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any magician do that tric an ye it. The Card Magic of Le Paul is a classic-the effects and movl those of a mmter. Though often referred to as "The Acrobatic Aces, effect "The GymnasticAces" is both easyto do and enormously imp" to a lay audience. Allan has been working on a new book for some now. I've seensomeof the effectsdemomtrated; and I can assureyou this effort will contain someof the sweetest card magic ever concoct LEE ASHER

:tion to the exclusion of the rich rewardsafforded by ne spent exploring and contemplating the contents of books. rely, many J Dadslead to Heaven, and there are merits to having -ied avenue! of magic instruction, but at this juncture in time it to erect a detour sign and point toward the path cur:mspr
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traveled number of magicians the following message: vould be great to seeif its possible to get people digging tKh libraries, enjoying great books on magic. Here's how I'd it. ...In all our repertoires are certain effects that we ~at books.found in our libraries-effects we love that no

perform. While I understand we enjoy thefact not many ?ersdo these t:ricks, I thought perhaps I could twist the arms of some trick from pected magici,tm, and have them revealone such trick-a love to do, but is not seen terribly often. Would you please ?ookthat they ng this mail with the name of one such trick? You need nsider answeri 'nethod, just the name of the trick, the book where it can it describe the 1 to describe why its a great trick. ftund; and a few sentences few weeks I have ~ ~~~ ~L~ 1~~ -ky recipient of the Jeen Illt: lU~ For the past fO very generol thoughts of over 4 1S mag1clans;. The contributors :al order. My cc )mments ap)Jear in italics at the appear in alphabetic
end of each entry.

Blackstones Modern Card 1ricks and Secrets of Magic, 1932 (New York George Sully and Company, Inc.). It is a collection of two books in one. I think most people have the combo and not the individual books themselves. This book is filled with powerful pieces of magic. Unfortunately things aren't properly credited in this book like the Blackstone Control and a few others. The control is really a Hofzinser idea that predates Harry B. by a few decades. Nonetheless, it is a fantastic book. Asking me for my favorite thing is like asking me to eat one Pringle ...can't do it! So here are a few that you can choose..from. I mean how can I not mention "The Hung Card" on p.4i in the Secretsof Magic section or "The Red Hot Ball" on p. 79. Blackstone was a master! But seriously, I truly dig the "Four Ace Change" on p.162 in the Modern Card 1ricks section. I am not sure if it's original with Blackstone but it's one of the best sucker effects around. If you appreciate sucker tricks like I do, this one is up your alley. I love it because of its simplicity and directness and also because it uses one of the most underrated moves in card magic-the Glide. I have seen a trillion variations of this effect and most are structured to eliminate the infamous Glide. Truthfully, none of them really do the effect justice. Now I think the Glide works great here. Trust me, I am no big fan of the Glide and try to use it as little as possible but, in this instance, it is the perfect tool. When I performed this effect (a long time ago) I remember that the key to selling this sucker effect is the way you hold your fingers over the Three to make it look like an Ace. This effect plays with the spectator's mind. They are so sure you are trying to "pull a fast one" on them-and you really are! That is my entertainment for the evening! Suckers. ...I think the ultimate lesson taught from this effect is the timing of when to use the hackneyed move. It can be applied to a lot of our routines in general. Check out "Four Ace Change" and I promise you will have a blast. It is really a powerful piece of magic. If Lee'scontribution to this list doesn'tmake you go out and seek tht Blackstone books (both ghostwritten by Walter Gibson), nothing will. Tht

DAVID ACER do Darwin Ortiz' "Jumping Gemini" every chance I get (Darwin )ttiz At The Card 1able, 1988) .It's an incredibly rich pa~ket trick. 'here's soooo much magic, especially given the fact that only four mgimmicked cards are in play. Darwins effects are superbly thought out. 'Jumping Gemini" is an tfect within the ability of any card worker and, as Mr. Acer testifies, a 'nockout. The book Darwin Ortiz at the Card Taple contains one of he strongest collections of card effects I've ever seen bound in a single volume. Darwin states that the starting point for this effect was Chesbro and Wests ']umpin.R:Jackrabbit Card" from the book Tricks You Can Count On. rjormer and has David is on magic. The effect "Cheap Labour" ~most commercial card effectsI've / 'm Natural Selections, Volume II, d it isn't even a trick. tten many well-received book 2 Natural Selections is one Oj reen. "The Sanders Incident, (Jorth the price of the book. .

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assomepublic libraries. Lee is one of the Young Turks of card magic, so his , .franknessregarding the use of the Glide is both surprising an:itifreshing. :/ ~--MICHAEL AMMAR I guess the easiestthing to mention would be "Roll Over Aces" from The Complete Works Of Derek Dingle (1982). This great book wasn't out back in the late 19705, but I'd search out Derek's stuff in lecture notes and separate manuscripts. Derek was a huge influence on a lot of people back then, and as I would read through this heavy work I'd think to myself "This guy must have two cannonballs in his shorts. He must need a special kind of Tuxedo that allows him to walk around with a wheelbarrow or something." But like everything else, I suppose, not everyone was as big a Dingle fan as I was. I remember the first time I did this routine for Vernon. He got that funny smile on his face and said "If I could climax as many times as a Dingle routine I'd be a happy man " When Michael performs this trick he wrings a phenomenal effect out of an already amazing routine by presenting it as a timed challenge. Michaels choiceof material is always outstanding, and he never stops in his quest to make the most of the effect he is working with. His Magic Castleparlor act is so strong, he performs his well-known cups and balls routine in the middle. The Dingle book, written by Richard Kauftnan, is a must-havefor the student of modern card magic.

In Decembe1; 1938, 7:' Sakamoto published his method for the "Cut and RestoredSilk Handkerchief" in a publication by the 1OkyoAmateur Magicians Club. Tenkai improved on the method and the result of his labors was published in The Magic of Tenkai. Tenkai, like Vernon, was an incredibly well-rounded magician, and this book includes effectsusing cardr, coins, bills, dice, cigarettes,rope, and more. Eugene, one of our great teachers,hasgiven us numerous books that explore the presentation of magic as well as detail the methodr behind exquisite routines hes developedover the years. OHN CARNEY I would choose the "Expansion of Texture" from The Dai Vernon Book of Magic. It's a great trick, when well acted, but I have actually only seen one other performer who has done it in all my life. If you carry two quarter-sized copper foreign coins everywhere you go (as I do), along with a handkerchief in your outside suit breast pocket, or borrow one, you have about five to ten minutes of great magic. I start with a few knots, beginning with Charlie Miller's "Left Handed Knot" (from his Magic, Inc. booklet). Then the "Spirit Knot," which is from Hatron and Plate's Magicians Tricks and How They are Done, I believe. Then I do the "Copper-Silver Transposition," followed by the "Expansion Of Texture." I then offer to explain how it is done and go into "Kitty's Treat" from my book, Carney Knowledge, wherein I produce a tiny, realistic, mouse, which instantly disappears. This has a nice, exciting conclusion to the routipe, or one could vanish the handkerchief with a pull or produce something from the handkerchief to conclude. This sequence has the advantage that it appears as though all you have is one copper coin and everything else is either borrowed or very ordinary. The fact that you have extras or gimmicks about your person doesn't enter into consideration. Looks like pure magic. The Dai Vernon Book of Magic, by Lewis Gamon, has been reprinted by L&L, and is certainly a book worth its weight in gold. The variety of magic it contaim is amazing-everything from Vernons "Cups and Balls" routine to 'Rosinis Thimble Routine. " Card enthusiasts will find Vernons 'Poker Demomtration" and "The Last Trick of Dr. Jacob Daley. " Johns own books on magic are rich with thought and filled with the expe" , -" new book will be out soon.

