Mr. Gadfly Journal for Card Magician Vol 1-3

Volume One, Issue Three, September - October

Table of Contents Ace - Assins Alternative, by Phil Goldstein......................................................... 7 Magic Live Review, by Mike Giusti...................................................................... 10 Under Examination.............................................................................................. 13 1-2-3-4 Rise, by Wesley James.......................................................................... 20 Splitting The Aces, By Peter Gröning................................................................. 22 Reward for Stolen Houdini Relic, by Aaron Smith.............................................. 26 Selected Card At Any Number, by Skilldini......................................................... 27 You Want Me To Suspend What? By columnist Aaron Shields.......................... 28 Where Are They Now? Featuring 'Moe.'............................................................ 29 Faromatic, by guest columnist J K Hartman....................................................... 31 Suit Yourself Too, by guest columnist Peter Duffie............................................. 34 Roller Coaster, by columnist Aldo Colombini...................................................... 35 On A Western Clip, by columnist Steve Reynolds.............................................. 38 Presentation & Performance, by Tony Brook...................................................... 41 Bashing A Basher, by columnist Trini Montes..................................................... 44 Your Lucky Number, by columnist Jamie Badman.............................................. 46 Another Jazz, by columnist Mark Aspiazu........................................................... 47 Monte 101, by associate editor Bill White............................................................ 48 Two Hindu Shuffle Finesses, by columnist Doug Edwards.................................. 51 Open Intruder, by Alex Elmsley............................................................................ 53

On The Cover: The hands on the cover are attached to the arms, which are connected to the torso, conjoined with the head, of Aldo Colombini.

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On our web site we have classified ads, contests, the complete issue online, a forum to chat with the staff and contributors of the journal, you can even sign-up for a free @mrgadfly.com e-mail address.

EDITOR Aaron Smith 3644 S. Maplewood apt. A Tulsa, Oklahoma 74135 [email protected] Phone: 918-270-2207 Fax: 918-270-2206 ASSOCIATE EDITOR Bill White

ADVERTISING packages and information is available on our web site. To have a rate card delivered, please contact [email protected]. SUBSCRIPTIONS Send orders (with payment check, money order, PayPal) or changes of address to [email protected]. Subscriptions will start with the issue after the account is setup. One year (6 issues) in the U.S. is $20 (foreign orders $25). CONTRIBUTIONS 100% of Mr. Gadfly is freelance written. Send submissions to the editor. Material must be typed and include an address (SASE for return). E-mailed submissions preferred. Format must be rich text compatible (no PDF). Contributors agree to submit material free of a third party copyright. Submissions must relate to card tricks or the performance of card tricks. Mr. Gadfly is printed and distributed by Magic City, Paramount, CA. The views expressed are those of the author and may not be the opinions of Magic City or the editor. Copyright © 2001 by Mr. Gadfly (ISSN Pending). No part of this journal may be reproduced or distributed.

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COLUMNISTS Aaron Shields, Andi Gladwin, Aldo Colombini, Bill White, Doug Edwards, Jamie Badman, Mark Aspiazu, Steve Reynolds, & Trini Montes.

To see this issue online, visit our web site and use the following information: Username: very Password: green Would you like talking to the celebrities in our field? Help Mr. Gadfly represent the products of the magic community by working for us as an advertising sales manager. Your responsibility would be the sale and billing of advertising; the position does not require a graphic design or layout background. This parttime appointment is commission paid employment that you can do from your home, anywhere in the U.S. If you are interested, please contact the editor with the reasons you should be the sales manager and a list of your credentials. Please hurry, we will be trying to fill this position as soon as possible!

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From Our Editor, Aaron Smith

I have to thank Mr. Kaufman for his 'cute' review of this journal in his magazine, Genii. I am an admirer of Richard's work and appreciate his words of promise. It is because of a book Richard Kaufman wrote, Secrets Of Brother John Hamman, that caused me to devote my magic exclusively to card work. After reading that wonderful volume, I became good friends with Brother Hamman. I appreciate Mr. Kaufman for the publicity he gave Mr. Gadfly and for his honesty, which will cause me to work harder, making this journal all that it can and will be. Genii is slowly moving towards the Internet. Like Mr. Gadfly, Genii began an online forum. This is a great way for an interactive magazine such as Mr. Gadfly, and now Genii, to stay current with their readers. To date, Genii has not put their complete issue online as our journal is, and that might be from the belief that two versions diminish the value of one another - but perhaps, they are playing it safe. Electronic information is easy to copy and distribute. It is a bold gesture of trust to post a product on the Internet. The name alone, World Wide Web, is enough to make writers quiver and pirates smile. Web sites often begin with a simple mission - to offer their prophesized readers content of value. Webmasters need substance, and the ease of stealing it has become not only tempting but also considered legit by the ludicrous. "Piracy is wrong, whether in cyberspace or not. The fact that it is easier to do on the Internet than in most other contexts does not change that." -Max Maven

Occasionally, if I have a few minutes, I search my name or the titles of my marketed products at http://www.dogpile.com. That search engine 'fetches' results from all around the Internet and lists them back to me in order of relevance (trust me, it has relevance). Page 1

What I am looking for is homepages that have illegally placed my material on their web sites. Not just magic, but any of my written work or graphic design (which is all encoded with a search string that makes this possible). Fascinating. "History does not remember those that don't, only those that do. By exposing magic, perhaps it will enhance their reputation, I don't think so." -Martin Nash

In the past it has been written material distributed over the web, and later pictures and graphics were made accessible. With the invention of e-book software, complete books were distributed. And now, in the day of high-speed Internet, even videos aren't safe, even out of the magic community. "I understand that the Internet poses new problems as material is easier to get and to pirate. But, to me, stealing is stealing...." -Aldo Colombini

The films being produced by Hollywood have become a coveted booty by international pirates. Theft on the web's high seas has become an alarming threat and searchable databases of free media are the Smart Bombs of Internet warfare. Page 2

Those who desire to watch movies on their PC are able to download illegal copies of current feature films. Individuals who prefer being a couch pirate have found a new love - the DVD ROM Recorder. This allows crooks to make copies of DVD's and other large videos to watch on their television. Of course some consumption of this new technology is legitimate personal use. The DivX codex, often found on DVD's, allows users to compress files and not only download at a faster rate, but also store the complete movie onto a lone Compact Disk. Examples of recent treasures stolen off the web are American Pie 2, Lara Croft: Tomb Raider, Hannibal, Gladiator, and X-men. Piracy costs the film industry about 2.5 billion dollars per year, according to the Motion Picture Association of America. Currently, online piracy is only a percentage of that number and is growing at an extreme rate. The new gangster movie by British director Guy Ritchie, is reportedly the most pirated movie on the Internet. The film was downloaded to approximately 1 million hard drives in June, reports U.S. anti-piracy research company Mediaforce.

The chief executive of Mediaforce, Aaron Fessier, said that the colossal larceny of Snatch "demonstrates that online movie piracy is a very real threat to the movie production industry, especially when three of our top 10 are current, first-run production movies." Broadband users can acquire a film in the time it takes to enjoy a shower, get into something comfortable, microwave popcorn, phone up mom, and settle into your desk chair. The pirates distributing these movies are literally ripping them off the big screen with handheld cameras. Fessier said the films, "haven't been released yet on DVD or VHS. But then we realized that people must be taking digital camcorders into films." The digital video is transferred into a computer and then uploaded to file sharing services. Even though Internet crime has become a literal riot, with the spread of viruses and pornography, David Powell of Copyright Control Services, said, "It's mostly kid's stuff, but over time it will eat into their Page 3

business. Napster was only the tip of the iceberg." Perhaps the iceberg goes bit deeper. Piracy has a brutal aura, well deserved. The film industry, in retrospect, allows people to take their products. Of course society doesn't tolerate a violent defense, such as encrypting certain files with a virus, or by having some sort of 'spider' search for specific files and attach an application to monitor the downloads. Piracy has been around since the dawn of commerce. As long as there are products and consumers that want them there will be intellectual theft as well as outright robbery. Now t h a t storefronts a r e often online, thieves are stealing straight from the merchants in the comfort of their own homes. Piracy once represented only one vision, sea sailing onelegged oafs with a parrot. Now, IP addresses are the skull and cross

bones of the Internet bandits. Historically, those who take on the life of a pirate obtain no benefits from any specific nations. Loopholes of society such as these prove that the Internet has created a dimension of ruthless children, out to become the revolutionaries of the new world. The method of theft has evolved and the plunder along with it. At the times of Blackbeard, Sir Francis Drake, and Capt. Kidd complete rations and capital from major nations were pillaged, and even slaves were taken and held as valuable booty. Today's pirates travel by computer and use file-sharing programs as their sea, sailing across a now charted destination of intellectual and tangible theft. The belligerent violation of copyright, be it online or at a neighborhood copy shop, is dwarfed by a deadly type of larceny. Stealing thousands of innocent human lives through acts of terrorism is a current event that has rocked the world. There are few places that anyone can feel safe on this violent planet. It has reminded me how simple we are. It is an aggressive day and we are timid if not tamed by such brutal ideals.

The impact of the planes that hit the World Trade Centers caused us to hug our loved ones that much longer - happy that we are able to hold them tight and [enormously] saddened for those that cannot. We, as a united body, shared a tear (certainly more than one). Late nights, on the couch, watching the vivid pictures wipe across the screen caused us all to reflect on how small we are. Together we stand, a mass of emotions. We are deep in a war that will last till the day we die. Take solace, we are sharing these feelings. You and I, while we may not see eye to eye, are standing side by side.

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Available From Your Favorite Dealer!

Castle Watch! There are always exciting events at the Magic Cast. Here is what is going on for the duration of this issue of Mr. Gadfly. October 1 - 7

PARLOUR THEATER EARLY - 7:15 - 8:15 - 9:00 Paul Green LATE - 9:45 - 10:45 - 11:45 Jarvis PALACE OF MYSTERY 8:00 - 9.30 - 10:45 Chris Mitchell Christopher Hart Blackmore and Gold

CLOSE-UP GALLERY EARLY - 7:00, THEN AS REQUIRED Marvyn Roy LATE - 10:00, THEN AS REQUIRED Tim Hart

SUNDAY BRUNCH

PARLOUR THEATER EARLY - 7:15 - 8:15 - 9:00 Adam Williams LATE - 9:45 - 10:45 - 11:45 Handsome Jack

September 23, Howard Hale, IBM Gold Medal Winner Howard Hale presents his new lecture Showmanship - Misdirection - Routining. See how the use of showmanship and principles of misdirection really work and why. Discover the simple steps to routine a great act.

PARLOUR THEATER Children's Shows 12:15 - 1:15 - 2.15 Chuck Griffith

PALACE OF MYSTERY 8:00 - 9.30 - 10:45 Shimada Koyama Minako

September 30, Paul Gertner, Paul's lecture will feature routines including Unshuffled, Photo-copy and his unpublished version of the Stretching Card illusion. Paul will also discuss the Classic Force and the business side of performing in the corporate environment.

SUNDAY BRUNCH PARLOUR THEATER Children's Shows 12:15 - 1:15 - 2.15 Dwayne Garman

October 7, Richard M. Sherman, Our Academy Award-Winning Songwriter Richard M. Sherman (It's a Small World and Mary Poppins, et al) will present part of his new stage musical, Chitty Chitty Bang Bang. Joining Dick for the occasion will be the young Broadway singer, Blake Ewing, who you will remember from the stage musical Ragtime. This musical lecture will be held in the Palace Theater at 3:30 p.m. Spouses and Associate Members are welcome, space permitting.

October 8 - 14 CLOSE-UP GALLERY EARLY - 7:00, THEN AS REQUIRED Doc Eason LATE - 10:00, THEN AS REQUIRED Eric Mead

October 14, Steve Hart, Steve is a 20-year professional from Indianapolis with very creative close-up and stand-up magic. He will Include his Rubber Chicken trick, Jumbo Coin thru Head, Poor Man's Vanishing Bottle and Thumbthing Fun with a Jardine Ellis ring.

PARLOUR THEATER EARLY - 7:15 - 8:15 - 9:00 Bob Dorian LATE - 9:45 - 10:45 - 11:45 Steve Hart

October 15 - 21

October 21, Danny Cole, Danny's approach to both close-up and stage magic is a marriage of formal sleight of hand and gimmickry. He will reveal his technique for developing original material.

