Visual "Hrinting" of a pound note or dollar bilk Performer ihows a thin open fronted wooden frame (which mayroe examined.)
"Photographic paper" is shown and placed in the fram<
seen in the frame. No covers fsed.
nds. to take a photograph of a pc ind note (or rame is now seen to SLOWLY AND VISIBLY ND NOTE which may be IMMEDIATELY AT ION .
work. Completely au No phoney mives or covers at any stage,
COMPLETELY VISUAL CLOSEyd MAGIC
a ti c and Self workin
Paper does not leave the spectator second,
Already acclaimed as far bettc ;r method, Including
'Polaroid Money1 and the Am^ricar ¿rfwhich conceal the paper at the vital momei
Very Highly Recomn ended.
a ti c and Self workin
Precision apparatus m&de in wood, into the pocket and always/ready to
Very Highly Recomn ended.
ay be examined. Slips atalogue No: 370 Price £5.00 or U.S. S 15.00
46 QueenstwmRd. LondonSWd England. Tet:01-7206257
Pabulsr is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular, P.O.Box 180, London SE12 8JJ England, or through many magic dealers. Subscription rates, including surface mail worldwide: UK: £10.00 (12 issues). £8.00 (6 issues), 88 panea (single issue). Abroad: £12.00 (12 issues), £6.00 (6 issues), £1.00 (single issue). USA: 830.00 (12 issues) 818.00 (6 issues),82.50 (single issue). Air Mail Extra: USA 86 cants par copy or 810.00 par year. Other rates on request. Editorial or Content Copy Should be sent to Walt Lees, Editor, 5 Essex Mansions, Essex Road South, London E11, England. Advertising rates sent on request.
THE TAMARIZ TURNOVER — A new look at the double lift by Juan Tamariz
Tamariz says, "I developed this move in 1968 and used it in various tricks and routines. It featured in my lectures many times. In 1976, I showed it to a well known American cardician. Two years later, an incorrect explanation appeared in a leading American magazine, described as an ANONYMOUS move. So to set the record straight, here is the correct explanation and for an added bonus a subtle addition by that great magician Ascaneo."
First the basic technique. It is necessary to start in the correct position. Fig 1 shows the starting position, the little finger is holding a break beneath the two top cards.
The three points to note in Fig 1 are:-
1) The pack is dead horizontal to the ground, not tilted in any direction.
2) The dotted line shown in the figure points directly to the right ear of the spectator on your extreme left. The pack must be held so that this line always points that way, throughout the move. This is most important, otherwise he may get a flash of what follows.
3) The left forefinger is curled against the outer short end of the pack.
In all double lifts it is advisable to cause the spectators to look away from the pack at the exact moment that the two cards are turned over as one. Tamariz accomplishes this by a very simple but effective expedient. He explains that he is going to show the spectators the card on top of the pack. As he tells them this he glances down at the card and taps the back of it with the right forefinger, as though to emphasise which card he means. The forefinger is then raised about eighteen inches, with his eyes following it. This movement should not be exaggerated or affected but at the same time it should be done with sufficient force so that the eyes of the spectators also follow it. It is natural for the eye to follow a moving object. Tamariz has utilised this principle to draw the eyes of the audience upward and away from the pack.
The finger stops in front of the performer's face, so that the spectators' eyes are now in line with the performers and he has eye to eye contact. When this happens he holds their attention with some conversational remark or question about the trick that he is going to perform. Whilst the attention of the audience is thus held, the hand drops casually back to the pack and turns over the two top cards as one. The actual mechanics of this part of the move are not important. Tamariz has numerous different ways that he uses, what matters is the misdirection to cover the move.
Now study Fig 2. This shows the position of the two cards as one on completion of the double turnover. Here again there are several important points to notice:-
1) The cards extend about one inch beyond the outer short end of the pack. This is the opposite way round to most double lifts, where the cards usually project at the inner end.
2) The fingers of the hand have opened out, so that the pack is just resting on the palm of the hand and not gripped at any part. This takes some confidence to do as there is a natural tendency on the performer's part to worry about the double card splitting. However, if the pack is held dead horizontal and the hand is steady this will not happen.
3) It is only when this position has been arrived at that the performer looks down at the card for the first time. The audience should have missed the actual turnover and positioning of the card, so this is the first time that they will see it. The open position of the hand gives an impression of fairness and casual handling that the printed word cannot convey. When Juan Tamariz does this move, nobody suspects anything.
Now comes the method of turning the card face down again. This is the real convincer. Remember, though, to keep the dotted line shown in Fig 1 pointing towards the left hand spectator's right ear.
The fingers are allowed to curl around the pack once more, the left forefinger returning to the outer short edge as in Fig 1. The right hand takes the double card(s) about W from the right outer corner. The thumb is on the face of the card(s) and the first three fingers are underneath. The two cards as one are now brought to the position shown in Fig 3. It is important that the double card lies at the extreme right hand edge of the pack and that the short edges of the double are in line with the short edges of the pack.