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RAFAEL BENATAR imon Aronson's "Paragon Poker," from The Aronson Approach, because it's a full-fledged gambling routine with an interesting development and a very simple set-up that can be achieved betWeen tricks. The effect zigs and zags the spectator's sensations. Technically, only requires a good Overhand Shuffle technique, and yet can be a closer anywhere. This clever routine-an expansion of the Gardner-Marlo poker demonstration-is the type of showpiece that leaveslittle doubt as to the magicians otherworldly skill with a pack of cards. This book also contains Simons "Mark-A-Place" move, an outgrowth of Bill Simons '~usiness Card Prophecy" sleight, which will be of tremendous interest to any reader not familiar with it. Aronsons output is staggering; His "UnDo Influence" principle from Try the )mpossible is one of the more incredible recent developments in card magic. Rafael is a close-upartist who mines the utmost entertainment value

from every effectthat he presents. He has the chops to perform anything, so his choiceofSimons clever-yet-simple routine attests to its impact. EUGENE BURGER T enkai's "Cut and Restored Silk Handkerchief"

Actually books-1

BRUCE CERVON I don't do very many tricks that are straight out of the always seem to muck around with them a great deal. I'm

fr<>m The Magic of

linkai (1974}, written by Gerald Kosky and Arnold Furst, published by Magic Limited. It's magic. You lay a silk on a piece of paper, fold the paper around the silk so the ends of the silk protrude, then cut it in half right in the center. The pieces are separated-there's no question that the silk has been cut. You bring the halves together, then pull one end of the silk, and the other end moves-the silk emerges intact from the paper! It's damn hard to do. I saw it performed on TV when I was nine or ten years old, but I can remember it better than tricks I saw last week. When I spoketo Eugene, we ended up discussinggreat effectshes always wanted to include in his repertoire that no one ever does.He felt this one effect stood out above the rest.

pretty safe, however, if I mention a trick that I have shown to some of the most knowledgeable card people around and it blows them away. In many ways I'm cheating because it comes from one of the vernon Chronicles which I worked on. The trick I'm speaking of is "Why Am I Here?" in More Lost Inner Secrets,Volume Two. You must try it on a spectator. Jon Racherbaumer is going to write up some variations and my presentation for a Linking Ring Parade some time in the futUrethey too are interesting. "Why Am I Here?" is a partially se/fworking; amazing card location that seems to defy all logic. A cqrd is selected from a spectator-shu.lJled deck, then found when random values are cut to and a seriesof packets dealt to the table. There seemsto be no way at all to arrive with any precision at any particular spot in the deck. The Vernon Chronicles, written by StephenMinch are gloriously produced volumes dedicated to Vernonscontributions to magic. June 2002 23

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'OHN CORNELIUS I like ;'Bluff Aces" out of an Ireland Yearbook (Magic, Inc.). It is an Ace assembly that is easy to do. Terse but telling, Johns recommendation is an excellentone, as one might expectfrom one of our most inventive creators. Mar/os effect '~Iuff Ace Assembly" wasfirst published in 1955 in The Ireland Yearbook. It was taught to me by a friend in New York many years ago--I never knew where the trick was first published until now. Happil} it turns out the yearbooks are still available in bound form from Magic, Inc., and they are excellent. In fact, I received communication from one magician who recently sold off most of his book collection. ..but Yearbooks. kept the Ireland

Professional Magic Made Easy, The Best in Ma; Hobby. Daryl is a walking compendium of close-up has pointed to a real treasure.

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MARC DE5ouzA My choice is "The Hydrostatic Glass" from My Kind of Magic by Alan Shaxon, published by Goodliffe Publications. When I was 13 years old one of my mentors, Lee Grey, gave me the book Marvels of Mystery by John Booth. It was published by Kanter's Magic Shop, which was then owned by Lee. It still remains an incredible book chock full of workable material. One of the stand-out effects to me was "The Hydrostatic Glass." The thought of that effect remained with me until I saw Alan Shaxon perform it around 1972. What a killer! I was even more thrilled to purchase his book which had his entire handling detailed, including the patter. How rare to find a book from a professional performer teaching the material right out of his act. I found a set and immediately put it in my show as a closer. It got a very strong reaction. Over the ensuing years I've refined the script, making it fit my personality, even as it evolved over time. It has remained my closer for nearly 30 years. I have tried to replace it but I can't ...it is simply the strongest closer I've ever found. Marc is an incredibly well-rounded performel; and his selection of an effect is one I can'tfault---a Jew months ago I went to an art supply store to purchase celluloid and a hole cutterfur thepurposes of making up "The Hydrostatic Glass!"Marvels ofMystery was reprinted by Supreme Magic Company bound with Forging Ahead in Magic as The John Booth Classics, and may be easierto locate in thisfurm. DeSousa's Deceptions, a book written by David Acer to bepublished by the Camirand Academy, waspublished in April DEAN DILL I think that "The V ISine Trick" in Best of Friends Volume II will be my choice. I am not a fan of"Oil and Water" tricks. This one kind of feels like "Oil and Water," but isn't for many reasons. I will show it to you when I see you and you will know what I mean. Harry Loraynes hefty Best of Friends books have an enormous amount of magic in them. One could write an article suggesting choice effects in these books alone. "The Visine Trick" was contributed by Charles M Hudson, and is a variation of Roy Waltons "Oil and Queens" (originally from The Devil's Playthings, 1969-ish}. As Dean points out, its not really an "Oil and Water" effect. Though you begin with alternating red and black cards, at the tricks conclusion, there are only black cards-the red cards have vanishedlchanged depending on the picture you paint with your presentation. Dean is a great guy to hang out with, as he loves magic and is devoted to a tricks effect-he appreciates the end result regardless of the technical demands of the routine. His book Intimate Miracles, written by nm 1rono, contaim a choice sampling of his visually arresting magic, some of which he perrmed on The Tonight Show with Johnny Carson. STEVE DRAUN he "Tenkai Pennies." I first saw the effect in Bobo's Modern Coin Magic. Then, years later Dave Solomon's brother Louie did it for me. He did it well and for a moment I was fooled. Then I realized it was the old Tenkai trick. I saw that it could be done completely impromptu since any virtually any size coin will work (I always try

