The
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THE
Collection
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WRITTEN
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MINCH
Collection
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Produced, Designed
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Edited
By
ADAM
FLEISCHER
Written
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Illustrated
By
Marina Trayham
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Design & Layout
By
H.I.P. Productions
Published
By
The New York Magic Symposium
Technical
Assistance
By
Contents
Author's Introduction
6
PART I-THE 1985 MAGIC SYMPOSIUM
Written By Adam J. Fleischer, Symposium Producer
The New York Magic Symposium In Los Angeles, California 14
1985 Magic Symposium Highlights 15
The $10,000 "Magic Entertainer Of The Year" Competition 18
Looking Back: The
1984
Symposiums in San Francisco and New York 21PART
11-
THE 1985 SYMPOSIUM STARS' MATERIAL Michael AmmarA Cut & Restored Rope Replacement 30
Daryl
Volte-Face 32
Paul Harris
The Tallahassee Tent
35
Pat Hazell
The Great Sugar Swindle
38
The Flyin
g
FIou rish Cut .41Richard Kaufman
Vacilation 43
Jeff McBride
Necktie Party 50
David Roth
Twice The Tithe
53
And Paint The Roses Red 55
Coni unctio - Traiectio - Disiunctio
56
Jay Sankey
Bit By Bit
58
Descartes Meets The Pop Outs
62
Slydini
SPECIAL GUEST CONTRIBUTIONS
Harry Anderson
Con t r a ry Him b er 7 0
Leslie Anderson
Telepathy Plus Woman 72
Richard Bloch & Robert Cassidy
In The Shadow Of The Synchronous 77
John Cornelius
Oartanian's Release 79
Paul Cummins
Just One More 81
Louis Falanga
Jazz Fusion 84
Bill Goodwin & Ray Kosby
The Camel's Back 88
Ray Hyman
The Zoellner Phenomenon 92
Larry Jennings
The L.J. Add-On 97
Ken Krenzel
Half-Passed Histed 101
Geoffrey Latta &Jamy Ian Swiss
Po in t B Ian k 104
Lisa Menna
Blotched 111
Turk Pipkin
S'No Ball 116
Gary Lee Williams
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un t Of Venus 11 8This is my second year of involvement with the New York Magic Symposium and its annual Collection. Last year Adam Fleischer coerced me into editing the Collection with him. As soon as it was put to press he suggested that I take over the entire project for the following year. I laughed. Adam talked. I am here, sure testimony to the fact that Adam Fleischer is a very persuasive man.
However, Adam could not have convinced me had the project been a bad one. I was impressed with the first two years of the Symposium and the growth of its resultant anthologies. Adam has the knack of draw-ing the very best magicians in the country to him and his enterprises. Did I mention that Adam is a very persuasive man? Last year I had a box seat, at The Symposium held in San Francisco, and I was as-tonished at the quality of talent and material that Adam commanded.
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Part of that astonishment arose from a curious notion I conceived about five years ago. As I watched the magical market overflow with fresh and exciting new work from a number of hands, I became con-vinced that it would soon have to peak and dwindle. Each generation is capable of only so much innova-tion and ground breaking. But the flood of good work and new thought has continued, only very slightly condensing; and I have come to see that I was too pessimistic. What I failed to understand was that excit-ing work begets further excitement and work. It is self- perpetuatexcit-ing; ideation is seemingly immune to entropy. The New York Magic Symposium has become one of the major focal-points for the best in today's innovation, attracting the finest talent in the field.
The mid-stratum is made of material that may not contain anything genuinely fresh in either plot or method, but recombines existing elements into interesting and often improved variations that can elevate the craft in meaningful ways. I by no means disdain such work. It is valuable. But I do relegate its place mainly to that of journal fodder, though without any sense of belittlement in so doing. It just seems to me that books are a format of publishi ng that, ideally, should be reserved for the best and most creative work in a field. However, this middle bed is fundamentally metamorphic, and it can occasionally bear crystals of such quality that they are forced up into the third stratum.
This uppermost stratum of the tectonic metaphor is reserved for the shining ore and gleaming gems; that stuff that breaks new ground, either in effect, in presentation or in methodology. It is material that is shaped by novelty. It should not be thought that I condone novelty for novelty's sake. There are of course other factors that determine the worth of any given piece of innovation. But all the classics and neo-classics of magic were at their inception novelties. Unfortunately, "novelty" seems to carry a connotation of triviality. This should not be the case; for something that is novel is something that has not been done before - and if something has already been done, there seems little reason to commit it once again to print. (Encyclopedic and basic reference works, for obvious reasons, are exceptions to this evaluation.) This course only recommends a conservation of energies and resources. It may be a shrewd business tactic to repackage old materials and sell them to uninformed buyers, instead of guiding them to the exist-ing sources; but it seems to me also a diminution and a dilution of the field. It is a practice I personally would rather avoid.
I view the mass of magical invention that reaches print as generally divisible into three strata. The low-est is that which is weak in both creativity and practicality. This class of material is, at blow-est, grist for vor-acious journals who can't always command the better material and continue to produce an issue a month on deadline. It is a foible inherent to magazine production; but such material, despite its intrinsic lack of merit, does serve a useful purpose. It is the sandstone which forms the bedrock upon which journals rest so that they may print the good pieces when they come available.
And that is why I let Adam Fleischer persuade me to help him produce another volume of The New York
Magic Symposium Collection. For it is one of the few true oases wherein a book is possible that consists of the highest sort of work, that sort with which I enjoy being associated. Incautious Adam placed the sole power of selection into my hands for this volume, and I have striven to be true to the values I have expres-sed above. Every piece in this Collection has been chosen for inclusion because I felt it had something good, fresh or novel to offer the craft. In some instances, the breakthrough is in plot; in others it lies in methodology. And in a surprising number, forward strides have been made in both areas.
Those who know me know that I don't believe in pure blacks and whites. There are no manmade abso-lutes, and every rule has its willful and rightful exceptions. It would be out of character not to have in-cluded several here. The reader will find a handful of items that are constituted by standard plots and established means. Several contributions by Jamy Swiss, Geoff Latta, Michael Ammar and Larry Jennings come immediately to mind. Such pieces would seem to warrant classification in the second stratum. However, they are among the metamorphosed rarities mentioned. Each, in its own special way, was such a remarkable piece of structuring or routining that it became vastly superior to other things of its kind al-ready in print. When one comes upon such inspired structures, rules must be abandoned for sheer quality of thinking.
Another aspect of this assemblage is its diversity. It ranges from simple tricks that require no great skill to tricks and routines that will challenge the most Spartan of technicians. The middle ground, too, is well laden. There is a satisfying diversity of types of material: close-up, stage, casual and professional. There is even a respectable selection of mentalism, a genre of which there has been a paucity in past Symposium Collections. One unifying factor, though, is common to it all: quality, both in the magic and in the enter-tainment potential.
