In what is probably Steve Martin’s greatest magic performance, Steve performs for Johnny Carson the inexplicable unpublished Vernon/Marlo card miracle, “King of Hearts, Come Down and Dance.”
Thanks to YouTuber Jeff Dresback
In what is probably Steve Martin’s greatest magic performance, Steve performs for Johnny Carson the inexplicable unpublished Vernon/Marlo card miracle, “King of Hearts, Come Down and Dance.”
Thanks to YouTuber Jeff Dresback
Shin Lim’s card magic raises the bar for everyone. It’s rare that card magic looks and feels magical, rather than just an intriguing puzzle or demonstration of skill. Shin Lim’s performances give me that feeling of wonder.
Thanks to YouTuber Talent Recap
The stage version of the cards across magic trick has always struck me as something less than compelling, but this performance by magician Billy Ray [aka anesthesiologist Dr. Millard Brooks] has got to be one of the most entertaining magic acts I’ve seen.
Thanks to YouTuber Millard Brooks
Every once in a while I like to catch up and share the titles of conjuring books I’ve been reading, so here’s what I’ve been enjoying the last couple of months—and a little product review at the end as well:
1. Scripting Magic, Volume 2: Pete McCabe’s first volume, Scripting Magic, was one of my all-time favorite magic books. It contained scripts for dozens of excellent magic tricks, and what’s more, it told you why they were good scripts and compared them to the not-so-good examples. Anyone reading them could improve the effects they already did by following the advice in the book. Now, in Volume 2, McCabe continues with more wonderful tricks and scripts—including examples from America’s Got Talent winner Derek Hughes, and the script of Houdini’s performance of the Water Torture Cell. McCabe tells you not only what makes a good script, but also helps you to understand how to come up with a premise, and how to flesh it out. It’s terrific advice, but even if you choose to ignore it, there are some very good tricks here including “Pleasure To Burn” ( a fifty-two to one card equivoque) and the holiday-themed “Catching a Leprechaun.” While it’s always great to learn new sleights (and McCabe teaches a few here in the context of a given effect) probably no investment of time will improve one’s magic so much as focusing on script and presentation.
2. Malini and His Magic: Dai Vernon was always humble about the debt he owed to the magicians whose work he studied, including Emil Jarrow and Nate Leipzig, but none impressed him more than Max Malini. I’ve written about Malini before, but it is hard to overestimate what an important influence he was on Vernon’s generation of magicians. In an age where magicians mainly entertained with large illusions on stage, Malini changed the paradigm. Whether he was entertaining on the stage of a large theater, a hotel ballroom, or an intimate dinner party of the rich and famous, he needed only a couple of decks of cards and some silverware to make his presence unforgettable. In Malini and His Magic, editor Lewis Ganson collated Vernon and others’ thoughts and memories of Malini in order to produce a slim but valuable volume. It starts off with some basic biographical information, and then describes the presentation and methods of Malini’s full evening show, the highlight of which was his card stabbing routine. Later chapters deal with Malini’s more informal shows, and it’s wonderful to read about how audacious his effects and methods were. Malini was also quite a self-promoter, and not a small amount of his success was his ability to “schmooze” and make friends with wealthy patrons. The one secret that remains is the famous dinner table production of a block of ice from a lady’s hat. While Vernon describes the production and one aspect of the method, he admits that he does not know how Malini loaded up. That will have to be a mystery to all but Ricky Jay, who you can see perform the astonishing trick for a skeptical journalist in the documentary film Deceptive Practice. (Hmm, I just got an idea of what may have happened.)
3. Our friend Ron Chavis is now well along with the publication of his “Official Magazine for Mentalists,” Mystic Descendant, having released a solid four quarterly issues to round out the first year. The magazine continues with its friendly, good-natured, bar-room mate outlook, and as I have mentioned before, it focuses mainly on the casual performance of mentalism, with a focus on storytelling. I’ve finally caught up with the fourth issue, and in it you’ll find a lovely true story about a seance that unexpectedly turns into a tribute to a recently deceased mentalist; a presentation of an effect that leaves warm feelings of a spectator’s meaningful relationship; and an interview with South American mentalist Mauricio Jaramillo who talks about preparing for the time when things go wrong in performance. It’s light, pleasant reading, that may well stimulate mentalism thoughts of your own; if you haven’t picked up a copy yet, you can go to http://www.lulu.com/spotlight/mysticdescendant to order any issue.
