(A bedraggled set of well-thumbed magic books!)
Here’s the second installment of the Five Foot Shelf of Magic. You can read the first installment here.
I’ll assume you’ve learned enough about basic sleights and presentation so that now I’ll recommend books that explain more advanced techniques or books that offer a broader scope of action. I also include more books that give a more intimate look into aspects of the history of magic.
Bound to Please by Simon Aronson is a collection of three smaller books by the author. The first is a collection of early card effects of Aronson’s, the second is a description of his memorized deck, and the third is devoted to a single card effect called “ShuffleBored.” Aronson, by training a lawyer, was one of the best writers of magic around. His writing is thorough, detailed, engaging, and some of the cleverest card magic you’ll ever encounter. You will fool yourself.
Let’s take the three sections from back to front (and it’s probably the best way to read the book!) : ShuffleBored is not only the best “self-working” card trick in the universe (and I’ll back that up with money if need be!) it’s stronger than 90% of most other card tricks as well. (Hot tip: do John Bannon’s version from Dear Mr. Fantasy. His ideas with the eye covering and shuffling procedure are great improvements.)
The second section is an extensive tutorial on Aronson’s memorized deck: how to learn one, and the specific features built into the Aronson stack. You’re not going to acquire a memdeck overnight, but it’s not as hard as many think. If you’re serious about this stuff, you might as well start now, and you’ll get it down long before you get your pass or strike double to where you like it. You’ll have an incredible tool in your kit.
The third section is a collection of card magic, some of which uses the memdeck. My favorite trick here is “Some People Say,” which has a very simple plot, but the conditions are so stringent that it seems a complete impossibility. Very good for driving your analytical friends crazy.
BTW, if you’re skeptical about learning a memdeck or just want to know more, Aronson wrote a booklet for those contemplating learning a memdeck and graciously offered it for free here.
Simply Simon, by Simon Aronson. More card magic from a great thinker of card magic. There are some wonderful routines, including my favorite memdeck routine, “Past, Present, Future.” But it’s not just a book of memdeck effects—even if you never want to remember another card in your life, there’s great material here, somewhat challenging to learn, but not overly difficult.
Stars of Magic: This thin volume consists of the original Stars of Magic pamphlets that were originally printed separately but are now offered as a bound collection. And a stellar collection it is. There are effects by John Scarne, Dr. Daley, Francis Carlyle, Dai Vernon, Slydini, and more. This is professional level magic and a career could be assembled from learning all these effects. They’re not necessarily easy, and they do contain some advanced sleight of hand, but these are classic routines that have stood the test of time and probably every professional magician working today has one of these effects in his or her repertoire. Even if you don’t master all of these routines, you should be aware of them.
Gerald Deutsch’s Perverse Magic: I wrote at length on this book here and here. One of the big hurdles for performing for people you’ve known for years is that they find it hard to swallow that you are suddenly endowed with superhuman powers. How do you perform for friends and family without coming off as a narcissistic jerk? Well, Jerry Deutsch has an approach which really resonates with me. In this style of presentation, the performer is as surprised by what happens as the spectator is. In fact, even when the performer tries to do a trick, the trick goes wrong (that’s the Perverse part)—but with a stronger effect than what was first expected, much to everyone’s surprise.
There are hundreds of tricks here with cards, coins, balls, dinnerware, all with scripts and detailed explanations. The book does assume knowledge of some basic sleights, many of which you will have picked up by the time you reach this foot of the shelf. It’s great if you want to perform for family or friends at the dinner table, or for casual business associates at lunch. [And I’ll put in a little plug here, since I helped to put this book together. All proceeds go to charity, and can be found at https://www.lulu.com/en/us/shop/gerald-deutsch/gerald-deutschs-perverse-magic-the-first-sixteen-years/hardcover/product-1z9p5rn5.html]
Dai Vernon: A Biography by David Ben. The most influential magician of the twentieth century, Dai Vernon, was essentially an obsessed amateur for whom the art of magic was more important than business, family, or just about anything else. “The Man Who Fooled Houdini” created some of the greatest close-up effects and techniques in magic and was also a consummate teacher. Because Vernon did little documentation of his own work (although he was an endless storyteller), this first volume of a projected two volume set about his life is a valuable detailed look at the trajectory of Vernon’s domestic and magic lives.
Tricks Every Magician Should Know by Al Schneider. This is a fun book filled with, well, stuff. The kind of throwaway novelties that some magicians seem to know, but aren’t necessarily written down anywhere: How To Shoot Rubberbands, Making a Handkerchief Rabbit, How To Tie A Knot Without Letting Go Of The Ends, How To Push A Cigarette Up Your Nose—you get it, the essential things.
The Phoenix, edited By Bruce Elliott. I’m a magic magazine junkie, and it was a toss-up whether to list Hugard’s Magic Monthly or The Phoenix. I went with the latter for now, because The Phoenix has more of a close-up focus than stage, and it’s much more available.
The Phoenix was the offspring of Ted Annemann’s The Jinx, and like The Jinx it eschewed sleight-of-hand effects for those using subtle and clever principles. There were some wonderful contributors, including Vernon, Marlo, and Paul Curry (“Out of This World”) who had a regular column. Bruce Elliott was a writer by trade who kept the magazine lively with his strong opinions and commentary on the magic scene of the 40s and 50s. Yes, you can find pdf files of this, but the bound collection is so much more fun to read.
Classic Secrets of Magic by Bruce Elliott. I first read this book as a teen-ager when it was issued in paperback. It covers a dozen or so classic close-up effects of magic. This is not meant as an expose book, but a serious book of teaching magic. The book, much of it drawn from articles in The Phoenix, covers effects like the Cups and Balls, The Four Aces, The Miser’s Dream, The Ambitious Cards and others.