Looking over the material in the pages you are about to turn gives me a thankful feeling of satisfaction in having been involved in its production. I genuinely feel that each and every piece included has some-thing important to offer the craft - something of genuine worth. And I honestly hope the reader shares my enthusiasm. In doing so he will have fallen prey to the same force as myself and the many contributors to this collection. For Adam Fleischer is a persuasive man.
Stephen Minch February, 1985
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The
New York
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The New York Magic Symposium
In
LOS ANGELES
CALIFORNIA
May 24, 25 & 26, 1985
The New York Magic Symposium
1982: New York City -
Sold Out!
1983: New York City -
"In a class of its own."
1984: San Francisco & New York -
Spectacular!
Michael has been a star performer at every Symposium except for one.
What will apparently occur is that the right hand will carry its end of the rope forward and loop it over the left hand, so that the center of the rope hangs down over the backs of the left fingers. However, in this seemingly innocent action a loop of the right end ofthe rope is switched for the center section.
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Begin by bringing the right hand forward of the left so that the right end of the rope passes just behind the left fingers; i.e., between the left hand and the audience. The right end is then passed over the left end as the right first and second fingertips nip the left end slightly forward of the left forefinger. This can be seen in Figure 2.
The substitution of the end section for the middle of the rope happens in an instant of smooth natural motion. The configuration of the rope as it is readied for cutting is quite different in appearance from the standard one, and more deceptive. Pick up a length of rope and work through this move several times while in front of a mirror. It is difficult to envision this maneuver from the printed page; but the visual illusion quickly becomes evident when seeing it from the audience's vantage.
What is offered is not a complete effect, but an exquisitely simple bit of finesse. As those who try to create know, it is this element of exquisite simplicity that is often hardest won. Case in point: The Cut &
Restored Rope trick has been a staple of magicians for centuries. The method most often used is that wherein a loop of the rope near one end is secretly exchanged for the center when the rope is cut. Thousands upon thousands of magicians have performed the trick using this means; and over the years a scant handful of elegant handlings have been devised for accomplishing the covert maneuver. However, I cannot remember seeing anything that comes near the clean, direct and deceptive appearance of Michael's approach (excepting perhaps the scissors method by Shigeo Takagi).
Three to three-and-a-half feet is about the right length for this effect, though ropes of greater or lesser length can be used. The rope should be of a type that is limp and flexible, such as the standard cotton magician's rope. Begin by holding the rope before you with an end lying across the fingers of each palm-up hand. The ends should hang over the front side of the forefingers by about four or five inches, while the center of the rope hangs off the backs of the little fingers and down between the hands. This
begin-ning position is shown in Figure 1. It is a very open and guileless pose.
Anyone who has been involved in magic within the past few years knows of the young West Virginian with the soft drawl and immediate smile. Most have seen one or more of his award- winning lectures for magicians or his recent performances on television's Merv Griffin Show, where he has become an obvi-ous favorite. (Incidentally, those who viewed his fourth appearance on this show saw him perform the "Topitized Silk to Egg" which was published in the second Symposium Collection.) And everyone should have bought and digested the books this FISM champion has authored, several of which are surely mod-ern classics that will be studied by many generations of future magicians.
Michael Ammar does not look or act much like the popular conception of a magician. But when he starts working, there can be no doubt that one is witnessing pure magic in its finest form. He is one the New York Symposium's foundation blocks. Involved from the first, he has been a contributor to each of the yearly anthologies. Michael is beyond doubt one of the shapers of tomorrow's magic. He is doing this presently and shows no sign of stopping. He has chipped off a little bit of that shaper's work for this year's Collection.
At nearly the same instant the right end of the rope is clipped in the crotch of the left thumb. The right thumb may aid in positioning it there if necessary. It is important that the section of rope that is hung over the left fingers by the right hand does not slip off those fingers. The left forefinger insures this by straightening and then bending in slightly to engage this portion of the rope. The very tip of the left thumb also aids in this objective by lightly pressing the rope to the left forefinger. This adjustment will be quickly comprehended when you try the move. Figure 3 exposes the position at this point, as the right hand begins to draw its newly acquired end (originally the left's) slightly upward and back toward the body. This end is, as can be seen, caught in the loop formed by the opposite end.
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The substitution has been accomplished at this time. It only remains for the right hand to carry its end back and down, apparently coiling the center of the rope around the left fingers, as in Figure 4. The left thumb holds the loop securely as the right hand draws the center of the rope through it.
With the rope coiled in a position that appears, from the front, as if the approximate center is hanging just over the left fingers (Figure 5), the right hand may release its end of the rope and pick up a scissors. The rope is cut where it hangs slightly below the left fingers. The illusion of its being severed at center is perfect. In reality, it has been cut only about six inches from one end. At this point one may proceed with any of the restoration sequences desired.
Of course, there is no hesitation or break in the action of the above maneuver. It all happens smoothly in only a few seconds. The illusion of innocent and unconfusing action is remarkable. It looks exactly like the honest action for which it has been substituted!
EFFECT: A spectator calls for any four of a kind he wishes and it is fairly removed from the deck. This spectator then cuts the face-down pack and the selected foursome is buried face-down at that spot. The Tagician snaps his fingers above the pack and, without the trace of a false move, the deck is Ribbon Spread to show that the four of a kind have magically reversed themselves!
Daryl was a featured star performer at the Premiere Symposium, appeared with "The Magic Hedonists" at the second Symposium, attended the 1984 Symposium in San Francisco, and he continues his perfect record of attending every Symposium to date by once again starring in The Symposium held in 1985 in Los Angeles.
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The left hand casually returns to the packet, palm-up, and takes it into dealing position. The right hand moves just to the right of the packet, still palm-down, in readiness for a Stud Deal. The left thumb deals over the face card of the packet and the right hand takes it. This hand revolves palm-up, turning its card face-down. The card is immediately placed in-jogged for about half its length beneath the packet. Or so it appears. Actually, the face-down card is placed second from the bottom of the packet. This is ac-complished by pulling down the right inner corner of the bottom, indifferent, card with the left fourth-fingertip. The face-down card is slid into the break created by this action. (A Buckle might also be used
here, but a Pull-Down makes the insertion of the card a bit smoother.) The Pull-Down should be done just an instant before the face-down card is moved toward the packet, so that the gap cannot be glimpsed "'rom your extreme right side.
Pick up the deck and ask someone to name any four of a kind: Aces, Sevens, Queens, Kings; anything they like. When they do, spread the cards face-up in your hands and openly cull the named four of a kind to the face of the pack. Square the deck, catching a left fourth-finger break under the fifth card from the face as you do so. The right hand comes immediately over the deck and lifts the five cards above the break away, while the left hand deposits the pack face-down on the table.
METHOD: While the above effect may seem hackneyed, nothing could be further from reality. Of ccurse. card reversals have been standard fare for many generations of magicians. But Daryl's method of achieving this effect is so remarkably clean in appearance and economical of method it will pull startled gasps from audiences. If ever you wished a fast impressive trick with cards that would gain attention and '.'.in respect for your abilities as a magician, this is it. It is quick, clean, strong, uncomplicated in effect,
.irtually sleight- free. And it can be done impromptu with a borrowed shuffled pack.