PAUL CUMMINS I supposethat there are two routines that I use constantly and that I /don't seemany other performersdoing. The first is a personalized ver, sion of Roy Walton's"The Smiling Mule," from The Complete Walton, Volume1, p.llS. The other is Vernon's "Emotional Reaction," from Dai Vernons Inner Secrets ofCard Magic, by Lewis Ganson, p.l. ~erful piece for laymen. The build-up to an impossibility is answeredwith a great gag, signaling the end of the trick which providesample misdirection for the dirty work. Then, of course,the performer makes good on the impossibility. Presentationally and methodologically,this is just about a perfect routine! The Vernon routine works as well for magicians (who are not hip to its method) as for the laity. It is virtually sleight-free,the spectator doesthe work while the deck is in their hands giving the procedure a very fair ambiance,and the handling of the key card is so well hidden by Vernon'sconstruction that the revelation of the selectedcard truly seems impossible. RoyWaltonis a giant, and his effect"The Smiling Mule" is wonde1:fitL In my library it isfound in the bookletThat Certain Something (1979) on p.13. Thoughthe effectdoesn't eventake up the entirepage, it pulses ~ with the contemporary vision that is unique to so many Walton effects. Vernons routine is a lesson in presentation. Usingnothing morethan a key card (albeit well-disguised),he createsa showpiece. Pauls From A Shuffied Deck In Use containsa rich assortment offinely-craftedmaterial for everyimaginablesituation. His FASDIU Press has released fine books suchas Fusillade(with Doc Eason),an explorationof the multiple selection card routine.
DARYL How's this: "Dr. Sack's Dice Routine" from Classic Secretsof Magic by Bruce Elliott. I live and work in Las Vegas and this is a natural for me. The effect is strong and visual, it's easy to carry around (it takes up very little space in the pocket), there is nothing to reset, it uses ordinary objects (I've been known to borrow the dice and perform the routine impromptu), everything can be examined, and it gets away from the usual card, coin, and rope effects. This is my kind of magic! ~ I learned the Sack routine from the same book (though it wasfirst published in Elliott's magazine The Phoenix), and what a great book it is. Bruce Elliotts books werepublished lor the general public and at the time he got into hot water lor revealing the secretsthey contained; much of which camefrom The Phoenix. I so enjoy the Sack routine (No cards!No coins!). I published a finale lor the routine-not that it cries out lor onein Close-Up and Personal. Other Bruce Elliott books I've enjoyed are:

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AARON FISHER l'Henry Christ's Fabulous Ace Routine" from Cliff Green's Professional Card Magic (1961), though a better description can be found in Epilogue(March, 1974). First of all, you don't need to have a card selected.It really does have a pleasing economy of method. It's a full self-contained routine-it's like you're doing a complete magic show with the four Aces. What drew me to it was the way it flows together so nicely. At the time I read it, some serious criteria was that it was fun to perform. Also: "Discrepancy City Prediction" from John Bannon's Impossibilia(1990). ,
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A phenomenal trick. There are at' least three tricks from that book that are regularly in my repertoire. If you think about it, that's a pretty powerful statement. How many books can you say that about? Cliff Greens bookis oneI associate with the Le Paul book-a volume filled with greatmoves and tricks. His 'PhoenixAces"is a lovely pieceof card handling. John Bannons booksare, as Aaron has pointed out, superbvalues. Theycontain tricks that come from a man who clearlyhas an undistortedview of what makes an effectin the mind of an audience. His 'Play It Straight (Triumph) "from Impossibilia is a classic. A book of Aarons own magic will be appearingin the next month or so.If you

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ROBERTO GIOBBl There are many effects and routines I use from the old Italian

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1952). This is a wonderfully simple card effect. I use it often when sitting at a table with a small audience in the context of private shows (some call this table-hopping, I call it individual private shows). Simon says to use a spectator's business card, but I prefer to use my own-it takes less time until the card comes forth. Some commercial-

(Hofzinser) books, where most of the concepts used nowadays in card magic can be found. But for my friends who read Genii I will cite a readily available American book source: "Business Card Prophesy," on p.32 of Bill Simon's Effective Card Magic (Louis Tannen, New York,

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"The Phoenix Aces" seem self working by comparison) --by most magicians. Ricky Jay used to do it, calling "The Laughing Card Trick." One of the problems with Green's \

Magic. It's very strong and easy to do. I don't have any dealing skills but this allowed me do a fake gambling demo without them. The reactions were always strong and the amount you

--.c .they are rather odd and difrow about the cards after the deck is shuffied seems overwhelming. --present, which i~ ~roba~ly why more people don't d~ ~em: j! h,,"Black Jack Challenge" from Paul Harris' Close-Up Entertainer. It ,. , , ..m the has a rhythm to the production of black Jacks that I like. But the best Tony Spina sold it to me at Lou I was 14-what a sadist! It changed my life. I ~ave seen "ScrewedDeck" ~om ~ Close-Up Kinda Guy, Jannen 1983) performed; and zts a kzlle7:A wonderjiJl method for an the conclusion of a performance, the deck in play is ., pool cue and put away. ~ces Wild"

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part is in the middle. The Jacks and Aces are separated but instantly pair off into blackjacks. It's a little like "Reset" at that point. "Ok~wa's ~ellophane,Surprise" from ~aul Harris' Close-Up Entertamer. Its great. I dont smoke so I havent had very man opporUnities to do this. It's one of the cle om an restored effect ever. "Matching the Cards" from Ver on's Inner Secrets o ~c. It's great because it can be done both c os on stage. It was one I did a lot. I liked to make it the second or third trick. I just liked the way it drew the audience in even if they thought they have seen every card trick to be seen. the non-card category I did a Ring Transpo trick from Patrick Page's,The Big Book of Magic. You held a ring and covered your hand with a handkerchief A rubber band was put around the h~dkerchief sealing your hand. The ring would disappear and reappear elsewhere. I liked it because the spectator could hold your wrist the whole time to make sure the ring didn't go up your sleeve. Rays generosity hasprovided you not with a trick, but an act! Of note is the fact that one more person has singled out Inner Secrets of Card Magic, for yet another effect. "Matching the Cards" is a classic plot, with inherent drama, just the right amount of complexity, and a finish that always brings applause. "Okawas Cellophane Sufprise, " .from Close-Up Entertainer, is one of thoseI-wish-I-thought-ofthat piecesof magic where the method is as amusing as the trick is amazing. Rays own effects,and their fantastically original charactel; bespeaka novel appreciation for the road lesstraveled-they're available on video .from Meir Yi'did. KEN KRENZEL "Chic" Schoke's "Hippity Hop Aces," from The Jarbell System(1927) and Jarbel15 (1948). Chic Schoke wore a hearing aid, but looked like a cross between Lionel Atwill and Adolph Menjou-dignified, sophisticated and elegant. "Hippity Hop Aces" is a beautiful segue into or out of any Ace effect. The effect is that the red Aces are placed back to back, and the black Aces face to face; one pair held in the right hand by the long edges, the other in the left. You blow, and in full view there is an instantaneous transformation-the red Aces are now face to face, and the black Aces are back to back. It is a stunning, startling effect. People have lost the ability to visualize from the printed page, without the aid of a video. It seems, ironically, that the only way people will understand the pqwer of this effect is to see it done. [Editor's Note: I waS recently told that the "Hippity Hop Aces" was not originated by Chic Schoke, but by another gentleman years earlier. This is but one of many caseswhere author Harlan Tarbell credited th~ person who demonstrated the item to him ratl)er than its originator. I can't remember the name of the true creator, however I vividly recall that the person who brought this to my attention clearly stated that when he performed the trick he held the cards by the short ends! Of course, this makes the illusion much easier to achieve and more deceptive.] Kens enryclopedic knowledge and skill with a pack of cards is legendary. His advice to look to Jarbell needs no more compelling argument. The June 2002 27

The cliff Green routine, involving multiple Aces of Spades being ,~ , .then turning into the Jour different suits, is one we we seehim-hC)\ -In Everything Richard saysabout the Cliff Green book is true. A few years
...and " " --~ fin a cheap S. O.B. There is nothing I need say about Mister ..Manyofthe

illustrated; and published. OHN KENNEDY , .."from Ellison Poland's Wonderfitl Routines published in 1969. This is a simple coin trick that is very ,. be repeated for the same audience. I have fooled , ."' (including magicians} with this one. listen. He is the creator of some of the most diaboliThis book was not in my library but you