The methods given for these tricks are not always the most sophisticated, but they are meant for advanced beginners and they will get the job done. A warning—this book is not for children. There’s a version of the Swallowing Razor Blade Trick that’s not at all suitable for young people, and there’s another trick involving corncob pipes that has a good chance of seriously harming the performer (both ammonia and hydrochloric acid are involved here. Ah, the 50s!). But the rest of the book is very good, and the Dr. Sachs dice routine, which is not easy to find elsewhere, is an excellent impromptu item to know.
Here’s the audio version of my commentary on Shakespeare’s King John, which I recorded for Arts Express on WBAI NY radio and Pacifica affiliates across the country..
It’s one of the least known of Shakespeare’s plays, but no less a writer than George Orwell said about it, “When I saw it acted, what with its intrigues and double crossings, non-aggression pacts, quislings, people changing sides in the middle of a battle, and what-not, it seemed to me extraordinarily up to date.”
To listen, click on the triangle or mp3 link above.
It’s here! The August issue of the Arts Express Newsletter. Eighteen full color pages!
* Prairie Miller interviews legendary journalist Peter Arnett who talks about meeting Osama Bin Laden and trying to report the truth about the Vietnam War.
*A portfolio of the haunting photographs of Antony Zacharias
*Dennis Broe reviews Spike Lee’s new film about Vietnam veterans, Da Bloods
*Our staff and listeners weigh in with their Summer Reading Picks.
*Plus The Guest List, News and Gossip, and more!
To get your free pdf copy every month to your email address, just send an email to ArtsExpressList@gmail.com and put Subscribe in the subject line. We’ll do the rest!
(Robert Mantell as King John, 1915)
Recently, NPR broadcast their audio production of Shakespeare’s Richard II. I‘d like to discuss a less often performed play of Shakespeare’s about another failed English king, Shakespeare’s King John. It resonates as an absolutely modern play in the sense that Machiavelli is modern: with penetrating insights into the hypocrisies and double-dealings of the ruling elites.
The Shakespeare scholar James Shapiro likes to say that in Shakespeare’s plays, the kings are brought down because they don’t understand that the pressures of the time are going to be far more intense than anything they had previously imagined. They don’t grow into their roles to meet the time; instead they are crushed by their inadequacies. They don’t recognize that the old order has lost all legitimacy and the new world is struggling to be born. It’s always a time of great anxiety for both the elites and the underlings. Feel free to draw comparisons to our own time—as you should.
As King John opens, John, the English King, is readying for war with France, with the French declaring their legitimate right over several disputed territories. But King John will have none of it and vociferously defends England’s claim: “Here have we war for war and blood for blood/ Controlment for controlment: so answer France.”
And John is not just defending the legitimacy of England’s ownership of territory—John is also defending the legitimacy of his personal claim to the throne. It’s not a given that John is the legitimate heir. John’s dead older brother, Geoffrey, still has a living heir, a young boy named Arthur, and though John has declared himself King of England (he of the Magna Carta) with the backing of the newly risen landowner class of nobles, there are those pushing the line of the young Arthur, and they ally themselves with the French to stake their own claim to legitimacy.
And Shakespeare really likes to play with this notion of legitimacy and illegitimacy. One character, a military adventurer named Philip, is literally illegitimate, having been secretly fathered by Richard The Lion-Hearted during an adulterous rendezvous. Phillip would rather be known as an illegitimate son, and give up his ancestral rights to his family property, than to disavow his real father. Rather than run from illegitimacy, he embraces it with the title “The Bastard.”
So it’s off to war. The poor citizens of a disputed walled town have to decide which of the bellowing forces, the French or the English, they would rather surrender to. One citizen of the town agreeably says that they would gladly be ruled by the King of England—if they only knew who that legitimately was. So when you decide, let us know. And in an attempt to forestall what they know will be a coming war, the town’s citizens propose a compromise—why not have the son of the French King and the daughter of the English King marry and form a happy alliance between the two forces and establish legitimacy that way?
But not so fast…
Constance, the mother of young Arthur, the Mother of All Tiger Moms, who has aligned with the French forces, bitterly refuses such a compromise—she wants to see her son Arthur on the throne: “War! War! No peace. Peace to me is a war!” So Constance along with the French get their war.
And how ineptly the English King John handles it! John bumbles from one misstep to another. The English, under the military direction of The Bastard, do manage to capture the young Arthur, and take him prisoner. But King John fumbles the ball. Because even King John’s advisors recognize that young Arthur must be treated well in captivity or the public will turn against the King. In a duplicitous world where no one can be trusted, Arthur’s purity and naivete stand out. He is the one totally sympathetic character in the play. But the narcissistic King John, against the advice of his counselors, secretly orders his henchman, Hubert, to murder the beloved boy. And in an excruciatingly horrific and tender scene, the boy pleads with Hubert to spare his life:
Arthur: Must you with hot irons burn out both mine eyes?
Hubert: Young boy, I must.
Arthur: And will you?
Hubert: And I will.
Arthur: Have you the heart? When your head but did ache,
I knit my handkercher about your brows—-
The best I had, a princess wrought it me—
And I never did ask it you again
And with my hand at midnight held your head,[….]
Saying, “What lack you?” and “Where lies your grief?”
Or “What good love may I perform for you?” […]
If heaven please that you must use me ill,
Why then you must.