Combined with his talents for entertaining and deceiving, Daryl has another: that of invention. His con-tributions to modern close-up magic are widely recognized. Daryl has been a frequent contributor to the New York Magic Symposium Collections. It is a pleasure to have him back once more with this very fine bit
CT card magic.
I genuinely hope that everyone who reads this anthology has had a chance to see Daryl perform. Daryl is the essence of pure fun in magic. His charm and humor are infectious. The lowest, most unimaginative, scowling, magic-hating sourpuss could not withstand a performance by Daryl without having a good time. Not only is Daryl one of the most engaging entertainers one could ever wish to see, he performs magic that entirely fools even the most knowledgeable. And he does it with a technical expertise totally dis-guised behind an ingenuous humor and disarming nonchalance. Anyone who has not seen Daryl perform has missed one of the sparkles in this world that make life brighter and richer.
The moment the face-down card has been inserted "below" the packet the right hand turns palm-down, in a continuous action, over the cards and performs a Christ-Annemann Alignment: The right thumb comes to rest on the near end of the face-down card; the right forefinger comes down on the center of this same card, its nail contacting the inner end of the face-up packet; and the second fingertip lies on the face of the forward packet. Figure 1 depicts this posture of the hands. The top three face- up cards and the in-jogged face-down one are now slid, as a unit, forward over the hidden indifferent card until the inner end of the in-jogged card comes flush with it. The right thumbtip is a sure guide in reach-ing this position.
As soon as this alignment has been completed the right hand moves forward over the out-jogged face-up packet and tilts its front end down slightly, openly creating a gap of approximately a quarter of an inch between the inner end of the packet and the face-down card below it (rather like an open Tilt posi-tion). This situation is shown in Figure 2 from the performer's vantage. This placing of the face-down card beneath the packet and the following adjustment of the cards should take but a moment and is executed as a single action rather than a sequence of separate actions.
The still palm-down right hand draws the next face-up card of the foursome from the top of the packet, turns it face- down, Stud-Deal fashion, and slips it square onto the in-jogged card and below the remain-ing face-up pair. This dealing maneuver is repeated with the third card; and the fourth is turned end- for-end face-down onto the rest with the same righthand action.
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In this seemingly open manner you have displayed all four chosen mates as they are turned face-down. Their singularity should be obvious without emphasis. Despite the apparent fairness of the display, a fifth card has been cleverly hidden and is now face-up below the face-down four. This displaying action is ac-companied with simple explanatory patter: "We have the Five of Hearts, the Five of Spades, the Five of Clubs and the Five of Diamonds. All the Fives are here."
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.'i"'en the spectator has lifted the top half from the tabled deck, take the packet from your left hand with
:"'S caim- down right hand and place it neatly on the tabled portion. Then have the spectator replace the
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the deck upon it. The foursome is seemingly buried face-down in the pack. It only remains for you:: 'T1aKe whatever magical gesture you feel is appropriate, and widely Ribbon Spread the deck across the
::a:e to reveal the instant reversal of the chosen four.
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P'ease do not pass this by without a trial or two. The secret reversal of the packet is exceptionally
effec-::.s.
No one ever catches it. The effect is extremely direct and so very magical. You don't seem to do a ::•..•..g It looks truly impossible. You will see eyes open wide when you perform this. It is simple in effect, :_:J::terly devastating.L
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,-Look at the spectator who chose the four of a kind and gesture at the tabled deck as you ask, "Would you cut off about half of the deck, please." Accompanying this request, both hands make a gesture toward the deck and then rise together into the air, in indication of the action the spectator is to make. The hands both turn from a palm-down to palm-up position as they make this helpful sign. See Figure 4. In so doing, the packet in the left hand is reversed, bringing the indifferent card, face-down, into view. The four of a kind lie hidden and face-up beneath it. This reversal of the packet is very subtle and will be overlooked by everyone if performed in an off-hand manner. The spectators' attention is momentarily occupied by your instructions and your helper's response to them. The moment of misdirection is excellent, the turnover is over in an instant, and the gesture that accomplishes it is totally natural.
The left hand turns its palm to the right and the left fingertips tap the fanned cards square against the right palm, as shown in Figure 3. The squared packet is then grasped by the left hand as it turns palm-down, thumb at the right side and fingers at the left. This position is similar to that used for the Glide.
As the last sentence is uttered the left hand counts the packet as four cards into the right hand. Each card is taken, fanned to the left, below the previous one, so that their order is unchanged. The last two cards are handled as a single one.
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Paul Harris has influenced the course of modern close-up magic more than any other individual I can bring to mind. Paul has widely affected not only the tricks that one sees today, but their methods and very presentation. Paul's tongue-i n-cheek performance style has spawned thousands of you ng and not-so-young imitators. But none can do it as Paul does, or even approach it. Paul is an original, as an inventor, performer and human being. He is a creative force that, despite the detractors, has cut a swath the influ-ence of which is still being felt and assessed. Paul was one of the star artists at the Premiere Symposium in 1982, appeared again in 1983 with "The Magic Hedonists" (Michael Ammar, Daryl and Paul), and ap-peared at the 1985 Symposium in Los Angeles. "The Tallahassee Tent" is another indication of a mind at work that is totally unordinary and totally special.
EFFECT: This trick is the result of a problem that Paul set out to solve: the performance of a two-card transposition using only two ungimmicked cards and with no recourse to the deck. Before you read Paul's solution, sit for a few minutes and contemplate the difficulties of this problem. Most two-card transposi-tions are not terribly strong or appealing in effect. By attempting the minimalistic restrictions mentioned above, Paul has not only solved the problem beautifully, he has achieved a transposition the appearance of which is so direct, quick and visual, it approaches the real thing.
METHOD: As stated, only two cards are required. While they may be any two cards, two cards of
obvi-ous contrast are preferable; for example, a red court-card and a black spot card. The effect is introduced with ...
"Off the coast of Florida and centering around a small group of holiday islands is an area called the Bermuda Triangle. Strange and unexplainable things are said to occur there. But you needn't leave the coast of Florida to find weirdness. In Florida's capital city there is a bizarre phenomenon known as the
Tallahassee Tent. It's a geometric oddity involving large land masses - but for your safety and conveni-ence I shall construct a miniature Tallahassee Tent right in this room, using two ordinary playing-cards."
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Remove and display the two cards you are going to use; for this description they shall be the Two of Spades and the King of Hearts. Place the King face-down on the left palm, roughly in dealing position. The right edge of the King should rest along the creases of the fingers' center joints (those joints between the proximal and medial phalanges). The Two is propped face-up at an acute angle above the King, its left edge supported by the tip of the left thumb, its right edge resting on the right edge of the King. This is commonly known as the Findley Tent Vanish position, but will be passed off as the Tallahassee Tent to an unwitting audience. It is pictured in Figure 1.
