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But beoause of its populadty and ease in working it became greatly exposed to the lay public by magicians hoping for attention by exposing their "brcthers' " methods, so efforts have always been made to try to improve and modernize the Center Tear's ability to deceive all watching the peformance.
Several very clever variations of the basic Center-Tear belonged to Al Koran. To the best olmy knowledge he created the One-Handed Center-Teitr after watching women in a factory terr typewriter rib-bons with only one hand. But alas, the stolen center still had to be read on the sly. Or did it?
Koran also had the idea of handing the stolen center unopened to someone, besides the writer, to open and read as his own prediotion (S€e Al Koran
Lecturc Notes - Magic lnc.)
Clever ideas, but the One-Handed Tear needs a special type of paper, and an unusual way of folding it, and if a wise guy wrcte something weird on the paper you could come off looking like a jerk, instead ol a genius.
On a different line of reasoning ( The one leading to the nethod you've just purchascd) Al Bsker had the "Stroke of Genius" to develop a method of reading the 'center" in the process of teadng up the very slip itself. But again we run up against a few disadvantages.
First of all the "Umbrella Move"which is used to open th€ "Center" section comes after most of the tearing which is a bad time as far as misdirection goes. But most of all the Umbrella Move rarely works for me, or in fact for almost everyone that I\e ever talked to about it. (To thos€ not famiiiar with the Umbrella Move, it goes like this: By sticking your thumb into a small folded billet and pushing, it should open up almost like a little umbrella.)
But even if your misdiection is pedect, and the Umbrella Move works flawlessly, you still must dlift about quite a larye piece of paper compared to all the other ones.
A b lliant concept, but rar€ is the pe$on who will overcome its hazards
and use it
reliably-Al Mann released a booklet entitled "The Apodosis" in which, besides a var-iation of the basic Baker technique by Mr. Mann himself, there is a different approach to the Baker concept by Richard Osterlind.
Although much easier and more reliable than the Baker Method it also has several dmwbacks to my way of thinking. The pause that you must make as you open the center section, after the first tear, is what botherc me most in his method. Add to that the unusual nature of the first tear, and the relatively small center you get to view, you can see what I mean.
After a great deal of expeimentation with all the above methods, I still was just not satisfied so I set out to develop
my own method.
Then after many torn up magazines and newspapers, I came up with what I consider to be the method which perhaps may well be the best possible technique available using the "Center-Tear" concept.
The momenl when you make your open-ing moves is perfectly covered by psychologically perfect Msdirection. Two lears have just been made and then you pause to look for sonlething to place the potential mess you are in the Process of making.
Ilt just what someone would normally None of the lears or moves are unusual in nature, unlike th€ Osterlind method. You tear up the paper as someone would normally do.
No Umbrella Moves are used. The prcc-ess of opening the folded center is easy, reliable, and it is usable on almost any reasonably size or type of paper.
If wished a larger center than nomal may also be obtained by just slightly altering the basic technique.
Now that I'm done praising my inven-tion let's get down to the important stuff. How do we do it?
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else and then the request for a recepticle gives you double the t;me to do Your
After the 2nd tear, your ght hand is yow majn concern as it follows its circular path, the same as afler the fitst tear.
Immediately after the second tear you D u s h fo r w r r L l o n t h e f o i d e d C e n t e r w i t h t o u r r i g h t t h u m b , w h i l e y o u r r i g h t f i r s t f i n g e r p u l l s b a c k , w h i c h w i l l c r u s e t t e e n d i o f t h e f o l d e d C e n t e r to s p r e a d . ( S e e Fig. F) A few tdals will show you just how much pressure to use.
You then clip the pointed end of the C e n t e r n e a r c \ l !ou belween )our fir\L and second fingers, while releasing the C c n l e r fronr )our lhurnh. This cruse' thc folded Center to flip down behind ( h ( co!er of ) uur flnger\. fhe Ccnter is I ' r r r e a l l v n o w h r l l o p e n , jr r \ l w a i t i n g t o h e oncncd rll lhe $Jy. tse( I-rrs ( ' & H ' Y o u r r i g h l b i r n , l . h ' t r r l d ju \ l bc lt'lro.r(lr-, n a l h c l c f i h . ' n lt'lro.r(lr-, i (l i g . l ) J \ ] o u r r i g l ' l t h u b n o w p u l l s b a c k o n t h e h a l f o n ( n ( d C ( n t c r . w l r r l c ) o t r r f i n f ( r : f r r ' h o p e n i n g i t u p a l m o s t a l l t h e w r y . A s t h e r i g h t h u n c o r l c s u p t r e h i r d y o u t l e t l h d n . l . t l r i s c c o n , l , th i r d r n J I o r r r t l r f i n g e r s o f t h e r i g h t h a n d c u r l ( F i g - J ) t o J I I o w l l r r e J g e o l r h e o p e n c J ( - c n l e r l, ) b e c l i p p e L - l b y l h t l e f t t h u m b . f F r g . K ) Then the right lund rcgrasps the papers i n t h e \ a m e m a n n e r J r d f l c r t l l c f i r s l l e x l ready to tear again. (Fig. L)
J u s r r s y o u f i n i s h l t h e m o v e l a t c s j u s t t w o I o f o u r s e c o n d s ) l h c h d n d o r a s h l r a i should just have been offered, so after a q u i c l g l i m p s e _ a l l h e u p e n e d . C e n l e r . v o u r e s u m e t e a n n g u p l h e s l l p . n a p p y In i h e k n o w l e d g c y o u h a v c n o l h i n g l e f l t o do but tell them what they want to
SUMMARY OF THE BERNSTEIN CENTER TEAR TECHNIQUE L W i r h i h e f o l d e d C e n t e r a l y o u r t o p right, you tear the slip down the middle.
