3 & 4).
Act as if you are breaking the hair free by pinching the
card where the knot is supposed to be. As you do this,
bow the card slightly and quickly pull the pinching fingers
away, creating a snapping or popping sound (FIG. 5).
This action gives the auditory illusion of the hair being
broken free from the card. Finish by handing an audience
member the card to examine, and give someone the frog
hair to keep as a souvenir.
Once you have perfected the Scrunch Move, you will have lots of fun with it. Frog Hair is
a trick you can do almost anytime and anywhere. I’m sure that you will want to try it with
a business card, and it will work. Remember that a playing card fills more space in the
hand and demands the attention of your audience. Whereas a small business card
allows the audience to view more of the hand, which makes the Scrunch Move difficult to
execute discreetly. Practice the move by bending the hand at first, and try it with different
types of cards. When performing the effect, I recommend using a Poker-size playing
card.
Frog Hair, from Diamond Jim Tyler’s book, Pockets Full of Miracles
(available from your favorite dealer), is used here, with permission.
Sandwich Thru & Thru
By Ben Harris
Here’s a very visual sandwich effect with two Jokers collecting a selected card
as they pass thru the deck from bottom to top. It is very visual, the sandwich
appearing atop the deck, just like magic. Sleights used are a Spread Control, a
Turnover Pass and Super Flip. Only the latter will need a full explanation, as the
former two sleights will already be part of any serious cardworker’s repertoire.
Super Flip originally appeared in the magazine New Directions in 1985. It is
something with many uses. Originally it was designed for Ambitious Card
effects, creating a startling and visual appearance of the selected card atop the
tabled deck. Over the years I’ve published other uses, including a Four Ace
Production (the four aces appear face-up atop the face-down tabled deck) etc.
Super Flip was a hit in my lectures in the late 80’s and it was a pleasure to see it
used a year or so ago on one of the segues in the World of Magic specials on
cable T.V.
S U P E R
F L I P
In effect, a tabled deck is lifted an inch or so and riffled back onto the table
surface. During the action, a face-up card visually appears on top.
The technique involved is simple, but requires a certain knack that will only
come with practice.
With the deck tabled in front of you, grasp it from above with the right hand as in
Photo 1. The thumb is at the short end closest to you, the forefinger is curled
atop, and the second and third fingers are at the deck’s front. You need to be
“off center” or holding the deck well to the right of middle. Lift about three
quarters of the deck and by applying a little pressure with the forefinger, allow
the cards to riffle free, falling back to the table. Photo 2. When all the cards have
riffled free except the final card Photo 3, pull up with the thumb and second
finger as you allow the last card to fall free. This will cause it to flip over as it falls
and lands on top of the deck. Photo 4. The entire procedure needs to be smooth
and continuous - no pauses. As I mentioned earlier, this does take a knack that
will only come through practice. Look at the video clip to see how cool it looks
(available on the Mr. Gadfly web site).
E F F E C T
T W O
The two Jokers are displayed and left face-up at the bottom of the face-down
deck. The deck is now spread allowing a selection that is left in site. With a snap
of the fingers, the deck is turned face-up and it is seen that the Jokers have
vanished. The deck is now flipped back face-down and tabled. Magically, the
Jokers appear face-up atop the tabled deck. The selection is sandwiched
between them.
M E T H O D
Display the two Jokers and place them on the face of the deck. Pretend to flip
both face-down, but, in reality, only flip the topmost Joker face-down. This is
covered with a slight wrist turn as you turn
the entire deck over. Slide the bottom-most
Joker slightly to the left as you comment,
“We’ll leave the Jokers on the bottom.”
(Photo to right)
Spread through the deck, and ask a
spectator to touch a card. When she has
done this, flip the card face-up so it can be
noted and signed if you wish. Now flip it
back face-down and close the deck around it. Use a Spread Control to deliver
the card between the face-to-face Jokers on the deck’s bottom.
Again, slide the bottom-most Joker slightly to the left, Photo 5, as you explain
that the Jokers will run through the deck and collect the chosen card. As you
explain this, secure a pinky break above the upper Joker. This is a three-card
break.
Now, snap your fingers to make the magic happen. Flip the deck face-up, using
a Turnover Pass. The Jokers have vanished. Spread through a few cards at the
face of the deck to confirm this. Now, turn the deck back face-down and table it.
The sandwich has been secretly delivered via the Turnover Pass to the top of
the deck. It consists of the two Jokers face-to-face with the selected card
between them.
Execute Super Flip and it will appear as if the entire sandwich has visually
appeared atop the deck. Remove the three cards, turn over the central
selection, and accept your applause.
N O T E S
The use of the Turnover Pass in this context is very economical. It achieves two things. It vanishes
the Jokers and it sets up the Super Flip appearance. I use the Spread Control from my book, 1.am
The Sequel. To use Super Flip as a flashy Four Ace Production, simply have three Aces face-up
atop the deck with the fourth Ace face-down on top. When you execute Super Flip it will appear as if
the Aces explode out of nowhere. Super Flip can also be used in the hands, rather than on the
table.
The Third Shuffle
By Jason England
E F F E C T
A spectator Riffle Shuffles a deck, selects a card in a fair manner, returns it, and
then Riffle Shuffles twice more with cuts between the shuffles. The performer
keeps his back turned during most, (or in some cases all) of the selection
procedure. Upon receiving the deck back from the spectator, the performer
reveals it almost instantly, by pushing it out of a face-up ribbon spread, without
asking a single question.
M E T H O D
There is a moderate set-up. Run through the deck and cull all the 8s, 9s, and
10s to the top of the deck. You are going to set the 2 black 10s as potential key
cards, with a mix of the other 8s, 9s, and the red 10s beneath them. From the
top down: 10C, 5 of the 8s, 9s, and red 10s in any order, 20 indifferent cards,
and then the 10S, and the remaining 5 of the 8s, 9s, and red 10s in any order.
Finally, place the remaining 20 indifferent cards below this. As I was writing this,
I set my deck up, and it came up like this: 10C, 9D, 8C, 10H, 10D, 9H, 20X
cards, 10S, 8D, 8S, 9C, 8H, 9S, 20X cards.
To begin, bring out the deck and false shuffle if you wish. Since this effect is
purely for magicians, you may wish to skip this step, because unless your false
shuffle is flawless, it tends to tip them off that there is a set-up. Place the deck
in front of your spectator and cut off exactly half the deck. If you’re capable of
doing this by sight, great, I personally don’t risk it and use a locator card placed
right above the 10S (which is the 27th card from the top.) Place the cut-off half
right next to the other in position to be riffle shuffled together. At this point, the
top card of one half is the 10C, and the top card of the other half is the 10S. (Be
sure you know which is which!) In addition, the top six cards of each half are 8s,
9s, and 10s.
The spectator now riffle shuffles the halves together once. You should watch to
see which of the 10s falls last. Let us assume that the 10S falls on top. The 10
of spades is now your key card. At this point you should turn your back. Have
the spectator pick up the deck. The spectator is now instructed to riffle up the
back end of the deck and stop near the middle on any number card. They are to
remember the value only, suit doesn’t matter. Now the spectator deals from the
top of the deck, one after another, into a pile equal to the number they just
remembered. (Since all the 8s, 9s, and 10s are near the top, it will be a small
number.)
The spectator is told to leave the pile on the table, and peek at the new top card
of the deck. This is their selection, so they should remember it. Because of the
set-up, and shuffling procedure, this card will be one of the 8s, 9s, or 10s.
Leaving the selection where it is, the spectator is instructed to pick up the pile on
the table, and drop it back on top of the deck and square.
At this point, many magicians expect you to turn around…you don’t. Tell them
to riffle shuffle the deck. This will get the attention of most of your magician
friends. Have them cut the deck (straight cuts only) after they shuffle. Point out
that this is the second time they’ve shuffled the deck since you gave it to them.
Almost as an afterthought, ask the spectator to shuffle the deck a third time.
This will get the attention of everyone except Persi Diaconis, and Mike Weber.
Again, ask the spectator to cut the deck as many times as he likes, using
straight cuts only.
Finally, ask the spectator to square up the deck so that you may turn around.
You now have all the information you need to spread the deck, and almost
immediately push the spectators selection towards him! The reason is this: You
already know that the selection is an 8, 9, or 10. You also know that your key
(the 10S in this case), was right above it when the spectator began his second
shuffle. Well, the trick depends on the fact that over 95% of the time, a
spectator won’t separate the key card and the selection.
