The International Magic Studio

(RON MACMILLAN) 89 CLERKENWELL ROAD. HOLBORN LONDON E.C.1.

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This manuscript holds a somewhat unique status in that small but ever growing-body of literature of the card magic of Larry West. Those familiar with Larry's card magic may be surprised to find that these pages do not contain a single Elmsley Count!

Nor will you find any Jordan, Hammon or Siva counts or indeed any other false counts. Instead you will find tive effects involving two decks of cards. Only one of the effects, 'Trance—position Supreme' employs any gimmicked cards( and these are supplied with the manuscript). There are no complicated sleights. All of the mystery in these effects is accomplished by psychological subtleties The use of words and psychology is employed in lieu of sleights and gimmicks to achieve apparent mental control over the spectators' minds. Send for your copy of this manuscript today. Together with two regular decks you are ready to read and learn with enjoyment the strange pearls of mystery formed in the weird mind of my friend the indomitable Larry West. • Fully illustrated by Bill Wells. Complete with feke card s necessary for one of the effects described.

46 QueenstownRd. LondonSWd England. Tel:0t7206257

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POCKET SLATES ROUTINE Tommy Wonder

This is a very fast moving routine to produce 4 messages on two pocket slates. I have used it from time to time. It starts very simple, in fact so simple everybody thinks he sees through it, but after the first message, the other three seem to appear simultaneously.

Two slates and two flaps are needed. The messages I paint on with water paint. This can be washed off later, it is clearer than chalk and does not get smeared after a few performances. Any messages which are not too long can be used, and for convenience I number them from 1 to 4.

Message 1 and 2 are painted on the flaps, messages 3 and 4 on the slate themselves.

The flap with message 1 is placed message downwards on top of message 4 in the slate. Likewise, message 2 on top of 3.

Slate 4/1 is placed on top of slate 3/2 (flaps uppermost), and both are placed in the pocket.

Performance:

Take both slates from the pocket and hold slate 3/2 in the left hand and slate 4/1 in the right hand. Both with flaps uppermost.

The right hand shows both sides of the slate it is holding several times by simply turning the wrist. The left hand slate is not shown both sides, but just moves a little from left to right and back again a few times.

This is done as you say, "These slates are completely blank on both sides, as you can see."

This statement, together with the manner in which the slates are shown will cause the audience to become very suspicious. That is needed for what follows.

Slide the right hand slate underneath the left hand slate and immediately turn both over and let them rest on the left hand. Flat 1 will automatically fall from the top slate.

A magical gesture is made over the slates with the right hand which then removes the top slate to reveal message 1 on the left hand slate. Right hand immediately places its slate under the one in the left hand bearing the message. Flat 2 will now fall.

The appearance of message 1 will not impress anyone — they will think it was already on the side they have not seen. With everyone thinking that they have seen through the trick you are now way ahead of them. At the end they will find it impossible to backtrack.

Make another magical gesture and lift off the top slate and there is message 2. This will be a small surprise, but the really startling climax comes when you turn over both slates. Messages 3 and 4 will be staring them in the face.

The appearance of message 1 gives your audience a false solution. If they were to see through the complete trick, they would first have to throw away their first solution and start afresh.

Resetting is easy. Hold both slates with flaps uppermost. Slate showing message 2 in.the left hand and slate with message 1 in the right hand. Put right hand slate on top of left hand slate and place both in pocket. When they are out of sight just move flap 1 over the slates and place it in the other slate against message 4. You are now ready for the next performance.

Some comments:

At first I used to show the slates on all sides, and then made the messages appear. The routine was not so deceptive. I think it is just a little bit too much, to have 4 messages appear, the slates must be mechanical or something.

The method I use now for the first message is (at least in the eyes of the spectators) a very reasonable method for a message to appear on unprepared slates, (although not deceptive). It brings them in the right mental state for the greater impact of the last 2 messages.

I use this sometimes when I want some special topical message to appear, like I did last year at the night of New Year. First message was 1979,1 said, "Oh sorry, it's already 1980 (and 1980 appeared on the slate), and for 1980 I wish you Good (message 3) Luck (message 4).

HAPPENINGS By O'Bie O'Brien

Hello again from the land of magical opportunities.

Just got back from Tannen's Jubilee. The big hit as far as close-up magic and lectures was none other than England's Bob Read. This man never fails to get the audiences attention and the minute he does, he has them in the palm of his hand.

Bob had to do six close-up stations and I saw three of them. The first two were limited to about twelve minutes. The last one he did his complete routine and the round of applause he got I think brought tears to his eyes.

Bob did his $100 Glass thru Table, Transfero Tumbler, Bottle Production, his Cups & Ball routine, (which is the best entertainment I think for Cups & Balls) and George Sands, "Ropesational". Bob's handling of Sands routine makes a person want to go home to learn the routine and immediately put it to use. All I can say is that you people in England, and especially London, are lucky to have a man so close by who can be the hit of a convention. If you haven't seen him, you're not into magic entertainment.