Begin to turn the card over "bookwise" to the Fig 4 position. You now apparently release the card so that it just falls onto the pack. That is what you apparently do. In reality a very pretty piece of deception takes place.
A fraction of a second before the card is released, the right fingers move forward about an inch, taking the top card of the pair with them. The right thumb does not move and holds back the face card of the pair. The short ends of this card are still in line with the short ends of the pack. Thus, when the two cards finally land on top of the pack, the upper one will be outjogged about an inch, while the lower one will be flush on top of the pack.
Release the cards as soon as the fingers have moved the top card forward, so that the finger movement and the releasing of the card blend into one single action. It is important that the cards be released and allowed to fall. Under
no circumstances must the right hand place them on top of the pack. The whole sequence is designed to give a casual, almost negligent appearance. This would be utterly destroyed were the performer to carefully place the cards down.
Before going any further, there are one or two details that must be got right :-
1) The separation of the cards prior to their release is the key to the whole thing. Obviously the movement of the top card must be forward only. There must be no sideways movement.
A trial will show that the top of the pack can itself form a guide to slide the card on. In other words, if the bottom long edge of the double card is kept gently resting against the top card of the pack throughout, the separation will be a forward movement only.
2) The exact moment to release the card(s) is very important. Release it(them) too soon and the audience will see everything. On the other hand a belated release will destroy the illusion of nonchallance. A good guide is to close the pair "bookwise" onto the pack, until an angle of ninety degrees is reached (i.e. they are vertical to the pack) then just take them a fraction of an inch further before letting go.
3) Finally there is the follow through with the right hand. As soon as the cards have been released, the performer apparently dismisses them from his mind and gestures with the right hand, away from the pack as the card(s) fall(s).
This gesturing with the right hand is rot a big or exaggerated movement. It is simply a movement of the hand upwards and away from the pack, while you address some remark to the audience relevant either to the card or the trick in general.
By now the two cards will have landed on top of the pack. The face card of the pair, the one the audience were shown, will be flush on top of the pack (see post script at the end of this article). The top card of the pair, the one that the audience did not see, will be lying face down on the pack but outjogged about an inch as in Fig 5. Notice how the left fingers have opened out as soon as the card(s) have landed. Again giving the impression of openness and fairness.
Return your attention to the cards, then with the right hand lift off the top card. The card should not be slid off or dealt off the pack and of course it should not be pushed flush with the pack. Hold the card by the extreme outer right corner and lift it vertically off the pack, allowing everybody to see that there is only one card.
Let us return to the point where the two cards have been released from the right hand and are allowed to fall bookwise on top of the pack. Ideally when they land, the face card of the pair will land flush on top of the pack. This is what should be aimed for. Sometimes, however, the card may land as in Fig 6.
The performer should strive to avoid this as it is an obvious giveaway. One way of guarding against its happening is to kick the face card of the pair backwards very slightly as the cards are released from the right hand. The right thumb does the kicking. When you do this the card wil} either end up flush on the pack, or more frequently stepped backwards very slightly at the rear (i.e. injogged). Although this is not ideal, it is permissible as it cannot be seen by tli audience. See Fig 7. When this happens, use th left forefinger to push the pack backwards (towards yourself) until it lines up with the card. This is done before the top card is lifted off by the right hand.
This then is the Tamariz technique for the double lift and a more artistic handling would be hard to find. In 1975 Juan showed the move to Mr Ascanio, who developed :-
The Ascanio Addition to the Tamariz Turnover
This will require a lot of practice to perfect but Tamariz demonstrated it so we know it can be done!
Follow the above instructions until the position shown in Fig 2 is reached. It is here that the essential difference occurs. This difference is shown in Fig 8. The double card, instead of lying on top of the pack as in the standard method is balancing on the forefinger of the left hand. The inner short end of the card rests on the pack. The tip of the forefinger is in thfe centre of the projecting card and about %" from the outer end. With the card(s) so balanced the forefinger is moved forward (away from the performer) about This will cause the double card to move forward without separating, greatly adding to the illusion that it is just a single card. Do not attempt to move the finger back again as this will merely cause the cards to separate.
Continue with the basic move until the position shown in Fig 4 is reached. At this point lift the projecting card with the forefinger as in Fig 8 and move the finger back and forth a little thereby emphasising that the card is just a single one, before lifting it off the pack and proceeding with the trick you are doing.
Study this one '^sely, folks! It is an object lesson in how a sleight should be tackled.