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The right hand presses itself flat 0nto the table, fi ngers together, thu mb outstretched at a near right angle. The Two is imagined to be under it. The left hand travels about eight inches to the left. During this short journey the fingers make sure that the two cards are perfectly aligned, the forefinger aiding at the outer end. Then the double card is shifted to the fingertip grip described above and in Figure 3. The grip is that used for the Snap-Over Color Change - and that is just what is done. The left hand returns to the right, waves the card over the right hand and performs the Snap-Over Change. I.e., the left forefinger straightens, putting pressure on the face of the King, causing the double card to bend concavely along its length. As this is done it will be found that this finger will naturally approach the thumb and right side of
"1 will try to recreate this chilling occurrence for you, performing without the use of the state of
Florida." The cards are replaced in Tent Vanish position in the left hand, (Figure 1 again). The left hand turns to the right as in Figure 2; and the right hand comes down over the face-down Two, exactly as be-fore. However, under the right hand things happen quite differently. The Two is stolen from beneath the hand with a move that is a cross between the Rub-a-dub-dub Vanish from Expert Card Technique (pp. 301-302) and the K. M. Move, without a deck. Instead of sliding from beneath the Two as they did before, I
the left fingers maintain full contact with the face of that card. They then draw the Two from beneath the right hand and fold it up flat, back to back, against the King. Of course this stealing action must not be seen. To cover it, the palm- down left hand rotates clockwise, hugging the left side of the right hand as it turns. This action, done properly, will cause first the inner end of the Two, then its right side and finally its front end, to be drawn lightly along the fleshy web between the right thumb and forefinger. This action is indicated in Figures 4 through 6. The Two folds invisibly onto the King like a closing book, and the turning of the left hand as it hugs the right makes the steal of the card invisible from all angles. Once the feel of this is obtained, you will see how natural the movements appear. Of course the same movements should
be simulated when the card is really taken beneath the right hand during the opening exposition phase. Bring the left hand and its card back to the right and wave them magically above the lowered right ~2,..,d which still presses the Two to the table. "But during the night, sightings of strange lights and glow-r9 pygmy-ponies are reported near the dismantled Tent ... and in the morning, according to reliable sources from the National Enquirer, the King is found on the table and the Two high above it." As this is said. lift your right hand and openly trade the positions of the two cards.
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..and the King is held high above it." As the left hand moves leftward, the second finger and thumb bend n until their tips can contact the opposite sides of the King. They then straighten, lowering the King ",,',=! ;c:)m the palm. The left third and fourth fingers move out away from the King's right side, while the
"::-e" nger curls onto its face. This new position is shown in Figure 3.
Turn your left hand inward at the wrist, until the left palm and back of the King face toward your right. Then release the edge of the Two from the left thumb, allowing the card to lie upon the "shelf" of the left fingers. in this position the Two will rest face-down, parallel with the table's surface and at a right angle to :~e
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T-e Ki~g is supported on its right side in a vertical position by the left palm and fingers. See,',::-.',: sassemble the Tent by placing the Two on the table, here ... " On this line, the right hand
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:2i""-',-jcwm over the Two, stretched out flat. This hand then lowers onto the card and pins it to the:2: ::-
as :'le jeft fingers move from beneath it. The left hand turns palm-down and moves to the left.the cards. The cards are allowed to snap off the tip of the second finger as a unit. This brings the face of the Two instantly into view and the cards are held tightly pinched as one between the forefinger and thumb (Figure 7).
This visible change is a startling one; and it is during the surprise caused by it that the final sleight is executed. Note the relative positions of the hands and cards in Figure 7. Most importantly, the double card
is being held directly above the right hand's extended thumb, angled nearly parallel over it. It is in this position that the left hand freezes at the finish of the Snap-Over Change. The moment the left hand comes to a halt, the right starts moving. This hand is drawn back toward you and somewhat to the right, in a sweeping motion. As this action begins, the side of the right thumb comes easily into contact with the face of the concealed King and drags it backward, as shown in Figure 8. (If your hands are naturally dry, the left second-finger may aid in starting the card's journey by sliding it slightly back from beneath the Two. However, if used, this finger motion should be minimal.) The first instant possible, the right fingers
press over the moving King, sliding it along the table's surface with themselves (Figure 9). The inner end of the King is clipped within the fork of the right thu mb - and the card is turned face-up, end over end. Without hesitation, the King is casually sailed forward onto the table and in front of the spectators.
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This last sleight will take practice to acquire. The goal to be striven for is the appearance of the right hand merely sweeping its card back and turning it face-up. There should be no strange swoops or jerks-just a natural sweeping action. Practice the ligitimate action of sweeping a card up and turning it over. Then emulate those same movements when making the steal.
Note the clever manner in which Paul conditions the audience before the trick is performed. The initial explanation and "walk through" lay the psychological groundwork: The effect is made clear before it is witnessed, thereby planting expectations of what is about to be seen; and the actions of the procedure are proven innocent of guile, lending validity to similar but dishonest actions about to occur. A psycholog-ical picture of normalcy is established to disguise the trick's deceitful underpinnings. It should go without saying that all actions in the exposition sequence should mimic the actions necessary in the trick se-quence; and that the actions in the trick sequence should shadow natural motions as closely as possible.
1) three sugar packets;
3) a moderate sized ball of magician's wax or Blu-Tac;
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Have the three sugar-packets and the normal squeaker in your right coat-pocket. The ball of wax should be stuck lightly to one side of the squeaker. The pen is in your right breast- pocket. The voiceless squeaker is in your left coat-pocket. With these things situated as instructed, you are ready to perform.
4) a thin ball-point pen. A chopstick, pencil or pointed swizzel-stick can be substituted.
METHOD: The requirements for this amusing routine are nominally had:
2) two squeakers, one of which has had its reed removed so that it will not sound. These can be procured from inexpensive children's toys, or, presently, from a number of magic dealers;
The streets and comedy lounges have proven the vaudeville of the 1980s for a number of magic's rising stars. These were Pat Hazell's training grounds. Pat is one of the good sort of modern comedy-magicians. The phrase "comedy magician" has taken on a slightly pejorative meaning in the show-business mainstream. It often connotes a middling performer who relies upon a combination of fifth-hand comedy and magic because he is not sufficient master of either. As noted, Pat is one of the good comedy-mag-icians. His personality is engaging, his material original, his craft well-honed. Pat made an unannounced special guest star appearance at the 1984 Symposium in San Francisco, and was a featured star at the 1985 Symposium in Los Angeles. The items Pat has contributed to this Collection carry the evidence of his concern for originality coupled with solid entertainment.
EFFECT: A finger ring is borrowed from a spectator and vanished. The magician apologizes in none too sincere a manner for the loss and offers the lender a consolation prize. This takes the form of three sugar packets, such as are found in restaurants. A simple game is proposed. The spectator is asked to pick one of the three packets. He does so. But, before he knows it, he has lost another round; for it is shown that one of the sugar packets squeaks, while the other two do not - and the spectator did not choose the squeaking packet.
The packets are mixed around a bit, ala Three-Card Monte, and the spectator is given another chance. Again he misses. The same unsuccessful results are had upon a third try. Finally the magician lets the spectator off the hook by showing him how the swindle works. In fact, none of the sugar packets squeak. The noise comes from a squeaker in the performer's pocket. It is brought out, squeaked and given to the spectator to try. However, he soon finds out he has been had again, as the squeaker won't squeak when he tries it!
