EDITOR Aaron Smith 3644 S. Maplewood APT A Tulsa, Oklahoma 74135 editor@magicmagazine.net Phone: 918-270-2207 Fax: 918-270-2206

ASSOCIATE EDITOR Bill White billwhite@purelymagic.com

COLUMNISTS Aaron Shields, Aaron Smith, Andi Gladwin, Bill White, Jamie Badman, Steve Reynolds, & Trini Montes.

DISTRIBUTION Mr. Gadfly is distributed exclusively by Magic City, Paramount, CA.

The opinions expressed in Mr. Gadfly are those of their author and may not be the opinions of Magic City or Aaron Smith. Mr. Gadfly is an independent magazine and is not affiliated with any other magazine.

POSTMASTER Send address changed to the editor. Mr. Gadfly (ISSN Pending) is published every other month for $20.00 per year U.S. and $25.00 per year for foreign subscriptions.

Copyright 2001 by Aaron Smith. All rights reserved. No part of this journal can be reproduced or distributed without prior written permission from the editor.

Contributing to Mr. Gadfly

60% of Mir. Gadfly is freelance contributor written. Guest reviews and cover stories are welcome. All material must be related to card tricks. Contributions need to be sent to the editor, Aaron Smith. Printed submissions must be typed, double spaced, and include an address and day-time phone number. Also with the submission, submit a bio of yourself and a short description of the effect. E-mail submissions preferred. The format needs to be Mic2rosoft word compatible. Submissions will only be returned if accompanied by a SASE. Columnists, advertisers, and contributors agree to submit only original material, free of a third party copyright, or have included written permission of the third party with their submission. Opinions stated by columnists, advertisers, and contributors may not be the opinions of Mir. Gadfly.

Advertising With Mr. Gadfly

Advertising rates and dimensions can be found online, or obtained by requesting a rate card from the editor. Mr. Gadflys distribution is 2000 copies per issue. Print ads and web site ads are available. None of the ads can have contact information, press release style only, saying available from your favorite dealer, unless the advertised item is a service. www.magicmagazine.net

P O I N T O F V I E W

CREATIVE PRIORITY Editorial by Aaron Smith Mr. Gadfly has three missions; to teach new card tricks, give fair reviews, and make you question what you know to be true about card magic. The latter point is the basis for Mr. Gadfly. Socrates was known as the Gadfly of Athens, because he forced people to question their beliefs through a series of interrogation. In the end, they would arrive at conclusions that they found had a stronger foundation. He became such a nuisance and a threat that he was condemned. The magic community has grown What it has grown into is not certain. I think that our magic fore-fathers would be shocked with the amount [and type] of growth over the last 10 years. TV has increasingly been a forum for magicians, with shows airing weekly on various channels. The world is opening up to magicians and providing the venues for more hobbyists to think about going full time. I have met many fellow magicians and a larger number of them are turning to card tricks, only. There is advantage in being exclusive to just one medium, the ability to concentrate on a different scale and to narrow the classification of your art. There are of course drawbacks to concentrating on one medium. It might be considered a limitation to reserve your creative potential to one venue. Arguably, an exclusive medium gives no balance or variety. However, a magician only does magic Is there a difference? What does it mean to be a card magician? Do you learn to apply more of your general thinking to a specific order and concentrate the effort and thus produce more ideals? Should card magicians attempt to separate themselves from other orders of magic, perhaps even dropping the title magician completely? L E T T E R T O T H E E D I T O R

If you have an opinion regarding what was discussed on this page, send a letter to the editor, and we might use it for the next issue. Every letter is answered and posted on the web site.

Frog Hair By Diamond Jim Tyler

I see nobody on the road, said Alice. I only wish I had such eyes, the King remarked in a fretful tone. To be able to see nobody! And at that distance too! Why, its as much as I can

do to see real people, by this light! - Lewis Carroll

Through the Looking-Glass

E F F E C T The magician displays a frog hair, which to the audience seems invisible. The magician ties the hair to a playing card and lays the card flat in his left hand. Shockingly, as he pulls the frog hair from the opposite end, the card stands up and flips over in his hand. The card is passed out to the audience for examination.

M E T H O D Sorry, no invisible threads are used here. This is a genuine sleight-of-hand trick. Your left hand does the dirty work while your right hand misdirects the audience. Secretly, your left hand scrunches its outstretched fingers inward toward your palm. This action will make the card flip over if the card is positioned in the hand correctly; I will refer to this action as the Scrunch Move.

S C R U N C H M O V E

Place one of the corners of the card into the natural bend in the hand, just below your pinkie finger (FIGS. 1 & 2). Keep the fingers of your left hand straight; move them inward slightly, and the groove in your hand will grab the card. If you continue to pull your fingers inward, the middle of your left hand will bend downward. This action will bring the fleshy padded area beside the base of your thumb upward. Believe it or not, the momentum from this action will cause the card to stand up (FIG. 3). Figure One Figure Two Figure Three Once the card is vertical, give it a little kick, with the same squeezing motion,

and allow the card to topple over (picture at left).

P O I N T E R S The Scrunch Move should be done in one fluid motion rather than as a series of movements. The left hand should appear flat before and after the card flips completely over. As you execute the Scrunch Move, keep your left fingers straight as you bend them upward. Do not curl your fingers. Remember that this should be done with the audience looking down at the card so that, as you execute the Scrunch Move, the hand appears flat.

P R E S E N T A T I O N First, introduce the frog hair by removing it from your pocket. The audience should comment, Frogs dont have any hair! Yet you insist they do, but you add, You just cant see it; its invisible. Proclaim this to be one of the magicians best-kept secrets and that it is used to accomplish many effects. Demonstrating the hairs usefulness, pretend to attach it to a playing card by wrapping the hair around it, tying a knot. Place the card into your left hand, positioning it correctly, as shown in FIG. 2. As you do this, pretend to be holding on to the opposite end of the hair with your right hand. Now pretend to pull the card to a standing position and then flip it over, executing the Scrunch Move (FIGS. 3 & 4). Act as if you are breaking the hair free by pinching the card where the knot is supposed to be. As you do this, bow the card slightly and quickly pull the pinching fingers away, creating a snapping or popping sound (FIG. 5). This action gives the auditory illusion of the hair being broken free from the card. Finish by handing an audience member the card to examine, and give someone the frog hair to keep as a souvenir. Once you have perfected the Scrunch Move, you will have lots of fun with it. Frog Hair is a trick you can do almost anytime and anywhere. Im sure that you will want to try it with a business card, and it will work. Remember that a playing card fills more space in the hand and demands the attention of your audience. Whereas a small business card allows the audience to view more of the hand, which makes the Scrunch Move difficult to execute discreetly. Practice the move by bending the hand at first, and try it with different types of cards. When performing the effect, I recommend using a Poker-size playing card.

Frog Hair, from Diamond Jim Tylers book, Pockets Full of Miracles (available from your favorite dealer), is used here, with permission.

Sandwich Thru & Thru By Ben Harris Heres a very visual sandwich effect with two Jokers collecting a selected card as they pass thru the deck from bottom to top. It is very visual, the sandwich appearing atop the deck, just like magic. Sleights used are a Spread Control, a Turnover Pass and Super Flip. Only the latter will need a full explanation, as the former two sleights will already be part of any serious cardworkers repertoire. Super Flip originally appeared in the magazine New Directions in 1985. It is something with many uses. Originally it was designed for Ambitious Card effects, creating a startling and visual appearance of the selected card atop the tabled deck. Over the years Ive published other uses, including a Four Ace Production (the four aces appear face-up atop the face-down tabled deck) etc. Super Flip was a hit in my lectures in the late 80s and it was a pleasure to see it used a year or so ago on one of the segues in the World of Magic specials on cable T.V.

S U P E R F L I P In effect, a tabled deck is lifted an inch or so and riffled back onto the table surface. During the action, a face-up card visually appears on top. The technique involved is simple, but requires a certain knack that will only come with practice. With the deck tabled in front of you, grasp it from above with the right hand as in Photo 1. The thumb is at the short end closest to you, the forefinger is curled atop, and the second and third fingers are at the decks front. You need to be off center or holding the deck well to the right of middle. Lift about three quarters of the deck and by applying a little pressure with the forefinger, allow the cards to riffle free, falling back to the table. Photo 2. When all the cards have riffled free except the final card Photo 3, pull up with the thumb and second finger as you allow the last card to fall free. This will cause it to flip over as it falls and lands on top of the deck. Photo 4. The entire procedure needs to be smooth and continuous - no pauses. As I mentioned earlier, this does take a knack that will only come through practice. Look at the video clip to see how cool it looks (available on the Mr. Gadfly web site).