CLOSE-UP GALLERY EARLY - 7:00, THEN AS REQUIRED Len Reid LATE - 10:00, THEN AS REQUIRED Danny Cole

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News brought to you by Meir Yedid's http://www.magictimes.com/

...And Now, The News! George Gilbert Kaplan (Apr. 22, 1902 - Sep. 1, 2001) died on Saturday at the age of 99. Kaplan, who recently said that he wanted to live to be 100 years old, fell short by a few months. Most magicians should be aware of his contributions to magic through his now classic book "The Fine Art of Magic" published in 1948 by the Fleming Book Company. Kaplan was also published in many magic magazines as well as originating some, now standard, routines. He was a strong supporter of magic, serving as the dean of the Society Of American Magicians, Parent Assembly and was named their "Magician of the Year" in 1995. Funeral Services and a "Broken Wand" ceremony were held on Tuesday Sep. 4 at 11am at the Riverside-Nassau Chapel. Guy Bavli just taped an infomercial in Sofia, Bulgaria for the Princess line of electronic kitchen products. The ad campaign titled "Magic Princess" will feature Bavli as the host of the infomercials and will include performance segments with him bending spoons a doing magic with the products. The commercials will begin airing this month on channels RTL, SAT1 and VOX in Germany and Austria and will later expand to the rest of Europe. David Blaine's book "Mysterious Stranger" will not be released this year as scheduled. A representative from Random House, which owns Villard Books, told MagicTimes that the book has been tentatively postponed to October 2002, but that date is also subject to change. Blaine's first book will explain how magic works as well as cover magic history, pranks, hoaxes and will include information on David Blaine. The 256-page Hardcover is being published by Villard Books. David Regal who is co-producer on the new sitcom "According To Jim" starring Jim Belushi and Courtney ThorneSmith has been helping out with the warm-up on every episode. Regal performs a magic routine during the taping of each show. He is taking this opportunity to develop new material and premiering it in front of the live studio audience. Regal said "It may not be the largest audience I ever performed for but it certainly is the widest. Due to the layout of a soundstage, it feels like a half-mile between the spectator on the far left and the spectator on the far right." The TV show debuts on Wednesday Oct. 3 at 8:30pm ET. Page 6

PHIL

GOLDSTEIN ACE-ASSINS ALTERNATIVE The first issue of Mr. Gadfly contains a routine by Jamie Badman entitled "The Four Ace-Assins." This is a pleasing example of what I have defined as "ecological magic," wherein the detritus of one phase enables the next. In the May 1977 M-U-M I published a routine, "Twisted Location," that has a similar (albeit simpler) plot. In hindsight, I would fault the construction of the first part of that routine: Four of a kind are tabled. A card is selected from the pack, noted and returned. The previously set-aside quartet is then displayed, but it is necessary to do so by returning the packet to the top of the deck. This sequence of events suggests (correctly!) that the selection is being repositioned relative to the packet. It is, of course, quite possible to downplay the impact of this event sequence via theatrical focus. However, it is certainly worth considering restructured alternatives. In the case of my 22-year-old routine, the means to achieve that are fairly obvious. The composition of the Badman routine affords several approaches to resequencing. Here's one that might be worth considering. At the outset, a crimped jack is face up about 15 cards from the bottom of the pack. The top seven cards of the pack are: AD, AC, AH, AS, then the remaining three jacks. Before a selection is made, the aces are displayed, using the same ATFUS procedure described by Badman. (Refer to the tenth and eleventh paragraphs of that write-up.) The result is that you have apparently shown the aces and set them aside, but the tabled packet actually runs in order from the top: Face-up AD, three face-down jacks, face-up AC. There is an indifferent card on top of the deck, beneath which are the face-up AH and AS. Now, spread the pack and have a card withdrawn. Obviously, the top few cards are kept roughly squared to conceal the face-up aces, and you do not spread deep enough to reveal the face-up jack. The selection is noted, and then returned. Square the pack, obtaining a Page 7

left little finger break above the selection. The deck is now given a couple of cuts, in order to lose the chosen card. In fact, a Marlo Cover-Up Cut is employed. In brief: The left hand is holding the pack, with a little finger break above the selection. The right hand grasps the pack from above, Biddle fashion, and the right thumb obtains a break beneath the top card. The right hand lifts away the half-pack above the break, and deposits it beneath the left-hand stock. The left hand re-grips the entire pack, the little finger taking over the (now central) break from the right thumb. The left thumb rests on top of the deck. Next, a Slip Cut is done: The right hand moves to the right, taking all of the cards above the break except for the top card, which is retained by the left thumb. As before, the right-hand stock is deposited below the left. No face-up cards are seen during this activity. The result is that the top card of the deck is now the selection, with the face-up aces still in the second and third positions. Table the deck; pick up the packet. You're ready to continue with the Badman routine.

From the editor: I found the following letter from Max Maven on an Internet web site, and with his permission reprint it here. I feel that this is something that the informed magician would like to read. I appreciate Mr. Goldstein's submission to this journal and his dedication to the wonderful institution, The Magic Castle.

Dear Magic Castle Member After a lot of serious thought, I have made the decision to run for the Board of Directors of the Academy of Magical Arts in the upcoming election. I am running for a very simple reason: I love the Magic Castle. My magic credentials are pretty well known (if you want to know more, you can read the bio on my website, www.maxmaven.com). As to my relationship with the Castle, in 1977 I made my first visit to Los Angeles in order to perform and lecture here, at the invitation of Bill Larsen. The following year, I moved from Boston to Hollywood, and became a member (#4333; my application was signed by Bill Larsen and Dai Vernon). Over the years, I have been an active participant in the Castle community. I am the only person who has worked every formal performance location at the Castle (including being the "medium" for the Houdini Séance). I have been a consultant to several Board members, advised the bookers about talent, ghostwritten award plaques and other texts, and stepped in to help arbitrate disputes between performing members. Frankly, I'd love to stick to this behindthe-scenes involvement. But I have concerns about the Castle's current direction, and there are things that need to be done. Some years ago, the Magic Castle found itself in a financial situation so precarious that there was a real risk that it might have had to close down. Fortunately, several people with good business skills were able and willing to step in and help turn things around. As a result, the Castle is in great economic shape. But what's not in good shape is the "soul" of the Magic Castle. Many members feel that they're being treated poorly -- that

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their experience is somehow less important than that of non-members who've bought dinner. Despite good intentions, the lines of communication between the members and the Board seem to have fallen apart. Many members feel that their interests and needs are being ignored. Things are out of balance, and I fear the Magic Castle is headed toward becoming a restaurant with magic as the decoration. The sense of the Castle as a community is being lost. Please understand: I'm not opposed to televised football games, themed food specials, networking nights or golf tournaments. These are all valid attractions and worthwhile perks for interested members. But we've got to get our priorities in order, and it's as simple as this: Magic first. We can make things better, but I need your help. First, I ask for your support. If you agree that change is both necessary and possible, please give me your support. If you'd be willing to sign a form endorsing my candidacy, let me know how best to get it to you (via mail, e-mail, fax or in person). I believe every vote does count, and I need yours. Second, spread the word. Let other Castle members know that I'm running, and why. Third, let me hear from you. My contact information is below. Please, tell me what you think about the future of the Magic Castle, and feel free to ask me any questions you may have regarding these goals.

The Roberto Giobbi Video

The author of the renowned Card College books taped live at the 7th British Close-Up Magic Symposium! The word is out about this great video! "I am so impressed. First, for a lecture video it is extremely well filmed and quite clear. Second, the magic and the thinking involved is absolutely phenomenal. I added three ideas to my performing repertoire. I cannot tell you how much material I typically have to wade through to maybe get one idea I'll use. I have been into magic for 26 years and see a lot of material in my position as Project Coordinator for a major magic distributor. However, I learned so much important information from this tape simply in the thinking and attention to detail. Bravo. I feel like I found the treasure chest with The Roberto Giobbi Video." - Tim Trono This truly great magic video includes: Wild Business; The Peek; The Master Grip; Miracle Prediction; Card To Wallet; Sponge Ball and Bowl Routine; LePaul Envelope Nest. All receive the Giobbi treatment in this broadcast-quality taping using two camera angles!

Sincerely, Max Maven 7095 Hollywood Blvd. #382 Hollywood, CA 90028-8903 tel: (323) 876-2896 fax: (323) 876-9547 [email protected] Page9

“Magic Live” Review

By Mike Giusti

Well, the MAGIC Live Convention came, went, and will probably go down in magic history as one of the best ever! In case you missed it, try not to salivate as I recreate as best I can with my ever-degrading memory the events that transpired throughout the four days: DAY 1 -- What a day! After 6 hours of driving to Las Vegas in 110-degree weather, the MAGIC Celebration Gala began the evening of August 19th with celebrities, dealers, and magicians from around the world. While mingling and enjoying themselves, everyone had a great time as miniature cards of MAGIC magazine covers were traded in a get-to-know-each-other environment. Everyone in attendance got their pictures taken with the MAGIC magazine logo for their respective ID tags! Everyone was an instant star! After Stan Allen welcomed everyone, snacks were served and music played until the dealers' room opened with a bang! A wall of balloons opened up and confetti cannons shot streamers into the air as the dealers' room came alive. Can you say pandemonium? Folks like Channing Pollack, Bob Sheets, Paul Harris, Silvan, Joshua Jay, and Bill Malone all took time to chat, window shop and purchase. DAY 2 -- Wow! Day 2 started out with a bang as Mac King hosted and Stan Allen hosted the lectures respectively. Stan himself gave a talk about a look behind the scenes of MAGIC magazine, Max Maven had everyone rolling with a gut-busting Parallax (no one was safe from the good-natured jabs), and the sidesplitting antics of Bill Malone had everyone on the floor! The highlight of the day was when Lance Burton interviewed Channing Pollock. You could hear a pin drop throughout the interview as everyone was stuck with awe and respect for these two legends. Richard Kaufman, Glen David Gold, Michael Close and Jim Steinmeyer gave interesting talks on everything from magical effects to magical history. All was seen with crystal clarity as two large monitors played the events as they transpired for those who found themselves in the "cheap seats." The evening was spectacular as Mike Caveney MC'd one of the best stage shows on the planet. Performers including the Pendragons, Dana Daniels, Jeff McBride, Mark Kornhauser, and Scott & Ms. Muriel all graced the stage with their unique brands of magic and humor. Page 10

The evening ended with a Who Wants to be a Lifetime Subscriber? game show where one lucky contestant (who actually answered every single question correctly) won a lifetime subscription to MAGIC magazine! DAY 3 -- The morning and afternoon sessions featured lectures and talks from the likes of David (Silly Billy) Kaye, who invited four children from the audience and proceeded to show variations of the silk vanish. The children (obviously from a magic background) spoke right up saying, "That's a thumb Tip! Everyone knows what THAT is!" That's when David went into high gear, finishing the trick three different ways and bringing the effect to a successful conclusion! The room was packed to hear this professional speak. David Charvet, Michael Ammar, Bill McIlhany, Michael Diliberto, and Tim Glancey gave various talks from topics like "Marketing Magic" to "Magic Clips Seen on Television." The afternoon sessions, hosted by Rory Johnston boasted appearances from the likes of Gary Ouellet, Jon Racherbaumer, Gaston Quieto, and Gregory Wilson. It was soon afterwards that Stan Allen announced that the new editor of MAGIC magazine would be John Moehring. Stan will continue to act as publisher, and the magazine's new format will be evident in the upcoming months. Charles Greene III MC'd the best close-up show ever seen with Chad Long, Bill Malone, Guy Hollingworth, Paul Gertner, and the Buck Twins. The show was so spectacular, even David Blaine was seen in the audience! However, it was Bill Malone who endlessly poked fun at Blaine asking questions like, "Hi, I'm Bill Malone, and you are…? Ah, David

Blaine. And what do you do? Don't p*ss me off, David. I'll bury you in a block of ice!" That night (after bowling with Joshua Jay, Linda Bertrand of MAGIC magazine, and Stan Allen's family) Tony Blanco, Dexter, and I had what we affectionately termed "Breakfast with Billy." When Billy McComb presents himself at your table, it is best to put down the fork, fold your arms, sit back and relax because it will be impossible to consume anything! The stories, jokes, innuendo, and conversation were enough to pass any type of edible material through your nasal cavity! DAY 4 - Alan Howard hosted a morning of lectures and talks by Eberhard Riese who spoke about the importance of directing magic acts, Bill McIlhany who showed us "Ultra Rare Clips You've Never Seen, and Earl Oakes had everyone sitting with their dollar bills folding them into various shapes and designs. The morning sessions ended with Michael Close speaking about "Marketplace," his controversial product review. It really is a thankless job, one from which very few friends are made… The afternoon sessions, hosted by John Moehring, featured "More Ultra Rare Clips You've Never Seen" from Bill McIlhany, but the highlight was "Stories of the Century," an interviewstyle talk with the legendary Billy McComb, who spared nothing when talking about World War II, David Copperfield (a weirdo, in Billy's words), Houdini (another weirdo), and others. Very interesting and downright hilarious! The tricks were flying when Chad Long (he still refuses to believe it every time I tell him he's my favorite magician), Joshua Jay, Rune Klan, and Apollo Robbins all performed and spoke

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about magic effects. The afternoon ended with a "Q & A" of David Blaine given by Max Maven. The really important questions were not overlooked as Max asked questions like, "How was Fiona Apple?" and "How do you feel about magicians who idolize you and steal your… patter?" Once the afternoon sessions finished, the dealers worked and scrambled to fold their tents in order to watch the evening show, once again hosted by Mike Caveney. The "47-Hour Intermission" ended as Caveney, Topas, Jeff Hobson, Anthony Gatto (an stunning juggler who stole the show and received a standing ovation), Michael Finney (who thanked Stan Allen profusely for placing him directly after the juggler), Mike Michaels, and Nicolas Night & Kinga, brought MAGIC Live to an end with a bang of a final show! If you were lucky enough to be a part of this spectacular convention, you know just how phenomenal it was. If you did not attend, that's OK. You didn't miss much…

FROM THE EDITOR The wait is over! Many of us have been waiting for the new Lorayne book to be released. The wait is over and the edition is limited. Now is your chance to get your hands on this book… Harry Lorayne's Personal Collection, "all cards, all new, all mine," is a limited edition book forty years in the making. With quotes like, “The best teacher/writer in magic has outdone himself," and "Good Lord, Harry, you've really kept the best for last," has made me eager to obtain a copy from Mr. Lorayne for review and study.