Nonetheless, he is asked to pick a sugar packet one last time. This packet is skewered on a pen. The spectator is asked to hold either end of the pen while the magician tears open the sugar packet...and there, on the pen, is found the borrowed ring, apparently in the sugar packet the whole time!
First borrow a finger ring and vanish it in some convincing manner. A thimble vanish, a French Drop or any False Transfer will serve the purpose. Hold the empty fist that is supposed to have the ri ng toward the lender and ask that he blow on it. "Make a wish and blow, and your wish will come true." Show that the hand is empty. "Bummer! You trusted me. Well, no one leaves without a consolation prize."
At the finish of the vanish, the ring should be secreted in your right hand. Reach into your coat pocket with that hand, dump the ring and pick up two of the sugar packets. Bring them out and toss them on the table. Go back to the pocket and clip the squeaker to the palm with the tips of the curled second and third fingers. The side bearing the ball of wax is positioned away from your palm. Then pick up the third sugar packet and toss it with the others.
Arrange the three packets in a row on the table. Ask the spectator to point to any of the three he wishes. Press the center of the chosen packet with the tip of your right forefinger. "Nope." Then press the packet just next to it and, at the same time, squeeze the squeaker with your third fingertip. (The fingers should avoid contact with the adhering ball of wax at this stage.)
Make the packet of sugar squeak several times and say, "Oh, you were so close. Let's try again." Shuffle the packets of sugar around and have the spectator indicate one. Show that it doesn't squeak, but that the one beside it does. Repeat this business once more. Then pretend to "come clean".
"Okay, it's a swindle." Push on all three sugar packets with your forefinger and show that none of them squeak. Then reach into your left coat-pocket and bring out the muted squeaker. "If you want to win you have to have one of these." Squeeze the silent squeaker in the left hand while sounding the righthand squeaker. This will bring a good laugh. Place the false squeaker on the table near the spectator and invite him to try it. He will...and the squeaker won't work. This garners an even bigger laugh.
The whole sequence is very funny. Pacing is important. It should be played at a good clip. There is an air of the hustle to it all. You are giving them just enough time to follow what is happening and think along the desired lines.
While they are still laughing, pick up the mute squeaker with the right hand and place it in your right coat-pocket. While there the second fi ngertip rolls the ball of wax off the pal med squeaker. This squeaker is also dropped off and the ri ng is picked up. The ball of wax is pressed firmly to theedge of the ri ng. Then the ring is Finger Palmed, waxed side away from the fingers, and the hand brought from the pocket as if empty.
"All right, which packet do you really want?" When he indicates one, pick it up with the left hand and transfer it to the right, laying it directly over the ring. The left hand then gets the pen from your right breast-pocket. As it does so, the right thumb presses down firmly on the sugar packet, adhering the ring to its back. Hold up the pen in the left hand and the sugar packet in the right. The grip on the packet is changed as you do this: It is held by one corner between the right forefingertip and thumb. The ring will stick securely to the back of the packet. As the two articles are visually emphasized in this manner, the hands are observed to be otherwise empty.
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Retake the sugar packet onto the right fingers and force the tip of the pen through its center. It also passes of course through the center of the ring. (When you first try this you will realize why a thin pen was specified. It is more difficult to quickly and cleanly pierce the sugar packet with a fat pen.) Immediately request that the spectator take hold of both ends of the pen. You will find that the packet will lie in such a way that it fully conceals the ring from the audience, much as in Figure 1.
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With the pen held by the ring's lender, reach over with obviously empty hands and genteely tear the impaled sugar packet open and off the pen. The borrowed ring is revealed!
A few last thoughts: It would be a considerate thing to place a saucer or ashtray under the packet to catch the sugar as the packet is torn open.
Try to insure that the ring borrowed is a wedding band or other light style. Large heavy rings, such as most signet types, may not stick securely to the packet.
It may occur to the reader that the wax might easily be eliminated without changing the effect much. It
would merely mean a sacrifice of the nicety of being able to hold the sugar packet up for a moment with the hands shown clearly empty. This is true, but that moment adds a nice bit of conviction to the illusion of the ring coming from inside the packet. It seems more than worth the small trouble necessary.
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If you need a weapon for those times when you don't feel your skill with the pasteboards is being prop-erly appreciated, Pat's mad Flourish-Cut should satisfy everyone. There are several versions of increasing difficulty. The first two are fairly quickly mastered. The third one is for the dedicated with time as well as cards on their hands.
1) The deck is held face-down in lefthand dealing-grip, but positioned farther out on the fingers than usual. The left side of the pack should actually dig in along the pads at the base of the fingers. In this position it is possible for the left thumb to stretch entirely across the back of the deck and partially over the right side. This it does, until its tip contacts roughly the top two-thirds of the pack. It then lifts this section of the deck upward at the right side, opening the pack as if it were a book, hinged upon the left. Figure 1 shows this position.
The left forefinger curls under the bottom portion of the pack (Figure 1 again) and then straightens, lifting this packet up upon its right edge, as shown in Figure 2. So far the action is identical to the old one-handed cut.
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But here the similarity ends. The forefinger continues to push the lower portion of the deck up, until its left edge clears the face of the upper portion. At this point the lower packet is gripped at its right edge between the forefingertip, on its face, and the second fingertip, on its back. The fingers straighten still further, continuing the revolution of the packet upward and then rightward, until it topples over the fingertips (Figure 3). It is just as the packet is about to fall from the fingers that the left hand performs a little upward wrist-snap, giving the revolving block a gentle sidewise spin and a rightward toss.
The packet leaves the left fingers, makes one complete somersault, and lands face-down in the waiting right hand, as depicted in Figure 4.
That is the basic action. In its simplest form, the left thumb drops off another block of cards and the fingers flip it over and into the right hand, atop the cards already there. This is repeated until the entire deck has been transported, packet by packet, into the right hand.
2) To complicate the action a bit, the right hand now takes a more active role. As soon as it receives its first substantial packet of cards, it mirrors the left thumb's action, opening its packet at the left side, V-iike, and catches the next packet thrown by the left hand between the two righthand sections of its portion, as in Figure 5. Each time a packet is caught, the right thumb drops its upper portion flat onto the :ards below it, and then regrasps about half the packet. The righthand cards are resplit just as the left hand catapults another block off its fingers. This is continued until the lefthand cards have been exhausted.
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3) This is where the ranks will part. The cut is performed per Version 2, until each hand holds about half the pack. Then both hands execute the toppling-tossing action with their cards simultaneously! The two flying packets actually pass by each other in midair, in much the same style of flight pattern as used by Paul Harris in "Simple Switch" (ref. A Close-Up Kinda Guy, pp. 130-132). Figure 6 is a stop-action portrait of the packets in flight. Each of the somersaulting packets is caught on the outstretched fingers of the hands and the thumbs drop the packets they hold flat upon these caught cards. This double-tossing ac-tion is repeated several times. Then the cut is concluded by the transference of the balance of the lefth-and cards to the right hlefth-and using Version 2 of the Flourish Cut.