E F F E C T T W O The two Jokers are displayed and left face-up at the bottom of the face-down deck. The deck is now spread allowing a selection that is left in site. With a snap of the fingers, the deck is turned face-up and it is seen that the Jokers have vanished. The deck is now flipped back face-down and tabled. Magically, the Jokers appear face-up atop the tabled deck. The selection is sandwiched between them.

M E T H O D Display the two Jokers and place them on the face of the deck. Pretend to flip both face-down, but, in reality, only flip the topmost Joker face-down. This is covered with a slight wrist turn as you turn the entire deck over. Slide the bottom-most Joker slightly to the left as you comment, Well leave the Jokers on the bottom. (Photo to right) Spread through the deck, and ask a spectator to touch a card. When she has done this, flip the card face-up so it can be noted and signed if you wish. Now flip it back face-down and close the deck around it. Use a Spread Control to deliver the card between the face-to-face Jokers on the decks bottom. Again, slide the bottom-most Joker slightly to the left, Photo 5, as you explain that the Jokers will run through the deck and collect the chosen card. As you explain this, secure a pinky break above the upper Joker. This is a three-card break. Now, snap your fingers to make the magic happen. Flip the deck face-up, using a Turnover Pass. The Jokers have vanished. Spread through a few cards at the face of the deck to confirm this. Now, turn the deck back face-down and table it. The sandwich has been secretly delivered via the Turnover Pass to the top of the deck. It consists of the two Jokers face-to-face with the selected card between them. Execute Super Flip and it will appear as if the entire sandwich has visually appeared atop the deck. Remove the three cards, turn over the central selection, and accept your applause.

N O T E S The use of the Turnover Pass in this context is very economical. It achieves two things. It vanishes the Jokers and it sets up the Super Flip appearance. I use the Spread Control from my book, 1.am The Sequel. To use Super Flip as a flashy Four Ace Production, simply have three Aces face-up atop the deck with the fourth Ace face-down on top. When you execute Super Flip it will appear as if the Aces explode out of nowhere. Super Flip can also be used in the hands, rather than on the table.

The Third Shuffle By Jason England

E F F E C T A spectator Riffle Shuffles a deck, selects a card in a fair manner, returns it, and then Riffle Shuffles twice more with cuts between the shuffles. The performer keeps his back turned during most, (or in some cases all) of the selection procedure. Upon receiving the deck back from the spectator, the performer reveals it almost instantly, by pushing it out of a face-up ribbon spread, without asking a single question.

M E T H O D There is a moderate set-up. Run through the deck and cull all the 8s, 9s, and 10s to the top of the deck. You are going to set the 2 black 10s as potential key cards, with a mix of the other 8s, 9s, and the red 10s beneath them. From the top down: 10C, 5 of the 8s, 9s, and red 10s in any order, 20 indifferent cards, and then the 10S, and the remaining 5 of the 8s, 9s, and red 10s in any order. Finally, place the remaining 20 indifferent cards below this. As I was writing this, I set my deck up, and it came up like this: 10C, 9D, 8C, 10H, 10D, 9H, 20X cards, 10S, 8D, 8S, 9C, 8H, 9S, 20X cards. To begin, bring out the deck and false shuffle if you wish. Since this effect is purely for magicians, you may wish to skip this step, because unless your false shuffle is flawless, it tends to tip them off that there is a set-up. Place the deck in front of your spectator and cut off exactly half the deck. If youre capable of doing this by sight, great, I personally dont risk it and use a locator card placed right above the 10S (which is the 27th card from the top.) Place the cut-off half right next to the other in position to be riffle shuffled together. At this point, the top card of one half is the 10C, and the top card of the other half is the 10S. (Be sure you know which is which!) In addition, the top six cards of each half are 8s, 9s, and 10s. The spectator now riffle shuffles the halves together once. You should watch to see which of the 10s falls last. Let us assume that the 10S falls on top. The 10 of spades is now your key card. At this point you should turn your back. Have the spectator pick up the deck. The spectator is now instructed to riffle up the back end of the deck and stop near the middle on any number card. They are to remember the value only, suit doesnt matter. Now the spectator deals from the top of the deck, one after another, into a pile equal to the number they just remembered. (Since all the 8s, 9s, and 10s are near the top, it will be a small number.) The spectator is told to leave the pile on the table, and peek at the new top card of the deck. This is their selection, so they should remember it. Because of the

set-up, and shuffling procedure, this card will be one of the 8s, 9s, or 10s. Leaving the selection where it is, the spectator is instructed to pick up the pile on the table, and drop it back on top of the deck and square. At this point, many magicians expect you to turn aroundyou dont. Tell them to riffle shuffle the deck. This will get the attention of most of your magician friends. Have them cut the deck (straight cuts only) after they shuffle. Point out that this is the second time theyve shuffled the deck since you gave it to them. Almost as an afterthought, ask the spectator to shuffle the deck a third time. This will get the attention of everyone except Persi Diaconis, and Mike Weber. Again, ask the spectator to cut the deck as many times as he likes, using straight cuts only. Finally, ask the spectator to square up the deck so that you may turn around. You now have all the information you need to spread the deck, and almost immediately push the spectators selection towards him! The reason is this: You already know that the selection is an 8, 9, or 10. You also know that your key (the 10S in this case), was right above it when the spectator began his second shuffle. Well, the trick depends on the fact that over 95% of the time, a spectator wont separate the key card and the selection. You see, the shuffles will put indifferent cards in between your key and the selection, but as long as they dont put any 8s, 9s, or 10s in between, youre safe! The selected card will always be the 8, 9, or 10 to the immediate right of your key, regardless of how many queens, threes, aces, or whatever else youve mixed in. (Im assuming you spread the face-up deck left to right.)

H A N D L I N G R A M B L I N G S There are many little touches and added extras you can throw in if you desire. One that comes to mind is to find a method of turning your back at the very beginning, and not even watching the initial shuffle. My preferred method for doing this is to perform the routine exactly as written, but doing so with your back to the spectators from the moment you cut the deck for them to shuffle. Obviously one of your two possible key cards will end up on topyou just wont know which one it is. This is not an insurmountable problem. At the completion of the third shuffle, take the squared up deck back and instead of ribbon spreading it, fun through it with the faces towards you and upjog the card immediately to the right of the 10S and cull the one immediately to the right of the 10C to the top of the deck. Note: It is possible for the black 10 that is NOT the key to wind up being the selection. In any case, you call the name of the card that you culled to the top of the deck. If the spectator says you are correct, you push down the upjogged card without showing it, the trick is over. If the spectator says you are wrong, you ask him what his card was, and then turn the deck around to show that you had it upjogged all along.

Other solutions to the problem of having your back turned include: using two black 10s that are marked and turning around for a quick glance just after the first shuffle while you explain how the spectator is supposed to riffle up the back end for the selection. Spot the one thats on top and proceed with the normal routine. Perhaps the most diabolical method of all is to ask a confederate to signal you which side was dropped last during the spectators first shuffle. In a magicians roundtable situation, I would have a cohort shuffle his deck in a similar manner while he was watching the trick unfold. In this way, your friend neednt utter a sound while the trick is in progress. They should not watch the dealing process, or look at the selection however. The trick is so difficult to reconstruct that the impression to give is that a confederate wouldve been no help anyway, since they never watched anything. Often, for one last little throw off for magicians, I will perform an effect or two that retain new deck order right before going into this routine. On other occasions, I will perform an anti-faro and then faro the deck into the proper order right before going into the routine. It usually depends on the sophistication of my magician target.

H I S T O R Y This effect is really nothing more than the addition of a third shuffle (hence the name) to Jack Merlins Mind Mirror from EXPERT CARD TECHNIQUE. I have always liked the routine, and was pleased to be able to add the third shuffle, after being inspired by Steve Mayhews Angels May Shuffle But The Devil Still Deals manuscript. Ive always liked the original routine, and still use it for laymen, but I wanted to add a little something extra just for late night sessions at conventions, and jam sessions with friends. I hope you like it.

Mr. Gadfly Web Site

You do not have to subscribe to gain access to the Members Area on the Mr. Gadfly web site. Below you will see a username and password that remains active for the duration of this issue.

