Magician Al Schneider demonstrates how little he needs to do in order to fool the crap out of most everyone.
More here: Al Schneider
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.
You don’t often get to see how the mechanics of sleight of hand and misdirection are accomplished by a master. But in this signature routine of magician Tony Slydini, “Paper Balls Over the Head,” the audience is in on the trick from the beginning.
Thanks to YouTuber Michael Lyons
No, not the film (not perfect, but worth seeing for some excellent acting, and a tautly written account of a little known but important event in US history), but magicienne (that’s what she calls herself) Julie Eng.
That’s her dad, Tony, who you see in the video, also in the family magic business, at least that’s his face. But the hands—and the sleight-of that goes with them—belong to daughter Julie.
She’s an excellent close-up and all-around magician herself. In the video she proves it by magishing without looking. The magicians at the convention are well aware of what Julie is doing and just how difficult it is to pull off.
And proud Dad is able to smile and say—Look Ma, no hands!
Here’s a picture of the talented Ms Eng:
Click on the video to give her a big hand.
Thanks to YouTuber The King of Magic
While you, Mr. Magician, are YouTubing coin rolls and card flourishes, the really cool high school students are watching videos featuring finger tutting. So, Meyer Yedid, eat your heart out, It’s Finger Fantasies: The Next Generation.
Click on the video above to view the impressively impassive finger tutter, Pnut.
Thanks to YouTuber StatusSilver
Richard Pitchford, better known by his stage name, Cardini, was a master of sleight of hand. But extraordinary as his manipulation was, what elevated him to the top of his art was the creation of his unique character, a tipsy ne’er-do-well who has trouble keeping reality in focus. If Keaton or Chaplin did flawless magic, Cardini would be the result.
The above clip is from his only television performance in 1957. It was the re-creation of his nightclub act for which he earned a very handsome salary. His assistant in the clip is Swan Walker, also his wife.
Magician Harry Riser, who was a friend of Cardini, tells the story that in the rehearsal for the show, Cardini, who had never performed on television before, had gotten flustered by the cameras and burnt his fingers on his cigarettes. So all the manipulation, especially with the 2 1/2 inch billiard ball, was extremely painful for him that night. We are lucky to have this clip for posterity as it is the only recording of his act.
Thanks to YouTuber sameermagic21
Usually when I talk about magic in this blog, I try to make it accessible to even the readers who are not involved with magic. But you’ll excuse me if I go magic geek on you today. This post is about a new magic book that I had a peripheral involvement in producing, and is primarily aimed at those already familiar with the technology of card magic.
Greg Chapman’s new book is called The Devil’s Staircase. If you do any kind of gambling material and know the difference between an out-faro and an in-faro, stop reading this post and go order it right now at: http://www.thedevilsstaircase.com
You must have this book. You will thank me for it later. I’ll wait.
The rest of you take a look at this video: http://vimeo.com/111080641
If you have a belt handy, strap it around your head while watching the above video so your brains don’t fall out. No, it’s not trick photography.
Everybody back? Okay. Now, clearly the must-haves will love this book. But there is also a whole group of magicians who are the should-haves who will also enjoy and benefit from this book. I’ll describe who I think this group should be a little later in the review. But first, let me describe the book in more detail so you can get a sense of why I am so excited about it. (Full disclosure: I proofread a late version of this book. I didn’t know Greg beforehand. It was hard sometimes to focus on the proofreading because as I read it, I got so engrossed. I realized it was an excellent book.)
In the first chapter, Greg introduces his weapons of choice for the cardician. They will not be unfamiliar to the practitioner: the stack, the faro, the run up, the false shuffle, the memdeck, the estimate, the glimpse, and the joker. In this introduction, Greg lays all his cards, as it were, on the table. He assumes the reader has the same tools available for use as well.
The next chapter takes us into a collection of FASDIU (from a shuffled deck in use) effects that are just knockouts. Learn the material in this chapter and you have an evening’s set of killer entertainment that you can do impromptu. Here’s a description of the first effect in the book, Snap Transposition:
Four kings are removed from a deck of cards. One red king is placed on a participant’s hand and the other red king is inserted face-up between the face-down black kings and held, spread at the fingertips. In a snap all four cards instantly change places. That is, the red kings are now seen to sandwich a black king and the face down card on the participant’s hand is shown to be the other black king.
It’s a beautiful effect, and an instant visible transposition.
There are several other excellent tricks in this section including Thought Card Across, a plot which has been explored by others including Bruce Bernstein, but Greg’s version has some decidedly superior features, and Searchers Undone which has a plot similar to the video above, but can be done entirely impromptu.
Greg’s teaching and explanations are detailed and clear; if you’re a fan of Simon Aronson’s books, you will immediately see Aronson’s influence on the way Greg takes such care with his explanations. As with Aronson’s books, you’ll find much to read and re-read carefully because sometimes what seems like a throwaway comment actually contains within it a door that opens up a whole new avenue of magical thought.
You’ll run across that in the next few chapters especially. Chapter 3 details Greg’s personal MD stack, one especially suited for those who enjoy doing gambling effects. However, even if you don’t do such material, it is well worth reading as there are certain concepts employed that are useful to anyone wanting to create her or his own stack. In the following chapter, you’ll find the Switchable Pairs concept, a simple but intriguing idea with some fascinating implications. This should lead the creative enthusiast to a field of fertile explorations. The Fixed Floating Key Card concept is another idea that could be very helpful to any memdeck worker.
In Chapter 5, you’ll find memdeck effects that are stack independent. While the plots here are not novel, the treasure is in the care that Greg takes to make every step seem absolutely innocent looking. He explains what he thinks some of the pitfalls of memdeck work are, and how to overcome them. If you do any kind of memdeck work, this chapter will improve what you do, no matter what stack you use.
Chapters 6 and 7 are for the hard-core gambling demo guys and gals. These chapters concentrate on the use of the overhand run-up shuffling system to stack hands. This will also enable you to get even further ahead with a memdeck. It is frankly quite technical material, but well explained and Greg strikes a nice balance between holding the readers’ hands and treating them like adults. In the right hands, it’s powerful stuff. If it’s not your cup of tea, you could probably skip these chapters for now, with the knowledge that if you do decide to learn this later, Greg’s teaching here is very good.
Chapter 8 uses Greg’s stack to illustrate the built-in effects possible with it. Some will be happy to know that there are two different plausible Texas Hold’em deals that are available. Also, fairly easily, the stack can be gotten into from NDO and back into NDO as well, certainly a nice little way to end a set.
Finally in the last chapter, Greg spills the beans on the effect in the video above, Dirty Tactics. (You did watch it didn’t you? If not, go back now.) Greg’s diabolical thinking is in full bloom here, and if your pleasure as a magician includes driving your fellow magi crazy, you will definitely enjoy learning this effect.
There are some magicians who are good technicians; there are some magicians who are good writers; there are some magicians who can illustrate their work well; there are some magicians who can create inventive fooling effects. It is relatively rare though in the world of magic to find someone who is all of the above. I think Greg Chapman is such a magician and his book will become a classic in the field of smart, inventive, demanding but do-able card magic. If you like the work of Darwin Ortiz, Simon Aronson, or Dennis Behr, then this book is for you.
I have yet to meet Greg Chapman in person–all our correspondence has been through email. But I can say without reservation that Greg is a man who cares intensely about his work and has taken the care to produce a really excellent book of card magic. Highly recommended.