4. On some of the internet magicians’ forums, you’ll find endless discussion of what are the best cards to use, and it may seem amusing to run into spirited online discussions that go into scores of pages on whether blue-backed or red-backed cards are best to use. A lot of magicians take such things quite seriously. Anyway, much virtual ink has also been spilled about what brand of cards is most suitable for card magic. For the past few years, the product of a relative newcomer in the field, the Phoenix deck by Card-Shark, has found favor with many magicians. I like Phoenix cards a lot, but I recently became aware of the new release by the US Playing Card Company of a special edition of their Maiden Back cards. I’ve been using them for a few months now, and I really like them, maybe more than the Phoenix cards. Here’s what I think the advantages of them are:
So if this sounds like something you might be interested in, I’d advise you to try a brick soon, as I don’t really see how they can keep selling them at this price. Happy magishing.
Yesterday, card magician Derek DelGaudio appeared on NPR radio’s quiz show, Ask Me Another, where his quiz category was…playing cards.
What an incredible stroke of fortuitous luck engineered by the quiz show Gods! (not)
Anyway, Derek answered questions like, “Which suit used to be represented by batons and sticks?” and “One of the four Kings’ faces is different from the other three: which, and why?” Of course Derek answered these questions correctly—he is after all performing card magic nightly in his new one man Off-Broadway show, In & Of Itself—but it was the final question that was the most amusing. Here’s how the conversation went:
Host: “According to mathematicians at Harvard and Columbia, how many—”
DelGaudio (and magicians across the country): “Seven!”
Host: (Stunned silence, then laughter) “Yes, correct.”
Spoiler: As the host later told the audience, the question’s finish was, “how many riffle shuffles does it take to fully shuffle a deck into a randomized state?” It’s a more interesting question than might appear at first glance, with quite a few sticky points.
First of all, is it referring to any kind of shuffle? No; it applies specifically to the riffle shuffle, also known as the dovetail shuffle—the deck is divided into two packets, one packet held from above in each hand, with each thumb at one short end of the cards, and the other fingers at the opposite short end. Then some cards are riffled off the bottom of one packet by the thumb onto the table, and next, some cards are riffled off the bottom of the other packet by the other thumb onto the table. This is repeated, riffling off cards from the bottom of the two packets onto the table, alternately, until both packets are exhausted (or at least a little bit sleepy). Most bridge players are familiar with this kind of shuffle.
Do the cards have to be perfectly alternated, one card from each hand, in perfect syncopation (magicians call this a “faro shuffle”)? Again, the answer is no. There is no requirement that the cards be perfectly interlaced, nor that the deck be cut into two even packets at the beginning. But even with imperfect shuffling, the cards should be fully randomized after seven riffle shuffles.
With some reflection, one might ask, what does it even mean to say that the cards are now in a random order? Isn’t every order a random order? The whole question of randomness is non-trivial, but a quick and dirty explanation as applied to shuffling depends on two notions. First, suppose we number all the cards in a deck consecutively from the top, 1-52. Now we shuffle the deck. When we look at our new shuffled order, are there any clues in the new order that might lead us to suspect what the original order might have been? For example, if the new order looked like 1-20, 26-40, 21-25, 41-52, we can see that the “chunks” from the original order have left a calling card of sorts of the previous order; we would not say that the shuffle had randomized the order yet. The other thing to realize is, that given our original stack ordered 1-52, it is not true that every other conceivable stack could be obtained by one riffle shuffle—even if we were allowed to decide exactly how the cards should fall. For example, if we wanted a new stack that began 2-1-7-3 on top, there is no way of splitting the original 1-52 stack and doing one riffle shuffle that would put those four cards on top.
So, now we are in a position to talk about what a randomly shuffled deck would mean. It means that if we were to compare the positions before shuffling and after shuffling, there would be no clues left as to what the original order was; and that the new order was just as likely to have resulted from the actual beginning order as from any other beginning order. It turns out that only if you riffle shuffle at least the magic seven times, can you be sure that the preceding two conditions are true.