HOLY SMOKE! by David Ben
HOLY SMOKE! by David Ben
Magician removes a rolling paper'from a packet and then proceeds to place invisible tobacco in it to form a cigarette. He lights the paper, burning it up in a flash and transforming it into a real cigarette. Magi lights the cigarette, blows some smoke into the air and then removes two half dollars from the smoke. The half dollars are then placed inside the left fist and squeezed. The hand, when opened, reveals that the halves have transformed into a one dollar bill. The hands can then be shown empty both front and back.
In your right jacket pocket place 1 cigarette, a lighter, and a crumpled up 1 dollar bill. Cut out a piece of flash paper the size of a cigarette paper and place it in your packet of cigarette papers. The packet of papers and two half dollars are placed in your left jacket pocket.
Stage One — Production of Cigarette
The left hand enters the left pocket to get the package of papers. While in the pocket the hand gets the 2 halves into the Downs Oblique Palm (Lower Downs Palm). The papers are removed from the pocket along with the secreted coins. Open the packet and hold it from the top pinched between the left second finger and thumb. The coins will remain perfectly hidden. The right hand removes a paper, really the flash paper and the left hand places the packet on the table. Both hands come together as if rolling a cigarette. Hold the paper in the left hand while the right hand 'sprinkles' invisible tobacco in the paper. The right hand goes to the right pocket to remove the lighter. While in the pocket the right hand Slydini Palms the cigarette and then withdraws the lighter from the pocket and places it on the table. Hold the paper with both hands and pretend to lick and close the paper as if you have finished rolling the cigarette. The right hand, with the coins still oblique palmed, picks up the lighter ■ and lights the flash paper. While the paper flashes and burns, extend the cigarette and you will have completed a beautiful flash production of a cigarette. The left hand still holding the lighter, lights the cigarette, and then places it on the table. Take a few drags from the cigarette and then pick up the lighter and packet of papers in the right hand and deposit them in your right jacket pocket. Finger palm the crumpled $1 bill in the right hand and withdraw the hand from the pocket.
Stage Two — Production of Coins
With the bill still palmed in the right hand reach up to your mouth to take the cigarette away. Take one last drag and blow the smoke into the air. With the coins still palmed in the left hand reach up in the smoke and slide a coin to the fingertips as if you produced the coin from the smoke. Pinch the coin between the left second finger and thumb and place it on the table. The remaining coin in the left hand will be perfectly concealed in the oblique palm during this action. Repeat this same sequence to produce the second coin from the smoke and place it on the table also.
Stage Three — Transformation of Coins
The final stage is solely Ross Bertram's "Hush Money" (Magic and Methods of Ross Bertram, p. 51). After the coins are Downs Palmed, take the cigarette and wave it over your left hand for effect. Open the hand revealing the bill. Return the cigarette to your mouth and then unfold the bill. Use the initial 'clean up' suggested in Ross' fine book. Place the $1 bill with the coins in your right trouser pocket and dispose of the cigarette as you wish.
No originality is claimed here, only the routining. Several points make this routine particularly effective, the most important being the 'one ahead' principle. Because the left hand never once returns to the pocket, the coins that are produced should be a surprise. Especially since all the steals are logically covered and then delayed. The productions and transformations should proceed very smoothly. Practice this routine a little and you will be able to present a very pretty magical effect.
Not everybody wilt be familiar with the Ross Bertram effect. This need not, however, occasion too much difficulty. There are numerous alternatives in magical literature and the reader will not have to look very hard to find a clean method of switching two visible coins for a note concealed in the right hand.
Obviously the text method is preferred but as David says, the routining is the most important aspect.
EDITORIAL January 1982
Here we are at the start of Volume 7. At the moment we seem to be running approximately a year late. Let us hope that we can keep sufficient issues in the pipeline to pull back on that.
Pat Page, who has never, as far as I am aware, missed a single issue, has done much over the years to liven up Pabular. I do not actually get to see Pat's column until the magazine arrives. He sends all of his articles straight through to Nick Bolton. Consequently, his is always the first column that I turn to. He always has something pertinent to say, even when he is just talking about his travels. I hope that he sticks around for many more volumes.
Last month, Pat's travels took him, amongst other things, to the Magic Circle Close-Up Competition. One of his comments about the competitors was that ". . .at least a third of them shouldn't have been there." If one were to be pedantic, one could say that any member has the right to enter the competition, so there is no reason why they should not have been there. Of course, we know that this is not at all what Pat meant. I interpret his meaning to be, that at least a third of them should have had more sense than to enter. This prompted me to wonder about competitions in general and just
why does anybody enter them. Especially people who must surely know that they have not got an act of sufficiently high standard.
On the face of it, there should be only one reason for entering a competition, and that is to win. Obviously not everybody is going to win, but everybody who enters should be a potential winner. However, there are people who enter knowing that in no way are they potential winners. Some of them do so with good reasons. I have attempted to list a few of these possible reasons below:
1) Pressure from the organiser. Sometimes, if a competition is scheduled to take place and entries are a bit slow coming in, it is not altogether unknown for the organiser to "persuade" one or two friends to enter in order to make up the numbers.