“

Each of the 750 copies has been autographed. These 650 pages, over 200 items, and around 400 illustrations is said to be the last card magic book that Lorayne will release.

...Don't p*ss me off, David. I'll bury you in a block of ice!

Personal collection is $150.00 plus $6 postage/handling in the U.S. If you live overseas, include $20 for shipping.

”

The Internet is buzzing with talk about Personal Collection! Page 12

Under Examination Product reviews by Aaron Smith Digital Pentagram Produced by Martin Breese. Distributed by Magic City, Paramount, California.

My usual curt response to the frequent question is, "I really only buy books." I amend that today with, "I only buy books and CD ROMS!" Digital Pentagram is a vast amount of information in a small package. This CD contains a licensed copy of Adobe Acrobat, for use on PC's and Mac's, and a complete file of Peter Warlock's Pentagram Magazine circa 19461959. The complete file includes all 1311 content pages of Pentagram, which contain wonderful magic from Alex Elmsley, Robert Harbin, Fred Kaps, Stewart James, Dai Vernon, Al Koran, Roy Walton, Jack Avis, Ed Marlo, and a lot more. Peter Warlock has some brilliant articles and effects that indeed deserve a separate mention. His work on Pentagram is obvious dedication. Searching the complete file is a breeze (or Breese if you want to get puny about it). Acrobat, depending on your system, can search any word on every page in just a few seconds,

every page in just a few seconds, making it very easy to find what you are looking for. This feature makes it extremely easy to both study and reference the complete Pentagram. The CD is contained in an opaque black DVD box with laser copy page that starts in the front a n d wraps to the back of the plastic case. The big white star and smooth vector text that occupy the front cover are printed in monochrome on white paper. Inside the box is a white CD with the appropriate label and information professionally printed on it. A half-page of instructions that make the already easy operation that much more smooth is included under a black plastic clip. The material in the Pentagram includes a variety of magic. Card magicians might appreciate the massive pasteboard information, but there is valuable articles for everyone who takes magic seriously.

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Simon Says

INSTRUCTIONS

Written by Simon Lovell. Produced by L&L Publishing.

Simon Says talks at a proficient level in a way that is easy to understand. Mr. Lovell is a professional writer that employs his years of experience as a magician and scribe to realize this volume of his life.

Mr. Gadfly did not exist in 1997 when Simon's book was first released, however, due to the substantial new response to Mr. Lovell's work I decided to write this review. PLOTS There are over fifty plots that grace the book's 242 pages. Effects include Simon's knock 'em dead comedy signature piece Sleight of Mouth, Who Killed Lilly Longlegs is a complete deck story routined with "an applause pulling finish" and a killer narrative, and Heartless, an ambitious card routine (that isn't routine at all) with a 'ruthless' finale. PRESENTATION This hardback is similar to reading a comic strip - a very educational one. Simon's presentations are professional art.

PRACTICALITY All of the material is 'real-world' magic, tested and performed for live audiences all around the U.S. and Europe. VENUE There is so much information in this book that it is nearly impossible to give a complete review. A special treat are articles on close-up magic, comfort zones, approach, openings, closings, routining, entertainment value, etc., that give you an perception of what to perform and where to perform it. 70% of the data in this book is an understanding of what you already do, the other 30% is fifty awesome tricks that you can perform just about anywhere.

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ORIGINALITY From cover to cover, this is all Simon. I sincerely anticipate that the readers will use Simon Says as a stepping-stone for their own magic - tugging and pulling at unique style. SKILL LEVEL Some might not be ready to heed everything Simon says. He is clever, direct, and candid, and that takes some skill to trust and apply. The sleight of hand is intermediate, though Lovell has an appreciation that everything takes effort. Plan to jump in this book and stay a while - because you like it here, not because the tricks are strenuous to execute. RETAIL APPEAL Big beautiful L&L book. Two jokers on the full color front cover one is Simon and the other is from Batman. The back cover has a profound image of Simon embracing a fan of unreflective cards.

low with interesting magic. This is the absolute best book I have read since Secrets Of Brother John Hamman. About Face CD ROM Designed by SharperMinds. Distributed by Magic City.

PLOT This is an effect used on a computer (MAC, PC, or palm pilot). Five playing cards are shown on the screen face down. The spectator, using the mouse, selects one of the cards and then turns over the other four cards as well. The magician enters the room (this can also be done over the phone), looks at the screen, and reveals the spectator's card. PRESENTATION A complete script is offered on the CD Rom in a Microsoft Word or Rich Text document.

QUALITY Nice crisp pages, beautiful glossy dust jacket, wonderful illustrations by Hannah Ammar (absolutely brilliant work).

INSTRUCTIONS The instructions are on a five page electronic file contained on the CD Rom. This is an easy method to understand and perform if you follow the concept description closely.

ADDITIONAL COMMENTS Simon Lovell is an interesting fel-

PRACTICALITY This effect really does work. I wit-

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nessed the creator, Lorin Wiener, fool several people over the web (in a chat room) with About Face. He followed the included script and instructions verbatim. VENUE Anywhere there is a computer and a 21st century card magician. ORIGINALITY This type of effect has been released before, however, this is the only one that uses easy to read cards and such a diabolical method. It took me several hours to even start to figure it out - well, I thought I was on the right track. SKILL LEVEL Super-duper easy. The program does most of the work for you. You will have to practice a few times - just to make sure your getting it right. RETAIL APPEAL The CD Rom is in a regular jewel case that is inside a 6" x 9" zipper baggy. The label is a piece of paper folded in half with all the appropriate information. QUALITY Everything here is first-class. The CD Rom looks professional and it contains all the info you need.

The program is written in FLASH, so your computer will need to be able to download Flash Player. ADDITIONAL COMMENTS This would be a great trick to email the general manager of a restaurant you are trying to book. You could perform the trick for them in the privacy of their own home, over the phone. Extra Sensory Poker By Diamond Jim Tyler.

PLOT The spectator, holding the packet, is able to spell to specific cards, that together will complete a royal flush, while the magician has a hard time getting the cards needed, except for at the end of the effect where (s)he is able to produce a Joker from four Aces. PRESENTATION The presentation is included in the [very] direct instructions on the back of a full-color advertisement and label page. The theme involves magicians and gamblers. INSTRUCTIONS The directions are exactly what is needed, nothing less, contained on one side of a single glossy sheet of paper. The patter is very

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complete and descriptions of what is happening is to the point. In this case, if you follow the presentation exactly while learning the effect, then there isn't anything else to know - just be conscious of the gimmick. There isn't any slight of hand in Extra Sensory Poker, nor is there anything to remember per se - the effect just flows. PRACTICALITY If you start this trick you will end it correctly. It is nearly self-working; except for the self-contained secret and the spectator that k e e p s fooling theirself. VENUE Any venue where the cards can be seen. That cliché that is appropriate here, "packs flat and plays big." Sitting, standing, jumping from an airplane wherever magic might be found. ORIGINALITY This is Diamond Jim for ya! He works full time, six nights a week, and this has probably been in his repertoire for some time. The instructions are concise and illustrate to me that the effect is well

thought out and is a personal piece of Jim's show. SKILL LEVEL You will need to be able to read and talk. For this to be a good trick, you will have to be able to reflect the patter suitably. RETAIL APPEAL The cards come in a baggy, wrapped in the instructions contained on the same page as the glossy full color front and back cover, which is in a final plastic zipper bag. T h e picture on the front cover is the o l d painting of dogs sitting around the poker table playing cards. The back cover is a 'wooden' surface with the effect in white letters an the quotes, "Resets in seconds," "No sleight of hand," "Packs flat and plays big," "Magic happens in the spectator's hands." I agree with those statements - nothing is exaggerated. QUALITY The special cards are Bicycle

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back and quality. The gimmick that allows for the kicker ending of producing a joker from four aces is easy to use and is contained on the card - we are talking about an extremely well known principle amongst card magicians, streamlined. ADDITIONAL COMMENTS This is as powerful as the Diamond Deck, as fun as the Animated Card Box, and as easy to understand as Jim's book, Pockets Full of Miracles.

You can purchase any of these items from your favorite magic shop - if you have problems locating one of the products, e-mail us for help! Do you have an item you would like to see reviewed in Mr. Gadfly? Send it to the editor! If there is a product, old or new, that you would like reviewed in Mr. Gadfly, send the appropriate information to Aaron Smith.

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Our catalog of manuals, manuscripts and books on magic, mentalism and other variety arts is available on the internet.

Visit www.trickster.com to freely view the catalog, then purchase from your favorite dealer!

Last Minute News From w w w. m a g i c t i m e s . c o m By Meir Yedid

Irving Tannen died on Monday Oct. 1. Irving Tannen who was in his early 80s was primarily a magic dealer and good demonstrator. He originally worked with his brother Mike Tannen at Circle Magic on Broadway in New York City and later went to work for his older brother Lou Tannen where he eventually became a part owner and president of Louis Tannen, Inc. the largest magic company in the world at the time. He retired in 1978 to Florida where he has been living ever since. Earl Ray Wilcox (Earl Hoyt Wilcox, May 19, 1927-September 29, 2001) died on Saturday at the age of 74. Wilcox was an outstanding stage manipulator who at one time was a very popular magic convention act. He also booked many magicians to shows in the Michigan area and was a magic dealer who authored the booklet "Inter-Lock With Cards And Coins." Services will be held on Tuesday Oct. 2 at 11am at the Cook Funeral Home, Jenison Chapel (1889 Baldwin Dr.) in Grandville, MI. Eddie Fields (Irving Feldman, February 5, 1915-September 30, 2001) died on Sep. 30 at the age of 86. Fields was a well-known close-up magician, mentalist, pitchman, pool hustler, astrologer, and fortuneteller. Most magicians know him from his books "The Artful Dodges of Eddie Fields," "A Life Among Secrets" and "Greater Artful Dodges of Eddie Fields." Page 19

1-2-3-4 Rise By Wesley James Why a four card rise would be significantly more impressive, apart from the pure issue of number, to anyone who doesn't know the method for either effect is hard to fathom. Nevertheless, once someone defines a premise as using four cards, as Dave Solomon has, some purists will only be happy with a solution that preserves this element. Because I like a challenge as well as the next guy, and to assuage those hypothetical purists, here is a four-card handling, born out of the method used in the three-card version. 1 Beginning with the Ace through Four in a face up, left to right row on the table, place one card on the Ace, two on the Two, three on the Three and four on the Four. 2 Pick up the Four packet. Lever the face up Four face down onto the packet then deal it fairly to the table simulating the Lennert Green Snap Deal (The Snap Deal, 1997), because you will use it later. Rotate your left hand to palm down as you slightly back spread the four cards. Briefly flash the faces, lower the hand and drop them in a loose spread onto the Four. 3 Duplicate the actions of Step 2 with the Three but perform the Green Snap Deal with the Three as you apparently deal it onto the pile. Briefly flash the faces of the three remaining cards in your left hand. Drop these cards on the pile. You will still be holding the stolen Three in Lateral Palm. NOTE: This sequence can be adapted fairly easily to use the Benzais Card Cop (see The JB Kard Kop in Close-Up Card Magic). 4 Convert the Lateral Palmed card to Tenkai or Gambler's Flat Palm (depending on the angles) and add it to the top of the two face down cards of the Two packet as you drag them off the table. Lever the Two face down onto the top of the packet, simulating the actions you performed in Steps 2 and again in Step 3. Bottom Deal as you apparently take the Two. Again, simulate the Snap Deal. You will secretly be holding three cards that are believed to be two in your left hand. Pivot the top card to the left Page 20

slightly while holding the other two cards in alignment. Raise your left hand to flash the cards as you have with the other two packets. It should be apparent to the spectators that they are looking at two cards (there are actually three) but they will not be able to see an index to identify the upper card. Place the three cards as two onto the pile. 5 Duplicate as exactly as possible the actions of Step 2 with the Ace and its single card. Here, as in the three-card version, almost everything you've done has been clean and precisely as you might if you were not preparing for an effect. Although you've had to perform a few techniques to reach the current situation, the audience should have a high degree of conviction that all is fair. 6 Pick up the assembled 14-card packet and square. Shake the packet or perform your favorite magical gesture. You are in essentially the same situation as you were at this stage of the threecard version. As in the three-card version, Stud Deals (3 Stud Seconds and a Stud Bottom) will complete the effect. You can use this ending if you like.

four cards in a short spread, without reversing their order. In a continuing action I semi-square the left edge of the four-card spread against the packet, add the Four from the bottom via Buckle-Out Bottom Deal and turn the five cards (as four) face up onto the packet, bookwise. Altman Trap the face up packet as it falls and immediately convert the Greek break to a fourth finger break. Count off the five cards as four as follows: Put the Four on the table, take the Three off the packet and slip it under the Four. Treat the Two like the Three. Finally, use the Ace and indifferent card, as one, to scoop up the entire spread. The effect is complete. CLOSING NOTE: You have an extra card hidden behind the Ace which leaves you set for any number of other follow-up routines. I will leave the choice to each individual. Dave Solomon's book, Solomon's Mind, offers a number of interesting plots that might begin from this initial position.

