A simple card plot, but very puzzling. Will Hector Mancha fool Penn & Teller?
More at Hector Mancha
A simple card plot, but very puzzling. Will Hector Mancha fool Penn & Teller?
More at Hector Mancha
Dani DaOrtiz and Yann Frisch with some killer magic.
More at dani daortiz
Pretty nice magic trick by magician Sanjeev Vinodh. Once he said the cards could be examined, he fooled me for sure.
More at Sanjeev Vinodh
The irrepressible Harry Lorayne doing what he does best–talking fast and making cards do magic. I don’t think you can catch what he’s doing even if you play this at slow motion.
More at HarryLorayneOnVideo
This is a radio segment based on an article I wrote a few decades ago about the theatrical elements of hustles like three-card monte.
Click on the triangle or mp3 link above to hear the piece as broadcast today on the Arts Express radio program on WBAI FM NYC and Pacifica affiliates across the nation.
Magician Horret Wu with a beautiful short card routine. Penn would probably say something like Horret surpasses and tops himself, but we’ll just enjoy the show.
More at Horret Wu吳何
As far as I’m concerned, the greatest–and most entertaining–close-up magician I’ve ever seen, Dani DaOrtiz. Penn & Teller are beaten so bad, they don’t even try to figure out Dani’s magic.
More at dani daortiz
If you’re talking about raw sleight of hand, a lot of magicians will pick this card move invented by Ray Kosby called “Raise Rise,” as their choice for the most difficult card trick in the world. It looks like trick photography, but it’s pure sleight of hand, done with an ordinary ungaffed deck. My hat’s off to those who can do it–I sure can’t. The clip above is quite a good version with no cheating or editing. I wish I knew who the magician here was, but I only have the name of the guy’s YouTube channel.
Thanks to YouTuber jekku123
Pop Haydn with another killer magic routine
More at Pop Haydn
Sixteen-year old magician Stanley Zhou, originally from China, has audience members, including Penn & Teller, scratching their heads. He does a card effect, the plotline of which is well-known, but which contains elements–especially the finale–which will have even well-posted magic fans “fasten-ated.”
More at Stanley Zhou
Magician Jeki Yoo with an astounding blend of sleight of hand and apparent witchcraft seems to do the impossible. And what a great down to earth personality he has.
More amazing magic at JEKI YOO
Stay until the end on this one, even if you think you’ve seen this trick before. Magician Daniel Roy surprises in more ways than one.
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Card man Friedrich Roitzch fools me once, then fools me twice for good measure.
More at Friedrich Roitzsch
When I hear from Greg Chapman that he’s working on a new book, my ears perk up like a rabbit hearing about a new cabbage patch. His first two books, Details of Deception and The Devil’s Staircase were advanced explorations of gambling style card material with methods that leave the audience in the dust. When I heard what Greg was up to this time, I was filled with joy in a completely different way. What he had in mind was a small book, 52 pages to be exact—a monograph, for the more precise among us—on the faro shuffle. And I’m happy to say that book has now come to fruition, Faro Fundamentals. (Full disclosure: I gladly did some proofreading on this as well as the earlier books.)
It was a brilliant idea. First, because Greg was the man to do it, and second, because it was such an obvious gap in the literature that it was startling that no one had thought about it before. Those starting the journey of learning the faro shuffle have always had to be like mosaic quilters taking patches from here and patches from there, piecing together the knowledge. Some of the sources were easily available and some of the sources were not. You didn’t know where it was going to turn up. The knowledge consisted of three categories: a) the mechanical information necessary to actually accomplish the shuffle, b) the properties of the shuffle that make it useful, and c) how to put those properties to work in magic effects. Although there are some wonderful chapters about the faro in Marlo, Elmsley, and Expert Card Technique, to my knowledge there was no one exclusive resource that covered all three aspects. Greg’s book can help in all three areas.
Let’s start off with just learning how to do the damn thing. I have to admit I am skeptical of those who claim to have learned the shuffle from the few sentences in a certain famous book about close-up card magic. If you did, my hat’s off to you, and you’re a better man than I am, Gunga Din. Let’s face it, for most, there will be cursing and weeping and wailing and gnashing of teeth in the beginning without proper instruction. Fortunately, Greg’s book addresses several issues that beginners to the shuffle come up against. If listened to, Greg’s helpful advice can significantly cut down on the wrong approaches that only serve to frustrate. Greg has the knowledge and the chops to describe and to illustrate excellently what an approach to the faro could be. He isn’t dogmatic about how to approach it—he openly admits that if you’ve already got an approach that works for you, fine, then go with it; he isn’t trying to proselytize for one particular method. What he does do, though, is to lay out a path to achieve the faro. I especially enjoyed the line drawings made from photos to emphasize the key placements of the fingers of each hand. I also learned some very surprising properties of straddle faros.
