Impromptu Coin Dropper

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Needing a coin dropper urgently I came up with this idea using an ice lolly stick (flat type), matchbox case, two elastic bands, and a couple of paper clips, and a safety pin.

First of all straighten one paper clip and pierce it through the stick, about an inch from one end. Make sure the piece protruding is slightly more than the thickness of the matchbox case and then twist the remainder of the clip around the stick (see Fig 1).

The second paper clip is also straightened but then it is bent into a 'V' shape and fixed onto the matchbox case as Fig 2 so that it can move up and down as it will be this that secures the holder to the jacket.

Next take the matchbox base and lay it on the stick so that one end lays against the protruding paper clip and put the elastic bands around them to secure them (see Fig 3).

To fix, engage the safety pin in the 'V' shape and your jacket so that the bottom edge of the stick is in line with bottom edge of your jacket. To load, just drop the coin, (if one wants to produce more than one tie them with cotton) into the top of the matchbox.

To operate is simple. With the palm of the hand press the top of the stick which makes the bottom of the stick pivot and allows the coin to drop and be caught by the curled finger. The whole operation being supported by your leg (see Fig 4). This type of hold could also be fixed to the side of a table and be ideal for close-up performers

This trick lends uself to a number or humourous situations. During the routine described in "Thanks to Pepys" it is possible to A - steal your assistants wallet, B - steal his wristwatch, C - button your coat to his.

All this is achieved whilst he holds his coat back-out to the audience.

peter Stammer s fred tobinson

It was fortunate that I should first see this useful move performed by its originator, thus enabling me to have the pleasure most of us enjoy when we are unable to explain just how an effect was obtained. This pleasure was somewhat reduced when Ascanio himself showed me the mechanics of the sleight, because I personally enjoy being deceived, and when that occurs I am content to remain in ignorance, or perhaps more truthfully, be allowed to solve it for myself.

Variations of this sleight have appeared, and most, if not all are inferior to the original, and this applies particularly to the ones in which the packet is held by the adjacent corners of the long side. Using this hold makes the easy flowing, casual action achieved by the original method impossible.

The object of the move is to show, in a casual manner, five cards as four concealing the middle one as the cards are spread between the hands face up. As the spread is closed the hidden card can be moved into any position other than the top or face of the packet.

To follow the explanation easily arrange the Ace, two, three and four of Spades in that order with the four at the face of the packet. Put any other card in the middle of four cards i.e. between the two and the three, face down. This face down card will not show if the instructions are being followed.

Hold the packet of five cards face between the thumb and second finger of the right hand. The fingers of the left hand go under the cards, the tip of the third finger touching the back of the bottom card, the Ace of Spades, near the corner held by the right second finger (1). The right hand draws back the packet exposing about half the face of the Ace of Spades which has been held back by pressure of the left third finger tip (2).

At this point the end of the Ace is in the crotch of the left thumb where it is lightly held. The right hand pulls the packet inwards and the tip of the left second finger holds back the Two as the right hand again draws the packet away. The position is now as in (3).

The right hand again moves inwards and this time the left thumb is brought down onto the face card, the Four. The right pulls back with the Three and face down card held as one card — the four being kept back roughly in line with the Ace and Two by the light pressure of the left thumb (4).

The left thumb on the face of the Four now pulls down reversing the spread and simultaneously the right second finger tip bends inwards causing the Three with the face up card beneath to move as one card to the opposite side of the spread. From this position the unseen face up card can be brought to any position in the packet other than to the top or face as the packet is squared up.

The move takes but a second or so to do and should 'flow'. The aim should be to give the appearance that the cards are spread haphazardly, in a casual unconcerned manner, and practice should be directed towards this end. If the action is stiff or appears contrived the Spectator's suspicion will be aroused and he will guess that something is taking place. In the hands of the originator no suspicion enters the minds of the onlookers. All that they are aware of is, that the performer is merely spreading the four cards for them to see the faces. This is as it should be, anything more and the move is useless.

toy" walton cpj&gr WEEP

In November of 1954,1 published a trick in Genii (Vol.19 No.3) in which four cards were located by key cards present in each selection packet. The trick was called 'Mental Four'. Several variations of the basic principle have appeared in the intervening years and the following is a recent one of my own, in which no key cards are used at all.

EFFECT:-

Four cards are selected by four spectators and then discovered by the performer with the assistance of four very famous conjurers. The trick is really completely self-working, but if you can carry out a simple false shuffle and cut, the effect will be considerably enhanced.

METHOD AND PRESENTATION OUTLINE:-

Explain that you would like to show a card trick in which four very famous conjurers will help bring it to a successful conclusion.

You will need four spectators to assist you, and you should think of them as spectators one, two, three and four.

Give each of the assisting spectators th name of a famous magician as follows :-

Spectator No. 1 - MASKEL YNE

Spectator No.2 - BLACKSTONE

Spectator No.3 — HOUDINI

Spectator No. 4 - CHUNG LING SOO

Ask them to remember the names as you will have a roll call later. Some light humour can be obtained as you allocate the names i.e. Houdini — "He was famous for getting out of tricky situations, I think he would like you." Chung Ling Soo — "I think you look a little like him." Maskelyne- "He invented the pay as you enter toilet you know, perhaps you are familiar with his work." Blackstone — "He was a famous American magician, please try and act like an American."

Hand each of the spectators four cards from the pack and place the remainder of the pack aside. Ask each of the spectators to mix their group of cards and then to look through them, and commit one card to memory (i.e. each spectator remembers one card from the

four he holds). Let them mix the cards again after making their choice.

