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up the back of the deck with the right thumb until you spot the selection. Cut the top half of the deck to the right, the selection being the face card of the right hand portion. At the same time obtain a left little finger break above the bottom card of the left hand portion via buckle or Pull-Down move. As you apparently place the right hand portion beneath the left hand portion in a straight cutting action, actually feed the right hand portion between the bottom card of the left hand packet and the remainder of the packet via the break. As you square the deck maintain a left little finger break between the two halves of the deck. Cut off all the cards above the break with the right hand to the right, and obtain a left little finger break above the lower two cards of the left hand portion via buckle or Pull-Down. As you apparently place the right hand packet below the left hand packet actually feed the right hand cards between the two lower cards of the left hand packet, and the rest of the packet, once again the left little finger break making this possible. Square the deck, holding no breaks and then cut the top half of the deck to the bottom to centralize the Aces. If three cuts seem too many you can use a Classic Pass at the approximate centre of the deck to position the Aces for the Ribbon Spread.

Perform steps 5, 6 and 7 of "Getting Lost in the Shuffle". After you have produced the AH via Vernon's "Triumph" from Stars of Magic remove it from the Ribbon Spread, splitting the spread at the point of removal, thus making two halves. Pick up one half in each hand, turn the hands face down and perform simultaneous face up vertical Ribbon Spreads showing the colour segregation. (IMPORTANT NOTE: Assuming you are using a Zarrow shuffle for Vernon's "Triumph" you must undercut at the separation of red and black cards for the shuffle. The same applies for whatever shuffle you are using.) An alternative to blatently showing the segregation is to insert the selection and the four Aces in to their correct halves, without showing the faces of the cards, and then perform a couple of false shuffles. You are now set for "Out of This World" or any other effect requiring such a set up.

Instead of removing the deck preset from the case you can separate the reds and blacks openly (although the spectators don't know that this is what you are doing) by using a Lorayne idea from his "Out of This Universe" routine from Close Up Card Magic. See also Mario's Objectives.

"When nurse isn't looking. ! flip the pills out of the window . . .

The Complete Works of Derek Dingle. Available from Magic Books by Post, 29 Hill Avenue, Bedminster, Bristol BS3 4SN Price £18.00.

This book, written and illustrated by Richard Kaufman, is one which makes the whole process of writing a review utterly pointless. Before the book arrived in this country we all knew that it would be superb. When you see a copy, it shouts quality. When you read the material, it is brilliant. What more is there to say?

I shall have to say something though, otherwise Donald Wallace may stop sending us books to review. And, as is well known, the chief perk for all magazine editors, is the free books and apparatus we constantly receive. Before you start going green with envy, let me say something about this particular one. Donald did not send it to me. He sent it to one Nick Bolton, who happens to be my boss as far as Pabular is concerned. The said Bolton presented me with the book to review and then, with a shifty look said, "Let me have it back, when you've finished with it!" It is the first time that I have ever heard Nick say that about any book! It is the first magic book that I have ever known him express a desire to possess in ten years. That will tell you more about it than any words of mine.

I have met Derek Dingle and seen his work on a couple of occasions. Both times, it was a breathtaking experience. For deviousness, subtlety, the efficient and effective utilisation of flawless technique, he has few equals. He does some of the most spectacular close-up magic that has ever been seen. The wonderful thing is that h^ methods are not particularly difficult. He uses the same tools as other craftsmen but somehow or other, achieves more spectacular results. This book tells us how it is all done.

The writing and illustrations are also fantastic. Despite his years Richard Kaufman has already carved a niche for himself in magical literature. His is an outstanding talent.

Buy this book now, before it is too late. You will not regret it. If you waste too long, it will have been snapped up by all of those, who know a good thing when they see one.

Here we go still again. That dreaded word exposure. This time it's Video exposure. As many of you will know, I have more than a little experience of exposure. I was thrown out of the British Ring of the I.B.M. because they decided in their wisdom that I had been guilty of this terrible crime which is second only to rape which, in turn is something which magicians never do to each other. They can copy each other's acts, steal tricks, ideas, gags, bits of business from each other, but rape??? -----Never.

Let's get back to exposure, with video in mind. Many magicians, particularly amateurs, occasionally get on their high horses and start screaming about OUR secrets. OUR secrets? We have never had any secrets, not for a very long time. The methods we use have been public domain since Scot's Discoverie of Witchcraft.

It all really depends on one's definition of the word exposure. Some think that the act of writing a book of magic tricks constitutes exposijre. If the book is offered for sale to the public, that's even worse. A long time ago I picked up a book by Will Goldston in a second hand book shop. That book got me interested in magic. I know some people who, having discovered this fact, will immediately resolve never to buy another Goldston book. So be it. In turn may I say that I would have strangled my son when he was a child rather than buy him a box of tricks having seen some of the results of that action.

From the foregoing you will realise why I have no objections to magic books as such. There are others who say that magic books should only be published and or sold by magic dealers. If you follow tha^t one through you will find out that the smaller dealers can't afford to produce books of a reasonable standard, because of the cost, so we would finish up with a monopoly situation where the only books we would get would be decided by a few magic dealers or publishers. That would be a bad situation I think because some of the biggest rip-off artistes and exposers I have ever met have been magic dealers. (You're welcome to put my name at the top of YOUR list).

The real secrets of magic have nothing whatever to do with the tricks themselves. A Drawer Box, Dove Pan, Appearing Cane are only magic tricks. It's what you do with them that's MAGIC. Read that again and again. I think that every time a magician produces an Appearing Cane visibly, he is guilty of exposure. He is exposing the fact that it is a trick prop and forever after laymen, who may or may not be interested, can only describe the effect as "one of those walking sticks which appear in the hand".

The late Fred Kaps used to produce perhaps half a dozen canes during his act and no one ever knew where they came from because they expanded under cover of his body. He would perhaps drop a cigarette into a hat with his left hand and when he turned to face the audience there would be a cane in his right hand. He didn't produce it, it was just THERE. He, apparently, didn't know where it came from either. That's MAGIC.

I have made my living from magic for thirty years and I must confess that I used to worry about exposure. Not any more. It isn't worth the headache. There is however, one type of exposure which can be worrying to a professional performer and that is overexposure, and I'm talking about television. Because of most magicians reliance on tricks rather than the presentation of them, there is a tendency for many of them to use the same material, either because they are easy to do or because they are damned good tricks. We CAN, as performers, perhaps do something about that, by trying to avoid repeating effects on T.V. soon after someone else hias done them, particularly national T.V. but then, maybe one day, cows will fly.

I really started off by intending to talk about Video. Well, as Video is really only a moving picture book there isn't much point is there?????

Goodbye,

BASIL HORWITZ SIGNED CARD IN WALLET IN SPECTATOR'S POCKET - £27.50

We sold out within days and have now received the second batch.

'BASIL HORWITZ SIGNED CARD IN WALLET IN SPECTATORS POCKETT has become a cult amongst some of the younger magicians who normally will only buy a pack of cards or a card book. Tim Gan, Stephen Tucker, Paul Brignall, to name just three, not only perform the routine as supplied but have been developing their own routines. As soon as there are enough we will put out a small booklet. The Wallets are made especially for us by Roy Roth. IN STOCK NOW. Jim Breedon purchased one last week and I saw him at the Magic Circle. "How are you getting on with it Jim?" I asked and he replied "Absolutely great Martin. Really pleased". So there you have it folks. One of our finest releases. 'THE BASIL HORWITZ SIGNED CARD IN WALLET IN SPECTATOR'S POCKET

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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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