I ran out to get a copy after reading Johns missive. Its easyto find

ROGER KLAUSE , one might not be willing to draw attention to a " However, my choice would be Dai Vernon's "Colour , contained in his Inner Secrets of Card Magic by Lewis My reasons for selecting this little miracle are: The direct ..the subtle method (done under the spectator's repetition; greatest impact with a (the effect lives on in the mind of the spectator as to examine the cards in the days to come). Malini Newspaper Headlines with his presentation of
Roger is the second person to nominate a trick from this slim book with .' I have never seen anyone perform this effect, so .The Vernon Inner Secret ..-' In Concert, written series-has ' book-in been reprinted ..Rogers fact, the by L&L

by Lance Pierce, is bursting

with

excel-

His routine "The Sponge and the Sleeve" is a masterpiece of con' one semes the intellect that

level.
,RAY Vernon's "Poker KOSBY from The Dai vernon Book of

Demonstration"

and a secondspectatoris ask to introduce the business Lth cases,the published routines are fine pieces as originally offered card anywhere.All of this createsthe impression that I have J:d are worthy of a serious second look by the fraternity. never touched the pack--even some magicians swear this is true. ~ he first routine is Harnman's "Kings Through the Table" from Only now do I touch the pack and do the turnover move but then ~ul Le Paul Presentsthe Magic of Brother John Hamman. place the deck back in the samespaceon the table which the spectaThe second routine is Derek Dingle's "Four Coins in the Countin'" tors haveassociated with the "no touch" wne. I let them readthe now .from Dingles Deceptions. I remember the first time I saw "Kings Through the 1able. " A New visible message and then have them check the cardsaboveand below. This is absolutelyinexplicable and memorable for laypeople. York friend did it for me at a restaurant and I was floored. Since that The book Effective Card Magic is filled with strong effects, but its time, I haven't seen another living soul perform the effect. The book hard to beatthe oneRoberto hasselected This trick falls into an odd catDingle's Deceptions (Lorayne) is an explosion of excellent magic. egory-its onemostcard magicians know oj; but few actuallyperform! I "Four Coins in the Countin"' is a beautifully orchestrated assembly. can onlyguess why this is so.Perhaps it is because the trick is sosimpleto Both tricks were reprinted and revised in the Hamman and Dingle do, it is hard to see past that to theprofound effectit hasupon an audibooks written by Richard Kaufman. Wesleyis a thinket: He, of course, ence.Leave it to Robertoto sound the wake-up call. He has written has written extensively about magic in his own books and highlybooks-the Card Collegeseries, publishedby HermeticPress-that have respectedperiodicals. His card technique called "The Load Up" was become standardreference textson card magic. published; with permission, as "Coming Up in the World" in Frank
~ WILLIAM GOODWIN

Garcias Super Subde Card Miracles. The move is now a standard ;eapon in every card magicians arsenal. ,1 JI MARK must reiterate my opinion jENEST on Brother John Hamman's

~Here are some great tricks out of The Complete Walton, Volume Two, I "Traveling Man" and '~ Changeable Nature." The book also contains '~ Straight Shuffle" and "Separation." The first two tricks Bill mentiom are also in The Spread Half-Pass by Roy Walton (1978). "7raveling Man" is a tramposition routine with an amazing difference-after the trick is performed once, the transposi~ tion is repeated in the spectators hands while being burned-with no moves! The two volumes of The Complete Walton are published by Davenports in England and are currently available. Bill is one of the finest card workers in the country, and his recommendation of the Walton books is a testament to their contents.

"The

Pinochle Trick," on p.97 of The SecretsOf Brother John Hamman. I have performed it for maybe a dozen magicians, and not one of them was familiar with it. This would definitely be the trick that for me, meets your criteria. I honestly do perform it, and as good as the trick is, I've wondered why more magicians don't do it. The routine is a major head scratcher, particularly the Ace flurry at the end. Maybe this is an obvious point, but I think that laypeople shouldn't know how we do our tricks. Far too many effects have detectable methods but are appreciated for the magician's efforts, or out of courtesy. Laypeople are completely baffled by "The Pinochle Trick." To them, there is no explanation for it. It is not a magician fooler, but who cares? [Editor's Note: It fooled most magicians to whom it was shown before The Gemini Count was published.] Here are just a few of the exciting Pinochle Trick attributes: Easy to do!; Uses four ungimmicked cards!; Lots of changes!; Undetectable method!; Chicks dig it! Once again, the Secrets of Brother John Hamman is singled out, and each time for a different effect.Let all of us thank thefates for allowing us to walk in this mans beneficent shadow. Mark Jenestsshadow is not so beneficent, but he is recognizableto the younger half of the world for his countlessmagical appearances on The Disney Channel as well as the guy with hisface on thousandsof magic sets.The older half of the world knows him for his marketed magical items, all of which possess a spark of originality. RICHARD KAUFMAN I've sprinkled a few editor's notes here and there in brackets [ ], hopeJrlly you've been able to tell my comments from David's. The little known published effects I've used regularly are: 1)

PAUL GREEN When I was starting out, I loved Elliott's Classic Secretsof Magic. Lots of good stuff in there. My favorite book was The Amateur Magicians Handbook by Henry Hay. There is a ttick in there that I do not do too often, but it does have a place in my repenoire. It is the trick where the Kings and Queens continue to match suits. It taught me about setting cards in a stacked condition so that even when they're shuffied, they remain intact. It uses the "Down And Under Shuffie" and a few other subtleties. In the right place and at the right time it is a charming piece of magic. I use it in restaurants and some suite work when there are obvious couples. Charming ttick. The Amateur Magician's Handbook is a delight-a rich lesson in

magic with exceptionally clear photographs. Don't let the word 'amateur" throw you off the scent-this is a book brimming with valuable information. The effect Paul mentions is a variation of ~rnons "The Royal Marriages, " and it isfound on page 224 of the Ha)' book. Pauls magic is tight, clea1;and exceptionally commercial soyou can be< sure he haspointed to a trick with great entertainment potential. WESLEY .AMES ~"c The closest I can come to complying with your request is to cite one effect which, while I have significantly altered it from the original J published version, is quite good as originally offered. To that I'll add a routine that has gotten somewhat lost in the mix, so to speak. I consider it a nearly perfect routine as it originally appeared, although -, some minor technical modifications have worked their way into myC1 handling, born mostly out of comfort with specific techniques. In 26
Gel

"Screwed Deck." This is one of Paul Harris' best items. Gene Maze

ade me a box and deck and I used it for many years and always oled magiciansbecause they didn't seethe deck switch. You couldn't ask for a better closer. 2) '~ces Wild" from Lorayne's Close-Up CardMagic. I learnedthis trick at age15 and haveusedit eversince-a laymen boggier. 3) "The Ace of Spades as a Sorcerer's Apprentice" from Cliff Green'sProfessional Card Magic. This notoriously difficult

'l

,i

Schoke effect is one I've only seenKen peiform, and it has an additional attribute thatbooks makes stand such out from the Card rest: its plot is out of the ordinary. Kens onitmagic, as The Classics of Ken Krenzel and Ingenuities, written by Harry Lorayne and

tast year writing what will be a comprehensivevolume dedicated to the (bill switch and all its permutations. BILL MALONE One of my favorite hidden mysteries, published in Annemanns Card Magic, is "The Scarne Thought Card" by John (who else!) Scarne. This is a real mind-blower to laymen and magicians alike. When presented properly neither will have a clue as to how you found the card they are just thinking 0 I use a crimp instead of a shon card. I also use all 13 cards instead of 10. Have fun with what I consider a little miracle. Things that work for both layman and magicians are l)ard to find. Annemann's Card Magic is the title given to 4~~rint of two Ann~ts: Ted Annemailn's Full Deck of Impromptu ~nd Annemann's Miracles of Card Magic. "The Scarne Thought Card" originally appearedin the latte1: The effect takes very little spaceto describe,and is very clevel: What I like most about it is the fact that its the sort of trick a casual reader might think would not fool anyone. W&en it comesto close-upmagic, one would be hard-pressedto find a current performer with a better reputation than Bill Malone. Ignore his advice at your own peril! E R I C MEA D

Stf?phenMinch respective~ contain rich reservoirs of thought. Ken als~ fls I look like a crossbetween Lionel Atwill and Adolph Menjou.