This is all too much for Hubert to bear. He relents and lets Arthur escape. Meanwhile, King John realizes he’s made a terrible public relations mistake. He fears the public will turn against him for killing the boy. Hubert comes back to John, ready to lie about Arthur’s execution, but before Hubert can get a word out, the King turns on Hubert, outrageously blaming him for Arthur’s death. When Hubert protests that John had ordered him to kill Arthur, John with audacious bluster, disavows all personal blame and accuses Hubert instead. John says to him:
I faintly broke with thee of Arthur’s death
And thou, to be endeared to a king
Made it no conscience to destroy a prince.
Hubert can’t stand the accusations anymore, so he admits to John that Arthur is actually still alive. John is elated, and with scarcely an apology to Hubert, he’s ready to make war once more. With the beloved Arthur alive but safely imprisoned, John feels he can win the public relations battle and the war.
But in an amazing piece of plotting by Shakespeare, as Arthur escapes from the prison, the boy falls from a high wall and actually dies for real this time. It’s an extraordinary moment. After having been spared—Shakespeare kills him off!
It brings to mind the infamous scene in Hitchcock’s movie, Sabotage. There, a young schoolboy unknowingly boards a bus with a parcel that contains a time bomb. Of course, the audience knows the bomb won’t go off with the boy holding it, because legitimate suspense movies don’t have bombs go off in the arms of little schoolboys. But it does go off, and it’s absolutely shocking. Hitchcock later said that he regretted that scene—it wasn’t a legitimate use of the suspense genre. Well, Shakespeare’s scene is every bit as shocking, but he gets away with it because the whole play is about the fraying of old expectations. Shakespeare is saying that the world is that messed up.
Was Shakespeare grieving about his own little boy Hamnet, who had died sometime around the estimated time of composition of the play? Were the laments of the play’s Constance, Arthur’s mother, the bitter words that Will faced when he came back from London to his wife Anne in Stratford on hearing the earth-shattering news?
The news of Arthur’s death is so awful, even to the English, that two of John’s noble advisors defect to the French side. John is clearly overwhelmed by events: The French seem to be winning battle after battle.
By rights, here we are in Act V, there should be no hope for the English. But we know the history doesn’t end that way; and in one more piece of somersault plotting, the two English advisors who had previously defected to the French side find out the true French policy towards defectors: make nice with them now, but kill them later. So the defectors make a run for it and head back home to join King John. But John meanwhile has been poisoned, which is perhaps a blessing for the English. For now, the new order can take over. The young Prince Henry, son of John, is installed as King, a kind of mirror image of the young dead Arthur; The English under the Bastard’s military direction start winning more battles, and by some miracle, a peace treaty between the French and English has been arranged by the Church. Prince Henry forgives the defector Lords and he prepares to attend his father’s funeral as the play ends.
It’s a decidedly precarious ending. Onstage there is an unspoken pall of anxiety about the future. The new king’s legitimacy is as questionable as his father’s was. The Bastard bravely tries to reassure them that the new time calls for a unity of all English factions including the forgiven wealthy Lords–that’s the only way they can proceed forward safely. But as the play ends, the audience understands that it is not clear whether this new arrangement is really going to work.
Shakespeare himself lived on the cusp of the old and the new, in the transition from a dying feudal order to the rise of the bourgeois capitalist class. The power of kings was being chipped away as rich merchants and landowners bought themselves royal titles with the profits they made from world trade and financial speculation. King John stands at the beginning of that period, and while The Bastard recognizes the inevitability of the capitalist transition, he despises it as well. It’s a system where every person is a commodity, and thus capable of having their honor being bought and corrupted. But even The Bastard doesn’t know whether he can resist the new world’s monetary temptations with its commodities. In an earlier part of the play The Bastard says:
And why rail I on this Commodity?
But for because he hath not woo’d me yet:
Not that I have the power to clutch my hand,
When his fair angels would salute my palm;
But for my hand, as unattempted yet,
Like a poor beggar, raileth on the rich.
Well, whiles I am a beggar, I will rail
And say there is no sin but to be rich;
And being rich, my virtue then shall be
To say there is no vice but beggary.
Since kings break faith upon commodity,
Gain, be my lord, for I will worship thee.
Your old road is rapidly aging. You better start swimming or you’ll sink like a stone. Shakespeare’s King John captures the time when the old legitimate has become illegitimate and no one knows what happens next.
Some years ago, mentalist Bob Cassidy published “The Thirty-Nine Steps – A Mentalist’s Library of Essential Works” a list of what he considered the most important books for a mentalist to be familiar with. He undoubtedly was inspired by his hero Ted Annemann’s list first printed in The Jinx in 1936, called The Jinx Five-Foot Shelf. The idea of TJFFS was to put together a list of books that would be foundational texts in the arts of magic. The ground rules were that you had five feet of shelf space to work with, all the books had to still be in print, and the primary purpose of the list was to pick out those books that would best help beginners start in magic and continue on as their skills and knowledge grew.
On several of the magic forums, some people are putting together their own more recent lists; Jeff Kowalk in particular has a very nice series of videos he’s produced which you can see here. I thought I would contribute my own list, based on books that I’ve owned or read. As a little update to the rules, I do not allow ebooks or DVDs—not that ‘s there anything wrong with them. (Perhaps one day I will do a post on the great Books vs Video debate.) Also, if a book is out of print but is readily available through second-hand sources, I allow it.