Username: mayjune

Password: 5672 (case sensitive)

www.magicmagazine.net (no affiliation with MAGIC Magazine)

Honest Transposition By Brother John Hamman Written by Aaron Smith When Brother Hamman told me that there are ways of making people lie to themselves, as a method to a card trick, I was very curious. As an example, some time later, he tricked me over the phone with a transposition of an Ace of Hearts and an Ace of Clubs. He had me place them on table face down, red on my right and black on my left. He told me he was going to do the move and the cards would switch places. And they did. You will see the effect, as he did it for me, with a small difference. I recorded the actions but not the words. Later I came up with a poem to go with the effect, which I enclosed here as the patter. You will particularly want to note the strong psychological use of having the spectator name the color of the cards. In the following routine, I have combined a few of his ideas, which have never before been published, with the exception of the cards to pocket at the end of the routine. Brother Hamman expressed his concern to me many times that a persons work should not be forgotten. With that, I decided to share with you his Honest Transposition. From the top of the deck; Ace of Hearts, Ace of Clubs, King of Spades, King of Hearts, and the rest of the deck. The deck is face down in left hand Dealing Position. Red Aces and Black Aces cant occupy the same spaces, but they can change places, as if having races. See that is just to confuse you, this all quite simple, as in many cases. With the right hand, flip the top two cards face up on top of the deck and with the left thumb, immediately push the cards to right, displaying the face of both cards. This has nothing to do with me, the Aces really will change places. The right hand, palm down, takes the two cards in Pinch Grip with the thumb below. The right hand turns palm towards the magician, displaying the two cards to the audience, moving the cards back and forth against each other. The right hand turns palm up and the right thumb pushes the top card, the ace of Hearts, on to the top of the deck. The card is not pushed flush. The right hand places the second card, the ace of Clubs, on top of the ace of Hearts and the deck is squared.

This red Ace, has its place, here on my right. Easy to remember, red right. The right hand flips the top two cards as one, face up, to display the red ace. The cards are flipped back face down and the top card is dealt to the magicians right. The black card doesnt have a silly rhyme, you just remember it goes on the left, not yours, mine. The right hand takes the next card, palm down, in Pinch Grip with the thumb below. The right hand moves the card towards the table, at the left side of the magician. The left long edge of the card is dragged on the table with the back of the card facing the audience. The right hand dips the card down as if to let it fall face up, yet pushes forward and causes the card to go face down. Table the deck between the two cards. The only proof that the Aces really change places is that they are in each others spaces. The card on the right is flipped face up to display the ace of Clubs and the card on the left is flipped face up to display the ace of Hearts. The right hand picks up the card on the right and the left hand picks up the card on the left. The two cards are placed together, slightly fanned, red on top of black, face up. We will witness this again with different tact, but first I want to see if you can tell the difference between the red and the black. What color is the top card? The magician points to the top card. And what color is the bottom card? The magician points to the bottom card. The two cards are flipped face down, squared, and handed to the spectator. The Aces will change places no matter the basis. You hold the cards, place the top card, which was red, on your right, and the bottom card, which was black, on your left yes right there. The spectator lays down the top card to their right, and the bottom card to their left, as the magician points to the appropriate place. Now, even if you dont care, no matter how close you stare, the black ace is over here, and the red Ace is over there.

The right card is flipped face up to show the ace of Clubs and the left card is turned face up to display the ace of Hearts. I can imagine you feel cheated. I do too. But no matter where they are seated the aces must change places. The deck is placed face down in left hand Dealing Position and the pinky gains a break. The right hand places the red card on top of the black card and picks up the two cards, squaring their edges by tapping them on the table. The two cards are transferred to a right hand Biddle Grip. It isnt a miracle, just a fact of nature, a law of space, that Aces must change places. The right hand moves towards the deck with its two cards. The left thumb contacts the top of the right hand packet. The right third finger contacts the upper right corner of the top two cards of the deck. The left thumb pulls both cards onto the top of the deck as the right hand takes the two cards below them, thus switching the two packets (the audience will perceive that the top card is merely pulled onto the deck). I will place the red on the right The right hand, now holding two kings in biddle grip, secretly drops the lower of the two cards, the King of Hearts, onto the top of the deck. The right hand tables its card, supposedly the ace of Hearts, to the right. And the black on the left The right hand flips the top two cards of the deck face up as one, and displays the ace of Clubs. The card(s) are turned back face down and the top card is dealt to the left. The deck is casually placed in the left pants pocket. Just as you and I have done before. Even though we were careful, the aces have changed places once more. But not just with each other, but with the kings Here is one, and there is another. The card on the right is flipped face up, to display the king of Clubs, the same is done with the card on the left, to display the King of Hearts. The kings were in my pocket, at the beginning of this trick. The aces must change places, even if it means to trade with the kings really quick. The left hand reaches into the left pocket, and takes out the two top cards, the aces.

_ The Coinjurer on Cards By David Neighbors The Underneath The Glass Transposition is exactly what the name says. Two cards change places, while one is underneath a glass. What is written here is actually half of my full routine. The rest of this effect will be in the next issue of Mr. Gadfly. I use this to follow a repeat card under glass, with the ruse that this time they will get to see me put the card under the glass.

T H E G A F F For explanations sake, use a Queen of Spades and a Joker. Cut the Queen of Spades in half, horizontally through the middle. Glue the Queen and the Joker back to back, so that the cut edge of the queen is at the narrow edge on the Joker. The Queen can be peeled as to give the card(s) a thinner finish. Begin with this gaff laying Joker side up on the table and a glass to the right of the table. This is an old idea; you may have seen it with just the corner of a different card on the back.

M E T H O D Spread through the cards, quickly, backs towards the audience, locate the Queen of Spades and secretly cut it to the top of the deck. Dribble the cards, face up, from the right hand into the left hand, till the spectator says stop. Drop the selected card face up on the table, away from the Joker. Using Marlos Visual Retention Switch, the selected card will be secretly switched for the Queen of Spades. Hold the deck face down in left hand Dealing Position. Gain a pinky break under the Queen on top of the deck. Flip the selected card face down and pick it up with the right hand in Pinch Grip. Lay the selected card on top of the deck (slightly more to the left, so that the left edge of the card overlaps the left edge of the deck) as the right hand picks up the glass to the right. The left thumb pushes down, thus raising the right edge of the selected card. The Queen is now free to fall, as the left hand tosses what is believed to be the selected card face down onto the table. The right hand sets the glass on this card. Spread the deck face down across the table. Pick up the Joker and slide it down the spread, starting at the left going right. When the spectator says stop stick the Joker into the spread at that point, leaving it outjogged about half its length. Square the deck, keeping the Joker outjogged. The deck is face down in left hand Dealing Position. With the right hand, lift the Joker backwards, allowing

the spectator to see the Queen of Spades. Take the Joker out of the deck and toss it on the table. The top card, the selection, will be reversed in the pack using the Braue Reversal as follows; the cards are held in left hand Biddle grip with a thumb break below the top card. The left hand cuts half of the deck off from the bottom of the pack and flips it face up onto the top of the deck. The left hand returns and cuts everything below the thumb break, flipping it face up on top of the deck. The cards are given a fair cut, placing the selected card face up in the middle of the deck. Spread the deck face up the table to reveal that a card is reversed, and that there is no other Queen of Spades, thus the reversed card must be the Queen. Since the magician does not know the second card the spectator chose, supposedly, the reversed card is taken from the spread, looked at by the magician only, and they say, Was your card the Queen of Spades? The audience will of course confirm that it was. This card is laid face down, behind the spread. The card is flipped face up, quickly, to show it is now the first selected card. The glass is lifted to reveal the second selected card. The two have transposed while one was underneath the glass.

Want to Subscribe to Mr. Gadfly?

This journal for card magicians is published 6 times a year and

contains over 15 tricks and articles per issue!

Subscriptions in the United States ~ $20.00 Foreign subscriptions ~ $25.00

Send a check or money order to:

Aaron Smith 3644 S. Maplewood APT A Tulsa, Oklahoma 74135

Or subscribe online, using PayPal:

www.magicmagazine.net

Subscribers receive a permanent username and password for the duration of their subscription to gain access to the Members Area on the Mr. Gadfly web site.

__ Nothing To Fear The Steve Fearson Interview, an exclusive By Aaron Smith

I recently did an interview with Steve Fearson, the man David Copperfield says is one of the most creative people I have ever had the pleasure of working with. His ideas are fresh and original. Fearson has invented a myriad of tricks, in addition to the effect he created for Copperfield, he also has an ingenious Floating Cigarette on the market and Fearsons Box is an awesome one-man levitation.