You see, the shuffles will put indifferent cards in between your key and the
selection, but as long as they don’t put any 8s, 9s, or 10s in between, you’re
safe! The selected card will always be the 8, 9, or 10 to the immediate right of
your key, regardless of how many queens, threes, aces, or whatever else you’ve
mixed in. (I’m assuming you spread the face-up deck left to right.)
H A N D L I N G
R A M B L I N G S
There are many little touches and added extras you can throw in if you desire.
One that comes to mind is to find a method of turning your back at the very
beginning, and not even watching the initial shuffle. My preferred method for
doing this is to perform the routine exactly as written, but doing so with your
back to the spectators from the moment you cut the deck for them to shuffle.
Obviously one of your two possible key cards will end up on top…you just won’t
know which one it is. This is not an insurmountable problem. At the completion
of the third shuffle, take the squared up deck back and instead of ribbon
spreading it, fun through it with the faces towards you and upjog the card
immediately to the right of the 10S and cull the one immediately to the right of
the 10C to the top of the deck. Note: It is possible for the black 10 that is NOT
the key to wind up being the selection. In any case, you call the name of the
card that you culled to the top of the deck. If the spectator says you are correct,
you push down the upjogged card without showing it, the trick is over. If the
spectator says you are wrong, you ask him what his card was, and then turn the
deck around to show that you had it upjogged all along.
Other solutions to the problem of having your back turned include: using two
black 10s that are marked and turning around for a quick glance just after the
first shuffle while you explain how the spectator is supposed to riffle up the back
end for the selection. Spot the one that’s on top and proceed with the normal
routine.
Perhaps the most diabolical method of all is to ask a confederate to signal you
which side was dropped last during the spectator’s first shuffle. In a magicians’
roundtable situation, I would have a cohort shuffle his deck in a similar manner
while he was watching the trick unfold. In this way, your friend needn’t utter a
sound while the trick is in progress. They should not watch the dealing process,
or look at the selection however. The trick is so difficult to reconstruct that the
impression to give is that a confederate would’ve been no help anyway, since
they never watched anything.
Often, for one last little throw off for magicians, I will perform an effect or two that
retain new deck order right before going into this routine. On other occasions, I
will perform an anti-faro and then faro the deck into the proper order right before
going into the routine. It usually depends on the sophistication of my magician
target.
H I S T O R Y
This effect is really nothing more than the addition of a third shuffle (hence the
name) to Jack Merlin’s ‘Mind Mirror’ from EXPERT CARD TECHNIQUE. I have
always liked the routine, and was pleased to be able to add the third shuffle,
after being inspired by Steve Mayhew’s ‘Angels May Shuffle But The Devil Still
Deals’ manuscript. I’ve always liked the original routine, and still use it for
laymen, but I wanted to add a little something extra just for late night sessions at
conventions, and jam sessions with friends. I hope you like it.
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Honest Transposition
By Brother John Hamman
Written by Aaron Smith
When Brother Hamman told me that there are ways of making people lie to
themselves, as a method to a card trick, I was very curious. As an example,
some time later, he tricked me over the phone with a transposition of an Ace of
Hearts and an Ace of Clubs. He had me place them on table face down, red on
my right and black on my left. He told me he was going to “do the move” and
the cards would switch places. And they did.
You will see the effect, as he did it for me, with a small difference. I recorded
the actions but not the words. Later I came up with a poem to go with the effect,
which I enclosed here as the patter.
You will particularly want to note the strong psychological use of having the
spectator name the color of the cards.
In the following routine, I have combined a few of his ideas, which have never
before been published, with the exception of the ‘cards to pocket’ at the end of
the routine. Brother Hamman expressed his concern to me many times “that a
persons work should not be forgotten.” With that, I decided to share with you his
Honest Transposition.
From the top of the deck; Ace of Hearts, Ace of Clubs, King of Spades, King of
Hearts, and the rest of the deck. The deck is face down in left hand Dealing
Position.
“Red Aces and Black Aces can’t occupy the same spaces, but they can change
places, as if having races. See that is just to confuse you, this all quite simple,
as in many cases.”
With the right hand, flip the top two cards face up on top of the deck and with the
left thumb, immediately push the cards to right, displaying the face of both cards.
“This has nothing to do with me, the Aces really will change places.”
The right hand, palm down, takes the two cards in Pinch Grip with the thumb
below. The right hand turns palm towards the magician, displaying the two
cards to the audience, moving the cards back and forth against each other. The
right hand turns palm up and the right thumb pushes the top card, the ace of
Hearts, on to the top of the deck. The card is not pushed flush. The right hand
places the second card, the ace of Clubs, on top of the ace of Hearts and the
deck is squared.
“This red Ace, has its place, here on my right. Easy to remember, red – right.”
The right hand flips the top two cards as one, face up, to display the red ace.
The cards are flipped back face down and the top card is dealt to the magician’s
right.
“The black card doesn’t have a silly rhyme, you just remember it goes on the
left, not yours, mine.”
The right hand takes the next card, palm down, in Pinch Grip with the thumb
below. The right hand moves the card towards the table, at the left side of the
magician. The left long edge of the card is dragged on the table with the back of
the card facing the audience. The right hand dips the card down as if to let it fall
face up, yet pushes forward and causes the card to go face down. Table the
deck between the two cards.
“The only proof that the Aces really change places is that they are in each others
spaces.”
The card on the right is flipped face up to display the ace of Clubs and the card
on the left is flipped face up to display the ace of Hearts. The right hand picks
up the card on the right and the left hand picks up the card on the left. The two
cards are placed together, slightly fanned, red on top of black, face up.
“We will witness this again with different tact, but first I want to see if you can tell
the difference between the red and the black. What color is the top card?”
The magician points to the top card.
“And what color is the bottom card?”
The magician points to the bottom card. The two cards are flipped face down,
squared, and handed to the spectator.
“The Aces will change places no matter the basis. You hold the cards, place the
top card, which was red, on your right, and the bottom card, which was black, on
your left… yes right there.”
The spectator lays down the top card to their right, and the bottom card to their
left, as the magician points to the appropriate place.
“Now, even if you don’t care, no matter how close you stare, the black ace is
over here, and the red Ace is over there.”
The right card is flipped face up to show the ace of Clubs and the left card is
turned face up to display the ace of Hearts.
“I can imagine you feel cheated. I do too. But no matter where they are seated
the aces must change places.”
The deck is placed face down in left hand Dealing Position and the pinky gains a
break. The right hand places the red card on top of the black card and picks up
the two cards, squaring their edges by tapping them on the table. The two cards
are transferred to a right hand Biddle Grip.
“It isn’t a miracle, just a fact of nature, a law of space, that Aces must change
places.”
The right hand moves towards the deck with its two cards. The left thumb
contacts the top of the right hand packet. The right third finger contacts the
upper right corner of the top two cards of the deck. The left thumb pulls both
cards onto the top of the deck as the right hand takes the two cards below them,
thus switching the two packets (the audience will perceive that the top card is
merely pulled onto the deck).
“I will place the red on the right…”
The right hand, now holding two kings in biddle grip, secretly drops the lower of
the two cards, the King of Hearts, onto the top of the deck. The right hand
tables its card, supposedly the ace of Hearts, to the right.
“And the black on the left…”
The right hand flips the top two cards of the deck face up as one, and displays
the ace of Clubs. The card(s) are turned back face down and the top card is
dealt to the left. The deck is casually placed in the left pants pocket.
“Just as you and I have done before. Even though we were careful, the aces
have changed places once more. But not just with each other, but with the
kings… Here is one, and there is another.”
The card on the right is flipped face up, to display the king of Clubs, the same is
done with the card on the left, to display the King of Hearts.
“The kings were in my pocket, at the beginning of this trick. The aces must
change places, even if it means to trade with the kings really quick.
The left hand reaches into the left pocket, and takes out the two top cards, the
aces.
_ The Coinjurer on Cards
By David Neighbors
The Underneath The Glass Transposition is exactly what the name says.
Two cards change places, while one is underneath a glass. What is written here
is actually half of my full routine. The rest of this effect will be in the next issue
of Mr. Gadfly. I use this to follow a repeat card under glass, with the ruse that
this time they will get to see me put the card under the glass.
T H E
G A F F
For explanation’s sake, use a Queen of Spades and a Joker. Cut the Queen of
Spades in half, horizontally through the middle. Glue the Queen and the Joker
back to back, so that the cut edge of the queen is at the narrow edge on the
Joker. The Queen can be peeled as to give the card(s) a thinner finish. Begin
with this gaff laying Joker side up on the table and a glass to the right of the
table. This is an old idea; you may have seen it with just the corner of a different
card on the back.
M E T H O D
Spread through the cards, quickly, backs towards the audience, locate the
Queen of Spades and secretly cut it to the top of the deck.