I figure I can fit about ten average volumes in a foot of shelf space, so here are my nominees for the first foot, which I’ll call Getting Started:
Magic For Dummies by David Pogue: I rarely see this book on lists of this kind, but it’s a great introductory book that teaches a variety of magic without overwhelming the reader. There are contributions in each chapter from some famous modern magicians, but the real contribution is that it teaches from the get-go that magic is a performing art, more than just a collection of methods. It encourages readers to create compelling presentations, not just learn the moves. There are some great tricks in here, pretty much self-working in terms of method, but even if you’re more advanced in magic you’ll find some usable material here. Hot tip—Don’t let the Dummies in the title put you off: on page 64, you’ll find a method that fooled Penn & Teller a few weeks ago.
Hiding the Elephant by Jim Steinmeyer: A practitioner of any art should have a knowledge of its history, and that’s certainly true of magic. Steinmeyer, who is one of the great modern illusion designers, is also one of modern magic’s best historians. By telling the story of Houdini’s disappearing elephant—and how it might have been accomplished—Steinmeyer introduces the reader to a whole cast of larger than life personalities and what it was like to be a stage magician in a rough and tumble, competitive performing era. But more than that, he gets you inside of magical thinking—what is it to imagine an effect and then to invent a way to bring it to fruition?
The Glorious Deception by Jim Steinmeyer: Another great magic history book by Steinmeyer, it tells the wild story of Englishman Will Robinson, who performed as a Chinese-born magician under the name of Chung Ling Soo. Robinson started out as the backstage assistant and “brains” for several famous nineteenth-century magicians, but his biggest trick—his secret double life—was not discovered until he died in a Bullet Catch trick that went wrong—or did it? Steinmeyer writes books that you would read even if you were not into magic—they’re that full of vivid writing, period detail, compelling action, and some of the most colorful characters in show business. It helps the reader to understand that s/he’s stepping into a deep tradition, and has something to uphold.
Royal Road to Card Magic by Frederick Braue and Jean Hugard: Most people learn a few card tricks along the way, but when you’re ready to get more serious about cards, this is the place to start. It’s an absolute model of how-to-do-it pedagogy. Each chapter adds a new sleight, incrementally, and then teaches a few tricks that focus on that sleight. By the time you reach the end of the book, if you’ve been following it, you are well on your way to card magic mastery.
Some people recommend Roberto Giobbi’s five volume Card College as the more modern place to begin with card magic. There’s no doubt that Card College is quite an achievement, and its teaching is impeccable. But I find Card College dry, better used as a reference resource than a series of books to be read straight through. There’s a ton of information in Card College, but for beginners I would still recommend Royal Road over the Giobbi series. Royal Road is inexpensive, the teaching is very good, and there are some wonderful tricks in there that you will do for the rest of your life.
Fast Track Coin Magic by Al Schneider: Here, I’m again going to go against what a lot of people recommend for a first coin book. People invariably recommend J. B. Bobo’s Modern Coin Magic as the place for beginners interested in coin magic to begin. Frankly, I think Bobo’s is a horrible book for beginners. It’s cramped descriptions are difficult to follow, it’s illustrations are not helpful, and it’s massive size is way too much information for a beginner in coins.
Coin magic is famously one of the most difficult branches of magic in which to achieve mastery. It’s very reliant on what can be difficult sleight of hand. It also depends a lot on the timing and co-ordination of the two hands’ movements. A written description of a deceptive two-handed coin vanish may take very few words—but if the timing is slightly off, there’s no illusion. Frankly, I think coin magic is the one area of magic where video illustration is of immense help.
But if you’re limited to books, I’d go with this Al Schneider book. It goes over the fundamental sleights well with lots of clear photos and explanations, and it has directions for coin tricks with a variety of plots. You won’t find much in the way of presentation scripts, but Schneider does give the bare bones with which to add your own personality. Once you finish this book you’ll be much better equipped to dive into other coin books, including Bobo’s.
Mark Wilson Complete Course In Magic by Mark Wilson: Mark Wilson had a tremendously successful weekly magic show in the 1960s on Saturday mornings and here you’ll find a big book of entertaining magic with kid-friendly illustrations. It covers the range of magic—cards, coins, ropes, mentalism, and even platform illusions that you can make yourself. It’s kind of like a Forest Gump box of magic. It even includes whole routines for sponge balls and a section on impromptu magic. If you’re thinking about putting together a school show, this is a great place to start. Even for an experienced performer there is some surprisingly good material here. A lot of bang for the buck.
Magic With Everyday Objects by George Schindler: This is a great book for doing magic in casual settings like the dinner table or office. Technically, most of the tricks are not difficult, and it’s nice to have a repertoire of tricks that you can perform at a moment’s notice in just about any situation.
Scripting Magic (Volumes I & 2) by Pete McCabe and others: These are must have books. At a certain point you realize that if you’re going to spend time working to perform your magic for actual people and not just the mirror, your time is best invested by scripting your magic. McCabe gives dozens of examples of how a good script can take a trick from the mundane to the astounding. And as a bonus, there are lots of wonderful tricks–with scripts!–from some excellent magicians.
Theater of the Mind by Barrie Richardson: I have a special place in my heart for this book because it was the first magic book I ever purchased as an adult. And I was very lucky that I did. Not just because of the sheer volume of clever magical thinking per cubic inch, but because of the humanistic approach that Barrie Richardson takes towards his magic. His warm, kind-heartedness shines through the whole book and his magic; in an entertainment form that too often uses audience members as props, Barrie implicitly teaches a generous attitude which is one of the most important lessons a performer can learn. Some of the material is not beginner level, but there’s so much more to this book than just the tricks. And Barrie gives full scripts and presentations for each of the effects. He urges performers to keep thinking about what they ultimately want an audience to experience and walk out with.
It’s “Spell To Any Named Card” once more, the Mnemonica edition.
