Bluff Card Shift

The starting position for the shift is as (Fig.3).

Move 1: The right fingers push the three protruding cards flush with the deck, this action causes the cards to step at the rear now the right thumb breaks the deck OVER THE LAST STEPPED CARD FROM THE REAR (Fig.4).

Move 2: The right thumb lifts the cards above the break to allow the little finger of the left hand to take over the break from the right thumb, the left little finger taking its break in the normal manner at the side of the deck. Move 3: Now the cards are all squared up using the right fingers at the front and thumb at the rear, the deck being held in the left hand. Immediately the cards are square the right thumb regains the break from the left little finger.

Move 4: With both hands holding the deck, the left thumb riffles down the left side of deck to a point some ten cards from the bottom and a DOUBLE UNDER CUT IS MADE.

This double under cut is a vital final action to the bluff shift and brings the three face up CLUBS to the TOP of the deck BUT WITH ONE FACE DOWN CARD OVER EACH, these face down cards are the ACE, TWO, THREE of Hearts respectively, and because of this care must be exercised when making the D U Cut that these face up cards are never seen by the onlookers.

The face up cards are now apparently lost in the deck, this is enhanced by fanning the deck at this point hiding the block of six at the right of the face down fan, showing all the cards face downwards.

So much for the BLUFF SHIFT it will now be obvious to the card man that by double undercutting the single interlaced cards from top to bottom, the face up cards will appear one at a time in a surprising manner, and this would be alright in an ace cutting routine, which this is NOT, so although we are to produce the lost ACE, TWO AND THREE of CLUBS in the manner described above, at the same time a further sequence of moves takes place and again we have a DOUBLE SURPRISE CLIMAX TO

THE ROUTINE which is well worth the effort, especially as the moves are already in your armoury.

The action is as follows: with deck held in left hand in face down position Double under cut the top card to the bottom revealing the ACE of clubs face up on to the top of the deck, remove this Ace and place it face up onto the table. Now the top card which passed to the bottom during the D U cut action is the face down ACE OF HEARTS and the TWIN to the ACE OF CLUBS lying face up on the table, this is not yet disclosed at this stage, instead, the deck in the left hand as (Fig.l), the left first finger pushes off the bottom half into the right hand in readiness to execute the Piet Forten single card pop out (see Pabular No.6 Vol.3) with the bottom packet in the right fingers the face down ACE OF HEARTS is produced in this manner and is dropped onto the face up ACE OF CLUBS, then the right hand packet is replaced UNDER the left hand packet. The above sequence of moves is repeated to produce

the TWO of Clubs, this is tabled as before and its twin produced, as before this being placed face down on top of the face ud TWO of Clubs which lies to the right of the Ace. The actions are again repeated for the THREE of clubs and the last face down card is produced and tabled.

All that now remains is for the spectator to be asked to turn the face down cards face up to reveal the lost ACE, TWO and THREE of Hearts with which the routine commenced, matched with their appropriate Ace, Two, Three of Clubs.

You will find the above quite entertaining if slotted into your existing elevator routine, as it provides for a number of additional surprises. I use it in the middle of my own routine but that is a matter of personal preference. Hope you like mark Westoii

BOOK REVIEWS C^SI^

CLASSIC TACKLERS ^CMfcO

by Phil Goldstein «^VBhH^BEI

A small booklet of 16 pages which describes the author's methods which resulted from tackling some of the classics of card magic.

The tricks to come in for treatment are under differing titles — Solo Aces — Follow the Leader — Fingertip Poker is a variation on the effect of cutting four of a kind but failihg on the last card and finally succeeding when the first three cards change to match the outlander

— a variation on Alex Elmsley's 'One at a Time Collectors' (see Pabular Vol.1 Number 3) — three methods for secretly exchanging a packet of four cards, one using a double facer — a four phase Oil and Water — an Ambitious Card move

— and an elaboration of the twisting plot entitled Counter Revolution which appeared in Pabular Vol.3 Number 4.

Facility with the following sleights is required to perform the effects. Biddle Steal — Downs change — Charlier pass — Buckle count — and Glide.

