AcBOODim

For the purpose of describing the sleight assume that it is required to show four normal cards as double backers. Take any five cards and turn the bottom one face up and hold the packet in the right hand between the fingers at the outer end and the thumb at the inner end, with the top card pushed over towards the right (Fig. 1). Note that the fingers should be well over the end of the packet enabling them to be curled over the end press on the back of the bottom card and swivel it towards the right (Fig. 2). This will be recognised as the first part of the Kelly replacement sleight.

To commence showing the five cards as four double backers swivel the bottom card clear as explained as the left hand takes the middle three cards between the thumb and fingers. Immediately the packet of three is clear the right index and little fingers move from their position at the end of the two cards now remaining to the sides squaring them (Fig. 3). The right hand turns over to show that the card(s) has a back on both sides, and then turns back to its original position.

The left thumb now pushes the top card of the left hand packet forward and the right hand comes in and takes this card beneath the card? it is holding. Actually the bottom card is Kelly swivelled and the card from the top of the left hand packet goes between the two cards and again the right index and little fingers move to the sides squaring them up before turning the packet over to show that the second card is also a double backer. The third and last cards are shown to have backs on both sides by repeating the previous move.

The sleight works just as well for a larger number of cards, and subject to plot eliminates forever the need to Hindu shuffle to achieve the same effect.

As an Ambitious Card move it will transfer the bottom card to the second down position — thus permitting a double lift to show the card back on the top. No doubt cardicians will discover many other uses for this universal count.

All the tricks in this issue are from the ( fertile and imaginative brain of Pabular's Arf Editor, Eric Mason. He is a professional artist whose work can be seen from time to time in almost every place in and around London where pictures are sold.

It is not, therefore, surprising that the art work in this magazine is regarded by many who understand these matters as being unequalled in the field of magical periodicals, either past or present. Eric was also responsible for the illustrations in the Pageboy's controversial Big Book of Magic (now in paperback) and the new cover design of the I.B.M. (British Ring) Budget. It is hardly necessary to mention that he is the inventor of the secret writing gimmick 'BOON' which he has recently improved making it even easier to handle.

The tricks which appear in this issue are indicative of where his chief interest lies in matters magical — cards and mental effects. It is probably the latter which exercises his mind most, and when holding one man exhibitions of his paintings he uses contact mindreading to find a hidden picture as a publicity stunt. This he does with great speed and accuracy using a technique of his own which has not as yet appeared in print. Perhaps some day he will be persuaded to share the secret with us, but meanwhile readers will find the tricks explained herein and which I have seen performed on numerous occasions under the toughest of conditions to be effective and above all practical. This latter quality is the chief concern when considering effects for publication in this magazine and to know that they are actually being performed regularly by the contributors, as these tricks are, is something we would like to achieve with every issue.

A quote from a letter just received from Mike Caveney whose stand-up comedy magic act registered so strongly at Harrogate — "One of the real treats was meeting you and the rest of the Pabular gang along with Bob Read in the pub by the Magic Circle. It's easier for me now to understand how Pabular maintains its high standards." Similar remarks have been made by others including John Holland whose excellent book reviews appear in the Magic Circular. Seeing magic performed under these conditions for ordinary people keeps ones feet somewhere near the ground and helps gauge the kind of magic that appeals to the general public, and thus reduces the possibility of the magazine becoming overloaded with the kind of magic

Fred Robinson

that is only performed to other magicians all.

if at

Was this article helpful?

0 0

Post a comment