Dribble the cards, face up, from the right hand into the left hand, till the spectator
says “stop.” Drop the selected card face up on the table, away from the Joker.
Using Marlo’s Visual Retention Switch, the selected card will be secretly
switched for the Queen of Spades. Hold the deck face down in left hand
Dealing Position. Gain a pinky break under the Queen on top of the deck. Flip
the selected card face down and pick it up with the right hand in Pinch Grip. Lay
the selected card on top of the deck (slightly more to the left, so that the left
edge of the card overlaps the left edge of the deck) as the right hand picks up
the glass to the right. The left thumb pushes down, thus raising the right edge of
the selected card. The Queen is now free to fall, as the left hand tosses what is
believed to be the selected card face down onto the table. The right hand sets
the glass on this card.
Spread the deck face down across the table. Pick up the Joker and slide it
down the spread, starting at the left going right. When the spectator says “stop”
stick the Joker into the spread at that point, leaving it outjogged about half it’s
length.
Square the deck, keeping the Joker outjogged. The deck is face down in left
hand Dealing Position. With the right hand, lift the Joker backwards, allowing
the spectator to see the Queen of Spades. Take the Joker out of the deck and
toss it on the table.
The top card, the selection, will be reversed in the pack using the Braue
Reversal as follows; the cards are held in left hand Biddle grip with a thumb
break below the top card. The left hand cuts half of the deck off from the bottom
of the pack and flips it face up onto the top of the deck. The left hand returns
and cuts everything below the thumb break, flipping it face up on top of the deck.
The cards are given a fair cut, placing the selected card face up in the middle of
the deck.
Spread the deck face up the table to reveal that a card is reversed, and that
there is no other Queen of Spades, thus the reversed card must be the Queen.
Since the magician does not know the second card the spectator chose,
supposedly, the reversed card is taken from the spread, looked at by the
magician only, and they say, “Was your card the Queen of Spades?” The
audience will of course confirm that it was. This card is laid face down, behind
the spread.
The card is flipped face up, quickly, to show it is now the first selected card. The
glass is lifted to reveal the second selected card. The two have transposed
while one was underneath the glass.
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Nothing To Fear
The Steve Fearson Interview, an exclusive
By Aaron Smith
I recently did an interview with Steve Fearson, the man David
Copperfield says is “…one of the most creative people I have ever had
the pleasure of working with. His ideas are fresh and original.”
Fearson has invented a myriad of tricks, in addition to the effect he
created for Copperfield, he also has an ingenious Floating Cigarette
on the market and Fearson’s Box is an awesome one-man levitation.
Fearson’s Fantastic Floatation has been a staple in magic shops for years, and has
made its way into many parlor shows across the country, and is available from your
favorite dealer.
His site, www.downloadmagic.com is revolutionary new concept for magic on the web,
and is definitely worth your time.
Steve agreed to do an interview with me to set the recent controversy to rest. What you
will read here is a positive look into Fearson, and explanations to some of the rumors
you might have heard.
Aaron Smith: Steve, thank you for agreeing to this interview, I think that there
is a great deal of interest in your work since the last Copperfield special and
your conversation with Howard Stern.
Steve Fearson: I am really happy to be doing this interview for you, however, I
am a bit surprised anyone would be interested, but lets go.
Aaron: How many illusions have you created for Copperfield and what is it like
working with him?
Steve: Just the one he has everyone talking about, The Laser. I sold him just
the basic method. He turned it into what it is now. It is amazing to watch
Copperfield work. I can say that, anytime we've met up, he is doing about 4
things at once. And he is a nice guy.
Steve: Twelve years now. I guess that seems long to some, but I'm a late
starter. Most of the guys, seem to have been doing shows since they were
eight, I was twenty-one I think.
Aaron:
Are you and Copperfield friends, or is your relationship only
professional?
Steve: I consider him a friend.
Aaron: Do you work well together, creatively?
Steve: I generally do not work well with others. But David was exciting to
consult for because he is really on the ball. I got into magic for one reason
only, and that was to invent a trick for David Copperfield.
Aaron: What made you want to create an illusion for him?
Steve: I got a magic catalog in the mail one day and realized that people
invent tricks and sell them. I never knew or thought about it, but knew I was
good at figuring out magic, so I took it up as a hobby and very quickly got this
idea into my head that I wanted to invent a trick for David and see it on his
special.
Aaron: I'm sure your goals have evolved since you successfully hit the first
one. What is your new goal?
Steve: My goal in magic, like I said, was to invent a trick for David Copperfield,
that goal has been met. I have always been very interested in the Internet and
computers though, and that's got me involved in magic again… I like the idea
of bringing magic to people who couldn't access it any other way.
Aaron: That seems noble; I have seen the great work you do on the web. I
have also seen several of your effects. What is your creative process during
the conception of a magic effect?
Aaron: You admire him creatively?
Steve: I like the challenge of the method. Most of my tricks are levitations
because I feel it is the most difficult effect to produce - It simply does not occur
in nature and people know that... And when they see it, they have a heart
attack.
Steve: Yes, I've always thought he was the best. I have not been in magic that
long, but was always a fan of David's.
Aaron: That is an interesting concept. From what, who, or where do you
extract most of your ideas for the effects?
Aaron: How long have you been in magic?
Steve: Usually from a natural trick or illusion in reality. If I notice something
that behaves strangely or does something weird, then I try to apply the principle
to a magic effect. I usually start with the principle or the gimmick and then try to
figure out what the heck to do with it.
Aaron: Have you ever worked with or for David Blaine?
Steve: He used something of mine on his second special. I have worked with
him some since then, but it didn't really work out. I felt that I had some time
wasted because of him. That's all I should really say. Although, I can't hide the
fact that I've done some major complaining publicly, which got blown a bit out of
proportion.
Aaron: Yes, the Internet magic forums got a little wild. Many accusations were
thrown back and forth. What happened to cause that controversy?
Steve: I think it started with someone asking me why I said "F" David Blaine on
the Howard Stern show. Then, as the chat boards usually do, it turned into a
circus, now there are people impersonating both David and I on the boards.
Aaron: How did the evaluation go?
Steve: I am sitting on a hospital bed answering questions... What day is it? I
got that one right away! Who is the president? Nailed that one too! What do
you do for a living? I said, “I invent magic tricks.
“What do you mean Mr. Fearson,” they asked.
I said, "Well, right now I'm working with David Copperfield on a new trick for his
show at Caesars.” They immediately strapped me to the bed and told me not
to resist!
They met with my ex-wife in another room and said, “It doesn't look too good.”
She asked, “why?”
Aaron: Why did you say, "F' Blaine" on Howard Stern?
They told her, "You know the illusionist David Copperfield, who performs here?
Well, your husband thinks he is inventing the tricks you see in Copperfield’s
magic show.”
Steve: Because I was angry with him and was glad to see that my illusion
helped David Copperfield remind people what entertainment is all about. I do
worry that Blaine’s style of performing is devaluating the art of magic. Kids are
happy to simply bite a folding coin now and I only think it's because they have
nothing better to compare it to. I enjoy a bit of patter.
She said, "Well, he kind of is." Too late for Steve, I was already on my way to
Las Vegas Mental Health where I spent the next 48 hours waiting for an
evaluation, after that I was immediately released. So the answer is yes, and
the story is absolutely true. Just like Jack Nicholson in One Flew Over the
Cuckoos Nest, I didn't swallow the medication they said I needed.
Aaron: How did you foresee working with Blaine, did it seem like a positive
relationship in the beginning?
Aaron: I love that story! I wonder if many magicians get thrown in institutions!
How do you feel about magic on television?
Steve: I am a very open person and get taken advantage of sometimes
because of that. A lot of people ask me for magic ideas. Sometimes they offer
to pay, sometimes it is just asking for help. I generally spit out what I feel is
every realistic possibility right away. It is then up to the person I told the ideas
to privately to decide whether it came from my head or theirs.
Aaron: Was David a good client?
Steve: I know people prefer live shows. If you're wondering what I think about
camera cuts and such, I like the idea if used properly. Magicians have always
used all available technologies to their advantage and TV cuts are just the
newest one. I think camera edits make the magic look great. As long as the
audience doesn't suspect it, go for it! Unfortunately... Now people realize you
can do just about anything digitally, so they almost won't believe a magic effect
like The Laser.
Steve: Like I said before, I only really ever wanted to work for Copperfield.
Aaron: When did you start working on www.downloadmagic.com?
Aaron: Also mentioned on one of the forums, was that you were in an asylum.
Is this true?