As mentioned at the beginning, the first two versions of this cut are fairly rapidly attained; and they look impressive. The third version will take some dedication to master. It is a much more entertaining thing to watch than to perfect. Practicing over a bed or high table is both a back- and patience- saving precaution. The rest is time and determination.
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Richard Kaufman needs no introduction to New York Magic Symposium Collection readers, or to Sym-posium attendees - Richard is one of the handful of performers who has appeared at every Symposium convention to date, as a lecturer and Close-Up Host. Richard is most likely the finest illustrator of magical literature in its history, as well as one of the better of its modern authors. These facts are widely recog-nized. Richard was also instrumental in the conception of the N.Y Symposium Collection series. He au-thored and illustrated the first two volumes. Richard has a strong creative talent within the area of magic invention, evidenced by his many contributions over the last few years. And he continues to be an "angel" (in the jargon of the theater) giving strong and welcome support to past and present instalments in this series.
EFFECT: A card is chosen from the center of the deck and is left there. When the outer end of the deck
is riffled the selection pops from deck's center. However, it has shrunk strangely to a miniature card! A totally magical series of six changes now occurs in which the chosen card visibly grows and shrinks from small to normal size with bewildering rapidity. These transformations of size are wholly enchanting.
METHOD: The setup for this is quite simple. You will need one miniature card. By miniature it is meant that the card is about half the size of a normal playing card. This size is that most commonly found. Both Playtime and Bicycle make novelty decks of this size. It is nice if the back design of this miniature matches that of the deck you will use.
The miniature card must be secretly placed into the center of the regular deck so that it resides at the outer right corner of the pack. This is depicted in a transparent view in Figure 1. The matching normal card to the miniature is managed to a position second from the face of the deck. With this done you are ready to beg in.
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The first objective is to quickly and convincingly Force the top card. This is accomplished with a clever application of the Bluff Pass, Ed Marlo's Bluff Bottom Placement (ref. Racherbaumer's Card Finesse, pp. 5-8). With the deck held in lefthand dealing position, a fourth-finger break is procured above the bottom card. This can be accomplished with either a Fourth-Finger Pull-Down or a Buckle. The left thumb riffles down the corner of the pack as you ask a spectator to call a halt to the riffle at any ti me. Stop as he instructs you. Bring the right hand over the pack, palm down, to apparently lift off the cards above the left thumb's open break. However, the Bluff Pass is done instead. Under cover of the right hand the left thumb quietly releases its break and the right hand picks up all fifty- one (and a half) cards above the
fourth-finger break. The right fourth-fingers all lie along the front end of the deck, masking its bulk as the right hand rises with its cards, turning the face of the bottom card fully toward the audience. In consort with this ruse, the left hand follows the right's upward swing, so the face of its single card is also exposed, but its singular lack of thickness is disguised. The illusion created is that you have lifted the top half of the deck at the point the spectator chose and are showing the card stopped at. The lefthand and its card hover just below the right, and the left forefinger taps the face of the righthand cards, as shown in Figure 2.
Ask that the spectator remember this card. Then swing the hands down, reuniting the bottom card with the pack. Quickly grasp a bit less than half the deck in the right hand (somewhere just above the minia-ture) without adjusting the positions of the right fingers. Instantly lift this portion of cards three or four inches off the pack and dribble it back onto the lower half. This touch of finesse isvery convincing. The chosen card genuinely seems to rest at the deck's center. It also implies that no control is exercised over
the card.
Using either a Pull-Down or Double Buckle, obtain a break above the bottom two cards and Double Cut
them to the top. Care should be taken to leave the miniature card hidden and undisturbed at the outer rQht corner of the pack as the cuts are executed. This is not difficult.
Now the miniature will be produced in a novel manner. The principle in play is credited to Joe Berg (ref.
The Tarbell Course in Magic, Vol. 4, pp. 122-123). Paul LePaul had a lovely application of it in his "Im-promptu Torn and Restored Card" (ref.The Card Magic of LePaul, pp. 161- 163). The adaptation of a
mini-a:J'e card to its use is Michael Skinner's idea. The right hand grasps the deck from above so that the left
hard can regrip the pack at the left inner corner, thumb above, first and second fingers below. The deck is hed firmly at this corner while the right first or second fingertip riffles vigorously up the outer right corner ::;; t"le pack. This action will cause the miniature card to spring suddenly from the deck for about three-quarters of its length and rest pinched by the pack's outer right corner (see Figure 3).
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-~s riffle production of the miniature is done with the deck horizontal to the floor, so that the face of :~':: small card is not exposed. The right hand once more grasps the deck from above, without disturbing :~:: ::Jsition of the miniature, and the left hand resumes a dealing grip on the pack. Now the right hand
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the miniature card from the deck - thumb above, first finger below - pinching the miniature at its~;..,: side near center. This hand turns palm-down, bringing the face of the miniature into view for the first : ~e and it is seen to be the selection.
That is the first change of the card. Give the audience a few moments to absorb what has happened. --::- go immediately into the next change, which causes the little card to grow large again. Richard has
:2<:::'""1 Ken Krenzel's handling of the Hofzinser Top Change (ref. Best of Friends, pp.224-229) and applied it
:: "'11niature and normal cards to effect this. As the right hand holds up the miniature to the spectators,
:-.:; 'eft hand bends in slightly at the wrist and tilts the right edge of the deck down a bit. In this position :-e:Juter left corner of the pack is poi nted straight toward the audience. The body actually turns very
---The right hand now swings down and palm-up again, while gliding the miniature card over the outer right corner of the top card until the left edge of the miniature eases under the tip of the left thumb. Simultaneously, the left thumb pushes the top card of the deck about half an inch to the right and slightly inward. This position is seen in Figure 4. The modest rightward body turn shields this positioning of the top card. The right thumb and fingers relax very slightly to allow the right edge of the large card to enter between them. This automatically brings the right fingertips into contact with the face of the large card. In a continuation of motion the left hand turns briskly palm-down with the deck and miniature card, while the right hand is left holding the chosen card (Figure 5). An analysis of finger pressures is necessary here for a complete understanding of the switch. The left thumb will apply light pressure to the back of the miniature card automatically as the left hand begins to turn palm-down. The right thumb relaxes its pres-sure on the miniature. The same lefthand rotation causes the large card to press against the underlying right fingertips. For the change to work smoothly, there needs to be a gossamer-like quality to all these finger pressures.
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The left hand immediately follows its wrist turn by extending the forefinger and lightly snapping the outer right corner of the righthand card. The miniature is completely hidden beneath the upturned deck. The visual effect given by this Top Change is of an instantaneous growth of the card. It is quite startling and pretty.
The righthand card is now pivoted face-up, end over end, by curling the second fingertip in and then straightening it onto the back of the card. The thumb moves aside to allow the card to turn, clipped be-tween the tips of the first and second fingers. It then comes down on the face of the selection so that the card may by held face-up between the thumb and fingertips ...and the first finger moves beneath the card's right edge to join the others.