(Fie. C)
2. Your lelt hand stays stationary as your right hand travels in a circular mo-tion. (Fis. B)
3. After the hands meet, both half slips are tumed 90 degrees to your right. (Fig.
D & r )
4. Under cover of your right finge$ your left thumb extends the half slip with the folded Center about half its length to your right. (Fig. E)
5. The right hand scems to tear botll slips agair, but only team off the foldcd Ctnter.
6. As your right hand casually repeats i t s c i r c u l a r m o t i o n , y o u p a u s e to l o o k for a recepticle to put the torn up slip in. ( F i g . B)
7 . D u r i n g i t s c i r c u l a r p a t h y o u r r i g h t thumb pushes forward on the Center while your first finger pulls back, caus-i n g t h e e n d s o f t h e C e n t e r t o s p r e a d .
(t:is.
F)
8. You then clip the end of the Center between your lirst and second fingers, after which your thumb relecses the ('enter. Ihis allows the Center to secrdly flip down behind your fingcrs. 9. Your thumb pulls back as your fingers push on the now half opened (tntrr, causing it to opcn nore, just heforc your right hrnd cotnpletes its eircle. (Fig. I)
10. Your lrfl thumb clps lhe edge ol the almost completely opened Centcr {figs. I & K las the right hand then re. grasps the slip ready to tear while you glimpse the "secret information." (Fig. L)
11. You now resume tearing up the whole slip, as the recepticle you asked for should ju\t have been offered to you. Don't worry aboul lhe opening moves being caught. They won't be visible il you have pracliceil. and don t let your hrnJs get loo fa-r apart or too far awa) from your body. Remember thal people warching think you have two torn up quarters In each hand. so even if some shifting i. somehow seen. il won'r arouse suspicion.
Also r€member that as you "pause" to look for a receplicle, your righl hand trarel\ calmly and slowly in its circula-path performing lhe opening moves as iL doe\ \o. The pause is in your beharior
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A bl3nl slip ol paper is handed lo some one upon which they arc to draw a \irnple piLlure. Il could be anylhing, -rrec. a borl. Jn rpple. r \lloe. anj rlring as long a\ lhc) leep it \imple. As usurl lh( slip is lolded and rcturncd as ) ou ej\pl.rir. l h e d i l f i j u l t y o I y u u r td s k . \o u r c c r u p tlle n,,q 'unneeded slip ol pdper, cno then immediately arc able to pmceed to duplicate thcir handiwork.
Bcccusc of rbe ldcl lhat nrosl ofan) pii-ture will be in its center, the normal size Center would give a pretty good idea ol what was drawn, but with the "laree ( enter" you $ill get ar leasl a0 perc;-of the pielure to vie$ on mo\l occasions. There are several reasons why I use the Jbore melhoJ quile oftcn. The use ol the paper and pencil makes sense here. A word or nunrbcr is easily just thought ol, hut a pjcture must be drawn on something to be viewed and concentra-ted upon. Also what yolt are attelrpting seems quite difficult to the lay mind. Your subject hrs been oflered an infin-ite field to choose from, but rrost of all people get all wrapped up in creating thejr own little drnwing and it hits them personally when you then dupli-The last technique this booklet will cover is original with ,ne to the best of n1y knowledge, and is also made possible by the "large Center" technique.
Since the "large Center" can cover such a large area, it can for all intents and pur-poses serve as well as view an entire opened billet !
Here is a simple ve$ion of what I mean. Lay out numbers in collrmns as in Fis. P. You may now have any number o-n the slips chcled even if its not one that will be in the section you will view. Why? Because at least part ofthe circle made about the clrosen number will be in the "Center."
This is obviously adaptable to other bits of information, other than numbers, Letter, Names, Cities. Astrolosical Siens. alrnost anything may be app[ad. tlfihis idea interests you, get some of mv Psuedo Astrology Slips where this idea is applied. (Available from Magic, Inc.)
As long as ihe relative position of each specific bit of infomation that lays out-side of the Center section is memorized, you should have no p.oblem identifying which item was circled.
Since it seems that all of us in the Magi-cal Arts have at least one overpowering urge in common to try and fool our brother Magi, I leave you with this viJi-ation of the above technrque. It is not an effect for laymen, but for those "in the know" who you hope to give a l-ew headaches to.
Wrat you will need are three pencils or pens which you can tell the dif-ference between by the way they write. (Dfferences in lead hardness will work. 3 felt tips - one old - one new and one with a thicker line, caused by you previously smashing the tip on hard surface wotrld be fine also.) The idea is to remember which person you give each one to. so that you may later know who circled which particular selection. Mren it's time to perfotm,lay out what-ever information you deem best in col-unrns rs explained before. Only now in the cente. there will be ttree circles, or parts ol circles, instead ofjust one. Be' cause of the differences in the circles, you also know which person picked eaoh ol the selections.
Just proceed casually with the B€rnstein Center-Tear technique after the last selection is made and the folded slip is retumed to you. AIso, let it be seen your hands are empty both before and after the Tearing.
If those watching you aren't familar with the technique, it will probably be th€ir fhst headache, for lle fooled many veteran Center-Tearels with it myself. The laying out of the choices over the entire slip should also lead away from the idea of a Center-Tear technique, and the pencil subtly adds the final touch. Well, that about wraps things up except I hope thes€ ideas have pleased you and that you may use them often, and in the best of Health.
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