HA

R RY

L O RAY

NE

Nick Conticello's "Seeing Through the Deck" from 1Iirbel17 (1972). Harry says "It's a mathematical thing I've blown people away with. The effect is that a card is thought of from a group of five that the spectator takes from a shuffled deck. There's no control, the deck is cut a million times, then you look through the deck of cards and find the selected card. I've fooled magicians with it!" The story became even more interesting when I asked about Nick Conticello: Harry continues, "1 have no idea who he is. He found me wheg ,Tannens was advenising that they were doing 1Iirbell ?: That was -around the same time David Kotkin begged me to put his trick in. He said 'If I ever make a million dollars, I'll give you ten percent.' Well, one thing happened but the other didn't. Anyhow, this guy Nick Conticello came up to me at the restaurant where I used to hang out .on Saturdays with 'The Good Guys' and showed me a couple of mathematical card tricks-this was one of them. He fooled me wi~ it. I never saw the guy again. I never heard his name again. I've never' seen anyone do the trick. I've never heard anyone mention the trick!" Another nod to 1Iirbell. Its long been held that a person could make a living in all areas of magic with nothing but The Tarbell Course in Magic as his or her sourceof information. Harry of course, is one of our most prolific authors. It for some reason,you do not own Harrys Clpse-

I'd suggest "Kaplan's Clock Trick" from The Fine Art of Magic by George Kaplan (p.72). I have fooled some very knowledgeable magicians with this trick, doing it exactly as it is writren. It is also a very strong effect for the public. The only point on which Kaplan is not clear is how you count the 11 cards as 12. I use the Carlyle False Count, also known as the "walking fingers" count (this is described in many places-probably the most accessible to most readers will be Paul Harris' Art of Astonishment, Book 3, p.241). Although the subtle "bluff count" he suggests works perfectly for non-magicians, I still prefer the false count no matrer who the audience. This is a great piece because the effect is absolutely impossible. The conditions are stringent, the handling is non existent, and the climax comes as a complete surprise. It is even stronger in the company of magicians who think they are familiar with "clock" rype effects-because this one uses a radically different method. Plus, doing it will make you giddy because it is methodologically diabolical. You really feel like you have pulled off a perfect con. I have performed it for 10 years or more with specracular results. I have never seen anyone else do it. I'll probably regret telling you this for your anicle, as it is sure to get around if it's spotlighted. I agree with Juan Tamariz-that The Fine Art of Magic is truly one of the best magic books ever published. (Tamariz makes this assertion in his book Sonata-in the introduction to "The Royal Assembly.") Almost every trick in The Fine Art of Magic is wonhy of study, practice, and performance. It really is that good. lime to get your hands on The Fine Art of Magic, right? I love this book. When I lived in New }Qrk, I wasfi1rtunate enough to have George sign my copy. This book, published in 1948 by the Fleming Book Co., is usually in the stacks of used magic book dealers.It is filled with a huge variety of nicely routined magic effects.I've only just made the acquaintance of Eric, and Im very glad I have. His effortless,charismatic performing style belieshisthoughifitl approach to magic. He enjoysdoing what this article encourages-si.fting through books on magic for hidden gems that can be molded to fit onespersonality and style. [Editor's Note: Some of the material in The Fine Art ofMagicwas created by Dai Vernon and Sam Horowitz and published with neither permission nor credit.]

n tanding

Up Card Magic, get it. It wilt do more than supply you with an outselection of routines, it wilt fill you with a joy and enthusiasm lJr the craft, thanks to Harrys prose. It certainly did that for me. Harrys creative output is a gift to magic that will endure.

JOHN LOVICK Here are a few tricks that I actually do that I rarely see others do. I'm mentioning a few because some might not qualify for what you're looking for: Goshman's "Cards Thru Newspaper" &om M!giL:.iljL-GlJ5h by Patrick Page and Albert Goshman. The effect has real clarity. If done well, it's beautiful, poetic, almost hypnotic. Uses ordinary objects. Needs no patter, and is very deceptive. Eddie Fechter's "Be Honest, What Is It?" &om Magician Nitely by Jerry Mentzer. This may not qualify because David Blaine did it on TV and a lot of magicians
$.ped h on the bandwagon. d! If your presentation But and two cards transform management in the spectator's skills are what audience

ey should be, you hand someone the wrong card, and there is no daner of them looking at it. Jay Sankey's "A Fold ~nl-1QQ.% ~y Richard ~ufman. A ~ssible location effec,~ that needs no special props or glmmlcks. LIke Card on Forehead, you carry the impossible location with you at all times. Ken Krenzel's "The Magic Bullet" (a version of Peter Kane's "Shooting Joker") &om The Card Cl4ssicsof Ken Krenzel. Talk about a fun premise. You get to be a bad asswith a gun and then actually shoot a spectator with it. John has been very kind to point out so many effects.Note that Eddie Fechters trick has been singled out a second time. Ken Krenzels "The Magic Bullet" should be in t'Veryonesrepertoire, and I encourage people to look up his version entitled "Caught Red-Handed. " John has spent the
:8

/QHN MENDQZA this day, I do "Stop!" and "Coincidentally Yours," from Harry , ' .-' ~-Card Magic. I don't see others do either of them often. I als~ "Veeser's Aces" ['~cetimation"] and "MarIo ., " from MarIo's Faro Controlled Miracles, both shown to , , Roger Smith~hose Necromancer is one of tIie-s1eeper maga-

Goldstein book, and as one of the most respected writ~and publ~hers, in the fie~ continues to releasea

OE

MONTI

in card magic. However, all four of the above tricks have , handling changes and transformations by me over -, , ---r ., .-If I really want a magician, I do "The Karl Le Fong Trick" out of The .-r .Roy Walton. It's not-a big killer trick, but I've , it. Of courseI must tell you the plot of "The Karl Le Fong Trick" (also , -, Complete Walton), or you will otherwise go mad with , , In the effect,a card is selected and returned to the deck at a posi, at a spot decided by a spectators random , rlectator rolls two dice to arrive at a new numbel; 1Z in the deck. The magician never knows either

., ' and arrive at ,-ojWaltons effects,there are no gaffi. "Marlo Miracle TO as '~timation " Aces" and is simply one of the best

The trick is David Roth's very deceptive coin vanish from Jarbell 7. I believe it's his first published effect. The coin is concealed on the back of the left hand as both hands are shown empty. There was never a retrieval for this vanish. I came up with one many years ago: When both hands are shown empty you now tell the spectator that you are going to make your thumb vanish; your right thumb is placed in the palm of your left hand and your four right fingers naturally go behind your left hand, catching the concealedcoin. This is all done in one move. You claim that it costs 50 cents to seethe thumb vanish. Now you produce the coin anyway that a finger palmed coin can be produced. It's very magical. David Roth contributed two coin vanishes to Tarbell 7. The onefoe is referring to is called ~nother Amazing Coin Vanish. " This m~ve, along with ~n Amazing Coin Vanish, " which precedes it, are excellent. Also found in the Money Magic section ofTarbell 7 is "Sol Stones Changing Chips," a beautijitl coin routine. I usedto stand wide-eyed; watching Solpeiform the effectin the back room of Reubens Deli. foe is one of thoserarepeiformers who has 'the touch." His close-up chops arefinely honed;and he is a wonderfitl comedian,equallyadeptat performing on sta e. oe was fte u tributor to Harry Loraynes Apocal reprinte , whereone can en. oaking up the tho t behindfoes direct, visceralmagic. -7
TOM MULL.CA that comes to mind is "The]

-~ctsever devised Many variations have appeared in ' magicians since the original waspublished in 1964.