As Jeremy Griffin says spot on in his foreword to the book, when it comes to the faro shuffle, people tend to overestimate its difficulty or underestimate its usefulness. In ancient Greece, at a certain point, students of Euclidean geometry advanced to a theorem known as the “Bridge of Asses.” The student had learned all the proofs of previous theorems, but now it was time to join the big boys: the crossing of that bridge signaled something special. It meant that if you could now prove that theorem you had enough tools under your belt to tackle the larger problems. So it is with the faro. I can’t say that I use the faro everyday, but the learning of the faro is what convinced me that I could actually progress further with card sleights. Once you have the faro under your belt, nothing seems too difficult to accomplish. I mean it’s absurd on the face of it: to perfectly split the cards in half and then to perfectly interlace them while no one suspects that that is what you are doing? And moreover, even if they do understand what you are doing, they don’t understand the implications of such an action? That’s powerful.
And that’s something that Greg has expressed to me as a prime motivation for writing the book: “If only I could get folks to climb this mountain with me, because from up here you can see what’s on the other side. Sometimes you can’t know what’s possible until you actually experience something.” Jeremy Griffin in the introduction puts it perfectly: there is the balance of learning something along with all its difficulty, but also balancing the knowledge of its potential on the other side.
And so Greg’s teaching of the faro has a not-so-hidden agenda: he wants to teach you the fundamentals because he wants to grab you and take you up the mountain so that you can see what he sees. And what’s up there? Well, of course, some wonderful effects like Paul Gertner’s Unshuffled (which he doesn’t teach here) and the two bonus routines Greg does teach from his two previous books. But also more than tricks; once you know the faro shuffle you have a very effective way of controlling cards to any position while doing a very fair shuffle, and when combined with a memdeck, it’s an especially powerful tool.
There are those who are skeptical of the audience acceptance of the faro shuffle, and feel like that’s why they wouldn’t want to spend time to learn it. But Greg definitely holds another view. He gives persuasive arguments and advice on how to condition the spectator to accept the shuffle’s fairness and naturalness. Yes, another magician will often recognize an in-the-hands faro—but even then, Greg suggests ways that can throw the wise guys off course. Of course, if one can master the table faro, then that objection disappears completely; and while not claiming to be the last word on the table faro, and acknowledging its difficulty, Greg also gives some tips for achieving it. I don’t pretend that I am willing to put in the time, or that reading Greg’s book will make me a master of the table faro, no book can do that, but I know that if ever one day I wanted to start that journey, this would be the first place I would look to begin my instruction.
The two effects that Greg includes from his previous two books are “Searchers Undone” which is an almost self–working (aside from the faro) version of Larry Jennings “Searchers” effect, where two black kings trap two known cards; and a real magician fooler, “One Card Missing”: a card is chosen, the deck shuffled, cut by the spec, and then shuffled, cut again by the spec, spread for an instant and the performer names the card. (Think about those spectator cuts, even if you’re familiar with the faro!) Greg also streamlines a Marlo location: a card is taken by a spec from the center of the deck, replaced, shuffled, one cut, and the card is on top. The strong parts here are that no breaks are held after the card is replaced, and the shuffle happens immediately afterwards. There’s nothing to see.
As I mentioned before, Greg’s hope is to open up a can of worms. He tantalizing gives you a glimpse of what in practice the ability to faro nonchalantly can mean for stack work. The positioning of cards as they are shuffled means that one can work not with just one kind of stack but different stacks throughout a set for different purposes. Imagine various effects depending on the deck being stacked first by color, then by suit, then by four of a kind. The faro becomes a powerful tool to cycle from one stack to another with relatively little effort.
Is there everything here about the faro? No; in this 52-page book there’s not going to be everything, nor is it meant to be encyclopedic, though there is a short bibliography of major works concerning the faro. Greg’s last two books were eagerly snatched up by aficionados, but they were clearly for a limited audience. But I predict that Faro Fundamentals will be one of those relatively rare perennial sellers in the magic literature. Because there can be no question now: if someone asks, “Where should I go to learn about the faro shuffle?” Greg’s book is it.