If you have mastered some or all of the above there should be something to profit you within this booklet.

THE BLUE BOOK OF MENTALISM by Phil Goldstein Three dollars

This 27 page booklet describes 13 tricks of a mental nature as would be expected from the title. The interesting introduction explains the limitations in this particular field of magic and danger of falling into constant repetition and thus boring our audiences. The author» a professional mentalist, believes the only way out of this straightjacket is to devise new and interesting themes and the booklet is a result of his efforts.

The Living and Dead Test becomes a less morbid affair, the 'dead' name becoming a location a spectator would like to visit. A simple two-person code is made more interesting with the introduction of burnt ashes and so on. The methods used are practical, most having been used before, credits being given to the originators.

If you are seeking new and entertaining presentations then you are almost certain to find something within. Even if you are not a mentalist 'Chaos' which uses a gimmick which so many have bought, without seeming able to find a use for it, is ah item with considerable possibilities.

'CARD TRICKS for people who don't do card tricks . . and some for those who do* — a Lecture by Phil Goldstein Three dollars

The lengthy title covers the front of this large paged manuscript and there are nine others. One of an introductory nature dealing mainly with the need for directness in the presentation of effects to avoid losing entertainment value through shifting the focal point of the spectator's attention during the trick for no valid reason. Well worth studying.

There is an article on Controls — the short card and corner shot are detailed plus other methods more or less well-known.

The trick content totals nine. An entertaining routine in which selected cards are found by 'pulse reading'. A sandwich type effect wherein two cards from packs of different colours transpose. A self-working counting and spelling effect in which a selected card is found. Four Aces basic routine repeated twice with amusing variations. Unspotted dice are thrown and spectator imagines them to be any number he wishes which when added together a previously selected card is found at that position in the pack. Production of four aces. Card in the Wallet with an 'up the garden path theme', and Follow the Leader which also appears in CLASSIC TACKLER. The author has succeeded in increasing the entertainment value of some well-known principles.

The above may be obtained from the author — 15 Glenville Ave /l/, Allston, Mass.02134 USA, 50c over price stated outside USA. May also be obtained from most magical booksellers, by Fred Robinson

In this effect two coins with central holes are threaded onto a cord and the ends knotted. One coin becomes free whilst being held in a spectator's hand.

You will require a thin woven nylon cord, and two coins equal in diameter with holes through the centre, one being larger than the other. For example, a Chinese coin with a square hole and a Greek or Danish coin with a smaller circular hole.

Commence by displaying the coins on the open palm of the left hand and with the right hand move the Chinese coin to the tips of the left fingers and then put the Greek one squarely on top. Pick up both coins together with the right hand and place therii between the thumb and index finger of the left hand which holds them edgewise.

The right hand now pushes about two inches of the cord through the holes in the coins from the rear where it is held with the left index finger at the front and the left thumb at the rear. The right hand then slides down the cord to the other end which it picks up and holds level with the coins about five inches away to the right.

The left fingers and thumb retaining their grip on the cord, release the coins which fall to the centre of the cord. The right hand now passes its end of the cord to the left hand which holds both ends between its thumb and forefinger.

The right hand now takes both coins between thumb and first and second fingers in such a way that the coins do not orotrude beyond the fingertips, and the left hand releases the ends of the cord.

The right hand gripping the coins and the cord at the point where it passes through the coins draws the cord (both strands) through the left hand. As the hands come together to start this action, the cord strikes the edge of the left palm at the base of the little finger. Repeat the action but this time release the Chinese coin letting it fall onto the left hand at base of third finger of the left hand. Do not finger palm the coin but hold the hand in a naturally relaxed position with the fingers slightly curved hiding the coin.

The right hand now throws the Greek coin, which is still threaded on the cord, into the left hand directly on top of the Chinese coin. The audience, being unaware that the left hand contains a stolen coin will assume that the 'clink' comes from two coins threaded on the cord.