Editor’s note: Wesley James’ 1-2-3-4 Rise is continued from his article in issue two.

7 Alternately, count off the top Page 21

About the trick: Paul Harris introduced the concept of splitting a four into twos, into aces in his book Las Vegas Close-Up. I believe that my variation on his theme is quite visual. It is performed with a regular deck and you end clean. I've also added a force at the beginning of the routine. This to create the feeling of the trick being more or less improvised; as if you, in the spur of the moment, made the decision to split a card into aces just because a four happened to be selected. The routine is not selfworking. Though demanding, I've tried to put it together and make it straightforward yet still organic. You'll need: A deck of cards. At home: Set up the deck as follows. From top down: face down four of clubs, face down black ace, face up black ace, face down red ace, face up red ace, face up two of hearts, face up two of spades, followed by the rest of the deck face down. Since there is a rather large set-up, either have this routine as your opener, or perform a deck-switch to bring in the deck. One option is to keep the prepared deck cased in your pocket. Do some card tricks with a second deck, which you case and pocket to perform, perhaps, a coin routine. Afterwards, bring out the prepared deck and go into the routine. Action: Introduce the deck. Do a couple of shuffles without disturbing, or flashing, the set-up; Faros fits nicely here. Cut the deck, but keep the halves separated afterwards with a left-hand fourth-finger break. Perform a Riffle-Force upon a lady spectator to have her "select" the four of clubs. With your left-hand thumb, push the top card (four of clubs) over somewhat to the right. Use the upper half, held by the right hand, to lever the four of clubs face up on top of the left hand half. Put the right-hand half under the left-hand cards and square up. The four of clubs is noted as the selection. Page 22

SPLITTING THE ACES, by Peter Gröning

Audience Impact: A female spectator selects the four of clubs. The four is split into two twos, which then are split into the four aces.

The following will permit you to invisibly obtain a pinkie break below the top seven cards. Push down on the outer left corner from above with your left-hand thumb. This action will enlarge the natural break (caused by the cards back to back condition) at the inner corner of the deck's right long-side. Obtain a left-hand fourth-finger break below the seventh card from top (The face up two of spades). You are now going to, apparently, turn the four of clubs face down, but in reality turn over all seven cards above the break as one. This probably sounds a bit bold, but if you give it a try I think you will appreciate what it achieves and also note that it can be done quite invisibly. Enter the tip of your right-hand second finger into the break. Move your right hand outwards along the deck's right longside. As you reach the outer corner, pinch all cards above the break between your right-hand second finger from below, and your right-hand thumb from above. Your right-hand first finger rests at the corner. Your right hand remains stationary as your left hand moves to the left with the deck. As the deck comes clear of the right hand cards (The deck's right long-side

meets left long-side of the righthand cards'.), lever it up so it becomes perpendicular to the right hand cards Turn the seven card bunch over onto the deck. During the above sequence, turn your wrists somewhat counter-clockwise. This will keep the considerable thickness of the left long-side of the seven card bunch more or less towards you and out of sight from the crowd. Approach the deck with your right hand; second finger at outer right corner and thumb at inner right corner, index finger is curled on top. Get ready to do a double lift by lifting up the two top cards at the inner right corner with your right-hand thumb. Lift off the double (believed to be the four of clubs) and place it back onto the deck again so that the double's inner left corner lands on the deck's outer right corner. Let go of the double with your right hand and hold it in place with your left-hand thumb from above and left-hand second finger from below. Re-grip the double with your right-hand fingers at the outer right corner; first and second fingers on top, thumb below. You are now going to perform the first split. Quickly turn both hands palm up, at the same

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time maintaining the top card of the double (two of spades) in your right hand, and the bottom card (two of hearts) in your left. While the cards are face up, take the left-hand card under the righthand card. Turn your left hand palm down again and place both right-hand cards face up on top of the deck. The above, though lengthy in description, takes only a couple of seconds to perform. Also, during the above, as the double is moved out to the outer right corner, obtain a left-hand fourth-finger break below the fourth card from the top of the deck. This is achieved with the same left-hand thumb action as you used to secure the break below the seventh card bunch earlier. (This action is well hidden under the double, and the break will not interfere with the splitting action.) Square all cards above the break; your right-hand thumb at the inner right corner, second finger at outer right corner, index finger curled on top. As you square the cards, riffle off the two bottom cards (black aces) with your thumb. Maintain the pinkie break below these cards. As you move your right hand to the right with the two of hearts and the two red aces, peel off the two of

spades to the top of the deck with your left-hand thumb. It is better if the two of spades lands somewhat out-jogged, since that will subtly display its singleness. The righthand triple is, of course, supposed to look like a single card. Place the triple between your lips; left long-side towards your mouth. Tilt your head forward somewhat, as if focusing on the deck, to conceal the extra thickness. You are now going to split the two of spades into the two black aces. This will be achieved by the Natural Grip Radical Change (Cardworks, Kaufman & Greenberg 1981, page 18). Grip the two of spades at center of the right long-side with your right hand fingers; thumb on top, fingers below. Lift it up and turn your hand palm down to show the back of the card. Turn your hand palm up again and place the card back on top of the deck. Put it flush with the two aces above the break. As you deposit it, don't let go with the right-hand thumb, but move your right-hand first-second finger into the break. The result is that you pinch the top three cards between the right-hand thumb and fingers. Now, move the triple to the right until the left long-side meets the right long-side of the deck. Start turning the triple down

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as if closing a book. As the cards are about to kiss the deck, push off the top two cards with your righthand thumb. Leave these cards on top of the deck and 'snappingly' turn the last card face up. It appears as if the two of spades is visibly split into two black aces. Thumb off the ace on top of the deck with your left-hand thumb and take it under the ace in your right hand. Drop them to the table (Or on someone's hands in case there is no table available). Remove the triple from your mouth with your right hand. Obtain a pinkie break below them with your left hand. Your reason for doing this is to be able to speak. A difficult task with cards in your mouth. Gesture towards the black aces and make an appropriate comment. Pick up the two of hearts only and display it as you did with the two of spades. Perform the Natural Grip Radical Change a second time to finish the routine.

An Invitation from Max Maven To all Members of The Magic Castle, As you may have heard, I am running for the Board of Directors of the Academy of Magical Arts. As a way of opening a dialogue, I am having a "Meet the Candidate" event, to discuss the current state of the Castle and define priorities. I will propose some ideas that I believe can improve our club. This is also an opportunity for me to hear what you think. I was hoping to hold this event at the Castle. However, when I asked for permission I was told that it would not be possible to get a yes or no answer until November. I do not feel this can wait. Therefore, I have found a nearby alternative: the function room of my apartment building at 7250 Franklin Avenue (the Franklin Towers). That's half a block west of La Brea, on the south side of the street. The meeting will be on Tuesday, October 2, at 7:30 PM. Please note that there is very limited parking at the building. However, on weeknights it is usually not too difficult to find street parking close by. The building has a lobby with a front desk, and there will be someone there to direct you to the "teahouse" facility where the meeting will be. -Max Maven Page 25

Reward For Stolen Houdini Relic "As a community we should attempt to capture these crooks immediately, in case other historical artifacts are being targeted." By Aaron Smith

Las Vegas, Nevada - An original straightjacket used by the infamous Harry Houdini during the pinnacle of his career was stolen in "broad daylight" from the Houdini museum at the Venecian Hotel in Las Vegas. Geno Munari purchased this authenticated treasure of magic past from Sid Radner for display in the museum. The jacket can be identified "by secret marks that no one will ever find." The confidential inscriptions, according to Munari, "are widely known" to historical foundations worldwide, which will make fencing the prize difficult for the bandits.

Reportedly, the crooks "diverted the staff and scaled a tall glass wall." Fingerprints were established at the scene and will aid in condemning suspects. Collectors should report any leads directly to Geno at www.houdini.com. There is an undisclosed reward being offered to information that leads to a conviction. Unable to escape global fame, Houdini is finally being honored with a stamp, issued by the United States Postal Service, after demand from Harry's relatives. The commemorative stamp will be unveiled at the 100th SAM anniversary in New York City July 2002 according to Houdini's Niece Marie H. Blood and the Grand Nephew of Houdini Jeff Blood. Do you have important news or information? Send it to the editor!

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S

elected card at any number By Skilldini, Is that Wright, Tim?

A simple plot with an esoteric method. A card is selected and lost in the deck. The spectator can shuffle the deck. The spectator thinks of any number and the selected card is at that number. The selection might want to be a classic force. The control might go like this: under the guise of removing the jokers look through the cards and remove any jokers and place the selection 5th from the top. Turn the deck face down and square. Take the top 4 cards from the top and ask if the card is on the top? Bury the 4 cards. Turn the deck face up and ask is the card is near the bottom, fanning a few on the bottom. Close the deck, turn face down and hold in the mechanics grip. The selected card is on top. Hold the deck in the mechanics grip with the left hand and have the right hand hold the deck from above, right thumb at rear of deck. Right index finger is pushing down on top of deck. The right thumb now quickly counts off 10 cards in sets of two. Left pinky hold a break above the 10 cards. Release the deck with the right hand and ask the spectator to think of a number in their mind between 10 and 47. Take time here to contemplate what number range to give them. Do this while holding the deck with both hands which takes the

heat off the deck. Look upward! Right hand re-engages the deck and quickly the right thumb counts 10 cards again and the left third finger holds a break under these cards. Right hand leaves the deck and you assume a relaxed position. Ask spectator if they have a number in their mind. The right hand once again engages deck and 5 cards are thumb counted. Do this as they answer the question, "do you have a number in mind?" Hold a break above these 5 cards using the tip of the left third finger. The condition now is the spectator has a number in mind and you have 3 breaks: one at 10 cards, one at 20 cards and one at 25 cards. You now ask for number the number they are thinking of. Whatever number it is you have to quickly get that number of cards minus one broken from the bottom of the deck. This is done under the cover of talking about the free choice, etc. The packs of 10, 20, and 25 cards will expedite this process. Then pass those cards to the top of the deck in the action of handing the cards to the spectator. It does take practice to count and hold breaks under cover. You do need to do a perfect pass at the end. I do the pass in the action of handing the cards to the spectator.