I recently published the Aronson stack version of this effect, as I have been a long-time user of Simon Aronson’s memorized stacked deck. I got a very good response to that, but a number of people mentioned that they were Mnemonica users, and asked if I would create a version for the Mnemonica stack. Well, your wish is my command. I thought it would take me a long time, but strangely the work went very quickly by applying what I had learned from my previous effort. In fact, though I’m an Aronson stack user, I like this version better. Let me know what you think.
Illustrations by Sharon Levy
When your job entails strolling through mine fields, dodging snipers, reporting on seven civil wars, rogue militias, vigilantes, and drug cartels, you might become a bit picky about your personal security. Veteran Reuters correspondent and safety consultant Judith Matloff talks about how to keep safe through disasters, both natural and manmade, from tear gas and batons to tornadoes and hurricanes.
Click on the triangle or mp3 link above in order to hear my interview with Judith Matloff, as broadcast today on the Arts Express radio program on WBAI NY, WBAI.org and Pacifica affiliates across the nation.
Another one for the magic nerds only.
There are times in card magic when you want to set up a shuffled deck into alternating colors. Tricks like Tamariz’s “Neither Blind Nor Stupid” and Nick Trost’s “Odd Man Out” demand it. The typical way to do it is to first do a separation of the colors à la Mr. Green or Mr. Lorayne, and then do a perfect faro. That’s probably how I would do it these days.
But back in 2004, I couldn’t do a perfect faro, and so I sought another way to do it. Besides, sometimes you’re handed a beat up deck with which even Steve Forte couldn’t do a perfect faro. (Okay, who am I kidding? He probably could.) Anyway, so I came up with a way of putting a deck into alternating red-black condition in one pass without a faro.
The reason I’m re-visiting this from sixteen years ago is because of an excellent new booklet put out by Dr. Hans-Christian Solka called Gaukelwerk with Cards available at Lybrary.com as a pdf for a nominal price. It’s a little monograph on a way of clocking a deck that to my mind is one of the quickest and most efficient methods I’ve seen. I first came across the idea of clocking a deck in one of Martin Gardner’s books decades ago, but others have refined the process through the years. If you’re not familiar with the term, it refers to a way of finding out a missing card from a full deck by keeping a mental mathematical count of cards seen by running through the deck a few times, ideally the fewer times the better. Dr. Solka, in my opinion, has come up with the best way yet of doing this.
It turns out that one thing that can really help you clock a deck extra quickly, not surprisingly, is if you know prior to clocking the deck whether the missing card is red or black—and an alternating red-black deck can help you determine that quickly. That is not Dr. Solka’s advance—people like Harry Lorayne have exploited that idea before as have others. But in his booklet, Dr. Solka details his method of clocking called “The Solka Location,” which using the alternating deck and an elegant counting system allows one to clock a deck in two very speedy passes.
In addition to this clocking method, in his booklet Dr. Solka includes a false shuffle and a way to get into alternating colors using a method he calls the Mingau Cull. After reading a first version of Dr. Solka’s booklet, I pointed him to my 2004 post on the Magic Cafe which detailed my variation of that cull. Never having heard of the Mingau Cull before, I did not realize at the time that what I had created was essentially a mirror image of the Mingau. But Dr. Solka liked my version, and included it in a subsequent printing of his booklet. He calls it the “Landmark Cull,” after my screen name on the Magic Cafe.
While the two culls are similar, if you are dealing from left hand to right hand, I believe that my version is better covered and more natural looking to the audience.
Anyway, here is that “Landmark Cull.” I’ll try to describe it a little better here than I did back in 2004. And I’ll add that Dr. Solka in his booklet added a little suggestion which speeds up the process even more (which I will not put here as it is not mine to share).
Okay. The deck is face up in the left hand, dealing position. The right thumb thumbs the first two cards from the left hand one by one onto the right upturned palm, the second card on top of the first. The right thumb is now on top of its packet, with the four right fingers below.
The right fingers shift the bottom-most card of its packet (i.e. card closest to palm) a bit to the left so that that card can be seen.
Now, look at the color of the card facing you in the left hand. If it is the opposite color of the card face up in your right hand, then thumb that card on top of your right-hand pile. Keep moving cards from the left hand to the right hand, one at a time, as long as the cards alternate in color.
Now, suppose you reach a point where the face-up card in your left hand is the same color as the face-up card in your right hand. You peek at the bottom-most card in your right hand. If it is the opposite color of the face up cards, use your right fingers to slide this card on top of the left-hand pile as you bring your hands together. Then separate your hands. Now you can thumb this same card, which is now face up on the left-hand pile, onto the face of the right hand pile. So what you’ve done in effect is to transfer the bottom-most card of the right hand pile to the top of the right-hand pile.
What if the bottom card of the right hand pile is the same color as the two face-up cards? In that case, simply transfer the left-hand face up card to the bottom of the right hand pile.
Just continue doing this through the whole deck and you’ll have the deck properly sorted.
1) Deal two cards one at a time, one on top of the other into the right hand.
2) Deal one at a time, alternate colors face up from left hand pile onto right hand pile.
3) If the face colors match, check the right hand bottom color. If the bottom card is different, slide the bottom card onto the left-hand pile. If it’s the same, deal the left hand card onto the bottom of the right hand pile.
One of the keys of this is to keep the bottom right hand card constantly jogged to the left as it changes, so you can quickly decide which action to take, so that you can keep a steady regular rhythm.
And that’s it. Now go learn how to quickly clock an alternating deck from Dr. Solka.