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7Now comes the third change: The left hand is still palm-down, with the right edge of the deck pointing toward the floor. In this position the left thumb can lightly release the miniature card it holds to the deck, letting it slide down onto the tips of the left second and third fingers. This position is exposed in Figure 6. The miniature is then pulled by the fingertips around the lower edge of the pack until it assumes an angle of nearly ninety degrees to the deck proper, as in Figure 7. The left side of the miniature is slightly nipped between the edge of the pack and the left fi ngers.
The right hand turns to display the face of the large card, then returns to a palm-up position, swinging in to meet the left hand with deck which is also turning palm-up. As the hands meet, the small card is again loaded beneath the large one in the right hand (refer back to Figures 6 through 8). However, this time the cards will find themselves face to face.
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_ Tr";iature card is now loaded secretly beneath the righthand card as the lefthand turns palm-up.
-- s s.ery '"'eariy a reversal of the inward and palm-down turn made during the Top Change. As the left
-2-:: 'e.:: '.es palm-up the righthand card is fed into the "V" between the miniature and the deck (Figure 3 ~"'e e"1 fi'"'gertips ride the miniature under the righthand card and above the waiting right fingertips . ••• :..,::~: "'esitation the left hand completes its palm-up turn and moves an inch or two to the left of the -:g"'trand card.
Now clip the miniature face-up under the left thumb, jogged off the front right corner of the pack. This releases the right hand so it may turn palm-down and regrip the miniature at its right side. The miniature is revolved face-down as the right hand turns palm-up again ...and the Krenzel Top Change is executed a second time, causing the miniature to become large once more. This is the fourth change.
You are now in position to visibly change the large card into a small one face-up, using - for want of a more concise description - the K. M. Move with reverse fingering action. The left hand travels back to the right to meet the chosen card, turning the back of the deck to the right as it moves. This brings the pack onto its right edge. The left edge of the large selection is laid lightly onto the tips of the left second and third fingers. In an instant the large card will be snapped flush onto the deck and the miniature will come
into sight. This will happen as the card is apparently brushed along the back of the deck. What actually occurs is that the right thumb pushes the large card to the left until the very edge of the miniature is exposed to the ball of the thumb. At the same time, the left second and third fingertips curl inward on the left edge of the large card. This combination of small actions cause the large card to escape from beneath the right thumbtip and snap flush onto the pack. See Figure 9 for a stop-action pose of this. The right hand carries through by moving upward with the miniature card in a continuation of the brushing action.
At the finish of its wrist turn the left hand will be poised in standard dealing position with the face-down deck. The right hand allows the left to claim its large and hidden miniature cards momentarily, resting them side-jogged over the right edge of the deck. The left thumb clips the left side of the large card onto the pack while the miniature card lies sandwiched between them, supported lightly by the left fingertips. The right hand is thus freed to turn palm-down and regrasp the two cards by their right edges, fingers above, thumb below, as in Figure 10.
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---The fifth change is an interesting variation of the third. Both hands must revolve in unison, the right hand outward and the left inward. These opposite wrist turns will bring the backs of both hands au-dienceward. The near end of the righthand pair of cards is swung upward in this action, keeping the back of the large card toward the spectators; and the far end of the pack is tilted up, bri ngi ng the back of the deck toward yourself. This position is shown from the performer's vantage in Figure 11.
The left side of the righthand large card is brought tangent to the right side of the deck, the back edge of this card resting upon the tips of the left second and third fingers. This position is rather like you had opened the rear cover of a book before yourself. The right fingers now apply pressure to the back of the large card bowing its middle inward lengthwise. The left fingertips simultaneously curl inward, pressing the left edge of the card firmly against the top right edge of the pack. This of course causes the left side of the miniature card to stand out away from the bellied large card. All of this is pictured in Figure 12. It is quite similar to the beginning action of the brushing K. M. change previously described, but with the rela-tive positions of the two cards reversed.
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The right hand continues to twist outward, causing its thumb to carry the miniature card across the face of the large card and over that card's right edge. This right edge then slips over the face of the minia-ture and away from the right thumb, allowing the large card to snap face-down and square onto the top of the deck. The miniature card is left gripped face-down by its right edge between the right thumb, on top, and fingers, beneath. The outer left corner of the miniature should come into contact with the tip of the left thumb, which has risen to engage it (Figure 13). Synchronized with this snapping of the large card onto the pack is the lowering of the hands until both deck and miniature come face-down and parallel with the floor. Just as this position is reached the right hand concludes the change by snapping the corner of the miniature up from under the left thumb. The right fingers pivot the miniature face-up, end over end, in the same manner as was described for the turning of the large card following the second change ...and it is displayed.
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A Hofzinseresque version of Marlo's Bottop Change (ref. Ibidem, No. 22, pp. 522-523; also see The Complete Works of Derek Dingle, pp. 15-16) is responsible for the sixth change. The left thu mb reaches beneath the deck and topples it over, face-up in the left hand. Then, as the right hand positions itself, slightly in front of the deck and left hand, to display the little card, the left second finger contacts the outer right corner of the chosen card, buckles it back from under the left forefinger and then pushes it to the right so it projects about half an inch from beneath the edge of the pack. This action is hidden by the right hand. Like the Krenzel Top Change, this Bottop Change also benefits from a slight body-turn to the right.
The right hand moves back over the pack so that the left thu mb can stroke the outer-left index corner of the miniature. This stroking action is the result of a left-wrist turn which brings the hand partially palm-down and the deck perpendicular to the floor; consequently the left thumb snaps off the corner of the small card. The left hand turns palm-up again and this stroking gesture is repeated. On the third stroke the change is performed. The left thumb comes down on the outer index corner of the miniature. But rather than snapping off it, it clamps it to the face of the pack and draws the miniature fully onto it.
Simultaneously, the tips of the right fingers contact the back of the full-sized selection at its exposed right side and press up firmly on it. Figure 14 shows the Change interrupted in midstride. All this happens as the left hand does its wrist turn, this time revolving fully palm-down with the miniature clipped to the face of the deck ...and leaving the large card pinched at its right edge between the right thumb, above, and fingers, below (Figure 15). Another strikingly visual change has been effected.
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This brings us to the seventh and final transformation, which is accomplished by Dingle's Alpha Toss Iref. Richard's Almanac, Vol. 1, No.1, pp. 1-2). Begin this by loading the little card once more below the large one in the right hand as has been done twice previously (Figures 6-8). This time the miniature comes back to back with the large card. With these two cards held in the right fingers, the left thumb flips the deck face-down in the left hand and then clips the righthand pair face-up onto the pack. This pair must be canted to the left off the right outer corner of the pack as shown in Figure 16. This is to allow the right hand to regrip the two cards, still palm- up, from their near end. The right thumb stretches across the length of the large card until its ball can contact the centermost point. The right forefinger bends under the pair and presses up against the face of the miniature at a point directly beneath the right thumbtip. This places the near end of the large card deep into the fork of the thumb. The right second, third and fourth fingers lie slightly curled below the cards. This grip can be seen in Figure 17.