If you’ve been putting off learning the faro, or you’ve tried but just couldn’t get it, or if you can faro, but want to understand more about what the faro can achieve, I urge you to pick up a copy of Faro Fundamentals. It fills a huge gap in the magical literature and you will be glad to have this as your faro companion.
In this installment, we’ll be getting into more specialized and advanced books, yet I think the information in each of them is valuable no matter what area of magic most intrigues you.
The Dai Vernon Book of Magic by Lewis Ganson: Some of the classic close-up routines of magic, including The Chinese Coins, that should be in every magician’s repertoire.
Restaurant and Bar Magic by Jonathan Kamm: Kamm is a bar magician, and in this slim book of effects he explains some wonderful mainstays of the bar magician. If you’re not a drinker, don’t let the appellation of bar magic worry you. Bar magic is close-up magic that requires little in the way of props, but it has a very clear plot, is visual, often modular, and has high impact. There’s a great repeat card under deck routine here as well as seven other routines which, as they say, are workers.
Marked for Life by Kirk Charles: This is a slim paperback on how to create your own deck of marked cards and tricks to do with same. There’s a hilarious trick done with a rubber stamp imprint of a cat’s paw that I used to have a lot of fun with. But the real winner here is the system for marking cards that Bob Farmer came up with that requires only a red Sharpie on a red Bicycle deck which produces marks that can be seen from a good distance.
Expert Card Technique by Jean Hugard and Frederick Braue: This one may sit on the shelf until you’re ready for it, but once you are, you will be amazed at the gems of advanced card magic sleights and effects it contains: passes, glimpses, transpositions. Though written before Royal Road to Magic and Card College, this is the post-graduate course.
Taschen Magic Posters: I’ve written about this book before, and I continue to feel that it’s one of my favorite magic books of all time. This multi-lingual large-size edition pictured above is out of print and hard to find now, but there’s a smaller sized abridged version available at very reasonable cost, which is still quite wonderful. It’s beautifully put together with glorious reproductions of hundreds of years of magic posters interspersed with essays from the likes of Jim Steinmeyer. It’s big, heavy, and an absolute pleasure to pull out on a rainy day.
An Actor Prepares by Konstantin Stanislavski: while this volume was meant for theater actors performing in a scripted play, there is much here to be learned here about communicating with an audience. The Spanish magician Juan Tamariz summarized some of this information in The Five Ways of Magic, but An Actor Prepares goes more deeply into some important aspects of performing and getting ready to perform. Pay special attention to the sections on Relaxation, Concentration, Units and Objectives, Faith and a Sense of Truth, The Super-Objective, and Communion.
Act Two by Barrie Richardson: There’s more great mental magic in this sequel to Theater of the Mind. If you’ve always wanted to learn a memdeck, but don’t think you’re quite up to it now, there’s an easy to memorize half memdeck here that’s very useful. In particular, it’s used in a easy-to-do stage ACAAN that plays big. There are many other mental effects and techniques here that are worth exploring as well.
Card College, Volumes 2, 3, and 4: by Roberto Giobbi: Card College is a massive achievement but I think Royal Road substitutes well for Volume 1 and has better tricks, and Volume 5 is largely a book of pleasant but unessential card tricks. For me, the real stars of the CC series are Volumes 2, 3 and 4, which form an excellent detailed reference for learning and executing the most common card sleights one might come across in other sources.
Magic is My Weed and How to Make Love the Steve Spill Way both by Steve Spill. I put these two books together because frankly it is hard to decide between them. Simply, read them both. They are not cheap, but if you are planning to set foot onstage before a large audience in a regular professional capacity, these books would be a very wise investment. I did detailed reviews of the two books here (Weed) and here (Love). If you want to be a performer and not just a guy or gal doing tricks, these books are a goldmine of information. Wonderful effects, jokes, scripts, but even more wonderful advice about how to construct an act and entertain an audience.
Some say magician David Blaine is just regurgitating old material, but he didn’t have to take it so literally. Anyway, come for the announcement of his newest hair-raising stunt, but stay for the cuisses de grenouilles.
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.
Yet one more for the magic nerds, and to make matters worse, it’s for a subset of a subset of us. Namely for those of us who have taken Simon Aronson’s most famous creation to heart…and mind.