.magic. In particulal; his Book of John, its sequel and The Mendoza Portfolio contain a --

STEPHEN MINCH here are some offbeat tricks I've always wanted to perform: "Cointraption" ..a by J.J. Oohnny Johnston). The published routine small portable trapdoor made of brass. It is Through Table" in which the coins penetrate

up through the tabletop and appear under the trapdoor. The published routine is good, but the prop seems to have more potential. It ...pIe .But I think it a lovely idea. the November 1980 issue of Pabular. Another trick I thought it worth the cost of having made up was Paul Harris' "Screwed Deck" from his Close-up Kinda Guy, p.7S. For some reason-perhaps because it required a specially made box and deck-this item didn't make the cut for Paul's Art of Astonishment volumes. Yet one more trick I had the gimmick made for, but never got around to trying was "The Terpsichorean Card" on p.93 of Roterberg's New Era Card Magic. This was a method for causing an" unprepared card to stand on end, then to dance. A card tri~k I've always loved to perform is Phi~ Goldstein's "FiveCard Polka. It started out as a marketed effect m 1976, but eventually made it into Focus, p.SS. Great magic and a very funny story .J to support it. ~y The Paul Harris effect is one I have seen performed live only once. It is outstanding. My copy of Focus by Phil GoldJtein looks like the cat made loveto it-the coveris stained and ragged I was a bigfan of the little pamphlets that Max put out in the 1970s, so when Focus wasfirst published (and its since beenreprinted by Hermetic Press)I was delighted So many clevercard effects ...but one of my personalfavorites is 'PicassoAces."It is one of the prettiest card routines I've ever seen. Stephen published the

from The .-the past .in the 1960s I fooled many magicians with it. I love the trick because it is completely impromptu. I used to use the trick as a challenge. I used it when peowould say, "The hand is quicker than the eye!" I'd do this effect extremely slowly and give the audience a chance to catch me. The other great part of the trick is that it's self-working. What a great trick. The Royal Road to Card Magic by Hugard and Braue is so much more than an entry-level volume of card tricks. It contains excellent effects that play just as well today as when the book was published in 1949. 1Omscontribution to this article is terrific, as he has heartily recommended an effect that magicians know of but Jew perform because they question its ability to fool and entertain. Thank you, Jam, for shining a light on a neglectedgem. Another superb and simple trick in the book is "G;:ai!- Spelling Tric~.,." Anyone who has seen Jam perform knows that he hiS the chops to perform any effect he wishes, so his rec.' .of this si~et-eJf!ctive trick speaksof its powe1: ~ ~ ) ~ EAR L NE L SON story falls into the "I love having my mind changed" category. In the late 1970s Frank Simon and I were constantly working oh material. He had come to know my personal foibles concerning card magic. I think we all have things we avoid, sometimes for no logical reason. Frank started touting a trick by Elmsley to me that he thought I should be doing. But, he knew I would never do it because it used a stranger card. He finally gave me a copy of Pentagram and just asked that I read the routine. Reluctantly, I did. June 2002 29

,..

I hare stranger cards. Needless to say, I was blown

away just reading the trick. I worked it up, and have closed my set on many occasions with ~~bitious Stran~ " It can now be found in The Collected Works ofAieX Elmsle;\ Volume 1. From my upstairs office in Burbank I hear the rustling of pages as magicians allover the world turn to their Alex Elmsley books. This is quite a kind gift from Earl. ~mbitious Stranger" is a six-phase .,' c out of a routine that could be the showpiece of anyones act. Milt Kort was the first to publish an ambitious card routine using an odd-backed card (and many other effects with odd backs-see his Off-Color Card Tricks). Elms/ey, as is his wonp(and working independently), took hold of the premise and routined it to the nth degree.Earl is magics Midas. His co~bined qualities of razor-sha7p thinking combined with an unparalleled understanding of effect and deep devotion to sleight of hand turn the magic he touchesinto gold. His book Variations has becomeone of the most sought-after collections of modern close-up magic.
JOHNNY My Mark Hay. books. two favorite books and think with The the Cards, are ACE The Mark PALMER Wilson Course Handbook, well in both in Magic, by of by

sons and performers, our aesthetics also change and our ability to understand improves. Reading a book such as Expert Card 1echnique a.I a "newbie" is a much different experience from the one that occurs when you read the samebook later in your magic life. I remember read" -,-,-, ..Back then 1 was primarily Interested III heavy-duty sleight of hand and smugly eschewed semiautomatic tricks or ones that used extensive ~ setups. For example, when I initially read Loray~ntal1y instantly discounted it. Several years later, I performed it for a lay audience and found that it played big-time. Ever since, it has been part of my active repertoire. In fact, I often include it in my workshoplecture sessions.When I taught it (as an object lesson) not long ago during a lecture at the Magic Castle (for the Gemini group), Max Maven (who was in the audience), confided afterward that the tric!{s been a favorite of his, as well. So ...this would be the trick-seldomseen-but-great-to-do that I'd recommend. Another is Mario's version of the "Dunbury Delusion" that is buried in an old issue of M UM Mario published several versions, but this one is a killer. .Close-Up Card Magic is a marvelous book, with enough solid routines to establish a person as The Worlds Greatest Card Handler in the eyes of any audience. very few perform "Coincidentally lOurs, " even though many have read it. Jon, if you get a nasty notefrom Max, its not myfault. Jon Racherbaumel; needless to say,is one of todays most respectedauthors

Wilson; I really agic

Amateur coin roll

Magicians is explained and

Henry these explamate-

by Garcia

Schindler

has a great of practical

nation Johnny oft has e mentioned Si Ste

ms three se books u that

have a wealth

rial rock

The solid

Mark

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Course Green

in Magic has already

is extremely extolled

well laid the virtues

out,

with

effects. Magician's

of The of Magic are in any '\1

(
J

in the field. Based on his output of excellent books, one might expectto meet a guru with a stern gaze, but one would find the opposite-a gentJUS enthusiastic man who lovesthe ins and outs of magic. DAVID REGAL I felt it would not be right for me to weasel information out of other people, only to keep mum mysel I do many effects that meet the criteria of this article, but if I were to pick one killer that no one ever does, it would have to be "Quadruple Coincidence" from Scarne on Card Tricks (1950; p.97). This effect, a version of "you Do as I Do" on steroids, is credited t~ George Starke and contains multiple elements that coalesceinto everything I love about magic. The effecihas, at its core, a simple method, it requires precise audience management, clarity, and, at one particular moment, a set of brass balls. The end effect is simply overwhelming. An incredible piece of magic. The book Scarne on Card Tricks is filled with subtle, brilliant effects with cards. [Editor's Note: We published Dai Vernon's handling of this routine in Geniis December 2001 issue.As for David Regal, he was too modest to write a "glamour" paragraph about himsel so I'll do it. He's one of the cleverest guys around, with a bunch of books and videotapes to his credit, including Up Close and Personal published by Hermetic Press.David is currently on the writing staff of ABC's According to Jim. His new two-volume collection of magic, Constant Fooling, is due to be released this year.] BARRIE RICHARDSON Here are some old and wonderful effects. "Indian Rice Stabbing Illusion" by Eddie Joseph from The Art of Eddie Joseph, edited by Hugh Miller, published by Supreme Magic. He would end his stage show with this stunt. I use a large jam jar and a chopstick. I get a gasp and then applause when I release the jar and do a long pour.-Max.