This result was proved by Persi Diaconis, presently a professor of mathematics at Stanford University, but also one of the most intriguing and elusive figures in modern sleight-of-hand conjuring. When he was 14, he ran away from home and joined a much older magician, Dai Vernon, on a cross-country scramble to track down the best underground card sharks in America. The idea was to learn new card sleights that other magicians had not yet discovered. Diaconis was so intrigued by gambling questions that he enrolled in college math courses to learn the math that would give him more insight into such problems. Later on, Diaconis got himself a teaching post at Stanford on the recommendation of the Scientific American columnist Martin Gardner. Gardner it turns out, was a first-class amateur magician; Diaconis had shown him a few card tricks that he had invented, and on the strength of those card tricks, Gardner recommended Diaconis to the department head at Stanford who then hired Diaconis.
Diaconis has since published papers on many topics of potential interest to magicians and gamblers, including a proof that when flipping a fair coin, it is slightly more likely to fall on the side it started on. Equally intriguing is Diaconis’s tight-lipped attitude towards questions about the now-deceased Vernon. Vernon had many acolytes, most of whom have shared in print or video what Vernon had taught them. Vernon himself was not averse to revealing some of his confidences. But Diaconis is one of the few who refuses to speak about any of the Master’s teachings, and believes that some mysteries are meant to be taken to the grave.
But Diaconis’s riffle shuffle paper is well known among magicians. So now you know why Derek DelGaudio didn’t need to hear the rest of the question…
Magician Richard Turner, the fabled blind card mechanic, is the subject of a compelling new film documentary directed by Luke Korem called Dealt. I interviewed Korem who spoke about the challenges and pleasures of making the film. Though ostensibly about magic, the story is also about independence, disability, discipline, creativity, and about learning how best to play the hand that life has dealt us.
Click on the grey triangle to listen to the interview as broadcast yesterday on the Arts Express radio program on WBAI 99.5 FM..
Pit Hartling has amusing presentations for card magic, along with some of the most clever methods. His book In Order to Amaze should delight most card workers. Here is a fairly recent performance from The Magic Castle.
More Pit Hartling at Pit Hartling
And…time is running out to enter a dead easy contest. Magicians and hobbyists, spend a little time today to get in your entries. Read the details here.
Card mechanic Richard Turner is not shy about revealing his weapons of choice: second deals, bottom deals, even middle deals. But even accounting for the imperceptible execution of the above, how in the world does one account for what happens in the video after the spectator shuffles several points along the way?
More at RichardTurner52
Here’s a first world problem: You have a shuffled deck of cards, and you want to restore the deck to New Deck Order or some other pre-determined stack arrangement.
With a table, it’s easy, but sometimes a table isn’t available, so an in-the-hands-sort is required. Here’s something that might be useful to some card workers. I use the following mainly as an in-the-hands sort for NDO. I’ve used it as well for Aronson, but it can be generalized to any stack:
Run through the deck upjogging all the black cards. Pull out the black cards to the face of deck.
Run through the deck upjogging all the spades and diamonds. Pull out this half to the face of deck.
Spread the bottom 13 spades and arrange in order with the right hand as if arranging a bridge hand. Cut those 13 cards to the top of deck. Repeat with the next three suits. You are now in New Deck Order. Bicycle New Deck Order simply requires you to pull out Spades and Diamonds in descending order, Clubs and Hearts in ascending order.
To generalize for any stack:
1) Upjog all cards within the ranges of 14-26 and 40-52, and cut to face of deck.
2) Upjog all cards within the ranges of 27-52 and cut to the face of the deck.
3) Spread 13 cards at a time and put in ascending order, then cut to back of deck. Repeat three more times.
With practice you can get into stack order quite quickly.
The Devil is back, and the Devil is all in the details.
The Devil, in the guise of card man Greg Chapman, has returned with a new volume of mischievous pasteboard knowledge, Details of Deception: Artifice and Entertainment with Cards. If you thought Greg’s first book, The Devil’s Staircase, was a tour de force of gambling-themed card magic ideas, you’ll be even more delighted with this follow-up. The new book can certainly stand alone as a contribution to the literature, but when seen as a companion book to its predecessor, it really makes its full impact. (Full disclosure: I gladly did some proofreading on this as well as the earlier book.)
Dai Vernon liked to quote Da Vinci, “Details make perfection, but perfection is no detail.” Vernon knew that especially in the art of magic, the difference between the right detail and the wrong detail could mean the difference between success and failure. As Teller once pointed out, magic is very binary in the sense that an effect either fools an audience or it doesn’t. There’s no “sorta” or half pregnant in magic. A slight detail can be the difference between the audience experiencing a sense of verisimilitude or not.