Steve: I have had a site up for a lot of years now in one-way or another. The
first time I offered tricks for download was in 1997. Card in the Ceiling was the
first one.
Steve: Here is a story, no one will believe. I had just moved to Las Vegas,
was admittedly having marriage problems and was a bit weird. I was lucky
enough to have some people call the mental health center to pick me up and
have me evaluated.
Aaron: Is the site following your original concept or has it changed for the
better?
Steve: It is going to get good. I've managed to get high quality video to people
with 56k modems, and that's exciting. The response has been tremendous. I
only wish I had more time to devote to it
_
Under Examination
Product Reviews by Aaron Smith
Aaron: You produced a video, a very good selling video, with Lee Asher, 5
Card Stud... What was different about it?
Steve: I’m not sure, but I think it was the first magic video to be shot like a
movie all the way through, with explanations and everything.
Aaron: What is in the works for you now?
Steve: I am planning the first online magic lecture. Not sure when it is
happening, but it will be soon. And the neat thing about it is the performer will
have lecture notes, tricks, and video all available for download during the
lecture. If I can get it to catch on, it may save some guys a lot of traveling.
Aaron: I enjoy talking with you. You have fresh ideas and a wonderful attitude
towards creating magic.
Steve: It's been a pleasure speaking with you too Aaron.
Jerry Andrus, A Lifetime of Magic videos 1-3
Featuring Jerry Andrus. Produced and edited by Meir Yedid. P.O. BOX 2566,
Fair Lawn, NJ 07410. $29.95 u.s. each, available in both PAL and NYSC, all
one hour.
P L O T S
These videos let you see a classic magician, doing classical magic tricks, even
though you may have never seen any of these concepts before. Think Kelloggs,
“taste them again for the first time.” Of specific note, Impossible Shuffle, where
the deck is shuffled into the card box, is incredibly clever and the plot is
miraculous. Spectator ESP is another very clever concept. In this effect a
spectator actually divines another spectator’s chosen card. There are 18 card
plots on the three videos, and over 20 card sleights explained.
P R E S E N T A T I O N
Jerry Andrus is definitely his own person, and his style would be difficult for
anyone to even understand, let alone duplicate. The wonderful thing about
watching Andrus is if you are not dead, you will begin brainstorming a hundred
different ideas while watching him. He performs all of the routines, and you
could use his patter, but you would be doing yourself a great injustice. Don’t
expect killer story lines and intricate themes from these videos, however, it is
presentation that works for him, perfectly.
I N S T R U C T I O N
Every move is taught in detail, sometimes more than once. If anything you
would get bored of the extreme explanations, but you will learn the move. The
routines and sleights are taught very well, and variations to them are also
discussed and explained.
P R A C T I C A L I T Y
Every item here is well thought out and is something you can do in a real life
setting. There is not any ‘filler’ material, it would seem that each routine was at
some point Jerry’s favorite.
V E N U E
The material on these tapes could be used nearly everywhere, though some is
only ideal for a parlor act, and require that you be sitting, while others could be
done surrounded in a restaurant.
O R I G I N A L I T Y
I have never been to the planet he drives to in his homemade spaceship, to see
how much of this stuff is original. In all honesty, Andrus is a genius at creating
almost anything, specifically magic. The ideas on these tapes are well
constructed and original to the core.
S K I L L
L E V E L
There is nothing on here for a beginner. Intermediate and advanced will get a
lot out of the tapes.
R E T A I L
A P P E A L
Three shrink-wrapped videos, classy design by Akemi Yoshida, high quality
gloss printing. These look better than most mainstream videos, they will not be
collecting any dust on magic shop shelves.
Q U A L I T Y
The sound and clarity of these videos are second to none. Meir Yedid obviously
put a lot of work into these. I would have difficulty describing the quality of these
videos, they are especially perfect, go watch them!
A D D I T I O N A L
C O M M E N T S
Something I think many of you will find interesting are the interviews of Andrus
by Richard Kaufman. Those who follow Andrus’ work will find them to be a
worthy insight.
Cop Stop
Produced by phillymagic.com. 523 S. 4th St., Philadelphia, PA 19147.
P L O T
This is the classic plot, in which a small car finds a selected card. In this
version, instead of the card stopping near the selection, the lights and siren of a
little cop car go off.
P R E S E N T A T I O N
None is included. I don’t think that a lot of patter should be included with a prop,
however, there might be a need for a small skeleton outline.
I N S T R U C T I O N
You get half a page of instructions. The gimmick is obvious, and there is not a
huge need to go in-depth on it’s working. The effect that is enclosed is fairly
basic and is explained fairly.
P R A C T I C A L I T Y
With the ‘gimmick’ included you will not have a lot of luck. The instructions
recommend, “The table must be less than 1” thick.” With the investment of a
few more dollars you can replace their ‘gimmick’ with a better one.
V E N U E
With the instructions and gimmick provided there are very few places to perform
this. The hobbyist will have fun using this on his kitchen table, provided that it is
less than an inch thick. With some adaptations, like strapping the gimmick to
your leg, you would have the ability to do a much more mysterious effect.
O R I G I N A L I T Y
There is very little difference between this and the early ‘buggy’ effects, really
just the type of car. An enclosed slip of paper, labeled “Irv’s Suggestion,” has a
semi-clever idea of having the selection in the card box.
S K I L L
L E V E L
Beginner to intermediate. The Instructions recommend using a stripper deck for
the trick, though I do not see the need. The technique is not explained in great
detail. It seems from the enclosed instructions that the ‘marketer’ of this effect
assumes that you have some previous knowledge as to the workings and history
of this effect.
R E T A I L
A P P E A L
The packaging is a gold ‘jewelry’ box, of sorts. The items inside are well
packaged and shipping them is not a problem. The instructions are most likely
done at home on a computer. The layout is that of a dual fold gift card, and the
graphics are basic and sort of ‘cartoon style.’
Q U A L I T Y
The included car is high quality. The batteries have worked for the hours I
played around with this thing, and the vehicle has a battery tester so you know
when to replace them, however, the instructions do not say what type of battery
it uses, nor do they describe how to get the car apart. I tried contacting the
magic shop that markets the effect, and was unable to reach someone to ask
about the batteries. When we do find the information it will be posted on the Mr.
Gadfly web site.
A D D I T I O N A L
C O M M E N T S
This could be a great effect. I recommend it because it is a good idea that could
be turned into the centerpiece of a parlor act. However, you will not pop open
the box and have a ‘ready-to-use’ miracle, the gimmick is just not good enough
for real world use, and a few dollars can fix that.
Tony Lewis’ pips-A-poppin
Produced by Magic By Gosh. 12707 Foothill Blvd. Unit F, Sylmar, CA 91342.
A D D I T I O N A L
P L O T
This is one of those unusual “this is how the cards are made” tricks. The pips of
the four aces are removed, and per the story become ‘decompressed’ in doing
so. You have a few sponge pips in your hand, which are transferred onto one of
the Jokers, and they compress back down to their regular size. A similar
process is completed with the deuces, with the difference of the pips go through
transpositions and transformations. This is a sponge routine mixed with a card
trick, in a clever manner.
P R E S E N T A T I O N
The instructions have patter distributed throughout the effect, albeit a basic
presentation. This is more of a basic outline than a script, but gives you a good
direction to follow.
C O M M E N T S
This routine would be wonderful for any gig you have that is children and adult
mixed. There is eye candy for younger spectators and story for the older ones.
U N D E R
E X A M I N A T I O N
If you have an item you would to be reviewed in Mr. Gadfly, send the product to
the editor with information on price, who created it, who produced it, and who
sells it. If you would like your item returned, accompany the submission with a
shipping label and appropriate postage, otherwise it will be given away on the
Mr. Gadfly web site.
Index of Advertisements in Print
I N S T R U C T I O N
The instructions, a 12 page booklet, are better than average.
recommendations and additional ideas.
The sponge pips are the usual Magic By Gosh quality, and look the part they
need to play. The nine gaffed cards are printed at some expense and look
perfect.
They give
Master Classes / Jeff McBride
P R A C T I C A L I T Y
Four Flushers
It would seem that this is out of someone’s working repertoire. The concept is
solid and will work very well in the real world.
Left Handed Gun
V E N U E
Any.
Escaping The Blues
Silky Smooth Prediction
O R I G I N A L I T Y
Happy Camper
The concept of removing a pip is not new, however, the idea to then put them on
another card and/or vanish and transform them… is new. The plot is cleverly
original.
Pockets Full of Miracles/Diamond Deck/
Ring on String/New Age Spellbound
Methodical
S K I L L
L E V E L
The instructions include explanations for both intermediate and more advanced.