Take back the four groups of cards in 1, 2, 3, 4 order, and assemble them face down in the left hand, spectator one's cards being the face group, and spectator four's the top.

Give the sixteen card packet a false shuffle and cut, so that they are left in exactly the same order. Deal out the cards into four face down hands on the table, dealing in conventional fashion as if playing cards. Turn each hand face up and spread them out a little so that the names of the cards can be seen.

Ask spectator one to hand you the group that contains his noted card. Turn it face down and ask him the name of his assisting magician. Spell out Maskelyne transferring cards for each letter from top to face of the packet as you do so. When you reach the last letter, hold the card face down for a moment and ask him to name his noted card. Reveal that it is correct, replace it face down on TOP of the packet and replace the packet in a slight face up spread on the table.

Ask spectator four to give you the group 'that has his selection in. Hold it face down in the left hand and spell out his assisting magician's name which is Chung Ling Soo. You will end on his noted card. Replace the card on the FACE of the group and return them to the table in a slight face up spread.

Ask spectator two to hand you his group. Spell out his name which is Blackstone and you will end on his card. After showing the card in the right hand, discard it onto the table. Show the remaining three cards to spectator three and say, "Does your card happen to be amongst these." If he says 'yes', spell out his assisting conjurer, Houdini, and you will end on his noted card. If he says 'no', just discard the three cards with the one already discarded, and ask him to hand you the group that DOES contain his card. Spell out Houdini, and you will end on his card.

Conclude by saying "You can see why they are famous, all four cards have been found. I wonder if I will ever be able to do a card trick that will make me famous."

The annual convention of the IBM British Ring held in Southport this year had little to offer those whose interest is confined to close up magic.

There were no lack of entrants for the Shield competition for which enthusiastic members spare neither time or effort to produce their acts, and as someone remarked "One could amost tell the size of their front rooms by the way they moved about the stage". Other commitments prevented us from seeing all the acts, but of those we did see it was difficult to imagine where they could be performed other than at magical functions. If these members are prepared to go to the amount of trouble and expense necessary to produce an act which they may only be able to perform a few times it is difficult to understand why the close up competition attracted only one entrant and had to be cancelled. The loss of this particular event meant that we were to have the pleasure of a lecture demonstration by BOB OSTIN who has mastered the difficult problem of showing and explaining the workings of small magic from a stage to a large audience, and doing so in such pleasant easy going manner that it was probably more enjoyable to watch than competition magic.

The real highlight was the unscheduled close-up show which took place in the basement of the headquarters hotel commencing about 12.30am on the Sunday morning and arranged by DON LEES, who seemingly had no trouble in getting performers, proving there is, as we have always suspected, a number of members ready and willing to perform our type of magic given the opportunity. No doubt this will become a regular feature at future conventions. TREVOR LEWIS set the ball rolling finding any ace called for at a selected number, and scaling cards. DAVE CARRE finding coins under cards and assembling them all under one card, and continuing with the Roll Over Aces performing it as if it was a self worker. He concluded with a one cup and ball routine. PETER 'wild card' KANE with several original card effects which we were too busy trying to work out how they were done to take notes, so we put our book away. ROVI followed with mental card effects, one of which must have used a stooge, if not, it was a near miracle and we apologise. WALT LEES coaxed a couple of ladies to help, and performed several effects which included a dice routine and his own method of the 'Cannibal Cards'. Even those who were unable to see, and there were many, could follow the effects being performed because this performer's clarity of diction and descriptive patter made this possible — a valuable asset under the conditions. The act that followed completely changed the atmosphere from what had been a comparatively sane one into one in which comedy predominated.

It was BOB READ with items from his book, the bottle production, Fatima, cups and balls, and maybe one other, plus gags and bits of business. For many this was the hit of the convention and we most certainly have never seen him in better form and to us was a clear indication that even greater success will come his way if he decides to slant his act still further to producing laughs, even if it means sacrificing some of the magic. This is of course a personal opinion and not a criticism of the act which would have received a standing ovation were not most of the audience already in that position. The unenviable task of following this act fell to ALEX ELMSLEY who standing on a chair performed his 'Dazzle' card effect impeccably and no doubt increased the number of potential subscribers to his forthcoming book.

TOPPER MARTIN then struck a match on the largest ping-pong ball we have yet seen, FLIP HALEMA'S pate, and comedy was again under way, but we were completely unprepared for what was to follow when PHILIPE FIAHLO was introduced and announced that he was to give a lecture a la SLYDINI. We will not attempt to describe what followed but merely content ourselves with mention that Trevor Lewis finished up limping after acting as a volunteer assistant, a card table had a hole smashed through the top, and the audience scattered when the lecturer? offered to give them a back view of the 'Paper balls over the head'. Fortunately no one had to follow this hilarious burlesque lecture.

During the convention FRANCIS GILES was filling in his spare time cutting silhouettes of contributers to this magazine. He modestly maintains that plenty of people can do this, but it is doubtful if many have succeeded in reproducing such striking likenesses.

PETER KANE showed an item from his new book. A startling effect in which a card instantly changed into a 'fiver' and also gave us some of his ideas for publication, as did FLIP whose lectures though not angled to close up magic did contain many items which could be scaled down particularly the rope knotting, and rope and ring moves. Apart from making us a personal present of a card trick, he also described his version of 'Triple Restoration' for the JOHN RAMSAY issue which will appear in March. The effect achieved is similar to that of Ramsay's and was worked out without FLIP being aware that anyone else had previously produced an effect of this kind. The method is different and we predict that many will go to work on it, as, it has all the ingredients necessary for producing entertainment and mystery.

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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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