You will need three boxes of matches. These will give you one box of faked matches if you follow the procedure and preparation. You will be lucky to get more than 15 to 20 perfect fakes from one box of matches.

To make a fake hold the match as in (1) keeping a firm hold with both sets of fingers break the match both ways without parting the fingers keeping the match pressured together. You will hear it snap (if you do not hear a clear snap throw the match away and start again with another one). Break the match in the direction of the arrows, both ways, parting the fingers carefully — if you can see where you have broken it, throw it away. You will notice that some matches either bend or split. Discard these. The match must be broken cleanly; a break made this way will still be held together by its other two sides and will be invisible.

So what do we do with it? The GELLER FELLA is a natural. Talk about how you have found out that friction applied to wood warms it up enough to enable you to interfere with its resonance by giving its timbre (!) a shock wave. Roll the match between the finger and thumb a few times (2) then gently snap the bottom of the match a few times with the nail of the second finger. IT WILL SLOWLY BREAK IN HALF!

Keep a box full with you at all times together with a box of ordinary matches. You could gimmic a box to house fakes and genuines but I haven't troubled. One last thing — you can allow someone to 'do as I do' at the same time and they will match what you do with complete safety.

We PERFECT Taro Scuffle

Not only is the perfect faro shuffle one of the most difficult sleights to do, it is not easy to explain the reason for the varying degrees of success experienced during practice.

There are those who never seem to 'get off the ground', and others who become reasonably proficient but cannot guarantee a perfect faro shuffle. Being unable to discover the cause of these failures they discontinue their efforts. This article is an endeavour to explain the reasons for their lack of success, and to describe a method that enables the objective to be achieved every time.

Using unsuitable cards is the first possible, and probably most frequent reason why British cardmen fail to master the sleight. Aristoc, Tally-ho, Bicycle and Fox Lake brands, all manufactured in the U.S. will give the required results. The last mentioned can usually be obtained from the shops and railway bookstalls of W.H.Smith and Son under the name 'Delesi'.

Another cause of failure could be the condition of the cards. New cards do not 'mesh' readily and require a certain amount of handling to smooth and round off the edges. Cards in poor condition are useless, even cards that are clean in appearance but do not 'square up' easily should be discarded.

Finally, the pack, and both halves when divided, must be kept PERFECTLY SQUARE from the start and during the action until the shuffle is completed. Failure to observe this rule is the direct cause of 'breaks' appearing in the side of one, or both halves, of the pack during the action. They are a sure sign of impending failure. Occasionally it may be possible to rectify this by 'easing out' the interlaced cards and re-weaving them. Any success achieved by this action is purely fortuitous and therefore pointless. The problem will not occur if the cards are held firmly and kept perfectly square. The manner in which the cards are held during various positional changes in the method now to be described make this possible.

With a known card at the twenty-sixth position acting as a key to indicate the centre, square the pack and open it bookwise at the estimated centre about a quarter of an inch (1). Check if the card exposed at the opening is the key, if not, the thumb on the larger portion, this is ascertained by comparison, releases cards singly until the key card is reached. The thumb on the smaller portion collects the released cards, adding them to its packet. At no time during this adjustment must the thumbs relax their hold on the cards, except those released.

With the opening now at the centre, the right hand slides its half forward to the position shown in (2) where it is held with the left hand enabling the right hand to take up a new position as in (3).

It is now the turn of the right hand to hold both halves allowing the left to move to the position as in (4) with the thumb parallel along the side of its half, the corners, not visible in the illustration, fitting snugly at the base of the left thumb and the little finger.

The two halves are now moved apart and the half held in the right hand is tapped a few times on the end of the other half as in (5), varying the point of contact with each tap. This action ensures that the ends are square. Tapping the ends can be phased out gradually as the ability to keep the cards square increases.

Bring the two halves together with the near corner of the top card of the right hand half making contact with the near corner of the left hand half between the top and second cards fred tobinson

(6) in readiness for an 'out' faro. The left forefinger pressing on the backs of both halves acts as a guide for this action. If the cards are lined up accurately and the following actions carried out simultaneously the cards will start to mesh.

The right hand lightly presses the ends of the two halves together and makes an almost imperceptable lateral movement, during which, the left second finger presses lightly on the outer corner. Immediately the first few cards begin to mesh stop the inward pressure, but continue to bring the remaining cards of both halves into contact when they will continue to interlace completing the perfect faro shuffle. All the pressures during these actions are minimal. The use of force or excessive lateral movements in an attempt to encourage the cards to start interlacing is a major cause of failure as both tend to push the cards 'out of square'.

Having fulfilled the objects of this article there remains only one piece of advice to give if you wish to master the perfect faro shuffle — get weaving.

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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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