For the beginners there are references for further explanation of basic moves, a
nice touch.
R E T A I L
A P P E A L
The instruction booklet cover is printed in full color. The booklet, the gaffed
cards, and the nine sponge pips (including a four inch heart) are enclosed in a
medium size clear bag.
Q U A L I T Y
Slither/just in case
Index of Online Advertisers
www.acmemagic.com
www.magicsmith.com
www.mymagic.com
www.purelymagic.com
Mole Notes
By columnist Steve Reynolds
"You turned your tap dance into your crusade."
-Billy Joel, Pressure
From Erdnase To Zarrow and Back Again
In the Olram File #4 there is a review of the mysterious
and possibly ‘mythicized’ book Beyond Erdnase. In
this, certain chapter headings are named and briefly
summarized. Due to my continued interest in false-tabled riffle shuffles, "Blind
Shuffles Bluff" caught my attention.
Since these chapters deal with cheating with cards, it is likely that the "real
shuffle strategies" of "Blind Shuffles Bluff" referred to the retaining and stacking
of small stocks. However, this makes the notion of full deck retention seem
strangely possible.
In another chapter titled "Underhanded Overhand Shuffles", the means and
"ways to up players without mixing up stocks" reveals a subtle, psychological
tone.
Speculations:
These bluff techniques might be psychologically based. They would be done
under the natural misdirection of the game, under "shade". Due to the casual
nature of mixing cards, a certain leeway could be exploited.
These speculations reveal little. However, I set a challenge and the following
stipulations were concocted:
1. For full deck control.
2. A minimum of two shuffles.
3. A maximum of four shuffles.
4. Must end on a clean square up.
This shuffle problem was mentioned to only a hand full of cardmen. Most notably
was Thomas Blomberg, who sent me a method.
This brief article, including my original solution to the self-proposed problem was
part of a pamphlet [More Technical Touches] sent to Jon Racherbaumer. Later
it was publicly recorded (in an emended form) on The Second Deal.
However, R Paul Wilson informed me that the underlying concept of the shuffle
sequence had been developed independently by at least two other cardmen.
Though the solution was recorded in a readable form, the actual mechanics of
how I set the necessary condition will remain buried for the time being.
Never let reinventions, or independent discoveries that have been touched on by
others deter you from moving forward. The fact that any ideas independently
devised have been thought of by others should only lead you back to one place
with renewed verve and better understanding: the drawing board. It goes
without saying that if an idea has been privately or publicly kicked around, then
you should readily see that you are on traveled ground. And if you strive to move
forward, there is no sense in sticking around. Break out. Make a quick detour
while no one is looking. Even backwards is a way to go; and yet, ultimately you
will find something rewarding. What that is I cannot say, but now is your
chance.
The following is my second solution to the problem, taken in a different light. It
addresses the prevalent problem with any of the "Riding-Block Shuffles"
(Zarrow, Shank/with applied Block Transfer, Marlo's "Perfect False Shuffle", for
example), which is the riding block. This is often difficult to conceal. However,
the following technique gives the illusion of a complete weave (from top to
bottom), and allows for a slow and deliberate square up.
Place the face down deck in a Tabled Riffle Shuffle position.
Perform a "Center-Block Cut" from below the top four cards. Position the two
portions and perform a Riffle Shuffle. Using the established techniques to
unweave the portions and push the right-hand cards to the left and under the top
four cards. Once the cards have been pushed in for about a third of their length,
your left thumb obtains a fine break below it. This should not be confused with a
break as applied to retaining a separation per se, but the gap will provide a sure
execution of the following sleight.
Once the break is maintained, and without hesitation, your right second finger
and thumb grasp the lower left-hand portion (by their respective side corners)
and pull this entire block to the right until it is aligned with the right-jogged
portion. Due to the break, this should be trouble-free. Immediately, your right
hand follows this action by moving further to the right and away from the cards.
This simulates a sweeping, side-squaring action. Again, there should be no
hesitation between the obtaining of the break, the secret alignment of the two
portions, and the visible action of your right hand. Note also that your left hand
and fingers conceal the left end of the deck and its true condition.
Position your right fingers at the right side of the deck. Perform a slow (or
moderately paced) "Erdnase Square-up" to end.
Mr. GLADfly
By columnist Andi Gladwin
The First Relaxing Deck Switch
The Relaxing Deck Switches were never meant for
publication but were merely created to solve a
dissatisfaction I have with the moment of executing
sleight of hand. A few years ago I experimented in an
attempt to discover the best moment to accomplish
such practices and my discoveries were that before I could execute a move I
should have the audience feel relaxed.
I found that whenever an audience assumes they can relax, they also assume
that no magic is about to happen, refer to it as a break from the magic if you
will. This of course applies only if you are not the kind of performer that likes to
sneak up on an audience when they are least expecting in, in which case I’m
afraid to say that this theory and switch isn’t for you.
Unfortunately, not every sleight can be executed during this relaxation period,
as it would create quite an unbalanced performance. However, I believe that
whenever we have the chance to use such a technique we must grab every
opportunity to do so. For those who are interested, Michael Close goes into
wondrous detail on using an audience’s assumptions of the performance and
the magic he creates in his book, “Workers 5.”
Anyway, without further adieu, lets experience the first
of the Relaxing Deck Switches.
STEP 1: I have chosen to switch a Bicycle deck for a Bee deck so that the
change can be seen
much more easily in the
photos. Have the Bee
deck in your right jacket
pocket and the Bicycle
deck in a deep position in
the right hand dealers
grip, the first photo
details this grip.
Start your patter, “Before
we continue I would just like to clarify a few points. ‘It’s up his sleeve’ is
something that too many people say, and although at this point I’m not sure
what could be up my sleeve I think its best I roll them up. Of course, you’ll
understand that it’s just so that I can keep my reputation as a clean cut
magician!” To accompany your patter, stretch your right arm and pull up your
sleeve with your left hand.
not too fast and not too slow! I think the
correct statement would be to complete the
move with ‘pace.’
STEP 2: “And I better roll up the other as well.” In the same manner stretch out
your left arm and pull up your left sleeve.
STEP 6: The switch is now complete and all
is left to do now is drop your jacket and
continue with your effect, now that the deck
has been switched.
STEP 3: “The other accusation is, ‘its inside his
jacket!’ Again, I haven’t a clue what’s inside my
jacket but it would be a good idea to eliminate
this theory from the outset.” As the previous
lines are spoken, turn so that your left side is
facing the audience and grip the side of your
jacket, as shown in the illustration (left).
The previous choreographed actions happen to
subconsciously tell the spectators that they are
now allowed to relax. Imagine if at this point
you produce a live bird from your jacket; the
audience would automatically detract from this
state of relaxation. It is for this reason that
everything happens very slowly and at no point
whatsoever should you challenge your audience to scrupulously watch your
actions, as they are merely a poking fun at the obviously incorrect explanations
that you receive.
Step 4: Open the left side of your jacket to display the inside and after a few
seconds, let it fall back into place. As you will notice, the audience’s ‘view
frame’ does not cover the right hand because the body
is on a slight angle. This allows us to execute part of
the switch - it actually happens in two separate parts;
the ditch and the retrieval, with a slight pause between
the two.
The photograph on the right shows the ditch; the
fingers of the right hand simply enter the pocket and
the card case is dropped in front of the other card
case. The fingers remain partially in the pocket during
the next step.
STEP 5: Again, with the left hand, reach over and
open the right side jacket pocket, to display its
emptiness. It is under the cover of the jacket being displayed like this that the
right hand enters the pocket a little more and slips the Bee card case out.
Notice that the hand does not move quickly, but instead at a medium speed -
AFTERTHOUGHTS: There are two main
points I would like to make, firstly notice that
no attention whatsoever is paid towards the cards, they just happen to be in
your hand at the time.
Secondly, the patter; I think to fully understand this you will need to know a little
about my style of speech. I am not an overly funny person, neither am I a
boring individual – I am a fast paced magician and make comedy less from my
actions and more from the tone of voice.
The patter for this move is a fast paced speech, said in a joking manner and, in
a way, mocking the misconceptions that some audience members may have –
mocking in a fun way, not as an insult.
I think it is also an important point to mention that I feel it is an excellent idea to
use comedy to switch something, but remember that your magic should always
rise above any other entertainment form such as comedy, dance and
storytelling.
Another theory in which I am a strong believer in is Darwin Ortiz’s suggestion
that close-up magic becomes much stronger in the eyes of a layperson if your
sleeves are rolled up; it dismisses the age-old possibility of ‘it went up your
sleeve!’ This switch leaves you in a great position to dismiss this possibility!
