This location principle is short and sweet but it packs a lot of dynamite. As far as I-can ascertain It is original with me. Others in a select group have worked on similar Ideas but I have never seen what I am going to reveal as muoh as attempted.

Can you stir your Imagination sufficiently to see a person going into another roam with his or her own deck -- a deck you've never seen nor touched? Or imagine a card party where you are across the room -- calling over that you'll do a trick and that they should use whatever cards are before them?

Your instructions to the spectator are as follows: (1) give the deck a good mixing.(If he wants to know should they be shuffled in any particular way tell him to mix them as he wishes) (2) Take one card out from anywhere In the deck and remember it. (3) Drop it on top of the deck. (4) Now give the deck an overhand shuffle. (5) Now give the deck a good dovetail shuffle. (6) Lastly give the deck one complete cut.

For the first time you see and take the deck. Stop and think for a few minutes. The above has been fairly described. How would you go about finding the card? i<m not going to say this always pays off. But I have worked out the procedure which, seven out of ten times, will put the chosen card within five cards of the top or bottom of the deckl11 Unbelievable? That's what Carl Jones, publisher o-f Greater M&gic, said when I told him. Then, on test, it worked four out of five times, the actual card being cut at twice, once on top and once on bottom, and once it was second from the top.

If your top card is face up before the (4) operation, you can see how it all works out. An overhand shuffle merely leaves it about 13 from the bottom. A dovetail brings it close to center — and a cut leaves it close to top or bottom..

My customary way to a climax after getting the deck Is to fan it through roughly and note the top and bottom four. It Isn't at all difficult to memorise their positions by values only, and the deck la held behind the back with the remark that perhaps "out of sight" will help. The spectator is asked how many spots are on his chosen pasteboard, and, as said before, seven times out of ten you'll have It among your eight cards. If not, bring out as close to It a value and hold face down while spectator gives the full name. Then show, and try again with someone else. Some readers may snort at "chance" and "guessing" orinciples, but I've made excellent use of this and want to get it into print before it gets kicked around with a thousand people claiming it.

EDITRIVXA (continued from page 396)

books few efforts have been made to pass on the information necessary to "sell" talent.

E. Syrll Dusenbury produced a mas. oalled "Making Magic Fay." Herman Weber published "Money From Magie." Tarbell used spaoe in his monumental course on the subject. Lionel T. Scott mlmeo'd one of the pioneet approaches. Joe 0-vette conceived a proper but attroeiously birthed "Publicity Miracles", and Laurence Glenn authored the most pretentiously illustrated and bound voluinne, "The Road To Fame."

All of these mind-children were harbored and given sailing papers by people who knew that tricks, by themselves, are valueless, except, possibly, for fun. It takes a lot of angles to make the publlo magician conscious. Especially any certain magician. We all wonder, at times, why so-and-so gets publicity and jobs. In some cases we know we can do the mechanics of his tricks better. Be he gets the work. I'm merely trying to bring out that no one magus in a thousand spends as much of his time on "selling" as he does on "trloking." Those aforementioned writers, of whom we know but two personally, tried their best to promulgate that which they knew was most lacking in magio.


John Booth's "Forging Ahead In Magic," la a current book on the "selling" of what you now know. 134 pages of hard won material are yours. From the lowlands of Death Valley, to the peaks of Pike and Popocatepetl, John has seen magic and met magicians. He's given credit and mention to all of those professionals from whence oame the twists, quirks, angles, bits of business, light and music cues, booking office byplays, and the what-nots that a guy runs into when ha leaves home. If you're an amateur and don't want a dime for performing, if you aren't a collector, don't buy it. Otherwise, don't miss it.

"Footprints On The Celling" - further adventures of The Oreat Merlini - that cerebrally oon-Jured up past master of prestidigitation and the GUttenberg zombie controlled by Clayton Rawson, will be on sale In book form at all magic depots during the coming oonflabs. There is planned a free trick for each magus, and N.Y's Hotel Capitol display room of the publisher should be s terrific "bang" if the rumors and plans work out.

ford, heretofore mentioned, expeots a "special delivery" at his home right after June 1st. We are sorry (or glad) to inform the Svengall of Merlini (and who will get this while on the road with a circus -- looking for new murder material) that 'twill be a prospective enchantress, not an (continued on page 399)

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