Oasis

from 'Erdnase' to prove his point — both were good. Larry has definite views on others aspects of our craft — one being that an overt show of skill was best avoided and instanced the 'Professor' who never even performed a pressure fan when in action.

It would seem that the merits or otherwise of exhibiting technical skill depends entirely on the effect the performer wishes to create on his audience. If he desires to get a reputation for being clever with cards such demonstrations-will undoubtedly help to achieve that objective.

However, such displays are 'out' if it is desired to leave the spectators completely non-plussed. It is self-evident that once the spectators are aware of the performers capability in this direction they will inevitably conclude that technical skill was responsible for the effects produced. So, if the performers aim is to create the greatest magical impact it is logical that they should be oblivious of his digital expertise.

Another day, another occasion, and Larry again in action. This time he included his classic 'Open Travellers' which he claims is eminently successful with lay audiences. If you are a stranger to the effect it is explained in Alton Sharpens Expert Card Mysteries. ■

Howard Schwarzman homed in on most of the sessions. At one he showed an excellent card effect in which a thought of card passes from one small packet of cards to another. It is explained in Howie's 1961 Lecture Notes.

One who missed out on these sessions was Obie O'Brien F.F.F.F. our U.S. correspondent. Just managed to say hello and a couple of other words before he went missing. Sadly I missed the 'Professor' but will make up for this omission when he comes back for the Ron Macmillan's International Day of Magic in December. Also missed John Cornelius — was out when he rang. The same happened when he rang Eric Mason which was a pity — he should see our Art Editor's presentation of his slate effect. Name any card and it appears on the slate plus other puzzling effects. Mentioning Eric reminds me that his coino ahange impressed Mr Jennings — it is easier than other methods and has the boys in the Blenheim Bar practising

Eventually everyone w;ent home — except Gordon Bruce who never missed a session, and somewhere along the line performed a Coin Assembly which caused Frank Farrow to make pleasant noises. He liked the direct method employed and was surprised when told he was selling it — see Pabular Vol.5 No.5.

Just back from lecturing in Chicago Bob Read stopped long enough to produce a large bottle from a very small handkerchief before setting off for the S.A.M.S. Convention and other lecture engagements. First reports coming in indicate he went like a bomb (English variety). Watch out for the glowing accounts of his performance in the U.S. magazines. Bob is building up a considerable collection of old prints, mainly relating to the cups and balls. He has generously offered us the opportunity to reproduce them in Pabular — something to look forward to ere long.

Some time back it was mentioned in this column that one close-up magician had become a household name a§ a result of appearing on television. Last month a promise was made to reveal the name of who has made it — Paul Daniels. Actually he was already well known before his last series of four shows in which every trick he did could be regarded as a close-up effect. Here is a list of those I remember. Cut and restoring two five pound notes, Rising Matchbox, Three Card Trick, Pricking the Garter, Three Shell Game, Ring off Stick, Out of this World, Coins through Table and the Egg Bag. In the Jictar ratings the final show was fourth and in London specifically No.l. The success of the shows which showed Paul doing the kind of material best suited to his own individual style — the illusions being in the hands of the Moretti's. Congratulations to John Fisher who produced the series and his magical adviser Ali Bongo.

Now for what threatens to be a regular feature of this column — corrections. First Tommy Wonder's 'One in the Eye' Vol.5 No.4. He writes to say. In counting one-two-three, the coin is put in the eye between "two" and "three" i.e. on two and a half, but two and a half is NOT spoken out loud. If this little gag were to be used, people might smile and look up at the performer's face. At least they might be confused a bit, and it would be a little deviation. This distraction from the delicate pointing involved at this point would be fatal. All attention has been brought onto the box and must stay on the box, no little gags here.

Roy Walton writes re: his 'Card School' in last month's issue. The first line in paragraph five. Either the word 'below' should read 'above', or the underlined 'high' should be 'low'. Either of these alterations will make the sentence correct.

BLACK DAYS by Juan Tamariz

BLACK DAYS by Juan Tamariz

Very briefly this effect consists of the performer finding which one of seven black cards a spectator has in mind and then causes the remaining six to change to red. There is more to the effect than the above bare outline which is just a pointer to assist the reader to understand the end objective as he studies the explanation of the methods used combined, with the really important part — the entertaining story without which it would be just another card trick.

A pack of cards which include a joker and the ability to perform the Curry Turnover Change plus a small packet switch to change a packet of six black cards held in the right hand for six red ones on top of the pack held in the left hand.

Commence by giving the pack a casual shuffle and spread the cards faces towards you. Find the joker and cut the pack bringing it second or third from the face of the pack. Next, remove the first seven black cards starting from the right of the face up spread and drop them face downwards onto the table, and then move six red cards to the bottom of the face up pack. Turn the pack face down and hold it in the left hand. The joker is now near the bottom of the pack and the six red cards on the top.

Square up the tabled seven black cards and pick up the packet with the right hand, fingers at the outer end and thumb at the inner, explaining that they represent the seven days of the week. With the packet held close to the table surface extend the left second finger and press its tip on the top card of the packet as the right moves to the right with the other six cards (Fig.l). The tabled card is now turned face up by sliding the left side of the packet in the right hand under it and flipping it over and during this action the right hand continues its movement until it is close to the pack held in the left hand. This is a conditioning action which is repeated with the next five cards — each succeeding card when it is turned face up should overlap the previous one, the last one being placed face up at end of the spread.

As each card is turned face up remark that it represents a certain day. It is then that the important business of creating entertainment really begins, and as much amusement and fun as possible should be obtained-as the face of each black card is exposed.