For your information, The Second Relaxing Deck Switch irons out a few further
creases and provides the audience with the assumption of relaxation without
using any comedy whatsoever. It will be published as part of a complete
routine in my forthcoming book, “Brainstorms (And Other Mental
Disturbances),” which I am co-writing with American magician, Andy Leviss.
Next time we will be discussing how to use this deck switch in a complete
routine… see you then.
www.magicmagazine.net
Mr. BADfly
By columnist Jamie Badman
The Four Ace-Assins
E F F E C T
Briefly, a card is selected and signed then lost in the
pack. Four cards are introduced and shown to be the
Aces. One at a time the Aces turn face down. Then
one turns face up again… then turns into a Jack… then the other three turn into
Jacks too… so where are the Aces ? The deck is spread and the four Aces are
seen face up in the middle… a single face down card between them - the
original selection.
S E T U P
get to the reverse jack so be careful!). Break the deck at that point and turn the
top card of the left hand half over using the right hand side of the right hand half
as a ‘lever’.
This may feel a little awkward but you’ll get used to it! Have the card
remembered and signed then lever it back face down in the same fashion
except you use the side-jogged card as the lever and let the right side of the
selection ride between the side-jogged card and the card below it.
As you perform this levering action, place the right hand half on top of the left.
The overall result should be that as you place and square the right hand half of
the deck on top of the left hand half (and supposedly the selection) the selection
actually ends up fourth from top.
____________________
As the selection slides in to the deck at the completion of the control, pull down
on it with the left little-finger to obtain a break with that finger above the card.
Remove the four aces and the four jacks from the deck. Place a breather crimp
in one of the face down Jacks. Place this card face up about 15 cards from the
bottom of the face down deck. The crimp should mean you can easily cut off all
the cards above the crimped card. I guess any kind of crimp will do so long as
you can cut above it.
Pick up the packet of aces and flip them face up on top of the deck. Lift them off
the deck with the right hand along with the three broken cards – plus get a small
right hand thumb break between the seven card packet and the eighth card –
and lift that off as well. Now peel the cards one at a time on top of the deck,
which is held in the left hand.
Place the remaining jacks face down on the top of the deck and place the four
aces in a face down pile on the table in the following order (from face) AS, AH,
AC, AD (SHoCkeD).
First peel the AS on top of the deck, then on top of that, the AH. As you peel the
AC also drop the card below the break underneath it, keeping a left pinky break
between it and the AC. Finally, drop the AD (a whole heap of cards in reality!) on
top as a single card. Immediately lift the displayed packet of ‘aces’ off of the
deck with the right hand and table the deck face down.
M E T H O D
Hold the deck face down in the left hand. Perform the ‘Concealed Allerton
Control’ as described below, side-jogging the third card from top to control the
selection to fourth from top of the deck.
____________________
The Concealed Allerton Control is a variation of the Allerton Control devised
by Robin Robertson and Peter Duffie. You do this by bringing the right hand
over the deck and grasping it ‘biddle’ style, then with the left fingers (under cover
of the right hand) side-jogging the third from top card (in this case) about ¾ of an
inch to the right. This side-jogged card will be invisible because of the right hand
obscuring the view.
Have a card selected by riffling down the far left corner of the deck with your left
thumb and having the spectator call ‘stop’ at some point (hopefully before you
Now comes a twisting phase… first do an Elmsley count to show one card face
down. Then for the next ‘twist’, simply peel the cards from right hand into left,
keeping the last card (really a double) in the right hand – and place it UNDER
the packet. For the third and fourth twists do Elmsley Counts.
I think this is a well-known twisting sequence; someone showed it to me at a
convention but I don’t know who he was or where he got the sequence from.
Sorry!
After the twist… the un-twist! Simply do the same peeling action as for the
second ‘twist’ – leaving you with a face up ace in the right hand (really a double).
Drop this on top of the deck. Place your three-card packet face down on the
table and pick up the deck.
You should be able to lift up all cards above the breather and Jack; do so. To
make the ace change in to a Jack, do a riffle pass or a midnight shift; some kind
of pass that doesn’t mind too much if someone’s looking! The effect of this is
that the ace changes into a Jack. After this happens, spread the Jack and a few
cards beneath it to the right, so that the right hand can take the Jack (and so
that you subtly show that the Ace is nowhere near the top of the deck).
(Ace turns face up; you place on top of deck and table other three cards)
Use the Jack to flip over the tabled packet – now also Jacks! To reveal the Aces,
simply spread the face down deck on the table. If you spread the cards more as
you approach the top of the deck then the Aces appear to be in the middle of the
deck. Pull them out and reveal the card between them to be the spectator’s
selection.
“And since they’re a team, the rest of the Ace-Assins follow suit…”
P A T T E R
Here’s some suggested patter that can be used with the effect:
“This is a tale about how cheap life can be; a story about the murky underworld
of the contract killer... Select a card; this card will represent the 'target' - the
person who got on the wrong side of the wrong person and who ended up with a
price on their head...”
Card is selected, signed and controlled to 4th from top
“OK, now our target is known but his whereabouts is not. But a man with a price
on his head can run but can't hide for long... not when a team of highly-trained
professional Ace-Assins are on his tail...”
(Pick up aces and ATFUS)
“The first Ace-Assin is the Jimmy Spade; a crude killer who usually resorts to a
shovel on the back of the head, then comes Gloria Heart, a seductress, lovely
but deadly. She’s followed by another thug by the name of Frankie Club and
finally Tony Diamond; the bored rich kid turned killer for kicks.”
“The first thing the Ace-Assins do is to go deep undercover; to watch and
observe the daily routine of their target. One by one they merge into the
scenery, turning away in order to become faceless people; just a stranger
passing by in the street…”
(Twisting sequence)
“They stake out their target, following his movement both day and night. The
operation seems to be going according to plan but then disaster strikes… one
night a storm brews and just as the target begins to pull his curtains a flash of
lightning illuminates the street… the target sees a face staring up at him…”
“His cover blown, the Ace-Assin returns to base and quickly adopts a
disguise…”
(First transformation – Ace to Jack)
(Second transformation – other three Aces to Jacks)
“Their heavy disguise is enough for them to close in…”
(Spread deck; 4 Aces revealed in center with FD card between them...)
“For the kill.”
(Turn over FD card to reveal the selection - the target)
C R E D I T S
The Concealed Allerton Control is by Bert Allerton/Robin Robertson/Peter
Duffie, a technique for controlling a selection to a specific position very cleanly.
Covert CardWork
By columnist Bill White
Tie One Off
I wanted to create an effect that I could use for
close-up or stage that involved audience
participation and had an extremely visual ending. I
have performed this effect in virtually every venue
and the response has always been wonderful. I
hope you enjoy it.
E F F E C T
A spectator takes the deck and freely selects a card (face up if desired). The
card is signed and placed back into the box with the rest of the cards. The
spectator is asked to hold the box of cards high in the air and to dump them out
onto the floor, on the count of three. To make it more interesting, the performer
pulls out a three-foot sword and explains that he will stab the signed card before
all of the cards reach the floor. The count of three is given and the wide-eyed
spectator dumps the cards. Much to everyone’s surprise, all of the cards are
tied together and are hanging suspended from the card box that the spectator
has been holding the entire time. All, that is, except the signed chosen card,
which flutters to the floor, where it is slowly stabbed to be revealed on the tip of
the sword.
M E T H O D
You will need a gimmicked card box made from an Electric Deck (the novelty
deck of cards that is tied together). The gimmicked cards must match the normal
deck you will be using and should be super-glued into the box. The best way to
accomplish this is to glue the face card of the deck to the inside of the box.
When completed, you should be able to place a loose card into the box by
sliding it between the box and the top card of the deck.
It’s very important that you have the spectator dump the cards out in a straight
down motion. If done sideways, it’s possible that the chosen card may get hung
up and not fall from the box. The way to ensure success will be apparent in the
presentation ideas below. I would like to present two presentations for you.
S E T U P
You will need the gimmicked deck, a regular deck, a sharpie marker, and a
sword shaped toothpick. The gimmicked deck and regular deck go in your right
coat pocket. The marker goes into the right inside coat pocket and the toothpick
in you right pants pocket. If you choose to perform the presentation for
magicians, I would suggest you make a fake change bag. Just attach a felt bag
with Velcro onto a round wooden frame that has a handle. It will be worth the
extra effort, I assure you. Oh, I almost forgot...get a real sword.
D E L U X E
P R E S E N T A T I O N
Have a spectator come up and stand on your right. As you face him, this will put
your right side towards a wall for best concealment. Remove the regular deck
from your coat pocket, take out the cards, and hand them to the spectator.