Greg takes on a relatively narrow slice of the magic universe and focuses sharply on the details that make a difference. As he did in his first book, Greg here first introduces the tools he will be discussing: the peek, the key card, the stack, the crimp, even the humble ribbon spread. If you think you know everything about those tools, odds are, you are in for a pleasant surprise.
Greg’s focus as he circles back to these subjects is always how to get ahead while maintaining naturalness in action and speech. To this end, Greg is all about learning how to feel comfortable in one’s habitual environment—in Greg’s case, at the card table. His style is low-key, innocent, and absolutely fooling.
The second chapter of the book introduces effects which require little to no set-up (except for, in one case, the introduction of a gaffed card). Some of them, such as “Rubaway Switch” and “OHSD Switch” are transposition effects which can also be used as utility moves. Others, such as “Any Pair” and “Card at Number,” are basically self-working tricks with a strong impact. And with just a little more faro-ing effort, “The Accomplice” and “PUnDoM” are impressive quick demos of card control.
The following two chapters are, for me, the heart of the book. In the chapter entitled Stacks, Greg goes into greater detail regarding the tools that he mentioned at the beginning of the book. There is a lengthy and invaluable discussion of estimation that opens the chapter, and I can say that for me personally, it took a skill that seemed mysterious and out of my reach, and turned it into something achievable and usable. Greg even provides outs for those times when one’s estimations are a little off. I don’t have to tell anybody who does MD work what a valuable skill estimation is to have.
Equally useful to me was Greg’s discussion of the Ribbon Spread. It really opened my eyes to the devious uses to which this ubiquitous little flourish can be put. In the sections on peeks, shiners, and deck switches, there is also much of use: not only concerning the sleight-of-hand aspects of the moves, but also the timing and body gestalt as well.
The next chapter is devoted to memorized deck routines. There is a clever ACAAN, which has some important features: the spectator can genuinely name any card, and also has a wide range of numbers from which to choose. More importantly, the spectator can do the final countdown deal to the card. And . . . the method is essentially sleightless. Other tricks that I especially like in this section are “One Card Missing,” a snappy determination of a card missing from a deck under seemingly impossible conditions, and “That Old Trick,” a discovery of a selected four-of-a-kind that is quite enjoyable to perform, and is a painless and safe way to practice your Mexican Turnover.
The last chapter of the book is called Second Thoughts. It is a detailed mini-treatise on how to perform Greg’s version of a push-off second. This is painstaking, nuanced work, and probably will most interest those who can’t afford the slightest inkling of suspicion. If that sounds up your alley, there are lots of diagrams, advice, and encouragement here for those who decide to tread the path. The good news for the rest of us is that Greg includes in this section an excellent gambling deal effect, “Stacked To Win,” which while requiring some quick thinking and quick second dealing, actually demands less skill than the overall impression of the effect conveys.
Greg ends the book with a wonderful Cards to Pocket that will likely fool most magicians. It incorporates a very clever, efficient gaff. I don’t know if the gaff is original to Greg, but I’ve never seen it before, and I can well imagine its use in other situations as well.
If you have any interest in improving your card magic skills, I highly recommend that you sit down to a deal with the Devil, Greg Chapman’s Details of Deception.
Today’s post is for the magic nerds among us. An excellent staple of mental card magic is an effect by Larry Becker called “Will The Cards Match?” It’s based upon a clever math principle first used in magic by Howard Adams, and the trick itself can take many forms depending on the performer’s imagination. My favorite presentation is one that uses a set of business cards: each card has a famous name written on the back, and the cards are torn in half into two mates. After turning all the pieces face down and subjecting them to shuffles, cuts, and a spectator-controlled sorting procedure, the pieces, against all odds, end up paired next to their mates.
Since the standard method of doing this trick uses the spelling of the title phrase, many magicians are curious about 1) What other phrases would also work, and 2) What if instead of using the usual five cards, one wishes to use some other number of cards?
So quite a number of years ago, I worked out a method to determine phrases for any number of cards. This will allow the performer to customize by occasion and venue the phrase that is used.
Here’s a modified version of how I described it on one of the magic forums about a decade ago:
“A) Suppose each pile of cards contains X cards to begin with. Then a workable phrase could have for its first word X-1 letters, the second word X-2 letters, the third word X-3 letters, the Nth word X-N letters and so on. So, for example, for five cards, four words of lengths 4-3-2-1 will work.
