Patter

"This little burst of genius is called 'Yours, Mine & Ours'. Don't bother asking me why. . . that'll be evident in a minute. First I'll run through the cards and pick one at random. Just so's you won't forget, this is MY card."

1 can tell by your face that you already have a pretty good idea what this card is. . .Right! It's YOUR card."

"Wait a minute, your card looked a great deal like my card didn't it? How can that be. . . No! Everything's cool. . .This IS MY CARD over here and YOUR CARD is really over here. Oh! Remember OUR card?. . .Watch!. . .1 thought you'd get a rise out of that. . .YOURS. . MINE. . .& OURS. . .Ain't togetherness grand!"

For those not familiar with the card rise gimmick, mine is just a cardboard envelope to just hold the card. The envelope is really merely a sleeve, closed at the bottom. Take a large needle and thread it with some strong thread and as per the illustration, run the needle and thread through the sleeve at a point about a quarter of the way down from the mouth toward the sealed bottom. Tie a tiny paper clip to the bitter end of the thread and pull the thread all the way through the sleeve until the paper clip snugs up against the sleeve. Tape the paper clip to the surface of the sleeve. . .Thus the thread cannot pull loose.

Now you can slide a card into the sleeve and since it will push a loop of thread down into the sleeve, you can see that it is a simple matter to pull on the loose end of the thread and the card will rise out of the sleeve.

If you have made the sleeve correctly it should fit into your outer pocket and not "peek" out. Before placing it into your pocket run the needle down through the bottom of the pocket and through the lining so that it hangs down inside your jacket in the same manner as a pull. Put your coat on now and let your left hand fall naturally to your side. At this point

2 inches above the bottom edge of your coat, pin a small safety pin to your lining, allowing the thread to pass through this pin. To the end of the thread fasten a bead.

THE VOICE OF EXPERIENCE Sam Schwartz

During a recent visit to New York, Bob Read spent an absorbing afternoon in the company of Sam Schwartz. As well as being a fine close-up worker on his own account (just see his rope and ring work), Sam has also organised the close-up sessions for the last 17 years at Tannens Jubilee. Knowing that Pabular, and in particular, Fred Robinson champion the cause of table workers, Sam kindly submitted his/ecipe for a successful close-up show:

1. We arrange for the close-up session to run for approximately an hour and a half. Attention span and tolerance have their limits.

2. We try to keep the audience in each room or location to approximately 60 people. Normally we arrange to have another event running at the same time as the close-up, this draws off any people who are not interested. In this manner we hope that the real enthusiasts will not be crowded and all will be able to see. I feel that "theatre" type set-ups for a large number of people destroy the intimacy of close-up magic.

3. For the past several years we have held the close-up session in five separate rooms. The minimum number of performers is double the number of locations. I divide the available time by five (the number of locations) and 'schedule' the performers within that time slot. In other words, if 20 minutes is my time allotment, then I arrange with the separate performers, for instance, A1 Goshman and "X". The separate performances of A1 Goshman and "X" will not exceed 20 minutes. I may allow A1 12 minutes and "X" 8, or A1 will receive 14 minutes then "X" will receive 6. This time schedule is very important. It not only gives the performers time to rest and reset, but also assures that there will be no wait or bunching of performers at any one location. To achieve that, I assign captains.

4. For want of a better word, I have used the designation "captain". Actually, they are guests who have volunteered to assist me. Each captain is knowledgeable about magic, serves to introduce the acts, knows the order in which they will appear and the time for each performance. The captains and I synchronise our watches. The close-up starts at the same time and consequently the captains are aware when there has been any lag or delay. The captains use their discretion and will suggest, when necessary, that a performer cut his allotted time. The captains are the most important part of the organisation. It is they who keep the session moving on track.

5. I feel that approximately 10 minutes is sufficient for any close-up performer. I have met some who felt they needed lead-in time. My answer is that the previous performer "did the warm-up so be prepared to go on with your blockbuster".

6. I supervise the entire session. I know generally what effects will be performed and try to avoid duplication, whether it be a particular effect or style of presentation. I try to arrange a comedy or novelty performance to follow a serious classical demonstration. There are times when I have alloted time for a performer to do one effect, if it is novel or of such quality as to be entertaining to both magicians and lay people present. I know where each performer should be at any one time. About 45 minutes into the close-up session I am in a position to know whether my scheduling is working according to plan. If not, I make adjustments and advise the captains of any change.

Let me digress for a moment. One year, an inexperienced captain was so enthralled by the magic that he neglected the schedule and permitted the performers to exceed the time limit. I shall never forget my difficulties that day.

Some general observations — At each location there is a table, three chairs, a pitcher of water, glasses and a tablecloth for my "lapping" friends. I expect that the performers will bring their own close-up mats. Each performer is given written instructions advising him at which location he is to start, whom he is to follow, and from what location to what location he is to proceed. When there is a language difficulty or the performer is unfamiliar with the location, I assign helpers.

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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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