This month we celebrate the birthday of Polish poet Wisława Szymborska, the winner of the 1996 Nobel Prize for Literature, born July 2, 1923. Her experience of the German occupation of Poland during WWII was the backdrop to some of her most famous poems, but she was also a keen observer of everyday domestic life as well.
I recently had the pleasure of performing a selection of her poems along with Mary Murphy for the Arts Express radio program. All of the poems are from Szymborska’s recently published collection of works called MAP.
Click on the triangle or mp3 link above in order to hear the poems as broadcast today on Pacifica affiliates across the nation.
Many thanks for permission to publicly broadcast the poems granted by the Wisława Symborkska Foundation and Houghton Mifflin Harcourt Publishers, the publishers of MAP, excellently translated by Clare Cavanagh and Staislav Baranczak.
It’s here! The July issue of the Arts Express Newsletter. Eighteen full color pages!
* An interview with actor John Savage, talking about PTSD and domestic violence in his films
*A Photographic Report on Occupy City Hall NYC from WBAI News
*Two Poems from Poet Peter Davis
*Dennis Broe on Black Lives Matter Statue Protests in Europe
*Prairie Miller on the New Film, The Tobacconist
*Plus The Guest List, News and Gossip, and more!
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This is another installment from the file I keep on my computer labeled “Quotations,” which consists of various clippings I’ve picked up along the way. Every once in a while I like to re-read them and share some of them with you.
In the dark times,
Will there also be singing?
Yes, there will also be singing,
About the dark times.
“Perfectionist — a person who takes great pains, and gives even greater pains to others.” — Changing Times, Vol. 12, January 1958
“A man is like a fraction whose numerator is what he is and whose denominator is what he thinks of himself. The larger the denominator, the smaller the fraction.” — Leo Tolstoy
“The fortunes of the entire world may well ride on the ability of young Americans to face the responsibilities of an old America gone mad. . . Even though you can’t expect to defeat the absurdity of the world, you must make the attempt. That’s morality, that’s religion, that’s art, that’s life” –Phil Ochs
“On the way to being a man, you have to stop for a while at the station Leonard Cohen”–an anonymous YouTube comment
If you judge a fish by its ability to climb a tree, it will live its whole life believing that it is stupid.”
“When you wish upon a falling star, your dreams can come true. Unless it’s really a meteorite hurtling to the Earth which will destroy all life. Then you’re pretty much hosed no matter what you wish for. Unless it’s death by meteor.”–Demotivational Poster
“Be yourself; everyone else is already taken!”–Oscar Wilde
“The illusion of freedom will continue as long as it’s profitable to continue the illusion. At the point where the illusion becomes too expensive to maintain, they will just take down the scenery, they will pull back the curtains, they will move the tables and chairs out of the way, and you will see the brick wall at the back of the theater.” – Frank Zappa
You don’t get to spawn if you don’t swim against the current…
“To begin, begin.” — William Wordsworth
“One of these days in your travels, a guy is going to show you a brand-new deck of cards on which the seal is not yet broken. Then this guy is going to offer to bet you that he can make the Jack of Spades jump out of this brand-new deck of cards and squirt cider in your ear. But, son, do not accept this bet, because as sure as you stand there, you’re going to wind up with an ear full of cider.” –Sky Masterson in Guys and Dolls
I first encountered Indiana poet/musician Peter Davis’s work only a few months ago, but his laconic slacker sensibility, quirky playful sense of humor and self-deprecation immediately appealed to me.
His poems start off ordinarily enough, and then often veer into strange territory, defying expectation. Underlying much of it, the poems are about self-justification and what we say to ourselves and others in order to get us out of the existential jam that we have no idea what we’re doing, even as we proceed with bluff assurance.
Click on the triangle or mp3 link above to hear my reading of some of Peter Davis’s poems as broadcast today on the Arts Express radio program on WBAI NY, WBAI.org, and Pacifica affiliates across the country.
You can catch up with Peter Davis’s work at artisnecessary.com
Jeremy Brecher has just come out with a revised and updated 50th anniversary edition of his brilliantly readable book called STRIKE! about the history of strikes in the United States. It’s an eye-opening history in so many ways, but for now, I’d just like to excerpt from the book an editorial that was published in the Seattle Union Record concerning the general strike that had taken hold in Seattle in 1919. The general strike involved shipbuilders, dockworkers, laundry workers, restaurant workers, milk-wagon drivers, and many more trades who brought the city to a standstill. If this rings a bell for you today, it’s not a coincidence.