With the two cards pinched in this position, the right hand turns palm-down directly above the deck. At the same time, the right forefinger shoots straight out, gliding the miniature card along the back of the iarge card. The little card snaps from beneath the large one and flies a foot or so forward and onto the table. The large card remains caught in the thumb's fork and hidden beneath the palm-down hand, as shown exposed in Figure 18.
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To clean up, the right hand quietly drops its card squarely onto the pack, which still resides below it, and immediately riffles the outer end of the cards for effect. This minor flourish also provides the motiva-tion for the right hand's presence near the deck. The illusion given by this Change is an almost visible midair shrinking of the card.
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If one wished, the top card could be Palmed from the deck and disposed of, leaving no trace of how the various diminishments and enlargements were accomplished. The worth of this precaution will be dic-tated by the conditions under which one is working and whether the deck will be left lying around for inspection.
Some readers may wonder, as did I, why Richard has chosen Marlo's Bluff Bottom Placement to Force the card in the beginning, rather than using the same type of Bluff Pass procedure to Force the top card. Doing so has the benefit of eliminating the subsequent Double Cut. Richard nonetheless feels that the Bluff Bottom Placement is more convincing in this context. The spectators may be allowed to perceive some depth or thickness of cards behind the Forced card as it is brought into their sight; something the other procedure does not permit. Various performers may wish to weigh the pros and cons of the two procedures.
This routine approaches the power of highly technical special effects done live. The various changes are all of a very visual nature and Richard has routined them together so that one flows without the least awkwardness into the next. This series of changes is guaranteed to shake any audience.
The following sartorial fantasy is an artistic blend of classic and fresh parts; just what one would ex-pect from such a master of montage. If the costuming is of a style that is correct for your act, this is a pleasantly novel interlude.
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EFFECT: This is, if you will, a costume piece. It is designed for the classic manipulation-style act, most likely done silent to music. The magician - attired in wing- collared shirt, bow tie and tail coat - steps forward on stage and deftly undoes his tie. Removing it from around his neck, he ties it into a simple overhand knot. As it hangs, tied, from one hand, the tie's free end eerily starts to move, rise in the air and untie itself. The tie is then gathered up into the manipulator's hands and tossed into the air. It suddenly vanishes and seconds later is seen perfectly tied back arouhd the performer's neck! And the act proceeds to other things.
Jeff McBride, as has become widely recognized of late, is a brilliant synthesizer of seemingly disparate elements of art, music, dance, mime, magic, but most of all theater. His stage act is, without doubt, one of the most visual and aesthetiC'triumphs on today's magic scene. It is truly revolutionary. And it is one of the most electric events one could hope to witness on stage. Jeff performed at the Premiere Symposium in New York City in 1982. He was scheduled to perform at the 1983 Symposium, but contractual problems in Atlantic City cancelled the appearance at the last minute. Jeff made his exclusive 1984 magic convention appearances at The Symposiums in San Francisco and New York, and these appearances included the World Premiere of Jeff's lecture, "Changing The Face Of Magic." This lecture's material was published by The Symposium in booklet form as Volume One of The Symposium's "State-Of-The-Art" Publication Series. In 1985, Jeff made his Premiere Los Angeles appearance with his performance and lecture at the Symposium in Los Angeles. The Symposium is proud to work so closely with Jeff, a performer who Sym-posium Producer Adam J. Fleischer considers the most intense stage magical artist of our day, a per-former whose impace has just started to be felt by the world of magic, and the world at large.
METHOD2fi1: To perform this you must have two bow ties. Jeff suggests that they be made from black ribbon about one or two inches wide; the width and length will be governed by your neck size. Also needed is a magician's reel and a bit of Velcro. As mentioned above, you must wear a white shirt with a
wing-collar and a tail coat. The tail coat has a profonde or tailpocket sewn into its left tail.
Each of the ties must be prepared. Take the first and tie it as you will wear it around your neck. You should have the wing-collar shirt and coat on as you do this. Now rotate the tie around your neck, carrying :'le bowknot to your left until it is hidden by the collar of your coat. This should be just in back of your left s'loulder, but not completely behind you, as shown in Figure 1. Mark the tie with lines of chalk at the
sides. These lines should be located in alignment with your ears. Remove the tie and neatly sew a strip of white cloth between the chalk lines. This white material must match the color of your shirt as closely as is possible. It should also completely cover the section of tie it is sewn over so that no portion of black can be seen. Refer to Figure 2. It would be wise to subtly mark one or both ends of this tie, identifying them as left and right, so that the tie may be put on the same way each time. Otherwise, the important positioning of the white section may not be correct.
The second tie is prepared by cutting one end so that it tapers to a point. A short piece of black "female" Velcro is sewn to this pointed end, as shown in Figure 3.
A triangular piece of "male" Velcro is affixed firmly to the end of the reel's line (Figure 4).
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You are now ready to dress for performance. Tie the first tie, that with the white midsection, arou nd your neck and revolve the knot to your left side until it is out of sight. The white section of the tie will show from the front and, from a short distance, it will appear that you are tieless.
Over this first tie you must now tie the second, positioned in the traditional manner. As you drape this tie around your neck for tying, the unprepared end should be hanging on your left side and the Velcro-bearing end on your right. With the reel in a location where it can be easily obtained when you need it, you are ready.
To perform the routine, secretly get the reel into your right hand. With both hands reach up and slowly undo the bow tie. Allow the tie to hang down your shirt-front on both sides for a few moments to impress your actions upon the audience. Then grasp it by the end without the Velcro and sharply snap it from around your neck with your left hand. Of course, you don't wish to disturb the second, hidden, tie on your neck as you do this.
Gracefully draw the tie through your right hand a few times. As it is pulled through the hand a final time, press the Velcro on its end to that on the reel.
Now you perform Albenice's classic "Serpent Silk" trick with the tie. This is such an old and well-known effect, there should be no need to redescribe it here. It can be found in a number of texts, includ-ing Albenice's Reel Magic (pp.13- 15), Ganson's Reelistic Magic (pp.6-10) and Rice's Encyclopedia of Silk Magic, Vol. 2 (pp.854-855). The essential idea is that a simple overhand knot is tied into the tie, leading with the right end that has the reel line attached to it. When this line is released, it pulls the right end of the tie up and through the knot, untying it. This has always been a great trick. It looks even better with a long tie than it does with a silk. The action is clearer to the audience. It is most effective when allowed to happen slowly, creating an almost lifelike slithering movement of the animated tie.
However, as you are performing the "Serpent Silk" there is an important piece of blocking that must be followed. The tie is being held by the right hand as it unties itself. Just before it does so, you must strike a dramatic pose (this in the style of formal manipulation acts). Step your right foot over your left and follow through with a body turn that presents your right shoulder audienceward. This brings you about three-quarters turned with your back toward the audience. The right arm is held straight-out to your right (stage left) with the tie hanging from that hand. Figure 5 shows this posture from the audience's vantage.