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You Want Me To Suspend What? By Columnist Aaron Shields Magicians constantly use the phrase "willing suspension of disbelief," believing that it is necessary for a magical experience. While many know who coined the phrase, few know its original context. The phrase originally appeared in chapter fourteen of Biographia Literaria (1817) by Samuel Coleridge. The entire sentence, which is rarely quoted, is: "In this idea originated the plan of the Lyrical Ballads; in which it was agreed that my endeavors should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith." The context of the sentence does not relate to any form of performance, but rather poetry. In fact it does not even relate to poetry in general, only a specific type. In 1798, Samuel Coleridge and William Wordsworth published the Lyrical Ballads. The phrase, "willing suspension of disbelief," relates to Coleridge's contribution. Coleridge deals with what he terms the "supernatural," or that which does not appear in the every day environment. Wordsworth's contribution was of an opposite nature, namely dealing with what is encountered in ordinary life. I think it is important to examine why this "willing suspension of disbelief" is necessary for Coleridge's application to better understand any application to magic, without delving too deep into the subject. The basic reasoning is in the sentence quoted above. Coleridge by means of the supernatural wanted to illustrate something relating to an aspect of humanity or human nature. If something were to remain purely supernatural, it would not have a relation to such a subject. As a result, the supernatural must be grounded in reality for the duration of the piece. Does this have an application to magic? It should not. The magical response relies on the audience recognizing what happens as something that cannot happen in the reality that they know. In the context of what Coleridge meant, if the "willing suspension of disbelief" is exercised the audience will have to consider the magic as something that happens normally. If something happens normally, it is not very magical. Stated another way, fire is not magical, except when the person has never seen it before. The performance should have a firm basis in the reality of the spectators. In other words, the magic should violate their reality. This does not mean it has to violate the performer's reality. The performer's reality can be one where magical stuff happens naturally. In such a situation, the performer does not have to experience a willing suspension of disbelief, being that he recognizes that the magic does not happen in the spectators' reality. Note: This article was written before any similar discussions appeared on the Internet. Page 28

days, lived "Moe," a man with a The mysteries of the mind fantastic memory. Luckily, Moe are as vast as it's capabilities. used his powers for magic! The mammalian brain is a powerRecorded at that time as "one of ful instrument and an invaluable the most powerful memories" creative resource. Throughout ever. time there have been remarkable In 1999 I get an e-mail examples of implausible aptitude. from someone claiming to be Moe, The memory's functions, that said, "I picked you thinking evolution, boundaries, etc. have you may know some always been an interbody still alive that est to me. It shocks may remember me… me when I hear of www.moesmagic.com You are my first consomeone recalling a tact." list of thirty + numFirst, I knew very bers after glimpsing little about Moe, but I them for just a By Aaron Smith did realize he would moment. Indeed, it have to be around 100 years old surprises me when I can recollect someone I did not picture typing what I had for lunch! me an e-mail! In the early 1920's, when Morris Seidenstein was the study of the human memory born in the U.S. in 1909. In the was in its infancy (now it might be 1930's he became well known with considered a toddler), people with his "miracles" of memory and card above-average memory skills, and tricks. His method, not often dupliother such attributes, were discated, for the majority of his played to the world by the "showunique feats, was his extraordiman scientists" of the day. Tonics, nary ability of memorization. potions, and elixirs occupied preIn 1980 William Meisel cious space on pharmacy shelves and a group of seven others and were the delicious flavor of began compiling a manuscript of every after school soda fountain. Mr. Seidenstein. Six years later, Of course, history repeats their work was released as a 58itself today with the Gingko Biloba page document titled "Moe and fad and convenient store teas His Miracles With Cards." Moe boasting far-fetched influence to says, "I consider this period of my the nervous system. life to be my 15 minutes of fame During those good 'ole

WHERE’S MOE?

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that they say everyone has in a lifetime." Eleven years after publication, Moe was given a copy of the manuscript. "You can imagine how I felt when I first saw this and how thrilled I was when I was given a copy to keep. After I hurriedly read through it, I was so happy I could tell everybody who I was some 70 years ago, and then prove it to them!" Recently I had the pleasure to talk to Moe on the phone. He is now living in Long Island, New York. He requested, that if I could make the trip, to come and video tape him in an interview - and I hope to do that at the beginning of the year. Moe asked very little of me, simply, "tell people I'm alive." Moe is credited as the "pioneer in estimation," however, it is his "photographic" memory that allows him to perform those phenomenal miracles the convention crowds witnessed in the 1930's. "William Meisel, T. Nelson Downs, P. Howard Lyons and numerous others made favorable comments about my abilities in using my special gift of well-developed memory." Meisel and his colleagues devoured Linking Ring, Jinx, and Sphinx articles to compile the manuscript.

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FAROMATIC As will be seen, this routine must be used as an opener, but it is an impressive one indeed for a lay audience. Its effect more or less duplicates that of a Marlo trick published many years ago ("Cased-In Shuffle," Ibidem Number Eight, p. 154), and is as follows.

The performer introduces a card case from which he extracts a deck, admitting that he has prearranged it. Dividing the deck in two, he shows that one half contains the red cards, the other the blacks. He sets one half on top of the other to reassemble the deck which he re-inserts in the card case. The spectator is asked to take the case and give it a good shaking. Retrieving it, the performer removes the deck again and ribbon spreads it to reveal that the black cards are perfectly alternated with the reds. The casing of the deck at the outset, its subsequent separation into two halves, and the use of the technique as an interim rather than climactic display are the additions to the basic idea which was originally described by Jerry Andrus in Andrus Deals You In ("Color Changing Deck," p. 170). Prepare by dividing the deck into the two colors, discarding the Jokers and extras. For purposes of explanation, hold the blacks face down in the right hand, the reds in the left, both in Faro Shuffle position. Begin one Out-Faro, the uppermost right-hand card (a black) becoming the top card of the deck, the lowermost left-hand card (a red) the bottom card of the deck. Compress the two sections for all but a quarter-inch of their length. At

By Guest Columnist JK Hartman

that stage, release the grip of the right hand, the left hand still holding the deck from below between the thumb at the left long side and second and third fingers at the right long side, the forefinger curling underneath. Arch the right hand over the deck, the outer phalange of the second finger flush against the outer edge directly adjacent to the outer left corner, the thumb flush against the inner edge directly adjacent to the inner left corner, the other fingers not making contact. Apply lengthwise pressure between these two points to force the two sections to compress to the extent possible at the outer and inner left corners, an action that will have the effect of corner-jogging the sections with respect to each other. Adjust the left-hand grip by sliding the left hand inward, the thumb and second finger regripping at the center of the long edges, and apply tight pressure between those two points. Finally, adjust the right-hand grip by sliding the right hand rightward, the second finger and thumb regripping at the exact center of the short edges, and apply tight pressure between those two points. These three pressure-point "squeezes" will produce the necessary configuration. Continue the preparatory actions by releasing the right-hand grip and turning the left hand palm down, the deck face up. Regrip it firmly with the right hand near the exposed end, thumb above, first, second, and third fingers below. Pick up the card case with the

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left hand by the long sides, holding it cutout surface uppermost, mouth rightward. Dislodging or moving aside the tabs with the free end of the deck, force the deck into the case. Push it in as far as the right-hand grip will accommodate. At that point, momentarily release the right-hand grip, bearing down a bit on the upper surface of the case with the curled left forefinger to hold the deck in place. Regrip the deck with the right hand at its extreme exposed end and work the deck all the way in the case. Close the flap and either pocket the case (a long side uppermost) or set it on the table, taking care not to jiggle it, and the preliminaries are complete. The deck will retain a corner-jogged state even if your handling while inserting it in the case is not impeccable. Begin the trick by introducing the case. Pick it up with the left hand from above by the long sides, cut-out surface uppermost, flap end outward. Open the flap, and pinch the exposed end of the deck tightly with the right hand thumb above, fingers below. Draw the deck an inch or two out of the case. Bearing down a bit with the left forefinger on the upper surface of the case to hold the deck in place, shift the right hand closer to the center of the deck to obtain a more secure purchase, and withdraw it entirely. Set the case off to one side. Twist the right hand palm down, the deck face down, and receive it in the palm-up left hand between the thumb at the center of the left long edge and the second and third fingers at the center of the right long edge, the forefinger curled beneath. Despite the handling of the deck and its sojourn in the card case, the corner-jogged condition still exists, however fine its dimension.

During these initial actions, your patter is along the lines of, "I'll tell you right up front that although this is your normal, everyday deck of cards, it is not in a normal, everyday order." As you then go on, "I've divided it into two groups," perform the following actions. Twist the left hand palm outward, turning the deck to an upright position, outer end uppermost, face angled inward. Approach the back of the deck with the right hand - palm inward, thumb upward, fingers downward - and lightly contact the deck with the thumb at the upper end directly adjacent to the upper right corner, second finger at the lower end, directly adjacent to the lower right corner, forefinger curled against the back. Gently riffle the deck from the face to back with the right thumb, the faces visible to you only. Because of the corner-jogged condition and the placement of the right thumb, you will be looking at black cards only. Continue the riffle until you have released approximately half the deck. Separate the deck at that point, turn the right hand palm down, and carefully set the right-hand section face down on the table, the left hand returning to palm-up position. You appear to have openly looked through the deck for a dividing point at which to separate it into the two groups to which your patter referred. Addressing one spectator, say, "Take a look at the cards in this group and see if you can spot what they have in common." At the same time, perform the following actions. Turn the left-hand section upright, angled face outward (toward the spectator) by rolling the hand palm inward. Returning with the right hand, approach the back of the packet - palm outward, thumb upward, fingers down-

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ward - and lightly contact the packet with the thumb at the upper end directly adjacent to the upper right corner, second finger at the lower end, directly adjacent to the lower right corner, forefinger curled on the back. As before, riffle the packet from face to back, doing so with a gentle touch and at a relatively slow pace. The spectator will see red cards only, and will so comment in response to your question. When he does, grasp the packet with the right hand in position, twist the hand palm down, and set the "red" section on the table. Pick up the other section with the right hand from above between the second finger at the exact center of the outer edge and the thumb at the exact center of the inner edge. Applying pressure between these two points (an action that will reset the jogged condition if it has been disturbed), transfer the packet to the left hand, receiving it face down between the thumb at the center of the left long edge and second finger at the center of the right long edge, and turn it upright, angled face outward. As these actions are performed, say, "And this group; can you spot what these cards have in common?" As the remark concludes, approach with the palm-out right hand as before - thumb upward, fingers downward - but in this case, lightly contact the ends of the packet with the thumb directly adjacent to the upper left corner and second finger directly adjacent to the lower left corner, forefinger curled on the back. Slowly and gently riffle the cards from face to back. The spectator will answer that the cards are all black. Say, "The black half on the red half as they were at the beginning, and back where they came from." As this

remark is made, grasp the packet in hand with the right hand in position, and carefully and cleanly set it face down on the tabled half. Pick up the reassembled deck in the same motion, transfer it to the left hand, turn the hand palm down, and take the deck with the right hand at the exposed end. Retrieve the card case with the left hand and insert the deck, pushing it home. Close the flap and give the card case to the spectator, asking him to shake it well, miming the action yourself. Take back the case, extract the deck as before, and ribbon spread it face up on the table, concluding, "Look what you've done!" NOTE: Displaying each half by riffling it is not entirely natural, but, in the setting of an opening trick, the spectators' thoughts and expectations about your standard procedures have not become developed or attuned at this stage, and the method of display appears unstudied and thorough and consistent with the "testing" nature of your instruction, "See if you can spot what these cards have in common…" In practice, accordingly, it is not questioned, and by the time the finale occurs, it is no longer the center of attention.

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SuIT YouRSelF Too

A modest variation on Roy Walton's "Suit Yourself" (Devil's Playthings and Complete Walton Vol.1). Roy based his trick on Karl Fulves' Self-Duplicating Set-up (Epilogue - also see "Replica Poker, More Self-working Card Tricks). The following offers a way to perform Roy's trick with a rotational stack that can be cut by the audience. 1. Remove 16 cards that rotate with the four suits repeated, for example: C-H-S-D-C-H-S-D-C-H-S-D-C-H-S-D 2. Give the packet, with the faces upwards, to a spectator and ask him to give it a few cuts, then to spread through and randomly flip over one card of each suit - leaving each card at its original position.

(If you think a spectator may have any difficulty doing this you can ribbon-spread the cards on the table and ask him to turn over his four cards, leaving each card at its place in the spread). Give the packet to a second spectator. He gives the packet a couple of cuts and, he too, flips over one card of each suit. Say, "These eight face down cards are YOUR cards. The ones remaining face up are MINE."

Repeat the Klondike, then say, "And that rearranged MY cards." 4. Finally spread the packet between your hands and cleanly outjog all eight face down cards - strip them out and place the packet on the table - "Your cards." Turn the remaining cards face down and place them beside the other packet, "My cards. Let's see what the Re-Sort shuffle did to the cards." Turn over the top cards of each pile simultaneously to show a match of suits. Continue through the packets showing that both packets are in suit identical order. Page 34

BY peTeR DuFFIe

3. Take the packet and say you'll now demonstrate the "Famous Re-sort Shuffle." Here you do a Klondike forming a single pile on the table (pull off top & bottom cards repeatedly). Once done, say, "That rearranged YOUR cards."

Roller Coaster! By Columnist Aldo Colombini

A lot of magic with just a few cards. A kind of mix between the classic themes of the Oil & Water and the Wild Card.