Amateur with

Handbook. '1t Must

As for Be Mind

the Si Stebbins Reading" and value

section

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the effects strong.

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Hmmmm,a compellilgls~est~~ i~d:e~ ~t's see

Wereyou to

pose such a question for my consideration, I should have to say that my reply must be, hands down, "One Hand Ace Cutting" from Marlo Magazine Volume Three. The clever application of fine jog work (the basis of the handling in this MarIo jewel), combined with some modest technical refinements which I contributed, make this one part of my '~" material, particularly when performing for "fast company." It is really more of an exhibition of skill than a piece of fine card magic, however. It is also one of the more obscure MarIo gems that, due to incomprehensible reasons, hasn't been widely circulated. To my mind, it's a perfect example of the multitUde of arcana that await excavation from the matrix of the printed record. The MarIo Magazines are not easyto track down, but you can often purchase them from used magic book dealers such as John Greget in Scottsdale,Arizona. Jim is a font of information and a fascinating individual in areas beyond magic, though he lovessleight of hand and has a deep appreciation for the art. His classic columns for Genii contain a wealth of top-drawer items. In addition, he looks like an American James Bond-I must never let my wife seehim. JON RACHERBAUMER -

At lectUres and appearances I've been hammering away at the notion of revisiting classics and old books-namely
30 Ger

because as evolving per-

M~~Hypnotic G~ Qiv!?ation" ~ ~les, Volume Two, page 219. This effect comes as close as you are going to ~ mind reading. No preparation, and lots of room for a dra-

Inatic revelation. Vernon loved this. '~ Match for Gravity" from Stewart James in Print, The First Fifty ~~e effect :was first published in the Linking Rt~g in 1926mo this stunt with a string tied to a coffee cup and I borrow a watch and stick it in the cup. The string is passed over a wooden spoon which is held extended. "What will break, the watch or the cup," I ask. A wonderful \ counter-intuitive demonstration. From the same book, ~_~ici0/ Four Ace Tric' (first published in More Eye Openers, 1933). The trick ~ even more eye-popping when done with big cards and having the spectator do the placement of the cards. This was picked as Best Card Trick of the 19405, I believe. ~
Eddie Josephs output was large and varied-several of his effects are ~

match, then the match head visibly reappearsand the match is lit. The effect is then repeated. Stars of Magic, first issued as

",

separate pamphlets, then reprinted in bound form by Louis 1annen, is about as good as it gets in terms of material and method of imtruction. A glorious collection. Jims own magic books are filled with powerfitl card effectsdesigned by a man who knows what can be done with a pack of Bicycles-his effectspossess the quality of being both stunning and intellectually stimulating. MI C HA EL V IN C EN T In answer to your question, there is a trick ~ hiCh cam
immediately and that is Larry Jennings' "Look-An

to my mind Illus. ." This

still soldasstand-alone dealers itemsthroughAbbottsofColon, Michigan. His '~emonition" isstill oneof the strongest effects that can bedonewith cards[Editor's Note: Recalling that the trick was published earlier by someoneelse,I contactedMax Maven, who provides an accuratehistory of " ..n:" "It was called 'Prize Winner,' b William

effect was first published in Genii back in the ate 1 san. subsequently reprinted in ~ Tennin!s on Card and Coin Han!!l!!!1!.This little booklet contains some real gems.To my knowledge, I haveseen only three magiciansperform this effect. The first person was Ricky Jay in 1981. The next time I saw it performed was by Derek Dingle

McCaffrey. It's in GreaterMagic, which puts it back t~, but I in 1982 when I was in New York. I asked Dingle about the effect Detieve it was first put out as a manusctipt around 1934. Regardless, and he told me it was in the little booklet. Dingle did a clever the Hilliard publication precedes the Josephmanusctipt by just over a thing-he did not explain the workings of the effect but left me to decade.On the heels of that, it was releasedyet again (under the do the research. The only other person I saw perform this effect was "Premonition" title) by GeorgeArmstrong in England, ctedited to ...Michael Skinner. I have been performing it since 1982. GeorgeArrnstrong."] The '1ndian RiceStabbingIllusion" is veryseldom I normally don't like packet effectswhen they come out of a plasseen, yet theprops can be purchasedin a grocerystore! ~ Match for tic wallet. "T wisting the Aces," "Daley's Last Trick," "The Ambitious Gravity"is a stuntof thesameilk, and Barrie waskind to tip his dressing Classic" (also by Jennings), and "Look-An Illusion" are what I call for the effect-I canimaginean audience of spectators sitting with bated natural packet effects, becausethe cards are removed from the deck breath.Barrie's own book,Theater of the Mind, publishedby Hermetic in play. So much magic achievedwith just a small number of cards. fress,is oneI devoured coverto coverthe dayI purchased it. It wasoneof Michael is one of the smoothest workersaround; and his choiceof Fhebest-reviewed books of 1.999. material is sublime. 'Look-An Illusion" is basedon Doctor Daleys "Observationlist, " but has an additional kicke1: The Jennings book
I DAVID SOLOMON ~egarding the trick thatI love to do from an old book, I love to perI form the "21 Card Trick." I know that you think that I am pulling your leg, but I'm not. "I do the three-phase routine that is in MarIo Without liars. I also d~ ~~yv~o~s ot Eddie field's "Card ~e Box" routine. I have written about thi,~,!1!outine in the MarIo Magazines. I did do the miscall version exactly as I learned it from his book The Artfitl Dodgesof Eddie Fields (by Racherbaumer). The Eddie Fields book is a five-dollar paperback book released in 1976-and it is as unpretentious as it is excellent. Author Jon Racherbaumerupdatedand expanded the material/or The Greater Artful Dodges of Eddie Fields, a sumptuous hardbound volume published in 1997. David Solomon clearly likes guys named Ed, and Marlos "Nouveau 21-Card Trick, " with help from Draun, Solomon, and Racherbaumer;roasts an old chestnut over an openfire. It contains numerous phases and multiple throw-offi making it impossible to track the method. David Solomon is one of the clever card men from Chicago, and the book Solomon's Mind, written by EugeneBurgen is afascinating, Iov~ly produced collection of the fruits of his labors. JIM SWAIN he trick that I really love--~4 save for special, impromptu occasions, is the Francis Carlyle match trick in the original Stars of Magic. It is a superb piece of magic, and I've never seen anyone else ever do it. The effect 'Decapitation" (Stars of Magic, p.5.?; Series 4, No.1) is the type of surprising, visual magic with a clear effect that people talk about. In short, the magician scrapesthe head completely off a paper
j thing

also contaim his "Chop Cup" routine, perhapsthe strongest, mostmagical routine everdevised for theprop. Michael is in the midst of assembling a bookof his own magic, which, if his act is any indication, will certainly befilled with treasures. Roy WALTON A trick I have used since the publication of the book is the change of a silver coin to a copper one, the effect being repeated several times. It appearedin the !:!!!!!!:, ~!!!!!;js by Edward Victor, and was the trick that Oai Vernon based"Spellbound" on, a fact that he mentioned in a couple ofhis lecturesI attended. The Victor routine is delightful and has a wonderful steal that I have never seen anybody use. "The Changing Coin" is found on p.42 of Magic of the Hands (reprinted;along with its two sequels, by Kaufman and Company asThe Xic~ TrjJQ.gy~.l yearsago). Edward Victor created"The E~ Card Trick" as well as effectsthat were the basisof "The Coins and Champagne Glass, " "nIt, " and "Convincing Control." Roy Walton is a toweringfigure in card magic, whosename hasalreadycomeup a few times in this article. Sufficeit to say,several magicians,when indepentiy questioned I do ...but in regard to this article, said "Well theres this thats not one of the tricks Iin prepared to give Walton away. "