Fearsons Fantastic Floatation has been a staple in magic shops for years, and has made its way into many parlor shows across the country, and is available from your favorite dealer. His site, www.downloadmagic.com is revolutionary new concept for magic on the web, and is definitely worth your time. Steve agreed to do an interview with me to set the recent controversy to rest. What you will read here is a positive look into Fearson, and explanations to some of the rumors you might have heard. Aaron Smith: Steve, thank you for agreeing to this interview, I think that there is a great deal of interest in your work since the last Copperfield special and your conversation with Howard Stern. Steve Fearson: I am really happy to be doing this interview for you, however, I am a bit surprised anyone would be interested, but lets go. Aaron: How many illusions have you created for Copperfield and what is it like working with him? Steve: Just the one he has everyone talking about, The Laser. I sold him just the basic method. He turned it into what it is now. It is amazing to watch Copperfield work. I can say that, anytime we've met up, he is doing about 4 things at once. And he is a nice guy.

Aaron: You admire him creatively? Steve: Yes, I've always thought he was the best. I have not been in magic that long, but was always a fan of David's. Aaron: How long have you been in magic?

Steve: Twelve years now. I guess that seems long to some, but I'm a late starter. Most of the guys, seem to have been doing shows since they were eight, I was twenty-one I think.

Aaron: Are you and Copperfield friends, or is your relationship only professional? Steve: I consider him a friend. Aaron: Do you work well together, creatively? Steve: I generally do not work well with others. But David was exciting to consult for because he is really on the ball. I got into magic for one reason only, and that was to invent a trick for David Copperfield. Aaron: What made you want to create an illusion for him? Steve: I got a magic catalog in the mail one day and realized that people invent tricks and sell them. I never knew or thought about it, but knew I was good at figuring out magic, so I took it up as a hobby and very quickly got this idea into my head that I wanted to invent a trick for David and see it on his special. Aaron: I'm sure your goals have evolved since you successfully hit the first one. What is your new goal? Steve: My goal in magic, like I said, was to invent a trick for David Copperfield, that goal has been met. I have always been very interested in the Internet and computers though, and that's got me involved in magic again I like the idea of bringing magic to people who couldn't access it any other way. Aaron: That seems noble; I have seen the great work you do on the web. I have also seen several of your effects. What is your creative process during the conception of a magic effect? Steve: I like the challenge of the method. Most of my tricks are levitations because I feel it is the most difficult effect to produce - It simply does not occur in nature and people know that... And when they see it, they have a heart attack. Aaron: That is an interesting concept. From what, who, or where do you extract most of your ideas for the effects? Steve: Usually from a natural trick or illusion in reality. If I notice something that behaves strangely or does something weird, then I try to apply the principle

to a magic effect. I usually start with the principle or the gimmick and then try to figure out what the heck to do with it. Aaron: Have you ever worked with or for David Blaine? Steve: He used something of mine on his second special. I have worked with him some since then, but it didn't really work out. I felt that I had some time wasted because of him. That's all I should really say. Although, I can't hide the fact that I've done some major complaining publicly, which got blown a bit out of proportion. Aaron: Yes, the Internet magic forums got a little wild. Many accusations were thrown back and forth. What happened to cause that controversy? Steve: I think it started with someone asking me why I said "F" David Blaine on the Howard Stern show. Then, as the chat boards usually do, it turned into a circus, now there are people impersonating both David and I on the boards. Aaron: Why did you say, "F' Blaine" on Howard Stern? Steve: Because I was angry with him and was glad to see that my illusion helped David Copperfield remind people what entertainment is all about. I do worry that Blaines style of performing is devaluating the art of magic. Kids are happy to simply bite a folding coin now and I only think it's because they have nothing better to compare it to. I enjoy a bit of patter. Aaron: How did you foresee working with Blaine, did it seem like a positive relationship in the beginning? Steve: I am a very open person and get taken advantage of sometimes because of that. A lot of people ask me for magic ideas. Sometimes they offer to pay, sometimes it is just asking for help. I generally spit out what I feel is every realistic possibility right away. It is then up to the person I told the ideas to privately to decide whether it came from my head or theirs. Aaron: Was David a good client? Steve: Like I said before, I only really ever wanted to work for Copperfield. Aaron: Also mentioned on one of the forums, was that you were in an asylum. Is this true? Steve: Here is a story, no one will believe. I had just moved to Las Vegas, was admittedly having marriage problems and was a bit weird. I was lucky enough to have some people call the mental health center to pick me up and have me evaluated.

Aaron: How did the evaluation go? Steve: I am sitting on a hospital bed answering questions... What day is it? I got that one right away! Who is the president? Nailed that one too! What do you do for a living? I said, I invent magic tricks. What do you mean Mr. Fearson, they asked. I said, "Well, right now I'm working with David Copperfield on a new trick for his show at Caesars. They immediately strapped me to the bed and told me not to resist! They met with my ex-wife in another room and said, It doesn't look too good. She asked, why? They told her, "You know the illusionist David Copperfield, who performs here? Well, your husband thinks he is inventing the tricks you see in Copperfields magic show. She said, "Well, he kind of is." Too late for Steve, I was already on my way to Las Vegas Mental Health where I spent the next 48 hours waiting for an evaluation, after that I was immediately released. So the answer is yes, and the story is absolutely true. Just like Jack Nicholson in One Flew Over the Cuckoos Nest, I didn't swallow the medication they said I needed. Aaron: I love that story! I wonder if many magicians get thrown in institutions! How do you feel about magic on television? Steve: I know people prefer live shows. If you're wondering what I think about camera cuts and such, I like the idea if used properly. Magicians have always used all available technologies to their advantage and TV cuts are just the newest one. I think camera edits make the magic look great. As long as the audience doesn't suspect it, go for it! Unfortunately... Now people realize you can do just about anything digitally, so they almost won't believe a magic effect like The Laser. Aaron: When did you start working on www.downloadmagic.com? Steve: I have had a site up for a lot of years now in one-way or another. The first time I offered tricks for download was in 1997. Card in the Ceiling was the first one. Aaron: Is the site following your original concept or has it changed for the better?

Steve: It is going to get good. I've managed to get high quality video to people with 56k modems, and that's exciting. The response has been tremendous. I only wish I had more time to devote to it Aaron: You produced a video, a very good selling video, with Lee Asher, 5 Card Stud... What was different about it? Steve: Im not sure, but I think it was the first magic video to be shot like a movie all the way through, with explanations and everything. Aaron: What is in the works for you now? Steve: I am planning the first online magic lecture. Not sure when it is happening, but it will be soon. And the neat thing about it is the performer will have lecture notes, tricks, and video all available for download during the lecture. If I can get it to catch on, it may save some guys a lot of traveling. Aaron: I enjoy talking with you. You have fresh ideas and a wonderful attitude towards creating magic. Steve: It's been a pleasure speaking with you too Aaron.

_ Under Examination Product Reviews by Aaron Smith Jerry Andrus, A Lifetime of Magic videos 1-3 Featuring Jerry Andrus. Produced and edited by Meir Yedid. P.O. BOX 2566, Fair Lawn, NJ 07410. $29.95 u.s. each, available in both PAL and NYSC, all one hour.

P L O T S These videos let you see a classic magician, doing classical magic tricks, even though you may have never seen any of these concepts before. Think Kelloggs, taste them again for the first time. Of specific note, Impossible Shuffle, where the deck is shuffled into the card box, is incredibly clever and the plot is miraculous. Spectator ESP is another very clever concept. In this effect a spectator actually divines another spectators chosen card. There are 18 card plots on the three videos, and over 20 card sleights explained.

P R E S E N T A T I O N Jerry Andrus is definitely his own person, and his style would be difficult for anyone to even understand, let alone duplicate. The wonderful thing about watching Andrus is if you are not dead, you will begin brainstorming a hundred different ideas while watching him. He performs all of the routines, and you could use his patter, but you would be doing yourself a great injustice. Dont expect killer story lines and intricate themes from these videos, however, it is presentation that works for him, perfectly.

I N S T R U C T I O N Every move is taught in detail, sometimes more than once. If anything you would get bored of the extreme explanations, but you will learn the move. The routines and sleights are taught very well, and variations to them are also discussed and explained.