EFFECT: The magician shows seven Jokers and one 8C. All the Jokers become 8C in a wild sequence of changes. Then all the 8C change into Jokers and then the eight cards are seen to be four Jokers and four 8C. The eight cards change places and then mix together! REQUIREMENTS: Four Jokers and four duplicates of a card (say four 8C), or any other combinations. SET-UP: From top to bottom, face down: 8C, 8C, 8C, J, J, J, J, 8C. PERFORMANCE: Take the cards face up in the left hand dealing position. Show the top card (8C) and leave it face up on the table. Show seven Jokers using the Hamman Count as follows: grip the packet from above with the right hand, thumb at the inner right corner, second finger at the outer right corner. The left thumb moves onto the top card and, as your hands separate, the top card is peeled onto your left palm. Repeat this action two more times, each time peeling another card onto the left hand one. As you go to peel the fourth card your hands move closer together, and the packet in your right hand is held a bit further to the left of the cards already in your left hand. The left thumb and base of the left forefinger grasp the outer left corner of this top packet while at the same time your right third finger touches the outer right corner of the lower packet. By pressing the outer right corner of the lower packet with your third finger, the lower packet will press against your right thumb. These two fingers of your right hand will now take the bottom packet. Separate the hands and the switch will be completed. Continue to peel the next three cards from the right hand to the left as before with the left thumb. You have shown seven Jokers. Turn the packet face down and deal the top three cards face down onto the table. Flip the packet still in the left hand face up and leave it on the table. Pick up the tabled face up 8C and with this card touch the three face down cards. Turn them over and show three 8C. Drop the four 8C onto the four Jokers and pick up the packet. Keep the cards in the right hand, at the same time, obtain a break at the bottom card with the right thumb tip. Take the first (top) card (8C) into the left hand by peeling it off with the left thumb. Repeat this move again and, on taking the next card on top of the first, the left hand card is brought directly below the right hand packet. From this position and while the left thumb peels off the second card, the right thumb releases the bottom card on top of the first card into the left hand. After peeling off the second card with the left thumb, take a left little finger break below this card as it falls into the left hand. The left thumb now slides the third black card on top of the left hand cards and then, on taking the fourth black card, the right hand Page 35

steals the two cards above the break (these two cards are now below the right hand cards). Situation: In the left hand you have three cards, from top down (face up): 8C, J, 8C. In the right hand you have five cards, from top down (face up): J, J, J, 8C, 8C. Leave the left hand cards face down on the table. Do an Elmsley Count and show three Jokers and an 8C. Repeat the Elmsley Count (but this time place the last card on the bottom) and show two Jokers and two 8C. Repeat the Elmsley Count and show three 8C and one Joker. Leave the Joker face up on the table. Turn the left hand packet face down. Deal the top card (without showing it) onto the tabled packet (J), deal the next two as one onto the tabled packet and drop the last card on top of all. Pick up the packet and show seven 8C with the Olram Move as follows: the packet is face down in the left hand dealing position (from top down: 8C, J, 8C, J, 8C, J, 8C). The right hand takes the top card (figure 3). Turn both hands to show two 8C as in figure 4 (the left hand shows the bottom card of its packet. Note that the left fingers moved away from the original grip to allow to show most of the card). Turn both hands palm up again and deal the right hand card face down onto the table and immediately the left thumb pushes the TOP card of the packet (J) onto the tabled card. The right hand takes the top card of the left hand packet and the hands are turned one more time to show two more 8C. Deal the cards as before onto the tabled cards. Repeat the moves with

the next two cards (dealing them face down onto the previous four) and then turn over the remaining card in the left hand to show another 8C. Leave this card face up on the table. Pick up the face up Joker and slide it face down below the tabled packet (from top down, the order is: J, 8C, J, 8C, J, 8C, J). Pick up the packet and repeat the Olram Move showing seven Jokers. Leave the last Joker face up next to the tabled face up 8C. Pick up the six face down cards. Deal the top card face down onto the face up 8C, the next face down onto the Joker and so on back and forth. Turn over the three face down cards which you just placed onto the Jokers and show three more Jokers. Turn over the three face down cards which you just placed onto the 8C and show three more 8C. You now have two packets, one has four 8C and the other four Jokers. Drop the four 8C onto the Jokers. Pick up the packet and repeat the moves explained before beginning with the right thumb tip break at the bottom card. You'll end up in the same order. The left hand places its packet face down on the table. Place the right hand packet face down into the left hand and, casually and openly, move the top card to the bottom of the packet. Grip the packet face down from above with the right hand (Biddle Grip) and with the left thumb, slide the top card off and into the left hand, then the second on top of the first and then the third. Turn over the last two cards as one face up onto the left hand cards showing a black card. Turn the two cards face down again onto the left hand packet and deal the top card face down onto the table. Re-grip the packet from above in the right hand again. The left thumb

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peels off the top card into the left hand and then the next one on top of the first. Turn over the last two cards in the right hand as one (flipping them face up) and show another black card. Turn the double face down again and deal the top card onto the tabled card. Turn the packet face up, gripping it from above in the right hand. With the left fingers, move the bottom card to the left showing two more black cards (the top card is a double.) The left hand slides the bottom card off and brings it on top of the double. Square, turn the cards face down and place the packet on top of the two face down cards on the table. Pick up the packet, turn it face up and perform an Elmsley Count showing four Jokers. This should be a good surprise. Keep the cards face up in the left hand dealing position. The right hand takes the top card of the packet, flips it face down and places it onto the tabled cards. Flip the left hand cards face down. With the right hand once again take the top card and deal this card onto the tabled packet. (Do not show the face of this card.) With the right hand take the top two cards as one and turn both hands to show two more red cards. The right hand then drops its two cards (as one) onto the tabled cards followed by the left hand card on top of them all. It now looks apparently as if you have placed four Jokers onto the tabled packet and the illusion is perfect. Square the packet, slowly and clearly, one by one, turn the cards over face up, showing them Alternated black cards and Jokers for a great finale.

A True Legend Is Gone By Tony Brook

It is with great personal sadness and deep regret that I must pass on the sad news that Bob Blau, The Dean of Texas Magicians passed away on the morning of August 11. The funeral will take place on Tuesday at The Family Funeral Home on 518 in Pearland, Texas - a few miles from the city center of Houston, Texas. I.B.M. Ring 39 in Houston, Texas is known as The Bob Blau Ring. I am proud to be a Member. Bob was truly a legend in his lifetime and would have turned 99 in October.He had been ill for some time and although I was in Houston last month, he was too ill to receive visitors. My family and I are grateful for the time we spent with him and Thelma in their home last year and for their friendship. Thanks to that meeting last year, I was able to bring to the magic community my interview with Bob. Apart from it being featured on www.magicwebchannel.com , I am proud to say that it was recently also published in The Wizard's Report - the I.B.-M. Ring 39 newsletter.

NOTE: You may force the 8C from a regular deck. Show seven Jokers, add the 8C and proceed as written. Page 37

Thanks Bob, Rest In Peace.

Steve Reynolds'

MOLE NOTES 3 "…ever pursuing that mythical thing, perfection…" - Arthur Buckley (Card Control-1946)

ON A WESTERN CLIP The Ovette/Kelly "Bottom Placement" is a relatively deceptive and efficient method for controlling a selection to the bottom of the deck. There are at least two flaws inherent in this technique. On page 134 of Card Finesse (1982): "…the clutching overhand grip or the scooping action…" The aspect to be discussed in the following article is the "clutched" look of the right hand, and the positioning of the right fingers. Note that in the standard method, the right fingers wrap around the outer end, until the fingertips contact the face card of this portion. It is during the rightward movement of the fingers that there is tension on the back of the hand. Marlo's "No-Clutch Bottom Placement" (Card Finesse, pp. 134-137) eliminates the "wrapped" look of the fingers. However, due to the mechanics, there is still tension apparent at the back of the hand. Digression: It is undeniable that performers (especially those who perform standing) will find this an unnecessary consideration, because the conditions of a standing performance lend greater leeway in the execution of certain moves. In this case, for example, as the face card of the right-hand portion is displayed, the left-hand portion is held at about stomach level; after everyone has noted the card, (and during some misdirecting patter) the deck is assembled by sweeping the right arm down and towards the left-hand cards. The control is complete. Any technical tip-offs will blend in with the actions and the words. However, in a seated performance where attention is more focused, the actions and techniques must be more refined. There is no room here for technique projection, especially during a selection and burying procedure. The following technical variation of the Ovette/Kelly "Bottom Placement" allows the right fingers to remain stationary at the outer end of the deck, eliminating tension in the hand. The basic technique was developed while experimenting with Sibbernsen's "Snap" (Freebie [1999], pp. 15-18). TENSLESS BOTTOM PLACEMENT The face-down deck is held in a left-hand dealing grip. Your left thumb riffle down the outer left corner of the deck until requested to stop. Your palm-down right hand takes all the cards above this spot from above and by the ends. The second finger and thumb are positioned at the center of their respective ends. The third and fourth fingers are held loosely and play no part in the grip. Page 38

Tilt the right hand back allowing the face card of the portion to be noted. The third and fourth fingers are separated, allowing for an open grip. Lower the right hand. Once the packet is parallel close your third and fourth fingers to provide support for the next action. Your thumb bends sharply until the tip contacts the face of the bottom card. Using firm pressure, slide the thumb forward. This will cause the bottom card to buckle downward. Continue the forward pushing action until the inner end of the packet is on its first joint crease. Once in this position the tip of the thumb releases its pressure. The contact between the inner end and the first joint crease remains. As the tip of the thumb extends (coupled with the pressure at the inner end of the portion) the bottom card will move down until a thumb break is held above it. Move the right-hand cards toward the cards held in your left hand. Your right third and fourth fingers move a bit to the right and slightly separate. Your right second fingertip slightly curls in just enough to catch the bottom card as the thumb releases it. Note that at this stage the fingernails of your second, third, and fourth fingers are visible. In fact, you can move your third and fourth fingers forward and away (but still in line with your second finger) from the outer end of the portion. Assemble the two portions, sending the selection to the bottom. ADDENDUM "We used to call it Rock and Roll. Now we just call it Rock. Whatever happened to Roll, man?" -George Carlin (Toledo Windowbox)

The preceding article concerned itself with a technical tip-off. The following deals with the ever-present consideration of naturalness. When a move is developed, the tendency is to formalize the actions surrounding the technique in order to conceal its mechanics and its purpose. This placement of naturalness into technique seems to be a western mode. On the other hand, the eastern mode (stemming from the teachings of martial arts and Tenkai) seems to take on development from a more pure direction. That is, they begin with a natural action, and then find the definitive moment to place a move. The following addresses the second flaw in the Ovette/Kelly "Bottom Placement"; that is, the sweeping action of the right hand during the square up. This was inspired by Racherbaumer's "Delayed Bottom Placement" (Card Finesse 2 [1992], pp. 105-109. It employs the mechanics of Jon's "Slip-less Clip Force" (M.O. 1, March-1993). FULL CLIP PLACEMENT The face-down deck is held in your left hand. The thumb is used to down riffle the outer left corner of the deck. Have a spectator call out stop at any point during this action. Once you are stopped, your right hand takes all the cards above the gap from above and by the ends. (Terminological Distinction: Often times whenever the deck is held from above and by the ends, it is termed either a Biddle Grip or an End Grip. The K.B. Grip is a specialized grip in which the first finger is curled on top of the deck. The End Grip is more of a general overhand

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grip, where the specific positions of the fingers are not specified. Too often in technical descriptions, specific grips are unnecessarily over emphasized. Keep that in mind. In this case, the right hand takes the deck by the ends [the specific: "from above and by the ends" is obviously taken from Marlo]: Biddle Grip or End Grip, it doesn't matter. But keep this fine-pointed digression in mind.) Tilt both hands back at the wrists, as the right hand takes all the uppermost cards up and away from the left-hand portion until it is in a angle-upjog position to the right. The left first and second fingers contact the face card of the righthand portion near its inner end. Have the spectator note this card. As you lower your hands, your left first finger performs the mechanics of a "Side Glide", angling the face card of the right portion to the right. The outer right corner of this card is clipped between the second knuckle of your right third finger and second joint/pad of your right fourth finger. Move the right-hand portion up and to the right, away from the left-hand portion. As this happens, pivot your hands and body so that the spectator gets a clear view of the back of the cards. Simultaneously, your right fourth finger shifts further along side the third finger. This causes the clipped card to lightly spring away from your second and third fingers and into a horizontal position. Immediately, your right hand lightly slaps its portion onto the left-hand cards. Because of the position of the clipped card, there should be no hook-ups. Your left hand moves down and away from the deck for a moment. Your left hand moves back to the deck to take it from below and by the sides, and as it

does, the fingers contact the exposed side of the clipped card and moves it up and square with the underside of the deck. The left hand grips the cards with the first finger curled underneath in a square-up position. Immediately pivot the inner end of the deck to the right, so that the right hand can take the cards from above and by the sides. Continue as needed.

FROM THE EDITOR Mr. Gadfly has some brilliant columnists! The preceding article by Steve Reynolds is an extensively reflective piece that required dedication on the author's part. Mr. Reynolds is a recurrent donor to our online forum, and is waiting for your reaction to his column. The Internet is an excellent method of discussing card magic. Visit www.mrgadfly.com and begin a discussion right away - network with our readers & contributors and permit them mine your savoir-faire. Compose friendship, ascertain a few tricks, and become a valuable ingredient of Mr. Gadfly.