MICHAEL WEBER ~ne of my buried favorites is from the classic-Scarne on Card Tricks. At age 11 or 12, I used to carry the little 99-cent Signet paperback and a deck of cards around with me. Amazing that there June 2002
31

are great handlings of "Miraskill," "Card on Hugard and Braue volume should, I hope, indicate that its not "kid stuff " Paul hlis-recently co~leted a pr~ect devoted to exploring the Ceiling," and "Out of This World" in this one little book. Take a look at effect number 107-"Scarne's Six-Way Baffler." It books contents, which should prove to be compelling. is an earlier (and simpler) version of current favorites like Simon I! MEIR YEDID Aronson's "Shuffle Bored" and the recent "Chain Letter" card trick. The fact that it can be performed with a borrowed and shuffled deck ,~'Manipulative Aces" from Harry Lorayne's Quantum Leaps. Although

1 have not performed it in many years, it used to be one of my is a real benefit. The effect which follows (108, George Kaplan'ssimplified handling of the "Six-Way Baffler"), cuts down the procedure favorites as it gave me a chance to both educate people abo~various substantially and the interested performer will think of many ways types of shuffies while losing the Aces in the deck and then show off to take the basic procedure in new directions. my skill by cutting to the lost Aces. At the right time and place it was As mentionedearlie1;this is a book that is ove1f/owing with useable a "reputation maker." material. It is sti~ found in used book shopssince it has been Quantum Leaps waspublished by Harry in 1979 and its considered reprintedoften. The creditsin the book readlike a WhosWho of magic: by many to be one of his best books. "Manipulative Aces" is one of those Francis Carlyle, Martin Gardne1;Bill Simon, AI Altman, AI Bake1; effectsthat gives audiencesthe impressionyou are God with a deck of52 Cardini, Bob Humme1; Charles Jordan, Cliff Green, D1: Daley, cards ...or 47 cards if you're Harry ("Ive used this deck since I wasa kid. .."). Another killer in the book is ~n Amazing Revelation-Display." Dunninge1;Dai Vernon,Nate Leipzig, Henry Christ,Jack Chanin, AI Flosso,Audley WaLsoh, Stewart James, Oscar Weigle, Frank Garcia, Ive seenHarry make a room of magicians scream with this-it doesnl George Schindler, Louis Zingone, Harry Lorayne, Johnny Paul, see?n pos$i.ble .fqr a personwith~@1JI-1Ofingers to do. Mei1; though famous J!oward Thurston, Paul LePaul, GeorgeKaplan, Harry Houdini, ) r his "hand magic" (and unlike Harry has only nine fingers), is an StewartJudah, u: E Grant, Blackstone, BruceElliott, Si Stebbins, Paul complished and knowledgeableclose-up magician. His own books conRosini ...these arejust some of the names associated with tricks in thi~ tain excellent effects.In particula1; ~Up book!Michael Weberis deservedly considered a go-to man in the world --M.gir, 1~ritten by Gary Ouellet and published by the Camirand of magic.If you don't take my wordfor it-take his. Academy, contains his;!:!i!!emJ~ mtert~inin!! .'~~' one of the

best card effectsI've etfer seen.I recently watched Rafael Benatar slaya Magic Castleaudience with a skilljitl presentation of this impressive item. \ HER B Z A R ROW

l-. R PAUL I'..-, W ',II-~--L)ON If you want to know about an excellent little effect that almost

nobody does (or bothers to learn), check out "Under Your Hat" in ~ Royal Road 10 Card Magic. Reading the description you can see why most people pass it by. The first step is to borrow two hats, but since hats are so rare today, the effect is immediately dismissed. In actual fact I use this with my own hat-a crushable felt fedora and any cup or glass that is available. Now it is practical ifl happen to have the hat or ifl see another hat with a brim of any kind at someone's house. Why go to all this trouble? Check out the effect: Any five cards are selected by five people who collect the cards into a single pile and shuffle. The magician never knows which card belongs to which spectator. The cards are sealedin an envelope which is dropped into the hat and each spectator writes down the name of his card on a slip of paper and drops it into another hat (or cup, glass, bowl, etc.). The envelope is stood in plain sight on the brim of the mouth-down hat. Any slip of paper is now selected and handed to the performer. The owner of the card written on this slip is asked to take the envelope, open it, and remove the cards. There are only fiur-the missing card is his selection and it's under the hat. ~ The entire effect requires one very simple move but, presented properly, will completely baffle your audience. In this case it's not the effect (card disappears and is found under hat) that makes this so powerful but the procedure, the remarkably fair way in which the effect is resolved and, most importantly, the props used to present the effect. The challenge is to keep each phase of the setup interesting so the effect doesn't become boring before it has begun. The secret to that is to perform it after the audience has accepted you as a magician. I've got to hire Paul to do ad copy, becausehe makes me want to perfirm this effect tomorrow and every day thereafter fir the rest of my life! The Royal Road to Card Magic is, as already stated; a fabulous resource. Paul is well read; has an unwavering dedication to the craft, and chops that leave the rest of us mortals in awe. His praise of this
Genii

n answer to your request-this is an effect I've been doing since 1950 and have not seen anyone else perform. The source is Hugards Magic Monthly, which is also in book form. It is an effect by Clayton Rawson called "Sleight of Mind," which is based on an effect in a Rufus Steele book. Clayton's additions and handling upgraded the effect greatly in my opinion. It is a wonderful layman effect with great subtlety and leaves the spectators believing it really is mindreading. It's impromptu and uses two shuffled decks. I use my own handling, and as you have said, I hate to call attention to this item. The effect "Sleight of Mind" is from the February 1950 issue of Hugard's Magic Monthly, a periodical that was published from 1943-1964. Many say there has never been a better magazine. It is filled with a wide assortment of varied effects from some of tht best minds of the day. In addition, it contains reviews and commenn that make fir a fascinating magical time capsule. "Sleight of Mind" is based on Ed Marlos "Double Thought" whic~!!!as pub~n Rufus ~2 ~~i~g Card Tricks. The effect is about as impossible as mental magic with cards gets. Two spectatorsare involved. One card is peeked; another is purely a mental selection,yet the magician correctry identifies both cards with zero fishing and zero outs. The psychology involved is, in a word; cunning. Herb Zarrow is a name known to all card magicians, fir his famous false riffle shuffle, yet his contributiom to card magic extend far beyond that-his name has become synonymous with excellence. . For me, reading the replies from all these wonderful magicians was 2 rare tteat. I hope you are inspired to crack open a few of those book that may be gathering some dust, and delve into the wealth of matef ial they possess.