I attended a performance by another great Englishman by the name of Maurice Fogel. I went to see Maurice and I wasn't disappointed. He did a short lecture tour two years ago in the States and people are just beginning to see how good his material can be, if presented correctly.

Mr Fogel really shows you waht can be done with a nail writer and the one ahead principle. This was my first time seeing Maurice work and sitting with Art Emerson, we agreed it was a superb performance.

The last trick he did in which a colour, a country and a non-living name were revealed, after having been chosen by three ladies, shows why he is known as one of the world's greatest mentalists. Great show Maurice! For the hundred-plus who saw his performance and the standing ovation he got was well deserved.

Some of the others on close-up were Benjamin, A1 Goshman, Meir Yedid, Daryl Martinez (who was also great), Father Cyprian, Peki, Stan Lobenstein and F.I.S.M. winner John Cornelius.

Getting back to the U.S.A. we have a convention here called NYC AN (New York-Canada Conclave) which held its 45th convention last weekend. The first Eddie Fechter cup was given out to the person judged to be the most entertaining at close-up. Eight people competed and the cup was won by Ray Mertz, a regular at the Forks Hotel on weekends.

Ray was especially glad to bring the 1st award to Buffalo, the home of a truly great legend and teacher of magical entertainment, Eddie Fechter.

Till next time, keep in mind April 23-24-25 1981 for our 11th F.F.F.F. and if things work out OK, Bob Read and Joe Riding might be in attendance.

GRANDMA'S TRIPLE CUT Steve Kuskie

This is a one-handed triple cut that you will be able to do immediately. It is easy, and attractive to watch.

Hold the pack in position for the Charlier one-handed pass. Mentally divide the pack into three equal sections, A, B and C, from the top down. You may wish to outjog section A slightly, but with practice this won't be necessary.

Drop section C into the palm as when starting the regular Charlier pass, levering it up until it clears and is at right angles to the remainder of the pack. Section C is then pushed and held against the remaining portion, freeing the forefinger for use to separate A and B. B drops into the palm, then C, and finally A. Voila.

This flourish can become a shuffle of sorts if, after dropping B, A is brought above C and the forefinger again used to separate C into two portions. The lower half of C is dropped into the palm, followed by A, and lastly the remainder of C to end. You can, if you so wish, take this even further.

OUTWARD BOUND Roy Walton

The basic effect of this trick is a simple transportation of cards from one place to another. However, by altering the conventional layout pattern, and by paying due attention to the timing in its presentation, the effect becomes quite strong for an audience.

I am not sure who invented the switch move used in the effect, but think it may have been Charlie Miller. It is a good sleight and worthy of greater use by the fraternity.

Before commencing, secretly place the Ace, Ten, Jack, Queen and King of spades on top of the face down pack, the Ace being the top card.

Handling details and presentation outline:

Hold the pack face up in the left hand in the dealing position and get a left little finger break above the lowermost four cards (above the QS). Start to spread the pack from hand to hand pushing the cards over from the face with the left thumb, as you explain that you are going to do a trick with the four two-spots.

As you arrive at each two upjog it for just over half its length. When all the four cards are outjogged close the pack into the left hand in a casually squared state. As the pack closes into the left hand, grip it above the left little finger break between the first two fingers and thumb of the right hand, the thumb going onto the face of the pack and the two fingers into the break.

Hold the pack above the break firmly with the right hand and immediately move the left hand upwards to strip out the protruding two spots carrying the four cards below the break in the hand, adding them to the rear of the twos as they are stripped out. Before mouing the left hand, pivot it downwards slightly, the pivot point being at the outer short end of the pack, and then move forward stripping out the jogged cards. The stripping action should be rapid and takes place immediately the pack has been casually squared into the left hand. Place the stripped-out cards together with the four secretly added below the face-up pack and then turn the pack face down. At once', thumb off the top four cards without altering their order and drop them in a pile a little to the right onto the table.

Say, "As well as the four twos I am going to use five completely unimportant cards." As you explain this, turn the pack face-up and get a left little finger break above the lowermost five cards of the face-up pack. Actually, the break must not be less than five, but it can be more, so there is no need to thumb-count precisely five cards, just estimate a little more than five and take your break at this point.

Start thumbing over the cards as before and upjog any five cards you wish. Make some remarks about them completely unimportant establishing this phrase in the spectator's minds. For example, as you upjog the third one, say that one is even more unimportant than the previous two.

When you have the five cards outjogged, strip them out adding the block below the break using the sleight already described. Replace them below the pack and turn it face down.

Thumb off the top five cards into the right hand without altering their order and put the rest of the pack aside — it is no longer required. Place the bottom card of the packet of five held in the right hand in a central position on the table and arrange the other four cards around it in the form of a square.

The timing of the following part of the trick is important for maximum effect.

Pick up the packet of twos? and place them on top of the centre card of the array saying, "The twos are here." As soon as the twos? are down immediately turn the four corner cards face-up saying "but jump to here."

Turn the centre heap face-up and leave ' them slightly spread as you continue, "leaving five very unimportant cards in the centre, unless you are playing poker, that is." On this final line spread out the five cards to reveal the Royal Flush.

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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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