P R A C T I C A L I T Y Every item here is well thought out and is something you can do in a real life setting. There is not any filler material, it would seem that each routine was at some point Jerrys favorite.

V E N U E The material on these tapes could be used nearly everywhere, though some is only ideal for a parlor act, and require that you be sitting, while others could be done surrounded in a restaurant.

O R I G I N A L I T Y I have never been to the planet he drives to in his homemade spaceship, to see how much of this stuff is original. In all honesty, Andrus is a genius at creating almost anything, specifically magic. The ideas on these tapes are well constructed and original to the core.

S K I L L L E V E L There is nothing on here for a beginner. Intermediate and advanced will get a lot out of the tapes.

R E T A I L A P P E A L Three shrink-wrapped videos, classy design by Akemi Yoshida, high quality gloss printing. These look better than most mainstream videos, they will not be collecting any dust on magic shop shelves.

Q U A L I T Y The sound and clarity of these videos are second to none. Meir Yedid obviously put a lot of work into these. I would have difficulty describing the quality of these videos, they are especially perfect, go watch them!

A D D I T I O N A L C O M M E N T S Something I think many of you will find interesting are the interviews of Andrus by Richard Kaufman. Those who follow Andrus work will find them to be a worthy insight. Cop Stop Produced by phillymagic.com. 523 S. 4th St., Philadelphia, PA 19147.

P L O T This is the classic plot, in which a small car finds a selected card. In this version, instead of the card stopping near the selection, the lights and siren of a little cop car go off.

P R E S E N T A T I O N None is included. I dont think that a lot of patter should be included with a prop, however, there might be a need for a small skeleton outline.

I N S T R U C T I O N You get half a page of instructions. The gimmick is obvious, and there is not a huge need to go in-depth on its working. The effect that is enclosed is fairly basic and is explained fairly.

P R A C T I C A L I T Y

With the gimmick included you will not have a lot of luck. The instructions recommend, The table must be less than 1 thick. With the investment of a few more dollars you can replace their gimmick with a better one.

V E N U E With the instructions and gimmick provided there are very few places to perform this. The hobbyist will have fun using this on his kitchen table, provided that it is less than an inch thick. With some adaptations, like strapping the gimmick to your leg, you would have the ability to do a much more mysterious effect.

O R I G I N A L I T Y There is very little difference between this and the early buggy effects, really just the type of car. An enclosed slip of paper, labeled Irvs Suggestion, has a semi-clever idea of having the selection in the card box.

S K I L L L E V E L Beginner to intermediate. The Instructions recommend using a stripper deck for the trick, though I do not see the need. The technique is not explained in great detail. It seems from the enclosed instructions that the marketer of this effect assumes that you have some previous knowledge as to the workings and history of this effect.

R E T A I L A P P E A L The packaging is a gold jewelry box, of sorts. The items inside are well packaged and shipping them is not a problem. The instructions are most likely done at home on a computer. The layout is that of a dual fold gift card, and the graphics are basic and sort of cartoon style.

Q U A L I T Y The included car is high quality. The batteries have worked for the hours I played around with this thing, and the vehicle has a battery tester so you know when to replace them, however, the instructions do not say what type of battery it uses, nor do they describe how to get the car apart. I tried contacting the magic shop that markets the effect, and was unable to reach someone to ask about the batteries. When we do find the information it will be posted on the Mr. Gadfly web site.

A D D I T I O N A L C O M M E N T S This could be a great effect. I recommend it because it is a good idea that could be turned into the centerpiece of a parlor act. However, you will not pop open the box and have a ready-to-use miracle, the gimmick is just not good enough for real world use, and a few dollars can fix that.

Tony Lewis pips-A-poppin Produced by Magic By Gosh. 12707 Foothill Blvd. Unit F, Sylmar, CA 91342.

P L O T This is one of those unusual this is how the cards are made tricks. The pips of the four aces are removed, and per the story become decompressed in doing so. You have a few sponge pips in your hand, which are transferred onto one of the Jokers, and they compress back down to their regular size. A similar process is completed with the deuces, with the difference of the pips go through transpositions and transformations. This is a sponge routine mixed with a card trick, in a clever manner.

P R E S E N T A T I O N The instructions have patter distributed throughout the effect, albeit a basic presentation. This is more of a basic outline than a script, but gives you a good direction to follow.

I N S T R U C T I O N The instructions, a 12 page booklet, are better than average. They give recommendations and additional ideas.

P R A C T I C A L I T Y It would seem that this is out of someones working repertoire. The concept is solid and will work very well in the real world.

V E N U E Any.

O R I G I N A L I T Y The concept of removing a pip is not new, however, the idea to then put them on another card and/or vanish and transform them is new. The plot is cleverly original.

S K I L L L E V E L The instructions include explanations for both intermediate and more advanced. For the beginners there are references for further explanation of basic moves, a nice touch.

R E T A I L A P P E A L The instruction booklet cover is printed in full color. The booklet, the gaffed cards, and the nine sponge pips (including a four inch heart) are enclosed in a medium size clear bag.

Q U A L I T Y

The sponge pips are the usual Magic By Gosh quality, and look the part they need to play. The nine gaffed cards are printed at some expense and look perfect.

A D D I T I O N A L C O M M E N T S This routine would be wonderful for any gig you have that is children and adult mixed. There is eye candy for younger spectators and story for the older ones.

U N D E R E X A M I N A T I O N If you have an item you would to be reviewed in Mr. Gadfly, send the product to the editor with information on price, who created it, who produced it, and who sells it. If you would like your item returned, accompany the submission with a shipping label and appropriate postage, otherwise it will be given away on the Mr. Gadfly web site.

Index of Advertisements in Print

Master Classes / Jeff McBride

Four Flushers

Left Handed Gun

Escaping The Blues

Silky Smooth Prediction

Happy Camper

Pockets Full of Miracles/Diamond Deck/

Ring on String/New Age Spellbound

Methodical

Slither/just in case

Index of Online Advertisers

www.acmemagic.com www.magicsmith.com www.mymagic.com

www.purelymagic.com

Mole Notes By columnist Steve Reynolds

"You turned your tap dance into your crusade." -Billy Joel, Pressure

From Erdnase To Zarrow and Back Again

In the Olram File #4 there is a review of the mysterious and possibly mythicized book Beyond Erdnase. In this, certain chapter headings are named and briefly summarized. Due to my continued interest in false-tabled riffle shuffles, "Blind Shuffles Bluff" caught my attention. Since these chapters deal with cheating with cards, it is likely that the "real shuffle strategies" of "Blind Shuffles Bluff" referred to the retaining and stacking of small stocks. However, this makes the notion of full deck retention seem strangely possible. In another chapter titled "Underhanded Overhand Shuffles", the means and "ways to up players without mixing up stocks" reveals a subtle, psychological tone. Speculations: These bluff techniques might be psychologically based. They would be done under the natural misdirection of the game, under "shade". Due to the casual nature of mixing cards, a certain leeway could be exploited. These speculations reveal little. However, I set a challenge and the following stipulations were concocted: 1. For full deck control. 2. A minimum of two shuffles. 3. A maximum of four shuffles. 4. Must end on a clean square up. This shuffle problem was mentioned to only a hand full of cardmen. Most notably was Thomas Blomberg, who sent me a method. This brief article, including my original solution to the self-proposed problem was part of a pamphlet [More Technical Touches] sent to Jon Racherbaumer. Later it was publicly recorded (in an emended form) on The Second Deal. However, R Paul Wilson informed me that the underlying concept of the shuffle sequence had been developed independently by at least two other cardmen.