The left hand is now opened and the audience appear to see the coins with the thread passing through both of them. The reason for one coin having a smaller hole disguises the fact that the cord is only threaded through the topmost coin.

Hand the two ends of the cord to a spectator requesting him to knot them together, and then with the right hand pick up both coins from the left palm with the thumb on one edge and the first and second fingers on the opposite edge. Place them on the palm of a spectator who is asked to close his fingers over them. Pull gently on the doubled cord, but do not pull it out of the spectator's hand. Relax tension from pull and ask spectator to open his hand. Resume pulling and the cord comes away with the Greek coin threaded on it, leaving the Chinese coin on the spectator's palm, giving the appearance of a visible penetration.

Van Bossi assisted by Anthony Brahams

¿mWMAL ¿7VIAGIC

EFFECT:

Five cards are shown. On each card there is printed the name of an animal. The animals are: Badger, Stoat, Weasel, Water Otter and Fox. The cards are mixed, then laid face down on the table. One of the cards is chosen, looked at by a spectator, who is asked to mix it with the rest of the cards. The performer takes them, lays them on the palm of his left hand, and drapes a handkerchief over them.

He removes the cards one at a time, saying each time, "This is not your card?" and turns it over before laying it on the table so that the spectators, can see the name. Taking the last one he says, "This is your card." He removes it face down, and asks "What name did you select?" The spectator says, "Water Otter." Turning the card face up the performer shows that the last card is the Water Otter. Almost as an afterthought he says to the spectator, "By the way, have you ever seen a water otter?" If the spectator says that he hasn't the performer asks him to watch carefully. Taking the handkerchief by its centre, he slowly raises it, and says, "And there before your very eyes a Water Otter."

On the palm of his hand there stands a miniature kettle.

The only requirements are, a handkerchief, five cards with the animals names printed on them. The back of the Otter card is marked so that the performer can see it at a glance. Miniature kettles are easily obtainable, made in brass, from novelty and gift shops.

arthur setteringtoii

METHOD:

The card is forced. I use the simplest one. The cards are laid in a row, and the spectator is asked to cover three of them with his hand. If the force card is one of the three, the others are discarded. He is asked to cover a card with each hand. If the uncovered card is the force card, he is asked to add the two to the discards. If the force card is one of the two, he is asked to raise one hand. If that card is the force card he is asked to discard the other. If the covered card is the force card, the performer removes the other card and adds it to the pile.

The spectator looks at the card, and mixes it with the others. Meanwhile, the performer takes a handkerchief from his pocket, also the kettle. The performer takes the cards, but before putting them under the handkerchief fans them with one hand. It appears to be a flourish, but actually the performer notes the position of the marked card. He lays the cards on the left palm, drapes the handkerchief over the hand, and while doing this hangs the kettle on the left little finger.

He takes the cards one by one, and just before they appear, he says, "That's not it." When he comes to the marked card he begins to take the cards from the bottom of the heap. Finally he comes to the force card. The spectator is asked to name his selection, and the performer turns the card over.

It is a simple matter under the cover of the handkerchief to remove, one handed, the kettle, from the little finger, and position it on the palm of the hand.

If, by any chance, a spectator says that he has seen a Water Otter, simply produce the kettle and say, "Well, there's another."

THE RAMSAY RE-UNION A

by Fred Robinson f.

This two-day event organised by Pabular U to celebrate the centenary of the birth of Vg

Britain's great close-up performer John Ramsay gljj began with a 'Get Together' at mid-day Saturday.® 12th of March in the Birmingham and Midland fy Institute when magicians of twelve different 11 countries met to renew old friendships and make V new ones over drinks and light refreshments. /

At 2.00pm we all moved into the Small Theatre which must be the finest possible venue for performing and watching close-up magic anywhere in the country. With its comfortable upholstered raked seating giving everyone an uninterrupted view of the performers, superb lighting and acoustics, plus provisions for showing films, it had everything we required.