Have him freely select any card. Take the remaining cards and place them back
in the box. Tell the spectator to show everyone the card and to please sign it for
verification. As you say this, two things need to happen. Reach with your left
hand into your inside pocket to get the marker. Throw the coat open just a little
as if to visually find the marker. At this exact time, tilt your body slightly to the
right and simply place the card box into the right pocket where you will switch it
for the gimmicked box. Pull out the marker and give it to the spectator. You are
way ahead at this point.
The spectator signs the card and you take it and slide it into the gimmicked box
between the box and top card. This is done with the cards facing the audience
and spectator. Close the box and hand it to the spectator. Bring out the fake
change bag and tell them to drop the deck in for safekeeping. While holding the
change bag in the left hand, you bring out a sword-shaped toothpick from your
right pants pocket. You explain that you’re going to stab their card with the
toothpick in a unique fashion. Have the spectator take the deck out of the bag.
Hold the bottom of the bag with the toothpick hand as if keeping the “other deck”
out of the way.
Place the change bag on the floor, but keep it within everyone’s sight. Tell the
spectator to hold the box high in the air and on the count of three, dump all the
cards out as you intend to stab their card with the toothpick. At this point, ask
the audience if they can see the toothpick in the back of the room. Place most
of the toothpick down in your hand to make sure they do not see it. Regardless
of the answer, tell the spectator that they can’t see it in the back so you will have
to use “this one.” Pull out the real sword. You say on the count of three, they
are to dump the cards out and you will stab their card before all of the others
reach the floor. Now explain that the spectator MUST dump the cards straight
down because if they go sideways, you will have to stab and chop randomly in
the air to get their card, which could result in injury (Trust me...they always
follow directions).
Strike an intimidating, thrusting stance and focus all of your attention on the card
box. Have the audience count to three. The spectator will dump the cards,
which will of course just hang in mid-air while the chosen card flutters to the
floor. Wait just a moment for all of this to sink in. DO NOT stab the card right
away. The audience MUST see that it actually came from the box. Then slowly
stab the card and display it, while taking the suspended cards from the
spectator. Hold both up once again for your applause and have the spectator
carefully take their card from the tip of the sword.
H I N T S
When the deck switch is made early in the routine, there is nothing to worry
about. The spectator is in possession of the only card that he and the audience
are interested in. They could care less about the box. If people actually did see
you put the box in your pocket, they would think nothing of it, because that is
where it came from to begin with. It will seem like nothing more than an
afterthought of you changing your mind and keeping the box out.
When reaching for the marker, pivot the top half of the body so that the left hand
goes into the coat for the marker, while the right hand lines up automatically to
just dip into the pocket and switch the decks. For a smoother switch, place the
regular deck in the pocket with the thumb and index finger and clip the
gimmicked deck with the index and middle finger as you leave the other deck
closest to your body.
When you start to bring the gimmicked deck out, simply re-grip so you are
holding it normally again. I assure you, after just a few tries, you will gain the
confidence to use this method anytime you want to make a deck switch (this
switch has been around since the invention of the pocket).
An interesting thing happens when you bring out the fake change bag. If
another magician thought you did something funny earlier in the routine, they
now totally disregard that with the smug knowledge that...‘Oh, he’s going to
make a switch now.’ So much focus is placed on the silly bag that
reconstruction is virtually impossible. At the end of a lecture or performance for
my fellow magi, I tear the bag apart and hand it out just for fun. The typical
“Garden Path” expressions are priceless.
B A S I C
P R E S E N T A T I O N
For a more compact version, that is just as strong, simply have a card chosen
and signed. (Switch here, of course). Have the spectator hold the deck high in
the air and dump the cards. Say you will use your cat-like speed and martial
arts skills to grab the signed card before all of the others touch the floor.
In this method, you need no other props. The gimmicked deck is the only
additional thing you carry, aside from your normal stuff. You get them to dump
the cards straight down by saying if it goes sideways, you may have to flail your
trained hands in the air wildly to get the card and, thereby, accidentally knock
them out.
T R O U B L E
S H O O T I N G
If, by some freak chance, the card doesn’t come out of the box...don’t panic.
The card will be up towards the top of the deck and you will be able to see it. If
using the sword, tell the spectator to stay totally still while you dislodge the card
with the sword as if actually cutting that one off. The same goes for the propless version. Just show your hand empty and reach up to pluck their card off.
The assumption is that all of the cards were tied together and yet, you removed
only their card. This is still as strong. I can tell you that as long as you have
them dump the cards straight down, the chances of failure are perhaps less than
one percent.
F I N A L
W O R D S
I have performed this routine for an individual spectator as well as a full 1000seat theatre. It is a card trick that you can consider non-card material to provide
variety in your act. The result also makes a fantastic display for promotional
photographs, as it is apparent to the world what has taken place without having
to be explained. I hope you field test this and realize first hand its potential for
great entertainment.
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advertised in
Mr. Gadfly are available
from your favorite
dealer!
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You are currently reading the May – June issue of Mr. Gadfly.
The July – August issue will be released July 15th.
Threshold of Revelation
By columnist Aaron Shields
Dissecting A Classic,
An evaluation of Dai Vernon’s Triumph plot
In 1946 Dai Vernon published Triumph as part of the
Stars of Magic series. To say that it has become a
popular plot is, I believe, quite an understatement.
Since its publication, various embellishments have
seen print. While some are worthwhile and others make you question the sanity
of the creators, I choose, for the purpose of this article, to stick with the original
appearance of the effect.
What is the effect?
When trying to have another magician express the premise of his or her piece of
magic, Dai Vernon would often ask, “What is the effect?” Judging by the
performance of triumph by many individuals, one may be hard pressed to define
its overall effect.
I have often heard magicians refer to Triumph as another “card location”, but I
disagree. The original text from Stars of Magic states that the unruly spectator,
“found that all the cards had righted themselves and were now face down with
the exception of one card which was face up.” Notice what comes first? Yes
that’s right, the cards “right themselves.” In effect, not only by this description,
but by what I believe are the most effective performances of the plot, I submit
that the overall effect is that of cards magically righting themselves, with the
exception of the selection, and not a “card location.” In other words, the finding
of the card is secondary to the primary effect of the cards righting themselves.
Before advancing into technique and presentation, I think it is beneficial to
examine the different approaches. The general areas I wish to focus on revolve
around the following questions: 1) Should it be performed in the hands or on the
table? 2) What type of shuffled should be used? 3) What should be done after
the shuffling?
Should it be performed in the hands or on the table?
My answer is that in my experience, and in the experience of almost 100% of
the others who I surveyed, better reactions are achieved when the effect is
performed on the table rather than in the hands. Why? I believe it has to do with
the openness of the procedure. In the audience’s mind, if the effect is performed
convincingly, the only logical way to make the effect happen is to somehow
secretly separate the cards unbeknownst to them. As a result, the less
possibility for such an event, the stronger the effect becomes. When the deck is
in the hands, the performer is constantly in contact with the deck.
When the deck is on the table, the whole deck rarely entirely leaves contact with
the table, and is almost never solely in the magician’s hands. In addition, there is
less firm contact and less contact in relation to the time in which the deck is
shuffled. As a result, there are fewer opportunities for the secret actions to
happen, creating a stronger audience response.
What type of shuffled should be used?
Assuming that the actions occur on the table, two major options are available,
namely a Zarrow shuffle or a strip-out shuffle with a block transfer. Which is
better? I believe this, of all the questions, is the hardest to answer. Hard enough
to the point that I am not positive there is an answer. The benefit of a Zarrow
shuffle is that the primary secret action ends with the shuffle, allowing
successive actions to be more deliberate.
The downfall of the Zarrow is that you cannot openly show the halves to be
woven before completion of the shuffle. The strength of the strip-out is that the
halves can be openly shown to be mixed together throughout the shuffle.
The downfall of the strip-out is that the secret action must occur after the shuffle.
In other words, assuming the audience takes both shuffles to be real and
assuming the thought process previously mentioned is correct, you are
performing the action the audience will assume you are going to perform,
namely secretly separating the halves at a point where it could occur.
From such a statement, many of you probably think that I advocate the use of
the Zarrow shuffle over the strip-out. This is, in fact, not the case. While I am not
vehement in my choice, I do believe the strip-out is the better option.
My reasoning behind this conclusion is based upon the difference between
secret and outward actions. In the strip-out you are undeniably able to convince
the audience that the cards are well mixed. The successive stripping is a secret
action. If performed properly, the outward action is merely a cut. In addition,
cutting actions of one form or another are almost with out exception performed
after the shuffle. In effect, the cutting action that results in the stripping should
not be outwardly perceived any differently by the audience. The strip-out’s
visibly woven portions, therefore, possibly give it an advantage.