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PRESENTATION & PERFORMANCE Maintaining An Objective View By Tony Brook Below is an extract from the manuscript and lecture notes entitled ' The Direction of Mis-Direction' (Copyright Tony Brook). An experienced and well-known International magician who happens to be a long-time dear friend of mine contacted me last year. Knowing that I was an Act Director and that he would get an honest, no-holds-barred assessment from me, he told me that he performed an Origami box type effect for the first time and that the audience was mostly made up of magicians. Although he received some truly excellent comments and praise from Billy McComb and many others, he sensed that the audience reaction was not good. He asked for my thoughts on the matter. This particular friend, as stated before, has been a professional Magician for quite some time and has many accolades and awards to his credit. However, he was truly baffled as to why this effect did not play as well as it should have. Was it a question of lack of rehearsal, timing or something else? Together, after much discussion we discovered that it was indeed something else. Despite his vast experience it was the presentation within the overall performance. He agreed that he had not made the effect into an experience for the audience. What is meant by, "an experience for the audience?" This is an interesting question within the context of the theatrical arts. For example, many ballet dancers have danced Swan Lake but only the late Margot Fonteyn moved grown men to tears when she was the dying swan. It was not only the fact that she was technically brilliant as a ballet dancer but also the fact that she moved the audience to react to the death of the swan. The entire ballet, when she danced it, was focused on that one vital point - the death of the swan. Even people who knew nothing about the technical aspects of ballet watched in stunned silence and disbelief as the swan died. In other words, it provoked strong emotions. Magic, in my view, is exactly that. Everyone watching magic, even on a sub-conscious level, knows that there is a trick of some kind involved but Page 41

it is the duty of the magical performer to take them on a conscious journey which, suspends that belief. Magic is not just technical skills but of reaching out to, and provoking emotions. Christmas trees aren't real in the true sense of trees growing in the woods but when there are presents and tinsel and lights it transforms every living room. It creates atmosphere and therefore emotions. I wholeheartedly believe that it is the duty of every magician, despite his or her level of magical competence to create atmosphere and emotions. In a recent interview I conducted with Jon Racherbaumer, he put the entire concept into succinct perspective. In response to my question of how magic should be performed, here is a brief summary of his knowledgeable reply. "Close-Up magic must be gloriously intimate and vitally interactive. Performing is not what I do, but about what happens with spectators and for audiences. It is about forming a momentary, memorable relationship. It is about making an audience, in some meaningful measure, love what you obviously love. This is less abstract than it sounds. Imagine the same challenges facing a lover about to woo someone. There is a strange

combination of fear and daring at work. Stage magic for me must have a remarkable visual and surreal quality. It must be hypnotic and otherworldly and cast a spell. It must lift the audience and inspire the performer to reach transcendent moments. Cardini, Neal Foster, and Channing Pollock are excellent examples." This, as he has so eruditely stated, is the dilemma facing anyone performing for a live audience. It is, in many ways much more difficult for a Magician than for an actor, singer, musician or dancer. We have the added task of creating, quite literally, magic. We also have many more things to concern ourselves with whilst performing. Of course, this is an obvious statement but because it is so obvious it is precisely for this reason that we cannot afford to ignore it. This statement is best illustrated by the performance of the 80 year legendary Spanish Magician Zongo. His rendering of the Multiplying Rice Bowls is truly magical and inspiring. He has been performing magic since the 1930's and has performed all over the Far East, Europe and all of Central and South America. Dressed in authentic Chinese robes he wooed and captivated an audience of some 500 magicians

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at a recent Magic convention in Portugal. Down on one knee he told the story of a starving family in China praying to the Great Buddha for food each day. Each day, Buddha would grant them rice in a bowl, they would eat the rice and the next day the bowl would be full again. The only things that were audible in the theater were the sound of his sonorous, pleading voice. It was almost anti-climatic when the bowl filled with rice. I am not going to describe his entire act, as I cannot do it justice. However, I have used part of his presentation to emphasize the point. Of course, over 90% of the audience knew how it was done but were still mesmerized by his performance. Interestingly, as an aside note, the most requested item from the dealers the next day were Rice Bowls! Fortunately, no one stocked it! So what has all of the foregoing to do with maintaining an objective view? Simply this. Imagine that you are driving a shining new Rolls Royce. You are concentrating on the driving and your enjoyment the car. You are basking in the excellence of owning and driving a new Rolls Royce. You cannot judge the re-actions and emotions of the people watching you drive by! You cannot stop in the middle of a performance and ask the audience for their reactions. No matter how well you perform Close-Up, Parlor, Cabaret or Stage Magic, it is, at times, difficult for us Magicians to maintain an objective view because we are so subjectively involved in what we are doing. A technically superb performance is not enough. We must understand the relationship that we wish to create with our audiences. After all, we are the only art that seeks to entertain by fooling people. We must at all times be aware that we don't fall into the trap of being regarded as excellent Tricksters. It doesn't matter if you are performing Close-Up, Parlor, or Stage magic, all the above words were written to provide food for thought and to stimulate you to view your performances objectively. Study Theater, study Audience Psychology, study Philosophy, and study the Behavioral Sciences. Strive to be entertaining. Strive for depth. It is also my sincerest wish that you have the good sense and indeed, also the courage to seek out those whose opinions you value and ask for their honest assessment of your work. You'd be pleasantly surprised how valuable it can be in helping you towards perfection. And by the way, never forget that all criticism is therapeutic. Depends on how you handle it! Page 43

Bashing a Basher!!! By Trini Montes What is it about today's magicians that we must be so hateful towards one another? Is it because of a lack of confidence within us? Is it because we are so cold hearted that we don't think of other's feelings? Is it because we are just plain jealous? Welcome to the next issue of The Fly Paper. In this article, I look to bash those that bash other cardmen. I will list my points of view on why I think these bashers are the way they are. I will also list the way I think we should act towards one another. A soapbox, if you will. Here is a question for you bashers out there. What is your reasoning for degrading other cardmen? What pleasure do you get out of it? What do you feel inside when you say something negative about other's? This negative way of thinking can and eventually will reflect on your magic. In a conversation I had with a card magician about David Blaine last Christmas, I was asked the inevitable question, "What do you think about David Blaine?" I turned the tables on them and asked them, "You tell me what you think first." The first words that came out of his mouth were, "I think he is terrible! Anyone can do the card tricks he did on television." I stopped him there in asking, "What do you get out of bashing David Blaine?" Do you ever get asked from laymen, "Can you do the card in the beer bottle trick that David Blaine did on television?" or, "Can you make a card appear on the other side of a window?" These are the very reasons that David Blaine is a good magician. He performed the very same tricks we buy at magic shops, and was able to baffle many laymen, and at the same time, helped us. David Blaine helped us because he did the same effects that we do, and when a client comes asking us, "Can you do the trick that David Blaine did with the card in the shoe?' we can say "Yes I can." He then told me that he doesn't feel that it is ok for laymen to bash him, but that other magicians can. This made no sense. I asked him what his response is when a layman asks him what he thought about David Blaine. His response was, "I tell them that he is terrible. I can do everything that he does, but I do it better." He asked me what my response is, and I told him, "I tell them that he is a very good magician. What he has done for magic is to escalate it to the next level, like Houdini did back in his day." That was the end of our conversation. I had another conversation about Copperfield 's 4 Ace Routine he does on stage. I was asked if I liked it, and if I thought it was any good. I responded with a "Hell Yeah!" He did not like it because it was done on stage and with the aid of a camera. First Page 44

of all, doing a close up routine on stage takes some skill to do well. Copperfield was brilliant in the way he tackled the problem of doing a close up card routine for 1,000 plus people. Second, he did it well. He made it look so magical, and so visual, it was awesome. He also brought up the fact that it was not his routine. He made the statement that Chris Kenner is the one that devised the routine. He said that "Copperfield could not think for himself." My response was, "How many card tricks do you do that are yours? How many card tricks do you do that belong to other's?" He could not answer that. I told him that, although Copperfield was not the one that invented that handling, he still was the one performing it, and it looked great! He had all this bashing to do on David Copperfield, yet he had nothing to back it up with. Very pathetic. My last example is, to me, the worst. The above 2 are bad enough, but this one is the worst. From what I know, European magic is not all one style. Many of it is the same, as is ours here in the States, but a lot of it still differs. I had a conversation with a magician one time about Guy Hollingworth. I happened to have had his book "Drawing Room Deceptions" with me, and he asked me why I was reading it. I told him that I like Guy's material. He said that he thought European card magic sucked, with the exception of Alex Elmsley. I asked him why. He said he doesn't like certain moves that they use, and that they are not as entertaining. He just started to bash and bash. It's one thing to state your opinion, but its another when you keep doing it over and over again. What is the point? Why must we talk bad about an entire continent? It makes no sense at all. To conclude, bashing gets you nowhere. Some magicians do it to feel important. Some do it because they think that they know it all. Well, I have news for you bashers out there, its just plain jealousy. It's sad that, with the few magicians in the world, and the many laymen in the world, magicians have to be the ones bashing magicians. We need to help one another, be supportive of each other. No one is going to help us but each other. No one knows how we perform our miracles but us. Instead of helping each other, we talk bad and backstab each other. Magic is for laymen. We are supposed to help each other to be better magicians for them, not for each other. Not every trick is a magician-fooler. The Invisible Deck will fool any layman walking the earth, but will not come close to fooling a magician. Doctor Daley's Last Trick looks like a miracle to a layman, but for a magician, they know what is going to happen before the climax. I know I am not going to change anyone's way of thinking. I know I will not change the bashing. But, you know something, just like I am not able to change any of you bashers, you will never change any of those you bash to make you happy. Keep Double Lifting.

If you would like to discuss the views in this article with the author, please visit our online forum at www.mrgadfly.com. Card magicians, just like you, are able to jump in on the debate and bring new insight to our art. Page 45

Your Lucky Number! By Columnist Jamie badman EFFECT The spectator names her lucky number (from one to thirteen inclusive). The deck is shuffled, the spectator has the deck split into four piles and when the top cards of each pile are revealed they are seen to be four of a kind - of their lucky number. SETUP Have the deck set up from Ace to King four times, disregarding suit order. METHOD Ask the spectator for her lucky number. You need to then acquire a break under the top N-1 cards where N is the number she names - so if 7 is named, gain a break under the top 6 cards. You then double undercut these to the bottom. Note that if the spectator names a low number, this is the best approach but if a high number is named, for example, 10, then an alternative approach is to gain a break above the bottom 14-N (in this case, 4) cards and cut them to the top. You then perform a single perfect Faro Shuffle; either In or Out; it doesn't matter. Finally, acquire a break above the 26th card; if you Faro Shuffle then this is easy (if you don't then you've not got this far anyway!), else just riffle up the side of the deck until you spot two cards together of the named number and get a break above them. Now riffle down the side of the deck and have the spectator say 'Stop'. Time it so that this happens somewhere mid-way into the top half. Slip cut the top packet to the table then perform a riffle force to the break for the second packet. Have another 'Stop' called for the third packet and again slip cut the packet to the table then have the last packet selected fairly. Turn over the top card of each pile to reveal the named four of a kind. CREDITS: This effect is a variation of Brother John Hamman's 'My Lucky Number', published in Genii Magazine, February 2001. The difference is in the original, the performer named the number. In this, the spectator names the number cut to. Page 46

ANOTHER JAZZ 1-2-3-4 By Columnist Mark Aspiazu In 1982 David Solomon and Simon Aronson published a book called "Sessions." While it is a wonderful book, one trick in particular caught my eye. It is called "Jazz 1-23-4." I loved the trick but I didn't like starting and ending a bit dirty. You had to hide an extra card throughout the effect. I have come up with the exact same effect using only the cards seen - no extras. EFFECT (quoting directly from the book): The performer shows eight cards, consisting of an ace-deuce-three-four of one suit, which are dealt face down in a row on the table, and four jacks, which are held in the hand. The performer places one of the jacks on the table and inserts the "3" among the jacks. Instantly the 3 and the tabled jack change places. The performer repeats this with the 2 and then the ace. METHOD: Remove the ace through four of spades and the 4 jacks from the deck. The deck will not be used any more. Arrange the face up packet with the 4 jacks (the 2 black jacks above the 2 red jacks) on the face and the 4 through ace in descending order below it. The ace will be the bottom card of the face up packet. Spread the packet openly showing the 8 cards. With the right fingers, contact the back of the 3 of spades while the left fingers contact the back of the first jack from the left (that is the fourth jack from the top of the face up packet). As the hands come up and separate, the right hand will take with it the 3 to the right and the left hand will take the jack to the left. Therefore in the left hand looking at you will be the ace, 2, 4, jack and in the right hand will be the 3, jack, jack, jack. Shake the right hand up and down and say, "the jacks." Then shake the left hand up and down and say, "the ace through 4 of spades." Replace the right hand's packet onto the face of the left hand's packet and turn the whole packet face down into the left hand's dealers grip. Say that you will deal the ace through 4 of spades in a row on the table. You must bottom deal the first card then cleanly deal 2, 3 and 4 - only deal the 4 face up. (Here is one improvement in that no second deal is needed as in the original.) You are left with 4 cards face down in your left hand. Turn these face up and do an Elmsley count to apparently show 4 jacks. Turn the packet face down, deal the top card onto the face up tabled 4 a bit sidejogged so that the 4 is still seen. Then take the "3" and insert it under the top card of the left hand's packet. Turn the packet face up and perform another Elmsley count to show 4 jacks. Turn over the face down card that is with the 4 to show that it is the 3. Repeat this entire procedure with the 2 then the ace to finish. At the end there really is no need for an Elmsley count although I like to do it anyway to throw off magicians. Page 47