There will be many cheering, and there will be some who fear. Both these emotions are useful, but not too much of either. We are undertaking the most tremendous move ever made by LABOR in this country, a move which will lead—NO ONE KNOWS WHERE! We do not need hysteria. We need the iron march of labor. LABOR WILL FEED THE PEOPLE. Twelve great kitchens have been offered, and from them food will be distributed by the provision trades at low cost to all. LABOR WILL CARE FOR THE BABIES AND THE SICK. The milk-wagon drivers and the laundry drivers are arranging plans for supplying milk to babies, invalids and hospitals and taking care of the cleaning of linen for hospitals. LABOR WILL PRESERVE ORDER. The strike committee is arranging for guards and it is expected that the stopping of the cars will keep people at home.. A few hot-headed enthusiasts have complained that strikers-only should be fed, and the general public left to endure severe discomfort. Aside from the inhumanitarian character of such suggestions, let them get this straight— NOT THE WITHDRAWAL OF LABOR POWER, BUT THE POWER OF THE STRIKERS TO MANAGE WILL WIN THIS STRIKE. What does Mr. Piez of the Shipping Board care about the closing down of Seattle’s shipyards, or even of all of the industries of the northwest? Will it not merely strengthen the yards at Hog Island, in which he is more interested? When the shipyard owners of Seattle were on the point of agreeing with the workers, It was Mr. Piez who wired them that, if they so agreed— HE WOULD STILL NOT LET THEM HAVE STEEL. Whether this is camouflage we have no means of knowing. But we do know that the great eastern combinations of capitalists COULD AFFORD to offer privately to Mr. Skinner, Mr. Ames and Mr. Duthie a few millions apiece in eastern shipyard stock. RATHER THAN LET THE WORKERS WIN. The closing down of Seattle’s industries, as a MERE SHUTDOWN, will not affect these eastern gentlemen much. They could let the whole northwest go to pieces, as far as money alone is concerned. BUT, the closing down of the capitalistically controlled industries of Seattle, while the WORKERS ORGANIZE to feed the people, to care for the babies and the sick, to preserve order— THIS will move them, for this looks too much like the taking over of the POWER of the workers. Labor will not only SHUT DOWN the industries, but Labor will REOPEN, under the management of the appropriate trades, such activities as are needed to preserve public health and public peace. If the strike continues, Labor may feel led to avoid public suffering by reopening more and more activities. UNDER ITS OWN MANAGEMENT And that is why we say that we are starting on a road that leads— NO ONE KNOWS WHERE!
Last week I posted Part One of my interview with Jodi Dean, author of the new book, Comrade. In that part of the interview, she talked about the origin and unique importance of the word, “comrade,” and how it differs from other terms like friend or ally.
This week we continue with Part Two of that conversation as we talk about what happens when comrades and party part company, and what the opening for a real politics might be in the time of pandemic. As events occur at lightening speed, her point of view becomes more important than ever.
Click on the triangle or the mp3 link above to hear the interview as broadcast today on Arts Express on WBAI NYC and Pacifica affiliates across the country.
You can listen to Part One, here.
I keep a file on my computer labeled “Quotations,” which consists of various clippings I’ve picked up along the way. Every once in a long while I like to re-read them, so I thought I’d share some of them with you.
“Every man is a damn fool for at least five minutes every day; wisdom consists in not exceeding the limit.”
― Elbert Hubbard
“The big thing about directing is to find out what gives the actor confidence. Once the actor has confidence they are free to extend themselves.”–Paul Newman
“You must never, never despair, whatever the circumstances. To hope and to act, these are our duties in misfortune. To do nothing and despair is to neglect our duty.” — Boris Pasternak, Doctor Zhivago
“My teachers should have ridden with Jessie James for all the time that they stole from me.”
“The closest to perfection a person ever comes is when he fills out a job application form.” — Stanley Randall
“When you feel overwhelmed, you’re trying too hard. That kind of energy does not help the other person and it does not help you. You should not be too eager to help right away. There are two things: to be and to do. Don’t think too much about to do—to be is first. To be peace. To be joy. To be happiness. And then to do joy, to do happiness—on the basis of being.So first you have to focus on the practice of being. Being fresh. Being peaceful. Being attentive. Being generous. Being compassionate. This is the basic practice. It’s like if the other person is sitting at the foot of a tree. The tree does not do anything, but the tree is fresh and alive. When you are like that tree, sending out waves of freshness, you help to calm down the suffering in the other person.” —Thích Nhất Hạnh
“It is hard enough to remember my opinions, without also remembering my reasons for them!”–Nietzsche
“I learned long ago, never to wrestle with a pig. You get dirty, and besides, the pig likes it”
George Bernard Shaw
“Don’t tell me the moon is shining; show me the glint of light on broken glass.” –Anton Chekhov
“Creativity is not a talent. It is a way of operating.” -John Cleese
“Son, never trust a man who doesn’t drink because he’s probably a self-righteous sort, a man who thinks he knows right from wrong all the time. Some of them are good men, but in the name of goodness, they cause most of the suffering in the world. They’re the judges, the meddlers. And, son, never trust a man who drinks but refuses to get drunk. They’re usually afraid of something deep down inside, either that they’re a coward or a fool or mean and violent. You can’t trust a man who’s afraid of himself. But sometimes, son, you can trust a man who occasionally kneels before a toilet. The chances are that he is learning something about humility and his natural human foolishness, about how to survive himself. It’s ***ed hard for a man to take himself too seriously when he’s heaving his guts into a dirty toilet bowl.”― James Crumley
“Against stupidity, even the gods are invictorious.”–Friedrich Schiller
In Jodi Dean’s provocative new book called Comrade, she argues that the word “comrade” is an indispensable one that describes a unique political relationship not captured by words like citizen, colleague, friend, brother/sister, or even ally. If the future of revolutionary change is through the vehicle of the revolutionary political party, she says, then the understanding of what “comrade” really means is vital.
I was happy to interview Jodi Dean on the Arts Express radio program. To hear Part One as broadcast today on WBAI 99.5 FM NYC and Pacifica radio affiliates across the country, click on the triangle or mp3 link above.
You can hear Part Two here
In 2016 Ibram X. Kendi wrote an acclaimed book called Stamped from the Beginning, The National Book Award winning history of how racist ideas were created, spread, and deeply rooted in American society. Now that book has been adapted by Kendi and Jason Reynolds in what they call a remix for young audiences.
You can listen to my interview with Ibram Kendi and Jason Reynolds as broadcast today on the Arts Express program on WBAI 99.5FM NYC, WBAI.org, and Pacifica stations across the country by clicking on the triangle or mp3 link above to listen.
During the Great Depression an editor for the NY Times wrote: “We do have to convince millions of our young people that we have not yet come to a social doomsday, and that there is something better for them to do than jump off the deep end ” Well, that was written not in 2020, but in 1936, but it still seems quite applicable for our times.