Though the solution was recorded in a readable form, the actual mechanics of how I set the necessary condition will remain buried for the time being. Never let reinventions, or independent discoveries that have been touched on by others deter you from moving forward. The fact that any ideas independently devised have been thought of by others should only lead you back to one place with renewed verve and better understanding: the drawing board. It goes without saying that if an idea has been privately or publicly kicked around, then you should readily see that you are on traveled ground. And if you strive to move forward, there is no sense in sticking around. Break out. Make a quick detour while no one is looking. Even backwards is a way to go; and yet, ultimately you will find something rewarding. What that is I cannot say, but now is your chance. The following is my second solution to the problem, taken in a different light. It addresses the prevalent problem with any of the "Riding-Block Shuffles" (Zarrow, Shank/with applied Block Transfer, Marlo's "Perfect False Shuffle", for example), which is the riding block. This is often difficult to conceal. However, the following technique gives the illusion of a complete weave (from top to bottom), and allows for a slow and deliberate square up. Place the face down deck in a Tabled Riffle Shuffle position. Perform a "Center-Block Cut" from below the top four cards. Position the two portions and perform a Riffle Shuffle. Using the established techniques to unweave the portions and push the right-hand cards to the left and under the top four cards. Once the cards have been pushed in for about a third of their length, your left thumb obtains a fine break below it. This should not be confused with a break as applied to retaining a separation per se, but the gap will provide a sure execution of the following sleight. Once the break is maintained, and without hesitation, your right second finger and thumb grasp the lower left-hand portion (by their respective side corners) and pull this entire block to the right until it is aligned with the right-jogged portion. Due to the break, this should be trouble-free. Immediately, your right hand follows this action by moving further to the right and away from the cards. This simulates a sweeping, side-squaring action. Again, there should be no hesitation between the obtaining of the break, the secret alignment of the two portions, and the visible action of your right hand. Note also that your left hand and fingers conceal the left end of the deck and its true condition. Position your right fingers at the right side of the deck. Perform a slow (or moderately paced) "Erdnase Square-up" to end.

Mr. GLADfly By columnist Andi Gladwin

The First Relaxing Deck Switch

The Relaxing Deck Switches were never meant for publication but were merely created to solve a dissatisfaction I have with the moment of executing sleight of hand. A few years ago I experimented in an attempt to discover the best moment to accomplish such practices and my discoveries were that before I could execute a move I should have the audience feel relaxed. I found that whenever an audience assumes they can relax, they also assume that no magic is about to happen, refer to it as a break from the magic if you will. This of course applies only if you are not the kind of performer that likes to sneak up on an audience when they are least expecting in, in which case Im afraid to say that this theory and switch isnt for you. Unfortunately, not every sleight can be executed during this relaxation period, as it would create quite an unbalanced performance. However, I believe that whenever we have the chance to use such a technique we must grab every opportunity to do so. For those who are interested, Michael Close goes into wondrous detail on using an audiences assumptions of the performance and the magic he creates in his book, Workers 5. Anyway, without further adieu, lets experience the first of the Relaxing Deck Switches. STEP 1: I have chosen to switch a Bicycle deck for a Bee deck so that the change can be seen much more easily in the photos. Have the Bee deck in your right jacket pocket and the Bicycle deck in a deep position in the right hand dealers grip, the first photo details this grip. Start your patter, Before we continue I would just like to clarify a few points. Its up his sleeve is something that too many people say, and although at this point Im not sure what could be up my sleeve I think its best I roll them up. Of course, youll

understand that its just so that I can keep my reputation as a clean cut magician! To accompany your patter, stretch your right arm and pull up your sleeve with your left hand. STEP 2: And I better roll up the other as well. In the same manner stretch out your left arm and pull up your left sleeve.

STEP 3: The other accusation is, its inside his jacket! Again, I havent a clue whats inside my jacket but it would be a good idea to eliminate this theory from the outset. As the previous lines are spoken, turn so that your left side is facing the audience and grip the side of your jacket, as shown in the illustration (left). The previous choreographed actions happen to subconsciously tell the spectators that they are now allowed to relax. Imagine if at this point you produce a live bird from your jacket; the audience would automatically detract from this state of relaxation. It is for this reason that everything happens very slowly and at no point

whatsoever should you challenge your audience to scrupulously watch your actions, as they are merely a poking fun at the obviously incorrect explanations that you receive. Step 4: Open the left side of your jacket to display the inside and after a few seconds, let it fall back into place. As you will notice, the audiences view frame does not cover the right hand because the body is on a slight angle. This allows us to execute part of the switch - it actually happens in two separate parts; the ditch and the retrieval, with a slight pause between the two. The photograph on the right shows the ditch; the fingers of the right hand simply enter the pocket and the card case is dropped in front of the other card case. The fingers remain partially in the pocket during the next step. STEP 5: Again, with the left hand, reach over and open the right side jacket pocket, to display its emptiness. It is under the cover of the jacket being displayed like this that the right hand enters the pocket a little more and slips the Bee card case out. Notice that the hand does not move quickly, but instead at a medium speed -

not too fast and not too slow! I think the correct statement would be to complete the move with pace. STEP 6: The switch is now complete and all is left to do now is drop your jacket and continue with your effect, now that the deck has been switched. AFTERTHOUGHTS: There are two main points I would like to make, firstly notice that

no attention whatsoever is paid towards the cards, they just happen to be in your hand at the time. Secondly, the patter; I think to fully understand this you will need to know a little about my style of speech. I am not an overly funny person, neither am I a boring individual I am a fast paced magician and make comedy less from my actions and more from the tone of voice. The patter for this move is a fast paced speech, said in a joking manner and, in a way, mocking the misconceptions that some audience members may have mocking in a fun way, not as an insult. I think it is also an important point to mention that I feel it is an excellent idea to use comedy to switch something, but remember that your magic should always rise above any other entertainment form such as comedy, dance and storytelling. Another theory in which I am a strong believer in is Darwin Ortizs suggestion that close-up magic becomes much stronger in the eyes of a layperson if your sleeves are rolled up; it dismisses the age-old possibility of it went up your sleeve! This switch leaves you in a great position to dismiss this possibility! For your information, The Second Relaxing Deck Switch irons out a few further creases and provides the audience with the assumption of relaxation without using any comedy whatsoever. It will be published as part of a complete routine in my forthcoming book, Brainstorms (And Other Mental Disturbances), which I am co-writing with American magician, Andy Leviss. Next time we will be discussing how to use this deck switch in a complete routine see you then.

www.magicmagazine.net

Mr. BADfly By columnist Jamie Badman

The Four Ace-Assins

E F F E C T Briefly, a card is selected and signed then lost in the pack. Four cards are introduced and shown to be the Aces. One at a time the Aces turn face down. Then one turns face up again then turns into a Jack then the other three turn into Jacks too so where are the Aces ? The deck is spread and the four Aces are seen face up in the middle a single face down card between them - the original selection.

S E T U P Remove the four aces and the four jacks from the deck. Place a breather crimp in one of the face down Jacks. Place this card face up about 15 cards from the bottom of the face down deck. The crimp should mean you can easily cut off all the cards above the crimped card. I guess any kind of crimp will do so long as you can cut above it. Place the remaining jacks face down on the top of the deck and place the four aces in a face down pile on the table in the following order (from face) AS, AH, AC, AD (SHoCkeD).

M E T H O D Hold the deck face down in the left hand. Perform the Concealed Allerton Control as described below, side-jogging the third card from top to control the selection to fourth from top of the deck.

____________________

The Concealed Allerton Control is a variation of the Allerton Control devised by Robin Robertson and Peter Duffie. You do this by bringing the right hand over the deck and grasping it biddle style, then with the left fingers (under cover of the right hand) side-jogging the third from top card (in this case) about of an inch to the right. This side-jogged card will be invisible because of the right hand obscuring the view. Have a card selected by riffling down the far left corner of the deck with your left thumb and having the spectator call stop at some point (hopefully before you

get to the reverse jack so be careful!). Break the deck at that point and turn the top card of the left hand half over using the right hand side of the right hand half as a lever. This may feel a little awkward but youll get used to it! Have the card remembered and signed then lever it back face down in the same fashion except you use the side-jogged card as the lever and let the right side of the selection ride between the side-jogged card and the card below it. As you perform this levering action, place the right hand half on top of the left. The overall result should be that as you place and square the right hand half of the deck on top of the left hand half (and supposedly the selection) the selection actually ends up fourth from top.

____________________ As the selection slides in to the deck at the completion of the control, pull down on it with the left little-finger to obtain a break with that finger above the card. Pick up the packet of aces and flip them face up on top of the deck. Lift them off the deck with the right hand along with the three broken cards plus get a small right hand thumb break between the seven card packet and the eighth card and lift that off as well. Now peel the cards one at a time on top of the deck, which is held in the left hand. First peel the AS on top of the deck, then on top of that, the AH. As you peel the AC also drop the card below the break underneath it, keeping a left pinky break between it and the AC. Finally, drop the AD (a whole heap of cards in reality!) on top as a single card. Immediately lift the displayed packet of aces off of the deck with the right hand and table the deck face down. Now comes a twisting phase first do an Elmsley count to show one card face down. Then for the next twist, simply peel the cards from right hand into left, keeping the last card (really a double) in the right hand and place it UNDER the packet. For the third and fourth twists do Elmsley Counts. I think this is a well-known twisting sequence; someone showed it to me at a convention but I dont know who he was or where he got the sequence from. Sorry! After the twist the un-twist! Simply do the same peeling action as for the second twist leaving you with a face up ace in the right hand (really a double). Drop this on top of the deck. Place your three-card packet face down on the table and pick up the deck.