B) But those word lengths are not unique. Each of the word lengths can be adjusted in the following way:
At any point, you may add to any of the above lengths any multiple of the number that is one more than the original word length. That is, at word N, you may add any multiple of X -N+1.
Example: I have two five card piles. By the first formula, I can have a phrase consisting of 4 letters, then 3 letters, then 2 letters, then one letter.
So the first word has length 4—WILL
The second word has length 3—THE
The third word should have length 2—but we’re going to adjust its length for a better phrase.
I can add as many multiples of the original number plus one that I like. Since at this point the original word length would have been 2, I can add any multiple of three (one more than 2) to the original word length of two.. For instance I can add exactly three to two to get five letters for the third word—CARDS
On the fourth word (on which I originally had 1 letter) I can add any multiple of 2 (one more than one) to my original 1. If I add 2×2 to 1, then I get five—MATCH
So, in this example, I have a phrase consisting of 4-3-5-5 which is Will The Cards Match.
Now let’s try this with six cards in each pile to make this more clear.
To start with:
First word . . . five letters
Second word , . . four letters
Third word . . . three letters
Fourth word . . . Two letters
Fifth word. . . One letter
So a workable sequence of word lengths for 6 cards could be a phrase with 5-4-3-2-1 letters
Now I’ll make some adjustments so that I can get a more convenient phrase:
First word, leave as is . . . five letters—MAGIC.
Second word, leave as is, . . . four letters—WILL.
Third word, originally three letters, which means I can add any multiple of four (one more than three). So I’ll add just 4 to the original three to get seven letters—ASTOUND.
Fourth word, originally two letters, so I can add any multiple of three (one more than two). In this case I’ll add 3 to the original two to get five letters—EVERY.
Fifth word, originally one letter, so I can add any multiple of two (one more than one). In this case, I choose to add two times two to the original one, to get five letters—CHILD.
So my sequence could be 5-4-7-5-5.
For example, “Magic Will Astound Every Child.”
Another sequence that will work using the above instructions is 5-4-3-2-5. Only the last word length needs to be adjusted here. So, “Every Body Can Do Magic.”
It may seem a little complicated, but if you’ll follow along with cards in hand, you’ll see that it works easily, and you can create your own phrase for any number of cards. Let me know if you have any questions.
Othello demands from Iago the ocular proof, and I’ve spent the last month or so providing such, in a manner of speaking. I’ve been proofreading and copy editing an excellent new magic book, Details of Deception, by Greg Chapman, and I’m quite enjoying the process. That must seem a strange thing to say for such a potentially tedious assignment, but the book is so intriguing, and the author such a gentleman (not always the case in the niche world of conjuring), that I was glad to take on the assignment.
I’ve written before about some of the challenges of copy editing and writing a book of magic. Stephen Minch, one of the great writers and publishers of magic literature, has given magic writers a unique style guide. Because of magic’s technical nature, the text of a book about card magic in some ways more closely resembles that of a car repair manual than that of, say, a novel; so by all means if you are about to embark on writing a magic book, your first stop should be Minch’s guide. You can download it for free here.
I’d like to just briefly mention a few other practical things that I’ve learned to watch out for in an endeavor like this. Much of this can be applied to non-magic literature as well:
I hope these few pointers will be helpful. But more, I think if you’re a card person you’re really going to like this book. I hope you find it a good read.
The past few months I’ve been enjoying a number of magic books, old and new, which I’d like to share with you.
First is St. George’s Hall: Behind the Scenes at England’s House of Mystery by Anne Davenport and John Salisse. This is a fairly specialized book, but it’s very well done. It’s a history of the London theater venue run by several generations of Maskelynes, starting with the patriarch, J.N. Maskelyne, in partnership with the magician David Devant from 1905 – 1935. Devant of course, along with Nevil Maskyelene, wrote one of the seminal books about the theory of conjuring called Our Magic. That book was unique in that it understood that conjuring was part of the theatrical arts, but at the same time also had its own particular requirements. Devant and Maskelyne, perhaps more than anybody before or since, delineated just how the magician should best walk that fine line between theatrical narrative and conjuring necessity. St. George’s Hall makes clear with its extensive details and photos of thirty years of St. George’s entertainments, that the theory of Our Magic was borne out of hard struggle and daily practical knowledge of what worked and didn’t work. Many of the entertainments were short plays centered around an illusion that Maskelyne or Devant had created and worked into some fantastical plot. The most surprising thing in the book for me were the photos of Devant in the various costumes for his plays; it is clear from the variety of characters and make-ups that he used that he was as interested in the techniques of acting as he was of those of conjuring, and saw them both as allied arts.