Patrick Page, Master of Ceremonies throughout the event, opened the session by introducing those responsible for its organisation and emphasised that it was going to be a fun event and the intention was that everything would be informal, and then proceeded to suggest that the RAMSAY RE-UNION should be officially declared open. (In case it gets squeezed out through lack of space let us say that at this point Pat had created, within the first few moments, the right atmosphere and a rapport with those present which continued throughout — a major contribution to the success of the event. To perform this function Pat decided to invite that legendary and respected gentleman of magic 'Professor* Dai Vernon, who just happened to be there, to do the honours.

Having duly performed the ceremony the 'Professor' sat down and immediately created some amusement as he tried to move the microphone remarking "I haven't much to say, but I do want it to be heard." A couple more tries, and more laughter, before it was made clear that it was fixed to the floor and belonged to Vic Pinto who was recording the whole event (advt). The 'Professor' went ahead relating many anecdotes relevant to John Ramsay. Here is one.

For six months Dr Daley had been practising what has now become known as the Ramsay coin vanish and considered he had it about perfect. The opportunity arose for the 'Professor' to suggest that Dr Daley perform it #L for John. After he had done so John Ramsay said "Ye didna have it Doc, ye didna have it." The 'Professor' went on to say "John didna say WM why he didna have it, just that he didna have it.'WB During the talk he broke the news that Andrew W8M Galloway had re-written Ramsay's main fT

tricks and that Gordon Bruce had made 300 I | illustrations so in the not too distant future I

conjurers would have available the correct information required to perform the tricks of John Ramsay.

Regretfully we have insufficient space to include all the stories which included such names as Glen Pope, Ed. Balducci, A1 Baker, Warren Keene, Jarrow, Malini, Nate Leipzig, Tommy Downs, Silent Mora etc etc.

We also received some advice. Take one trick and work on it, study all aspects of it, practise it, and perform it as often as possible with the object of getting it perfect. Eventually you will have a trick which you can do better than anyone else in the world and no matter who else performs the same trick it will be you they will want to see perform it, and it will be you they will talk about whenever they see anyone else do it.

Over twenty years ago those who saw Dai Vernon on his first visit to this country had their ideas and approach to close-up magic revolutionised by his performances and lectures. On this occasion we just listened to the 'Professor' for whom magic is a great art and not 'just something for kids' and counted ourselves fortunate in being once again favoured with the company of one who only claims 'to be a lover of magic'.

Next was the Fred Kaps lecture. Another great treat from a performer regarded by many as the greatest all-round magician in the world of magic today. He included a ring off rope, his eleven note (bill) trick, card in the box and many others, notably the cups and balls. It was this latter which enthused Walt Lees (see his four page write-up in Info) so much that he exclaimed (uncharacteristically) "I've had my money's worth."

This time from France Philippe Fiahlo, complete with beret and looking more like a French peasant than the genuine article, broke open a French style loaf to find his magic wand and then proceeded to perform the cups and balls, Vernon style, following this with a self-working Chink-a-Chink which continued to work despite one piece being nailed to the table. Very funny.

From The Magic Castle, professional close-up magician Ron Wilson with Card in the Wallet, a Micro Macro variation and others including a fine version of the colour changing silk with 'sucker' explanation.

Again from France Gaeton Bloom (also far fc, from serious) who used hammer and nails to ■¡¡I fasten a selected card to a block of wood which T I somehow escaped and was ultimately found in 1 I the bandage covering a thumb injured during the j previous hammering. Also a card trick using a r razor blade described in a recent Pabular. Again very funny.

Top Row: Pat Page, Dai Vernon, Fred Kaps, Philippe Fialho, Eon Wilson, David Roth. Second Row: Gaeton Bloom, Doug Alker, David Roth, Bob Read. Third Row: Fred Kaps, Da/ Vernon, Pat Page, Fred Kaps, Freddie Fah, Danny Ray, David Roth, Pat Page. Los Mancos Bottom Row: The McKissicks, Gaeton Bloom, Dai Vernon and Coat of Arms, Trevor Lewis, Dai Vernon, Philippe Fiahlo, Geoff Ray, Roy Johnson

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Fundamentals of Magick

Fundamentals of Magick

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.

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