You should be able to lift up all cards above the breather and Jack; do so. To make the ace change in to a Jack, do a riffle pass or a midnight shift; some kind of pass that doesnt mind too much if someones looking! The effect of this is that the ace changes into a Jack. After this happens, spread the Jack and a few cards beneath it to the right, so that the right hand can take the Jack (and so that you subtly show that the Ace is nowhere near the top of the deck). Use the Jack to flip over the tabled packet now also Jacks! To reveal the Aces, simply spread the face down deck on the table. If you spread the cards more as you approach the top of the deck then the Aces appear to be in the middle of the deck. Pull them out and reveal the card between them to be the spectators selection.

P A T T E R Heres some suggested patter that can be used with the effect: This is a tale about how cheap life can be; a story about the murky underworld of the contract killer... Select a card; this card will represent the 'target' - the person who got on the wrong side of the wrong person and who ended up with a price on their head... Card is selected, signed and controlled to 4th from top OK, now our target is known but his whereabouts is not. But a man with a price on his head can run but can't hide for long... not when a team of highly-trained professional Ace-Assins are on his tail... (Pick up aces and ATFUS) The first Ace-Assin is the Jimmy Spade; a crude killer who usually resorts to a shovel on the back of the head, then comes Gloria Heart, a seductress, lovely but deadly. Shes followed by another thug by the name of Frankie Club and finally Tony Diamond; the bored rich kid turned killer for kicks. The first thing the Ace-Assins do is to go deep undercover; to watch and observe the daily routine of their target. One by one they merge into the scenery, turning away in order to become faceless people; just a stranger passing by in the street (Twisting sequence) They stake out their target, following his movement both day and night. The operation seems to be going according to plan but then disaster strikes one night a storm brews and just as the target begins to pull his curtains a flash of lightning illuminates the street the target sees a face staring up at him

(Ace turns face up; you place on top of deck and table other three cards) His cover blown, the Ace-Assin returns to base and quickly adopts a disguise (First transformation Ace to Jack) And since theyre a team, the rest of the Ace-Assins follow suit (Second transformation other three Aces to Jacks) Their heavy disguise is enough for them to close in (Spread deck; 4 Aces revealed in center with FD card between them...) For the kill. (Turn over FD card to reveal the selection - the target)

C R E D I T S The Concealed Allerton Control is by Bert Allerton/Robin Robertson/Peter Duffie, a technique for controlling a selection to a specific position very cleanly.

Covert CardWork By columnist Bill White

Tie One Off I wanted to create an effect that I could use for

close-up or stage that involved audience participation and had an extremely visual ending. I have performed this effect in virtually every venue

and the response has always been wonderful. I hope you enjoy it.

E F F E C T

A spectator takes the deck and freely selects a card (face up if desired). The card is signed and placed back into the box with the rest of the cards. The spectator is asked to hold the box of cards high in the air and to dump them out onto the floor, on the count of three. To make it more interesting, the performer pulls out a three-foot sword and explains that he will stab the signed card before all of the cards reach the floor. The count of three is given and the wide-eyed spectator dumps the cards. Much to everyones surprise, all of the cards are tied together and are hanging suspended from the card box that the spectator has been holding the entire time. All, that is, except the signed chosen card, which flutters to the floor, where it is slowly stabbed to be revealed on the tip of the sword.

M E T H O D You will need a gimmicked card box made from an Electric Deck (the novelty deck of cards that is tied together). The gimmicked cards must match the normal deck you will be using and should be super-glued into the box. The best way to accomplish this is to glue the face card of the deck to the inside of the box. When completed, you should be able to place a loose card into the box by sliding it between the box and the top card of the deck. Its very important that you have the spectator dump the cards out in a straight down motion. If done sideways, its possible that the chosen card may get hung up and not fall from the box. The way to ensure success will be apparent in the presentation ideas below. I would like to present two presentations for you.

S E T U P You will need the gimmicked deck, a regular deck, a sharpie marker, and a sword shaped toothpick. The gimmicked deck and regular deck go in your right coat pocket. The marker goes into the right inside coat pocket and the toothpick in you right pants pocket. If you choose to perform the presentation for magicians, I would suggest you make a fake change bag. Just attach a felt bag

with Velcro onto a round wooden frame that has a handle. It will be worth the extra effort, I assure you. Oh, I almost forgot...get a real sword.

D E L U X E P R E S E N T A T I O N Have a spectator come up and stand on your right. As you face him, this will put your right side towards a wall for best concealment. Remove the regular deck from your coat pocket, take out the cards, and hand them to the spectator. Have him freely select any card. Take the remaining cards and place them back in the box. Tell the spectator to show everyone the card and to please sign it for verification. As you say this, two things need to happen. Reach with your left hand into your inside pocket to get the marker. Throw the coat open just a little as if to visually find the marker. At this exact time, tilt your body slightly to the right and simply place the card box into the right pocket where you will switch it for the gimmicked box. Pull out the marker and give it to the spectator. You are way ahead at this point. The spectator signs the card and you take it and slide it into the gimmicked box between the box and top card. This is done with the cards facing the audience and spectator. Close the box and hand it to the spectator. Bring out the fake change bag and tell them to drop the deck in for safekeeping. While holding the change bag in the left hand, you bring out a sword-shaped toothpick from your right pants pocket. You explain that youre going to stab their card with the toothpick in a unique fashion. Have the spectator take the deck out of the bag. Hold the bottom of the bag with the toothpick hand as if keeping the other deck out of the way. Place the change bag on the floor, but keep it within everyones sight. Tell the spectator to hold the box high in the air and on the count of three, dump all the cards out as you intend to stab their card with the toothpick. At this point, ask the audience if they can see the toothpick in the back of the room. Place most of the toothpick down in your hand to make sure they do not see it. Regardless of the answer, tell the spectator that they cant see it in the back so you will have to use this one. Pull out the real sword. You say on the count of three, they are to dump the cards out and you will stab their card before all of the others reach the floor. Now explain that the spectator MUST dump the cards straight down because if they go sideways, you will have to stab and chop randomly in the air to get their card, which could result in injury (Trust me...they always follow directions). Strike an intimidating, thrusting stance and focus all of your attention on the card box. Have the audience count to three. The spectator will dump the cards, which will of course just hang in mid-air while the chosen card flutters to the floor. Wait just a moment for all of this to sink in. DO NOT stab the card right away. The audience MUST see that it actually came from the box. Then slowly stab the card and display it, while taking the suspended cards from the

spectator. Hold both up once again for your applause and have the spectator carefully take their card from the tip of the sword.

H I N T S When the deck switch is made early in the routine, there is nothing to worry about. The spectator is in possession of the only card that he and the audience are interested in. They could care less about the box. If people actually did see you put the box in your pocket, they would think nothing of it, because that is where it came from to begin with. It will seem like nothing more than an afterthought of you changing your mind and keeping the box out. When reaching for the marker, pivot the top half of the body so that the left hand goes into the coat for the marker, while the right hand lines up automatically to just dip into the pocket and switch the decks. For a smoother switch, place the regular deck in the pocket with the thumb and index finger and clip the gimmicked deck with the index and middle finger as you leave the other deck closest to your body. When you start to bring the gimmicked deck out, simply re-grip so you are holding it normally again. I assure you, after just a few tries, you will gain the confidence to use this method anytime you want to make a deck switch (this switch has been around since the invention of the pocket). An interesting thing happens when you bring out the fake change bag. If another magician thought you did something funny earlier in the routine, they now totally disregard that with the smug knowledge that...Oh, hes going to make a switch now. So much focus is placed on the silly bag that reconstruction is virtually impossible. At the end of a lecture or performance for my fellow magi, I tear the bag apart and hand it out just for fun. The typical Garden Path expressions are priceless.

B A S I C P R E S E N T A T I O N For a more compact version, that is just as strong, simply have a card chosen and signed. (Switch here, of course). Have the spectator hold the deck high in the air and dump the cards. Say you will use your cat-like speed and martial arts skills to grab the signed card before all of the others touch the floor. In this method, you need no other props. The gimmicked deck is the only additional thing you carry, aside from your normal stuff. You get them to dump the cards straight down by saying if it goes sideways, you may have to flail your trained hands in the air wildly to get the card and, thereby, accidentally knock them out.