I like the idea of having little magic pamphlets to read on a subway ride, and recently I came across an old pamphlet called Bunny Bill. The booklet by Robert Neale is an easy to follow origami project that teaches you how to fold a dollar bill into the shape of a top hat. When you squeeze the sides of the hat, out pops a little paper rabbit. It’s all done with one bill without any cuts, tears or tape. Cuteness factor is high, and children enjoy it.
Magician Dai Vernon was the greatest influence on close-up magic in the twentieth century, and for over 25 years, Vernon contributed a column to Genii Magazine called The Vernon Touch. His columns have all been collected in a compilation also called The Vernon Touch, brought out by Rickard Kaufman. The Vernon Touch had an extraordinary run considering that Vernon was in his seventies when he began the column, and he was over ninety when he contributed his last one. Much of the column was devoted to his reports on the scene at The Magic Castle, where he was in residence. Lots of history and anecdotes, along with many insights into the Vernon conception of magic, but I liked the photos the best, many not published before, of Vernon with his fellow magicians, and Vernon’s Harlequin and Chinese acts. If you subscribe to Genii you can purchase the book at a bargain price.
A few years ago I had the good fortune to be involved with the proofreading of a wonderful book of card magic called The Devil’s Staircase by Greg Chapman. Fans of that book will be very happy to learn that Mr. Chapman is about to release a new book of card magic, kind of a companion piece to TDS, called Details of Deception. It’s an excellent title, because in this book Chapman focuses on the fine details of what makes a sleight, and a performance of card magic, deceptive. As in the last book, most of the material is gambling-themed, but a careful reading of the book will be highly instructive for any intermediate-to-advanced card worker. There are some excellent memorized deck effects, poker demonstrations, an extensive section on estimation with information which to my knowledge has never seen print before, and a large chapter on the second deal which gives detailed instructions of how to do several kinds of push-off seconds, along with some killer tricks that utilize the sleight. While most of the effects are difficult—the ability to do three perfect faros in some routines is taken as a given—there are a few effects for the mere mortals among us, including a very clever ACAAN routine. I highly recommend this book if you’re looking to improve your card magic, if you’re a memdeck guy or gal, or if you just want to see how deeply a guy like Chapman can think about card magic.
When would-be magicians first start out learning sleight of hand as applied to cards, they often worry that their hands are too small to do the dirty work. Magician Mahdi Gilbert puts that concern to rest, as you’ll see in the above video.
He became a sensation on YouTube and then went on to fool Penn &Teller on their show.
Thanks to YouTuber Riffle Shuffle
In 2013 I attended my first magic convention. I was very enthusiastic, and I got to all the events a little bit early. I was also kind of lonely, not knowing anyone, so I was happy to strike up a conversation with the young man seated next to me in the auditorium. We exchanged pleasantries and then got into an interesting conversation. He told me that he used to be a concert pianist, and that he had also tried his hand at film making. What he did not tell me at that time, though, was that in a few minutes he would be up on stage performing!
It was only then that I learned that his name was Shin Lim, and that he was one of the most amazingly creative card magicians to come along in this decade. He soon became very well known among magicians, and went on to fool Penn & Teller on their television show, Fool Us.
The act that he used to fool Penn & Teller was the same one I had seen back in 2013. Stick with the routine until the end—you may think you know how parts of it are done, but I assure you that by the end you too will be amazed.
When I was an adolescent, I delightedly stumbled across a book in my local library called Marked Cards and Loaded Dice, a volume which purportedly exposed the tools and methods of crooked gamblers. The book was written by an excellent magician named Frank Garcia, who I later learned often held court at the local magic establishment, Tannen’s. His genial manner was very smooth and convincing.
At that time in NYC, David Susskind, a theater, film and television producer, had a late night television program called Open End that seemed to go on for hours. Susskind was often derided as being insufferably pompous, so it was with some happiness that I came across this video of Garcia with his magic rendering Susskind nearly speechless.
Click on the video to play. Thanks to YouTuber MrMagicbymax
What magician Steven Brundage performed for the America’s Got Talent judges may not have been the most difficult thing he’s ever done with a Rubik’s Cube, but it was, in my opinion, his most magical effect with one. Watch the absolutely uncanny Steven Brundage make the AGT judges’ jaws drop with this impossible effect.