such as threads, zombie gimmicks, magnetic repulsion etc.

Stage three. Magician decides that the most practical method from his point of view is an adaptation of the zombie principle.

Stage four. Magician spends some months perfecting his idea.

Stage five. Magician can now feature the Zombie using an ashtray instead of a silver ball. In other words a straightforward rehash. An old effect, using an old method and simply substituting one object for another.

In the above instance nothing new has been added to magical knowledge. The effect of an object floating has not been enhanced. Could the layman care less whether the magician levitates an ashtray or a silver ball or for that matter a chamber pot?

The invention of magic is a creative process more akin to composing music or painting a picture. One starts with the germ of an idea and develops it along different lines seeing where it leads.

Over the years it has been my privilege to meet some of the most inventive people in magic, and sometimes, when I have been very lucky to actually witness the creative process at work. Nearly always the pattern has gone along the following lines:

Stage one. The inventor has noticed or stumbled across some small thing, which fires his imagination. It could be anything. A new move with cards or coins, or an object on sale in a department store, or the way the foam rises on a glass of stout. . .almost anything.

Stage two. The inventor plays around with his new-found toy, trying it this way and that and seeing what uses it can be put to. He also calls upon his memory for any other principles that could be used in conjunction with it. Gradually one or two possibilities begin to gell in his mind.

Stage three. At length through this maze of half thought out ideas several effects begin to take shape; nebulous at first but slowly consolidating as he goes on experimenting.

Stage four. At length a definite possible effect materialises. The inventor pursues it until it becomes clear and sharply defined.

Stage five. Having gpt an effect for his newly discovered method, the inventor concentrates all his energies on ironing out the handling and developing the presentation until he has a brand new piece of magic.

Magic invented in this way is always fresh. Cynics could argue that the inventor may end up with a trick that he does not want. But on the other hand does anybody know what they want until they have got it?


Palm a card in the right hand in the normal way and clip it between the first and second fingers on one long side and the third and fourth fingers on the other long side as shown in (1). This is similar to the back and front palm when displaying the back of the hand to the audience.

By curving the fingers slightly inwards it will be found possible to release their grip and thumb palm the card as shown in (2). The card can be transposed back and forth between these two positions quite naturally and, of course secretly with ease. So. . .what to do with it.

Find yourself a pub — one that has beer coasters on the tables. Have a card chosen, replaced and control it to the top. Bring it into the thumb palm position as described above.

You now reach for the mat, which should be on your right and in the action of picking it up slide the thumb palmed card under it. This is a perfectly natural movement providing the mat is positioned correctly so that the diagonally opposite corner of the card held in the thumb crotch hits the table an inch or so before reaching the mat. Turn the mat over to disclose the selection.

Try this for a change. Instead of disclosing the selection to everyone keep the thumb palmed card against the mat and show it to one nearby spectator and ask him "What is the name of the card on the mat?" He will name the card he sees. See (3).

Again — this time a kicker for those who include the wellknown card under the glass. After the usual effect replace your glass on a

beer mat which should be suitably positioned on your right. Have another card selected and steal it as described above and bring it into the thumb palm as in (2). During these actions suggest by your patter that the card will again appear under the glass. All eyes will be on the glass in anticipation of the effect being repeated and as you murmer something about 'failure' place the pack down to free the left hand which picks up the glass. As you look at the glass the right hand goes for the mat, loads the card under it, and turns it over to reveal the selection.

Mentalwise — sight the top card, say the 8S, and false shuffle retaining the top card in position. Hand the pack to a spectator with the request that he cuts off any number of small packets onto the table. Remember which pile has the 8S on top.

Write the following on a piece of paper 'The eight of spades will now disappear'. Fold the paper and let someone hold it.

Invite the spectator to hand you the packets one at a time, and when you receive the one with the 8S on top palm it in the right hand and load it under the final remaining packet as you turn it face up. Ask that this card be remembered and turn the packet face downwards and as you do so you steal the force card. This is the TAKE part of the move and is done by simply keeping the card in the right hand, held in the thumb palm as the hand moves away from the packet on the table. A§ the hand comes away the card is covered by th'e fingers and moved into the holding position of the regular palm.

The impression is that the packet is picked up, the bottom card (8S) is shown, and the packet just put down again; it is mainly timing — 'Put and Take'. As you complete the move ask that the card shown be remembered and that the packet of cards be cut and mixed.

With the packet still face down false count the cards as one more than it really contains, and hand it to a spectator.

Call attention to the spectator holding the paper and have him read it out aloud. The spectator with the packet of cards is invited to count them — one is missing — the eight of spades.

The uses to which this technique can be put are numerous — here is one more. Palm off a known card and spread the pack from left to right across the table and have a spectator part the spread somewhere in the centre. (4). The right hand with card thumbpalmed goes in between the spread halves and loads its palmed card beneath the right hand portion as it roughly squares them. A spectator is invited to note the bottom card (the force) which he takes to be the one at which he divided the pack.

Other uses will suggest themselves if the move is practised with the cards in hand.

Other uses will suggest themselves if the move is practised with the cards in hand.

Now, where were we? I remember. I'd just got back from Italy. Well I had barely been back 24 hours when I was winging my way to Canada, land of maple leaves and Micky Hades — Calgary was in fact my destination.

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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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