T R O U B L E S H O O T I N G If, by some freak chance, the card doesnt come out of the box...dont panic. The card will be up towards the top of the deck and you will be able to see it. If

using the sword, tell the spectator to stay totally still while you dislodge the card with the sword as if actually cutting that one off. The same goes for the prop-less version. Just show your hand empty and reach up to pluck their card off. The assumption is that all of the cards were tied together and yet, you removed only their card. This is still as strong. I can tell you that as long as you have them dump the cards straight down, the chances of failure are perhaps less than one percent.

F I N A L W O R D S I have performed this routine for an individual spectator as well as a full 1000-seat theatre. It is a card trick that you can consider non-card material to provide variety in your act. The result also makes a fantastic display for promotional photographs, as it is apparent to the world what has taken place without having to be explained. I hope you field test this and realize first hand its potential for great entertainment.

You are currently reading the May June issue of Mr. Gadfly. The July August issue will be released July 15th.

All of the products

advertised in Mr. Gadfly are available

from your favorite dealer!

If you would like additional

information about these products, visit the forum

in the Members Area of our web site and

make an inquiry!

Threshold of Revelation By columnist Aaron Shields

Dissecting A Classic, An evaluation of Dai Vernons Triumph plot

In 1946 Dai Vernon published Triumph as part of the Stars of Magic series. To say that it has become a popular plot is, I believe, quite an understatement. Since its publication, various embellishments have seen print. While some are worthwhile and others make you question the sanity of the creators, I choose, for the purpose of this article, to stick with the original appearance of the effect. What is the effect? When trying to have another magician express the premise of his or her piece of magic, Dai Vernon would often ask, What is the effect? Judging by the performance of triumph by many individuals, one may be hard pressed to define its overall effect. I have often heard magicians refer to Triumph as another card location, but I disagree. The original text from Stars of Magic states that the unruly spectator, found that all the cards had righted themselves and were now face down with the exception of one card which was face up. Notice what comes first? Yes thats right, the cards right themselves. In effect, not only by this description, but by what I believe are the most effective performances of the plot, I submit that the overall effect is that of cards magically righting themselves, with the exception of the selection, and not a card location. In other words, the finding of the card is secondary to the primary effect of the cards righting themselves. Before advancing into technique and presentation, I think it is beneficial to examine the different approaches. The general areas I wish to focus on revolve around the following questions: 1) Should it be performed in the hands or on the table? 2) What type of shuffled should be used? 3) What should be done after the shuffling? Should it be performed in the hands or on the table? My answer is that in my experience, and in the experience of almost 100% of the others who I surveyed, better reactions are achieved when the effect is performed on the table rather than in the hands. Why? I believe it has to do with the openness of the procedure. In the audiences mind, if the effect is performed convincingly, the only logical way to make the effect happen is to somehow secretly separate the cards unbeknownst to them. As a result, the less

possibility for such an event, the stronger the effect becomes. When the deck is in the hands, the performer is constantly in contact with the deck. When the deck is on the table, the whole deck rarely entirely leaves contact with the table, and is almost never solely in the magicians hands. In addition, there is less firm contact and less contact in relation to the time in which the deck is shuffled. As a result, there are fewer opportunities for the secret actions to happen, creating a stronger audience response. What type of shuffled should be used? Assuming that the actions occur on the table, two major options are available, namely a Zarrow shuffle or a strip-out shuffle with a block transfer. Which is better? I believe this, of all the questions, is the hardest to answer. Hard enough to the point that I am not positive there is an answer. The benefit of a Zarrow shuffle is that the primary secret action ends with the shuffle, allowing successive actions to be more deliberate. The downfall of the Zarrow is that you cannot openly show the halves to be woven before completion of the shuffle. The strength of the strip-out is that the halves can be openly shown to be mixed together throughout the shuffle. The downfall of the strip-out is that the secret action must occur after the shuffle. In other words, assuming the audience takes both shuffles to be real and assuming the thought process previously mentioned is correct, you are performing the action the audience will assume you are going to perform, namely secretly separating the halves at a point where it could occur. From such a statement, many of you probably think that I advocate the use of the Zarrow shuffle over the strip-out. This is, in fact, not the case. While I am not vehement in my choice, I do believe the strip-out is the better option. My reasoning behind this conclusion is based upon the difference between secret and outward actions. In the strip-out you are undeniably able to convince the audience that the cards are well mixed. The successive stripping is a secret action. If performed properly, the outward action is merely a cut. In addition, cutting actions of one form or another are almost with out exception performed after the shuffle. In effect, the cutting action that results in the stripping should not be outwardly perceived any differently by the audience. The strip-outs visibly woven portions, therefore, possibly give it an advantage. What should be done after the cut? The two options seem to be either, cutting displays with the deck, occupying approximately the space that the deck takes up, or a more elaborate display that takes up a significantly larger area of the table. The most popular version of the latter is Daryls Triumph display (see Secrets of a Puerto Rican Gambler by Stephen Minch, p. 60).

While the display itself presents a convincing image of the mixed condition of the deck, I believe it is not the best option. This is for two reasons. Firstly, the shuffle itself should convince the audience that the deck is mixed, with woven halves enhancing the conviction. If using a Zarrow handling of the effect, this display may be somewhat more beneficial. I believe that this display is a method of convincing rather than a method of reassuring that I believe is needed here. Secondly, I believe that the strength of the display relies on the fact that the deck just looks like it is in a random order random and it apparently not mattering how the packets are gathered. I believe, conversely, that this is also the weakness. The more packets that are cut, and put back together apparently at random allow for a way to order the deck. In effect, the outward gathering of the packets provides a plausible explanation for righting the mixed deck. As a result, I believe a more concise, reassuring, casual display is the best option, especially with a strip-out handling.

Next Issue, I will give a Triumph effect using the above philosophy.

The FlyPaper By columnist Trini Montes In this day in age we find ourselves trying to decide how to go about learning magic. Back in the old days, we did not have the luxury of videos, DVDs, or the Internet. All we had were books, magazines, and notes. These were the only ways magicians could learn anything about magic, unless you had a mentor. Magicians had to either know a magician who would not mind sharing their ideas, or they would have to go to a magic shop and buy a book (In those days, finding a magician to share their ideas with you was very rare. Secrets were kept very sacred, and well hidden). Now days, with the advancement of technology, the advent of videos, DVDs, and especially the Internet, we have been spoiled (Thank You Mr. Bill Gates). A lot of magic that has been in books for years and years are now in videos. Lots of the hidden secrets have come out and are available to just about anyone. With this in mind, it leads me to the first installment of The Fly Paper. How much value does a book on magic hold these days? How much knowledge can you get from a video or the Internet that you cant get from a book? Why do we ask a beginning magician, Have you seen the ???? book?, and get a reply of, No, but I saw his/her video. The answers to these questions are not easily found. As a matter of fact, these questions will differ from magician to magician. It all depends on how a magician learns. Whether they learn visually or not. In this article, I will talk about my views on this topic. From my point of view, books hold a greater value than a video, or the Internet. First of all, books posses information such as history of magic, the authors points of view, and the effects themselves. They are the stepping-stones to being a complete magician. Many beginner magicians want to know only one thing; how to do tricks. There is nothing wrong with that, as long as they grow out of that mentality. As they grow in magic, they should learn more than just tricks. They should learn the history of the art of magic. They should want to know more about how magic came about. We should have more resources where a newcomer can learn about the great magicians of the past that paved the way for us magicians today, and those of tomorrow. Beginners should learn how these great magicians, Vernon, Marlo, DAmico, Miller, to name a few, were affected by magic, and how they themselves affected magic. This information cannot be obtained by a video that contains the performance and explanations of tricks. Books offer this information within its pages. Not only do you get the explanation on how a trick is done, but also

how it came about (evolution of a sleight). You also get to know a little about the author, and his/her way of thinking. They bring you in touch, in a certain way, with the author, or creator. Many of us browse the Internet. Many of us download tricks off of the Internet. When we do so, we do not take into account that we just depreciated the hard work, and effort that the creator put in to come up with such an effect. When we buy a book, we are paying the author or creator for their time and effort in giving us the information they have. Its an appreciation that we give them, letting t