For a long time, I’ve pondered how to spell to any card named in a deck of cards. Any card. And in almost all cases, to do it completely hands off, with only the spectator handling the cards and doing the spelling.
Well, the pandemic has given me a lot of time to think about it, and I finally wrote up the complete way to do it. I was thinking of asking a couple of dollars for it, but then I thought what the heck, I’ll give it away for free. All I ask is that you send me some feedback on it after you read through it. The method of course assumes you are already a committed Aronsonite.
A really great card trick with a strong one-two impact from magician Reza. Even after hearing Penn’s clues, I still had no ideas about how both phases could have been done.
Thanks to YouTuber Magic Blood
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.
There are Third World Problems, First World Problems, and then there are Conjurers’ World Problems. This is to address one of the latter.
From time to time, a magician needs a deck of cards to be arranged back in the original factory order after it’s been all shuffled up and disordered. Magicians call that original factory order New Deck Order or NDO. Surprisingly, there’s no industry standardized order. It varies according to card manufacturer and even varies from brand to brand manufactured by the same company. So, for example, Bicycle brand cards are ordered in a different arrangement from Bee brand cards, even though they are both manufactured by the United States Playing Card Company. Next time you open up a new pack of cards, check the order. You might find it interesting.
The most popular brand of cards, Bicycles, are arranged from top to bottom in the following order (take a guess first before you read on):
Ace to King of Hearts, Ace to King of Clubs, King to Ace of Diamonds, and King to Ace of Spades.
So suppose the cards are all mixed up, and you want to get them back into the original order—not that you are trying to do it secretly, you just want to do it quickly. What do you do? Well, yes, the logical thing to do is to make four piles on a table, one for each suit, and sort out the cards that way.
But often a performer doesn’t have a table available, so sometimes an in-the-hands-sort is useful. Here’s a method i came up with a few years ago of how to sort a deck of cards quickly into Bicycle NDO when no table is available. Later, I’ll talk about how to generalize the process to make it even more useful to magicians.
1) Hold the deck face up in the left hand, facing you. Spread through the deck without changing its order and, using your right hand, as you come to each black card, upjog it about halfway. Then, with your right hand, swing out all the black cards to the face of deck.
2) Run through the deck again, upjogging all the Spades and Diamonds. Swing out this half to the face of deck.
3) Spread the bottom thirteen Spades and arrange them in order with the right hand as if arranging a bridge hand. That is, holding the deck facing you in the left hand, spread the thirteen Spades out in a fan so that you can see all the pips. Now with your right hand, fingers pointing down, palm facing you, thumb closest to your body, pick out the King of Spades from above; next scan the cards and pick out the Queen of Spades on top of that, then the Jack of Spades and so on until the Ace of Spades is on the face of that small packet. Then just cut those thirteen Spades to the top of the deck.
4) Repeat with the next three suits (remembering that for Clubs and Hearts., you will reverse that order, pulling out the Ace first, then the Two on top of that and so on up to the King). You are now in Bicycle NDO. You’ll see that after just a bit of practice you can arrange the whole deck quite quickly.
But here’s the part I’ve been saving for magicians. Getting into NDO is nice, but even more useful is to get into a memdeck arrangement like Aronson or Tamariz quickly in the hands. This can be done for any stack by generalizing the above:
To generalize for any stack:
1) Upjog all cards within the ranges of 14-26 and 40-52, and cut to the face of deck.
2) Upjog all cards within the ranges of 27-52 and cut to the face of the deck.
3) Spread thirteen cards at a time from the face and put them in ascending order, then cut them to the back of deck.
4) Repeat three more times.
The first step is the hardest to get down, but if you know your stack cold, you’ll soon get it. I find that by using this method, I can stack Aronson order in my hands as fast as on a table.
Done. Next job: Solving world hunger and the exploitation of workers by bosses.
Hint: threads, mirrors, and a good Double Lift.
In a jaw-dropping turn around, it’s interviewer Larry King who stuns magician Shin Lim. You can actually feel Shin Lim thinking WTF is going on here. Who is this guy?
Larry King. Greatest. Spectator. Ever.
Reports that Mr. King was replaced in this video by a head of cabbage are still under investigation.
More of Larry’s magic at Larry King
Another no-camera tricks experiment.
“That’s rapid transportation…with thanks to Mr. Regal.”