When turning over the first card, it wilf of course be a black one, say "Monday is always a black day, it is the day I start the week's work", turn over the second card, saying "Tuesday is also a black day — the mother-in-law comes round in the evening" and when turning the third card "Wednesday is no better — my wife insists we go to the cinema, and I hate pictures, another black day". You now get more intense and as you turn over Thursday's card say, with much feeling, "Thursday, the mother-in-law comes round again." Another black day." Continue "Friday is a black day, we always have fish, and I hate fish." As you turn over Saturday's card remark, "Saturday, I do not work, but it is still a black day, nothing but sport on television, and I hate sport." You are now left with one card, and before turning it over say, "Ah, now Sunday that is a good day . .. for some people . .. for me, NO, all day I am thinking, what a black day, (turn over card) tomorrow I have to go to work." Drop card at end of the spread.

A spectator is now invited to pick up and shuffle the seven cards. Meanwhile you remove the top six cards (the red ones) and fan them out faces towards yourself as an example of what you want him to do, requesting him to think of the cards as days of the week and to concentrate on the card occupying the position of his 'black' day, and remember the name of the card. When he understands what is required, replace the six cards back on top of the pack which has been retained in left hand, and take a left little finger break beneath them.

When he has a card in mind gaze into his eyes and suggest that you believe that you now know his black day — but maybe you are wrong — it is not important as you are merely play

acting. Request him to shuffle the cards and put them on the table. You then spread them in an overlapping line face down.

Pull one card out of the spread, say the card in Tuesday's position, saying "Tuesday is a bad day." The spectator may deny that this is his black day and you reply "But it is my black day." Gather up the remaining six cards and hold them squared in the right hand with the fingers at the outer end and the thumb at the inner. You now adopt a confident attitude and looking at the tabled card you pulled from the spread say "What card did you think of?" When he replies you flip over the card by sliding the packet beneath it, the right hand continuing to the pack held in the left hand switches the six black cards it holds for the six red ones on top of the pack held in the left hand. Immediately the switch is made (for detailed explanation see Expert Card Technique p.149) the hands spread apart, the right putting the packet of red cards face down onto the table, the left doing likewise with the pack. Both hands are now free and move away from the cards.

The exchange of the two packets will escape detection for two very good reasons. The spectators have seen a tabled card turned over face up using the same action five times previously and do not in consequence regard it with suspicion, and also they are intent on watching the card being turned over. When their attention moves back to the performer his hands are empty — the deed has been done and the cards are on the table, and both hands are empty.

Assuming that the card is not the one chosen affect an attitude of disappointment at having failed, and then suddenly, with obvious delight you remark, "Ah, I have a friend." Pick up the pack as you move the wrong card to a suitable position for performing the Curry Change. Run through the pack to find the joker which you push upwards outjogging it for about half its length from the spread and then find the chosen card — (remember you have been told its name) and cut it to the face of the pack getting the third finger under it in preparation for the Curry sleight. Remove the protruding joker and place it face downwards onto the table without letting its face be seen. Call attention to it saying "This is my friend", turn it face upwards and at the same time the left hand apparently turns the 'wrong' card face down and pushes it away, and in so doing exchange it for the chosen one by means of the turnover change. This should be performed casually, the whole attention of the audience being directed to the joker. The pack is now placed face downwards on the table.

Spread the six cards into an overlapping line and pick up the joker as you ask the spectator his black day. Assume that he says Thursday.

Spread the six cards into an overlapping line and slide the joker into Tuesday's position and immediately withdraw it saying "Oh, that was my black day — what was yours?" He replies "Thursday" and you repeat "Ah, Thursday" and insert the joker into Thursday's position — pause a moment and then withdraw it and as you look intently at it ask the spectator the name of his card and when he names it (he will have forgotten that he did this earlier) you show pleasurable satisfaction saying "Good, good" and keeping the joker on a level plane carry it slowly and carefully to the face down card and push it under what the audience believe to be the wrong card, flip it over to reveal the change to the chosen card. This'should be done slowly making it obvious that no move takes place.

Look affectionately at the joker and murmur "Ah, my very good friend." Turn to the assisting spectator and say, "Do you know why

I know Thursday is your black day?"

because it is the only day you really work." Simultaneously, with the above remark turn the packet face up and spread to reveal that they are now all red faces.

The really important parts of the presentation are when giving reasons why the various days are black days at the commencement of the trick. It is then that every ounce of comedy is extracted creating a fun atmosphere. Later, when the wrong card is chosen the mood completely changes and the performer shows dejection and dismay at his failure to produce the right card. Suddenly his expression changes — he remembers his friend the joker. With its aid the correct card is found and the performer remarks "Ah, my very good friend" and then turning to the spectator concludes with the little leg pull mentioned above, thus ending on a humorous note, which is topped when the six black cards are seen to have changed to red.

Once the switch of the two packets has been made the performer is free to concentrate his whole attention on presentation and really enjoy himself in the process. The two sleights are well covered by misdirection and take place some considerable time before the double climax — a very strong point.

One last observation. The success obtained when performing the effect will be commensurate with your ability to act sufficiently well to convey to the audience that you are having fun, you are dismayed when things go wrong, you are relieved at having found a solution and exhilarated by success. Even with moderate acting talents the

'entertaining' content of the presentation will be considerably enhanced and found to be far more acceptable to audiences than would be the case if it was performed as a straight divination effect which would probably then be regarded as something to be solved, in other words, a puzzle.

Editorial Note: In describing the above effect I have attempted to give some indication of the approach of Tamariz to the presentation of card magic. It has only been possible to give a general outline in what may seem a lengthy description but to include every detail would have made the article unduly long. However, if I have been successful in some measure to show the difference between the average card trick one sees and one which has received the Tamariz treatment — so be it.

What do the following moves all have in common?

by Walt Lees

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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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