MONTE 101 By Associate Editor Bill White This has been a feature piece in my close-up show for years. I will tell you right up front that it requires much more than simply being able to toss the cards. The psychological subtleties are paramount in the success of the routine, as well as the need for having vast audience experience in order to make the out-come bend to your will each and every time. With that said, be bold and take the challenge. This is written under the assumption that the reader is already familiar with a standard three-card Monte toss. If not, there are many resources available at virtually every turn to learn from. Requirements: When performing the standard routine, you can use any table and just three cards. I prefer to use two jokers and a red queen from a Bee Brand deck. I believe the busy symmetry of the backs provide a visual advantage to the magician, even if just a slight one. When performing the kicker, a little more effort is needed. You will need a table or performance case with a shelf for two additional cards to be switched from. The two additional cards in this situation are both black queens. Give them the same lengthwise fold of the other cards and have them sitting stacked together out of spectator's view on the shelf. (It should be noted that you can just as easily work from your lap if you are sitting.) Two jokers and the red queen are on the table, queen in the middle. Let's begin. Phase I: "There is a game in New York City called Three-card Monte. On the streets of L.A., some people mistakenly call it the Side-walk Shuffle. Here at the your venue here I call it 'You don't have a prayer'. I feel it's the honest thing to do. Here's how it works, and, why you would never want to gamble on this game. (Pick up both jokers, one in each hand, in Biddle grip.) What we have are two jokers, which you ignore, and a red queen. (Pick up the queen with the right hand using the tip of the thumb and the third finger while still holding the joker above it with the thumb and second finger. This is of course the standard hold for tossing the cards. Begin tossing the cards in a normal fashion, each time tilting the queen up to show it clearly.) All you have to do is keep your eye on the queen. Can you see it alright? Here we go. (Start in the same position as when you first picked up the queen in the right hand with a joker on top.. Throw the cards legitimately in a leap-frog style so each card, starting with the queen, is thrown to the center using this order of hands: Right, left, right, left. This puts the queen in the middle. While doing this, begin saying...) Just point in front of the card where you saw the queen go. (They point to the middle) Don't feel bad if you happen to be wrong, it's virtually impossible to find the ....(turn over the queen in the middle and say slowly...) ...queen." Phase II: "Apparently you've been to New York. (if the answer is no, say) Ever had Page 48

cheesecake? Yes? Well there you go. (While they are in this relaxed state, you go to the real work. Toss the cards again, this time doing the fake toss. Toss the cards in the same order of right, left, right, left. Using the fake toss this way puts the queen on your far left. While doing this toss, say...) Now a professional will do anything they can to throw you off track. They would say something silly like, 'Now you probably saw me put the queen RIGHT HERE. (Point to your left, the actual queen.) But I don't want to sway you one way or the other. Where did you SEE it go? (They will point to the middle.) Remember, a professional will do anything they can to throw you off track...including...(turn over the middle card showing a joker) ...tell the truth." (Slowly turn the card on your left to reveal the queen. Always turn the cards from your side first for maximum surprise.) Phase III: "Let's do it again. (Do the fake toss again as before right, left, right, left. This puts the queen on your left again. This time however, take the far left card which is the queen...and the far right card and move them in a circular motion around the center card, switching their positions. Do this three times which puts the queen on the far right now. Point to the card on your far left again and say...) Now you no doubt saw me put it right here again, but I don't want to sway you one way or the other, where did you SEE it go? (They will point to the middle again. Turn the middle card over slowly, saying...) A professional will do anything they can, including tell the truth...(Turn over the far left card showing a joker.) And fib a little...it's over here now. (Turn the queen over on the far right) Phase IV: "Now the professional will want you to win occasionally so they would give you an easy one like this. (Holding a joker in each hand in Biddle grip, pick up the queen with the right thumb and third finger again. Hold the queen up at face level, towards the spectator, and legitimately throw it straight down to your far left. Immediately place the other two cards to the middle and right positions. The queen is actually on the far left now.) Now where did you SEE it go? (They will point to your far left. Peek at the queen on the far left and say,) I think you're right. In fact, we know you're right because...(Pick up the queen with the right hand in tossing position. With the same hand, pick up the middle joker, show it and toss it to the left legitimately saying...) This is a joker and...( Pick up the far right joker, show it but do the fake toss to the right and say...) we know this is a joker. (Place what is believed to be the queen in your hand down on the table. Stack the last card thrown, the real queen, on top of the first thrown joker. You will now do a Flustration count. With your right hand, show the joker, thumb off the top card which is the queen, show the joker again. Keep the two cards face down in your left hand. It's time to earn your red badge of courage. Just kidding, done correctly, this is no big deal. With your right index finger, push the card on the table forward a great deal and say...) Of course, there's no possible way to lose at this point so get ready for the thunderous applause as you show everyone...(The following is done in one fluid motion: Your right hand comes back immediately after pushing the card forward. As they start towards the card to show it, your right hand gets the waiting two black queens from the shelf or your lap. The left hand comes back and drops it's cards on the shelf or lap and proceeds immediately to the right hand. It should look as if you simply transferred the cards from your left to your right hand and then placed them to the right on the table.) that there are three jokers. Of course, logic Page 49

dictates that the queen is over here now. Just one small detail...these are both black queens. Final Thoughts: This is a fabulous routine packed with entertainment. It is of utmost importance that you keep the focus on the entertainment aspect and not ever belittle your audience in the least. That is, keep the routine in somewhat of a story telling form as if you are simply illustrating what would happen if this game were played by someone at sometime. If a spectator feels you are making a fool out of them, especially in front of their friends, they can and will do everything they can to get back at you. This of course will take the timing out of your routine and have a very negative effect on your audience. For success, there needs to be an actual relationship between the performer and the audience. Treat your audience well, and they will act in kind.

FROM DIAMOND JIM TYLER

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Two Hindu Shuffle Finesses By Columnist Doug Edwards Here is a couple of Hindu Shuffle niceties I've been using for more years that I care to remember. They are original with me and within the range of every close-up worker. The Hindu Shuffle control has special merit as when done properly will leave no doubt in your audiences mind that the selected card is 'hopelessly lost.' I can only stress that casualness and rhythm are the keys to the idea. So from the April 1993 Issue of Apocalypse, Here's Lorayne's write-up of my Hindu Shuffle Finesses. I have to assume that you can do the Hindu Shuffle and you know the standard Hindu Shuffle Force. If you do… Hindu Shuffle Force Finesse This can't be used when you want to force a specific card. It is used when you want to flash the bottom card (to prove you are not going to do a Hindu Shuffle Force_ and the Hindu Shuffle Force a known card - any card, as long as you know it. Do it right and you'll fool other magicians with it. Any shuffled deck, any time: Flash the bottom card. Then start the Hindu Shuffle. But, your left hand tilts the right long side of the deck downward a bit so the left long side tilts upward a bit, toward you. And for the first 'step' of the shuffle, your right hand pulls out a large center block. As it down the right hand tilts outward slightly - only enough for you to glance down and glimpse the bottom card of that center block. That's all. Tilt that hand back to normal position as you continue with a standard Hindu Shuffle Force. You'll force the glimpsed/known card, of course. You should be talking - your regular Hind Shuffle Force patter - as you start the force and as you glimpse the card. You're asking your spectator to stop you - whenever (s)he lines, and so on. Hind Shuffle Control Finesse Have a card freely selected and remembered. For its return start a 'normal' Hindu Shuffle and ask your spectator to stop you. The stop is usually near center deck. Page 51

Let him replace his card onto the left-hand half deck. Now its right here, as the shuffle is continued apparently onto the selected card that the usual hanky-panky occurs. So , fairly openly, really continue the Hind shuffle onto his card. It is important that you make it obvious that you are really Hindu shuffling onto his card. Your right fingers and thumb aren't catching' the top group of the left-hand half in order to bring it to the top, etc. But - you do something. A simple something. Just insert your left little fingertip as you continue the shuffle. That is, really Hindu Shuffle onto his card, but your left little fingertip is on that card; all the shuffled cards go onto that fingertip. You will have a break above his card, at the deck's inner end. No, if you do it fairly rapidly, and not to neatly, the fact that your left little fingertip isn't seen won't register. There is no perceptible pause. Immediately Riffle Shuffle the deck as you say, "I want to really lose your card." Your right hand grasps the deck from above - right thumb taking over the break for that instant. Start the in-hand riffle shuffle as usual - your right thumb riffles off (or lets fall) about half the deck onto your left fingers. And, of course, just do it up to the break. Continue and complete the shuffle making sure that the selected card (top card of the left-hand portion) falls last. That's it. Afterthoughts: Bother are foolers although not complete effects or routines. They sure are good to know. For the control, which should be done with no hesitations - from the time the selected card is replaced to its conclusion - you can, of course, end with the card, say, 2nd from top by letting one right-hand card fall onto it. In any case, do one more shuffle ( I do an overhand) keeping the card on top (or 2nd from top.) You can also throw in a false cut.

Thanks again to Harry Lorayne and Doug Edwards! Page 52

Open Intruder By Alex Elmsley Introduction: Martin Breese, now the copyright holder of Peter Warlock's The Pentagram Magazine, has graciously allowed us to reprint a few of the articles from his Digital Pentagram. We hope that the readers of Mr. Gadfly appreciate this nostalgic gesture and can go back in time with us and read this article, which first appeared in Pentagram in volume 10, number 12, September 1956 on page 90 and 91. Reprint: In the November, 1955, issue of Pentagram there was a version of the Blue Intruder by Jack Avis, involving a pleasant turnover switch. It occurred to me to combine this with a presentation idea which I first met in Marlo's Cardician under the title of the "open Prediction," and which Marlo credits to Paul Curry. Here is the result of this distinguished ancestry. Effect: The performer has a red-backed pack of cards. He takes one blue-backed card, without showing its face, and inserts it into the red pack behind his back. Now he holds the pack face up, and deals cards onto the table, turning them face down as he does so. At any card in the deal a spectator stops him, and this card is dealt face upwards, without showing its back. The rest of the pack is then dealt, and at the conclusion of the deal the back of every card except the spectator's choice has been see, yet the blue back has not appeared. Sure enough, the card chosen by the spectator turns out to be the blue intruder. In addition to the red pack, you need a blue-red double backer. At the beginning of the trick, I prefer to take the double backer from a complete blue pack, and to drop the blue pack into a pocket. Be that as it may, you show the double backer as a blue card, and tell the audience that no-one not even yourself, is going to see its face, yet, and that you are going to bury it in the red pack behind your back. In fact, behind your back, you turn over the double backer and place it on top of the red pack, red side upwards. Bring the pack forwards and hold it face up. Begin to deal slowly by taking the face up cards and turning them face down as you deal them onto a table. Explain that you will deal through the pack like this until you Page 53

find the blue-backed card, but that while you are dealing you want a spectator to call stop at any time. When you are stopped at a card (suppose it is the nine of diamonds_, place it face up on the dealt pile of face down cards without showing its back. Ask the spectator who stopped you to remember this card. Meanwhile, casually turn the packet of cards in your hand face down, so bringing the double backer to the top once more. Continue dealing cards face down onto the pile on the table but now, of course, their faces are not seen. The first card dealt is the double backer, which goes blue side down on the downwards in the left hand. When the deal is finished, point out to the audience that they have seen the back of every card in the pack except the chosen card, yet the blue card has not appeared. Now you perform thw switch from Jack Avis' New Intruder, the instructions for which I reproduce here altered as necessary. The pack is picked up and held face downwards in the left hand. Start running the cards fanwise from the left hand into the right. When you reach the face up nine of diamonds, pause and break the pack at that point. The cards above the face up card naturally are taken by the right hand whilst the remainder with the face up card on top is in the left hand. Now because of the previous maneuvers, the bottom card in the right hand packet will be the double backer. Without any apparent effort, this card is slightly jogged to the left, and the left hand at the same time jogs to the right, to a greater extent, the face up nine of diamonds. The right hand now moves in and using the right hand fan apparently places the edges of the cards under the jogged nine of diamonds and flips in over. Actually what happens is that the jogged double backer goes under the edge of the nine of diamonds as the fan is brought across the cards to the left, both cards are turned over as one, the double backer falling, blue side up, on the back of the nine of diamonds. It is in effect a form of Mexican turnover without the take away of one card. With practice the illusion is perfect. To conclude the effect, the cards in the right hand are placed under those in the left hand. The double back, blue side still showing, is removed from the pack and placed in the pocket containing the complete blue pack. The double backer is left in the pocket, and the blue pack is brought out as though the blue intruder had been added to it. You are now clean.

The contents of Pentagram Magazine are the copyright of Martin Breese and the preceding article has been reproduced with the kind permission of Martin Breese, London. Page 54