What should be done after the cut?
The two options seem to be either, cutting displays with the deck, occupying
approximately the space that the deck takes up, or a more elaborate display that
takes up a significantly larger area of the table. The most popular version of the
latter is Daryl’s Triumph display (see Secrets of a Puerto Rican Gambler by
Stephen Minch, p. 60).
While the display itself presents a convincing image of the mixed condition of the
deck, I believe it is not the best option. This is for two reasons. Firstly, the shuffle
itself should convince the audience that the deck is mixed, with woven halves
enhancing the conviction. If using a Zarrow handling of the effect, this display
may be somewhat more beneficial. I believe that this display is a method of
convincing rather than a method of reassuring that I believe is needed here.
Secondly, I believe that the strength of the display relies on the fact that the
deck just looks like it is in a random order random and it apparently not
mattering how the packets are gathered. I believe, conversely, that this is also
the weakness. The more packets that are cut, and put back together apparently
at random allow for a way to order the deck. In effect, the outward gathering of
the packets provides a plausible explanation for righting the mixed deck. As a
result, I believe a more concise, reassuring, casual display is the best option,
especially with a strip-out handling.
Next Issue, I will give a Triumph effect using the above philosophy.
The FlyPaper
By columnist Trini Montes
In this day in age we find ourselves trying to decide
how to go about learning magic. Back in the old days,
we did not have the luxury of videos, DVD’s, or the
Internet. All we had were books, magazines, and
notes. These were the only ways magicians could
learn anything about magic, unless you had a mentor.
Magicians had to either know a magician who would
not mind sharing their ideas, or they would have to go
to a magic shop and buy a book (In those days, finding a magician to share their
ideas with you was very rare. Secrets were kept very sacred, and well hidden).
Now days, with the advancement of technology, the advent of videos, DVD’s,
and especially the Internet, we have been spoiled (Thank You Mr. Bill Gates). A
lot of magic that has been in books for years and years are now in videos. Lots
of the hidden secrets have come out and are available to just about anyone.
With this in mind, it leads me to the first installment of The Fly Paper.
How much value does a book on magic hold these days? How much knowledge
can you get from a video or the Internet that you can’t get from a book? Why do
we ask a beginning magician, “Have you seen the ???? book?”, and get a reply
of, “No, but I saw his/her video.” The answers to these questions are not easily
found. As a matter of fact, these questions will differ from magician to magician.
It all depends on how a magician learns. Whether they learn visually or not. In
this article, I will talk about my views on this topic.
From my point of view, books hold a greater value than a video, or the Internet.
First of all, books posses information such as history of magic, the author’s
points of view, and the effects themselves. They are the stepping-stones to
being a complete magician. Many beginner magicians want to know only one
thing; how to do “tricks.” There is nothing wrong with that, as long as they grow
out of that mentality. As they grow in magic, they should learn more than just
“tricks.” They should learn the history of the art of magic. They should want to
know more about how magic came about. We should have more resources
where a newcomer can learn about the great magicians of the past that paved
the way for us magicians today, and those of tomorrow.
Beginners should learn how these great magicians, Vernon, Marlo, D’Amico,
Miller, to name a few, were affected by magic, and how they themselves
affected magic. This information cannot be obtained by a video that contains
the performance and explanations of “tricks.” Books offer this information within
its pages. Not only do you get the explanation on how a “trick” is done, but also
how it came about (evolution of a sleight). You also get to know a little about the
author, and his/her way of thinking. They bring you in touch, in a certain way,
with the author, or creator.
Many of us browse the Internet. Many of us download “tricks” off of the Internet.
When we do so, we do not take into account that we just depreciated the hard
work, and effort that the creator put in to come up with such an effect. When we
buy a book, we are paying the author or creator for their time and effort in giving
us the information they have. Its an appreciation that we give them, letting them
know how thankful we are that they shared their material, or thoughts with us. I
am not saying that every site we download magic from is wrong.
There are sites, for example, like “The Second Deal” that has magic and ideas
submitted by its members. Once again, It is a paid website, and for you to gain
access to any of the information, you must pay a nominal fee for this. Not only
that, but you have to be “sponsored” or “vouched” for. This makes it a more
civilized place to learn, discuss, and appreciate our art. It’s an “appreciation.”
But yet there are not that many sites like “The Second Deal” that offer
discussion boards, and magic effects. There are far more sites that have magic
in them that have no right to be there. Those that watch videos, or know
someone that shows them how to do an effect, thereby depreciating what the
creator has worked for, submit many of the effects.
In closing, books on magic have far more value than many magicians realize. A
lot of that has to do with laziness. Most people in America do not like to read.
They like to watch television, or play on the Internet. They are blind to the
information that is out there for them to take in.
It is amazing how much a book can teach a magician. My friend Mark Aspiazu
told me that when reading an effect in a book, the reader’s imagination can
wonder. Their mind can imagine themselves doing the effect. If one watches a
video, all they know is how the person on the video is doing the effect. This is
when you get magicians trying to act like the magician on TV. They take on a
completely new identity. I was there once. I was fortunate to have a good group
of magicians to tell me otherwise, and to lead me in the right direction.
We as magicians, and teachers of our art, should do the same for those
beginners we see grow in magic. We need to teach them to appreciate the hard
work and time that a magician puts in on writing a book, or lecture notes. As
they grow, they will appreciate you more for it. They will be more knowledgeable
of their craft, and will do the same for those to come. Those of you that are
visual learners, take the time to read a book. Look at the style of writing used, or
whether the magician’s style has “The Vernon Touch” or is a “Marlovian.” If
anything, you will get more ”tricks” then you will on a video. Keep on reading!
Beyond Methodical
By columnist Aaron Smith
A convincer, something that takes people a little bit
further and drags them over the top - forcing them to
believe something they have just seen. Sound good?
So what is the difference between convincing and
persuading? Usually, we persuade someone to act,
“John persuaded me to pick a card.” By traditional
rules we convince someone of the truth in a specific
proposition or statement. Many reputable writers have began using convinced
with an infinitive, though this is not correct, per hard English rules, and it is not
likely that this [traditional] stricture will endure.
By noting the differences concerning these two, we obtain scrupulous weapons
to use in our card magic. We should realize that we do not convince someone
to take a card, we persuade him or her. And we do not persuade someone that
it is a normal deck, we convince him or her. Possibly a enhanced understanding
of what a convincer is.
Typically, a convincer is something visual, i.e. an Elmsley Count. Showing three
cards as four is fair in contrast to showing one as four. The count becomes a
convincer when we show the spectator the cards in order to convince them, or to
lead them into believing, that something they have just seen or are about to see
is genuine. Can something be said, rather than actually showing the cards?
You could show four Kings then just tell people that you are now holding four
aces (poker would be much more simple), though that is not too convincing, they
have “to see it to believe it.”
What if you didn’t show the cards, but said you had four kings, then said they
have changed to the four aces? If you show the aces, the spectator can’t be
sure that you were holding the kings before the theoretical miracle.
The only solution to the problem of convincing, seems to be creating a web of
cleverly psychological subtleties, right?
What about the ‘visual’ psychological subtleties? Where and how are those
applied? At what point does the nuance, visual or auditory, become more than
sleight of hand or a lie and become a convincer?
What is the reason that a sleight is accepted? Is the move overlooked as a
result of speed, or is there something [unspoken] that underlies the
psychological subtlety? Are we mistaken, is our belief something ‘flies by’
imaginary? These questions, most likely rhetorical, do not have to be answered
but should at least be asked. It is of high probability that many of us have no
idea why something is ‘devious’ or ‘clever’ but can clearly see that it is.
Do we have to understand why something works to use it to our advantage?
Not everyone knows how a car works, yet they still drive one. Imagine what
becomes possible if we do understand why and how. Perhaps a myriad of
complex chaos becomes ordered, neat, and more valuable.
To many of us, it is obvious why something is convincing, “because it looks
good.” The person that does not comprehend why it ‘looks good’ will never be
able to duplicate the concept and may be using it at a small percent of its
possible power. Any results are accidental at best.
Remember the story about the man who pulled his Cadillac with horses, not
realizing at any moment he could start the engine and drive without them? Does
this not apply? What value is locked up in a deck of cards (exiled from our
understanding) that could easily be used to our advantage?
Understanding a deck of cards may sound foolish to some, but may very well be
the endeavor or life work of another. It is what they discover that becomes the
next ‘clever’ idea that “just looks good.”