Jason Boog is the author of a new book published by OR books called The Deep End, and I spoke with him about radical poets and novelists of the 30s, and what we can learn from them in an age of pandemic.
You can listen to my interview with Jason Boog as broadcast today on the Arts Express program on WBAI 99.5FM NYC, WBAI.org, and Pacifica stations across the country by clicking on the triangle or mp3 link above to listen.
Arts Express, books, Harvey Weinstein, interview, James Shapiro, Julius Caesar, Othello, plays, radio, Romeo and Juliet, Shakespeare, Shakespeare in a Divided America, Shakespeare in Love, theater, theatre, Trump, WBAI
It may seem as if Americans have never been more polarized than they are today. But America has always been full of splits, and Shakespeare scholar James Shapiro has written a new book, Shakespeare in a Divided America, which explores those conflicts in a unique way. He examines how Americans responded to Shakespearean productions at key times in American history, and his investigations are full of insights and surprises.
Click on the triangle above to hear my interview with James Shapiro as broadcast today on the Arts Express radio program on WBAI 99.5FM NYC, WBAI.org, and on Pacifica affiliates across the country.
Last week , I posted Part One of an interview with Dr Ken Paul Rosenberg, the creator of the book and film documentary, Bedlam. He talked about the present crisis state of mental health care in the US. This week we continue with the final part of that conversation as we talk about political considerations —-and Dr. Rosenberg’s personal stake in the story.
Click on the triangle above to hear the conversation as broadcast today on the Arts Express radio program on WBAI 99.5 FM NYC and Pacifica affiliates across the country.
Here’s the full April issue of the Arts Express newsletter that we put together every month–just click on the above image or click here to browse or download the full issue.
If you’d like a copy of each month’s issue in your email on the first of every month, just send a line to email@example.com with the word “Subscribe” in the header.
In his new documentary film and accompanying book, Bedlam, Dr. Kenneth Paul Rosenberg, presents a moving portrait of what it means to be a person living with mental illness in America today. And in his quest to find the truth about others, he had to confront difficult aspects of his own history, and America’s history, of dealing with people diagnosed with serious mental illness.
You can hear part one of my interview with the fascinating Dr. Rosenberg, as broadcast yesterday on the Arts Express radio program on WBAI NYC and Pacifica Radio affiliates across the country, by clicking on the triangle above.
Part two is here: https://jackshalom.net/2020/04/14/bedlam-part-two/
BEDLAM will premiere on Independent Lens Monday, April 13 at 10pmET on PBS
And here we are with a preview of our third free issue of the Arts Express Newsletter, the jam-packed, super-duper April Issue.
As always, think of the Arts Express newsletter as a print extension of the conversation started on our global radio arts magazine, Arts Express, heard on WBAI 99.5 FM in NYC, WBAI.org, and Pacifica affiliates across the country, in Paris, Beijing, and Berlin.
Every month, it’s full color pages of Arts Express goodness, filled with fascinating interviews, reviews, scripts of our radio drama, photo features, gossip, film, theatre, book recommendations and more.
Here’s a preview of what’s in our April issue, which if you subscribe (just send an email to ArtsExpressList@gmail.com and put Subscribe in the subject line) , you will receive for free the first week in April and every month thereafter:
* Prairie Miller’s interview with South African writer and anti-apartheid activist Tim Jenkin, who talks about his film Escape From Pretoria, which details his escape from Pretoria Maximum Security Prison, and his work setting up a communication system for the imprisoned Nelson Mandela.
*A joyful portfolio of photographs of the world’s largest flower parade held every year in Zundert, Netherlands, the birthplace of Vincent Van Gogh.
* Red Vienna: An Arts Express Extra: Culture critic Dennis Broe writes about the city of Vienna in the 1920s, when a socialist city government planned and built public housing and public facilities throughout the city, which to this day makes Vienna one of the most livable cities in Europe.
* The poetry of Trinidad and Tobagoan poet Camryn Bruno, also known as “Queen Bee,” from her book Queen Bee Cavity.
*And Announcing the Arts Express Community Call-in. Would you like to join your fellow listeners in a telephone conversation about culture in a time of pandemic? Write us at firstname.lastname@example.org and we’ll give you more details!
*Plus: The Guest List–our recent and upcoming guests; The Back Room–news and gossip about WBAI and the Arts Express crew; and information about exclusive giveaways, and how to win an opportunity to broadcast your own work on the air.
It’s all in the new free Arts Express Newsletter.
If you’re not yet subscribed, you can get your free pdf copy every month to your email address, by sending an email to ArtsExpressList@gmail.com and put Subscribe in the subject line. We’ll do the rest!
And don’t miss our next radio show, Tuesday 3/31 at 4am NYC time, which you can hear on WBAI.org or WBAI 99.5FM NYC., featuring:
Film: Mrs. America – Actress Margo Martindale discusses playing Bella Abzug in this upcoming feminist mini-series
TV: Asian American actress Keiko Agena on Prodigal Son, Gilmore Girls, Better Call Saul
Report From The Front: Europe And The Coronavirus. Arts Express Paris correspondent Professor Dennis Broe’s news and analysis from the European pandemic epicenter. And what all of this may have to do with austerity and automation; Shakespeare, the plague, King Lear and Macbeth; and Jonathan Swift’s A Modest Proposal – where the poor are served up as a source of nutrition and fine dining.
Plus…Pandemic radio drama, Syrian comic pandemic satire in the No Laughing Matter Comedy Corner episode – and Bernie Sanders in performance.