2) As a "Shop Window". This is when a newcomer enters, because he knows that he is reasonably good and just wants to let the others see him work, in order to gain acceptance. In some competitions, as with the Magic Circle, there are people who are taking entrance examinations etc. These people are not looking necessarily towards winning any prizes. They just need to notch up a certain number of marks in order to pass their own individual test.
3) As a prelude to a more important competition. Say that a person has an act, which he intends to enter in a major competition somewhere. It makes,sense to knock it into shape by entering smaller local competitions.
These, then, are some reasons why a performer may legitimately enter a competition, without necessarily looking to win it. No doubt there are others. However, all of these reasons, with the possible exception of the first, would suggest a certain ambition to achieve a reasonable standard. And even the first category would normally produce performers who the organiser felt would uphold the good name of the event.
So we are still left with the question of why so many substandard performers turn up year after year in different competitions. Is it that competitions really do not matter? After all, if twenty men sit down and perform their acts and one is voted the best, what does it prove? Does it make him a good magician and elevate him in the sight of his colleagues? Not necessarily. It merely means that of the twenty people who chose to enter, that particular panel of judges, on that particular night, in front of that particular audience, thought that he was to some extent superior to the remaining nineteen. In front of another audience, on a different night, the result might not have been the same. The whole twenty entrants might be the twenty worst magicians in the country anyway. Winning proves very little. Nor are the rewards much to write home about. A small cash prize possibly, a worn out tin cup or shield on loan for a year, your name on some scroll or plaque. Then what? Do people rush to book you? Do all sorts of doors fly open before you? No, they do not. It would be interesting to see lists of major competition winners over the last twenty years. Some have gone on to greater things, but a good proportion seem to have disappeared completely as national figures. Often winning a major award seems to be a one way ticket to obscurity. Just think how many I.B.M. Shield winners in the last twenty years have walked off the stage after the Gala Show, and the following year have never been seen at a major convention. Then think how many people are regularly seen over and over again, and yet have never won a competition of any importance in their lives.
Winning a competition may have provided a useful springboard in some people's careers. I rather fancy that those people would have got where they did just the same had they not won. The competition may have helped them, but rarely has it been a turning point.
If we accept that what has so far been said is true, we are left with the question: do compeitions matter? Are they important? If so, what is their importance? Does it matter if their standard is high or low?
My own personal view (and this is only a hypothesis) is that competitions are important and do matter. I believe that ever since the dawn of time people have always enjoyed competing with each other in contests of skill/strength etc. Also people have enjoyed watching these competitions. Perhaps it might go even deeper than that. Perhaps we obtain some kind of tribal reassurance from competing/watching the fittest compete. It might be a sort of collective show of strength. Perhaps this is one reason why we feel let down when a competition is below par, or annoyed with a competitor, who we think is not fit to be representing us.
One of the things that set magical competitions apart from the jousting tournaments of days of yore, is that the losers do not suffer physical pain. That privilege is left to the audience! Perhaps this is why the weak are less reticent about entering than they would be if it were say a lion taming contest. After all the only thing that can get hurt is their pride. If they have not got enough of that to make them want to produce a creditable act, then the injuries will be purely cosmetic anyway.
Perhaps the answer is to introduce a system of forfeits, whereby the people with the lowest marks have to pay for the prizes won by the triumphant. Or alternatively they could always have compulsory pelting with rotten vegetables.
"The Complete Walt Lees CANNIBAL CARD ACT", by Walt Lees. Forty pages, ninety nine photographs. Author's publication. Price £4.75 plus postage 32p.
The title of this book, and the very colourful and highly descriptive front cover will, I'm sure, make casual observers wonder just what lies between the covers. A sub-heading — Top Class Card Magic' — says it all, however.
The fearless and intrepid Editor of Magic's sometime monthly magazine has done it again. Three books in almost as many minutes. First came 'Four Professional Card Tricks', breathlessly followed by 'Roger Crossthwaite's Commercial Card Magic'. And now, this third opus — in the same style and format as the previous duo. Sad to say there is less of the Lees humour in this tome than has been evident recently, but the material is as strong as ever.
The book features a complete eight to ten minute commercial routine of card magic, the centrepiece of which is the late Lynn Searle's 'Cannibal Cards' effect. But, as ever, with Walt Lees, there's a lot more to it than that.
The routine kicks off with a couple of strong and direct card effects which, though having nothing specifically to do with the Cannibal Cards, sets the scene for what is really the meat of the routine, and introduces the 'Cannibals', loosely disguised as the four jacks. The black jacks appear first — magically (how else?) and promptly change into the red jacks. The black jacks then reappear, and a small packet effect follows.
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.